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How to say I LOVE YOU in Osaka Dialect. Japanese lesson done different! - Duration: 3:00.
Ready go: MAIDO!
It's CathyCat! ...
.... I am Hayappe yehah.
Sorry let's do that one more time.
Maido this is Cathy Cat - And Hayappe.
Hayappe where are you from? - Osaka.
That's why today it's another Osaka Dialect Lesson.
Today I want you to remember a whole phrase.
Not a word but a whole phrase! - Sure girl.
Gotcha.
Once you know it, you will use it all the time. - Alright.
Honma Sukiyanen!
Got it girl? - It means I really really like you.
I really love you.
That's right.
That's not a phrase that you'd use on a daily base dude.
Right girl, that's a phrase to use when you tell is straight out.
If you use the normal Kanto, Tokyo language it would be "Tottemo suki desu"
It sounds so stale. - The way you sound it sounds stale.
He didn't put any love in that sentence. - I can't girl. Not in the Tokyo lingo.
But girl, in the Kansai dialect, I can push all my heart into it.
Push the fully size of your heart into your sentence girl.
Honma ni suki yanen.
Sparkle sparkle sparkle, it's a girl's manga.
Right!
Nice one. - This could be in a manga story.
How would it feel if someone said that to you.
Damn I would be happy right.
When you proposed to your wife you said. - "honma sukiyanen"
Hey you put your heart in it. - No I didn't really.
Suddenly your aura came out. - Suddenly my sweat came out.
He is blushing. - That's a given.
So that's how to say....
Hayappe.
What did we learn in this class? Honma sukiyanen.
(after a 3 minute laughing fit)
That was...
Honma Sukiyanen.
Which you can use to say I love you in Osaka Ben!
It's a different intonation and has a different power than saying it in formal Japanese.
I hope you like that and learned something
If you want to confess your feelings in Osaka.
Let us know, what other words you would like to know in Osaka ben.
In the Osaka slang. Looking forward to your comments.
Please leave us lots of comments and maybe write us a scenario
where you might be able to use those words that we just taught you.
We also have other videos where we teach you more Japanese.
If you are curious about that check the links
So that's it for today. Thank you very much and...
Okini!
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New Market Mafia Music video | Open Games - Duration: 13:10.
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🌼 PICTEK WHITE NOISE MACHINE (Fan Sounds) SLEEP THERAPY (BABY SLEEP) REVIEW 👈 - Duration: 4:59.
I have a new white noise machine from Pictek. it was just recently released
and it has a lot of great features this Pictek white noise machine has a
unique design and it features to you USB output ports which make it handy to
charge your cell phone tablet or other device and most white noise machines
don't have this feature it's kind of a I guess you'd call it an asymmetrical
design very very attractive and modern looking and the colors which is a almost
a creamy white and a light gray or just blended almost anywhere now this works
with an AC cord and I'm gonna plug it in and let you listen to what is the most
unique feature I think of this white noise machine and that is that this is
actual white noise this machine doesn't bother with thunder or ocean sounds some
of which can actually be distracting or frightening especially children it has
an actual white noise fan sound which is generally the most pleasing and least
distracting sound that white noise sound machines can make lots of people like to
sleep with a fan on for sound but you might not want the air blowing around
you so this device gives you the sound of a fan without all of the air blowing
around now you turn it on you press the center button very easy
and there are three ways to control the volume one is just to turn the knob on
top
John so it's barely audible and you could turn it all the way up it goes up
to 85 decibels and the three ways to control the volume the other two ways
are to twist the upper
acoustic housing or to twist the body you can see
you can hear that here the difference
so that general sound of the changes slightly
the frequency I guess at seeing the sound
they're all very pleasant non-obtrusive
fan sounds so gives you a lot of flexibility with regards to the volume
and quality the sound so you can leave this on continuously or let me show you
the timer it's you can set it for 30 minutes or 60 minutes you just want to
set it and fall asleep or take a nap or meditate whatever if you're watching
this then you probably already know how useful white noise machines are for
masking environmental noises and providing Pleasant background white
noise to aid with sleep or concentration okay so let me play the fan sound again
show you some of the changes and I'll be quiet so you can hear it
okay that's such a soothing sound that I'm actually almost gonna fall asleep I
love the sound of a fan so this is the Pictek white noise fan sound machine
check the description section below for more information and please subscribe to
this channel and we always appreciate your likes and comments thanks for
watching
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Intuitive Painting Process Explained: A Talk on Not Covering - Duration: 15:56.
