How to do the inbetweeners dance one direction
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ponderingjon
Jon
The Inbetweeners singing One Direction #onedirection #inbetweeners #radio #music #fyp
35.5K Likes, 3.4K Comments. TikTok video from Jon (@ponderingjon): "The Inbetweeners singing One Direction #onedirection #inbetweeners #radio #music #fyp". Inbetweeners singing One Direction. original sound.
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original sound - Jon
chick3nandchilli
Chonce ;)
🥺🥺 #onedirection #inbetweeners #onedirectionreunion #onedirectionreunion2020 #british #irish #fyp #fypシ
2. 3K Likes, 19 Comments. TikTok video from Chonce ;) (@chick3nandchilli): "🥺🥺 #onedirection #inbetweeners #onedirectionreunion #onedirectionreunion2020 #british #irish #fyp #fypシ". One direction doing the ICONIC inbetweeners dance 👑👑. original sound.
10.1K views|
original sound - Chonce ;)
giadaabrivio
giada🌹
What a dancer💃🏽| #harrystyles #louistomlinson #niallhoran #liampayne #zaynmalik #onedirection #onedirectiondances #fyp #foryoupage #foryou
74.5K Likes, 215 Comments. TikTok video from giada🌹 (@giadaabrivio): "What a dancer💃🏽| #harrystyles #louistomlinson #niallhoran #liampayne #zaynmalik #onedirection #onedirectiondances #fyp #foryoupage #foryou". One direction dances | Inbetweeners dance | Stop the traffic, let em through | .
... 1d dance challenge.
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1d dance challenge - sonflourvol.6
hsfineline
harry videos🤍
inbetweeners dance but focused on niall😂 bless him🥺 #onedirection #niallhoran #brighterinside #foru #foryoupage @niallhoran
60K Likes, 778 Comments. TikTok video from harry videos🤍 (@hsfineline): "inbetweeners dance but focused on niall😂 bless him🥺 #onedirection #niallhoran #brighterinside #foru #foryoupage @niallhoran". original sound.
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original sound - harry videos🤍
wanditiktoks
☺︎︎ wanditiktoks ☺︎︎
moments every directioner should know: video diaries edition🤍 #onedirection #niallhoran #liampayne #louistomlinson #harrystyles #zaynmalik #fypシ #1d
179.
1K Likes, 1.7K Comments. TikTok video from ☺︎︎ wanditiktoks ☺︎︎ (@wanditiktoks): "moments every directioner should know: video diaries edition🤍 #onedirection #niallhoran #liampayne #louistomlinson #harrystyles #zaynmalik #fypシ #1d". inbetweeners dance GO! | VAS HAPPENING CELINE | zayn | .... original sound.
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original sound - ☺︎︎ wanditiktoks ☺︎︎
sonflourvol.6
sonflourvol.6
i made THE HARDEST dance challenge ever please do it xoxo #onedirection #1d #dancechallenge #directioners #1d2020 #1dchallenge
45.3K Likes, 308 Comments. TikTok video from sonflourvol.6 (@sonflourvol.6): "i made THE HARDEST dance challenge ever please do it xoxo #onedirection #1d #dancechallenge #directioners #1d2020 #1dchallenge". 1d dance challenge.
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1d dance challenge - sonflourvol.
6amymiller_15
Amy Miller
#onedirection #stealmygirl #inbetweeners #SportsDirectNaughtyList #jamesbuckley #jaycartwright #joethomas #simoncooper #simonbird #willmckenzie #blakeharrison #neilsutherland #radioone #mattedmodson #singing #foryou #fypシ #fyp
171 Likes, 6 Comments. TikTok video from Amy Miller (@amymiller_15): "#onedirection #stealmygirl #inbetweeners #SportsDirectNaughtyList #jamesbuckley #jaycartwright #joethomas #simoncooper #simonbird #willmckenzie #blakeharrison #neilsutherland #radioone #mattedmodson #singing #foryou #fypシ #fyp". One Direction finally reunite after six years to perform their single ‘steal my girl’ .
original sound.
