< --upbeat music-- >
Welcome to this series of videos that covers
the transition of cymbals from the orchestra
to the marching band to the rock band.
In our last segment, we learned that the lightweight
and portable nature of lowboys made them
popular among professional musicians.
And by increasing the length of the vertical riser,
the lowboy became the high boy became the hi-hat.
It's rumored that an accidental drop of the
drumsticks led to the innovation of the hi-hat when
drummers realized they could play the cymbals with
their hands as well as with their feet.
Other accounts, however, imply that this
was an intentional design change brought about
either by Roy Knapp or by Vic Berton.
Instruction books of the 1930s taught that the correct
positioning of a hi-hat playing arm would be
underneath the snare drum arm and that those
positions would be reversed for loud passages.
In fact, there are videos of drummers from that time
period who are shown doing exactly that.
And the never-ending theme is cymbal quality.
Turkish cymbals were considered to be
the gold standard, but there were other choices like
American stamped brass, American spun cymbals,
and German silver, all of which were used.
In his 1934 book "Max on Swing," Max Bacon writes
that he used two different sized cymbals for his hi-hats.
He used an 11" on the top and a 10" on the bottom.
The clutch design on early hi-hats was very different
than the one you see today.
There was an adjustable mounting bracket which would
set the height of your top cymbal.
With the addition of a felt washer and your cymbal...
...another felt washer and a wingnut,
you were ready to play.
There are few differences between the early hi-hats
and the modern ones we play today,
but one of those is in the base.
Early hi-hats had a skeleton-style foot treadle while
today's modern footboards are much more substantial.
Along the way, drummers got creative.
Check out this hi-hat with a lever that moved
a foot-operated stick.
Or how about this 1947 design for a remote hi-hat?
And, just like fashion, everything old is new again.
An updated version of the lowboy
has just been released.
There haven't been many changes from that early hi-hat
to the ones we use today.
Yes, there are some differences in clutch and now there
is an adjustable vertical riser but, other than that,
the theory remains the same:
two cymbals that clash together that you can operate
with your foot and with your hands.
Thanks for watching and I'll see you on the flipside!
This activity is made possible by the voters of Minnesota through a grant from the East Central regional Arts Council
Thanks to a legislative appropriation from the arts and cultural heritage fund
For more infomation >> "Back in Time: High Sock Cymbal" - Cymbal Series, Part 5 - Duration: 3:22.-------------------------------------------
Kygo, Ellie Goulding - First Time (Lyrics) remix - Duration: 3:00.
Kygo, Ellie Goulding - First Time Lyrics
We were lovers for the first time
Running all the red lights
The middle finger was our peace sign, yeah
We were sipping on emotions
Smoking and inhaling every moment
It was reckless and we owned it, yeah, yeah
We were high and we were sober
We were under, we were over
We were young and now I'm older
But I'd do it all again
Getting drunk on a train track
Way back, when we tried our first cigarettes
Ten dollars was a fat stack
I'd do it all again
Bought my jacket and a snapback
Your dad's black Honda was a Maybach
Re: Stacks on the playback
I'd do it all again
We were lovers on a wild ride
Speeding for the finish line
Come until the end of our time, yeah
Started off as a wildfire, burning down the bridges to our empire
Our love was something they could admire, yeah, yeah
We were high and we were sober
We were under, we were over
We were young and now I'm older
But I'd do it all again
Getting drunk on a train track
Way back, when we tried our first cigarettes
Ten dollars was a fat stack
I'd do it all again
Bought my jacket and a snapback
Your dad's black Honda was a Maybach
Re: Stacks on the playback
I'd do it all again
Stack stack, stack stack, oh oh...
Stack stack, stack stack, oh oh...
Stack stack, stack stack, oh oh...
Stack stack, stack stack, oh oh...
Stack stack, stack stack, oh oh...
Stack stack, stack stack, oh oh...
Stack stack, stack stack, oh oh...
Stack stack, stack stack, oh oh...
-------------------------------------------
Destination: Time Reset - Final Intro Teaser - Duration: 1:24.
Rodrigo Álvarez Presents
With the Voices of: Pablo, Alba, Antón, Álex, Martín and Andrés
Featuring
Are You Ready?
Chapter 5: Second Part
(Ignore this Star Wars Rif-Óff...)
It's been five years since the first Time-Line of our Universe broke, and now Nick and Netty decided...
...to rewind everything that happened in the past to erase every residual disturbances left after the "Time Twisted's" events
Finally, they finished in 2015 lying in a "suposed" Time-Line, forgetting everything
This is only for entertainment. All rights reserved
-------------------------------------------
Second-time Bride | Say Yes To The Dress Australia - Duration: 3:12.
I'm getting married for the second time but my first wedding.
I've never worn a wedding dress in my life. I've never set foot in a bridal store before.
So I need a lot of help.
Hello how are we today?
Hi
I'm Lisa.
Lovely. How are you?
Good to meet you.
I hear with have an appointment with you today.
We do. Thank you very much. Awesome.
All my brides are special.
But there's something about Wendi. Second time brides very special.
Have you got an idea of what you'd like?
I know what I don't want more than I know what I want.
Yes. No ball gown? No ball gown. Okay.
Not a fan of jewel. Okay. Something a bit more straighter, sophisticated.
Classy. More elegant? Much more elegant. Yes.
I certainly don't want to be a mutton dressed up as a lamb.
I wanna be age appropriate. So I don't wanna wear anything that's too young for me.
Wendi, you obviously have an amazing guy. Tell me a little bit about him.
My fiance Colin is 48 years old and he's a retail manager.
After I got divorced, I never thought I would marry again. I was a single mother, men hating, career woman.
There was no way any man was going to even come near me or my children.
Okay, what do you think?
I've had four children so my body isn't what it was when I was 27.
I'm quite self critical and I have mommy rolls and wrinkles.
I'm a bit worried how my dress is going to fall on me.
Mom looks pretty good doesn't she?
Yeah she looks awesome. How are you feeling Wendi?
I don't um,
I don't love it.
Colour could be a little bit deeper but then it's nice and fresh.
I think the colour is very traditional and very bridal pretty.
Cos I know you were even thinking this gown.
Yeah see that's a little bit more softer Magnolia colour. With this beading I think its a little bit more glamorous.
I like the glamour more than the pretty things I guess.
The sheet gown is lovely but it's not giving you the sexy. No.
You need the structure. Yup.
I just thought it might be too bridal.
Nope. No I don't think so.
You're his bride for the first time so you've still got every right to be a bride.
There's no age limit, you've got every right to be a bride.
You are a bride and for once, Wendi, it can all be about you.
Well the first two dresses narrow down the shape that's perfect for Wendi.
It's the third dress, an A-Line by Eddy K that I'm putting all my money on.
This gown is just perfect for her. Pure elegance, sophistication, sex appeal.
-------------------------------------------
How Do Computers Keep Track Of Time? - Duration: 1:29.
When you shut your computer off, or even disconnect it from power, it still knows the correct
time next day.
So how do computers keep track of time?
You might have noticed, there is a small battery on your motherboard.
The battery provides power for the real time clock when the computer is off and can last
up to 3 years.
This clock runs all the time, whether the computer is powered on or not.
Most real-time clocks use a crystal oscillator, which creates a signal with very precise frequency,
and is also used in wristwatches.
The battery is sometimes referred to as "CMOS" battery,
as it also provided power for CMOS RAM, where CMOS stands for complementary metal-oxide-semiconductor
and was used to store BIOS settings.
So what happens when you take out the battery and computer is disconnected from power?
The computer will lose track of time and you would have to enter the time and date when
you power it back on.
Today however, many operating systems are able to get current time from the internet,
using the Network Time Protocol.
Thanks for watching.
If you enjoyed this video, please hit that like button.
