Mootoo can't decide what to be for Halloween
He needs your help
Rosie's World presents
Countdown to Halloween
1
Okay Mootoo. Go try on your costumes!
I have 5 costumes!
I'll be back
I'll take a picture of each costume
[Music: Dog and Pony Show]
It's Mootoo the caterpillar!
tee hee
Oh it's so adorable!
Go stand over there by the pumpkins
Okay
I can't believe you got into that without any help
It was easy
You look so cute!
Okay next costume!
I'll just be a minute
It's Mootoo the Pirate!
Arrrr Matey!
That is a beautiful costume!
Thank you! I made it myself. It was fun!
Oh wow! I can't believe you made that by yourself!
Do you like my knife? I have pirate money too!
That is so awesome!
A pirate has to have a knife to cut down bananas.
Say banana!
Banana!
Okay. Next costume!
Wait right there!
It's Mootoo the movie star!
That's so pretty!
Thank you!
You look amazing!
Ha ha
You should be a model!
Oh my goodness!
You and your flattery!
Very nice!
Okay next costume!
I'll be right back!
It's Mootoo the paperbag princess!
It's my favourite princess!
Thank is such a cute costume!
Thank you!
You're so creative!
You are too!
Look this way!
Okay is this the last one?
Yes it is!
Ooo. I see a scary one!
Boo! ha ha ha
It's Mootoo the mummy!
Mootoo, did you make all your costumes?
Oh yes. I did!
Wow! That's awesome!
I have to be careful not to trip
Smile!
That was good!
I can't believe you got into that without my help
Hey Rosie
Rosie! Can I see the photos?
Oh, you want to see the photos too?
I look good!
They're all so beautiful!
It's so hard to choose!
It sure is!
Want to show our viewers?
Yes. Please.
Which is your favourite?
The caterpillar
The pirate
The movie star
The paperbag princess
The mummy!
Post you answer in the comment section below
Or click on the icard and take our poll
Happy Halloween and thanks for watching!
If you like this video, click like
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Cardi B tells Nicki Minaj she wants to FIGHT in EXPLOSIVE rant: 'F****** lies!' - Duration: 5:29.
Cardi B tells Nicki Minaj she wants to FIGHT in EXPLOSIVE rant: 'F****** lies!'
The outspoken rapper has had major "beef" with fellow star Nicki Minaj for as long as we can remember.
But things took a serious turn on Monday when Cardi B unleashed her feisty side on the star in a series of expletive-ridden videos.
And she had clearly had enough of all the rumours between the two as she didn't hold back in sharing her side of the story.
Taking to her official Instagram account, the 26-year-old singer, who recently gave birth to her first child with husband Offset, was visibly enraged as she attempted to put the record straight following an epic showdown at the Harpers Bazaar ICONS party on September 7.
.
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The star was promoted to speak out about the supposed 'fight' after Nicki gave a tell-all interview on Queen Radio on Monday.
According to Nicki, Cardi – real name Belcalis Almanzar – was left in a bad way after her close pal Ral Ali threw the "hardest punches you've ever heard in your life" at her head "about eight to 10 times" during a shocking clash.
Nicki said that her friend got violent because she didn't like Cardi's "attitude", telling the show, "Rah didn't like the way she came at me.
Rah said it looked like she was going to put her hand on me." The 35-year-old, who was recently romantically linked to Formula One ace, Lewis Hamilton, claimed there was video footage to support her version f events.
"There is no way I can lie about this because there is surveillance footage from the building where the assault took place", she explained.
.
Cardi was pictured leaving the Harpers Bazaar party with a large bruise on her forehead, leaving fans wondering what on earth happened.
But it seems as if the two divas have mixed stories about what went down.
"You lie so much you can't even keep up with your f****** lies", Cardi retorted in the first of 10 videos posted to her page.
"First you say your cameraman got the footage but now you want to pay someone $100,000 if they give you the footage?", she continued.
Cardi then went on to deny that she had been hit by Rah Ali, before telling Nicki to share the supposed footage so that everyone can see exactly what happened.
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"This is the thing, Nicki Minaj.
How you say I got ragged by Rah Ali when there is so many footages of that night, every single angle, and where am I getting ragged at?", she quizzed.
She then went on to tell the Barbie Tingz hitmaker that she was down to sort things out between the pair, and would happily meet face to face to talk things through or "fight it out".
Although we're not quite sure how things would pan out, as she ended the video with a charming, "Get the f*** outta here." We are patiently waiting for Nicki's response while the beef continues to cook… .
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Nominated for the first place!
(NCT 127 nominated for the first place in MUSIC BANK)
We just performed as the Front-Runner of MUSIC BANK
It's been 3 weeks but we are still very nervous
I usually don't get nervous but... Wow...
I think we performed well
Don't you think so?
Yes!
Today we were nominated for
the first place in MUSIC BANK
So we just performed our stage and now we are waiting
for the results to be announced later on
If we really manage to become first place today
I will be really happy
The person I want to thank the most are...
Our NCTzens!
If we really win the first place in my birthday
Today will be the most memorable birthday of my life
So let's win today!
We are going on stage for the first place announcement
We are going!
If you are watching this video right now,
It would mean that we have already won the first place, right?
We really received the award!
Wow, the trophy is really heavy
NCTzens are the best!
NCTzens!
This award is all yours. Thank you
This is really our first time
At that moment when the scores were announced
I could feel the adrenaline
I couldn't see it
It wasn't visible to me
We would like to thank so many people
We thank our staff members and SMTOWN families
and our parents, who have raised us
Since we were able to recieve this great award
We will continue to do our best
So let's go together!
NCTzens! NCTzens!
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Today, we are here with a professional bodybuilder, Elena Rago.
- Hi guys!
- And next week is coming out her video about a postural training,
for what muscles?
- For shoulders and back.
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Interview with Mare Seye, close student of Christian Tissier Part 1/2 - Duration: 25:17.
How did you come to Aikido?
I came there by chance,
I once met someone in a mountain hut,
we spent the evening talking
and he told me about Aikido.
It turns out that I had done judo when I was a kid,
I stopped because I started in conditions that weren't very good
since it was almost 50 years ago.
It was kid's judo in Spain, but inreality it was adult judo, but with children.
So by the time I got to 12 years old,
I had shoulder problems and my hips were staggered.
I had one foot shorter than the other, anyway.
So I stopped, took it up again, stopped, I hurt myself, I started again,
it lasted until I was 15-16 years old and then I stopped completely.
I wanted to take an art martial, I did not know what.
I was not a competitor, it was not my cup of tea.
I had done a little competition since when you do judo you have to go through competition.
And this guy that I never saw again,
whose name I do not remember, told me about aikido with so much passion
that I decided to go see.
I went to a club that was in Fontenay-aux-roses.
At the time it was Louis Cleriot who is one of the pioneers, who's dead now,
one of those who created the federation, he was the one who taught.
