關於 grass background ，我們在網路上蒐集到這些相關的討論、資訊與評價

💌#DearMamajee,
We were at the new house today to take some measurements, and it was snowing very heavily. All the green grass that was visible to our eyes yesterday was now covered under a thick blanket of snow. As I watched the heavy snowflakes fall and hit the ground with the background noise of Fatimah and Ali having fun, running around the empty house giggling in joy, I couldn’t help but think about you.

I wish you were here with us to enjoy this beautiful moment. I wish you were here with us as we moved forward to the next step in our life journey. But I guess where you are now is much more beautiful than we could ever imagine. You know what, Mamajee? There’s an apple tree in our cottage’s garden. I can almost hear your excited voice when I saw the tree. As we are in winter, there were no leaves left. Only a few overripe apples.

We wanted to pluck it, but Mrs Mom stopped us. She said "We have more than enough apples at home. Let’s leave it there for the birds and squirrels to enjoy." And she reminded us not to be selfish and never forget to always seek the blessings of The Almighty in every little thing we do in our daily lives. What an angel she is!

As we all gathered and watched the beautiful heavy snow fall, Mrs Mom added, "Let us all pray for Mamajee…"

Missing you,
O. Mukhtar O. Mukhlis
#theomarmukhtar
#SundayWithAdam
#GriefAwareness
#TheOldForgeCottage

p/s: In loving memory of our beloved Mamajee @adamdidam Muhammad Adam bin Mahamed Ismail 🤍 الفاتحة

【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

🇩🇰 這是一篇深度報導，來自歐洲現存最古老的報紙：丹麥Weekendavisen，題目是從香港抗爭運動、香港聯繫加泰羅尼亞的集會，前瞻全球大城市的「永久革命」。一篇報導訪問了世界各地大量學者，我也在其中，雖然只是每人一句，加在一起，卻有了很完整的圖像。

以下為英譯：

Protest! The demonstrations in Hong Kong were just the beginning. Now there are unrest in big cities from Baghdad to Barcelona. Perhaps the stage is set for something that could look like a permanent revolution in the world's big cities.

A world on the barricades

At the end of October, an hour after dark, a group of young protesters gathered at the Chater Garden Park in Hong Kong. Some of them wore large red and yellow flags. The talk began and the applause filled the warm evening air. There were slogans of independence, and demands of self-determination - from Spain. For the protest was in sympathy with the Catalan independence movement.

At the same time, a group of Catalan protesters staged a protest in front of the Chinese Consulate in Barcelona in favor of Hong Kong's hope for more democracy. The message was not to be mistaken: We are in the same boat. Or, as Joshua Wong, one of the leading members of the Hong Kong protest movement, told the Catalan news agency: "The people of Hong Kong and Catalonia both deserve the right to decide their own destiny."

For much of 2019, Hong Kong's streets have been ravaged by fierce protests and a growing desperation on both sides, with escalating violence and vandalism ensuing. But what, do observers ask, if Hong Kong is not just a Chinese crisis, but a warning of anger that is about to break out globally?

Each week brings new turmoil from an unexpected edge. In recent days, attention has focused on Chile. Here, more than 20 people have lost their lives in unrest, which has mainly been about unequal distribution of economic goods. Before then, the unrest has hit places as diverse as Lebanon and the Czech Republic, Bolivia and Algeria, Russia and Sudan.

With such a geographical spread, it is difficult to bring the protests to any sort of common denominator, but they all reflect a form of powerlessness so acute that traditional ways of speaking do not seem adequate.

Hardy Merriman, head of research at the International Center for Nonviolent Conflict in Washington, is not in doubt that it is a real wave of protest and that we have not seen the ending yet.

"I have been researching non-violent resistance for 17 years, and to me it is obvious that there are far more popular protest movements now than before. Often the protests have roots in the way political systems work. Elsewhere, it is about welfare and economic inequality or both. The two sets of factors are often related, ”he says.

Economic powerlessness

Hong Kong is a good example of this. The desire among the majority of Hong Kong's seven million residents to maintain an independent political identity vis-à-vis the People's Republic of China is well known, but the resentment of the streets is also fueled by a sense of economic powerlessness. Hong Kong is one of the most unequal communities in the world, and especially the uneven access to the real estate market is causing a stir.

According to Lee Chun-wing, a sociologist at Hong Kong Polytechnic University, the turmoil in the city is not just facing Beijing, but also expressing a daunting showdown with the neoliberal economy, which should diminish the state's role and give the market more influence, but in its real form often ends with the brutal arbitrariness of jungle law.

'The many protests show that neoliberalism is unable to instill hope in many. And as one of the world's most neoliberal cities, Hong Kong is no exception. While the protests here are, of course, primarily political, there is no doubt that social polarization and economic inequality make many young people not afraid to participate in more radical protests and do not care whether they are accused of damage economic growth, 'he says.

