Eto

Baby I see this world has made you sad
Some people can be bad
The things they do, the things they say
But baby I'll wipe away those bitter tears
I'll chase away those restless fears
That turn your blue skies into grey

Why worry, there should be laughter after pain
There should be sunshine after rain
These things have always been the same
So why worry now

Baby when I get down I turn to you
And you make sense of what I do
I know it isn't hard to say
But baby just when this world seems mean and cold
Our love comes shining red and gold
And all the rest is by the way

Why worry, there should be laughter after pain
There should be sunshine after rain
These things have always been the same
So why worry now

You can see it in a clear blue sky
You can see it in a woman’s eyes
You can hear it in your baby’s cries
You can hear it in your lover’s sighs
You can touch it in a grain of sand
Yeah hold it right there
In the palm of your hand
Feel it ‘round you everyday
And hear what I’ve got to say

God gave me everything I want
Come on
I’ll give it all to you
God gave me everything I want
Come on
I’ll give it all to you

I saw it in the midnight sun
And I felt it in the race I won
And I hear it in the windy storm
And I feel it in the icy dawn
And I smell it in the wine I taste
And I see it in my father’s face
And I hear it in a symphony
And I feel it in the love
You show for me

Yeah
God gave me everything I want
Come on
I’ll give it all to you
God gave me everything I want

Come on
I’ll give it all to you
God gave me everything I want
I can’t stop can’t stop
I’m still looking now
God gave me everything I want
Oh come on
I’ll give it all to you

Crazy you said
It’s all in your head

God gave me everything I want
Come on
I’ll give it all to you
God gave me everything I want
Come on
I’ll give it all to you

getting crazy on the waltzers but it's the life that i choose
sing about the sixblade sing about the switchback and a torturetattoo
and i been riding on a ghost train where the cars they scream andslam
and i don't know where i'll be tonight but i'd always tell youwhere i am

in a screaming ring of faces i seen her standing in the light
she had a ticket for the races just like me she was a victim ofthe night
i put a hand upon the lever said let it rock and let it roll
i had the one arm bandit fever there was an arrow through myheart and my
soul

and the big wheel keep on turning neon burning up above
and i'm just high on the world
come on and take a low ride with me girl
on the tunnel of love

it's just the danger when you're riding at your own risk
she said you are the perfect stranger she said baby let's keep itlike this
it's just a cake walk twisting baby step right up and say
hey mister give me two give me two cos any two can play

and the big wheel keep on turning neon burning up above
and i'm just high on the world
come on and take a low ride with me girl
on the tunnel of love

well it's been money for muscle another whirligig
money for muscle and another girl i dig
another hustle just to make it big
and rockaway rockaway

and girl it looks so pretty to me just like it always did
like the spanish city to me when we were kids
oh girl it looks so pretty to me just like it always did
like the spanish city to me when we were kids

she took off a silver locket she said remember me by this
she put her hand in my pocket i got a keepsake and a kiss
and in the roar of the dust and diesel i stood and watched herwalk away
i could have caught up with her easy enough but something musthave made me
stay

and the big wheel keep on turning neon burning up above
and i'm just high on the world
come on and take a low ride with me girl
on the tunnel of love

and now i'm searching through these carousels and the carnivalarcades
searching everywhere from steeplechase to palisades
in any shooting gallery where promises are made
to rockaway rockaway from cullercoats and whitley bay out torockaway

and girl it looks so pretty to me like it always did
like the spanish city to me when we were kids
girl it looks so pretty to me like it always did
like the spanish city to me when we were kids

I read all the letters, I read each word that you've sent to me
And though it's past now, and the words start to fade
All the memories I have still remain

I've kept all the pictures, but I hide my feelings so no-one knows
Oh sure my friends all come around, but I'm in a crowd and own my own
It's 'cos youre gone now, but your heart still remains
And it will be here if you come again
You see I'd heard the rumours, I knew before you let me know
But I didn't believe it, not you
No you would not let me go

Seems I was wrong, but I love... I love you the same
And that's the one thing that you can't take away
But just remember.....

If leaving me is easy,
And you know, comming back is harder ...