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original sound - Amy Miller
coldlasagnahatemyself
britcom 👍
possibly my favourite video on the internet #theinbetweeners #jamesbuckley #joethomas #simonbird #blakeharrison #britishhumour #fy
535 Likes, 27 Comments. TikTok video from britcom 👍 (@coldlasagnahatemyself): "possibly my favourite video on the internet #theinbetweeners #jamesbuckley #joethomas #simonbird #blakeharrison #britishhumour #fy". the inbetweeners cast singing one direction on radio one | *my phone genuinely lagging from the sound*. original sound.
5786 views|
original sound - britcom 👍
alfieglanvill
alfie
who’s the best?#foryoupage #fypシ #foryourpage #foryou #getviral
43.
4K Likes, 378 Comments. TikTok video from alfie (@alfieglanvill): "who’s the best?#foryoupage #fypシ #foryourpage #foryou #getviral". original sound.
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original sound - alfie
The Directioner Dictionary
The Directioner DictionaryThe Directioner Dictionary
Anonymous
"Okay what was the "snake habitat" thingy??? Thanks a ton for creating this blog. Love you loads. ❤"
Liam tweeted this in 2013 and the fandom thought it was hilarious and it turned into a fandom joke
5 years ago on 11 Mar, 17 | 50 notes
tagged: #one direction #liam payne #1d #snake habitat #directioners #Anonymous
Anonymous
"Y/T/N"
typically it means “your/twitter/name” and it’s used in reader insert fics/imagines so you can imagine yourself in the story.
7 years ago on 29 Sep, 15 | 3 notes
tagged: #one direction #1d #directioners #Anonymous
Anonymous
"carrot"
a carrot has multiple meanings in the context of the 1d fandom.
it started in one of one direction’s x factor video diaries, where Louis said he “likes girls who eat carrots”
this started a slew of jokes as well as people coming to see them in carrot costumes, sending Louis carrots, etc.
the joke has died down as the fandom has grown and developed and now is used as a reference to fans who are relatively new to the fandom and still use jokes from the early days of the fandom.
7 years ago on 24 Mar, 15 | 11 notes
tagged: #one direction #1d #louis tomlinson #carrot #Anonymous
Anonymous
"what does @y/t/n mean?"
this isn’t really a one direction thing but i would assume @your/twitter/name
a lot of people use y/n (your/name) in reader-insert fanfiction or other things so readers can imagine themselves as the character.
7 years ago on 19 Mar, 15 | 2 notes
tagged: #one direction #1d #1d fanfic #one direction fanfiction #Anonymous
Anonymous
"NO!Jimmy Protested!"
In the X Factor video diaries week 7, Louis was “reading” a book and interrupted the other boys by shouting the quote “No! Jimmy protested.
” and it’s been a carrot joke ever since
7 years ago on 18 Jan, 15 | 11 notes
tagged: #no! jimmy protested #louis tomlinson #one direction #1d #fetus 1d #Anonymous
Anonymous
"Why did everyone all of a sudden call the boys "daddy".. I was busy with schoolwork since September and now everyone is calling them daddy whenever they tweet lol what's going on what the heck did I miss (so I guess define "daddy") thankssss"
basically it can be something (typically a woman) calls someone (typically a man) in bed, or if the man showers the woman with gifts/“takes care of her”
7 years ago on 18 Jan, 15 | 4 notes
tagged: #one direction #1d #daddy #liam payne #Anonymous
Anonymous
"What exactly is carrot merch?"
etc
7 years ago on 1 Jan, 15 | 2 notes
tagged: #one direction #1d #Anonymous
Anonymous
"What's 1d af mean?"
the “af” stands for “as fuck” so in full it’s “1d as fuck” which basically means you’re obsessed or you love them a LOT
7 years ago on 27 Dec, 14 | 5 notes
tagged: #this is hard to explain #for the record i dont take submissions anymore #but if you ask i'll answer #Anonymous
Anonymous
"What does your a carrot mean?"
A new fan who uses all the old jokes/phrases and doesn’t know the ropes of the fandom yet.
