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A team of scientists has studied the unusual galaxy cluster Abell 2744,
nicknamed Pandora’s Cluster.
Using telescopes in space and on the ground,
including the NASA/ESA Hubble Space Telescope
and ESO’s Very Large Telescope,
they have discovered that it was formed by the simultaneous pile-up
of at least four separate galaxy clusters.
When huge clusters of galaxies crash together,
the resulting mess is a treasure trove of information.
Observing these cosmic pile-ups lets astronomers reconstruct events
that have happened over hundreds of millions of years.
It also lets them study how different types of matter behave during these collisions.
The galaxies in Pandora’s Cluster
are clearly visible in images from Hubble and ESO’s Very Large Telescope.
But they only make up about 5% of the cluster’s mass.
About 20% is hot gas, which is shown here in pink.
This gas is visible thanks to its X-ray emission
which can be detected with NASA’s Chandra satellite.
The lion’s share of mass in the cluster, about 75%, is dark matter.
The Dark matter cannot be seen directly,
and is somewhat of a mystery in modern day astronomy.
But there is a trick astronomers can use to find out its location:
by looking at the way that gravity distorts light from more distant galaxies,
they can work out where dark matter is hiding.
This lets the astronomers make a detailed map of where the dark matter is,
shown here in blue.
Comparing the location of the galaxies, the hot gas and the dark matter,
shows that this is not a simple crash between two clusters.
By reconstructing the history of Pandora’s Cluster,
astronomers think it must have formed from four different clusters
involved in a series of collisions over a period of some 350 million years.
It seems that the complex collision has separated out
some of the hot gas and dark matter
so that they now lie apart from the visible galaxies.
Near the core of Abell 2744,
the gas of one cluster has collided with that of another to create a shock wave.
The dark matter passed through the collision unaffected.
In another part of the cluster
there seem to be galaxies and dark matter, but no hot gas.
The gas may have been stripped away during the collision,
leaving behind no more than a faint trail.
Even stranger features lie in the outer parts of the cluster.
One region contains lots of dark matter,
but no luminous galaxies or hot gas.
A separate ghostly clump of gas has been ejected,
which precedes rather than follows the associated dark matter.
This puzzling arrangement may be telling astronomers something about
how dark matter behaves and how the various ingredients of the Universe
interact with each other.
Galaxy clusters are the largest objects in the Universe
to be held together by their own gravity
and understanding how they form and evolve
is a vital aspect of unravelling the history of the cosmos.
Learning more about dark matter not only furthers our understanding of clusters,
but it also takes us a little closer to fathoming
the nature of this mysterious and elusive substance.
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Czech:
Děti reagují na muziku!
Dnešní epizoda: Michael Jackson!
Dneska máme v plánu vám ukázat
ukázky pár nejlepších hitů
od jedné z největších pop star všech dob.
Okay.
Ó, bože.
Nemám rád pop, protože to není pravá muzika.
♪ She was more like a beauty queen ♪
Jaké je jeho jméno?
Michael Jackson?
Ano! Michael Jackson!
Michael Jackson! Ano!
Měl jsem vědět, že je to Michael Jackson.
Ano, on je určitě jeden z nejlepších lidí.
♪ People always told me ♪
♪ Be careful what you do ♪
♪ And don't go around breaking young girls' hearts ♪
Miluji Michaela Jacksona.
♪ Billie Jean is not my lover (ooh!) ♪
Thai:
- (เด็ก) คิดส์รีแอคทูมิวสิก
ตอน: ไมเคิล แจ็กสัน!
- (FBE) วันนี้เรากำลังจะให้คุณดู
เมด์เล่ย์เพลงฮิตที่สุดบางเพลง
จากหนึ่งในป๊อปสตาร์ที่ยิ่งใหญ่ที่สุด
ตลอดเวลา
- เอาล่ะ
- โอ้พระเจ้า.
ฉันไม่ชอบเพลงป๊อปเพราะ
มันไม่ได้เป็นเพลงจริงๆ
♪ (จังหวะ Intro) ♪
- ♪เธอเป็นเหมือนนางงาม♪
- เขาชื่ออะไร?
- ไมเคิลแจ็กสัน?
- ใช่! ไมเคิลแจ็กสัน!
- ไมเคิลแจ็กสัน! ใช่
- ฉันน่าจะรู้นะว่า
เป็นไมเคิลแจ็กสัน
- ใช่ แน่นอนว่าเขาเป็นหนึ่ง
ในคนที่ยิ่งใหญ่ที่สุด
- ♪คนมักจะบอกว่าฉัน♪
- (ร้องเพลง)
♪ระวังสิ่งที่คุณทำ♪
♪และอย่าเที่ยวไป
ทำลายหัวใจหญิงสาว♪
- ฉันรักไมเคิลแจ็กสัน
- ♪ Billie Jean ไม่ได้เป็นคนรักของฉัน (Ooh!) ♪
Portuguese:
Hoje vamos mostrar alguns dos melhores hits
de umas das maiores estrelas do Pop de todos os tempos
Okay
Oh, Deus... Eu não de Pop, porque não é música de verdade.
Qual é o nome dele?!
Michael Jackson?!
