~~售票資訊/tickets INFO~~
早鳥票 - NT1700 + 酒卷一張
110/2/01 - 2/28
經過辛苦的2020年,讓我們更體會到自己有多幸運、多幸福。
讓我們更懂得感激自己所擁有的,感激身邊的人、事、物。
感謝我們住在如此安全的國家。
Psychedelic Trance Music
讓我們愛上了在大自然裡一起跳舞,開心的時光。
Psychedelic Trance Music
讓我們在草地上玩耍的像還沒長大一樣的孩子。
Psychedelic Trance Music
讓我們在現實的世界裡認識了很多一起做夢的好朋友。
Psychedelic Trance Music
讓我們放下彼此的面具,在山林裡歡樂的共舞。
誠心邀請大家一起跟我們再次回到大自然,釋放內心的壓力,開心的像瘋子一樣,與我們一起共舞。
為了維護活動品質、場地維護
這次活動依然有人數限制
After going through a very tough 2020, we realized how lucky we are. After all the bad news from around the world, it has made us appreciate a lot more, the freedoms that we have in Taiwan . We should be grateful for all the people who are in our lives , things that have happened in our lives, both good and bad as they are the best teacher , and for all the things that we have.
We need to be thankful that we are living in a such safe country which allows us to do what we like to do . Have a PARTY!!!
Psychedelic Trance Music makes us fall in love with dancing in nature.
Psychedelic Trance Music makes us play in the grass like children.
Psychedelic Trance Music brings us together as a big family.
Psychedelic Trance Music allows us to put down our masks, and enjoy the moments of here and now.
For everyone’s comfort, and in order to maintain the quality of this event.
There is going to be a limit on the number of tickets for sale.
~~時間/場地Date/Location~~
日期:2021 /04 / 24.25
時間:07:30 ( 24th ) - 16:00 ( 25th )
地點:樂悠露營區(搭營區)
楓林谷露營區(攤商/舞台/吧台)
~~蛹動2.0 DJ音樂時段/Music time~~
4/24 07:30am ~ 22:00pm
4/25 07:30am ~ 16:00pm
~~DJ (依照字母排列順序,A-Z)~~
ARTMA (COSMIC WORM)
Barfly (BPM ProductioN)
BIG ( Independant)
Bye So ( Independent)
Cougar ( Music Working Space)
Duckie (Moon Fairy Project)
Echenoz (L.S.D)
Jemmy (World 渥得 )
KULEFLUX ( Psydstep Rec.)
Mal-FunKtion (CHIKEN SKRATCH Prod.)
Merv (PsyMeals LAB)
SPIKE (COSMIC WORM)
Shwamp (Mindspring music)
Theendtone (Bocaraka Rec. / Moon Fairy Project)
Voytek (COSMIC WORM)
ZAKOLIA (PsyMeals LAB / Lonely Planet)
~~售票資訊/tickets INFO~~
早鳥票 - NT1700 + 酒卷一張
110/2/01 - 2/28
Young bird tickets – NT1700 + One drink
晚鳥票 - NT2000 + 酒卷一張
110/3/01 – 4/15
Old bird tickets -NT2000 + One drink
~~購票單位~~
售票單位近期公佈/Tickets sells agents will be announced soon .
數量限制,不販售現場票/ There will be NO tickets for sale at the gate.
~~裝置藝術/DÉCOR~~
嬉遊記 /Taiwan
CHIKEN SKRATCH PRODUTIONS /South Africa &Taiwan
~~合作單位~~
魔術表演/Magic-踢式煙火
早晨瑜珈/Morning Yoga
採預先報名方式,時間會另行公佈(will be announced soon )
~~ORGANIZER 主辦單位~~
CHIKEN SKRATCH PRODUTIONS /South Africa&Taiwan
CHIKEN SKRATCH PRODUCTIONS
~~注意事項~~
"注意"購票後即視為同意以下事項:
1. 請攜帶身份証件配合票口檢查。
2. 請多搭乘大眾交通工具,活動宣導酒後不開車,未成年者請勿飲酒。
3. 場地空間有限,請配合工作人員引導停車於停車場。
4. 嚴禁攜帶任何酒水(將代為保管,活動結束後歸還);禁帶玻璃瓶裝飲料或器具,以維護場地環境及活動安全。
5. 請一起愛護大自然,垃圾、煙蒂不落地,並配合垃圾分類。
6. 場地旁為石門水庫上游區,全面禁止戲水;請注意自己人身安全,在活動內的所有
7. 可攜帶小型寵物。為了維護營區共同休閒品質,寵物主人必需負責處理寵物排泄物及必須有「適當的防護措施」。
8. 露營區內火源嚴禁落地,焚火台、荷蘭鍋、爐具、鍋具請於爐下放置隔熱板,勿在草地上直接生火或將滾燙鍋具、熱水、木炭灰燼直接放置或澆淋草皮內,若有草皮毀損狀況,將酌收維護費用。
9. 為維護公眾安全,本單位保有驅離、酗酒、神智不清與不遵守活動規定鬧事者權利。
10. 活動配合警方取締違禁物品與危害公眾安全之行為,嚴禁攜帶任何槍械、刀械、棍棒、毒品等物品進入,如經查獲一律送警處理。
11. 活動若遇豪雨或颱風來襲,則順延舉辦(順延舉辦擇期通知)。
12. 若遇天然災害或任何無可抗拒之因素,主辦單位保留隨時變更活動相關訊息或終止活動之權利。
~~Notice!! ~~
After buying your tickets it means you agree with the terms and conditions below.