8 years ago on 26 Sep, 14 | 2 notes
tagged: #i think i've answered this one #Anonymous
Anonymous
"How do you stop being a carrot? :("
the term “carrot” is only used to describe brand-new directioners, ones who still use the terms “amazayn” and make jokes about carrots and “NO! Jimmy protested.”, etc.
we’re all carrots at some point, but I think to “stop” being a carrot means to mature as a fan, know the ropes of the fandom, and it usually just takes time.
it doesn’t really matter if you’re a carrot or not in the long run, as long as you love and support the boys. :) x
8 years ago on 28 Dec, 13 | 8 notes
tagged: #wow i havent posted on this blog for a long time #Anonymous
Lead-follow scheme in social dances
This article is written on the example of salsa, but it is relevant with minor amendments for most social dances.
Any interaction in a couple implies the activity of both partners.
That is, the execution of any movement depends on how the partner gave an impulse or accompanied the partner, and on how she reacted. Thus, it would be appropriate to consider the interaction in a pair from two sides, one of which we will call “leading”, and the other, female, “statement”.
Both parties rely on a number of basic principles, which we will try to reveal below.
Principle 1st. Volume
Both in management and in the statement we are dealing with “information” that passes from the partner’s hips into his hands and then into the partner’s hands, through the body into her hips. Actually, it is in the interests of both partners to ensure the fastest, complete and understandable transfer of this information. The moment of "understanding" depends on the partner, but the speed and volume - on both participants in the dance.
In order to explain how to transmit and receive this information, we use the concepts of "volume" and "frame".
Frame is a set of key points in the dancer's body, the connection of which allows the transmission of impulse. The frame includes 4 points of the body - “shoulder blades” and “hips”. The continuation of the frame is the volume - a set of points in the hands. The volume can also include the shoulder blades and even the elbows, wrists and fingers.
Thus, the blades are the place of "docking" of the frame and volume.
Contrary to the generally accepted understanding of volume as something static, we perceive it precisely as a dynamic characteristic. After all, for example, if the partner fixes her hands, this does not mean that she will take the lead. Volume manifests itself precisely at the moment of appearance of conducting. We can say that the volume is held by the fact that the lead passes through it without distortion. This is felt as a proportionality of the strength of the lead and the displacement of the partner's or partner's body, as well as the fixation of volume points and "collected" muscles.
The collected muscles are a state that is intermediate between relaxed (when the arms hang) and tense (when the muscles in the arms protrude). Imagine that you are balancing on the ground. In this state, the muscles are in good shape, but not clamped. This tone allows the impulse to pass completely, without stopping at any of the points in the volume.
In general terms, the guiding path looks like this: the partner's hips move, and the shoulder blades move along with them. The impulse from this displacement travels through the partner's elbows, wrists and fingers into the partner's fingers. It is then passed through the partner's elbows and shoulder blades into her thighs, causing a corresponding displacement in her body. That is, if the partner holds the volume well (all points are fixed, and the muscles are collected), then the slightest displacement of his hips will already be felt in the partner’s hands. It is the same with her: with the collected volume and frame, the impulse from the partner will pass completely to her hips, setting her in motion.
I must say that the moment of "response" to the partner's impulse occurs exactly when the partner does NOT distort her volume under the influence of his lead. If the partner holds the volume, then the partner's impulse will work in two directions at once - her movement and the response to the partner. Two in one. Thus, there is no need to think about answering your partner.
Common mistakes
It should be noted that maintaining volume is not an easy task. For a partner, she is generally one of the key ones. The mistake of many partners is that they think about the response to the partner's impulse, and begin to create their own impulses that "noise" the lead.
The partner does not create her own impulses, she only conducts the partner's impulses into her body.
Two types of errors can be distinguished: slips and clamps .
Overshoot is a displacement of any point of the frame or volume, which leads to a decrease or disappearance of the dribble.
Breakthroughs can occur at absolutely every point of the frame or volume. The most common is a slip at the elbow. The elbow flexes or extends during the lead, and this can happen to both partners. Leaks in the fingers and shoulders are also common.