SIIM! MICHAEL JACKSON!
MICHAEL JACKSOON!
Eu deveria saber que é Michael Jackson.
É, com certeza ele é uma das melhores pessoas,!
Eu amo Michael Jackson!
Korean:
이번 화는 마이클 잭슨입니다
오늘 저희가 보여줄 것은 바로
엄청난 인기 곡들을 들려드릴거예요
지금까지도 가장 인기가 많은 팝스타중 한명입니다
네
진짜요?
저는 사실 팝이 진짜노래같지가 않아서 좋아하지는 않아요
남자이름이 뭐예요?
마이클 잭슨?
마이클 잭슨!
마이클 잭슨! 맞아요!
마이클 잭슨은 알고있었어요
맞아요, 대단한 사람들중 한명이예요
마이클잭슨 사랑해요
German:
Kinder reagieren auf: Musik!
Diese Episode: Michael Jackson.
Heute zeigen wir euch ein Medley
der besten Hits vom größten Pop Star aller Zeiten
Mädchen: O-Ok- Okay
Junge: Oh Gott. Ich mag kein Pop weil
es nicht echt ist.
(Musik spielt)
♫She was more like♫
Was ist sein Name?
Michael Jackson?
Ja!Michael Jackson!
Michael Jackson! Ja!
Ich hätte wissen müssen, dass es Michael Jackson ist.
Ja, er ist definitiv einer der besten Menschen.
♫Be careful about what you do♫
Ich liebe Michael Jackson.
Russian:
Дети реагируют музыку
Этот эпизод
Майкл Джексон
Сегодня, мы собираемся вам показать
попурри из нескольких хитов
от одной из самых больших поп-звезд всех времен.
О.. ОК
О боже...
Я не люблю поп-музыку
потому что это не настоящая музыка
Как его зовут?
Майкл Джексон?
ДА! Майкл Джексон!
Майкл Джексон!
Да!
Я должен был знать, что это Майкл Джексон.
Да, он, безусловно, один из величайших людей.
Я люблю Майкла Джексона
Arabic:
أطفال يتفاعلون مع الموسيقى
هذه الحلقة: مايكل جاكسون!
اليوم في الواقع سوف نريكم
مزيج من بعض أعظم الأعمال
لواحد من أكبر نجوم البوب على مر التاريخ
حسنا
يإالهي
أنا لا أحب البوب، لإنها ليست موسيقى حقيقية
- ♪ كانت أشبه بملكة جمال ♪
ماهو اسمه؟
مايكل جاكسون
نعم. مايكل جاكسون
مايكل جاكسون , نعم
كان ينبغي أن أعرف أنه مايكل جاكسون
نعم، هو بالتأكيد واحد من أعظم الناس.
- ♪ الناس دائما يقولون لي ♪
كن حذراً مما تفعله
♪ لاتعبث هنا وهناك وتكسر قلوب البنات الصغيرات♪
أنا أحب مايكل جاكسون
- ♪ بيلي جين ليست حبيبتي ♪
Spanish:
Niños reaccionan
música
en este episodio
Michael Jackson
hoy vamos a mostrarte un popurrí de los mayores exitos de uno de los mas grandes estrellas pop de todos los tiempos
o-ok
oh Dios.no me gusta el pop porque no es música real
*música suena*
¿cual es su nombre?
¿ Michael Jackson?
si! Michael Jackson
Michael Jackson si!
debería haber sabido que era Michael Jackson
si,el sin duda es uno de los mas grandes
Amo a Michael Jackson
French:
Les enfants réagissent à : La Musique !
Cet épisode : Michael Jackson.
Aujourd'hui nous allons vous montrer un medley
des plus grands hits de l'une des plus grande star de la pop de tout les temps.
Okay
Oh mon dieu, j'aime pas la pop parce que
c'est pas de la vrai musique.
*la musique commence*
C'est quoi son nom ?
Michael Jackson ?
Oui ! Michael Jackson !
Michael Jackson! Oui!
J'aurais du savoir que c'est Michael Jackson.
Ouais, il est définitivement l'une des personnes les plus géniales qui soient.
J'aime Michael Jackson.
iw:
ילדים מגיבים ל-
מוזיקה
בפרק של היום-
מייקל ג'קסון
היום אנחנו הולכים להראות לך
אוסף של מיטב הלהיטים
של אחד מכוכבי הפופ הגדולים בכל הזמנים
אוקי
או אלוהים
אני לא אוהב פופ כי זו לא מוזיקה אמיתית
איך קוראים לו?
מייקל ג'קסון?
יש!
מייקל ג'קסון!
מייקל ג'קסון!
כן!
הייתי צריך לדעת שזה מייקל ג'קסון
כן, הוא בהחלט אחד האנשים האדירים ביותר
אני אוהב את מייקל ג'קסון
Turkish:
Çocukların Tepkileri : Müziğe
Bu bölüm : Micheal Jackson
Bugün, aslında sizlere göstereceğimiz şey
tüm zamanların en iyi pop yıldızının en güzel hitlerinin bir karşımı olacak.
Tamam.
Hay Allah. ben poptan hoşlanmam çünkü
gerçek müzik değil.