[Announcer:] Welcome to The Painting Experience podcast for June 2015. On the podcast
founder Stewart Cubley explores the potential of the emerging field of
process arts and shares inspiration from his ongoing workshops and retreats.
This time Stewart talks about why we're encouraged
not to cover things up in our process paintings, about finding the satisfaction
that comes from accepting what shows up in a painting and following it through to the end.
[Stewart:] In the last podcast, I spoke about not commenting on each other's
paintings in the painting workshops. And today I'd like to talk about not
covering, not changing, not turning a painting -- and at first blush this may
feel like, gosh there's a lot of "nots" here, what are all these "nots," not do
this, not do that, and what does that have to do with creative freedom and painting
for process. But actually it's the other way around -- these "nots" are actually big
"yeses" And they're yeses to the process of painting, the serendipity of painting,
the unexpected nature of painting. So let me explain a little bit:
What is covering, actually?
This often occurs at a certain point in the painting, you're painting
along and some area of the painting is disturbing you a little bit and you feel
like, you know, I don't want that, there's something not right about that. So our
first impulse of course is to cover it up, change it, get rid of it, obliterate it,
redo it, do something that that's going to make it better. And this is very
natural of course but if we look a little deeper we realize that there's
another way to respond here. It's very natural to want to make the
painting look better, that's our first response and of course this comes out of
the more habitual way of approaching painting and art which is more of a fine
arts perspective, it's more of a product oriented perspective, and of course we
want a nice painting. We want it to look good. We want it to please us, we want it
to somehow fulfill our intention. And so it feels very natural when it's not
going in that direction to cover something up and redo it. But from the
perspective of process arts which is a very different intention which is using
the tools of painting not for product but for self exploration, for
self-reflection and for insight. Then we need a different approach because that
which appears and perhaps does not please us and perhaps does feel out of
place and disturbs us to some degree has shown up. After all, we painted it. Where
did it come from? It's not something extraneous that's imposed itself in our
world. I mean, we did it. We painted it. So the real question is do we respect that?
Do we meet that? Do we get intrigued by the fact that that's appeared and learn
to read that disturbance in a different type of way. In a way in which we don't
cover to get rid of it and in a way in which we don't alter it or obliterate it
but that we use it and that we look under the surface a little bit and
realize that that disturbing feeling that's coming up about that area of the
painting is actually a call. And there's a way of working with it that will enter
that rather than cover that or obliterate that.
Now, this is really not so easy to bring into practice because we want a nice painting. I mean that's
kind of the ego stance, right? And it goes quite deep because a
nice painting means a nice painter. We identify with the product that we're
creating and to have something that we don't like challenges the very sense
of ourselves on some level and so this is not small change we're dealing with.
But there is an opportunity to relate to this in a different way
and when someone comes to that point where their impulse would be to cover
something up -- or they'll often start doing it and I'll observe them doing it.
There will be an appropriate time in which I'll approach them about that and
I must say, I often don't do this in the beginning of a workshop because I don't
want to alienate that person I mean I have to develop a relationship. There has
to be some trust, there has to be some water under the bridge, the person has to
feel like they're not being judged and they're not being coerced or manipulated,
that there's a deep trust in their own internal investigation. And if that's
established then the person is more open to hear what I might have to say about
covering and not take it as though there's something wrong but for that
person to feel like we're on the same side. And so I might approach that person
at that point and question the feelings that are going on underneath the desire
to cover and the action of covering. And usually, as I say, there is some sort of
judgment going on and there's some sort of disturbance and we haven't really
been educated how to relate to that so our first impulse is get rid of, don't
like, cover it up, change the color, redo the image, whatever form it takes.