Clamp is a muscle tension, usually chest or arms, which leads to "pinching", "silencing" the lead. Clamps are most common with female partners as they try to "not miss the impulse". As a result, they "eat" part of the partner's lead in the muscles. In this case, the dance turns into a fight.
The most common case of clamping in a partner is the so-called "handling". In this case, the partner does not transfer information from his own movement to the partner, but tries to inform her of guiding with his hands separately from the body. Then the muscles of the hands are more involved in the work, and the lead becomes illogical and rude. The partner is often abrupt, out of balance, “tearing” movements, etc. Such boys, as a rule, are not very popular among girls.
Principle 2. Movement
This principle is very closely related to volume, but still we felt it necessary to focus your attention on it separately, since movement is both the beginning and the end of progressive leading. It is important.
The dribble begins with the partner's movement, because only by moving can he inform the partner that she is moving. The partner, in turn, must remember that the ultimate goal of the lead is her movement. Leading should not remain inside the couple, it serves to ensure that the partners move relative to each other and understand where and why they are doing it.
Common mistakes
Everything is simpler here: either the partner stands still, or the partner. If the partner stands still, then he is forced to start leading her with his hands, which is fraught with danger - see above. If the partner does not go from leading the partner, then she becomes a difficult partner, as he increases the strength of the lead, and in order to resist him, she is forced to include the muscles of the hands separately.
He leads, she stands - what is it worth?
Principle 3. Continuity
There are many different points of view regarding the interaction of partners, especially in the NY style. Some argue that the partner should do everything herself, others - that not a single step without guidance. If we imagine these points of view as two poles of a continuum, then our version is somewhere in the middle, maybe a little closer to the right edge.
We start from the fact that social dances imply improvisation, that is, the partner will never be able to know for sure what the partner will require of her. Therefore, she needs constant contact, exchange of information with her partner, so that each new “message” is not a surprise for her, and she has a chance to respond to it in time and correctly.
In order to find a consensus between the two approaches, we have divided the partner's lead into "lead", "impulse" and "accompaniment". Accompanying in static is called "feeling".
If we translate the language of interaction into the language of communication, then these three types of interaction would correspond to the phrases:0004
Interaction - Communication
Impulse: "Let's go!" or a harsher "let's go!"
Leading: "we have an idea"
Accompanying, feeling: "Are you there?" or "I'm here, and you?"
Thus, it turns out that the partner and the partner are constantly in one of three types of interaction: accompaniment, leading or impulse. If both keep the volume, then the interaction is continuous, although not the same in different moments of the dance. The interaction of partners in the dance is never interrupted, it is only transformed
Principle 4. Grounding
This is also an extremely important principle, which, unfortunately, is not followed by many dancers. We have already said that dribble comes from shifting partner's weight. In fact, the interaction in a pair is the interaction of the weights of the partners.
And it is very important that these weights go to the floor. This means that with each step you should step on your foot and "drown" the weight in the floor. Only in this case, the partners will be able to compensate for each other's weights and be stable.
Common mistakes
When we turn, the weight really needs to be transferred to the center of the body, lifted off the floor, but if this position is maintained throughout the dance, then we risk “flying” over the floor without controlling the situation.
Partners who lead their partner without support on the floor are generally perceived as "unreliable", especially when dancing to fast music. Compensation for the partner's weight by the muscles of the upper part of the body does not allow her to lead in a timely manner, moreover, such partners usually have steps that diverge from the lead, and therefore they often lead not to the music. Partners cannot give their weight to such a partner, because they feel that in this situation he will fall on them, so the poor things are forced to perform all the figures on their own, and it is very difficult to fast music.
If the partner “leans” on the floor, then he is able to compensate for the weight of the partner, her inertia, and redirect in the right direction. If not, then most of the time is spent on the repayment of inertia in the muscles, and there is no time and energy left for leading.
"Flying" partners - this is the name of the girls who do not compensate for the weight of their partner with their own, but immediately follow him, as if they were already being led. Flying partners are common, they are often considered good because they are really well behaved. They immediately react to any weight that appears in the partner's hand as a dribble and follow him. In fact, it turns out that such partners always dance in the “accompaniment” mode. The disadvantage of such a list is that the time allotted for interaction is used for movement: partners often rush into music, change legs, and generally take an order of magnitude more steps than necessary. It’s fun to dance with such partners, but you won’t get a real buzz of mutual understanding.