There is a tide in the affairs of men,
Which, taken at the flood, leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows, and in miseries.
On such a full sea are we now afloat;
And we must take the current when it serves,
Or lose our ventures.
 
Brutus. Julius Caesar Act IV Scene 3: Within the Tent of Brutus.

 

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou owest;
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breath, or eyes can see,
So long lives this, and this gives life to thee.

Sonnet #18

Witch #1:
When shall we three meet again,
In thunder, lightning or in rain?

Witch #2:
When the hurlyburly's done,
When the battle's lost and won.

Witch #3:
That will be ere the set of sun.

Witch #1:
Where the place?

Witch #2:
Upon the heath.

Witch #3:
There to meet with Macbeth.

Witch #1:
I come, Graymalkin!

Witch #2 or all witches:
Paddock calls.

Witch #3 or all witches:
Anon!

All witches:
Fair is foul and foul is fair:
Hover through the fog and filthy air.

Forgotten dreams lost inside
Hide your tears from others pride
Feelings so cold habits grow old
Lost my mind in emptiness
Dispersing questions not answered at all
hunted by reality

Faced with ordinary life eye to eye with the truth
Boring jobs build a senseless world
Tell me what can I do?

Let these days pass by Don't believe a lie!
Escape from reality

Welcome to dreamers island
leave all your sorrows leave all your troubles behind
Travel to dreamers island start a new life!
Better time will begin

My mind's full of Gods degrees
Will it be my destination?
Preachers word a better life will lead to dependence

dosao ponovo.
jutros dobio neki klasicni spam mail. Ono totem tantra i ta sranja.
kaze: instrukcije za zivot.
pomazi druge, voli se i sta ti ja znam. cisto da ne obratis paznju na tekst.
a onda vidio super uputu. jedi puno neobradjene rize.
covjece dokle ljudska glupost ide. jedimo neobradjenu (po mogucnosti i sirovu) rizu i bit ce nam super u zivotu.
kako se sam nitko nije toga do sad sjetio.
iracana je toliko stradalo zadnjih 10-20 godina jer nisu jeli dosta neobradjene rize, amerikanci su zaboravili na rizu i dobili 11.09.
a bogami ni hrvati se rizom nisu iskazali pa su dobili sranje sa srbima.
a da ne spominjem osobni plan. propustio sam jebenu sedmicu
jer, blesav kakav jesam, se nisam sjetio natrpati neobradjenom rizom. 
zato ljudi navalite na rizu i bit ce vam super. tako kaze totem tantra. da, naravno, kad se najedete posaljite neki spam na 100 adresa jer vam se inace nece ispuniti zivotni san.
laku noc.

Striding and Gliding
If stopping is the most important maneuver in inline skating, striding and gliding is the essence of the sport. This is the core skill to master. When you become good at striding and gliding, you’ll become an effective skater in terms of your movements, as well as an efficient skater when it comes to conserving energy. Why?
Because your wheels spend a minimum amount of time on the pavement, which reduces your rolling resistance. This means you won’t have to work as hard to reach a certain distance. This is an important factor when skating on long trails.
To stride and glide:

Stand in the ready position.
Drop into a staggered stance with your right skate out front.
Using the inside edge of your left skate, push outward to your left side as far as possible toward the ten o'clock position.
You have now taken your first stride.

While your left skate is in the air, glide forward with your full weight on your right skate to provide directional stability. You have now taken your first glide.
Circle your left skate back under your body until it returns to the home position next to the gliding skate.
Using the inside edge of your right skate, push outward to your right side as far as possible toward the two o'clock postion.
Glide forward with your full weight on your left skate.
Circle your right skate back under your body until it returns to the home position next to the gliding skate.
Repeat steps 3 through 8 above from side to side.
 
Tip: When you push outward and to your left side as far as possible, you’re actually using the inside edges of all four wheels of your left skate to accomplish the striding part of the maneuver.
Drill #6: Two-sided Striding and Gliding with a Heel Stop
Make a chalked line about 40 feet from the boards, if you’re in an outdoor rink, or about 40 feet from the wall, if you’re in a schoolyard or church compound.
To stride and glide from side to side:

Stand in the ready position along the boards or next to the wall of the school or church.
Move your body into the staggered stance.
Stride and glide towards the chalked line.
Do a heel stop just before you get to the line.
Return to the starting position.
Repeat the drill 20 times.
 
