關於 john i of france ，我們在網路上蒐集到這些相關的討論、資訊與評價

I have recently perused Nicholas Kristof’s NYT piece “China’s Man in Washington, Named Trump”(https://nyti.ms/3h2JXh8). One paragraph in particular caught my attention: “A joke in China suggests that Trump’s Chinese name is Chuan Jianguo, or “Build-the-Country Trump.” That’s because Build-the-Country is a common revolutionary name among Communist patriots, and it’s mockingly suggested that Trump’s misrule of the United States is actually bolstering Xi’s regime.”

Kristoff also avows that since Trump’s ascension to presidency, the American nation became highly polarized. This is reflected in the current administration’s policies on climate change, foreign relations with established U.S. allies, and COVID-19 prevention, all of which are rather ineffective. It also seems like Mr. Trump and his team diverged from the traditional priorities, including promoting free trade, human rights, and other quintessentially American values. As described thoroughly by John Bolton, all these factors contributed to the declining standing of the U.S. in global politics.

What is more, many people fall prey to CCP’s propaganda and its interpretations of Trump’s actions, which only enhances China’s reputation.

But that might not exactly be the case.

The CCP apparently failed to utilize the window of opportunity created by the ineptness of the Trump administration, as China could have grown to the position of a leader by filling in the void left by the U.S.

During the 2016 APEC Ministerial Meeting in Lima, Peru, Xi Jinping and his team actively supported the plans to establish the Regional Comprehensive Economic Partnership (RCEP) and a Free Trade Area of the Asia Pacific, or FTAAP. In contrast, the United States withdrew its signature from the Trans-Pacific Partnership (TPP) in early 2017. Coupled with China’s Belt and Road Initiative (BRI) and the establishment of the Asian Infrastructure and Investment Bank (AIIB), this move bolstered China’s capacity to influence global investments and trade, high-tech mergers and acquisitions, and, overall, expand its geostrategic influence on the entire globe.

At the same time, various propaganda films about great power competition, military industry, and science and technology surged all at once, and gained remarkable following around the world.

All this provided a window of opportunity for the CCP to slowly change its course. Around the same time, the distrust for POTUS among U.S. allies’ reached its apex. According to polls conducted by the Pew Research Center, the distrust for the U.S. president in the U.K. reached 75%, 72% in Japan, 70% in Australia, and stunning 86% in France.

Had the C.C.P,. begun to open up at that time, or at least resumed the governance style of the Hu-Wen administration, it could have reaped the benefits of promoting liberalism where the U.S. failed to deliver. It was the time for Beijing to gradually enhance freedom of speech domestically, pursue sustainable infrastructural projects, gradually reform unfair barriers to trade, transform its S.O.E.s, strengthen protections for private ownership, and vitalize its start-ups and enterprises.

Moreover, were China to cease the genocide in East Turkestan and refrain from cracking down on Hong Kong's semi-autonomy, it would have greatly enhanced its global international image. Additionally, if paired with slow but steady reforms, Beijing’s respect for sovereignty of its peoples would have attracted a large amount of foreign investment, which in turn would have continued to buttress the country’s growth.

It is China prerogative to remain idle.
It might still be possible for Chinese “Dream” to come true.
Yet, a historic window of opportunity is now closed.

Xi assumed the tools of proscribing and stalling, which are completely antithetical to the aforementioned window of opportunity.

Today, China is more authoritarian, less flexible, and fully deprived of horizontal accountability. Its reliance on wolf warrior diplomacy backfired: for example, the Swedish parliament sought to expel the Chinese ambassador to Stockholm. Also, Prague, the capital of Czechia, terminated its sister-city agreement with Shanghai and instead signed a new one with Taipei. Last but not least, we ought not to forget about the recent fiasco in the relations with the United States who ordered the shutdown of China’s consulate in Houston. All of this took its toll on China’s reputation.

Its international standing and inability to replace the U.S. as the major global power are not the only issues China is currently facing.
As it experiences multiple domestic and international shocks, China struggles to combat the COVID-19 pandemic and tame the disastrous floods of Yangtze River. The swarm of locusts of biblical proportions is also crippling Beijing’s institutional capacity and may soon lead to food shortages. In fact, the precarity of food supply further diminishes the level of trust for Chinese authorities.

In 2019, the Pew Research Center conducted a public opinion survey to examine the international views of China. In the U.S., Argentina, the U.K., Canada, Germany, and Ukraine, only about 30% of respondents claim a favorable view of China.

As the COVID-19 pandemic rages in the U.S., as many as 73% of U.S. respondents view China unfavorably.

Recently, the C.C.P. is losing its focus by continuously shifting targets. In fact, I believe there is no need for the C.C.P.to rely on nationalistic appeals, since in this new century values, business relations, and fair competition are all far more important than greater than delusive blood ties.
China lies only 130 kilometers away from us. Of course, we welcome dialogue and seek to avoid misjudgments. But we also distinguish between the C.C.P. and China. While we do welcome dialogue, but we will not be coerced to talk under unjust preconditions or in fear.

