"Jangan buang sampah sembarang, apalagi di laut karena impasnya pantai kita akan tercemar dan keindahan pantai kita hilang"
Jangan fokus ke w nya, tapi ke sampah yang ada di sekeliling saya, yang berserakan dimana-mana dan disekeliling kita. "Buanglah sampah pada tempatnya, bukan buang sesuka hati. Biasakan untuk memilah sampah sesuai jenisnya, karena sampah juga bisa menjadi uang buat kita, guys
Nb : Abaikan saya, fokuslah di sampah 😉
@seasoldier_malut @seasoldier_ @bank.sampahq
HOW TO MENTION bla bla bla..?! Hello semuanya.. Hari ini kelas VI @sditsabilulhuda_cirebon akan belajar bagaimana menyebutkan: sekaleng, segulung, sebatang, sesendok makan, seiris, sepotong, sekotak, sesendok teh, sekantong, seikat, sebungkus, dan sebotol in English.. Adik-adik audah bisa belum ya kira-kira..?!
Masih pada malu-malu yaaa ternyata.. Heeee.. Gak papa namanya juga proses pembelajaran yakaan.. udah mau menghafal dan mau maju ke drpan saja pak Ako udah bangga sama kalian.. Makasih yaa udah mengikuti pembelajaran dengan baik.. See you again..
BABAT ALAS #part3
Babat alas dalam bahasa Jawa artinya menebang hutan/membuka lahan baru.
Dalam hal ini kegiatan yang dilakukan adalah warga kampung Kemiri, Gading Kulon bersama mahasiswa KKN #AMPTA bersama sama gotong royong membersihkan kawasan area 1 (area depan) Kali Bedog.
📹 creator : @fenti.ns
📹 editor : @mayangrbn
🎥In frame :
In the mid 70s the work of Anthon and his partner Swip Stolk was frivolous, uninhibited, colorful, attractive and daring. It opened the door to a free, playful way of design. They were the vanguard of the exuberance where the profession would end up in and gave the profession a different and broader perspective.
Anthon is wild, young and brash: the rebel without – and with – a cause of Dutch graphic design. He exerts a great attraction with his love, passion and an impulsive rash of civil disobedience. Punk avant la lettre.
All of his work later have this disobedience in an intelligent and subtle way. Sometimes it provokes quietly. Sometimes it shouts out loud.
He is the link between reasoning and impulsivity. These are two properties that can seriously interfere with each other.
Reasoning strengthens the content, but weakens the form. Impulsivity strengthens the intention, but weakens the thoughtfulness. Maneuvering between these two, creates space for improvisation and inventiveness in which you must play your own game. Always give the best and play your own game. At any time. Even if you feel bad, hung over or sick. It is the only way to distinguish.
In 2009 he had the stroke that changed his beautiful life. He would never be the same Anthon again. He recovered slowly with the help and care of his beloved Li and Sacha. Over the years that followed Anthon got again involved with his friends, social life and work. And his life became sort of beautiful again.
All of us have been touched by his presence, love, admiration or opinion. The memory of Anthon, as a friend, a lover, a father, a brother, as a good soul, will always make us smile. (photo: at opening Sex Only Max Kisman, Meermanno Museum, The Hague, April 2018)
Parr 3 of the Cosmic CAL is finished 😍 this part took me about a week and a half due to Little Miss A being unwell last week, so glad to have part 3 finished and it’s finally resembling a rectangle 😍😍😍 #cosmiccal#part3#lovingthiscal
This Friday! Preorders are available now and you get 3 new tracks including “Heaven On Earth” instantly!!! This is in my opinion the best album @planetshakers has ever released! Get it get it GET IT!!! #HeavenOnEarth#Planetshakers#Part3#FullAlbum
Peter Cushing: His Early Life to Hammer & Star Wars #part3
He couldn’t even afford to buy his new wife a Christmas present – so he painted figures on silk and gave it to Helen as a scarf. As luck would have it, the right person saw the scarf and Peter Cushing was offered a job to design scarves ata Macclesfield textile company. Cushing was on his way to a fairly happy career as a textile designer when Sir Laurence Olivier’s right hand man, Anthony Bushell, offered him the part of Osric in Hamlet in 1948. Cushing took the opportunity and spent the next year touring with Olivier and Vivien Leigh. But once the tour came to a close, he once again found himself out of work.
Helen suggested he try television work. As it turned out – this was the ticket to a stable career and a living wage that had been so elusive. He took leading parts in over 30 series over just two years (including “When We Are Married”, “Beau Brummel”, “Tovarich”, “Uncle Harry” and “1984”) and received several awards. This led to some high profile movie roles, namely The Black Night opposite Allan Ladd, then The End of the Affair, which Cushing regarded among his best performances.
Finally, we get to Hammer – the films that Cushing will forever be known for. His manager, John Redway, learned that a studio called Hammer Films Ltd., (known at the time primarily for having produced X, the Unknown and Quartermass) were planning on making a new version of Frankenstein. Cushing agreed to take the role of Baron Frankenstein.