丹·坎杜拉(Dan Candura)是Investment News的專欄作家,撰寫理財顧問倫理相關的文章。
他在罹患癌症後,面臨一個顧問的抉擇─是否要告訴客戶自己的身體狀況。
過程中他體認到,最不應該做的是:考慮之後卻什麼都不做。
最後坎杜拉決定減少客戶服務的數量、不再接受新客戶,宣布2019年9月是他服務客戶的最後一天,在這之前客戶都能夠有妥善的時間進行安排。
《Dan Candura’s final column contains his best advice for acting ethically》這篇文章是坎杜拉在Investment News的最後一篇文章,他與大家分享財務顧問執行職務時該謹記的十一項原則。
■始終以客戶的最佳利益為優先考慮
■告訴客戶真實的情況,永遠不要欺騙客戶
■當不知道答案時,請尋求幫助,永遠不要應付客戶
■確保你的公司與你的價值觀保持一致
■不要讓任何事情妨礙你將客戶的利益置於其他一切之上
■每次都能為你的客戶提供最好的建議
■以希望他人對待你的方式對待每個人
■要開心,如果對目前的工作不滿意,找一份能令你快樂的工作。
■分享你的知識
■向他人學習
■善待每個人
同時也有3部Youtube影片,追蹤數超過15萬的網紅umino ASMR,也在其Youtube影片中提到,Hello, I am umino.Thank you for watching this video.This description uses Google Translate. People who don't understand Japanese can't understand wha...
「advice column」的推薦目錄:
- 關於advice column 在 Facebook 的最佳解答
- 關於advice column 在 賣字 Facebook 的最佳貼文
- 關於advice column 在 Tina Liu 劉天蘭 Facebook 的精選貼文
- 關於advice column 在 umino ASMR Youtube 的最佳解答
- 關於advice column 在 TWINsふたごチャンネル Youtube 的最佳貼文
- 關於advice column 在 Culture Trip Youtube 的最讚貼文
- 關於advice column 在 900+ Advice Column ideas in 2023 - Pinterest 的評價
- 關於advice column 在 Why do We Write to Advice Columns? - YouTube 的評價
advice column 在 賣字 Facebook 的最佳貼文
世上有如此多的不許人間見白頭,有那麼多原以為不會分離的同偕白首,像在我心裡面秋官還是楚留香的模樣,周潤發和鍾楚紅是秋天的童話裡的一對。這些照片記著的不單是傾倒眾生的風華絕代,還是粵語最漂亮精彩的年代,最動人心魄又不可方物的聲音。
很久之前,有一個朋友,經已記不起是誰,向我提議開闢一個攝影專欄,以拍攝電影界人物為主。我本來就喜歡拍攝人物,又由於當時加入了『電影雙周刊』,跟電影界朋友有著密切的聯絡,何不藉此「專欄」逼自己不停拍攝?我生性疏懶,要是沒有「專欄」的壓力,我是不會定期工作的。故此,就於一九七九年十月十一日在『電影雙周刊』第二十期開始了「曝光人物」一欄。當時,「曝光人物」是意圖把有突出表現的電影工作者,或有潛質的幕後工作者介紹出來,特意「曝光」一番。
記得第一個電影人,我是選擇了許鞍華,那時她剛拍完了處女作《瘋劫》。許鞍華的性格,我是知道的,要她拍照,實在為難她,我私下有點兒不忍逼害她,可是任務在身,唯有努力把她誘請出來。回想也好笑,我把她帶到深夜的電車上,舉機相向,她還苦苦哀求我放好一馬拍。她不是矯扭作態,因為四周無人,而是她真的很怕拍照。怕拍照,我覺得完全正常,我也怕被人拍照。終於我還是完成了任務。我很喜歡那張照片。
說起來,譚家明也是一個怕拍照的人,他可害得我苦了!我曾經隻身夜探嘉禾片場,在又焗又熱的廠景內苦候整個晚上,一無所獲,就是因為他怕了我的攝影機,又很會躲。又有一次我碰見他在尖沙咀拍戲,立刻趕回家取攝影機,以為可以替他拍得一張照片,豈料,他竟然在眾人面前央求我不要拍,真給他氣壞!所以至今我還未有一張滿意的譚家明照片,遺憾!