Or sometimes just take that painting off the wall. But if we don't cover, if and in
fact we have a stance in which we accept whatever arises
and we deem as sacred what shows up and the very fact that we painted it and it
came out of the tip of our brush takes more weight than any kind of aesthetic
judgment that we would have about it. And so we begin to develop a different kind
of relationship in which we are no longer so much in control. Because the
desire to cover and to change and to maybe reorient the painting and turn the
painting to a different orientation are all ways in which we're trying to
control the outcome, we're trying to fulfill a certain intention that may be
more or less clear to us but we are trying to fulfill some internal idea.
And therefore we're more in control of the situation we're trying to make it fit
our idea. Whereas if we don't do that we metaphorically paint ourselves into a
corner because it means then that whatever shows up we have to stick with
and whatever shows up is not something we can get rid of but we have to work
with and it doesn't mean we have to stop painting -- sometimes people think well if
I have to not cover anything I painted then I can't paint once I get paint on
the paper, but, no, that's not the case. There's a way of adding to what's there
which is very different than changing. For example sometimes people say you
know, this whole area here that I painted in orange it shouldn't be orange
I was actually kind of asleep when I painted the orange I was just not
present and therefore I'm gonna change it to blue.
We have all sorts of great
justifications for why we wanted to have it our way and sometimes people will say
that to me. And so they'll change the whole area to blue and, of course, that's
covering. That orange that was there is now gone. There is a different way to
relate to that, that if that orange was disturbing you and therefore calling you,
you could have blue dots in the orange, you could have blue flames coming out of
the orange, you could have a blue baby in the middle of the orange -- who knows
what -- there could be something that would be a way of respecting the orange and
yet moving forward in the painting not getting rid of -- adding vs. covering.
And this creates a very different relationship to the creative process
because we then begin to respect the serendipity. We then begin to be
intrigued by that which arises spontaneously, that which comes unbidden
that's not a function of the product- oriented ego,
that's not our control
making happen. We begin to develop a different relationship to that part of
the psyche which underlies our lives in a very, very profound way and of course
is there outside of the painting process as well. And the painting process becomes
a way of tapping into that, of acknowledging that, of moving with that
and allowing that to penetrate us more deeply because it's without conflict.
The need to change a painting to make it fit our idea and to to meet our preference
is conflict laden, it turns us in knots and once we cover once it's not good
enough then: we have to cover it again or we have to redo the image six times, we
cover that nose 18 million times and it's still not good enough and finally
say to hell with it. It just leads down a road of increased conflict and so
there's something challenging but incredibly natural and conflict-free and
once we begin to be intrigued by the serendipity and to respect the
serendipity and to go with it. And then the painting becomes a truly unknown
journey in which we are no longer trying to make it to fit our specifications but
we're open to the flow that is coming out of us and there's an intelligence in
this flow that we then have the ability to start perceiving. Once we stop
controlling we can then begin to sense, wow, there's more going on here than I
realized. And these so called spontaneous images
are not random at all. They're not rational;
they don't fit any kind of rationality and and, very often, any kind of story
that I try to tell about them to connect the dots in the painting seems only half
satisfying because it's rather made-up. But there's an intelligence in it which
I can sense through the experience of it, I can sense through the unfolding of it,
and I can sense by the fact that it brings me insight into my life in ways
that could never have happened if I had just gone with a story of the painting
or the aesthetic of the painting. These doors will open up for us once we are
willing to give up control and willing to have a profound respect for that
which shows up and so this is why the so-called "rules" -- not covering and not
changing and and not reorienting your painting -- are really big yeses. They're
ways of saying yes to that part of ourselves that we're trying to develop
the respect for and by reorienting, which I haven't spoken of so much, I mean
sometimes there's an urge to turn the painting in a different orientation . . . here