Adı neydi bu adamın ?
Michael Jackson?
Evet! Michael Jackson!
Michael Jackson! Evet!
Bilmeliydim bu Michael Jackson.
Evet, o kesinlikle en harika insanlardan biri.
Ne yaptığına dikkat et
Michael Jackson 'ı seviyorum
Portuguese:
Reação das Crianças a: Música!
Nesse episódio: Michael Jackson.
Hoje, na verdade, nós vamos mostrar uma junção de músicas
de alguns dos maiores sucessos de uma das maiores estrelas pop de todos os tempos.
Garota: O-Ok- certo.
Garoto: Oh Deus. Eu não gosto de música pop porque
não é real.
*musica começa*
♫ Ela era mais como♫
Como é o nome dele?
Michael Jackson?
Isso! Michael Jackson!
Michael Jacson! Isso!
Eu deveria saber que era o Michael Jackson.
É, ele definitivamente é uma das maiores estrelas.
♫tome cuidado com o que você faz♫
Eu amo Michael Jackson.
Finnish:
(lapset) Lapset reagoivat musiikkiin!
Tässä jaksossa: Michael Jackson!
- (FBE) Tänään me näytämme teille
sekoituksen kappaleita
yhdeltä kaikkien aikojen suurimmista pop tähdistä.
- Okei
- Voi ei
en pidä popista, sillä se ei ole oikeaa musiikkia
♪ ( intro) ♪
- ♪ Hän oli kuin kaunotar ♪
- Mikä hänen nimi olikaan?
- Michael Jackson?
- Kyllä! Michael Jackson!
- Michael Jackson! Jes!
- Olisi pitänyt arvata, että se tulisi olemaan Michael Jackson
- Kyllä, hän on ehdottomasti yksi parhaimmista ihmisistä
- ♪ Kaikki aina varoittivat ♪
- (mukana laulua) - ♪ Varo mitä teet ♪
- ♪ Älä riko nuorten naisten sydämmiä ♪
- Minä rakastan Michael Jacksonia
- ♪ Billie Jean ei ole rakastajani (ooh!) ♪
Italian:
- (bambini) I bambini reagiscono alla musica!
Questo episodio: Michael Jackson!
oggi, vi mostreremo
un mix di alcuni dei più grandi successi
di uno delle più grandi pop star di tutti i tempi
okay
oh, bene
non mi piace la musica pop perchè non è vera musica
♪ (introduzione percussiva) ♪
- ♪ Era più simile a una reginetta di bellezza ♪
qua'è il suo nome
michael jackson?
si!michael jackson!
michael jacson^!si!
dovrei conoscerla questa, è michael jackson!
si, è decisamente uno dei migliori
- ♪ La gente mi ha sempre detto ♪
- (cantando insieme)
♪ Stai attento a quello che fai ♪
♪ E non andare in giro
rompere i cuori delle ragazze ♪
io amo michael jackson
- ♪ Billie Jean non è il mio amante (ooh!) ♪
Indonesian:
- (Anak-anak) Anak-anak bereaksi terhadap musik!
Episode ini: Michael Jackson!
- (FBE) Hari ini, kita sebenarnya
akan menunjukkan Anda
medley dari beberapa hits terbesar
dari salah satu yang terbesar
bintang pop sepanjang masa.
- Baik.
- Ya Tuhan.
Saya tidak suka pop karena
itu bukan musik sungguhan.
♪ (intro perkusi) ♪
- ♪ She was more like a beauty queen ♪
- Siapa namanya?
- Michael Jackson?
- Iya nih! Michael Jackson!
- Michael Jackson! Iya nih!
- Saya seharusnya telah mengetahui
itu Michael Jackson.
- Ya, dia pasti salah satunya
dari orang-orang terhebat.
- ♪ People always told me ♪
- (ikut bernyanyi)
♪ Be careful what you do ♪
♪ And don't go around breaking young girls' hearts ♪
- Saya suka Michael Jackson.
- ♪ Billie Jean is not my lover (ooh!) ♪
English:
- (children) Kids react to music!
This episode: Michael Jackson!
- (FBE) Today, we're actually
going to be showing you
a medley of some of the greatest hits
from one of the biggest
pop stars of all time.
- Okay.
- Oh god.
I don't like pop because
it's not real music.
♪ (percussive intro) ♪
- ♪ She was more like a beauty queen ♪
- What is his name?
- Michael Jackson?
- Yes! Michael Jackson!
- Michael Jackson! Yes!
- I should have known
it's Michael Jackson.
- Yeah, he is definitely one
of the greatest people.
- ♪ People always told me ♪
- (singing along)
♪ Be careful what you do ♪
♪ And don't go around
breaking young girls' hearts ♪
- I love Michael Jackson.
- ♪ Billie Jean is not my lover (ooh!) ♪
Vietnamese:
Kids React to: Music!
Tập này: Michael Jackson.
Hôm nay, chúng tôi đang thực sự sẽ được hiển thị cho bạn một liên khúc
của một số trong những hit lớn nhất từ một trong những ngôi sao nhạc pop lớn nhất của mọi thời đại.
Girl: O-Ok- rồi
Boy: Trời ơi. Tôi không thích nhạc pop vì
đó là không có thật.