幸而,電影工作者不是全部都害怕攝影機,有些根本喜歡上鏡,這類型的人最受歡迎,亦是最合作的模特兒。章國明就最可愛,他懂得怎樣引導你的攝影,不斷提出意見刺激你。面對著他,你會有很多很多選擇,而不是相對無言─尷尬。拍攝過程是輕鬆、愉快的。徐克也是很好的拍攝對象,他會給你機會,給你時間。有些導演在工作時異常緊張,不停走動,使你一個鏡頭也沒法捕捉。楚原在邵氏片場內,快步來回,難得有停下來的一刻,但在適當的時候,他也會記起我的存在,而給我機會。但有些導演便不會明白我持機等待的苦心,像有意作弄似的永遠不會走到「有足夠光線」的地方,使我用武無地。有時連燈光師也同情我的苦候,通情達理的特意把燈光射去,給我拍攝的機會,為了拍攝「曝光人物」,多年追縰電影進行拍攝的實況,跟很多工作人員都熟絡起來,他們給我很多方便和幫忙,感激不盡。
拍攝人像,我喜歡用廣角鏡,在短距離捕捉對方最自然,最不自覺的面貌。為了達到這個目的,我唯有在他們工作時進行拍攝,因此使我有機會體會拍電影的艱苦,亦豐富了我的經歷。我會落到中區的地底深處,那時黃志強正在那裡拍攝《癲佬》。我冒生命危險攀落地鐵的地底地盤,裡面沒有空氣調節,烏煙瘴氣,真難為那班工作人員要在裡面工作多日。我又曾探過西環上面的防空洞,那時鄧光榮在山洞裡面拍《怒拔太陽旗》。我要忍受那些防空洞的髒和黑,工作人員都懷疑我為何要自討苦吃。我又試過在寒風凜裂的高速公路佇立,那時曾志偉在拍《最佳拍檔大顯神通》的飛車鏡頭。全組工作人員士氣高昂,像感覺不到寒冷,只有我一個冷得牙根打顫。
記得有一次,我要替麥嘉拍照,照例先打電話追查行蹤,他說:「今晚我們半夜出發,像黑夜行軍,要攀山越嶺,你還是別跟來吧!」永遠是那樣大男人口氣,我才不被他嚇倒,堅持跟隨出發。麥嘉唯有帶同我摸黑走路,一行人有講有笑,並不太辛苦。雖然當晚捱到通宵,我也拍不到一張滿意的照片。可是深夜行山是我前所未有的經驗,也算是有多少收獲。
說來「曝光人物」帶給我的收獲可不少,除了經驗、朋友之外,就是意外的讚賞。有點奇怪,不少人都表示喜歡「曝光人物」。施南生便說過她和徐克喜歡把所有的「曝光人物」放在一起來欣賞。台灣『中國時報』亦要求刊登那些照片,另立名目為「電影人映象」。直至一九八三年九月一日,『電影雙周刊』第119期,「曝光人物」一欄才停止。因為我要應付一項新的工作,分身不暇,唯有割愛。想不到有不少朋友比我還緊張,屢次追問我何時再續 ,此事一直令我耿耿於懷。
我可不曾想過把作品結集成書,名攝影家翁維銓早已建議我進行出版攝影集,他的鼓勵使我欣然,但亦令我歉疚,我曾替上百的電影人拍照,竟然遺漏了這位也是導演的朋友。其後還有不同的機構及朋友向我提議出版「曝光人物」,可是每次翻看那些攝影作品,都覺得成績平平,差強我意,實在沒有勇氣再拿出來獻醜。幾經規勸和催逼,我才毅然把四年來的『曝光人物』和其他電影人的照片勉強整理出一個大概,完全是就地取材。真怪自己疏懶,心無大志。要是早有計劃,就不至內容偏頗不全。
這本『電影人』只是這幾年的攝影紀錄,我希望會有第二集的『電影人』,能夠把本港現在及將來出色的電影工作者的照片收集,攝影師不必是我。
希望這願望有實現的一天。
A long time ago, a friend persuaded me to start a photo column expressly on film makers. i love photographing people, and ever since, I joined the film Biweekly in 1979, i have come to know film makers well. Being a photo columnist, I had to photograph continuously. The column"exposeure" came into existence in the 10/11/79 issue of the flim Biweekly, solely to "expose" and introduce to the public some remarable film makers or outstanding personaliities in the industry.