And don't forget to subscribe, to see more videos like this in future.
-------------------------------------------
See You Next Time Around - Duration: 3:21.
For more infomation >> See You Next Time Around - Duration: 3:21. -------------------------------------------
Cutting Edge Gifts - Duration: 1:29.
For a lot of people, gifting is just
something that they check off their box.
Not a lot of thought goes into it
it's almost something that people do out of obligation.
How often are you actually
putting yourself in the recipient's place
and walking yourself through that experience.
And when you have a chance to do that
you can cultivate an experience
that creates a memory.
And that's where good gifting begins.
How can you cultivate the element of surprise
in your gift to make it more impactful
to increase the level of appreciation felt by your client?
I know so many people who give out
gift cards, gift baskets, bottles of wine.
And although the intention is good,
the gifts are consumed within a few weeks
so the lasting impact is pretty minimal.
What we do is turn your gifts in to long term
branding and marketing tools.
We have a drop shipping system.
They receive a gift on their doorstep
and it's a surprise!
The emotion starts to build
and they reach out to you with gratitude.
Any time you can do that, that's the first step
in creating raving fans.
From a gifting perspective
that's what we're all about.
We want to make sure that your client feels
not only the appreciation, but they know how
to contact you whenever they need you.
If you can get clients to reach out with gratitude
you're on your way to creating clients for life.
You're on your way to creating raving fans.
And that's what we want to help you do with your gifts:
be memorable, create an experience,
and create raving fans.
If you have clients
that you really want to impact
and build that long-term relationship with,
give us a call.
We'd love to help with the experience.
-------------------------------------------
IT'S TIME!! (CASTINGS, SHOOTING AND SPECIAL ANNOUNCEMENT) - Duration: 5:34.
For more infomation >> IT'S TIME!! (CASTINGS, SHOOTING AND SPECIAL ANNOUNCEMENT) - Duration: 5:34. -------------------------------------------
[FUNNY MOMENT] The Time I've Loved You /CC SUBBED/ - Duration: 0:54.
Did she go somewhere far? Why is she taking so long?
Right! I guess I would want to avoid people's stare and hide somewhere too.
I did that once, when my girlfriend betrayed me.
I thought the world had ended then.
Now that I think about it...
I think it was the process to meet... a better person.
-------------------------------------------
我的少女時代 Our Times Theme Song《小幸運》數碼鋼琴 (字幕歌詞) - Duration: 4:24.
For more infomation >> 我的少女時代 Our Times Theme Song《小幸運》數碼鋼琴 (字幕歌詞) - Duration: 4:24. -------------------------------------------
Success is one baby step at a time - Duration: 9:49.
hey good morning Facebook marked your
motivation dealer here again this
morning
TGIF baby Friday and today I want to
talk about how you achieve success one
small step at a time so I just want to
give a few people an opportunity to jump
on here if we can get some folks on but
we're going to talk about success we're
going to talk about climbing the
mountain
so I'm not entirely sure if anybody's
going to be able to jump on here so
Allah I'll go ahead and get started but
you know in our in our industry and our
in our company we use the motif or the
the theme of climbing the mountain and
it's a great metaphor for achieving
success because what you see in front of
you is a huge tall mountain and you want
to get to the top of that mountain well
you don't get to the top of the mountain
without equipment without tools you
don't get to the top of the mountain
without a burning desire to do it and
you don't get to the top of the mountain
on your own it takes the help of other
people people who have been there before
you to get to the top of the mountain
but sometimes people get to the base of
the mountain and they look up at the top
and they see how high that top of that
mountain is and they get overwhelmed and
they say forget it or they look at the
path that they're going to have to take
and see how many jagged ledges there are
and how uncomfortable it's going to be
to climb and how you might get hurt
along the way and they say you know what
forget it I give up this is the perfect
metaphor for success it's the perfect
metaphor for becoming successful as an
entrepreneur or in life in any areas
lighten up life
so what I want you to think about is
getting to the base of the mountain and
not looking at the top your dream your
goal should be to get to the top and you
should your dream and your goal should
be to get to the top as quickly as
smoothly and easily as you can
but the reality is we know we're going
to hit obstacles we know that we're
going to you know skin our knees we know
that we're going to you know hurt
ourselves along the way but through that
pain we grow and through that growth we
achieve and when we achieve we get to
the top of the mountain so but it can be
very daunting it can be very deceiving
and it can be very overwhelming and so
what I want you to do is I want you to
look at success a sitting at the base of
the mountain and just looking at the
very first step that you need to take so
just look for that very first platformer
or plateau and look for that first place
that you're going to put your foot and
gain some traction and gain stability
and then maybe look once you plant that
foot and you're leaning on that on that
area of the stone or the rock now look
for a place to put your hand now look
for look for a place where you can grab
a hold of something and pull yourself up
and you just want to look at it at it as
one step at a time type of thing and if
you only look at the next step what you
need to do to get to the very next level
to get to the very next step then the
task is not going to appear as daunting
and challenging and you're breaking it
down into how little pieces of palatable
pieces you're breaking it down into into
segments that you can kind of wrap your
mind around and it's simply a series of
those steps that eventually gets you to
the very top of the mountain so you know
if you're looking at becoming
financially successful if you're looking
to create time freedom and you're
looking to you know create a business or
sell a product or invent something
create something sell a service whatever
it is it's one step at a time baby steps
along the way look for the next foothold
look for the next place that you can
grab on and pull yourself up and slowly
but surely and steadily and consistently
climb that mountain and eventually
you're going to get to the top you know
are you going to slip and fall short are
you going to graze your knee and tear
your skin and bleed a little bit short
are you going to hit obstacles that seem
insurmountable short but the reality is
if you keep going you keep pressing on
and you don't let anything stop you
you're going to get past those obstacles
you're going to put the band-aid on the
bleeding beat and you're going to climb
and you're going to get to where you
want to go and that's the way you want
to look at creating success you want to
you still need that big dream you still
want to know that you want to get to the
top of the mountain and you want to do
it as quickly and easily as you can and
you still have to have goals you still
have to say okay I want to achieve you
know this level by this state and I want
to achieve this level by this date and
go after your goals and chase them with
tenacity but if you look at the entire
process and you look at just getting to
the top of the mountain sometimes people
think they can't do it and this is the
way to overcome that this is a way to
keep yourself from feeling overwhelmed
and giving up because the truth of the
matter is the only way you can fail the
only way you can fail is to give up on
yourself that's it you know you can try
to put your foot on that plateau and
slip off you can grab ahold of the
branch or the the rope and lose your
grip but if you keep going and you keep
pressing on and you never give up you
will get to the top of the mountain you
will I promise you the only way to get
to not get to the top of the mountain is
to give up on yourself and to say it's
too hard it's too hard I can't do this I
give up I'll just go back to the base
lodge and go get myself a drink or I'll
go get myself a hot chocolate if it's
cold outside or you know I'll just I'll
take the easy path I'll just I'll just
get a job that I hate and sit in a
cubicle for the rest of my life even
though I don't find it fulfilling even
though I don't it doesn't I'm not
chasing my passion it doesn't fulfill me
that's the easy way out that's the easy
road out and guess what you get with the
easy road a very very average mediocre
life that in the end I don't think that
you're going to be really pleased about
you're going to look back at your life
with the regrets and there's nothing
more more sad than looking back at life
and regretting the decisions that you
made you know Prince a in his incredible
video about soaring and about climbing
the top of the mountain he talks about
you know when they when I questioned old
people on their deathbed they never
regretted the things that they did they
regretted the things that they didn't do
you know you can fail over and over and
over again but when you look back you'll
know that you tried your hardest and
maybe achieved something maybe you
didn't but you never regret those
decisions the only recisions you'll ever
regret are the ones that you didn't make
are the things that you didn't do that
the passions that you didn't pursue or
chase the dreams you didn't chase those
are the things that you regret so I beg
of you not to make those choices not to
make those decisions don't take the easy
way out take the baby steps get started
now when when is the time you should
start the time is right now no excuses
start right now and the only way that
you can get to the top of the mountain
is keep moving forward one step at a
time baby steps and eventually you'll
achieve your goal of reaching that top
of the mountain so I hope this resonated
with you guys today a little low-key not
my normal energy level but that's okay
and appreciate you guys watching
appreciate you guys jumping on here and
TGIF and I will see you on Monday
morning's commute take care of yourself
have a great weekend use this weekend in
a positive fashion use this weekend to
start something fantastic in your life
to change your life and to achieve your
dreams don't just settle don't be
mediocre go out chase your dreams and
start one baby step at a time take care
have a great weekend
-------------------------------------------
Mario Vargas Llosa, "The Time of the Hero," Lecture 1 of 4, 04.24.17 - Duration: 1:02:33.