* Âm nhạc đóng *
♫ Cô đã được nhiều như ♫
Tên của anh ấy là gì?
Michael Jackson?
Vâng! Michael Jackson!
Michael Jackson! Vâng!
Em phải biết đó là Michael Jackson chứ.
Vâng, anh ấy chắc chắn là một trong những người vĩ đại nhất là có.
♫ Hãy cẩn thận về những gì bạn làm ♫
Tôi yêu Michael Jackson.
Russian:
О, танцевальные движения такие классные
Я скучаю по Майклу Джексону.
О! Beat It! Это класс.
Как он это делает?!
Они вообще о чем поют?
Да!
Это здорово!
Люди должны делать музыку такую же как эта.
Ещё!
О, это одна из его самых популярных.
Мне очень нравится эта песня.
Триллер
Я раньше очень боялся этого.
Мы сделали эту песню
для моего школьного фестиваля на Хэллоуин
Spanish:
oh sus movimientos son muy buenos
oh extraño a Michael Jackson
como lo hizo
¿de que esta hablando?
si!
esto es genial
las personas necesitan hacer música como esta ahora
más!
oh,esta es una de las mas populares
me gusta mucho esta canción
yo solía tenerle mucho miedo a esto
hicieron esta canción para el festival de halloween en mi escuela
Finnish:
- ♪ Hän on vain tyttö, joka väittää, että minä olen hän ♪
- Hän tanssii niin hyvin.
- ♪.. mutta se lapsi ei ole poikani ♪
- Ikävöin Michael Jacksonia
- ♪ Joten häivy! (häivy) ♪
- Ooh, "Beat It". Tämä on hyvä.
- ♪ kukaan ei halua joutua päihityteksi ♪
- ♪ Näytä kuinka upea ja vahva on taistelusi ♪
- ♪ Sillä ei ole väliä, kuka.. ♪ Kuinka hän tekee sen?
- (mukana laulua)- ♪ Joten ala häipyä (häipyä) ♪
- ♪ Hyvä (häivy) ♪
- ♪ kukaan ei halua joutua päihityteksi (ei, ei) ♪
- ♪ Näytä kuinka upea.. ♪ - Mistä he edes puhuvat?
- Kyllä!
- ♪ Sillä ei ole väliä kuka on väärässä.. ♪ - Tämä on mahtavaa
Tälläistä musiikkia pitäisi tehdä myös nykyisin
- Lisää!
- ♪ Joten anna minun pitää susta kii.. ♪
- Tämä on yksi hänen suosituimmistaan.
- Minä todella pidän tästä kappaleesta
- "Thriller." - ♪ Koska tämän trilleri ♪
- Minä pelkäsin tätä ennen.
- Me esitettiin tämä kappale koulun Halloween festivaalissa.
- (mukana laulua) - ♪ Trilleri, trilleri ilta ♪
- ♪ Koska voin värisyttää sinua enemmän kuin mikään aave voisi koskaan koittaa ♪
Portuguese:
Uh! Os passos de dança são incríveis!
Eu sinto falta do Michael Jackson!
Beat It! Essa é boa!
Como ele faz isso?
Do que ele está falando?
Sim! Isso é ótimo
Pessoas deveriam fazer mais músicas como essas!
MAIS!
Oh! Essa é uma das mais famosas!
Eu realmente gosto dessa!
Thriller. Eu costumava ter medo dela!
Nós pusemos essa canção no Halloween da escola.
Indonesian:
♪ She's just a girl who claims that I am the one ♪
- Ooh, gerakan tariannya sangat bagus.
- ♪ ...the kid is not my son ♪
- Aku rindu Michael Jackson.
- ♪ Just beat it (beat it) ♪
- Ooh, "Beat It." Ini bagus.
- ♪ No one wants to be defeated ♪
♪ Showin' how funky and strong is your fight ♪
♪ Tidak masalah siapa ... ♪
- Bagaimana dia melakukannya?
- (ikut bernyanyi)
- ♪ Hanya mengalahkan (mengalahkannya) ♪
♪ Kocok (kalahkan) ♪
♪ Tidak ada yang mau dikalahkan (oh, tidak) ♪
♪ Tunjukkan bagaimana funky ... ♪
- Apa yang mereka bicarakan?
- Iya nih!
- ♪ Tidak masalah siapa yang salah ... ♪
- Ini luar biasa.
Orang perlu membuat musik seperti ini sekarang.
- Lebih Banyak!
- ♪ Jadi biarkan aku memelukmu dengan erat ... ♪
- Oh, ini salah satu yang paling populer.
- Saya sangat suka lagu ini.
- "Thriller."
- ♪ Karena ini thriller ♪
- Aku dulu sangat takut dengan ini.
- Kami melakukan lagu ini untuk
festival Halloween saya di sekolah.
