Nowadays, the shifting economy can make it difficult to secure and hold onto a stable job. As a young person, it’s important to be equipped with some necessary tips to ensure that you are prepared for the harsh realities of the real world. You may not always get what you want, and you won’t achieve immediate results. And although it may be scary not knowing whether you will be able to land and hold onto your job, there are a few ways to stay prepared for these uncertainties. It’s not so much about scoring a stable job anymore, as it is about knowing how to remain valuable to your employer, and flexible should anything happen.

forklift license

  1. Don’t be afraid to step outside your comfort zone

Some of us are under the impression that we need to be doing what we love to have successful careers. While it’s important to like your job, you don’t necessarily have to make a living out of your passions. You can work a job that is outside of your comfort zone, especially if it’ll allow you the time, energy, and freedom to pursue your other passions.

  1. Earn a skill

forklift trainingSkills are incredibly important when you’re working in an economy like ours. It is important to learn real, tangible skills because these are more likely to get you hired than your achievements, as employers are looking for employees who can get the job done right away.

On a whole other level, it’s great to consider jobs that require very specific skill sets, as it is uncommon to find people with these. Take for example forklift operators. How many people do you know have forklift licenses? Not a lot. If you think a job like this is for you, you’ll have the upper hand as it is not quite a common skill that a lot of people have.

  1. Secure necessary papers

If you’re going to look for jobs like these, which are quite uncommon, you’ll need to secure the necessary papers. As a matter of fact, all employers prefer applicants who have more complete papers and requirements anyway.

  1. Get certified

Technical professions, such as, once again like our example above, operating a forklift, require certification. Secure a forklift operatorforklift license by taking a course, which are offered by many companies today. It’s also important to secure a high risk work license. This kind of license allows you to perform high risk tasks as your profession, including scaffolding, rigging, crane operation, pressure equipment operation, and forklift operation.

Remember there are certain pre-requisites to securing a forklift and a high risk work license. For example, you’ll need to be at least 18 years of age and have a basic understanding of the English language.

You probably heard of Virtual Private Network (VPN) – it presents a group of computers that are connected together VPN-securityover the internet. This service can be used by companies (usually using a VPN to connect to remote data centers), individuals (usually using a VPN to get access to network resources when they are not physically on the same LAN/ or as a way of securing and encrypting their communications when they’re using an insecure public network) and employees (that are using a VPN to connect remotely to the physical network of their workplace).

If you wonder why you would need a VPN here, in Australia, let’s just say – as we all live on the Web, our online privacy and security is one of the most important things that we can provide to our virtual life. For the last few years, the Australian government put more than a 500 websites on the black list, showing clearly their attitude about the freedom, and the privacy. So no doubt you need a VPN.

When we talk about a VPN, you must have in mind a few things:

  • You will need a good VPN Australia provider. Fortunately, there are a lot of VPN providers in Australia that use the latest technology and strategies to provide a high quality services to users – you can be sure about your online security and privacy, just see a recommendation for each one and then choose the best VPN provider. You will not worry anymore about the security of your virtual life in Australia.
  • Having a good VPN provides you security for your computer’s internet connection. It also guarantees that all of the information you’re sending/receiving is secured and encrypted from the intruders.
  • Probably the main advantage of using Australian VPN is to extend a private network across the Internet to another location. For example, a business can enable workers with laptops on the road or at home to connect to the company network as if they were sat at a desk in the office. From the user to the company,the network traffic is routed across the internet, but it is encrypted and therefore secure from “unwanted guests”. A company that has offices in two locations can connect them using a VPN, so there appears to be one network.
  • A VPN is not just for businesses – it stops websites to spying you, by hiding information that could identify you. Believe it or not, everywhere online someone is tracking your activities so that is why you need VPN, to protect your privacy and security.
  • A VPN is a great choice for people who use their tablet, smart phone or laptop via public wi-fi hotspot (bus/train station, café, hotel, park…). Because your activities and information could be monitored and collected, and you don’t want that to happen. So VPN boosts security and makes, for example, online shopping or banking more safe.

So now you now the main advantages of having a VPN in Australia, but it is good to mention what you need to consider before you choose your VPN:VPN speed test

  • Server location
  • Speed

If you travel outside Australia and want to connect to a VPN server, you must have in mind that your data will be travelling a lot of miles and back to a VPN server. You certainly know the rule – the further information has to travel, the slower the speed. So if you are a customer from Australia, choose a fast VPN provider and be calm about your activities on the web.