- Good evening and welcome to the first lecture
of the 2017 Randy L. and Melvin R. Berlin Family Lectures,
a series co-sponsored by the International House
Global Voices project
and the University of Chicago Division of the Humanities.
Our esteemed guest, the novelist Mario Vargas Llosa
will spend the next four Monday evenings
discussing his creative process
in a series entitled The Writer and His Demons.
But before Mr. Vargas Llosa comes to the stage,
allow me a few moments to touch on why he is here
not just as a guest of the University of Chicago,
but specifically as part
of the Berlin Family Lecture Series.
First, I want to thank Randy and Melvin Berlin
who are in attendance tonight
for their generosity in making this annual event a reality.
The Berlin Family Lectures were established in 2013
to bring to campus individuals
who are making fundamental contributions to the arts,
humanities and humanistic social sciences.
In addition to offering a series of lectures,
the visitors develops a book for publication
with the University of Chicago Press.
With my friends from UChicago Press sitting in front of me,
I should point out that the 2015 lectures
delivered by author Amitav Ghosh
were just published last fall by the UChicago Press as
The Great Derangement: Climate Change and the Unthinkable.
We look forward to seeing Mr. Vargas Llosa's
lectures in print soon
preserving his words for generations to come.
The 2018 lectures I'm delighted to announce
will be delivered by the architect
and urban visionary Jeanne Gang
who is also in attendance tonight.
I invite all of you here to join us next year in April
and each year thereafter for a lecture series
that continually promises new ideas and fresh insights
into the condition of the human.
Now, what unites these diverse scholars
and makes these lectures so special?
I call your attention to the use of the present tense
in the mission statement of the lecture series.
Individuals who are making fundamental contributions
to the arts, humanities and humanistic social sciences.
We invite scholars who are intellectually active,
who continue to create, continue to work
and continue to think deeply about
fundamental issues of common concern.
Humanistic inquiry in all its forms
is a process of reevaluation and reexamination.
There is also something special about a lecture series.
By asking each lecturer to speak in an extended format
it asks all of us, both speaker and audience,
to engage with arguments and ideas
over a long period of time.
I hope to see many of you in the audience again and again
over the next three weeks
as we take an intellectual journey with Mario Vargas Llosa.
For someone consumed with writing,
Mr. Vargas Llosa has spent considerable time
thinking about reading.
In a 1997 essay, Seeds of Dreams,
Vargas Llosa writes that every writer is firstly a reader
and to be a writer is also a different way
of continuing to read.
Reading and writing are acts of life
and living for Vargas Llosa.
I encourage all of you to read and reread
his 2010 Nobel Prize lecture entitled
In Praise of Reading and Fiction.
This wonderful love letter to reading and writing
also includes a call to recognize the utility
and necessity of literature.
It is not enough says Vargas Llosa
for literature to entertain or provide beauty.
It can and certainly does take us into dreamworlds
and show us the wonders of life.
But literature can also reveal new paths,
expose us to different ideas
and alert us to oppression and outmoded ways of thinking.
Like writing, Vargas Llosa writes,
reading is a protest against the insufficiencies of life.
The debate over the utility of literature
is the same one the humanities face.
How do the humanities fit into our world of big data,
fast moving information networks
and instant gratification?
In many ways, this lecture series was designed
to offer partial answers to this important question
for multiple disciplines.
What does a legal theorist have to say
about corruption and politics?
Why is it necessary for contemporary literature
to intervene in debates over global warming?
What is the relationship between an author and his works?
And what does this say about the process of creating art?
Each of these questions has been taken up
by past Berlin lecturers
and provides an answer for the need
for the humanities in our daily life.
Although I am up here to introduce our guest,
Mario Vargas Llosa,
most of you do not need to be enlightened
on his seven decade career and accomplishments.
It is an understatement to say
he fits the bill for the Berlin Family Lectures.
As you probably know, he is the recipient
of the 2010 Nobel Prize in Literature
and he is an accomplished novelist, essayist,
journalist, playwright, politician
and even professional actor making his stage debut
two years ago at the age of 78
for his play Tales of the Plague.
Perhaps he plays an instrument as well,
I haven't asked but I do know
that he spoke in Stockholm about his great love for music
especially of the 19th century.
He likens the craft of writing to that of composing music.
For him, structure including the working out of motives,
how they appear and disappear gives a work
whether musical or literary the possibility
of success or failure.
And his novels are of course among the classics
of the 20th century.
I can't list them all, there are 19 in total
but he will discuss four touchstone works
during this series.
The Time of the Hero from 1963,
Conversation in the Cathedral 1969,
The War of the End of the World from 1981
and the Feast of the Goat from 2000.
Over the next four Monday evenings
Mr. Vargas Llosa will discuss one of these novels
in the context of his demons
which he has described as the inescapable passions
arising from a writer's individual,
collective and cultural experiences.
Like you, I can't wait to hear more
from one of the true literary giants of the 20th century.
Please join me in welcoming Mario Vargas Llosa
who tonight will offer the first of four lectures
on The Writer and His Demons.
Thank you.
(audience clapping)
- Good evening, ladies and gentlemen.
Thank you very much for this very generous presentation
and thank you to the University of Chicago
for inviting me to this prestigious institution,
and to the Berlin Family for sponsoring these lectures.
A writer cannot speak about his books
as a critic with the objectivity
and the impersonal perspective that a critic has.
A writer cannot separate the text
of the context of his books.
So in these lectures I'll probably speak much more about
the context than the text of these four novels of mine.
The first novel, La ciudad y los perros,
which was translated as The Time of the Hero,
I hated the title. (audience laughing)
It was imposed on me by the
literary editor of Grove Press
which was the publishing house
that published the book for the first time.
He didn't like city and dog,
so The City and the Dogs as I proposed him
and he said that this title was not catching enough.
He wanted a very catching title.
And so, he used Time of the Hero which I always hated.
Particularly because if there is a thesis in the novel
is that there are no heroes.
That the official heroes are very artificial creations
and that the real heroes are very discreet
and not publicly recognized.
Well anyway, I wrote this novel because
something happened to me.
This is something that I can say about all
novels, short stories and plays that I have written.
I have written stories because
I have had certain experiences
that for a mysterious reason remain in my memory
and become little by little obsessions,
recurrent obsessions that push me
to fantasize around these images,
that as I said, I don't know why
remaining my memory and become a very fertile
impulsions to fantasize about.
Well, the experience that is behind
The Time of the Hero was two years that I
spend in a military school in Lima
in 1950 and 1951.
The military school Leoncio Prado was a very
special kind of institution.
It was a military school, not a military academy
it was a school,
the last three years of the secondary school
which was put under the control of the military.
My father send me to this military school
because he thought that the military would cure me
of my literary vocation.
(audience laughing)
He had discovered that I wrote poems, short stories
and he became extremely worried.