Ann Hui, was my first subject, who had just finished her first film, "The Secret" In spite of her reluctance of being photographed, I accomplished my first shooting assignment on the upper deck of a tram - but not without much coaxing and cajoling. This particular portrait meant much to me.
Patrick Tam too, was reluctant to be photographed. In spite of my patience and perseverence, I yielded to Patrick's evasiveness and reluctance. Consequently, i never did photograph Patrick.
Fortunately, not all film makers had " camera fright" and these cooperative personalitieswere excellent subjects as well as models. Alex Cheung was great because he would not mind being photographed, and he even offered suggestions which made the photo-session a delightful and happy experience.
Tsui Hark was easy to work with for his cooperativeness and time. While photographing Chu yuan at work, His mobility almost rendered the mission impossible, but his understanding enabled me to accomplish my mission. Often, the dimness of the studios possed problems to photographing directors at work; and without the lighting men's special assistance, some works would never have been achieved. Many thanks are due to those i have come to know and worked with during those years.
The focal length of a wide angle lens is my preference for portraiture. It facilitates my capturing the subjects in the naturnal and uncontrived. On following film makers around in those photo--sessions - through studios and on locations, I experienced the hard work of film-making. I lived with the heat and grime of MTR construction site in Central where Kirk Wong was filming "The Mad man." i experienced the darkness and filth of the tunnel in kennedy Town where Allan Tang filmed the "Aces Go places II" on a freeway.
Once i hiked all night to photograph Carl Mak. Though the night trip did not merit any good photographs, the experience itself was rewarding.
Not only had the "Exposure" won me experiences and friennds, bbut also pleasant surprises - acceptance. people from many walks of life expressed interests in those works. Often, Nansun shi recalled she and Tsui hark would lay them out for appreciation. The "China Times" of Taiwan had publish them ina photo colum. "portraits of Flim Makers' Against my friends Advice the "Exposure" ended on September 1,1983 when I took up another job.
Peter Yung, a renowned photographer and film maker as well, whom I regretably did not photograph, encouraged me to publish them.Repeatedly, publishers approached me with similar ideas to which I had not complied. After much rationalization, I re-examind and re-edited the body of work, an accomplishment in four years. i reaized that had I been planning in advance, I would have been been more organized and comprehensive in covering more film makers.
" The Flim Makers" is merely a photographic record to which i wish there could be a sequel by me or other photographers. I hope I can find the time and energy to make the wish come true.
advice column 在 Tina Liu 劉天蘭 Facebook 的精選貼文
寶藏!捕捉了一代香港電影人映像的盧玉瑩攝影作品<電影人-The Film Makers> , 太珍貴!