I went with a friend, we watched and both said the same thing:
"Either it's fake or there's something".
My friend didn't register, but I did.
I liked it a lot but I had a busy life at the time
and I did not have time to train and to do other things.
I did two and a half, three month, I said "stop".
"I'm going to stop. To do it like this once a week, to not be regular, it doesn't interest me, but I will come back one day. "
I returned five years later.
G.E: When was it?
It was in 1987.
And then it was Christian Mouza who taught,
so he was doing aikido classes
and Philippe Bersani gave kenjutsu lessons once a week.
G.E .: Which school of kenjutsu?
He was a student of Christian Tissier,
so the origin is kashima.
And suddenly, that's it, it was three times of aikido and one time of kenjutsu, every week.
It started like this and then I put my finger in it.
I did the Easter seminar of Christian Tissier when I had three months of Aikido.
I loved it, I understood nothing, but I became hooked, and from there,
I started doing monthly seminars, I did a summer seminar,
the following year, I did a monthly seminar then two, then the Easter seminar, then two courses in the summer, etc.
That's how it unfolded
How did you decide to become a professional Aikido teacher?
I didn't really decide.
It decided itself.
Roughly speaking I started Aikido relatively late, I was 22-23 years old.
I got married young, I had children young,
and so I had to manage professional life, family life, and aikido.
I could not do everything thoroughly,
so I decided that I was going to do professional choices
that allowed me to see my children and to do Aikido.
But not at all thinking of devoting myself to Aikido professionally.
So it lasted a while, I worked as an educator for years,
and then at some point I started teaching [Aikido], so here, I opened the club in 1999.
In 2005 I was asked to be technical director for Basse-Normandie,
and at that time I already had a lot of classes,
I started to have a lot of weekends taken,
- not much more than when it was not my job -
but it started to become a lot and I thought:
"OK, I'm switching"
But that happened a little despite myself.
That is to say that at no time I thought I would become a professional Aikido teacher.
In fact I had a job, I had a family,
I loved doing Aikido, it took a lot of my time,
and in fact it was the responsibilities, little by little, that made everything become incompatible and that I said:
"OK, I'm stopping my day job to focus exclusively on Aikido."
It is true,
though we learn to manage,
we fall less,
or less violently.
We see ourselves being less imposed the pace.
That's an important element,
that is, I have memories of 1st, 2nd, 3rd Dan
or indeed, when you are being pushed around,
a little like a puppet from one side to the other,
you do not always fall well ...
I started attending seminars very early,
then after I returned home, I would lay down half an hour on the back
to try to put everything back in line.
Today it's no longer the case.
I mean that I still fall,
but the rhythms are much less imposed on me.
Falls and rhythms.
Of course, with Christian, it's different,
but it's all the time, so it's okay,
and we do not need - compared to a footballer -
A footballer must be at the top, at the peak of the form, for ten years,
and then after nothing.
We may not be at the peak of the form,
we are at an intermediate level,
but it lasts much longer.
That's how I deal with it.
Perhaps the first thing that has changed
it has been to accept that students are what they are,
and not always what we would like them to be.
This is an important element.
That is, for us, we are a certain number of people
have invested a lot in Aikido, regardless of being professionals or not.
It was a passion and one of the pillars of my life,
but I have to accept that others can come twice a week
to do one or two hours of aikido at each time,
a little laid back to see the friends.
It's a step forward to have accept that Aikido
is also for them.
One of the questions is how do we get them
to progress in Aikido at this rate,
and to nurture their progress and to ensure that they too get something out of it.
Most people here, we are in a rather affluent city,
young people invest more in studies than in sports
and adults invest more in their careers, or their work,
or on their professional life than on recreation, let's say.
So we have to accept that things aren't
as we saw them for ourselves at a certain moment.
No, I do not have a decided opinion on it.
Sometimes I say, "There are grades there are the levels ". (Laughter)
In an ideal vision,
the two things should match,
in fact, we realize,
during the examinations in particular,
that they are two different things.
At the same time,
when it's the baccalaureate season, there are people who are going to get 9.96
and who will just about pass,
and there are people who are going to have 21 out of 20 with the options.
They do not have the same level at all and yet they have the same degree.
In the end, we are not very far from that.
I think the big criteria,
are not very far from the great principles of Aikido.
We try to judge on observable behaviors
and not just on a gut feeling,
in order to be able,
to discuss among judges,
and because it's not just a federation problem, it's also a people problem
so to be able to have elements
that can be relied on to support a reasoning.
So that's essential.
So from there it's not very far from my criteria.
We could vary on criteria severity though
But finally the question does not arise.
We know the level at which we want to see people,
the question is often, for the very talented there is no discussion,
for those who are not good at all there is no discussion,
the majority of people are within an average.
There, you find more subjective criteria, which are:
what are the factors that will weigh in the balance more than other,
which can be criteria of age, criteria of physical condition,
the importance we will give to etiquette, or not,
the work with weapons,
to all those somewhat peripheral elements,
which are not necessarily the core.
If on the core it's average, more marginal elements will play,
and there sometimes play out differently.
Within the big sensibilities between federations
but also between individuals, according to one's experience and history ...
G.E.: So there is a lot of human factors, more than purely technical ones...
There is a human part.
At one point I used to say:
"Grading examinations are the imposed figures in ice skating".
We have a number of criteria
and there is the part of subjectivity of everyone that will intervene.
We will not necessarily value exactly the same things in the same way.
We will not see the same things
and we will not give equal weight to the same things.
The idea being that in talking - and that's all the work that's done between the technicians of the two federations -
to come to find what common points we can agree upon
to decide whether or not to award a grade.
But it's a continuous job it's not something that is done once and for all.
Because Aikido also evolves,
that is, examinations today are not the same as examinations 20 years ago.
Aikido today is not the Aikido of 20 years ago, etc.
So that's really a work of,
permanent development and readjustment of the criteria on a permanent basis.
Yeah.
First of all because that's how I designed Aikido.
That is to say, very early,
I followed Christian
I started in November 1987
and I did the Easter seminar in 1988.
And so from there I did a lot of seminars with him.
After 3 years,
when I got my 1st Dan,
and between the 1st and the 2nd Dan
my teachers said:
"If you want to continue to progress, you have to go to work at Tissier's dojo".
Not only seminars but also regular classes.
So usually I went there for lunchtime, at first it was Monday, Tuesday, Wednesday.
Lunchtime at the Cercle Tissier and in the evenings, I continued to go
to my old club
There is no doubt that in my generation,
Aikido has been something that evolved.
Maybe previous generations
at one point,
have discovered another way of doing Aikido,
and were responsible for...
I was going to say: to spread the Good Word.
And probably to tell people:
"It's like that and no other way."
We did not live that, we were not responsible.