He saw that the literary vocation was
a passport to failure in life,
that writers were Bohemians, marginal kind of people
are not very virile, you know?
He said, he thought that a military school
would be the best cure for this
extravagant kind of vocation which was literature.
And actually, these two years that I was in the
Leoncio Prado Military School
gave me the raw material for my first novel.
(audience laughing)
And in way I become contrary to what he thought
in the two years that I was in this military school
a professional writer.
A kind of professional writer because
as one of the characters of the novel,
Alberto, the poet is called by his comrades,
I wrote love letters for my comrades
and also erotic stories that I changed
with my friends by cigarettes.
(audience laughing)
To be two years in a military school was for me
a great adventure.
Since I learned how to read when I was five years old
I had been reading novels of adventures
and my infancy, my adolescence
was full of these fantastic stories
in which the characters had very extraordinary experiences
which in the real life nobody had.
And I wanted very bad one day to experience something
of the characters of this novel of Jules Verne,
of Alexandre Dumas that I read
with such pleasure in my youth.
Well, the Leoncio Prado Military School
was my great, great adventure when I was
13 and 14 years old.
The Leoncio Prado Military School
was a very special institution in Peru.
Was probably the only institution at that time in the '50s
that was a kind of
very objective representation of
what Peruvian society was at that time.
At that time Peru was a very structured society
in which each social class
was totally ignorant of what was
the kind of lie that other social classes have.
If you were a young
boy of a middle class
living in Lima in the coastal region of Peru,
you had a very distorted idea of what Peru was.
You didn't know that Peru was a very diverse society
with people of different origins and
you ignore the enormous inequalities
that were the major social characteristic of the country.
You ignore completely all the violence,
the contradictions and the enormous social problems
that the country experience.
I had probably the idea that Peru was
a white country of white people from European origin.
And that in a way we can say
a very civilized kind of society.
That was the idea that a middle class boy living in Lima
had of the country.
I discover entering the Colegio Militar Leoncio Prado
that Peru was a completely different kind of country,
that it was a country of white people,
of Indian people, of halbred people, Cholos
that was a country of black people,
of Chinese people, of Japanese people.
And that there were rich families
and there was a very large middle class
which was also divided in an upper middle class,
in a middle middle class, in a very low middle class.
And also, very poor, poor people which was probably
there in the military school
representing the largest Peruvian society.
Why was the Leoncio Prado the only institution
in which this complex and diverse society
was well-represented.
Because people send their sons
to the military school for different reasons.
Rich people of upper class people
send them like to a correctional
because they were very dificil to educate, to control
and they thought that a military school
would put them in the real
discipline world.
There were many, many young Peruvians
who wanted to become after military
and so they went to the Leoncio Prado
as a military preparation for being officers
in the navy, in the aviation, in the army.
And there were many poor Peruvians
who entered the military school
because the military school had a hundred grants every year
who permit people of very, very poor origin
enter the military school.
It was a reproduction of the Peruvian society
with all the prejudices,
rancors of every social group, you know?
And that gave this boarding school
a kind of violence that a boy from a middle class
ignored completely and discovered only there.
And it was a military school,
so the military imposed a system of life in which
physical force was the supreme value,
machismo, you know?
You have to be macho, you have to be physical,
aggressive in order to represent
what the military school wanted to make of the cadets.
I wasn't happy there but I am very grateful to my father
to have send me to the Leoncio Prado.
Because in these two years in which I was there
I discovered the real Peru,
the real country in which I was born.
And I discovered that this country was very, very different
of the country in which I thought I was living
when I was before the military school living in Miraflores.
Since I was there as a cadet
I thought one day I will write a book about this experience
because this experience is so different.
So different of the kind of life
that a young boy who lives in Miraflores
and who belongs to a family like mine can have.
Well, I must stop to say you something very important.
I discover writing this novel that I was a realist writer,
that my literary vocation push me to write
stories or novels which imitate reality,
which pretend to present an objective
description of what is life.
I had problems with my literary vocation.
Not the ideas of my father but I have moral problems.
I discovered when I was very young
the social problems, the political problems
and I said to myself, how can you be a writer
if you live in a country in which
very few people really read,
if the great majority of Peruvians
are completely out of literature?
The poor people because they are poor and they are ignorant
and the rich people because they are ignorant too,
and they don't pay any importance
to literature to culture.
Well, I dissipate all these doubts
when I entered the university
and I was impregnated with the
ideas of the French existentialist philosophers.
You know that France had had a great cultural influence
in Latin America in the past.
Not in our days but when I was young
French ideas, French writers, French thinkers
impregnated our cultural life.
And I was an avid reader of writers like Sartre,
like Camus, even the Christian existentialist Paul,
wait, I don't remember the name.
And particularly, reading Sartre
was for me extremely important.
Because what he said particularly in one of his books
Situation deux
qu'est-ce que c'est literature, What Literature Is.
It was so encouraging for a third world young
who wanted to be a writer.
What he said was literature is a way to participate
in historical changes.
Literature is not gratuitous.
Words are acts.
Writing poems, novels, short stories, plays,
you can participate in a very effective way
diffusing ideas that would be
the origin of social and economic
and cultural changes in your society.
The ideas of Sartre at that time were for me
extremely encouraging because
he convince you that with a literary vocation
you were not giving your...
You were not acting in a despective way
towards the social and economic
and political problems of your society.
No, literature, he said, was a way to participate
in a very, very effective way in changes.
Because the changes in their origin are always ideas
and there is no better way to
contaminate a society with new ideas like literature.
I was deeply convinced with this Sartre ideas
and I think my first novel, La ciudad y los perros,
is deeply impregnated with this ideas of Sartre.
It's a novel that wants to describe
through the cadets of the military,
Leoncio Prado Military School, a country.
A country in which the violence is so spread
particularly by the very diverse composition.
Cultural diversity, social diversity,
economic diversity, political diversity.
When I wrote the novel I wanted very much to present
this military school as a reproduction in small format
of the diversity of Peruvian society.
You have there cadets that are
coming from the very upper class like Alberto the poet,
or Arrospide the brigadier of the first company
in the school.
You have students who belong to middle middle classes
and lower middle classes like Arana the slave,
like the Jaguar who is also from a very middle class.
And then a lot of young students
who come from the fields.
Or they are Indians or they are black
or they are Chinese and Japanese
which at that time were the lower
and the poorer social classes in Peru.
This has changed a lot since
but at that time this configuration of the society was
very clearly marked and it was reproduced in the school.
I mentioned the ideas of Sartre
which were very useful for me when I wrote this novel
and I would like to mention also another writer
who was extremely, extremely important
for my literary vocation,
and also for the way in which I have written all my novels.
It was Flaubert.
I discovered Flaubert in 1958,
many years after I have had
the experience of the military school.
I was in Paris and I just a few days later my arrival
I bought Madame Bovary of Flaubert
and this book really changed my life.
What I discover in this fantastic novel
I discovered first that you could be a realist writer,
you could tell a story which was a
representation of the real world,
the world that we known through our experiences.
And at the same time be deeply fascinated
with the aesthetic aspect of literature,
the beauty, the harmony,
the elegance of writing a book
could be perfectly matched with a realist kind of vocation.
That is what Flaubert did in Madame Bovary.
He wrote a history which is very realistic.
There is nothing exceptional,
there is nothing that you could not recognize in real life.
And at the same time everything in Madame Bovary
is beautiful particularly the language.
He had this idea that the perfect description in a novel
is using the exact words, le mot juste.
The exact words
and that you know that he had
this idea that the perfect phrase
was something that had a musical coordination, harmony
and that the only way to prove
if you had achieved this in your phrases was
shouting what you had written.
And when I read Madame Bovary and I discovered that
you could be a realist writer
and at the same time be extremely preoccupied
for the aesthetic effect of literature,
the importance of language in literature.