Drill #7: Single-sided Striding and Gliding
The following is a great drill for those who are having trouble getting the feel of the striding part of the maneuver. With this drill, you’re forced to do the stride on one side only. This repetition should help you to coordinate the necessary movements in your legs so you’ll be able to handle the striding action more easily when you return to the regular two-sided stride and glide.
If you have not already done so, make a chalked line about 40 feet from the boards, if you’re in an outdoor rink, or about 40 feet from the wall, if you’re in a schoolyard or church compound.
To stride and glide on one-side:

Stand in the ready position along the boards or next to the wall of the school or church.
Move your body into the staggered stance.
Push outward to your left and slightly back with your left skate using the inside edges of all four wheels.
While you left skate is in the air, glide forward with your full weight on your right skate.
Circle your left skate back under your body until it returns to the home position.
Push outward to your left again and slightly back with your left skate.
Glide forward again on your right skate.
Circle your left skate back under your body until it returns to the home position.
Keep striding and gliding on your left side to the end.
Repeat the drill on your left side.
Switch sides and do the same drill on your right side.
 
Summing Up
Practice the staggered stance, heel stop, parallel turn, and stride and glide maneuvers until you feel relaxed and your confidence level begins to improve. Depending on the individual, it should take about twelve hours of practice time or six two-hour sessions.
When you’re skating in a controlled and relaxed manner, and the procedures in this lesson start to become second nature, it’s time to move on to trail skating. Congratulations! You’ve accomplished a lot in a short period of time.
 

Turning
Turning effectively on inline skates requires edging and weight transfer, which are the basic skills involved in alpine skiing and parallel turning.
To make one turn to your right:

Push off with both skates.
Skate a short distance to gain speed.
Go into a staggered stance with hands out front.
Keep your feet about 10 to 12 inches apart.
The heel of the right skate should be about even with the toe of the left skate.
Place more pressure on the outside edges of the wheels of your right skate by pushing down with the ball and big toe of your right foot.
While shifting your weight in this manner, be sure to also move your upper body and arms in the direction you want to go.
This helps to compliment the above movement in the lower body.
Point your hips and feet to the right.
Keep you legs together and coast to a stop.
 
To make one turn to your left:

Push off with both skates.
Skate a short distance to gain speed.
Drop into a staggered stance with hands out front.
Keep your feet about 10 to 12 inches apart.
Place more pressure on the outside edges of your left skate by pushing down with the ball and big toe of your left foot.
While shifting your weight, be sure to move your upper body and arms in the direction you want to go.
Point your hips and feet to the left.
Keep your legs together and coast to a stop.
 
You’ve just completed a turn to the right and a turn to the left. Practice the drills below to get used to doing linked parallel turns, and turning in a circular motion.
Drill #4: Parallel Turning with a Heel Stop
To set up the pylons for parallel turning:

Place six pylons or the equivalent to form a flat, ski-like racing course.
Draw a chalk line at the end about 5 to 10 feet after the last pylon.
Draw a chalk line at the start about 10 to 15 feet before the first pylon.
 
To link six turns together:

Push off from the starting line.
Skate three strides to gain some speed.
Place more pressure on the outside edges of your right skate.
Point your hips, feet, and upper body to the right.
Complete the turn to your right by coasting around the first pylon.
Now, place more pressure on the outside edges of your left skate.
Point your hips, feet, and upper body to the left.
Complete the turn to your left by coasting around the second pylon.
Make four more linked turns as you roll through the course.
Do a heel stop at the chalk line at the end of the course.
Return to the starting line.
Repeat the drill 15 times.
 
Drill #5: Turning on an Elliptical Track
To set up the track:

Space the six pylons or equivalent in an elliptical track.
 
To turn on an elliptical track:

Skate continuously around the track for 15 minutes.
Reverse directions.
Skate continuously around the track for an additional 15 minutes.
Tip: In the Advanced Skating Techniques, we take it a step further and do linked parallel turns in a quick, dynamic, and rhythmic manner by rolling the ankles to initiate the next turn. For now, just get used to the movement and the feeling you get in your lower body by linking several turns together. Later, we’ll work on your mechanics and fluidity.