The only fair prerequisites are those of reciprocity, mutual respect as well as fairness and openness with respect for the rule of law.
Source: Pew Research Center

最近看到紐約時報中文版的一篇文章
<美國的川普，中國的「川建國」>，其中一小段是這樣的

「在中國，人們戲稱川普的中文名字是川建國。那是因為建國是共產黨愛國者中一個普遍的革命人名。它在諷刺地暗示川普對美國的治理不當實際上是在鞏固習近平的政權。」

裡面也提到，川普在任的幾年，國家更分裂，對於氣候變遷，傳統美國盟友，乃至於疫情處理等都相當拙劣，對於美國傳統的自由貿易、人權等價值也基本上都沒有太大興趣。這些方針，導致美國在世界的評價降低，波頓的新書也多有描述。

除此之外，許多不幸相信中共宣傳，又或者是中共圈養的小粉紅，特別故意愛宣傳川普增強中國的威望。

但這不是真的。

中共完全沒有掌握美國做得不夠好的地方，去增強其在世界的領導力。

在2016年時，秘魯的亞太峰會舉行期間，習近平政權爭取（RCEP）及亞太自由貿易區（FTAAP）談判；對比2017年初，美國剛宣布退出ＴＰＰ，加上中國到「一帶一路」和亞洲基礎設施投資銀行，中國當時在世界全面發揮投資貿易、高科技併購還有其地緣戰略的影響力。

也是那個時候，各種的大國崛起、大國軍工、大國科技的宣傳影片此起彼落，似乎正準備要在世界舞台發光發熱。

這曾經是中共慢慢轉向的一個機會之窗。彼時（2017)美國盟友對美國總統的不信任度達到歷史新高，根據皮尤研究中心的資訊，英國對於美國總統的不信任度達到75%、日本72% 澳洲70% 法國更高達86%

如果那時中共開始有限度的改革，對內放寬言論自由，或者至少維持在胡溫當時的水中，對外追求有責任的基礎建設，逐步緩慢減低不公平的貿易壁壘，對於國有企業改革，增強私營企業、新創企業的活力。

停止對新疆迫害，不干預香港自治，不僅國際形象會大幅改善，哪怕是緩慢但是穩健的改革，也會讓大量吸引外資，讓中國的活力持續前進。

哪怕是什麼都不做也好

那或許有這麽一點可能性，中國「夢」是可以前行的

但是歷史機緣的大門已經關上。

習、禁、停、放棄了這個機會之窗，徹底的走向相反的方向。

更專制、更沒有彈性，更沒有任何制衡的力量。各種戰狼外交，讓瑞典議員提案驅逐中國大使，捷克布拉格市長與台北簽訂姊妹是，就解散上海與該市關係、被美國關閉領事館、各種讓中國形象低下的事情，中共都沒有少做。

中共不但完全沒有辦法取代美國，在多重國內外的衝擊之下，又是瘟疫，又是超大水患，緊接著蝗害，還有進來的糧食不足問題，正在面臨巨大的瓶頸。

而糧食的命脈，卻恰恰又在對他最不信任，對中共價值最反對的國家聯盟

根據皮尤研究中心:Pew Research Center2019調查各國對中國的喜好度，美國、阿根廷、英國、加拿大、德國、烏克蘭等，對於中國的喜好度都在30%上下

而2020疫情後美國對於中國的不信任度，更高達73%。

最近中共在演習，又要玩轉移目標的手段，對於中共，其實不必再有民族主義的同情，因為新的世紀，價值、商業模式、公平競爭的制度大於血緣幻想。

中國離我們只有130公里的距離，我們當然歡迎對話，避免誤判。但我們同時也區分中共與中國，歡迎對話，但不在前提、條件、恐懼之下對話。

如果真的要有前提，那就是對等、尊重，還有公平公開法治的方式會晤。

資料來源：皮尤研究中心:Pew Research Center
（美國著名的民調機構和智庫機構，https://www.pewresearch.org/）

Leek & Onion Tart. At 【Michelin 1 🌟 Roganic/Aulis HK】. I am not sure how to explain this in a few words at all, but some of my best meals in my life were eaten in London actually 🇬🇧 . The Ledbury & sister shop Harwood Arms comes instantly to mind, and Fergus Henderson of St John I have also interviewed him before in HK.. 🤔
•
And then the likes of Fat Duck, Chef Heston Blumenthal I was always watching his episodes and driving 200kph in an Aston Martin to arrive at his restaurant. It was rather obvious that London was finally catching up with the likes of Spain, France Paris, and the coffee scene was somehow dictated by the Australians Antipodeans arriving in London. And then it all worked out and excelled afterwards! ❤️😋 @ Roganic Hong Kong

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

Thank you all for all the cool questions on Instagram! I tried to answer as many as I could. Some highlights that you can expect...

- when to speaking learning a language
- balancing multiple languages
- how I got into UI/UX design
- what language I'll teach my kids
- how to practice Chinese writing
- and moreeee!

? On the top left of the screen you'll see the question theme so you can easily navigate between answers.