I discovered the kind of writer that I wanted to be.
The Time of the Hero is a novel
which is realist but in which language
is extremely, extremely taken care of.
I wrote the language in a,
let's say, very fastidious, fastidious way
trying to applique the lessons of Flaubert.
Searching for the mot juste for the exact expression
without fioritures, without anything that could.
(phone ringing)
Sorry. (audience laughing)
I'm so sorry.
It happens to me all the time.
(audience laughing)
I think also I learn a technique, a way of writing,
writing this, my first novel
which is something that I have repeated
in all the novels that I have written.
I did three versions of the story.
The first one very chaotic, a kind of magma
in which I try to develop the story,
the facts, the characters repeating episodes,
and writing without much preoccupation for the
structure, the organization of the time
nor for the language.
It was a way. (phone rings)
Oh my god. (audience laughing)
It was a way to fight successfully
the kind of depression that I always experience
in the first versions of the stories that I write.
The first version is a fight against demoralization
because I find this conviction that the story will never,
will take off.
That the story would remain as a
wooden language, without life.
I try to have at least in a very primitive way the story
and this is the first version
which is for me the most difficult to write,
and as I said a fight against demoralization.
Then I always do a second version
in which I start to really enjoy and write there.
The second version for me is to find
the structure of the story,
the way in which time is organized.
And I don't want to talk now about Faulkner
because I shall do it in the next lecture.
But probably as important as Flaubert
was for me to discover Faulkner, Faulkner novels
when I was at the university.
Faulkner was the first writer that I read
with a piece of paper and a pen
trying to decifrate the structures that
he was able to organize, to inoculate in his stories
expectation, mystery, curiosity,
a way to hook the attention of the reader.
Well, the structure, the organization of time
particularly in the novel is what is my main preoccupation
in this second version of the novel.
At that time I was deeply disappointed
with the kind of literature that was,
the realist literature in Latin America.
Because these writers would seem to believe
that if they had very dramatic and powerful stories
they didn't have to worry about the formal aspects
of the book, of the story.
No preoccupation with the language
and no preoccupation with the organization of the time
which is never in a novel a reproduction of the real time.
When you are a writer you have,
when you write a novel you have to invent two things
which are extremely important.
Who is going to narrate the story, the narrator.
You can have one narrator,
you can have many kind of narrators.
Different narrators but you have to be a clear conscience
that you are using a narrator
which is always an invented character
even if it is invisible.
And another very important essential thing
you have to invent the organization of time.
The time in a novel is never the real time,
the chronological time in which we are immersed
is something that is an artifice,
is something very artificial.
We don't know that it's artificial when this
really effective and functional
and make you believe the story.
But the time is always an invention, a literary invention.
And usually, in this third version
for me what is important is
the elaboration of a chronological system
which made the story more persuasive
and can seduce and keep the attention of the reader.
What story tells Time of the Hero?
Well, the central argument is very simple.
A group of cadets of the 50 year,
the last year of the school steal an exam of chemistry
and one of the robbers of this exam is caught.
He's denounced by another cadet
and he's expelled in a very humiliating ceremony.
And then a few weeks after the cadet that denounced
the robber is killed in a military maneuvers
at the end of the week.
Was this a pure coincidence?
Was this a vengeance
because this group of robbers
discovers the cadet that had accused the,
well that is the mystery let's say that keeps
more or less moving the story.
But what is really important in the novel I think
is not this anecdote.
This kind of three layer
but the description of the life that the cadets invent
a kind of secret life which is ignore
not only by the families of the cadets
but also by the military, by the officers
who organize and control life in the institution.
This was for me the most interesting
aspect of the, of being a cadet in the military school.
The cadets we had a secret life in which
we reproduce distortion in a lot
the military life that the officers wanted to impose on us.
And in which all these values, the military values let's say
particularly machismo, discipline, order
was a kind of instrument that the cadets use
to express everything that they brought to the school,
the social prejudice, the racial prejudice.
All this violence that was the violence that
the Peruvian society produced
in the different families and all this was
part of the secret life that the cadets
had in the military school.
And what gave to the cadets the
enormous violence in which they live.
When I speak about violence
I am explaining my experience of the school,
afterwards many years after I was in the school
I have had conversations with comrades of the school.
And they had a very different idea.
They said what violence?
That was absolutely normal, normal kind of life.
Well but it was not for me.
It was a normal kind of life
for many, many Peruvian families
but not for the very privileged minority of people
in which I was part of it.
For me it was terrible what happened there
but for many, many cadets it was a normal life.
It was a kind of life that they had in their houses
and in their families.
One of the criticism that were done to my novel
when it was published,
it was that they were not let's say positive characters,
that all characters were negative, you know?
And I strongly rejected this criticism.
I think the novel was good,
received many, many just criticism but not that one.
Because I think there is a real hero in the novel
which is Lieutenant Gamboa.
Lieutenant Gamboa is a military which is there
because he had a military vocation
and he's a military that believe in reclamens,
in the, all the dispositions
that the army, that the military have created
to produce this kind of discipline, you know,
courageous and let's say
very patriotic kind of institution.
And he tries very much in the novel
for these ideas to be impressed in the real world.
But it's totally impossible
and it's totally impossible because
the military also have a kind of
rhetoric kind of life and the real life
which in many, many cases rejects
and distortion this rhetorical life in which
Gamboa and only himself try to reproduce in life.
He at the end because he try to be just,
because he try to be decent
and to act in following the reclamens is punished
and also rejected of the world of the military
and sent to a very isolated and very primitive garrison.
The novel had a very interesting story.
I wrote it as I said in Spain and France far from Peru
and this has been always the case of all my other novels.
I need to be away of the place in which
my novel is settled.
I feel more free to invent, to change things
that if I am in the same place
in which my novel is settled,
this has been always, although I do a lot of research
because I am a realist writer and I want to
describe the real cities, the real characters
in a way that is more or less similar
to what is the real world.
To fantasize the story I need to be far away.
I need to be distant of because that gives me
more freedom to distort things, to change things
in order to be more persuasive for the reader.
All of my novels have been written
far away from the place where the story is settled.
I always thought that choosing a literary vocation
I would be condemned to be,
to have a kind of marginal life
because that was the case of all Peruvian writers
that I had met in my youth, you know?
Writing was a kind of marginal activity
in the Peru of the '50s.
It's not the case now,
things have changed a lot for the better fortunately
but at that time to be a writer was to be really
a march of the main life,
the main current of life in the country.
I thought I would organize my life doing
journalism, teaching but literature would be important
but literature is not nutritive for a Peruvian writer.
I never could consecrate my life only for writing.
But something happened when the novel was published.
It won a literary prize in Spain
(speaks in foreign language)
and so the book had a certain publicity.
But to my great surprise
I discovered one day that the military in Peru had
read the book and that they were furious with the novel.
They considered that the novel was an act of treason
to the country and they have burned
in the military school Leoncio Prado
many, many exemplaries of the novel,
and this of course was a great publicity for the book.
(audience laughing)
So much publicity that until now I am wondering
if the success of the novel was because of the novel
or it was because of the military, you know,
that burned the book but they don't prohibit it.
Probably they didn't know
that you could prohibit the book, you know?
(audience laughing)
And so, the novel become very,
well it was a kind of best seller in Peru
and to my great, great surprise
I discovered that the book would be
translated to other languages
and that I was interviewed by journalists,
and I couldn't believe this kind of extraordinary adventure
that the adventure of the Leoncio Prado
was producing in my life.
I want to tell you a very interesting anecdote
that happened with the novel.
You would believe that a writer has the last word
about what he has written.
This is not true.
This is not true.
I don't think a writer has the necessary distance
with what he has written
to know exactly the value of his books.