Stopping
The heel stop is a critical skill for all inline skaters to learn. You employ the brake at the rear of your right skate brake for this stop. Your body weight needs to be centered or even slightly on your back skate when you’re just learning the heel stop. The keys are a straight back and bent knees.
To apply a heel stop:

Move into a staggered stance with your break skate out in front.
Once you feel stable, bend forward at the hips and knees.
Extend your braking skate forward.
Lift your toes up in the front of your braking skate.
Press down with your heel on the brake.
 
Tip: You may find that you aren’t slowing down enough or not getting enough toe and heel action for braking. This is very common with beginners.
If this is happening to you, you need to get further down in the knees during step #2 when you bend forward at the hips and knees.
You should actually feel it in your quads as you drop further down. When you can feel it in the quads, you’ll get the necessary heel force on your brake to slow down. Remember to keep a straight back at all times.
Drill #1: Static Heel Stop
Practice the heel stop maneuver while standing still on level pavement in an outdoor rink, school playground, or church compound. Perform this procedure until you feel comfortable with it, then move on to the second drill.
Drill #2: Straight Running and Single Heel Stop
The idea behind this drill is to force you to stop on or before the line, but not after the line. This means you need to apply a lot of braking action in a relatively short distance.
To apply a single heel stop after a straight run:

Make a chalked line about 20 feet out from the boards at one end of the rink or from the wall of a school or church.
Stand along the boards of the rink or along the wall of the school or church.
Push off, pick up some speed, and skate towards the line.
Apply a single, heel stop about three feet before the line.
Return to the starting position.
Repeat the drill twenty times.
 
Drill #3: Straight Running and Multiple Heel Stops
The following drill teaches you to pump your brake until you come to a complete stop on or before the line. You apply less force each time you brake, but brake more often by repeating the braking action up to three times.
To apply multiple heel stops during a straight run:

Make a chalked line about 40 feet out from the boards or wall.
Stand along the boards of the rink or along the wall of the school or church.
Push off and gather quite a bit of speed.
Apply a quick, heel stop about twenty feet from the line.
Return to a staggered stance.
Coast about five feet.
Apply a second, quick, heel stop about ten feet from the line.
Return to the staggered stance.
Coast about five feet.
Apply a third, heel stop, if needed, so you stop completely on or just before the line, but not after the line.
Return to the starting position.
Repeat the drill ten times.
 
The above drill should appeal to beginners who are having trouble bending deep enough at the hips and in the knees to get the necessary braking action to stop completely after a single, heel stop. You should not depend on just a single, heel stop to bring yourself to a complete stop immediately, especially when skating at higher speeds.
Tip: Instead, use the action from one application of the brake to slow yourself down to a comfortable speed, then ease off the brake and continue to skate. If you want to come to a complete stop, pump the brake a second or third time, as necessary.

 
First, we establish the proper stance and balance for inline skating. Second, we delve into the most important maneuver of all, the heel stop. Next, the best way to turn on inline skates is covered including edging and weight distribution. Finally, we put it all together with the striding and gliding procedure, which prepares you to skate efficiently and effectively.
Stance and Balance
Establishing a good athletic stance and balance is of prime importance to the novice skater. A proper posture is essential for the mastery of the procedures that follow.
To establish a regular skating stance:

Stand in the ready position.
Place you hands out in front of you.
Bend your arms at the elbows to a 45-degree angle with your upper body.
Bend at the knees, so that your weight is on the balls of your feet.
You should feel your lower shins pressed against the tongues of your skates.
Bend forward slightly at the waist as if sitting in a chair.
 
That's it! You’ve now established the correct skating stance to maximize your balance. Your center of gravity is now centered over your skates. You should be able to draw an imaginary line from your shoulders, through your hips, and down to your ankles.
Now, let’s take it a step further and add a staggered positioning of the feet. This works to improve your stability and allows an inline skater to absorb bumps and vibrations while remaining in balance at all times.
To establish a staggered skating stance:

Repeat steps 1 through 5 from the above procedure.
When you’re ready, separate your feet until they are about 10 to 12 inches apart.
Position your right skate out in front of you while your left skate remains behind.
Adjust this staggered positioning until the heel of the front skate is about even with the toe of the back skate.
 