I am of the same generation, in terms of
grade and evolution,
as Pascal Guillemin and Bruno Gonzales, Marc Bachraty.
I got the 1st Dan at the same time as Pascal, we received the 6th Dan together
and Bruno too.
We are of the same generation, we were not in charge
we were not responsible for transmitting.
However, we were in contact with Christian,
if not every day, at least every week
since when he moved [to the South of France], he was there 2 days a week,
but we saw him every week,
and so we have seen this evolution.
For us, aikido has always been something that evolved,
that is, we explore forms,
we deepen them, we go far,
sometimes, we realized that he was working on something,
and when it was acquired he said:
"OK, that's good, we leave it out. "
"It's settled, we'll move on."
"We are going to move on to another line of research or another line of work. "
And that, for us, became something natural.
So there is no particular effort
to update myself.
I had a little break form practice for a few months,
for personal reasons.
I could not practice on a daily basis
or weekly with Christian,
and in 4, 5, 6 months I saw the difference.
That is to say, I think that almost every year
there are new ways that are explored,
sometimes a return to things we worked on years before,
with probably a new way of looking at things.
Something matures, something that has changed.
So when we come back to older things
it's always revisiting in the sense that
it has evolved, it is something that is alive,
which is constantly a living material.
So it does not take effort,
it's not always comfortable.
because it's true that comfort is establishing a truth,
and not to move from it.
But that's what I'm passionate about.
So,
some time ago, I was on a training course in Italy and _I was asked:
"When Christian Tissier will not be there, who will represent him?"
I said, "Everyone and no one!"
I do not do the Aikido of Christian Tissier,
I do the aikido of Mare Seye.
It turns out that I've been working with Christian for a long time,
and so my training is very marked
by what he makes us work on,
by the forms he made us work on,
but that's only what I've integrated,
with what I am, with what I feel,
with my physique, with my qualities, with my faults,
so it will never do Christian Tissier's Aikid.,
I can't, and I'm not trying to make Christian Tissier's Aikido.
I am trying to do Aikido.
So at this level I leave myself a total freedom.
When I'm in class and Christian shows a technique in a certain way,
obviously, I'm going to apply myself
to try to understand why he's doing it like that,
where he wants to go, where he wants to take us, etc.
When I work for myself, or when I teach,
I return
to what suits me.
It can sometimes be very close forms, sometimes...
so,
for people who do not know the system, it will always look like close forms, (laughs)
but for me it will be things not necessarily the way
which Christian is showing at the moment.
Especially since
Christian is in a [constant] evolution.
So we see him at the end of a path.
When we train people for the first Dan,
we can't immediately give them these elements if they don't have...
- it's is a big question, we could get back to it more -
But the me who understood things, today,
is not me 10 years ago, or 15 years ago, or 20 years ago.
I understand things, can I give them the shortcut?
And tell them here, I'm here, that's what we have to do?
Or do they need to build
foundations that are strong enough
to be able to get to that point, or go further.
It's a balance that's difficult to reach,
between showing what interests me, where I am, etc.
and show what students need at some point, from my perspective.
Yes and no.
For me, I separate
seminars that I do in a federal framework
since I am in a technical college,
when I intervene in a federal setting,
I have the concern to work from a common background,
a common denominator.
It depends on the type of seminar, but I can say to them:
"I'm going to that, that's what interests me right now, etc. "
But overall, I'm really trying to work on what's
the common denominator and the way I see
the construction within this common denominator,
with my sensitivity, my way of being.
In private seminars, I will allow myself to go towards
what interests me, what I am looking for,
but it's really dependent on the type of seminar,
not just federal or private,
there are some private seminars in which
I was asked to give building elements,
in which case I will give building elements.
There are private seminars, there, the summer course I do in Poitiers
where it's more people who see me regularly,
and where I'm going to do what interests me at that moment.
It depends on the seminars, it depends on the encounter.
It also depends on my ability to integrate what I am seeing.
I would say that the first thing is to say to myself:
"OK that we can approach it like that to tackle this or that technique
"Or approach the relationship with the partner in such and such a way. "
So maybe the first question
is indeed the difference of approach.
How each people approach things,
which ultimately are the same thing.
That's the first point, it can open up perspectives,
research, work, questioning,
it can allow me to reinterpret the way I do it, myself.
- that doesn't mean I'm going to copy the form -
but inside, if I understand certain principles,
I will see how to integrate them with what I do.
It is at the same time technical
because when I attend a seminar,
I try to reproduce what I am offered,
in any case I'm trying to do it,
but afterwards, I will not come back saying:
"Ah, I saw so-and-so, that's how we'll do ikkyo from now on."
No, I'm going to do what I integrated.
And what I saw, or how I felt
might modify what I have integrated before,
but it will never be more than what I integrated, and basically,
if we put the thousands of hours of a practice
compared to ten or fifteen hours
with a Sensei that I discovered at a seminar,
the equilibrium is not there.
It's like I'm a classical musician, I often use the comparison.
I'm a classical musician, I'm going to do a jazz internship,
maybe it's going to totally change the way
in which I will interpret my songs.
But I am a classical musician.
So maybe I decide to change and get into jazz,
but I mean, if I'm doing a week of jazz,
it will change my openness, it will change my relationship to what is written,
maybe it will give me more freedom
but that does not make me a jazz musician.
Even if it can profoundly change the way
that I will approach classical music after.
It's a bit in that sense.
No no, I leave them.
Overall, I leave them.
Of two things,
either they will see someone I appreciate,
in which case I consider it an enrichment for them,
or they will see someone who does not convince me, for whatever reason.
There too possibilities,
they think it's great and that's what they want to do,
in this case it is not me who could give them what they are looking for,
or it does not suit them and they prefer what I propose to them,
in which case everything is fine.
But I do not consider myself the owner of my students.
After that, if they ask me my opinion, I can give it
but it's up to them to get an idea.
For example, in my dojo, I decided not to do monthly seminars
because I wanted my students to go see other people.
If I offered monthly seminars,
in a way, the students would feel obliged to come
and since they do not do a lot of seminars
it would probably be to the detriment of the discovery of other teachers or other approaches.
So I think it's a richness anyway.
After, we have discussions with students who sometimes do things, and then say to me:
"Yes, but he's doing it like that. "
I say, "OK, but when you're here, you'll do it like this."
It doesn't mean it's better, it doesn't mean it's worse,
simply if you want to follow the path that I propose to you and go there
I suggest that you go through there and there,
and if you go your way, you will not find that.
In any case, I will not be able to bring you there.
So we need to be able to prioritize.
For me the seminars are also that.
When I attend seminars with teachers who have different practices,
it's not like I'm going to do something else.
I continue to do it in a coherence of work,
and inside that, there are things that are questioned, that are changed...
But the idea is that you can't build yourself by constancy dispersing.
So you have to go and see, we need to open up to it,
and at the same time, you have to keep a framework that allows you to progress.