And I don't think this is only my case.
I think it's the case of many, many writers
who don't really know what they have done.
They may believe if they are vanidosos, you know,
that they have succeed writing a master work
or that they can feel that they,
the novel was a defeat, a moral defeat,
a literary defeat because it didn't reach
what he wanted to achieve with this book.
But they never had the necessary perspective,
the necessary objectivity to evaluate in a just proportion
the quality or the lack of quality of his books.
Well, as I told you,
there is a question in the novel
which the novel doesn't answer
because it wants the reader to discover
and to decide for himself.
Is the Jaguar the killer of the slave
because he knew that the slave
denounced the serrano Cava
and it was the Jaguar that killed in the maneuvers
to the slave?
Or as the military want to believe it was an accident,
a very sad accident that,
which was responsible the same cadet
who was killed because of this.
As I told you, to my surprise
the novel was translated to different languages
after the biggest scandal
that the military produced in Peru.
And of course I was very happy that my novel
was translated into French.
At that time I was still a Frenchicized writer.
I had resigned myself to not being a French writer.
I discover in Paris that I was a Latin American.
Alas, you know?
But I was very proud to discover that I was Latin American
because at that time many Latin American writers
went to Paris, I met them,
I discovered that in Latin America
there was a very rich and very creative literature.
Although it was not very realist,
it was more the magic realism, the fantastic literature
but with very great writers.
Garcia Marquez, Borges, Cortazar, Rulfo, well.
But still my love for French literature was enormous
and I was so happy that my book
would be translated into French.
I went to visit the director of a Gallimard
Collection of Latin American Literature
which was a very well-known French critic, Roger Caillois.
He was at that time working in the UNESCO
so I asked for an interview
and he received me very kind in his office in UNESCO.
And I said, well I am deeply grateful
because for me it's a great honor to be translated
and the book to appear in Gallimard
which is so prestigious publishing house.
And he was also very kind and he told me,
"Well, I read your book.
"It's a very interesting book."
And he said to me, "You know what I have liked very much
in La ciudad y los perros that the Jaguar at the end
without having committed the crime
accuses himself of being the criminal
only to recover the popularity that he had lost
among his comrades."
And I told him, well but that's.
(audience laughing)
But the Jaguar is the killer of the slave.
(audience laughing)
And he told me, "What?
(audience laughing)
"You haven't understood the novel that you have written."
(audience laughing) And this is quite normal.
He told me, "This is quite normal, you know?
Writers don't know what they have done.
Of course, this is completely stupid what you are selling.
That would be a very stupid kind of thing
if he kills the by vengeance.
No, what is very subtle, subtle
is this very secret kind of sacrifice
that he commits inventing that he's a criminal
only to recover the leadership that he had lost.
You understand?"
And I say, "Of course, I understand."
(audience laughing)
And since then when I have asked but who killed the?
I said, "Maybe he didn't kill him, you know?
"Maybe he invented these."
(audience laughing)
Well, writers don't have the last word about that,
what they write.
Because of this lecture I have reread
something of the English translation.
I think it's a good translation
but that there is something that is lost
in the translation unfortunately.
Difference among social classes
in many countries like in Peru
is something that is represented in the way he speak,
the different classes.
And I remember very much that that was one of the things
that impress me more when I enter
the military school Leoncio Prado.
How the way in way in which I spoke the Spanish
was so different from the way in which
let's say a middle class Peruvian Cholo
would speak the Spanish.
He would use words that I would never use myself
and this was not only the different vocabulary,
it was also the music.
How the music changes
in the different social classes.
And I was not thinking only in characters of
different regions, no.
Within Lima itself, the way in which Spanish was spoken
but a young boy of a middle class,
young boy of the marginals of the city
was very, very different.
You lost a lot and I am sure they
also lost a lot listen me.
And I try to reproduce very carefully in the novel
these different ways in which
the students and even the military speak the Spanish.
This I think is lost in probably not only
in the English translation
but in other translations of the novel.
I would like to add something before I finish
about the idea of the time.
I discovered writing this novel the importance of the time.
The fictitious time, the artificial time
that there is in all the novels.
Time is in real life something that
is exactly the same for everybody
but in a novel you cannot reproduce this kind of time.
You have to manipulate the time
in order to produce expectation, curiosity,
to hook the attention of the reader.
And so I discovered that you had to invent time
exactly as you invent a narrator to tell a story.
And this discovery was particularly
in the last episode of the novel.
The last episode of the novel Jaguar
who after being a kind of
devil in the school
has finished as a bank employee,
discover one day in the streets many, many years
after the story of the novel, the main story of the novel,
his friend of youth Skinny Higueras
who was a robber, a criminal.
And they were very good friends when he was young.
And I wanted in a way to have a contrast
with another encounter that the Jaguar has done
at the end of the novel with the girl
to whom he was in love when he was very young.
And experimenting with different ways in which
these two encounters would be united,
I suddenly discovered that if I did just one narration
of these two encounters
organizing the different, these encounters
in different places and different times
in a way in which it wouldn't be confusion
because the silences in each of the encounters
will be fill by the dialog in the other encounters.
In such a way that since the beginning
the reader could be interested
in spite of the fact that this kind of construction
was not a realist one but was very, very artificial.
I could tell an episode in a very different way
and impregnate this episode with mystery.
Well, I want to mention this because
this is a discovery that helped me very, very much
in the other novels that I have written
as you will see in the next lectures.
Well, I thank you very much for your attention
and it will be until
next Monday. (audience applauding)
-------------------------------------------
Bing Bang (Time to dance) ending song subtitled - Duration: 2:58.
Stefanie: Bing bang diga riga dong
first thing that I say after I wake up
*wake up echos*
Bing bang diga riga dong
I say those words before I go to sleep
Get on up it's time to dance. yeah.
It's so much fun getting up on your feet
So we go up, up
do the jump
move around
and clap your hands together
Down down
Turn around
Having fun is what's it's all about
So we go up up
do the jump
move around
and clap your hands together
Down down
turn around
having fun is what's it's all about
Bing bang diga riga dong
funny words I sing when I'm dancing
*dancing echos*
Bing bang diga riga dong
silly words that can mean anything
Get on up it's time to dance yeah
It's so much fun being up on our feet
So we go, up up
do the jump
move around
and clap your hands together
Down down
turn around
having fun is what's it's all about
So we go, up up
do the jump
move around and clap your hands together
Down down turn around
having fun is what's it's all about
So we go, up up
do the jump
move around and clap your hand together
*Repeats "move around and clap your hand together"*
Down down, turn around
having fun is what's it's all about
one, two, me and you
move around and clap your hands together
three, four, on the floor
having fun is what's it's all about
So we go up up, do the jump
move around and clap your hands together
Down down turn around
having fun is what's it's all about
one, two, me and you
move around and clap your hands together
three, four, on the floor
having fun is what's it's all about
What's it's all about
What's it's all about
-------------------------------------------
Once Upon a Time 6x19 sneak peek #1 Season 6 Episode 19 Sneak Peek - Duration: 2:16.
great so you're kidnapping me now I'm
doing what I have to do to save my son
and that's play even the black sari
cannot control a dream realm huh thought
they'd be like flying pigs are talking
Donuts or something
well he's not impressed I can't leave
you here while I find you
where is he isn't this him dream but not
simple dreams are how am I and why am I
here you are here to stop you from doing
anything back there
if you kill drew a bunny sure before I
find my son Tom he will be lost to me
forever just told me that no strangers
have the luxury of always doing the
right thing and not we're here
what is this place I was born here
well that wasn't much of all after my
mother last
isn't getting a stream of it
sure
it's a stuff if you don't mind after
I've spent enough time here already
it may well be my dream well I some
Estella near someone identified
you
-------------------------------------------
Once Upon a Time 6x19 Sneak Peek #2 "The Black Fairy" (HD) Season 6 Episode 19 Sneak Peek #2 - Duration: 1:26.