Women empowerment symbolWomen on the Verge of… Figuring It Out! is an anthology that includes a couple of plays: Nicolle Nattrass’ Brownie Points and Maureen Brady Johnson’s Harvesting the Marigold Seeds. It is the brainchild of Red Hen Productions.

Nicolle Nattrass is a playwright, actress, theater instructor, and creativity coach. She has performed all over Canada in radio, film, theater, and commercials. Her work Brownie Points centers on Trixie Veronica, the oldest living Brownie in the world. The play shows her sharing her views about getting involved in one of the world’s most powerful organized associations.

At about thirty years old, Trixie Veronica has had a lot of experiences. She tells how there is more to just performing good acts and earning badges. The audience is fortunate enough to hear her stories on selling cookies and trying to lose her virginity as she explores her present status in the Brownie organization.

Nicolle Nattrass’ play is not to be confused with Brownie Points by Janece Shaffer, which centers on five women who live in the Midwest. The story behind the characters of the play comes into focus as they gather to chaperone the junior Girl Scout camping trip of their daughters in the woods of Georgia. The play opens with the five women passing out yellow handkerchiefs with their names embroidered on each of them.

Allison is a Type A former lawyer and mother of a disabled girl. She does her best to keep things organized yet she is still hopelessly and helplessly domineering. Nicole is an easygoing NBA player’s wife and stay-at-home mother. Sue is a divorcee who struggles to get by yet embraces life with open heartedness.  Jamie is a high-strung and funny woman who deeply identifies herself as Jewish yet delicately treads around the sensitivities of the other women.

After a while, the fifth woman appears. She’s a strong-willed, imposing, and pompous surgeon named Deidre. She was a few hours late and her tardiness did not sit well with Allison, who was also the leader of the troop. Allison had the entire weekend planned, with each one of the activities having a 15-minute increment. Deidre went to the cabin and immediately transformed the fuzzy and warm atmosphere into an uncomfortable environment. She started a war of words revolving sensitive issues, such as regret, race, and religion.

Soon, the women started to open up to one another regarding their racial baggage, overt prejudice, and heart-felt insecurities. They talked about how they struggled to raise their daughters in the most ideal way they know. As they begin to deal with issues they have never dealt with before, it becomes apparent that they are indeed capable of growing, empathizing, reacting, and commiserating in ways they have never thought were possible.

The other play, Harvesting the Marigold Seeds, was written by Maureen Brady Johnson, who had been teaching, directing, and writing for over three decades. It centers on four women as they discussed their problems in a gym while working out. It is about traditions that are passed down from mothers to their daughters.

The main characters include Mary, a 48-year-old teacher who remained single and lived at home all her life, tending to her mother who have just been accepted to an assisted living facility; Camille, a married woman in her late 50’s who had mild opinions about things; Annie, a 28-year-old dance teacher at a local college; and Grace, a woman in her late 60’s to 70’s who owns a gallery.

In her play, Johnson wants her audience to connect with the characters, especially Mary. Mary was depicted to be hesitant of planting other flowers due to her domineering mother’s obsession with marigolds. As you watch the play, you will learn about the woman who is on the verge of something, such as being committed.

Wendy LillWendy Lill, a Canadian screenwriter, radio dramatist, and playwright is known for her stage plays. In fact, her plays have been shown in theatres all over Canada and abroad, including Germany, Scotland, and Denmark. Many of her plays center on the oppressed and the powerful. They also explore issues, such as abuse and racism, sexual abuse of children, and struggles of women for their rights. Some of her plays were even nominated for the Governor General’s Awards.

One of her plays, Fighting Days, has garnered critical acclaims. After all, it is not often that you get the chance to watch a historical play that combines drama with political themes. It is even rarer to see a play that has strong and articulate female characters. The actresses are fortunate enough to be given the opportunity to delve into the minds and hearts of women who have had the experience to be in the midst of political struggles.

Fighting Days tells about the stories of Nellie McClung, a politician and suffragist; Lillian Beynon Thomas, a journalist and author; and Francis Beynon, the editor of the Grain Growers’ Guide and heroine of Fighting Days. The play centers on women’s suffrage in Manitoba. However, instead of concentrating on the struggles to win a vote, it views the suffrage movement from another angle.

The fighting daysFighting Days also shows the elimination of a “common front” the moment its goal has been reached. This front started during women’s voting, but declined during the confrontation with the economic and political realities of war and imperialism. It can be said that the play’s greatest triumph is the balance between humanity and politics – how it embodied the beliefs of the playwright, as well as how her play’s characters embodied such beliefs.