(<電影人>結集,電影工作室1986年出版)
很久之前,有一個朋友,經已記不起是誰,向我提議開闢一個攝影專欄,以拍攝電影界人物為主。我本來就喜歡拍攝人物,又由於當時加入了『電影雙周刊』,跟電影界朋友有著密切的聯絡,何不藉此「專欄」逼自己不停拍攝?我生性疏懶,要是沒有「專欄」的壓力,我是不會定期工作的。故此,就於一九七九年十月十一日在『電影雙周刊』第二十期開始了「曝光人物」一欄。當時,「曝光人物」是意圖把有突出表現的電影工作者,或有潛質的幕後工作者介紹出來,特意「曝光」一番。
記得第一個電影人,我是選擇了許鞍華,那時她剛拍完了處女作《瘋劫》。許鞍華的性格,我是知道的,要她拍照,實在為難她,我私下有點兒不忍逼害她,可是任務在身,唯有努力把她誘請出來。回想也好笑,我把她帶到深夜的電車上,舉機相向,她還苦苦哀求我放好一馬拍。她不是矯扭作態,因為四周無人,而是她真的很怕拍照。怕拍照,我覺得完全正常,我也怕被人拍照。終於我還是完成了任務。我很喜歡那張照片。
說起來,譚家明也是一個怕拍照的人,他可害得我苦了!我曾經隻身夜探嘉禾片場,在又焗又熱的廠景內苦候整個晚上,一無所獲,就是因為他怕了我的攝影機,又很會躲。又有一次我碰見他在尖沙咀拍戲,立刻趕回家取攝影機,以為可以替他拍得一張照片,豈料,他竟然在眾人面前央求我不要拍,真給他氣壞!所以至今我還未有一張滿意的譚家明照片,遺憾!
幸而,電影工作者不是全部都害怕攝影機,有些根本喜歡上鏡,這類型的人最受歡迎,亦是最合作的模特兒。章國明就最可愛,他懂得怎樣引導你的攝影,不斷提出意見刺激你。面對著他,你會有很多很多選擇,而不是相對無言─尷尬。拍攝過程是輕鬆、愉快的。徐克也是很好的拍攝對象,他會給你機會,給你時間。有些導演在工作時異常緊張,不停走動,使你一個鏡頭也沒法捕捉。楚原在邵氏片場內,快步來回,難得有停下來的一刻,但在適當的時候,他也會記起我的存在,而給我機會。但有些導演便不會明白我持機等待的苦心,像有意作弄似的永遠不會走到「有足夠光線」的地方,使我用武無地。有時連燈光師也同情我的苦候,通情達理的特意把燈光射去,給我拍攝的機會,為了拍攝「曝光人物」,多年追縰電影進行拍攝的實況,跟很多工作人員都熟絡起來,他們給我很多方便和幫忙,感激不盡。
拍攝人像,我喜歡用廣角鏡,在短距離捕捉對方最自然,最不自覺的面貌。為了達到這個目的,我唯有在他們工作時進行拍攝,因此使我有機會體會拍電影的艱苦,亦豐富了我的經歷。我會落到中區的地底深處,那時黃志強正在那裡拍攝《癲佬》。我冒生命危險攀落地鐵的地底地盤,裡面沒有空氣調節,烏煙瘴氣,真難為那班工作人員要在裡面工作多日。我又曾探過西環上面的防空洞,那時鄧光榮在山洞裡面拍《怒拔太陽旗》。我要忍受那些防空洞的髒和黑,工作人員都懷疑我為何要自討苦吃。我又試過在寒風凜裂的高速公路佇立,那時曾志偉在拍《最佳拍檔大顯神通》的飛車鏡頭。全組工作人員士氣高昂,像感覺不到寒冷,只有我一個冷得牙根打顫。
記得有一次,我要替麥嘉拍照,照例先打電話追查行蹤,他說:「今晚我們半夜出發,像黑夜行軍,要攀山越嶺,你還是別跟來吧!」永遠是那樣大男人口氣,我才不被他嚇倒,堅持跟隨出發。麥嘉唯有帶同我摸黑走路,一行人有講有笑,並不太辛苦。雖然當晚捱到通宵,我也拍不到一張滿意的照片。可是深夜行山是我前所未有的經驗,也算是有多少收獲。
說來「曝光人物」帶給我的收獲可不少,除了經驗、朋友之外,就是意外的讚賞。有點奇怪,不少人都表示喜歡「曝光人物」。施南生便說過她和徐克喜歡把所有的「曝光人物」放在一起來欣賞。台灣『中國時報』亦要求刊登那些照片,另立名目為「電影人映象」。直至一九八三年九月一日,『電影雙周刊』第119期,「曝光人物」一欄才停止。因為我要應付一項新的工作,分身不暇,唯有割愛。想不到有不少朋友比我還緊張,屢次追問我何時再續 ,此事一直令我耿耿於懷。
我可不曾想過把作品結集成書,名攝影家翁維銓早已建議我進行出版攝影集,他的鼓勵使我欣然,但亦令我歉疚,我曾替上百的電影人拍照,竟然遺漏了這位也是導演的朋友。其後還有不同的機構及朋友向我提議出版「曝光人物」,可是每次翻看那些攝影作品,都覺得成績平平,差強我意,實在沒有勇氣再拿出來獻醜。幾經規勸和催逼,我才毅然把四年來的『曝光人物』和其他電影人的照片勉強整理出一個大概,完全是就地取材。真怪自己疏懶,心無大志。要是早有計劃,就不至內容偏頗不全。
這本『電影人』只是這幾年的攝影紀錄,我希望會有第二集的『電影人』,能夠把本港現在及將來出色的電影工作者的照片收集,攝影師不必是我。
希望這願望有實現的一天。
A long time ago, a friend persuaded me to start a photo column expressly on film makers. i love photographing people, and ever since, I joined the film Biweekly in 1979, i have come to know film makers well. Being a photo columnist, I had to photograph continuously. The column"exposeure" came into existence in the 10/11/79 issue of the flim Biweekly, solely to "expose" and introduce to the public some remarable film makers or outstanding personaliities in the industry.
Ann Hui, was my first subject, who had just finished her first film, "The Secret" In spite of her reluctance of being photographed, I accomplished my first shooting assignment on the upper deck of a tram - but not without much coaxing and cajoling. This particular portrait meant much to me.