Now more about the specifics of the male and female parts of the interaction.
In order to reveal the topic of dribbling as widely as possible, it is also necessary to single out 2 more types - translational and rotational dribbling. This, respectively, is driving in motion and in a turn.
If the forward lead of partners and partners is in many ways similar, then in the rotational lead, the role specificity in the dance is more than ever manifested. Let's try to open it.
Guidance can be characterized in terms of two parameters – momentum and trajectory. In translational dribbling they coincide in time, while in rotation they are divorced and alternate.
Partners
To inform the partner of the turn, the partner needs:
- Prepare the partner (in a good way it would be necessary)
- Rest on the floor
- Give her an impulse.
- Show trajectory and follow
- Catch
Partner preparation is needed so that the partner can be sure of the answer.
If the partner is informed that she will be rotated, then she is more likely to take the impulse and carry it into her body. If the turn starts suddenly, then an inexperienced partner can let her hand be taken away from her volume. This is usually uncomfortable and even painful. Since turning in most cases implies an impulse that is sharper and stronger than leading, it is worthwhile for the partner to warn the partner in a gentlemanly way.
The floor support, in our opinion, is an integral part of any rotational lead. The stop has two functions. First, it allows the partner to communicate force (momentum) through the body, from the floor to the arm. Such an impulse, as a rule, is much more restrained and softer for a partner. Then it is redirected by the partner's hand to the trajectory necessary for rotation. Secondly, the emphasis allows the partner himself to keep up with the partner if her turn was in progress. Resting on the floor, the partner controls his own body and is able to move it further behind the partner to the required distance.
The message of the impulse, as already mentioned, occurs through the body from the stop. The impulse given by the partner in time passes through its volume into the volume, and then into the body of the partner. The partner, as a rule, has several sources of impulses in the turn, but one of them - for sure - must be the partner's impulse. This allows the couple to remain in interaction and harmony all the time.
After giving the impulse to the partner, it is necessary to accompany the turn of the partner. In salsa there are a great many situations of turns, but if we take the classic ones, then in them the accompaniment occurs along the border of the partner's volume. For example, the partner puts her hand in front of her at an angle of 3 x 90 (between the shoulder and chest, between the lower surface of the shoulder and the body, between the elbow and shoulder). In such a situation, the boundary of the volume will be shown by its brush, which, in rotation, will describe the circle.
For the most comfortable turn, the partner needs to accompany the partner along this circle.
The rotation stop must be as gentle as possible. It also occurs on the border of the partner's volume. The best option is if the partner is warned in advance that the turn is ending, and she has the opportunity to stop on her own when the hand drops to the standard dribbling position. If the stop is more abrupt, then it is better that the partner absorb it if possible. In any case, letting your partner go into a turn and not stopping her is not good. Turning, the female partner counts on the support of the partner.
Partners
The beauty of rotational impulses for a partner is that, having correctly answered them, the partner already receives an impulse to turn from the partner and can rotate without applying almost any effort.
This, of course, does not apply to all types of turns, but to many of them.
The point of adopting a rotational lead is the same as a translational lead - the preservation of volume. Only this time it occurs at the expense of the pectoral muscles. In a tense form, they do not make the sheet heavy, but at the same time they do not allow the hands to both go inside the volume and leave it. You can feel them if you put your palms together in the middle of your chest and start pressing them against each other.
The female partner can take rotational dribble from three levels - upper, when her arm is bent at an angle of 3X90 (we call this position a frame), chest level, when her elbow is raised so that her forearm is parallel to the floor; and lower when her hands are in the standard position.
At the middle level - the level of the chest, guiding occurs, as a rule, only in one direction - inside the volume. When the partner's hand comes to the boundary of the volume, that is, when the angle between the shoulder and the body becomes straight, she needs to clamp the pectoral muscles.