The turmoil is now so extensive that it can no longer be dismissed as a coincidence. Something special and significant is happening. As UN Secretary General António Guterres put it last week, it would be wrong to stare blindly at the superficial differences between the factors that get people on the streets.
“There are also common features that are recurring across the continents and should force us to reflect and respond. It is clear that there is growing distrust between the people and the political elites and growing threats to the social contract. The world is struggling with the negative consequences of globalization and the new technologies that have led to growing inequality in individual societies, "he told reporters in New York.

Triggered by trifles

In many cases, the riots have been triggered by questions that may appear almost trivial on the surface. In Chile, there was an increase in the price of the capital's subway equivalent to 30 Danish cents, while in Lebanon there were reports of a tax on certain services on the Internet. In both places, it was just the reason why the people have been able to express a far more fundamental dissatisfaction.

In a broad sense, there are two situations where a population is rebelling, says Paul Almeida, who teaches sociology at the University of California, Merced. The first is when more opportunities suddenly open up and conditions get better. People are getting hungry for more and trying to pressure their politicians to give even more concessions.

“But then there is also the mobilization that takes place when people get worse. That seems to be the overall theme of the current protests, even in Hong Kong. People are concerned about various kinds of threats they face. It may be the threat of inferior economic conditions, or it may be a more political threat of erosion of rights. But the question is why it is happening right now. That's the 10,000-kroner issue, ”says Almeida.

Almeida, who has just published the book Social Movements: The Structure of Social Mobilization, even gives a possible answer. A growing authoritarian, anti-democratic flow has spread across the continents and united rulers in all countries, and among others it is the one that has now triggered a reaction in the peoples.

“There is a tendency for more use of force by the state power. If we look at the death toll in Latin America, they are high considering that the countries are democracies. This kind of violence is not usually expected in democratic regimes in connection with protests. It is an interesting trend and may be related to the authoritarian flow that is underway worldwide. It's worth watching, 'he says.

The authoritarian wave

Politologists Anna Lürhmann and Staffan Lindberg from the University of Gothenburg describe in a paper published earlier this year a "third autocratic wave." Unlike previous waves, for example, in the years before World War II, when democracy was beaten under great external drama , the new wave is characterized by creeping. It happens little by little - in countries like Turkey, Nicaragua, Venezuela, Hungary and Russia - at such a slow pace that you barely notice it.

Even old-fashioned autocrats nowadays understand the language of democracy - the only acceptable lingua franca in politics - and so the popular reaction does not happen very often when it becomes clear at once that the electoral process itself is not sufficient to secure democratic conditions. Against this backdrop, Kenneth Chan, a politician at Hong Kong Baptist University, sees the recent worldwide wave of unrest as an expression of the legitimacy crisis of the democratic regimes.

“People have become more likely to take the initiative and take part in direct actions because they feel that they have not made the changes they had hoped for through the elections. In fact, the leaders elected by the peoples are perceived as undermining the institutional guarantees of citizens' security, freedom, welfare and rights. As a result, over the past decade, we have seen more democracies reduced to semi-democracies, hybrid regimes and authoritarian regimes, ”he says.

"Therefore, we should also not be surprised by the new wave of resistance from the people. On the surface, the spark may be a relatively innocent or inconsiderate decision by the leadership, but people's anger quickly turns to what they see as the cause of the democratic deroute, that is, an arrogant and selfish leadership, a weakened democratic control, a dysfunctional civil society. who are no longer able to speak on behalf of the people. ”The world is changing. Anthony Ince, a cardiff at Cardiff University who has researched urban urban unrest, sees the uprisings as the culmination of long-term nagging discontent and an almost revolutionary situation where new can arise.

"The wider context is that the dominant world order - the global neoliberalism that has dominated since the 1980s - is under pressure from a number of sides, creating both uncertainty and at the same time the possibility of change. People may feel that we are in a period of uncertainty, confusion, anxiety, but perhaps also hope, ”he says.
Learning from each other.

Apart from mutual assurances of solidarity the protest movements in between, there does not appear to be any kind of coordination. But it may not be necessary either. In a time of social media, learning from each other's practices is easy, says Simon Shen, a University of Hong Kong political scientist.

“They learn from each other at the tactical level. Protesters in Hong Kong have seen what happened in Ukraine through YouTube, and now protesters in Catalonia and Lebanon are taking lessons from Hong Kong. It's reminiscent of 1968, when baby boomers around the globe were inspired by an alternative ideology to break down rigid hierarchies, 'he says.
But just as the protest movements can learn from each other, the same goes for their opponents. According to Harvard political scientist Erica Chenoweth, Russia has been particularly active in trying to establish cooperation with other authoritarian regimes, which feel threatened by riots in the style of the "color revolutions" on the periphery of the old Soviet empire at the turn of the century.