? Things mentioned in the video:

- Skritter app for Chinese & Japanese (10% discount applied): https://skritter.com/?ref=lindiebotes&coupon=CHINESEWITHLINDIE

- How to make time for languages (article) https://medium.com/@lindiebotes/how-to-fit-language-learning-into-a-busy-schedule-6592d8a2a637

- How to learn Chinese (blog post) https://lindiebotes.com/2020/06/26/how-to-learn-chinese-characters/

- How to learn multiple languages video: https://www.youtube.com/watch?v=tdPvYrhc7u8

YouTubers mentioned
Farawaydistance, Femke, Polyglot Progress, John Piper, Alisa Childers

———
?SOCIALS

Insta → https://www.instagram.com/lindiebotes/
Website & resources → http://lindiebotes.com/
Twitter → https://twitter.com/lindiebee
FB → https://www.facebook.com/lindiebotesvideos/
Buy me a coffee → https://ko-fi.com/lindiebotes#
Book a session to chat → https://superpeer.com/lindiebotes


?ABOUT

Welcome to my channel! My name is Lindie and I share my love for languages through my polyglot progress and language learning tips here. South African by birth, I spent most of my life in France, Pakistan, the UAE and Japan. Now I work as a UI/UX designer in Singapore. I'm a Christian and strive to shine God’s light in all I do. May this channel inspire you to reach your language goals!

New here? Best videos → https://www.youtube.com/playlist?list=PLRCVN94KILKXGx45JKaVBSpPkrpXhrhRe
FAQ → https://lindiebotes.com/faq/


?EQUIPMENT

Camera → https://geni.us/CanonPowerShotG7
Mic → https://geni.us/RodeSmartLavMicr
Tripod → https://geni.us/ManfrottoTravel

———
Some links are affiliate links, and a percentage goes towards supporting my channel.
Collabs & partnerships: hello@lindiebotes.com

A throwback to my tomboy days. I first heard about the boy beat in an interview with Beyonce's makeup artist. This was her look in the formation music video where she was sitting on the police car. For him it was much more about brow and cheekbone but I wanted to add freckles and dark circles to really make it look boyish and Dane Dehaan- inspired. Other examples of this look would be Cara Delevingne's everyday or Taylor Swift's Wonder cover. It's very refreshing to take a break from using winged liner, overdrawn lips, exaggerated cat eyes just to achieve the goal of looking hyper feminine. Another cool thing about this look is it can serve as a base for anything. Add a red lip and it'll have an effortless South of France feel. Add some liner and you'll look like Shane from the L word. I hope you have fun playing around with this look!

THE CIGARETTE WAS A PROP.

➕ Products
- The Ordinary Coverage foundation in 2.0N
- Glossier Cloud Paint in Dusk
- RCMA no color powder
- Bed Head Mini Hard Head Hairspray
- ABH Brow Wiz in Ebony
- Glossier Boy Brow in black
- Pony Effects Contour Palette in Marvelous
- ViseArt Neutral Mattes Palette 001
- Kiko Eyeliner Dark Tide
- Pony Effects Brow Definer in Natural Brown

Allure article about the boy beat:
https://www.allure.com/story/boy-beat-makeup-trend-instagram-controversy

? Recent uploads:
DIY Microblading: goo.gl/RNWNYN
Intermittent Fasting: goo.gl/d3cSc2

?social media:
Snapchat: @sacheu
Instagram: @sacheu
Twitter: @chinesebritney
Facebook: @heysacheu
https://www.facebook.com/heysacheu/
Business Email: [email protected]

Thanks for watching/subscribing!
----------------------------------------­--
Song: LakeyInspired on Soundcloud
Camera: canon g7x mark ii

Watch Common Talks About Hong Kong After Winning Best Original Song | Oscars 2015:
http://youtu.be/5jcDMvgcPOo

Common started off the moving speech:

First off, I’d like to thank God that lives in us all. Recently, John and I got to go to Selma and perform “Glory” on the same bridge that Dr. King and the people of the civil rights movement marched on 50 years ago. This bridge was once a landmark of a divided nation, but now is a symbol for change. The spirit of this bridge transcends race, gender, religion, sexual orientation, and social status. The spirit of this bridge connects the kid from the South side of Chicago, dreaming of a better life to those in France standing up for their freedom of expression to the people in Hong Kong protesting for democracy. This bridge was built on hope. Welded with compassion. And elevated by love for all human beings.

Then Legend took to the microphone, building off those sentiments:

Thank you. Nina Simone said it’s an artist’s duty to reflect the times in which we live. We wrote this song for a film that was based on events that were 50 years ago, but we say Selma is now, because the struggle for justice is right now. We know that the voting rights, the act that they fought for 50 years ago is being compromised right now in this country today. We know that right now the struggle for freedom and justice is real. We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850. When people are marching with our song, we want to tell you that we are with you, we see you, we love you, and march on.

Transcript Of John Legend & Common's Oscar Acceptance Speech Proves "Glory" Has A Timeless Message
by SAMANTHA RULLO
@SAMRULLO

Source: http://www.bustle.com/articles/65840-transcript-of-john-legend-commons-oscar-acceptance-speech-proves-glory-has-a-timeless-message-video

Help us caption & translate this video!

http://amara.org/v/W8n6/