Patrick Tam too, was reluctant to be photographed. In spite of my patience and perseverence, I yielded to Patrick's evasiveness and reluctance. Consequently, i never did photograph Patrick.
Fortunately, not all film makers had " camera fright" and these cooperative personalitieswere excellent subjects as well as models. Alex Cheung was great because he would not mind being photographed, and he even offered suggestions which made the photo-session a delightful and happy experience.
Tsui Hark was easy to work with for his cooperativeness and time. While photographing Chu yuan at work, His mobility almost rendered the mission impossible, but his understanding enabled me to accomplish my mission. Often, the dimness of the studios possed problems to photographing directors at work; and without the lighting men's special assistance, some works would never have been achieved. Many thanks are due to those i have come to know and worked with during those years.
The focal length of a wide angle lens is my preference for portraiture. It facilitates my capturing the subjects in the naturnal and uncontrived. On following film makers around in those photo--sessions - through studios and on locations, I experienced the hard work of film-making. I lived with the heat and grime of MTR construction site in Central where Kirk Wong was filming "The Mad man." i experienced the darkness and filth of the tunnel in kennedy Town where Allan Tang filmed the "Aces Go places II" on a freeway.
Once i hiked all night to photograph Carl Mak. Though the night trip did not merit any good photographs, the experience itself was rewarding.
Not only had the "Exposure" won me experiences and friennds, bbut also pleasant surprises - acceptance. people from many walks of life expressed interests in those works. Often, Nansun shi recalled she and Tsui hark would lay them out for appreciation. The "China Times" of Taiwan had publish them ina photo colum. "portraits of Flim Makers' Against my friends Advice the "Exposure" ended on September 1,1983 when I took up another job.
Peter Yung, a renowned photographer and film maker as well, whom I regretably did not photograph, encouraged me to publish them.Repeatedly, publishers approached me with similar ideas to which I had not complied. After much rationalization, I re-examind and re-edited the body of work, an accomplishment in four years. i reaized that had I been planning in advance, I would have been been more organized and comprehensive in covering more film makers.
" The Flim Makers" is merely a photographic record to which i wish there could be a sequel by me or other photographers. I hope I can find the time and energy to make the wish come true.
advice column 在 umino ASMR Youtube 的最佳解答
Hello, I am umino.Thank you for watching this video.This description uses Google Translate.