"It has resulted in joint efforts between Russian, Chinese, Iranian, Venezuelan, Belarusian, Syrian and other national authorities to develop, systematize and report on techniques and practices that have proved useful in trying to contain such threats," writes Chenoweth in an article in the journal Global Responsibility to Protect.

Max Fisher and Amanda Taub, commentators at the New York Times, point to the social media as a double-edged sword. Not only are Twitter and Facebook powerful weapons in the hands of tech-savvy autocrats. They are also of questionable value to the protesting grass roots. With WhatsApp and other new technologies, it is possible to mobilize large numbers of interested and almost-interested participants in collective action. But they quickly fall apart again.

The volatile affiliation is one of the reasons why, according to a recent survey, politically motivated protests today only succeed in reaching their targets in 30 percent of cases. A generation ago, the success rate was 70 percent. Therefore, unrest often recurs every few years, and they last longer, as Hong Kong is an example of. Perhaps the scene is set for something that might resemble a permanent revolution in the world's big cities - a kind of background noise that other residents will eventually just get used to.

"Since there is still no obvious alternative to neoliberalism, the polarization that led to the protests initially will probably continue to apply," says Lee of Hong Kong Polytechnic University. "At the same time, this means that the anger and frustration will continue to rumble in society."

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https://pixabay.com/videos/id-23243/
イラストAC
https://www.ac-illust.com/main/detail.php?id=985163&word=%E5%92%8C%E9%A2%A8%E9%9B%B2%E3%80%80%E4%B8%AD%E8%8F%AF%E9%9B%B2%E3%80%80%E6%AF%9B%E7%AD%86%E3%82%A4%E3%83%A9%E3%82%B9%E3%83%88

#AnTytle #アンタイトル #BitSummitGaiden

なぜ動物が暴れるとバカゲーになると思いますか？

登場するゲーム
Ace of Seafood
https://www.antytle.com/to/aceofseafood
Everything
https://www.antytle.com/to/everything
Fight of Animals
https://www.antytle.com/to/fightofanimals
Goat of Duty
https://www.antytle.com/to/goatofduty
SIMPLE2000シリーズ Vol.2 THE パーティーゲーム
https://www.antytle.com/to/thepartygame2000ps2
Wild Animal Sports Day
https://www.antytle.com/to/wildanimalsportsday
カニノケンカ
https://www.antytle.com/to/fightcrab
ゴートシミュレータ
https://www.antytle.com/to/goatsimulator
ごく普通の鹿のゲーム DEEEER Simulator
https://www.antytle.com/to/deeeersimulator
動物番長
https://www.antytle.com/to/doubutsubancho

コラボして頂いた方
KENT for ゲームレビュー様
https://www.youtube.com/user/kentworldg
クロノマーズ様
https://www.youtube.com/channel/UCPVhF5M9T2LSfWcEpsVOFZA
ローケンジャ様
https://www.youtube.com/channel/UCaiWF2i_Z3tXz4EaseUrKsQ

サウンド素材
Artlist
https://artlist.io/
DOVA-SYNDROME
https://dova-s.jp/se/play064.html
OtoLogic
https://otologic.jp/free/se/impact01.html
VSQ
https://vsq.co.jp/special/se_various/
くらげ工匠
http://www.kurage-kosho.info/machine.html
効の音
https://kounone.com/%E3%83%8B%E3%83%A7%E3%82%AD/
ポケットサウンド
https://pocket-se.info/archives/774s/

イメージ素材
Background Labs
http://backgroundlabs.com/item/vector-grass-pattern/
BAIZ Images
https://www.beiz.jp/%E7%B4%A0%E6%9D%90/%E9%9D%92/00014.html
Mixkit
https://mixkit.co/free-stock-video/
pixabay
https://pixabay.com/images/id-935156/
Vidsplay
https://www.vidsplay.com/
写真AC
https://www.photo-ac.com/main/detail/3572530
フキダシデザイン
https://fukidesign.com/e0026/

#AnTytle #アンタイトル #バカゲー

? KBB Burger & Steak menyajikan hidangan stik daging yang premium dan setanding restoran antarabangsa. Dengan pilihan daging seperti grainfed, angus dan juga wagyu, setiap orang kini mampu menikmati hidangan lazat ini mengikut citarasa dan kemampuan masing-masing.

Keistimewaan KBB Burger & Steak adalah meteka menyajikan Dry Aged Steak. Dry age merupakan sebuah proses dimana daging dibiarkan selama satu tempoh yang panjang, bawah kawalan suhu dan tahap kelembapan yang rapi dan tepat.