In such a situation, the partner's impulse will immediately pass through the partner's volume into the frame, in the opposite direction to the leading hand, the thigh, and create a moment of rotation.
The situation is more complicated when the dribble occurs at the lower and upper levels. Here the partner can bring the hand both inside the volume and outside. When leading inside, the process of accepting an impulse occurs in exactly the same way as when leading at chest level.
When an impulse involves the disclosure of the partner's volume, it is most advantageous for ladies to receive it using a spring. Spring is a pairing in the pectoral muscles, which involves the distribution of resistance to the conduct of a partner. So, if it leads to the left wrist, then the right one resists. If the partner manages to distribute the resistance in this way, then at the moment when the partner gives her an impulse to turn, she, as it were, slams into her volume to the hand into which the impulse was imparted.
When the hands come into volume, an impulse is formed in the body, which turns the partner.
The use of a spring offers several advantages:
The spring multiplies the momentum given by the partner. I don't know why this is happening, but it is so =)
If the turn involves advancement, then the spring helps the lady to stay on the line, despite the man's momentum, which is directed along the arc.
The spring maintains the axis of rotation, since the position of the partner's body at the moment of release of the impulse is symmetrical.
It must be remembered that all manipulations with the partner's impulse occur within the partner herself and do not concern the partner. As well as in translational dribbles, in rotations the female should not deliberately respond to the partner on his dribble, this redistributes the tension in her body and can spoil the turn. In addition, unnecessary resistance makes the turn difficult for both partners.
The response to the partner's impulse also occurs at the moment when the partner collects the pectoral muscles and does not allow the volume to break.
Naming these principles and rules of keeping and records, we, of course, do not pretend to be absolute completeness and objectivity of all of the above. All of them are the result of observation, training, reflection, trial and error, which, we hope, will help make your interaction with a dance partner a little clearer and more enjoyable. Enjoy mutual understanding!
Material taken from here.
Ukrainian nationalists attacked the city of Stakhanov in the LPR. News. Channel One
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Ukrainian nationalists this night attacked the city of Stakhanov, this is in the Luhansk People's Republic. The shelling of the settlement was carried out from the American HIMARS multiple launch rocket system.
There are no reports of casualties or damage yet. And in the DPR late in the evening the day before, militants rained down shells on Yakovlevka and Yasinovataya. In Kremennaya, a woman was killed as a result of a strike by nationalists, and another person was injured.
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Operational information on the progress of Russia's special military operation in Ukraine; The United States refused to transfer high-tech MQ-1C Gray Eagle drones to Ukraine in order to avoid an escalation of the conflict with Russia.
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Up-to-date information about the course of the Russian military special operation in Ukraine. US President Joe Biden said that the United States did not give Ukraine carte blanche and are not going to unleash a third world war.
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Rock musician and founder of the legendary Serga group Serga Galanin told why, unlike many colleagues, he is not afraid to publicly support his people and his country, how he treats ill-wishers and what true patriotism is for him.
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Operational information on the progress of Russia's special military operation in Ukraine; Joe Biden said he intends to run for President of the United States in 2024, regardless of the outcome of the Congressional elections.
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Up-to-date information on the course of the Russian military special operation in Ukraine. Russia celebrates the Day of the employee of the internal affairs bodies. US President Joseph Biden said that aid to Ukraine will not stop after the election.
Report by Yuri Podolyaka. Big game. Fragment
The latest news and reports on the course of the special operation in Ukraine from the well-known journalist and blogger Yuriy Podolyaka: offensive in the Kherson direction, battles near Ugledar, attacks on Artemovsk and Soledar.
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Yury Podolyaka: “The front line in the southern direction is now stabilizing along the Dnieper for many months, and the main burden of the fighting will finally move to the Donbass, to the Vuhledar-Svatovo line.”
We are alive! Fragment
Host Alexander Mozgovoy went to the closed training ground of the "Republican Center for Unmanned Systems named after Hero of Russia and the DPR Vladimir Zhoga" to find out who controls unmanned aerial vehicles, without which neither artillery, nor infantry, and even more so reconnaissance.
