2020.3.6 17:57 更新:
好消息!在網友吳馥如的協助下,找到了方惠清女士住在彰化市的堂弟,也得知方惠清女士目前人在法國,我已將方女士堂弟的聯絡方式告訴尋人的李寶珊女士之女,希望這對好友能盡快取得聯繫,祝福她們!
【女兒代媽媽尋人】
原尋人文章以英文書寫,發文者是 Chung Phụng Anh,以下的中文內容為網友 Borcheng Hsu 代為翻譯。
==翻譯開始==
我的媽媽是潮州人,1959年生,從小住在柬埔寨,15歲被帶到紅色高棉集中營,與一位名叫 Que Chinh的女孩成為好友。
1979-1980年間,她們被釋放,逃到越南,也因為她們兩位的父親都慘遭毒手,所以感情特別好。後來Que Chinh的哥哥將她申請到台灣。
起初她和叔叔住在一起,她的叔叔開了一間賣零食的小店;我媽媽和她通過幾次信,她的地址是:
Guan Shin & Co
Chung Shan Rd, section 1
225 Alley, Chang Chua, Taiwan
Đài Loan, R.O.C.
(應該是台灣彰化中山路一段225巷)
不過後來我媽媽生了四個小孩,非常忙碌,等比較有空再寫信過去,信就被退回了。
我的媽媽現在62歲,目前住在美國波士頓,很想念 Que Chinh,希望能找到她。
==翻譯結束==
媽媽的名字是李寶珊(Lý Bửu Sang)
媽媽朋友的名字是方惠清(Que Chinh)
她的叔叔的名字是方克
以下為尋人原文:
Chung Phụng Anh shared her first post.
Aching Endeavor of Family Search
(some of the names have been translated into English by phonic sounds and might not be accurate, and my mom and I don’t know how to use Chinese keystrokes on computers).
My mom was a Chinese (Teochow) living in Cambodia, and a survivor of the Pol pot Khmer Rouge genocide. In the labour camp of the Khmer Rouge, a friendship was born between her and another lady who eventually settled in Taiwan. Now, my mom is living in Boston, MA, United States, and wishes to look for her endearing friend.
My mom’s name translated into Vietnamese is Lý Bửu Sang, her Chinese name is written on top of her teenage passport photo here. She was 15 when she was brought from Nong Phenh to the Khmer Rough labour camp, named something sound like Clok-By-Cam-Pot. There, she and her family made friends with a girl a year or so older than her, named Que Chinh, and her family. My grandpa and Ms. Que Chinh’s father was made to carry heavy loads of human feces for fertilization. He eventually died of inhuman condition in the camp, and Ms. Que Chinh’s father was killed off.
In1979-1980, my mom and Ms. Que Chinh were released and ran to Saigon, Vietnam. They met up regularly in Chợ Lớn (which means literally, Big Market) where gathered a large population of Chinese Vietnamese. The orphaned girls were as close as sisters.
Eventually, Ms. Que Chinh’s brother sponsored her to go to Taiwan. She initially lived with her uncle, who had a small shopping selling treats. They exchanged letters a few times at Mr. Que Chinh’s uncle’s address attached here (not sure if it's in the correct format):
Guan Shin & Co
Chung Shan Rd, section 1
225 Alley, Chang Chua, Taiwan
Ms. Que Chinh sent my mom three letters in which she attached her three photos here with the scenes in Taiwan, one of which was with her younger sister in the hats. The girl who turns around with the background of the mountain skyline is Ms. Que Chinh, and so is the girl with the background of the pagoda.
After that, my mom gave birth to 4 kids and became very busy at first. Then, when she finally had time and wrote to Ms. Que Chinh at the same address, the mail was returned.
To anyone who lives in Taiwan or knows anyone in Taiwan, please kindly help pass the words to Ms. Que Chinh. My mom misses her very much.
Thank you for your kind read...
同時也有4部Youtube影片,追蹤數超過22萬的網紅ASMR BlueKatie,也在其Youtube影片中提到,メアリと魔女の花の主題歌 RAIN - SEKAI NO OWARIを子守唄風にうたいました!ご視聴ありがとうございます!チャンネル登録してもらえると嬉しいです! Today I sang RAIN by SEKAI NO OWARI from the anime movie Mary and th...
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Share With Everyone!
This is the Kaohsiung MRT girl, exclusive to Taiwan.
Her name is Sora.💕
You can search K.R.T.GIRLS and get more information.
Or click the official link below.
前進吧!高捷少女《進め!高捷(たかめ)少女!》
Painter → 初夏
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Photographer→ NiNidad 楚門的相簿倉庫
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【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
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girl name search 在 ASMR BlueKatie Youtube 的最讚貼文
メアリと魔女の花の主題歌 RAIN - SEKAI NO OWARIを子守唄風にうたいました!ご視聴ありがとうございます!チャンネル登録してもらえると嬉しいです!
Today I sang RAIN by SEKAI NO OWARI from the anime movie Mary and the witch's flower! Thank you for watching and please subscribe!
Twitter: https://twitter.com/ASMRBluekatie
~ TRANSLATION ~
RAIN - SEKAI NO OWARI
Lyricist: Fukase・Saori
Composer: Nakajin・Fukase・Saori
We all do know
that magic will wear off one day
Moon is blooming
and sun has withered just now
Me that reflected in you
who hold out an umbrella for me
is looking dry
But me who reflected in the puddle
has gotten wet because of rain
This is just like a happiness
It feels like my tears almost out
I wonder,
What is the name of this feeling?