One of the play’s main characters, Nellie McClung, was described as a woman who won the women’s vote in Manitoba single-handedly. She was portrayed as a powerful orator, a committed suffragist, a British chauvinist, and an elitist. She was also shown to be an architect of the foreign-born women’s disenfranchisement during World War I.

Lillian Beynon Thomas was shown to be a woman trapped between her political beliefs and friends and family. She was said to sought conciliation and compromise despite knowing their differences. She also wanted to “hold the troops together” even though she knew that they will eventually be torn apart.

Then, there is Francis Beynon, the play’s female lead. She was the sole woman who did not view the suffrage campaign as an isolated political objective. For her, women’s suffrage was just a single aspect of the system of beliefs that made her denounce racism, imperialism, and exploitation of people. At the end of the play, she loses everything due to her beliefs – her allies, friends, livelihood, and readership support.

Lill was credited for her depiction of human motives in women. The true allegiance of the audience was given to Francis. However, their sympathy was for Nellie. During the conflict’s height, Nellie begged Francis to realize why she had to support the war wherein her friends and own son were involved. In the play, it was seen how Nellie did not want to risk letting foreign women get the vote and use it to threaten support for the “boys overseas”.

Furthermore, Lill was commended for sticking to factual data. She was able to combine fiction with historical facts without distracting the audience from understanding the female characters. Even when she exercised artistic license and injected romance into the story, it still came out to be plausible. The romantic relationship of Francis and her editor felt right and was believable. This is why her play was considered to be one of the best plays of all time.

Feminist theatre is a well-renowned genre. Ever since the Women’s Liberation Movement of the 1970’s, it has been widely recognized, studied, practiced, and theorized. In general, it describes and encompasses diverse theatrical work that is motivated by women’s marginalization resistance and recognition within cultural and social systems that accord male dominance and privilege.

Women's Liberation MovementHowever, it is still important to keep in mind that women have already acted out their disapproval of the mainstream theatre cultures, which were dominated by men. Feminist theatre scholarship has attempted to recover the performances and works of pioneering yet neglected women figures of the theatre.

Dramatic texts from the tenth century, for instance, have been uncovered. Plays written by Restoration women, such as Susanna Centlivre, Aphra Behn, and Mary Pix, as well as dramas written by Edwardian women, such as Githa Sowerby, Elizabeth Robins, Cicely Hamilton, and Elizabeth Baker have been uncovered too.

During the 1970’s, Western feminism was fueled by male domination and female oppression. The men were so dominant that the cultural, sexual, social, political, and economic lives of women have been neglected and oppressed. Thus, the women formed groups where they can share their dissatisfactions with regard to politics and personal discontents.

The Women’s Liberation Movement of the United Kingdom addressed issues regarding inequalities in the workplace, objectification of the female body, motherhood, and education systems. They wanted to receive equal payments, opportunities, and education. They also wanted twenty-four-hour nurseries and free contraception.

Theatre was actually a microcosm of the inequalities and discrimination that were abundant in the society. In the early 1980’s, Michelene Wandor, a feminist critic and playwright wrote an analysis of sexual politics and theatre, which made the understudy status of women explicit in the theatre industry, which was dominated by men.

More opportunities were created for female playwrights. Women dramatists also rose to prominence. Second Wave feminism influenced much of women’s playwriting. Vinegar Tom was the first play to be published. Set in the 17th century, it was about witchcraft without witches.

Its songs state that the oppression of women is an urgent contemporary issue. This play, along with the other women’s plays, proved pivotal to describing the feminist landscape in theatre. They also became influential in theorizing and studying feminist theatre, politically and aesthetically.

The feminist theatre of the Second Wave was defined, analyzed, and understood in regard to three different types of feminism: socialist, cultural and radical. Then again, feminist theatre became much more difficult to identify and define due to the combination of a feminist Third Wave, feminism in the 1980’s, and girl power of the 1990’s.

As more and more women became playwrights, it became clearer that their subjects challenged the view of feminist critics that used to look to drama. In summary, the future of feminists and feminist theatre seem less certain than in identifying the moment of 1970’s political theatre and activism. However, as female playwrights dramatize the epic questions relating to social inequalities and injustices, the questions on gender bias and privilege comes across as significant and constant reminders of the feminist theatre’s unfinished business.