簡單,淺白,駁唔到!
响Biden今日接受《ABC News》電視訪問嘅同一日,Donald Trump接受《Fox News》電話訪問,唔好講風格甚至政見,就係說話嘅內容論點清晰度,兩者嘅對比已經係月球同地球之間嘅距離。
"This is a mess that nobody has ever seen, the most embarrassing moment in our history. [It is] a military defeat, a psychological defeat, Russia, China, Kim Jong-Un, North Korea are watching this disaster laughing at us having a good time."
(從來無人見過咁混亂嘅情況,可以話係美國歷史上最尷尬嘅一幕,係軍事上嘅挫敗,亦係心理上嘅挫敗。依家俄羅斯、中國、金正恩、北韓睇緊呢個災難,好開心咁恥笑緊呀。)
"You don’t take military out first, the military out last, like captain jumping off the ship as ship is sinking, it is crazy that he says I am getting out of here."
(緊係軍隊殿後㗎啦,邊有人撤走軍隊先㗎,咁咪等如隻船沉緊,個船長第一個離開,癡線到話我走先喇。)
"You got the people out, you got to get them out first then take your equipment, after the equipment is out, you bomb the hell out of the fort so nobody else can use them."
(緊係先幫啲平民離開,然後就係設備,等啲設備撤走晒就炸晒所有要塞,令對手無得用吖嗎。)
"I was going to do that I said I want every port that I will take a plane two hours bomb the hell out of them. Now they are being used buy Taliban, it not even unbelievable."
(如果係我就會派袈轟炸機炸向每個要塞足兩粒鐘,炸爆佢,依家比塔利班攞晒黎用,真係超越想象。)
"We took the soldiers out first and now we are trying to put the solders back in. Afghan soldiers are great fights look, they made the Soviet Union Russia, you know that they made the Soviet Union meaning smaller and now we can’t have it. It is too late."
(撤走晒啲軍隊之後,依家又想派兵入返去咁搞笑,成日話人地啲士兵無用,人地唔知幾偉大呀,可以搞到蘇聯軍隊好似無到咁㗎,依家無啦,太遲喇。)
Patreon原文:
Donald Trump接受電話訪問,淺白得黎駁唔到
https://bit.ly/3geQGq0
#有比較好傷害
原片:
《Fox News》Trump: Afghanistan 'most embarrassing moment in our country'
https://bit.ly/3geZHPK
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同時也有2部Youtube影片,追蹤數超過338萬的網紅Tina Yong,也在其Youtube影片中提到,Find your Valentine's Day date at https://www.eastmeeteast.com/?utm_campaign=tn1&utm_source=tn, the #1 Asian dating app with 400,000+ singles! In thi...
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un meaning 在 Sazzy Falak Facebook 的最讚貼文
@womensaidorg #Girls4Goals
On 2015, 195 nations agreed with the UN that they can change the world for the better.
The UN adopted the 2030 agenda that includes, the 17 Sustainable Development Goals (SDG). The principle behind the agenda is to 'leave no one behind' meaning that everyone and anyone should be equal to one another.
The 2030 agenda for Sustainable development adopted by all United Nations Member States provides a shared blueprint for peace and prosperity for people and the planet, now and into the future.
#WAO #girls4goals
un meaning 在 2how Facebook 的最佳貼文
DIMPY BHALOTIA
Poche, pochissime erano le foto in casa di Henri Cartier-Bresson; una, forse due. Una, per cui il grande fotografo aveva una vera e propria ammirazione, era “Three Boys at Lake Tanganika” di Martin Munkácsi. Tre ragazzini immortalati di spalle che sprigionano un’incontenibile vitalità mentre corrono verso le acque del lago. Perché Cartier-Bresson amava quella fotografia? Perché, come ha detto lui stesso: “Ho capito improvvisamente che la fotografia può fissare l’eternità in un momento”. Osservando la fotografia “Flying Boys” di Dimpy Bhalotia, e con la quale si è aggiudicato il Female in Focus Award 2020 del British Journal of Photography, sembra che i tre ragazzini di Munkácsi siano tornati dopo un viaggio lungo novant’anni. Di più, pare che siano tornati per spiccare il volo e catturati nel preciso momento in cui occhio, cuore e mente del fotografo sono perfettamente allineati come una costellazione lontana. C’è, nelle fotografie della giovane indiana di Londra, qualcosa che arriva da una precisa tradizione fotografica e che àncora saldamente la composizione a quelle tre fondamentali componenti cui si faceva cenno, orientandola verso la ricerca del momento in cui un episodio umano – e non solo – ha la capacità di espletare il suo senso. Irripetibilmente. I riferimenti non mancano, e sono segno di una solida cultura visiva. Quanto guardiamo nelle fotografie di Dimpy Bhalotia sembra fuoriuscire da un racconto riscritto con nuove parole, nuovi cenni ma fermamente determinato a essere interpretato attraverso un lessico che costringe a sostare nello spazio citazionista giusto il tempo che occorre prima di assumere una vita propria. E questa sottile e aggraziata visione delle cose che plana sugli avvenimenti, ha quel respiro che sta dentro in una visione poetica della vita, perché per scattare fotografie che sappiano restituire la bellezza d’un gesto occorre amare la vita e i suoi interpreti. Ecco che uomini e animali, colti singolarmente o al crocevia della reciproca interazione, ci appaiono come soggetti appena involontariamente dialoganti ma che, a ben guardare, sono catturati nell’esatto momento di un dialogo segreto. La forza delle fotografie di Dimpy Bhalotia viene da lontano