- (ikut bernyanyi)
♪ Thriller, malam thriller ♪
- ♪ Karena aku bisa membuatmu lebih senang
daripada hantu yang akan berani ♪
Italian:
♪ È solo una ragazza che sostiene
che io sono quello ♪
ooh, i passi di danza sono stupendi
- ♪ ... il bambino non è mio figlio ♪
mi manca michael jackson
- ♪ Basta batterlo (battere) ♪
ohhh," beat it", questa è buona
- ♪ Nessuno vuole essere sconfitto ♪
♪ Mostrare quanto sia divertente
e forte è la tua lotta ♪
♪ Non importa chi ... ♪
- Come lo fa?
- (cantando insieme)
- ♪ Basta battere (battere) ♪
♪ Battere (battere) ♪
♪ Nessuno vuole essere sconfitto (oh, no) ♪
♪ Mostra come sei eccentrico ... ♪
- Di cosa stanno parlando?
si!
"non importa chi è in torto" questa è magnifica
le persone dovrebbero fare musica come questa adesso
di più!
- ♪ Quindi ti stringo forte ... ♪
oh, questa è una delle più famosi
mi piace veramente questa canzone
- "Romanzo giallo."
- ♪ 'Perché questo thriller ♪
sono veramente spaventato da questa canzone
abbiamo fatto questa canzone a scuola per la festa di halloween
- (cantando insieme)
♪ Thriller, thriller night ♪
- Perchè posso emozionare di più
di quanto qualsiasi ghoul avrebbe mai osato ♪
iw:
אוו, תנועות הריקוד כל כך מגניבות
אני מתגעגעת למייקל ג'קסון
אוו, 'ביט-איט'. זה טוב.
איך הוא עושה את זה?
על מה הוא מדבר בכלל?
כן!
זה מעולה
אנשים צריכים לעשות מוזיקה כזאת היום
עוד!
אוו, זה אחד מהמפורסמים ביותר שלו
אני ממש אוהבת את השיר הזה
פעם ממש פחדתי מזה
עשינו את השיר הזה בפסטיבל ליל כל הקדושים בבית הספר שלי
Turkish:
Dansı gerçekten güzel.
Michael Jackson'ı özlüyorum
Beat It
Bunu nasıl yaptı?
Neyden bahsediyorlar?
Evet!
Bu harika!
İnsanların şimdilerde bunun gibi müzik yapmaları lazım.
Daha fazla!
*Thriller Çalıyor*
Bu onun en popülerlerinden bir tanesi.
Bu müziği gerçekten seviyorum.
Thriller
Eskiden bundan çok korkardım.
Bu müziği okulumdaki cadılar bayramım için yaptılar.
Arabic:
♪ إنها مجرد فتاة تدعي أنني هو من فعلها ♪
- أوه، الحركات بالرقص عظيمة جدا.
- ♪ ... الطفل ليس ابني ♪
أنا افتقد مايكل جاكسون
فقط انصرف.... انصرف
اوووه أغنية انصرف .. انها جيدة
♪ لا أحد يريد أن ينهزم ♪
♪ يريدون فقط ان يظهروا كم هم بارعين وقويون في القتال♪
♪ ليس مهم عندهم ♪.... كيف يفعل لك
فقط انصرف ...
انصرف..... انصرف
هو عن ماذا يتكلم
نعم
هذا عظيم
الناس بحاجة إلى جعل الموسيقى مثل هذه الان
نبي أكثر
اووه هذه من اكثر الاغاني شعبية له
انا فعلا احب هذه الأغنية
اعتدت ان اكون خائفا جدا من هذه
لقد ادينا هذه الأغنية في مهرجان الهالوين في المدرسة
انها الليلة المرعبة
German:
Oh die Tanz-Moves waren so gut
Ich vermisse Michael Jackson.
(Beat It wird gespielt)
Oh Beat It!
Wie hat er es gemacht?
♫Just beat it, beat it♫
Worüber reden die überhaupt?
Ja!
Das ist gut!
Leute müssen jetzt solche Musik machen.
Mehr!
(Thriller wird gespielt)
Oh, das ist einer seiner Bekanntesten.
Ich mag dieses Lied sehr.
Thriller.
Ich habe sehr Angst davor.
Sie benutzten dieses Lied für die Halloween Party in meiner Schule.
♫Thriller, thriller night♫
English:
♪ She's just a girl who claims
that I am the one ♪
- Ooh, the dance moves are so great.
- ♪ ...the kid is not my son ♪
- I miss Michael Jackson.
- ♪ Just beat it (beat it) ♪
- Ooh, "Beat It." This is good.
- ♪ No one wants to be defeated ♪
♪ Showin' how funky
and strong is your fight ♪
♪ It doesn't matter who... ♪
- How does he do it?
- (singing along)
- ♪ Just beat (beat it) ♪
♪ Beat it (beat it) ♪
♪ No one wants to be defeated (oh, no) ♪
♪ Showin' how funky... ♪
- What are they even talking about?
- Yes!
- ♪ It doesn't matter who's wrong... ♪
- This is great.
People need to make music like this now.
- More!
- ♪ So let me hold you tight... ♪
- Oh, this is one of his most popular one.
- I really like this song.
- "Thriller."
- ♪ 'Cause this thriller ♪
- I used to be very scared of this.
- We did this song for
my Halloween festival at school.
- (singing along)
♪ Thriller, thriller night ♪
- ♪ 'Cause I can thrill you more
than any ghoul would ever dare ♪
Portuguese:
Ooh, seus passos são incríveis.