When I go on an seminars, I really position myself as a student.
And I try to reproduce not only the form,
I try to understand what is there.
There comes a time when we have lived enough
so that when one reproduces a form, one does not reproduce only one form.
That is, inside the form,
I will look for what is happening in the movement.
And form will be a way of getting into what is happening.
But that, I think is the chance we had with Christian Tissier.
He gave us such a structure,
with more or less abilities,
we can enter forms of work that are not ours
because we have a sufficiently structured practice
to be able to understand what is changed,
how does it change, sometimes it can take a little time,
but overall, we have tools to adapt,
so suddenly, by working another form,
we try to work also another way to feel the movement.
-------------------------------------------
For more infomation >> Interview with Mare Seye, close student of Christian Tissier Part 1/2 - Duration: 25:17.-------------------------------------------
TSARITSYNO 🏰 RUSSIA MOSCOW TOURIST ATTRACTION TSARITSYNO PARK - Duration: 10:24.
arrived of Tsaritsyn park walk
gas cleaning diaspora arrived Olga from the city of Murmansk we are today
let's go see this wonderful park which was built by order
Empress Catherine the Second in 1776 and tell you a little about what's here
what happened during that time historical events were well and not
switch stay with us
locality got the current name zaritsyno on the eighteenth century
and before that was called black dirt surroundings owned by boyars Streshneva
then in 1712 Peter the first granted this land
to the former Moldavian prince Dmitry Catherine II
drew attention to the terrain time horseback riding around
Kolomna summer tsarist residences
from Kolomna ancient royal places with a very beautiful wooden palace
she went horseback riding environs and when Tsareborisovsky arrived here
pond and to this possession she was shocked
very beautiful nature empress Kolomna did not like
the dilapidated wooden palace seemed to her not corresponding to the crowned status
Catherine bought black mud Cantemir has 25 thousand rubles for him
new summer the residence was decided to build it in
this picturesque place to build a new the summer palace of Catherine entrusted her
favorite architect Vasily Bazhenov the great architect then imagine
could not that the main business of his life will turn into the most bitter tragedy and heat
set to work construction demanded a lot of money
Often, Bazhenov went beyond the estimate and he had to spend his own
funds manor was built more than ten years during the construction of the palace
complex were built along the way various small facilities of his
surroundings forest and pond banks transformed into a park area with
gazebos decorative baths bridges due to financial problems having a wife
architect and house in Moscow had to sell so Bazhenov moved
state house Tsaritsyno
and when the palace was almost completed with the test came the empress
Catherine the Great she was supposed to come in july a
arrived at the very beginning of June and drove in here down the front side is not with that
which lined up its species Pictures Bazhenov and the back and not so
beautiful nature and not everything is ready for her did not like the queen staged in
pavilion from which she watched solemn haymaking feast dressed
Moldavian mowers in red kosovorotki peacock hats with feathers
they mowed the girl with the songs this hay collected and among the kings stood out
Potemkin
according to legend, when viewing the palace Catherine found no toilet totals
inspection turned out to be just the same dumbfounded Catherine ordered to disassemble
residence to the ground and erect new building case unprecedented nor
one ruler still not allowed himself such wastefulness destroy
fully rebuilt palace reason so strange act of the empress to
still remain dark for stormy discussions
one of the most popular versions reads that Catherine was embarrassed by the abundance in the decor
palace complex of masonic signs the construction of a new palace was commissioned
Matvey Kazakov student Bazhenov For the former bazhenov court
architect this was a real tragedy but the creation of Matthew Kazakov
the unenviable fate awaited the palace was still not completed when the empress died
ascended to the throne of Russia Paul is the first project for some reason not
became interested and imnenie gradually fell into neglect
1803, Alexander first opened Tsaritsyno for the summer country festivities of Muscovites
after a few decades
near the palace complex began construction of summer houses and gradually
settled in Moscow bureaucracy also by creative intelligentsia
Tsaritsyn ponds were and remain favorite place of Moscow fishermen
and have long been overgrown with fishing legends so Mikhail Gulyaev in the article old Moscow
wrote in 1886 here was caught tenant of Tsaritsyn ponds large
sturgeon with an earring in the lip launched under Catherine the second 19th century
Kazakovski Grand Palace Bazhenovskie buildings rebuilt collapsed in
some covered with moss overgrown with bushes to 20
century Tsaritsyno finally fell into decay
after the revolution in Tsaritsyno settled proletariat
in the bread house a little communal was established more than 30 meters per family
stove heating facilities in the yard for water need to go to the terms column
far from royal Tsaritsyno throughout decades has been the place where they were going
all sorts of people were and masons and tolkienists and hippies
volleyball players and chess players almost 60 years old with 30 to nineties Tsaritsyn ruins were
main training ground of the Soviet climbers here in general, all Moscow climbed
madam empress has invested large money
It turned out a good climbing wall enjoyed many generations of Moscow
and generally Soviet climbers
climbed the facade of the castle absolutely everywhere probably there is no stone where
human climber climber hand didn't touch polishing
Cossack walls palms climbers never forgot
what as a training ground they use one of the most mysterious
city palaces the palace was very picturesque ruins from
he grew trees that was the most Moscow's mysterious place
from the old palace nevertheless remained the first attempts to make a manor museum
appeared 1960 really Tsaritsyno preserved a lot
genuine it is still a monument 18th century architecture is here
stunning architectural decoration magic gothic after the transfer
complex ownership of Moscow in 2005 year began large-scale restoration
work two years later, the tsarina was completely reconstructed
-------------------------------------------
For more infomation >> TSARITSYNO 🏰 RUSSIA MOSCOW TOURIST ATTRACTION TSARITSYNO PARK - Duration: 10:24.-------------------------------------------
Apple MacBook Air 2018 mới được CÔNG bố - SIÊU ĐẸP - Duration: 3:12.
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《Girls' Talk - 愛情開箱》第81集 - M痛指南 - Duration: 11:27.
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BMW 5 Serie Touring 535D Automaat High Executive M-Pakket/Panoramadak/Head-up/Trekhaak - Duration: 1:14.
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BMW X5 3.5i X-Drive High Exe M- Sport 306PK Aut8, Leer, Navi Pro, ECC, LMV, Xenon - Duration: 1:07.
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Jerry Springer Show (October 30, 2018)Lexy wants her best friend to break up with her boyfriend.... - Duration: 6:35. For more infomation >> Jerry Springer Show (October 30, 2018)Lexy wants her best friend to break up with her boyfriend.... - Duration: 6:35. -------------------------------------------
Jerry Springer Show (October 30, 2018)Lexy wants her best friend to break up with her boyfriend.... - Duration: 6:14. For more infomation >> Jerry Springer Show (October 30, 2018)Lexy wants her best friend to break up with her boyfriend.... - Duration: 6:14. -------------------------------------------
CLONES - Halloween Short Film - Duration: 4:59.