There you have it! The staggered stance keeps you stable, centered over your skates, and in balance.
Remember to keep your muscles relaxed. You’ll be able to handle varied terrain and changing speeds, as well as conserve energy and avoid fatigue, if you learn to relax.

Veliki ljudi,
riba vam se čudi!
Riba u rijeci pliva,
a ne vaša stara cipela
il boca piva.
Veliki ljudi,
Ptica vam se čudi!
zrakoplovi i ptice lete,
a ne kroz prozor
nečiste salvete.
 
A sad djeca velike ljude
savjetima nude:
Ostavljajte smeće u papirnate vreće!
Učinite ljepši naš svijet!
Ostavite prostor ptici za let!    
 
M. Jurela

MALI je medo razljutio mamu medvjedicu i ona ga je istjerala iz brloga. Išao medo tužan šumom, išao i brundao si u bradu, a kad se umorio neveselo je sjeo na stari panj. Zapuhnuo vjetrić i stao plesati oko njega. - Što si se pokunjio, medvjediću? - upitao vjetrić brundavca, igrajući se njegovom svilenom dlakom. - Nitko me ne vo-o-o-li-zacvilio je medo, okrećući glavu od nasrtljivog povjetarca. Evo, ni ti me ne voliš, kad mi ne daš mira! - A zašto da te volim?- čudio se vjetrić. Nikakvo mi dobro nisi učinio - reče, puhne medi u obraze i odleti dalje. A medo ostao još tužniji. Prolazio onuda mrav, vidio žalosnog medvjedića i upitao ga: - Zašto si tužan, medvjediću? - Nitko me ne voli - zajeca medo, a sitne mu se oči napune suzama. - Ja te volim - rekao je mrav. - A zašto?- zinuo je medo i šapicom obrisao suzu. - Nisi mi zgazio mravinjak jučer kad si plesao svoj medvjeđi ples - odgovori mrav i ode po šumskom puteljku. A medo ostane uzdišući dalje. Na nedaleku granu sjela grmuša. Cvrkutala je nešto i ugledala medvjedića koji je spustio glavicu i šmrcao, šmrcao…. - Zašto si tužan medvjediću? - upita ga ptičica. - Tužan sam, jer me samo mrav voli - odgovori medo. - Pa i ja te volim! - zacvrkuće grmuša. - Kako to? - živne medo, znatiželjno gledajući u nju. - Jučer si tresao stablo i nisi stresao moje gnijezdo u kojem su jaja! - reče ptica, pa odleti. Medo šapicom obriše i drugu suzu. Očice su mu sada bile malo sjajnije, ali je i dalje bio tužan. Iz skrivene dublje u dnu starog hrasta proviri mladi puh. Ugleda medvjedića i zapita: - Hoćeš li se igrati sa mnom? - Neću! - reče medvjedić - vidiš da sam žalostan. - A zašto si žalostan? - Nitko me ne voli - šmrcne medo, ali se brzo ispravi - vole me samo mrav i ptičica… - Pa i ja te volim! - kaže mali puh i iziđe iz skrovišta. - A zašto? - začudi se medo, a očice mu jače zasjaše. - Jučer nisi na krčevini pojeo sve jagode. I meni si ostavio malo - odgovori puh i začas nestane u zelenim granama. A medo je i dalje sjedio na panju, lupkao nožicama i trljao šapicom nosić. Na trenutak je zadrijemao, a kad je otvorio oči pred njim je stajala mama medvjedica. Tuga ode kao rukom odnesena. Dok se stiskao uz mamino meko krzno, tiho je pitao: - Zar me ti voliš, mama? - Kakvo pitanje! - pljesnula je šapama medvjedica - pa jasno da te volim - reče, privijajući čvršće svog malog sina. Kao dvije zvjezdice sjale su sada medine oči. - A zašto me voliš? - pitao je bez daha. - Zašto? - čudila se medvjedica - pa volim te, jer te volim… Medvjedić, još malo prije tako tužan, sretno je mislio: JEDINO ME MOJA MAMA VOLI SAMO ZATO- JER ME VOLI!
Anđelka Martić