For more infomation >> Once Upon a Time 6x19 Sneak Peek #2 "The Black Fairy" (HD) Season 6 Episode 19 Sneak Peek #2 - Duration: 1:26. -------------------------------------------
Once Upon a Time 6x19 Sneak Peek "The Black Fairy" (HD) Season 6 Episode 19 Sneak Peek - Duration: 2:06.
Great. So, you're kidnapping me now.
I'm doing what I have to do to save my son.
In this place,
even the Black Fairy cannot control him.
The dream realm, huh?
I thought there'd be, like, flying pigs
or talking doughnuts or something.
Well, if you're not impressed,
I can leave you here while I find Gideon.
Where is he? Isn't this his dream?
[ Sighs ] It's not that simple.
Dreams are a maze.
Then why am I here?
You are here to stop you
from doing anything back there.
If you kill her or banish her before I find my son's heart,
he will be lost to me forever.
You could've just told me that.
Well, Saviors have the luxury of always doing the right thing.
I do not.
Where is he out here?
[ Creaking ]
[ Faint singing ]
[ Cradle creaking ]
[ Singing continues ]
What is this place?
I was born here.
Not that it was ever much of a home.
After my mother left...
This isn't Gideon's dream, is it?
It's yours.
It would seem so.
And if you don't mind, I've --
I've spent enough time here already.
It may well be my dream, but...
my son is still in here somewhere,
and I intend to find him.
-------------------------------------------
3 Steps: HOW TO BE HAPPY (The Truth!) ► How to Be Happy and Positive All The Time! | How to Be Happy - Duration: 9:09.
3 Steps on How to Be Happy.
What's up guys?
It's Kevin from KreativeVein and today I have a very important topic that I have wanted
to discuss for a while which is on how to be happy.
Now this is something that is pretty elusive as you will hear many opinions.
My favorite is looking this up on Google and getting articles saying that to be happy you
should drink a glass of milk.
Yes... that and exercise and sleeping more will all help you out, and I encourage you
to do all those things because it is fucking amazing to be fit, but then why are there
fat people who are so cheery all the time?
I've seen them and poor people who don't seem to have anything going for them still being
happier than the guys who are making six-figure plus salaries on Wall Street each year.
I remember when I was making crazy money for a teenager, and still wishing for more, wondering
why I didn't feel fulfilled.
So today we'll be diving into how I've become much happier and truly how to achieve happiness
in this world where so much shit is going on.
Alright so before I get into how to actually be happy, be sure to smash that subscribe
button like you want to smash yourself (just playing don't jack off), and hit me up on
Twitter at KreativeVein to stay updated considering YouTube has been acting weird lately.
OK... here's the grand revealing, which will be discussed more in the video.
The way to be happy... is to be... present.
Alright so you might be saying holy fucking shit this is some of that pseudoscience again
where you breathe in and out and then you say that you're truly happy.
And to be honest I felt the same way when I first heard this.
But after reading this quote everything clicked for me.
All of my years on this Earth made sense.
"If you are depressed, you are living in the past.
If you are anxious, you are living in the future.
If you are at peace then you are living in the moment."
This quote by Lao Tzu (a Chinese philosopher) made everything clear.
I know not only myself but many other people face this issue.
You continue to think about past regrets all the time.
Thinking about when I fucked up by jacking off too much instead of going to work out
on basketball, losing many opportunities in life.
Realizing that sleeping 4 hours a night during puberty definitely stunted my growth.
Even smaller things just like me messing up part of a speech at school.
I used to always think about these things and would get so mad at myself for messing
up.
Same with thinking about the future, except instead of depression over regrets, it was
anxiety and worry.
I would be amping myself up before giving a speech thinking about shit, what if I mess
up?
Or before talking to people, shoot... what if I run out of things to say and I'm just
awkward.
All this anxiety would kill my vibe.
I would have my heart pounding because of all these small things.
Especially social anxiety.
What I realized was that I almost always did well when called on randomly in class.
I could speak well if it was randomly thrown at me.
However, when I was anticipating it, that was when I messed up the most.
It's weird, and the point I'm trying to make is not to stop learning from the past or to
stop preparing for the future, but to set times for those tasks and then stay focused
on the now.
The way to be present, which gets rid of sadness and anxieties for me, is to practice this.
This is a skill that takes tons of work.
There is a reason monks are seen as the happiest people on this planet.
The first step to being happy and present is to start breathing deeply.
This isn't hard and whenever I breath deeply I forget about everything else in the world
except for this very moment.
This is the state that you want to be in for a lot of situations.
Obviously you do want to be prepared for the future, but you can still be in the present
moment while planning or working.
Breath deeply through your nose and out through your mouth and try to stop the thoughts that
come through your mind.
Thoughts come and go but the thing with being present is being aware of these thoughts.
For me I've noticed sometimes my thoughts will go back to an argument I had in the past
that I still want to be in, or back to rationalizing about pornography.
However, instead of being trapped within these thoughts, I throw them out.
It's similar to being on Tinder and swiping left to those thoughts and images that are
coming into my brain.
When your mind is clear, this is when you are present.
However, if you don't make this into a habit and train this skill, you will lose it.
You will continue through your life worried about future events and arguing with someone
in your mind when that event has already passed and is really just a blur.
Everything in the past is just a blur of a memory.
And the future isn't guaranteed, so why not be in the present?
I don't know why, but most people are in their heads too much, leading to stress, and just
being awkward overall.
We all know that person, or maybe even you are at times, I know I was, where you are
so stuck in your head that when you present to the class or when you talk to that girl
or guy you just feel lost for words and come off as extremely nervous.
So if you can master this, not only will your own life be so much better through true happiness
in the moment, but you will also be miles ahead of other people that are slaves to their
brain.
So the second step after realizing how present you are when you breathe deeply is to practice
this.
Start meditating each day.
At first it will be very hard, and like any habit, you should start slowly and build your
way up.
Legitimately, the first week just meditate for 1 minute, set a timer on your phone, close
your eyes, sit up, and breath in and out.
Thoughts will come in and out but try your best to notice them and move away from them.
Over time for the second week, add a minute to 2 minutes per day, and continue until you
get to around 20-30 minutes.
Some people meditate for longer but that is the point where you will be very very skilled
at this.
There are many resources out there on how to meditate and I may make a video on that
so let me know if I should, but currently, I would recommend searching how to meditate
and starting off with 1 minute per day moving onto higher and higher levels.
The third step is to apply this to everyday life.
It's cool and all to meditate for a few minutes each day to relax, but when you really become
present is when you make it a habit everywhere.
What I mean is when I'm playing a video game for instance, I focus on the game itself rather
than anything else, when I am playing basketball, I am immersed in the game, when I do work
for YouTube I am present, and even when I am just sitting around and I have a pornographic
thought in my head, I learn to block it out.
That's what has really helped me on NoFap.
If you are always thinking about it (and I personally watch a few videos on NoFap when
it appears in the recommended section or sub-box but not to the extent that I used to by researching
NoFap all day) then you will always have urges.
For me, when I have a sexual thought, I just acknowledge it, and then breath deeply and
forget about it and move on.
Same with when I'm distracted in class, I'll just breathe deeply and then I'll be calm
and present.
And even when I'm bored, eating, or doing something that I used to think was mundane,
I clear out my thoughts, and just live.
Nature is amazing, and I really do enjoy life now rather than always wishing for a better
future.
You may have thought that this video was clickbait or not true, but I promise you if you try
it out for yourself, everything seems better.
You realize that nothing matters except right now, and even if you are tired, sick, anything,
you accept it and take it for what it is.