People who don't understand Japanese can't understand what I'm talking about in this video. So I will explain it in the summary column.
日本語が分からない人はこの動画で私が喋っていることが全く理解できないと思う。なので概要欄の方で説明をします。
This video was tapping the five kinds of different things. Glass bowls, wooden boxes, styrofoam, small containers, notepads, I think there's something I like about this video.
今回の動画は5種類の様々な物をタッピングした。ガラスボウル、木の箱、発泡スチロール、小さいコンテナ、メモ帳、この動画に何かしら好きな音はあると思う。
There are few views of tapping videos on this channel. I don't know if tapping isn't popular or doesn't suit this channel. Actually I know, this channel is bad. Is tapping popular overseas? Do you talk about tapping with your friends? I will not do it. I think I sometimes do tapping in my spare time. A desk, a smartphone, a car handle, etc.
このチャンネルではタッピングの動画は視聴数が少ない。タッピングの人気がないのか、このチャンネルには合わないのか、私には分からない。実際には分かっている、このチャンネルが悪いんだ。海外ではタッピングは人気ですか?あなたは友だちとタッピングの話する?私はしない。ついつい暇な時にタッピングをすることはあると思う。机とかスマホとか車のハンドルとか。
The video answers viewers' worries. The important point is that you have answered but not solved. In the first place, it would be nonsense if the problem was solved just because someone said something. It doesn't make any sense without the process of getting advice and thinking based on it. I would like overseas viewers to comment if they have any concerns.
動画では視聴者の悩みに答えている。答えただけで解決してないことが重要なポイントだ。そもそも人に何かを言われただけで問題が解決してしまってはナンセンスだ。アドバイスを貰い、それを踏まえて自分で考えるという過程がないと何の意味もないのだ。海外の視聴者も何か悩みがあったらコメントして欲しい。
The problem this time is that I want to be careful about younger children who do not use honorifics, but I do not want to be hated. Probably a consultation of junior high school students.
今回の悩みは敬語を使わない年下の子に注意をしたいけど、嫌われたくないというものだ。多分、中学生の相談だろう。
There is a culture of honorifics in Japan. Basically, it is better to use honorifics for superiors. You must use honorifics even if you have no respect for them. Damn it.
日本には敬語という文化がある。目上の人に対しては基本的に敬語を使った方がいいというものだ。何も尊敬する部分がなくても敬語を使わなければいけない。くそったれだ。
Many people may not know the culture of honorifics, so I would like to talk about what you should do to be careful and not dislike it. The bottom line is that you are serious and hardworking. And I think the relationship of trust with the target person is important.
敬語の文化については分からない人も多いだろうから、人に注意をすることとそれによって嫌われないためには、どうすればいいのかについて話したい。結論から言えば、自分が注意されないような人間であること。そして、注意される人との信頼関係が大事だと思う。
If people who take things seriously are careful, those who are careful will be satisfied. If you want to say something without being disliked by others, it is important to correct your daily activities and gain the trust of others. I can't do that.
何事にも真面目に取り組む人に注意されれば、注意される側も納得するだろう。人には嫌われず自分が何かを言いたいのであれば、日々の行動を正して周りからの信頼を得ることが重要だ。私にはそれはできそうもない。
If you get the attention of your close friends, you'll be able to accept it, but if you're told by someone you haven't spoken to, that would be difficult.
親しい友人に注意を受ければ、それを受け入れることもできるだろうが、あまり話したこともない人に言われた場合、それは難しいだろう。
In the first place, humans may like someone and vice versa. The people here tend to like me relatively, but some people dislike it. (I think seeing people you don't like is a waste of your life.) People who hate me are probably liked or disliked by someone else. What I want to say is that you can't do anything if you fear being hated. Even if you are disliked because you are careful, you should build a relationship of trust after that.