1..Please cooperate with the admission staff at the ticket gate.
2.Please DO NOT bring any alcoholic beverages or glass bottles to keep the event safe for everyone. If any alcohol is found it will be confiscated and returned to you at the end of the event.
3.Please prepare your own camping gear, and keep the place clean and tidy , and please recycle your garbage.
4.Bring some warm clothes , flashlight, sunscreen, hat, sunglasses and anything you need for camping , and make sure you have enough water during this outdoor gathering.
5.Do not play or swim in the river during the day or night for you own safety , please cooperate with us. We will not be held responsible/liable for any injury or death that could occur
.
6.You can bring small pets. To keep the camp site’s quality, the owners of the pets have to be responsible for the poo.
7.We strongly forbid any drugs or illegal actions at this event. If we find out anything illegal, we will cooperate with police officers.
8.For the safety of everyone, we will expel people who cause any issues!!!
9.We hold the rights to move the date of the event for any reason that we deem fit. E.g. If there is a storm or typhoon. There will be no refunds.
10.We keep our rights to change any info about this event or stop the event.
11. During the event, please cooperate with the temperature checks at the entrance, and please wear a mask and keep safe social distance to ensure your health.
12. The organizers of the event, the venue owners or the campsite will not be held liable for any loss or injury whatsoever that may occur during the duration of the event.
. But most importantly, HAVE LOADS OF FUN!!!!!!!
同時也有4部Youtube影片,追蹤數超過1萬的網紅Wenwen Stokes,也在其Youtube影片中提到,Hey guys! We are currently in Wales for Conrad’s work and to drop off presents to his family (from a distance). In this video I share some new Biceste...
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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
https://www.facebook.com/groups/crewstories/?ref=share
who what wear sale 在 wongnai.com Facebook 的最讚貼文
หลายคนคงคุ้นหูกับร้าน “เจ๊โอว” ที่โด่งดังในโลกโซเชียลสุด ๆ เมื่อ 5 ปีก่อน กับเมนู “มาม่าโอ้โห” มาม่าหม้อไฟหนักเครื่องที่ขายในเวลา 5 ทุ่มเท่านั้น ใครอยากกินต้องไปนั่งรอ เพราะคิวยาวมาก ทำไมต้องมาม่าเจ๊โอว ทำไมต้อง 5 ทุ่ม ทำไมต้องมายอมรอคิวเป็นชั่วโมง “เจ๊หมวย แซ่ฉั่ว” หรือ “เจ๊โอว” มีดีอะไร ทำไมคนถึงให้ใจกับร้านนี้อย่างมากล้น วันนี้เราจะได้รู้คำตอบกัน!
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Continue ReadingMany people must be familiar with the famous " sister o " shop in the social world 5 years ago with the menu of " mama oh ho " heavy pot of the machine sold at 5 Who wants to eat? I have to sit and wait because the queue is so long. Why do I have to be mama. Why do I have to be 5 pm? Why do I have to wait for hours? " Sister Muay Sang Sao " or " Sister Oh " what good That's why people give this shop a lot of heart. Today we will know the answer!
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" In fact, this shop has been over 60 years. We started from negative because we were born in the ghetto in the ghetto. When I got married, we become in-laws. I couldn't sell with rice easily, but I lived that I only do good things for sale. People start to know more. When the kids grow up, they help each other develop the shop until they move to the current place for about 5 years. When I moved in the first time, there are not many people at 4 pm. The shop is quiet and my kids start I think that if it's quiet this fast, my shop is bad. Let's think of the menu for those who travel or come back late. Sit and eat as mama. Oh, oh "
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It's " just boiled instant noodles " or " boiled instant noodles " that makes people flow without the way.