you've started something and it's gone along to a certain degree and then I see
somebody take the painting off the wall and turn it 90 degrees or 180 degrees
and usually when that happens it's interesting to explore what's going on
there, usually the person has reached a stopping point of some sort; they're a
little bored perhaps, they don't see where to go next,
they don't have an inspiration for moving on and there's the thought that
well if I change the orientation I'll see it in a different perspective
and then I'll be able to go forward. And again this is partially true if you do
change the orientation of the painting of course you will have a different
perspective; it's kind of fun to see it differently but something is
lost in that, there's something about standing in the integrity of the way
things show up including the orientation. There's something about being willing to
stand in the not knowing of what to do next and let that come from a deeper
place in oneself other than a trick of turning the painting and doing something
externally, having it come from a place internally. And so these are ways in
which you can learn to fulfill the purpose and, I would say, the promise of
process painting. Which is deep respect, honoring the way things arise, following
things to the end as they arise, continuing to work with them and listen
to them and not imposing on the painting that it has to meet some criterion that
you've decided upon. In doing this, you really shift internally to a different
part of yourself. Sometimes I say it's getting out of your own way.
It's allowing a deeper stream to be the one that's guiding the process and this
is incredibly satisfying. We get a certain satisfaction, of course, from
getting a painting that we like, we also get a certain satisfaction from covering
up stuff that we don't like and getting rid of it and these are very short-term
satisfactions; they're also very shaky satisfactions because you may paint a
painting that you like after having really worked hard on it to get it like
you want it and then somebody can come along and make a comment on it and you
can feel devastated and your whole perception of the painting changes:
you're not sure you like it anymore. Those satisfactions are quite shaky,
whereas when you learn the deeper satisfaction of accepting what shows up
and going with it, you're standing on a very solid ground. You're not so
vulnerable to what other people think about it, you've already been willing to
go beyond what you think about it and so what other people think about it is
really not so important after all. There's a deeper ground in which you
touch and a deeper ground in which you stand. This is really the purpose of process painting.
[Announcer:] You can learn more about The Painting Experience and find a
list of upcoming process painting workshops
by visiting our website at www.processarts.com.
If you enjoyed what you heard today please share it with a friend. The theme music
for this podcast comes from Stephan Jacob. We thank you for listening and
hope you'll join us again soon.
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rangoli designs for kanuma easy | kanuma muggulu designs | kanuma kolam designs | pongal muggulu - Duration: 2:26.
sankranthi muggulu
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Welcome to Our YouTube Channel - Duration: 0:51.
For more infomation >> Welcome to Our YouTube Channel - Duration: 0:51. -------------------------------------------
Ten Body Language Mistakes You Need To Fix Now - Duration: 6:56.
10 Body Language Mistakes You Need To Fix Now
Body language is no doubt one of the most powerful communication tool you have to master,
whether you are on a date, a job interview, at a conference or a party, or just interacting
with someone else.
At least 58% of your success depends on your body language alone.
So, how can we master to make the most of our body language?
First of all, we need to understand some of body language mistakes that we possibly do
on our encounter, then start to fix it on a daily basis to make
it our habits.
In this video, I'm going to share with you 10 body language mistakes that we need to
fix as soon as possible so we could use the most of our body language on a daily basis.
If you find this information is helpful to you,
make sure to like this video and subscribe to this channel so you won't miss any of our
interesting updates in the future!
1.
Failing to nod or smile
Nod or smile is the first thing most people would notice, it can be used as powerful nonverbal
cues to let someone know that you are actively listening.
Smiles put those around you at ease.
While some people won't pay attention to the position of your legs and arms, everybody
will react to the signal conveyed on your face.
Besides, smiling makes you feel good yourself!
So, try to perform the perfect smile in your everyday encounter.
2.