Eu sinto falta do Michael Jackson.
*começa Beat It*
Oh, Beat It!
Como ele fez isso?
♫Apenas Cai fora, cai fora ♫
Sobre o que eles estava falando?
Isso!
Isso é ótimo!
As pessoas precisam fazer mais músicas como essa.
Mais!
*começa Thriller*
OH, essa é uma das mais populares.
Eu realmente gosto dessa música.
Thriller.
Eu tinha muito medo disso.
Eles usaram essa música no festival de Dia das Bruxas na escola.
♫Terror, noite do terror♫
Thai:
♪เธอเป็นเพียงผู้หญิงคนหนึ่งที่อ้างว่า
ว่าผมเป็นคนนั้น♪
- Ooh, ท่าเต้นดีสุดๆ
- ♪ ... เด็กไม่ได้เป็นลูกชายของฉัน♪
- ฉันคิดถึงไมเคิลแจ็กสัน
- ♪ชนะมัน (ชนะมัน) ♪
- อู้ว "Beat It" ดีจัง.
- ♪ไม่มีใครอยากพ่ายแพ้♪
♪ แสดงความขลาดและแข็งแกร่ง
ในการต่อสู้ของคุณ♪
♪มันไม่สำคัญว่าใคร ... ♪
- เขาทำมันได้อย่างไร?
- (ร้องเพลง)
- ♪ชนะมัน (ชนะมัน) ♪
♪ ชนะมัน (ชนะมัน) ♪
♪ไม่มีใครอยากที่จะพ่ายแพ้ (Oh, no) ♪
♪ แสดงความขลาด ... ♪
- พวกเขาพูดเรื่องอะไร?
- ใช่!
- ♪มันไม่สำคัญว่าใครผิด ... ♪
- นี่คือดี
เดี๋ยวนี้คนเราน่าจะทำเพลงแบบนี้กันบ้าง
- ขออีก!
- ♪เพื่อให้ฉันกอดเธอไว้แน่น ... ♪
- โอ้นี้เป็นหนึ่งในเพลงที่นิยมมากที่สุดของเขา
- ฉันชอบเพลงนี้มาก
- "Thriller".
- ♪ 'สาเหตุที่ตื่นเต้นเร้าใจนี้♪
- ผมเคยเป็นกลัวอันนี้มาก
- เราทำเพลงนี้สำหรับ
เทศกาลฮาโลวีนของฉันที่โรงเรียน
- (ร้องเพลง)
♪เขย่าขวัญคืนระทึกขวัญ♪
- ♪ เพราะฉันทำให้คุณตื่นเต้นได้มากกว่า
ผีปอบจะกล้าลอง♪
Korean:
움직임이 엄청나네요
마이클 잭슨이 그립네요
오 "Beat it" 엄청 좋아요
지금어떤 얘기하고있는거죠?
좋아요
엄청좋아요
아까처럼 사람들이 노래를 만들필요가 있어요
좀 더!
마잭 명곡중 하나네요
저는 이 노래 진짜 좋아해요
이거보면서 무서워했었어요
학교에서 할로윈 축제때 이 노래로 했었어요
Czech:
♪ She's just a girl who claims that I am the one ♪
Oh, ty taneční pohyby jsou tak úžasné.
♪ ...the kid is not my son ♪
Chybí mi.
♪ Just beat it (beat it) ♪
Oh, "Beat It". Toto je dobrý.
♪ No one wants to be defeated ♪
♪ Showin' how funky and strong is your fight ♪
♪ It doesn't matter who... ♪
- Jak to jen dělá?
♪ Just beat (beat it) ♪
♪ Beat it (beat it) ♪
♪ No one wants to be defeated (oh, no) ♪
♪ Showin' how funky... ♪
- O čem to mluví?
Ano!
♪ It doesn't matter who's wrong... ♪
- Toto je super.
Lidé dnes potřebují dělat muziku jako toto.
Víc!
♪ So let me hold you tight... ♪
Toto je jedna z nejznámějších.
Vážně mám ráda tuto písničku.
- "Thriller."
♪ 'Cause this thriller ♪
Kdysi jsem se toho velmi bál.
Dělali jsme tuto písničku ve škole na Halloweenském festivalu.
♪ Thriller, thriller night ♪
♪ 'Cause I can thrill you more than any ghoul would ever dare ♪
French:
Ooh les mouvements de dance sont tellement géniaux !
Michael Jackson me manque.
*Beat it démarre*
Ooh Beat it !
Comment il a fait ça ??
De quoi est-ce qu'ils parlent ?
Oui !
C'est génial !
Les gens devrait produire ce genre de musique maintenant.
Encore !
*Thriller commence*
Oh, c'est une de ses chansons les plus populaires.
J'aime vraiment cette chanson.
Thriller.
Avant j'en avais vraiment peur.
Ils ont joué cette chanson pour le festival d'Halloween à l'école.
Vietnamese:
Ooh những bước nhảy tuyệt vời như vậy.
Tôi nhớ Michael Jackson.
* Beat It đóng *
Ooh Beat It!
Làm sao anh ta làm điều đó??