*Screams*
*Screams*
How?
urghn uh oh
ueudede
-------------------------------------------
Interview with Mare Seye, close student of Christian Tissier Part 1/2 - Duration: 25:17.How did you come to Aikido?
I came there by chance,
I once met someone in a mountain hut,
we spent the evening talking
and he told me about Aikido.
It turns out that I had done judo when I was a kid,
I stopped because I started in conditions that weren't very good
since it was almost 50 years ago.
It was kid's judo in Spain, but inreality it was adult judo, but with children.
So by the time I got to 12 years old,
I had shoulder problems and my hips were staggered.
I had one foot shorter than the other, anyway.
So I stopped, took it up again, stopped, I hurt myself, I started again,
it lasted until I was 15-16 years old and then I stopped completely.
I wanted to take an art martial, I did not know what.
I was not a competitor, it was not my cup of tea.
I had done a little competition since when you do judo you have to go through competition.
And this guy that I never saw again,
whose name I do not remember, told me about aikido with so much passion
that I decided to go see.
I went to a club that was in Fontenay-aux-roses.
At the time it was Louis Cleriot who is one of the pioneers, who's dead now,
one of those who created the federation, he was the one who taught.
I went with a friend, we watched and both said the same thing:
"Either it's fake or there's something".
My friend didn't register, but I did.
I liked it a lot but I had a busy life at the time
and I did not have time to train and to do other things.
I did two and a half, three month, I said "stop".
"I'm going to stop. To do it like this once a week, to not be regular, it doesn't interest me, but I will come back one day. "
I returned five years later.
G.E: When was it?
It was in 1987.
And then it was Christian Mouza who taught,
so he was doing aikido classes
and Philippe Bersani gave kenjutsu lessons once a week.
G.E .: Which school of kenjutsu?
He was a student of Christian Tissier,
so the origin is kashima.
And suddenly, that's it, it was three times of aikido and one time of kenjutsu, every week.
It started like this and then I put my finger in it.
I did the Easter seminar of Christian Tissier when I had three months of Aikido.
I loved it, I understood nothing, but I became hooked, and from there,
I started doing monthly seminars, I did a summer seminar,
the following year, I did a monthly seminar then two, then the Easter seminar, then two courses in the summer, etc.
That's how it unfolded
How did you decide to become a professional Aikido teacher?
I didn't really decide.
It decided itself.
Roughly speaking I started Aikido relatively late, I was 22-23 years old.
I got married young, I had children young,
and so I had to manage professional life, family life, and aikido.
I could not do everything thoroughly,
so I decided that I was going to do professional choices
that allowed me to see my children and to do Aikido.
But not at all thinking of devoting myself to Aikido professionally.
So it lasted a while, I worked as an educator for years,
and then at some point I started teaching [Aikido], so here, I opened the club in 1999.
In 2005 I was asked to be technical director for Basse-Normandie,
and at that time I already had a lot of classes,
I started to have a lot of weekends taken,
- not much more than when it was not my job -
but it started to become a lot and I thought:
"OK, I'm switching"
But that happened a little despite myself.
That is to say that at no time I thought I would become a professional Aikido teacher.
In fact I had a job, I had a family,
I loved doing Aikido, it took a lot of my time,
and in fact it was the responsibilities, little by little, that made everything become incompatible and that I said:
"OK, I'm stopping my day job to focus exclusively on Aikido."
It is true,
though we learn to manage,
we fall less,
or less violently.
We see ourselves being less imposed the pace.
That's an important element,
that is, I have memories of 1st, 2nd, 3rd Dan
or indeed, when you are being pushed around,
a little like a puppet from one side to the other,
you do not always fall well ...
I started attending seminars very early,
then after I returned home, I would lay down half an hour on the back
to try to put everything back in line.
Today it's no longer the case.
I mean that I still fall,
but the rhythms are much less imposed on me.
Falls and rhythms.
Of course, with Christian, it's different,
but it's all the time, so it's okay,
and we do not need - compared to a footballer -
A footballer must be at the top, at the peak of the form, for ten years,
and then after nothing.
We may not be at the peak of the form,
we are at an intermediate level,
but it lasts much longer.
That's how I deal with it.
Perhaps the first thing that has changed
it has been to accept that students are what they are,
and not always what we would like them to be.
This is an important element.
That is, for us, we are a certain number of people
have invested a lot in Aikido, regardless of being professionals or not.
It was a passion and one of the pillars of my life,
but I have to accept that others can come twice a week
to do one or two hours of aikido at each time,
a little laid back to see the friends.
It's a step forward to have accept that Aikido
is also for them.
One of the questions is how do we get them
to progress in Aikido at this rate,
and to nurture their progress and to ensure that they too get something out of it.
Most people here, we are in a rather affluent city,
young people invest more in studies than in sports
and adults invest more in their careers, or their work,
or on their professional life than on recreation, let's say.
So we have to accept that things aren't
as we saw them for ourselves at a certain moment.
No, I do not have a decided opinion on it.
Sometimes I say, "There are grades there are the levels ". (Laughter)
In an ideal vision,
the two things should match,
in fact, we realize,
during the examinations in particular,
that they are two different things.
At the same time,
when it's the baccalaureate season, there are people who are going to get 9.96
and who will just about pass,
and there are people who are going to have 21 out of 20 with the options.
They do not have the same level at all and yet they have the same degree.
In the end, we are not very far from that.
I think the big criteria,
are not very far from the great principles of Aikido.
We try to judge on observable behaviors
and not just on a gut feeling,
in order to be able,
to discuss among judges,
and because it's not just a federation problem, it's also a people problem
so to be able to have elements
that can be relied on to support a reasoning.
So that's essential.
So from there it's not very far from my criteria.
We could vary on criteria severity though
But finally the question does not arise.
We know the level at which we want to see people,
the question is often, for the very talented there is no discussion,
for those who are not good at all there is no discussion,
the majority of people are within an average.
There, you find more subjective criteria, which are:
what are the factors that will weigh in the balance more than other,
which can be criteria of age, criteria of physical condition,
the importance we will give to etiquette, or not,
the work with weapons,
to all those somewhat peripheral elements,
which are not necessarily the core.
If on the core it's average, more marginal elements will play,
and there sometimes play out differently.
Within the big sensibilities between federations
but also between individuals, according to one's experience and history ...
G.E.: So there is a lot of human factors, more than purely technical ones...
There is a human part.
At one point I used to say:
"Grading examinations are the imposed figures in ice skating".
We have a number of criteria
and there is the part of subjectivity of everyone that will intervene.
We will not necessarily value exactly the same things in the same way.
We will not see the same things
and we will not give equal weight to the same things.
The idea being that in talking - and that's all the work that's done between the technicians of the two federations -
to come to find what common points we can agree upon
to decide whether or not to award a grade.