I awoke from a dream
of heavy rain fall
And tears have gotten dry in my cheeks
Rain was falling from the sky
where the rainbow spreads
Rainbow will vanish soon,
but rain will keep nurturing the plants
Rain was falling from the sky
where the rainbow spreads
Even if one day, the rainbow will vanish
We'll always gaze into the sky
In a pure white night,
The shadow of train running in the distant,
passing away by leaving
the both of us with the silence
It feels like I just want to run away,
It feels as if my heart is dancing
I wonder,
What is the name of this feeling?
Times when I turned my face away
in front of the mirror
Feel like a long long time ago
Rain was falling from the sky
where the rainbow spreads
Rainbow will vanish soon,
but rain will keep nurturing the plants
Rain was falling from the sky
where the rainbow spreads
I won't forget
that we gazed into the sky together
in a rainy day like this
Rain was falling from the sky
where the rainbow spreads
Rainbow will vanish soon,
but rain will keep nurturing the plants
Rain was falling from the sky
where the rainbow spreads
Even if one day, the rainbow will vanish
We will always gaze into the sky
After the rain, in the middle of garden
Flowers have bloomed
I guess, it must be fine now
Yeah, for the next rainy days
Let's search for an umbrella together
~ ROMAJI ~
Mahou wa itsuka tokeru to
Bokura wa shitteru
Tsuki ga saite
Taiyou ga ima kareta
Kasa wo sashidasu
Kimi ni
Utsuru boku wa nuretenai
Mizutamari ni utsuru boku wa
Ame ni nureteta
Shiawase na youna
Namida ga desou na
Kono kimochi wa
Nante iu ndarou
FAFUROTSUKIIZU no
Yume wo mite okita
Namida ga hoho de kawaite ita
Niji ga kakaru sora ni wa
Ame ga futteta nda
Niji wa izure kieru kedo
Ame wa kusaki wo sodatete yuku nda
Niji ga kakaru sora ni wa
Ame ga futteta nda
Itsuka niji ga kiete mo
Zutto bokura wa sora wo miageru
Masshiro na yoru ni
Tooku wo hashiru kisha no kage
Seijaku to bokura nokoshite
Sugisatte iku
Nigedashitai youna
Kokoro odoru youna
Kono kimochi wa
Nante iu ndarou
Kagami no mae de
Kao wo somuketa no wa
Zutto mukashi no koto no you de
Niji ga kakaru sora ni wa
Ame ga futteta nda
Niji wa izure kieru kedo
Ame wa kusaki wo sodatete ita nda
Niji ga kakaru sora ni wa
Ame ga futteta nda
Wasurenai yo
Konna ame no hi ni
Sora wo miagete kita koto
Niji ga kakaru sora ni wa
Ame ga futteta nda
Niji wa izure kieru kedo
Ame wa kusaki wo sodatete yuku nda
Niji ga kakaru sora ni wa
Ame ga futteta nda
Itsuka niji ga kiete mo
Zutto bokura wa sora wo miageru
Ame ga yanda niwa ni
Hana ga saiteta nda
Kitto mou daijoubu
Sou da tsugi no ame no hi no tame ni
Kasa wo sagashi ni ikou
![post-title](https://i.ytimg.com/vi/ndreaYCO0aU/hqdefault.jpg)
girl name search 在 Lindie Botes Youtube 的最佳解答
남아공 생활을 궁금하셨다면서용~? 이번 영상에 귀여운 부모님이랑 쇼핑몰에 갑니다! 한국에 이런 쇼핑몰 많이 없죠? 맛있는 고기도 먹고, 드디어 카메라 트리아포드 사요! 재미있게 봐주세영~
Hi friends! If you’re interested in seeing more of my South African life, here you go! I visited Menlyn mall in Pretoria with my cute parents in search of a new tripod (that means better videos from now on!!) and some good food. Enjoy! X
한국말로 된 영상 더 보기: https://www.youtube.com/watch?v=8Kb3Hx9dPJI&list=PLRCVN94KILKXHdOjseNLtTTDbkmbO-h5_
남아공 여행 영상 더 보기: https://www.youtube.com/watch?v=nzuiKXipaQY&list=PLRCVN94KILKWIX15Im7J9uL8hC0qRG3Se
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Website & resources → http://lindiebotes.com/
Twitter → https://twitter.com/lindiebee
FB → https://www.facebook.com/lindiebotesvideos/
Ko-fi → https://ko-fi.com/lindiebotes#
✨GOODIES
$10 free italki credits (after first lesson) → https://go.italki.com/LindieBotes
10% off Du Chinese (my favorite app!) enter LINDIE10 at checkout → https://www.duchinese.net/
All discounts → http://lindiebotes.com/discounts
All language resources → https://lindiebotes.com/language-resources/
Merch → https://society6.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/
?BOOKS I USE
Practical Chinese Grammar → https://geni.us/PracticalChineseGram
Japanese for Busy People on Amazon → https://geni.us/JapaneseForBusy1
Advanced Japanese for Busy People → https://geni.us/JapaneseForBusy3
Korean Grammar in Use Intermediate → https://geni.us/KoreanGrammarUse
Korean TOPIK exam prep → https://geni.us/TOPIK2prep
Short Stories in Spanish → https://geni.us/spanishshortstories
?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
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girl name search 在 M13 Youtube 的最佳貼文
Tour Taiwan with me: http://taiwantoursm13.com/
Private Channel: https://www.patreon.com/M13
My Facebook: https://www.facebook.com/Mordeth13
Support M13 buy my Private Series: http://www.m13online.com/?page_id=294
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Tour Taiwan with me: http://hobbicide.com/M13Taiwan/
My Facebook: https://www.facebook.com/Mordeth13
MY CAMERA: http://tiny.cc/o9ttiw
My Helmet and pants: http://rhok.com.au/
My Private Series: http://www.m13online.com/?page_id=294
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