♫ Chỉ cần đánh bại nó, đánh bại nó ♫
Họ thậm chí đang nói về cái gì vậy?
Vâng!
Điều đó thật tuyệt!
Mọi người cần phải làm cho âm nhạc như thế này bây giờ.
Hơn!
* Thriller đóng *
Oh, đây là một trong những người nổi tiếng nhất của ông.
Tôi thực sự thích bài hát này.
Thriller.
Tôi từng rất sợ điều này.
Họ đã làm bài hát này cho lễ hội Halloween của tôi ở trường.
♫ Thriller, phim kinh dị đêm ♫
French:
Ouais !
J'adore !
C'est une autre chanson que j'aime vraiment beaucoup.
Je trouve que c'est vraiment cool que les gens continuent de l'écouter
et de danser sur ces musiques.
Oh c'est Captain Eo.
Je l'ai vu à Disneyland une fois.
Je n'ai encore jamais entendu cette chanson.
Oh, je ne l'ai jamais entendu celle la.
Qu'est ce qui se passe ?
Ouais, je ne sais pas ce que cette chanson est
On dirait que c'est dans l'espace.
Oh... *mouvement de dance*
Fine Bros : C'est une chanson de Captain Eo qu'on pouvait voir a Disneyland.
Oh ! *rire* Michael Jackson avait quelque chose a Disneyland.
Sauter au dessus du tourniquet, c'est quelque chose d'autorisé.
Oh ouais, ça rappelle tellement de souvenirs.
Russian:
Да!
Люблю это!
Вот эта мне очень очень нравится!
Я думаю, что это очень здорово, что люди по-прежнему слушают его
и еще под него танцевать.
О, это капитан Ио.
Я один раз видела это в Диснейленде
Я не слышал эту песню раньше
О, я никогда не слышал эту.
Что происходит?
Да, я понятия не имею, что это за песня.
Похоже, это космос.
Это отрывок из "Капитан Ио", которые раньше был в Диснейленде.
Ох.. *смеется* Майкл Джексон что-то делал в Диснейленде?
Он прыгает через турникет
Не думаю, что это разрешается
Ах да, это навевает столько воспоминаний.
Italian:
mm-mm, si la adoro
- ♪ Quindi ti stringo forte ♪
♪ E condividi un thriller killer (ow!) ♪
questa è un'altra che mi piace tanto tanto
penso che sia veramente figo che le persone stanno ancora ascoltando queste canzoni
e le continuano a ballare
- ♪ Siamo qui per cambiare il ... ♪
oh, questo è capitan EO
l'ho sentita a disneyland questa una volta
non l'avevo ancora mai sentita questa canzone
okay, non l'ho veramente mai sentita sta canzone
cosa è successo?
ok, non ho idea di che canzone si tratta
sembra come s e sono nello spazio
♪ (funky synthpop) ♪
oh, whew!
questa è una parte del capitan EO, dovrebbe essere a disneyland
oh. (ride)
michael jackson aveva qualcosa a che fare con disneyland?
- ♪ Dicono che il cielo è il limite ♪
♪ E per me è proprio vero ♪
ma, mio amico... E' saltato giù dai tornelli
non credo sia permesso
perchè io sono cattivo
yeah, i.... oh mio dio questo riporta agalla un sacco di ricordi
- (cantando insieme) ♪ Sono cattivo, sono cattivo ♪
Thai:
- อืมมมใช่! รักมัน!
- ♪ให้ฉันกอดเธอแนบแน่น♪
♪และแบ่งปันความระทึกขวัญของนักฆ่า (โอ๊ว!) ♪
- นี่คืออีกคนหนึ่ง
ที่ฉันชอบจริงๆ
- ฉันคิดว่ามันเจ๋งจริงๆ
ที่ผู้คนยังคงฟังมัน
และยังคงเต้นกับมัน
- ♪เราอยู่ที่นี่เพื่อเปลี่ยน ... ♪
- โอ้นี้เป็นกัปตันอีโอ
- ♪เปลี่ยนโลก♪
- ฉันเห็นที่ดิสนีย์แลนด์ครั้งนึง
- ♪เปลี่ยนโลก♪
- ฉันไม่เคยได้ยินเพลงนี้เลย
- เอาละฉันไม่เคยได้ยินเพลงนี้
- เกิดอะไรขึ้น?
- ใช่ฉันไม่รู้ว่านี่คือเพลงอะไร
ดูเหมือนว่ามันเป็นอวกาศ
♪ (funky synthpop) ♪
- โฮ่! ฟิ้ว!
- (FBE) ที่เป็นส่วนหนึ่งของกัปตันอีโอ,
ที่เคยอยู่ที่ดิสนีย์แลนด์
- โอ้ (หัวเราะ)
ไมเคิลแจ็กสันมี
บางอย่างที่ดิสนีย์แลนด์?
- ♪เขาว่ากัน ท้องฟ้าปิดไม่มิด♪
♪และกับผมมันยิ่งกว่าจริง♪
♪ แต่เพื่อนของฉัน ... ♪
- เขากระโดดข้ามที่กั้น
ไม่น่าจะได้รับอนุญาตนะ
- ♪เพราะฉันชั่ว (ฉันเลว) ♪
- ใช่ I-- โอ้พระเจ้า
นี่ทำให้ความทรงจำกลับมามากมาย
- (ร้องเพลง) ♪ฉันชั่ว ฉันเลว♪
German:
Ja!