But it's a continuous job it's not something that is done once and for all.
Because Aikido also evolves,
that is, examinations today are not the same as examinations 20 years ago.
Aikido today is not the Aikido of 20 years ago, etc.
So that's really a work of,
permanent development and readjustment of the criteria on a permanent basis.
Yeah.
First of all because that's how I designed Aikido.
That is to say, very early,
I followed Christian
I started in November 1987
and I did the Easter seminar in 1988.
And so from there I did a lot of seminars with him.
After 3 years,
when I got my 1st Dan,
and between the 1st and the 2nd Dan
my teachers said:
"If you want to continue to progress, you have to go to work at Tissier's dojo".
Not only seminars but also regular classes.
So usually I went there for lunchtime, at first it was Monday, Tuesday, Wednesday.
Lunchtime at the Cercle Tissier and in the evenings, I continued to go
to my old club
There is no doubt that in my generation,
Aikido has been something that evolved.
Maybe previous generations
at one point,
have discovered another way of doing Aikido,
and were responsible for...
I was going to say: to spread the Good Word.
And probably to tell people:
"It's like that and no other way."
We did not live that, we were not responsible.
I am of the same generation, in terms of
grade and evolution,
as Pascal Guillemin and Bruno Gonzales, Marc Bachraty.
I got the 1st Dan at the same time as Pascal, we received the 6th Dan together
and Bruno too.
We are of the same generation, we were not in charge
we were not responsible for transmitting.
However, we were in contact with Christian,
if not every day, at least every week
since when he moved [to the South of France], he was there 2 days a week,
but we saw him every week,
and so we have seen this evolution.
For us, aikido has always been something that evolved,
that is, we explore forms,
we deepen them, we go far,
sometimes, we realized that he was working on something,
and when it was acquired he said:
"OK, that's good, we leave it out. "
"It's settled, we'll move on."
"We are going to move on to another line of research or another line of work. "
And that, for us, became something natural.
So there is no particular effort
to update myself.
I had a little break form practice for a few months,
for personal reasons.
I could not practice on a daily basis
or weekly with Christian,
and in 4, 5, 6 months I saw the difference.
That is to say, I think that almost every year
there are new ways that are explored,
sometimes a return to things we worked on years before,
with probably a new way of looking at things.
Something matures, something that has changed.
So when we come back to older things
it's always revisiting in the sense that
it has evolved, it is something that is alive,
which is constantly a living material.
So it does not take effort,
it's not always comfortable.
because it's true that comfort is establishing a truth,
and not to move from it.
But that's what I'm passionate about.
So,
some time ago, I was on a training course in Italy and _I was asked:
"When Christian Tissier will not be there, who will represent him?"
I said, "Everyone and no one!"
I do not do the Aikido of Christian Tissier,
I do the aikido of Mare Seye.
It turns out that I've been working with Christian for a long time,
and so my training is very marked
by what he makes us work on,
by the forms he made us work on,
but that's only what I've integrated,
with what I am, with what I feel,
with my physique, with my qualities, with my faults,
so it will never do Christian Tissier's Aikid.,
I can't, and I'm not trying to make Christian Tissier's Aikido.
I am trying to do Aikido.
So at this level I leave myself a total freedom.
When I'm in class and Christian shows a technique in a certain way,
obviously, I'm going to apply myself
to try to understand why he's doing it like that,
where he wants to go, where he wants to take us, etc.
When I work for myself, or when I teach,
I return
to what suits me.
It can sometimes be very close forms, sometimes...
so,
for people who do not know the system, it will always look like close forms, (laughs)
but for me it will be things not necessarily the way
which Christian is showing at the moment.
Especially since
Christian is in a [constant] evolution.
So we see him at the end of a path.
When we train people for the first Dan,
we can't immediately give them these elements if they don't have...
- it's is a big question, we could get back to it more -
But the me who understood things, today,
is not me 10 years ago, or 15 years ago, or 20 years ago.
I understand things, can I give them the shortcut?
And tell them here, I'm here, that's what we have to do?
Or do they need to build
foundations that are strong enough
to be able to get to that point, or go further.
It's a balance that's difficult to reach,
between showing what interests me, where I am, etc.
and show what students need at some point, from my perspective.
Yes and no.
For me, I separate
seminars that I do in a federal framework
since I am in a technical college,
when I intervene in a federal setting,
I have the concern to work from a common background,
a common denominator.
It depends on the type of seminar, but I can say to them:
"I'm going to that, that's what interests me right now, etc. "
But overall, I'm really trying to work on what's
the common denominator and the way I see
the construction within this common denominator,
with my sensitivity, my way of being.
In private seminars, I will allow myself to go towards
what interests me, what I am looking for,
but it's really dependent on the type of seminar,
not just federal or private,
there are some private seminars in which
I was asked to give building elements,
in which case I will give building elements.
There are private seminars, there, the summer course I do in Poitiers
where it's more people who see me regularly,
and where I'm going to do what interests me at that moment.
It depends on the seminars, it depends on the encounter.
It also depends on my ability to integrate what I am seeing.
I would say that the first thing is to say to myself:
"OK that we can approach it like that to tackle this or that technique
"Or approach the relationship with the partner in such and such a way. "
So maybe the first question
is indeed the difference of approach.
How each people approach things,
which ultimately are the same thing.
That's the first point, it can open up perspectives,
research, work, questioning,
it can allow me to reinterpret the way I do it, myself.
- that doesn't mean I'm going to copy the form -
but inside, if I understand certain principles,
I will see how to integrate them with what I do.
It is at the same time technical
because when I attend a seminar,
I try to reproduce what I am offered,
in any case I'm trying to do it,
but afterwards, I will not come back saying:
"Ah, I saw so-and-so, that's how we'll do ikkyo from now on."
No, I'm going to do what I integrated.
And what I saw, or how I felt
might modify what I have integrated before,
but it will never be more than what I integrated, and basically,
if we put the thousands of hours of a practice
compared to ten or fifteen hours
with a Sensei that I discovered at a seminar,
the equilibrium is not there.
It's like I'm a classical musician, I often use the comparison.
I'm a classical musician, I'm going to do a jazz internship,
maybe it's going to totally change the way
in which I will interpret my songs.
But I am a classical musician.
So maybe I decide to change and get into jazz,
but I mean, if I'm doing a week of jazz,
it will change my openness, it will change my relationship to what is written,
maybe it will give me more freedom
but that does not make me a jazz musician.
Even if it can profoundly change the way
that I will approach classical music after.
It's a bit in that sense.
No no, I leave them.
Overall, I leave them.
Of two things,
either they will see someone I appreciate,
in which case I consider it an enrichment for them,
or they will see someone who does not convince me, for whatever reason.