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" Oh, I thought that I was selling for 30 pot per day. But it turns out that when the first day, they told me. There are plenty of people came here. It's not delicious, but I couldn't serve because we never had a customer. So much. I lost my heart with mama. Oh, stop selling. But the customer who likes it. Keep doing it. Don't quit. I think that we have to develop, not to develop, not run away. People comment. In social media, it's just a lot of mama. I can cook at home. But many things that people may not know is that mama's not using mama's machine in the wrap. We seasoned by myself. The machine that we wear it's fresh. We are fresh. The more you eat The frames at the shop, the easier to match. It's not easy. It's not easy. We have thought about this formula "
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Until I get to this point, I have passed a long time of development. It's been bankruptcy. It's many times to be great
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" Before getting to this point, we are very difficult. It's not that I sell instant noodles. I have been rich. I have been cooking all the time. No matter how sick I am, I haven't stopped. Sister O's shop. I don't know how many times I have no money left with It's here, but I promise that I will be rich. I keep doing it until today. Not because we are good, but because we are good and we always find a solution for the shop
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I don't have to explain what we will order today because it's all the menu that many people have to order.
🍜 "Mama oh ho" (300 baht) hot noodles. Good ripe. Dark soup. Grilled chili flavor. But it's soft and smooth with milk flavor. Add the boiled machine to add fragrance. Full pot of pork around the shop. When you drink soup, I don't know how to make an impression, big shrimp, fresh squid, fresh eggs. The better.
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🐷 "crispy pork" (200 baht) crispy skin as the name of crispy pork. It's inserted in pork. It's soft and melted. Fried meat until crispy. It's enough to eat together. It's the heaven that we can buy. Who likes it. Sweet, add sweet sauce of the shop. Good. Never enough.
🐟 "Salmon salad" (250 baht) fresh salmon texture. Sweet, juicy, fresh, fresh, spicy salad with seafood juice of the shop that tastes cuddle days. Full of sour, sweet, salty. Another menu worthy of money
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And today I have news that I want to eat instant noodles. No need to wait until 5 pm because I just go to the shop from 16.30 pm. You can order instant noodles at the shop. The shop will adjust the opening time from 16.30 am-21.00 pm. Ready for sitting section. Only 2 per table. There is a hand wash gel for all customers and staff to wear hygienic masks. The queue is not very long. If you want to taste it, you can stop by. The shop is located near Sitson Nourishing I got it too. I can tell you that it's a must eat!
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🍴: sister o
📍: Cruss Road, Bangkok (Near Sitson Nambun School)
⏰: Open everyday 16.30 am-21.00 pm
🛵: order line man here! 👉🏻 https://bit.ly/2WB6aKl
⭐️: See more location and reviews 👉🏻 https://www.wongnai.com/restaurants/jaeo
_________________________
#Wongnai #WongnaiBacktoLife
Start living in New Normal cuddle together with Wongnai. Find out about restaurants from all over the country and share cuddle reviews at the Wongnai app ▶️ Free Download here >> http://bit.ly/2U0bdnsTranslated
who what wear sale 在 Wenwen Stokes Youtube 的最佳解答
Hey guys!
We are currently in Wales for Conrad’s work and to drop off presents to his family (from a distance). In this video I share some new Bicester and sale scores as well as giving you guys an update on my blue-jean birkin and what i have planned for it! Thank you guys for your suggestions, as I guessed, most people who commented knew I’d involve elephants somehow!
Hope you guys enjoy this vlog. :)
Meanwhile, check out my instagram for outfit pics @wenwenstokes
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who what wear sale 在 kelkeltan Youtube 的精選貼文
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FAQ
Who/what are u?
I'm a Singaporean Chinese living in my homeland Singapore ??! I love makeup, skincare, traveling and etc!? I make beauty and lifestyle videos and upload every week (I try). If u like watching such content and if u have ANY questions/opinions/ideas, rmb to comment down below and SUBSCRIBE ❤️
Age?
I'm born in 1997, DO THE MATH?
What camera, software do u use?
Vlog camera : Canon G7x / IPhone 7 Plus camera
Tutorial camera : Canon 760d/ G7x
Software for editing : Final Cut Pro X /. imovie(when I'm lazy haha)
Makeup styles?
I love both korean and American beauty! Makes me ultra happy when I feel that my makeup is on fleek.
What type of skin do u have?
I have combination, acne prone, sensitive skin.
Both my cheeks are ultra dry but my forehead and nose are filled with oil/ sebum! Literally an oily disco ball..
Acne prone-- hmm I do have comedogenic pimples previously when I was a teenager. I guess from 16-19 yr old. This nightmare comes back when I don't sleep/eat well, drink enough H2O and when I'm under stress. I'm also prone to acne due to hormonal imbalances, thus I tend to breakout during pms.
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Too faced Born This Way Foundation - Porcelain
Fenty Beauty Foundation - Shade 140
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Mac Pro long wear concealer - NC 25-30
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Tarte Shape tape Concealer - Light sand
Nars radiant creamy Concealer - Vanilla
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This video is not sponsored and all opinions are my true and honest feedbacks.
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