e dunque è ben strutturata. E si vede soprattutto nell’azzardo di forme, nella scommessa formale giocata sul corpo dei soggetti animali, da cui, in altre circostanze, cogliamo una felice traccia surrealista, un terreno ideale nel quale risolvere talune spericolatezze compositive. Il lavoro di Dimpy Bhalotia sosta alla confluenza di due differenti correnti fotografiche: l’umanesimo e il surrealismo (lo stesso Cartier-Bresson sperimentò un delicatissimo surrealismo prima di fondare la Magnum), maneggiati entrambi con disinvoltura e sicurezza. La sua è una voce limpidissima, minimale. Le composizioni obbediscono al comandamento d’essere rigidamente impostate su un registro essenziale, al limite del calligrafico, ma la sobrietà ci convince del risultato. Il solco della tradizione è tracciato, ma seguirne il percorso senza aggiungere le proprie impronte è come non averci camminato. La fotografia è un libro che non finisce mai di essere scritto, a patto d’avere qualcosa da dire. Come in questo caso.
Giuseppe Cicozzetti
foto Dimpy Bhalotia
https://www.dimpybhalotia.com/
DIMPY BHALOTIA
Few, very few were the photos in Henri Cartier-Bresson's house; one, maybe two. One, for which the great photographer had a real admiration, was Martin Munkácsi's “Three Boys at Lake Tanganika”. Three kids immortalized from behind who release an irrepressible vitality as they run towards the waters of the lake. Why did Cartier-Bresson love that photograph? Because, as he himself said: "I suddenly understood that photography can fix eternity in a moment". Looking at Dimpy Bhalotia's “Flying Boys” photograph, and with which she won the British Journal of Photography's Female in Focus Award 2020, it seems that the three kids from Munkácsi are back after a 90-year journey. What's more, they seem to have returned to take flight and captured at the precise moment when the photographer's eye, heart and mind are perfectly aligned like a distant constellation. There is, in the photographs of the young Indian woman based in London, something that comes from a precise photographic tradition and that firmly anchors the composition to those three fundamental components mentioned, orienting it towards the search for the moment in which a human episode - and not alone - has the ability to carry out its meaning. Unrepeatable. There’s no shortage of references, and they are a sign of a solid visual culture. What we look at in Dimpy Bhalotia's photographs seems to come out of a story rewritten with new words, new hints but firmly determined to be interpreted through a lexicon that forces us to pause in the quotationist space just the time it takes before taking on a life of its own. And this subtle and graceful vision of things that hovers over events, has that breath that lies within a poetic vision of life, because to take photographs that are able to restore the beauty of a gesture, you need to love life and its interpreters. Here men and animals, caught individually or at the crossroads of mutual interaction, appear to us as subjects that are barely involuntary in dialogue but who, on closer inspection, are captured in the exact moment of a secret dialogue. The strength of Dimpy Bhalotia's photographs comes from afar and therefore is well structured. And it is seen above all in the balancing of forms, in the formal bet played on the body of animal subjects, from which, in other circumstances, we grasp a happy surrealist trace, an ideal terrain in which to resolve certain compositional recklessness. Dimpy Bhalotia's work stops at the confluence of two different photographic currents: humanism and surrealism (Cartier-Bresson himself experienced a very delicate surrealism before founding Magnum), both handled with ease and confidence. Her is a very clear, minimal voice. The compositions obey the commandment to be rigidly set on an essential register, bordering on calligraphic, but the sobriety convinces us of the result. The groove of tradition is traced, but following its path without adding one's footprints is like not having walked through it. Photography is a book that never stops being written, as long as you have something to say. As in this case.
Giuseppe Cicozzetti
ph. Dimpy Bhalotia
https://www.dimpybhalotia.com/
un meaning 在 Tina Yong Youtube 的最讚貼文
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un meaning 在 Rinozawa Youtube 的最讚貼文
2011年9月7日/2歳3ヶ月 Rino says "Katitoruyo!" to dad.
However, dad does not understand a meaning.
She seemed to want to undo one's belt of a 'Babybouncer' put in another room.
朝6時30分の父とのコミュニケーション(笑)
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un meaning 在 United Nations - 首頁| Facebook 的推薦與評價
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