There too possibilities,
they think it's great and that's what they want to do,
in this case it is not me who could give them what they are looking for,
or it does not suit them and they prefer what I propose to them,
in which case everything is fine.
But I do not consider myself the owner of my students.
After that, if they ask me my opinion, I can give it
but it's up to them to get an idea.
For example, in my dojo, I decided not to do monthly seminars
because I wanted my students to go see other people.
If I offered monthly seminars,
in a way, the students would feel obliged to come
and since they do not do a lot of seminars
it would probably be to the detriment of the discovery of other teachers or other approaches.
So I think it's a richness anyway.
After, we have discussions with students who sometimes do things, and then say to me:
"Yes, but he's doing it like that. "
I say, "OK, but when you're here, you'll do it like this."
It doesn't mean it's better, it doesn't mean it's worse,
simply if you want to follow the path that I propose to you and go there
I suggest that you go through there and there,
and if you go your way, you will not find that.
In any case, I will not be able to bring you there.
So we need to be able to prioritize.
For me the seminars are also that.
When I attend seminars with teachers who have different practices,
it's not like I'm going to do something else.
I continue to do it in a coherence of work,
and inside that, there are things that are questioned, that are changed...
But the idea is that you can't build yourself by constancy dispersing.
So you have to go and see, we need to open up to it,
and at the same time, you have to keep a framework that allows you to progress.
When I go on an seminars, I really position myself as a student.
And I try to reproduce not only the form,
I try to understand what is there.
There comes a time when we have lived enough
so that when one reproduces a form, one does not reproduce only one form.
That is, inside the form,
I will look for what is happening in the movement.
And form will be a way of getting into what is happening.
But that, I think is the chance we had with Christian Tissier.
He gave us such a structure,
with more or less abilities,
we can enter forms of work that are not ours
because we have a sufficiently structured practice
to be able to understand what is changed,
how does it change, sometimes it can take a little time,
but overall, we have tools to adapt,
so suddenly, by working another form,
we try to work also another way to feel the movement.
-------------------------------------------
СНУД С ОБЪЕМНЫМИ КОСАМИ//DIY - Duration: 10:34.
I greet you on its channel
for sleep we need
l acrylic yarn in 100 grams 285 meters 2 hank
we will knit in 2 additions if you buy strings 140 meters 100 grams then
you can knit in one addition I will knit in 2 knitting needles three and a half
mm diameter and 4 buttons
type 39 loops end as always I I make a knot and the first row we knit
face loops
Edge we also knit facial for beautiful edge the next row we knit
in this way we remove the edge loop one two three 4 5
3 purl 1 2 3 5 facial 1 2 3 purl 5 facial
and so on until the end of the series
next row knit facial loops here here you can see here now
there is such a strip from three loops that is such a band
stocking smooth of three loops with us there will be between the five loops
a five sided scarf loops between them then she'll all be
see better that is, the first odd row is the facial
loops in even row 5 facial 3 purl and so on to the end
rows here and the whole pattern edge do not forget to knit
face loop even row 5 face 3 purl
5 facial
3 purl and so on until the end of the row and so we continue all our
knitting here is such a ball we knit I even doubled the finish line to you
was visible now measuring a long 80 centimeters
the loops are closed in this way
usually start
so we reach our our strip of 3 5 facial
all these loops are not knotted Straight let go pulling the loop longer
and close so here these further
close the loops but exact eyes
these three loops drop and loop pull out when we stay
last loop just call it a bigger deal and
we make a knot through because this thread we still need to strapping
so I do not prune her to neatly next these are all ours
I let loose end all all all to the end all 4 bands
and now here it is now we will knit either take a thicker hook here these
first since i have two words 2 addition i was knitting
so I have these two strings 1 of four
These are the ones that I gained loops like this so I take a finger twist and here
here here look two two three 4 5 5 threads
that is my case 10 if you count each thread and pull out this
we look at the loop carefully so as not to miss nothing and counting again
12345
and now either with your hand or your fingers or crochet knit and so on two times
three 4 5 here they are so knit to the end to the very length
and so on here for the entire length and all our four braids are not doing here, look
look like all four i have braided pigtails how it looks and when
braided here the last loop I wore on needles 4 you see they are here for me
dressed just to not come down now take the hook and will tie the edge
single crochet here in each loop I crochet the column without nakida
so now see the attention here here here where we stretched to these loops and here
this is our loop I'm them in this hole then I fix this loop and knit it
here are 6 columns without crochet here they form a loop
I repeat I see here and so it looks thread cut and mask on the wrong side
look add up here so here in half and sew on buttons here
see this is our edge begin here here we sew our
buttons that is, we combine this edge here and so on from braids and sew
buttons on each loop so here we will be a button now I have them here
sewed it with the edge straight to the edge and now just zip up and so here
see it looks like our can be so raise if the wind blows
and you need higher need this part lower here now look girls
see how it turned out
I will try to show you somehow closer and braids are so beautiful
simple performed by hanging a poll on it video if you want mitts and a hat here
in the same style to have a kit please vote i will understand
whether it is necessary to shoot a video or not need or you are not interested it is me
just want for myself informative how would a poll just navigate what i
do well here if girls with you were Vika and school of needlework with you
goodbye to all for now
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Video teaser: Elena Rago explains her postural training schedule for back and shoulders - Duration: 0:50.- Make a difference guys! Welcome to another Chick'n'Mango video.
Today, we are here with a professional bodybuilder, Elena Rago.
- Hi guys!
- And next week is coming out her video about a postural training,
for what muscles?
- For shoulders and back.
- So guys, don't miss it and stay tuned.
- See you soon guys!
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Cristiano Ronaldo: Juventus boss Max Allegri makes Barcelona Champions League claim - Duration: 2:56.
That's according to Ronaldo's Juventus boss Max Allegri, who is wary of the threat the Nou Camp outfit pose
Juventus signed Ronaldo during the summer with the Portuguese star departing Real Madrid in a deal worth £88million
Ronaldo left the Spanish capital having helped Los Blancos to three European crowns in a row
Juventus have suffered heartache in Europe in recent years, reaching the final in 2015 and 2017 only to be denied by Barcelona and Real Madrid respectively
One of the reasons Ronaldo was signed was to try and bring the Champions League crown to Turin for the first time since 1996
But Allegri knows Barcelona, led by Lionel Messi, could prove a major hurdle in their quest for success on the continent
"The Champions League? To improve on what we've done so far there's only one to do, win it," Allegri said
"But we need to be careful of Barcelona, they're a strong contender and they can go deep
"This is a competition that changes in March: at that point, we'll need some luck and a healthy squad
" While Allegri believes Barcelona will be Juventus's main challengers, pundit Tim Sherwood believes last year's finalists Liverpool could pose the biggest threat
"Liverpool have got such attacking threat," Sherwood said. "They have got a work ethic, an identity of what the manager wants and they stick to it
"They stick to the plan even when it's not going perfectly right and they get the job done
"[Jurgen] Klopp is one top manager and he's played a lot of games in the Champions League
"Last year they got to the final - I think they're on their way again. "I'm really impressed with Liverpool
When they're not playing at their best, they get the job done. "They've got quality players in Salah to get a couple of goals and it's a massive shot in the arm for Klopp moving forward this season
"
-------------------------------------------
36 KILLS - LET ME ROCKET YOUR FACE! | Bf1 Conquest Gameplay on Xbox One - Ballroom Blitz - Duration: 9:24.
For more infomation >> 36 KILLS - LET ME ROCKET YOUR FACE! | Bf1 Conquest Gameplay on Xbox One - Ballroom Blitz - Duration: 9:24. -------------------------------------------
Hocus Pocus | Hamilton Animatic - Duration: 5:16.