Not saying you don't reach for anything, but what I mean is, even if you're skinny-fat
and hate your body, enjoy the present.
Then, if you want to better your future, lift heavy weights and convert your body into a
beast.
Even when I lift I'm present, enjoying the grind rather than being lost in fantasies.
So that's all I've got for you today, to truly be happy, you have to be in the present moment,
and your life will improve dramatically over time.
Thanks a ton for watching and big shoutout to Get The Picture? for animating this video,
his channel will be on the end screen and in the description down below.
Also, be sure to follow me on Twitter @KreativeVein for daily updates, and thank you so much for
watching to the end.
It's Kevin from KreativeVein, peace.
-------------------------------------------
The Isle | DEATHMATCH TIME! | #79 [Early Access] - Duration: 15:02.
Welcome to the Deathmatch server!
I can kill you easily >:)
Oh my GOD!
The Dryos are so noisy. x_x
I deaf out of that noise! D:
I love the hitbox effect ;)
The Trike hit my tail and I got broken leg. xD
What the... :'D
Here's a lot of fun :D
Kill all the DRYOS! T_T
It's so annoying x_x
GOT YA! :P
Let's fight! 1vs.1!
or... 500Vs.1 ???
RIP - Theri :'D
OOPS! I don't wanna hit the Shanty D:
PLEASE DRYOS... BE QUIET! T__T
Intense combat. 0,0
Lol :'D
OMG!
It's Shiranui!!!
Wait a minute...
Why do I see myself??
Angelka and Sovicka are piss off :'D
Don't bite my butt! >:O
Sovi, kill me please :3
Poor Sovicka :'D
Now I wanna choose the strongest dino ever! >:D
The Taco, Taco, Taco is strongest dino ever :'D
Sending group requests is useless here :'D
If I died, the group would disappear anyway...
Great...
I'm gonna eat your fluffy butt! >:D
Bad turtle! ... I mean Anky... not turtle :'D
WTF? That was fast oO''
Damn... I am a baby Giga :'D
It's coming :'D
-------------------------------------------
Dá um Google: Último jogo do seu time - Duration: 0:31.
Sport last match
It's a penalty
Goalllll
Hey!
Last match of your team. Give it a Google.
-------------------------------------------
So Much News, So Little Time - Obama on Wall Street, Ann Coulter & a Senate Briefing: The Daily Show - Duration: 6:40.
Obama's back and so are the haters.
TV REPORTER: Former President Barack Obama
is getting a little heat tonight.
The former president has agreed to give a lucrative speech
to Wall Street firm Cantor Fitzgerald.
Mr. Obama will be paid about $400,000, but many people
are calling the former president's move hypocritical,
because in the past he's been very critical of Wall Street
and the financial industry.
♪ Paper Boi, Paper Boi ♪
♪ All about that paper, boy ♪
♪ All about that paper, boy. ♪
Obama's getting $400,000 to be a keynote speaker.
He's probably gonna give a very important policy speech entitled
"The Four Boats I'm Gonna Buy."
(laughter)
Now, now, look, I know people may say
that it weakens public trust when politicians cash-in
immediately after leaving office.
But at least Obama waited until he left office,
unlike this guy,
who's using the White House like an ATM machine.
And, yeah, don't get me wrong.
I agree that the system must change,
but it doesn't change with Obama, all right?
People are, like,
"Oh, why doesn't he not accept the money?"
No. (bleep) that.
(bleep) that.
-No. No. -(cheering and applause)
No, I'm sorry, I'm sorry.
So the first black president
must also be the first one to not take money afterwards?
No, no, no, no, no, no, no, my friend.
He can't be the first of everything.
(bleep) that and (bleep) you.
Yeah, I said it.
(cheers and applause)
No!
Make that money, Obama. Make that money.
"But Obama should know better."
Oh, what about the Clintons?
"Yeah, well, I mean, the Clintons, it's already done."
Well, then let him already done it, as well,
and then you guys can start that (bleep)
with the first white president to not take the money.
(bleep) you. Obama, make that money.
Make that money.
(cheering and applause)
Instead of focusing on how Obama can make so much money
from Wall Street for a speech,
maybe we should be asking why Wall Street has so much money
to give people for a speech.
The loose regulations, the intensive lobbying,
and favorable-- You know what?
The truth is, we can't get into all of this.
There's too much... There's too much else
that's going on that we have to talk about today.
And fortunately, whenever that happens,
we have a perfect segment on the show,
and it's called Ain't Nobody Got Time for That.
♪ ♪
All right, let's get straight into it.
Recently, Berkeley has been in the middle
of a huge free speech controversy.
Uh, because, if you think Obama made people mad
with his planned speech,
Ann Coulter was like, "Hold my beer."
TV REPORTER: Conservative firebrand
and political commentator Ann Coulter
furious at UC Berkeley
for rescheduling her on-campus speech
originally set for tonight.
TV REPORTER: The university, forced to sacrifice
its reputation as the cradle of the free speech movement
for safety, according to officials.
I guess it's ironic that it's,
that it's the home of the free speech movement.
In any public space, American citizens
have constitutional rights.
Why won't they let me say I'm a Nazi?
Why? Why?
Look, man, she's right about the free speech thing,
but here's my opinion.
Even though Ann Coulter is clearly trolling,
and doing this for the publicity of not letting her speak,
they should just let her speak,
because you realize she doesn't actually want to speak.
She wants to be stopped from speaking.
Yeah, it's like your friend in a fight who's like,
"Hold me back, hold me back! Hold me back!
"No, seriously, hold me back, I'm gonna get my ass kicked.
"I'm gonna get my ass kicked.
Hold me back!"
The truth is, the truth is, a side effect of free speech
is that there will always be hate speech.
If you ban one, you risk banning the other.
Like, you might call Ann Coulter hate speech,
but then what's to stop Jeff Sessions
from calling Black Lives Matter hate speech?
If there's one thing America has given to the world,
it's the idea of absolute free speech.
Which is why-- and please, be respectful, people--
Ann Coulter is joining us live, right now, via satellite,
uh, because, Ann, we really want to hear from you
about your thoughts on freedom of speech.
Uh, oh, but I'm sorry, we just do not have the time,
because, uh, Kim Jong-un has nukes.
(cheering, applause)
Kim Jong-un has nukes
and Donald Trump has a bus.
Today Mr. Trump summoned all 100 U.S. senators
to the White House
to hear the latest on the threat
posed by North Korea's nuclear program.
REPORTER: A field trip to the White House.
One by one, nearly every senator on Capitol Hill
loading up on buses headed to that classified briefing
on North Korea and its nuclear threat.
I'm sorry, I can't believe Donald Trump
made 100 senators take a bus to his place.
100 sen... Instead of one person just going to their place.
Like, I'm actually disappointed Trump used a regular bus.
It would have been such a power move
if he had used the pussy-grabbing bus.
Remember that one? Yeah.
That would have been amazing.
And just had them all there, like,
"Remember how you all thought this was gonna break me?
"Yeah. Yeah, who's the winner now?
"All right, let's sing. ♪ The pussies on the bus ♪
"♪ Get grabbed, grabbed, grabbed ♪
"♪ Grabbed, grabbed, grabbed ♪
♪ Grabbed, grabbed, grabbed. ♪"
By the way, we have actual footage
of the senators riding the bus to go see Trump,
and it really is sad
to see that Ted Cruz still hasn't made friends.
Seat's taken.
Can't sit here.
(cheering, applause)
That poor guy.
Oh, and, uh, by the way, it turns out,
apparently, this whole thing was just a publicity stunt
that, according to senators of both parties,
had no real information in it. Yeah.
Donald Trump just called them there.
And I wouldn't be surprised that he just brought them to be like,
"Did you guys know there are two Koreas?
It's a lot more complicated than we thought, folks."
A lot more complicated, a lot more."
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