Proses ini menghasilkan daging yang lebih dalam rasanya, lebih lembut dan juga menghasilkan rasa yang unik yang wujud hanya dalam makanan yang dituakan.

Dalam episod ini, Rhys bertemu Pakar Daging KBB Burger & Steak untuk mempelajari lebih mengenai proses Dry Age tersebut. Rhys juga akan belajar lebih tentang pilihan baka daging, potongan dan cara masak steak tersebut.

Tidak ketinggalan, Rhys akan merasai sendiri, sejenis steak daging yang disahkan terbaik di dunia, iaitu Wagyu A5 Marbling Score 12.

Lokasi KBB Burger & Steak » KBB Burger & Steak
Laluan Persekutuan 8, Bandar Kota Bharu, 15150 Kota Bharu, Kelantan
011-1217 8846
https://maps.app.goo.gl/?link=https://www.google.com/maps/place//data%3D!4m2!3m1!1s0x31b6afef121fa9b3:0xd5daeb55183591ee?utm_source%3Dmstt_1&apn=com.google.android.apps.maps&afl=https://www.google.com/maps/place//data%3D!4m2!3m1!1s0x31b6afef121fa9b3:0xd5daeb55183591ee?utm_source%3Dmstt_1&ibi=com.google.Maps&ius=comgooglemapsurl&isi=585027354&ifl=https://www.google.com/maps/place//data%3D!4m2!3m1!1s0x31b6afef121fa9b3:0xd5daeb55183591ee?utm_source%3Dmstt_1

Facebook: KBB Burger & Steak
Instagram: kbb.burgerandsteak
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Time Stamp
00:00 - Episode Introduction
01:05 - Restaurant's Background and History
02:46 - What is "Dry Aged Steak" ?
04:58 - Different Cattle Breeds
06:17 - Different Beef Cuts
07:18 - How to cook a steak?
09:30 - Dry Aged Wagyu Steak vs Wet Aged Wagyu Steak Taste Test
15:57 - Premium Grape (Halal Red Wine) Taste Test
17:37 - Dry Aged Wagyu A5 Marbling 12 Steak Taste Test
21:20 - Dry Aged 80 Days Bone in Rib Wagyu Steak Taste Test
22:31 - Dry Aged 64 Days Angus T-Bone Steak Taste Test
23:40 - Dry Aged Wagyu Burger Taste Test
25:07 - Activated Charcoal Wagyu Steak Taste test
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?TONTON VIDEO MAT SALLEH CARI MAKAN » https://bit.ly/2mUNck4
?BELI BAJU-T RASMI DESTINASI TV » https://bit.ly/2Y6xHab
?SUBSCRIBE KE CHANNEL DESTINASI TV » https://bit.ly/2y97bxp
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? FOLLOW INSTAGRAM KAMI:
DESTINASI TV » https://www.instagram.com/destinasitv/
RHYS WILLIAM » https://www.instagram.com/si_rhys/
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?KREDIT:
CAMERA OPERATOR & VIDEO EDITOR » AHMAD ZAMRI (https://www.instagram.com/ahmadzamri/)
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? Latar Belakang Destinasi TV ?
Destinasi TV merupakan channel Youtube di Malaysia yang akan jalan satu Malaysia dan juga di luar negara untuk buat video tentang makanan. Tidak kiralah makanan Malaysia, makanan Western, dan pelbagai lagi jenis makanan dari serata dunia. Destinasi TV sangat unik kerana akan dihoskan oleh seorang Mat Salleh yang mempunyai jiwa Malaysia iaitu “Rhys William”. Destinasi TV bukan sahaja mengeluarkan video berkenaan makanan sahaja, malah mempunyai rancangan yang akan membincangkan trend semasa, membuat challenge, bermain permainan video dan sebagainya. Rancangan ini dikenali sebagai “Sembang Bros” yang akan dihoskan oleh “Amal” dan “Azri”.

Antara rancangan yang Destinasi TV sendiri keluarkan di Youtube adalah “Mat Salleh Cari Makan”, “The Nasi Lemak Show”, “Kembara Ramadan Rhys”, “Destinasi Hujung Minggu”, “Trek Mesra”, “Trek Artisan”, “Fjallraven Journey 2017” dan “Jom Pasar Malam”. Kesemua rancangan ini anda boleh lihat di dalam playlist Youtube Destinasi TV.Jangan lupa untuk subscribe dan tekan notifikasi bell channel Destinasi TV jika anda ingin melihat makanan yang sedap, menarik dan unik kami akan sajikan kepada anda dan jangan sampai meleleh air liur. Jangan lupa tekan butang like sebab ianya percuma dan jangan lupa bagitahu kawan-kawan, keluarga, mak cik - mak cik, pak cik - pak cik dan semua orang…. Kerana video Destinasi TV sesuai ditonton oleh semua golongan.

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