A story that was never told.
It was mere coincidence that the two of us met.
Her eyes looked down on the ground, trying to hold herself back from crying. She couldn't have been older than six, yet there she was alone.
[L] "Are you alright, miss? Where are your parents?"
I thought, perhaps, she was lost. I pitied the parents scrambling to look for their child who had maybe slipped from their gaze for a mere second. It made sense.
[C] "Y-yes. I. I'm okay. Sorry. My parents said they'll be back after I learn my lesson. .."
Such words I never expected from a young girl. Leaving a child alone at this age was irresponsible and downright dangerous. Who in their right mind would do such a thing? She looked up at me and our eyes met.
[L] "You shouldn't be waiting there on the ground. Come on."
She took my hand. Weak. Frail. I looked at her more closely. Bandages. Wounds. Bruises. She looked like she hadn't been fed in a while. Yet even then, her magic was extraordinary. At such an age, she should be praised and considered a prodigy, yet why was she being left to fend for herself like this?
After talking for a while, she told me she was lonely. That her parents hadn't come to get her in two days. That this wasn't the first time they had done this to her. The little girl had broken a mirror and with the way she spoke, it seemed like she believed this was an okay punishment.
Kneeling down, I took the ribbon that held my hair, wrapping it around her right hand.
[L] "Let me cast a spell of happiness on you. From now on, you will never be lonely ever again!"
Such a spell didn't really exist. But to a child's imagination, I imagine it would be able to help stave off the sadness she was giving off.
[L] "I promise you, only good things await your future~!"
After a couple more hours of keeping the girl company, I had to leave. I didn't want to, but there was nothing I could do to help more. A small, weak phrase left the little girl's mouth.
[C] "Can I go with you instead?"
With the way her eyes filled with hope, I hesitated on my answer. Surely, this was a crime, a sin, even. To steal someone's child was not something I had ever anticipated on doing. Not that I had remembered what my life's purpose was at that point. Not yet.
And so I took her along with me, contemplating whether this was the right thing to do. Saving her from the cruel life she had no control over looked like child abduction to the eyes of everyone else, most likely. I didn't know this girl yet she had pleaded that she wished not to return to her parents. And perhaps I had other reasons for taking her along...
She reminded me of someone I couldn't quite remember.
[L] "Here... this should make the wound heal faster. It'll be better in a week or two, no doubt..."
And she showed me her smile.
I had faltered for a moment because there was no doubt I was selfish in taking her. She had looked like someone I cared about in the distant past.
And I thought, "Would I be able to even raise you properly?"
I couldn't remember it all, but I was sure that my past was not a good one. Not something to be proud of.
And though I've spent my life looking for answers, did I really want to know who I was?
Was being blissfully unaware much better?
It took me a while, but I had gotten the hang of raising a precious, fragile girl. Learning what topics to avoid, what made her cry, what made her laugh... and I thought that maybe I'd be able to heal the emotional trauma she had endured from those she called her parents.
She changed her name to Charlotte so that we could avoid being caught. We had to move so many towns. Not that I had a place to call home anyway.
[C] "Why is it you don't seem to age like me?"
[L] "I... I don't know... I've been trying to find the answer for a couple of years now..."
[C] "Will you read me another bedtime story, Lazarus?"
...I didn't want to tell her I had memorized the book by now with how often she asked to read the one she held. We didn't have enough money to buy much things, but for her I managed to at least get her items that gave her joy.
Despite being magic users, we were poor. Crossing town from town, never having a stable job. It was so they'd never find us. Or perhaps I was just paranoid. Either way, I would have not let her parents take her back.
She couldn't go back to a life of unhappiness, even if fate dictated it.
I often told her nonsensical stories to cheer her up. Stories of whatever I could think of. Stories that I made up. Stories that were nothing more than the exaggeration of reality or my faint memories.
I thought her how to manage her magic levels and she picked up on them ridiculously fast. She as was brilliant as she was smart. To think her parents feared her enough to hurt her, to make sure her magic would never be used... it disturbed me.
To think we could be happy like this forever was nothing more than a hopeful lie.
[C] "You'll protect me from danger, right?" [L] "Of course. Always."
Even without knowing back then, I had disturbed the very strings of fate. By taking her with me, time changed. Whether for the worse or for the best, I will never know.
Maybe it would have been for the better if we kept laughing at the silly things in life, if I had stopped searching for the truth...
But it was only a matter of time before fate reared it's ugly head.
[C] "I'll see you later tonight, alright? I'm bringing home food this time, so you better not cook anything for dinner!"
[L] "Yes, yes! Make sure to come home safe! If he tries to hurt you, aim for the crotch area! That'll stop him for sure!"
Perhaps some questions should have been left unanswered.
And there I remembered more than I should have.
I wasn't a good person.
I'm still not a good person.
I was selfish. I still am. Saying goodbye to her would bring her such sorrow, but I couldn't just leave her to search for me. I couldn't leave her to search for answers for the rest of her life.
And so I asked her to be the one to bid me farewell.
[C] "B-before you go. I. Look. This ribbon, I'll... I'll wrap it around your neck and..."
[C] "Let me cast a spell! F-from now on... you'll never be lonely ever again, got it? I. It's a spell of happiness!"
[C] "So... so ...even when I'm no longer with you, you'll be happy!"
I was selfish to make her pull the trigger. I'm sorry.
She'd effectively kill "Lazarus". Or rather, all my memories up to this point in my life. I had found out who I was and I couldn't stand the truth, the responsibilities, what I had done...
I never liked the idea of fate. Yet there I was, fated to be unable to face reality whenever the answer were in front of me.
Wanting to search for answers for when I forgot them yet seeking to forget once I knew. It was a cycle that I couldn't get out of.
Not until I needed those memories to save the one I promised to.
Perhaps now I can try to repent and be a good person.
-------------------------------------------
HOW TO DRAW RICK and MORTY | Best Cartoon Characters Drawing | Blabla Art - Duration: 10:25.
How to draw Rick and Morty
Don't miss any Blabla Art episode
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