そもそも、人間は誰かを好きになることもあればその逆もある。ここにいる人は私のことを比較的好きだろうが、もしかしたら嫌いな人もいる。(嫌いな人を見ること程、人生の無駄遣いもないと思うが)私のことを嫌いな人は多分他の誰かからは好かれているし、嫌われてもいるはずだ。何が言いたいかというと、嫌われることを恐れていては何もできないぞ。例え注意したことで嫌われたとしても、その後に信頼関係を築けばいいじゃない。
Good night.
というわけで、おやすみの。
イヤホンまたはヘッドホンをつけてお楽しみください。もし動画が良かったら高評価を押していただけると励みになります。
SNS
Twitter: https://goo.gl/Y9uFpW
Twitter(通知用): https://goo.gl/WHEa8c
Instagram: https://goo.gl/sL8M1r
サブチャンネル: https://goo.gl/C7yDgn
無劣化音声の購入はこちらから
https://bit.ly/2ktOOjm
Copyright © 2017 UMINO ASMR All Rights Reserved.
advice column 在 TWINsふたごチャンネル Youtube 的最佳貼文
伝えたいことを文字だけで伝えるのは難しい!動画を見てわからなかったことなどコメント欄で受け付けます!また、アドバイスなんかも貰えるとすごく助かります。また、拡散してたくさんの情報をみんなで共有したいと思います。子育てパパママみんあが共有し合ってみんな独りで抱え込まないようになればいいと思います。私も不安だらけの1人です。子育て楽しんで頑張りましょー!It is difficult to convey what I want to convey only by a letter! I accept it with the comment column including not having understood it to see an animation! In addition, it is saved very much when I get the advice. In addition, I spread and want to share much information together. I think that child care daddy mom みんあが is the single life that you do not share and should not come to hold it. I am the one who is full of uneasiness. I enjoy child care and will do my best!
チャンネル登録お願いします→http://urx.blue/OYzK
↓こちらでTWINsふたごチャンネルにて紹介しているアイテム等、載せるようにしました。参考にしてもらえると嬉しいです。
【ごうくん&ふわちゃんのROOM】
https://room.rakuten.co.jp/room_8977a...
#二卵性男女双子赤ちゃん#TWINsふたごチャンネル#寝かしつけ#子育て論#自己完結
【関連動画】
【絶対寝る⁈】わが家の赤ちゃん寝かしつけ方法
https://youtu.be/LTolOWXui6M
試してみて!赤ちゃんの寝かしつけ3選
https://youtu.be/Mz6EuosdgPg
賢い子育て裏ワザ:看護師がタオルをこう使う。赤ちゃんがすぐに眠りに落ちる。
https://youtu.be/V6cTnwCgQI4
【“背中スイッチ”が発動しない!寝かしつけのコツ】助産師 宮川めぐみ監修
https://youtu.be/j3uc5cpjuHE
赤ちゃん寝かしつけと睡眠のコツ
https://youtu.be/_SkkAp4jGGU
advice column 在 Culture Trip Youtube 的最讚貼文
Sex may be a taboo topic in India, but 94-year-old Dr Mahinder Watsa is challenging this attitude by offering candid advice via his newspaper column, ‘Ask the Sexpert’.
Subscribe to our channel to get three new videos a week and download our app to start exploring your world.
Discover more about Dr Mahinder Watsa here: https://bit.ly/2J01RTS
To get more Culture Trip visit:
https://www.culturetrip.com
https://www.facebook.com/culturetrip
https://www.instagram.com/culturetrip
https://www.twitter.com/culturetrip
https://www.pinterest.co.uk/theculturetrip
advice column 在 Why do We Write to Advice Columns? - YouTube 的美食出口停車場
PBS Member Stations rely on viewers like you. To support your local station, go to http://to.pbs.org/DonateORIG↓ More info and sources ... ... <看更多>
advice column 在 900+ Advice Column ideas in 2023 - Pinterest 的美食出口停車場
Jul 18, 2023 - Explore Celia Roy's board "Advice Column", followed by 126 people on Pinterest. See more ideas about advice columns, column, keep it cleaner. ... <看更多>