Poor legs and feet position
The position of your legs and feet are more subconscious and therefore, more difficult
to control.
Yet it can convey your insecurity and give away your state of mind or hidden intentions.
The way you place your legs when sitting can also reveal something about your personality.
People choosing position 1 (knees together, feet apart) project an image of somebody childish,
insecure, and dreamy.
Position 2 (Crossed legs) may reveal a defensive, distant, or closed-minded attitude.
Position 3 signals dominance and significance.
However, it also reveals arrogance and is often inappropriate and impolite in formal
situations.
Position 4 (Parallel legs) is a neutral position, making you look open and calm.
Position 5 is more common for women and makes them look more feminine and attractive.
3.
Not mirroring others
Mirroring allows you to build rapport with others.
It also develops trust and allows you to engage in deeper conversations.
Research shows that although men find mirroring harder than women,
women are more influenced by mirroring and find men who repeat their gestures or posture
more attractive.
4.
Incorrect position of fingers and hands
Rubbing of palms or placing the fingers of one hand over the fingers of the other hand
to form a "steeple" should be used with caution.
They may give the impression that you are trying to deceive another person or impose
your thoughts rather than convince them.
This is due to our believe that doing that is a sign that someone has an ulterior motive
behind it.
5.
Fidgeting
Fidgeting with your hair, hands, phone, or any other object can be distracting for your
communication partner and prevent them from focusing.
You, on the other hand, will appear weak and distracted, although a recent study shows
that fidgeting helps one to retain information better.
Don't look at your phone or watch while talking to somebody, especially someone you
just know or one that you need to give respect, because it is rude and shows that you are
not interested in the conversation.
6.
Inappropriate eye contact
This is the reason why we need to perform an excellent eye contact.
Avoiding eye contact makes you look unprepared or unprofessional in a business meeting and
insecure or insincere during a date or at a party.
On the other hand, according to the body language expert Carol Kinsey Goman, too much eye contact
could seem rude, intimidating, and hostile.
7.
Weak handshakes
You know, handshake is a certain thing any interviewer will use to determine your character.
A firm handshake is important.
Someone with a weak handshake can be viewed as lacking authority and confidence.
Although, if your handshake is too strong, you may be perceived as aggressive.
One of the worst handshakes is called a "wet fish handshake",
a weak handshake with cold and sweaty hands that gives the impression of a person who
is weak in character and cold in nature.
8.
Crossed arms
I have mentioned it before in my previous video.
Standing or sitting with crossed arms is a defensive position,
which can give the impression that you are neither impressed nor interested.
Holding your arms parallel to the body, on the other hand, shows that you are open for
conversation.
Even better, holding your hands back shows your superiority, power, and confidence.
However, according to some research, crossed arms indicates greater persistence when dealing
with difficult tasks.
So, keep in mind that you need to be careful in this situation.
9.
Exaggerated gestures
When a person is moving their hands wildly, it signals a lack of confidence and professionalism.
It's no surprise that nervous movements such as cracking your knuckles, playing with
your hair, or biting your nails and lips make you look anxious and insecure.
Yet the absolute lack of gestures can be harmful as well and signal a loss of interest.
So, monitor your hand and arm movements in every important encounters.
10.
Poor posture
Standing with your shoulders drooped makes you look insignificant, weak, and unconfident.
If you slouch in your seat or lean too far back, it signals to others that you are too
comfortable and disinterested in what you are doing.
If you are still not convinced, there is scientific proof that slouching can lower your mood and
self-esteem.
Well, that's the 10 body language mistakes you need to fix as soon as possible in order
to make the full use of our body language.
Really cool information isn't it.
Please share your thoughts and experiences in the comments below!
Don't forget to subscribe to our channel and watch all our other amazing videos!
Thanks for watching!
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FUN Breakfast Ideas for KIDS + What They Ate || Bunches of Lunches | Breakfast Ideas For School - Duration: 10:45.
FUN Breakfast Ideas for KIDS
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