Ich liebe es!
Das ist ein weiterer Song, den ich sehr mag.
Ich denke, dass es cool ist, dass Leute sowas noch hören
und dazu tanzen.
Oh das ist Kapiten Eo
Ich hab das mal in Disneyland gesehen.
Ich habe dieses Lied noch nie gehört
Oh ich habe das noch nie gehört.
Was passiert?
Ja ich habe keine Ahnung welches Lied das ist.
Es sieht aus, als wäre es aus dem Weltall.
Oh... *Whew*
Fine Bros: Das war ein Stück von Captain Eo, das in Disneyland aufgeführt wurde.
Oh ... * lacht * Michael Jackson hatte etwas in Disneyland?
Über Absperrungsbänder springen, das ist erlaubt.
Oh ja, das bringt alte Erinerungen zurück.
♫A man, a man♫
English:
- Mm-mm, yeah! Love it!
- ♪ So let me hold you tight ♪
♪ And share a killer thriller (ow!) ♪
- This is another one
that I really, really like.
- I think that it's really cool
that people are still listening to it
and still dancing to it.
- ♪ We are here to change the... ♪
- Oh, this is Captain EO.
- ♪ Change the world ♪
- I saw that at Disneyland once.
- ♪ Change the world ♪
- I haven't heard this song yet.
- All right, I've actually
never heard this one.
- What is happening?
- Yeah, I have no idea what this song is.
It looks like it's space.
♪ (funky synthpop) ♪
- Oh! Whew!
- (FBE) That was part of Captain EO,
that used to be at Disneyland.
- Oh. (laughing)
Michael Jackson had
something at Disneyland?
- ♪ They say the sky's the limit ♪
♪ And to me that's really true ♪
♪ But my friend... ♪
- He's jumping over the turnstiles.
I don't think that's allowed.
- ♪ Because I'm bad (I'm bad) ♪
- Yeah, I-- oh my god.
This brings back so many memories.
- (singing along) ♪ I'm bad, I'm bad ♪
iw:
ממ-ממ, כן! אוהבת את זה!
זה עוד שיר שאני ממש ממש אוהבת
אני חושבת שזה ממש מגניב שאנשים עדיין מקשיבים לזה
ועדיין רוקדים לזה
או, זה 'קפטן EO'
ראיתי את זה בדיסנילנד פעם
עדיין לא שמעתי את השיר הזה
מגניב, אף פעם לא שמעתי את השיר הזה
מה קורה פה?
כן, אין לי מושג איזה שיר זה
זה נראה כמו בחלל
זה היה חלק מ-'קפטן EO' שהיה בדיסנילנד
אוו
למייקל ג'קסון היה משהו בדיסנילנד?
הוא קופץ מעל העמדת כרטיסים
אני לא חושבת שמותר לעשות את זה
כן, אומיגאד, זה מעלה לי כל כך הרבה זכרונות
Indonesian:
- Mm-mm, ya! Suka!
- ♪ Jadi biarkan aku memelukmu dengan erat ♪
♪ Dan berbagi sebuah film pembunuh (ow!) ♪
- Ini satu lagi
yang saya sangat, sangat suka.
- Saya pikir itu sangat keren
bahwa orang-orang masih mendengarkannya
dan masih menari untuk itu.
- ♪ Kami di sini untuk mengubah ... ♪
- Oh, ini Kapten EO.
- ♪ Ubah dunia ♪
- Saya melihat itu di Disneyland sekali.
- ♪ Ubah dunia ♪
- Aku belum mendengar lagu ini.
- Baiklah, aku sebenarnya
tidak pernah mendengar yang satu ini.
- Apa yang terjadi?
- Ya, saya tidak tahu apa lagu ini.
Sepertinya itu ruang.
♪ (funky synthpop) ♪
- Oh! Wah!
- (FBE) Itu adalah bagian dari Kapten EO,
yang dulu ada di Disneyland.
- Oh. (tertawa)
Michael Jackson punya
sesuatu di Disneyland?
- ♪ Mereka bilang langit adalah batasnya ♪
♪ Dan bagiku itu benar sekali ♪
♪ Tapi temanku ... ♪
- Dia melompati pintu putar.
Saya tidak berpikir itu diizinkan.
- ♪ Karena aku jahat (aku buruk) ♪
- Ya, aku-- astaga.
Ini membawa begitu banyak kenangan.
- (bernyanyi bersama) ♪ Aku buruk, aku buruk ♪
Portuguese:
Sim! AMO!
Essa é outra que eu realmente gosto!
Eu acho muito legal que as pessoas ainda estão ouvindo e dançando ele.
Oh, essa é 'Captain EO'.
Eu vi na Disney uma vez.
Eu ainda não tinha ouvido essa música.
Eu realmente nunca ouvi essa música.
O que está acontecendo?
Não tenho ideia de qual música é essa.
Parece que é no espaço.
Essa foi uma parte de "Captain EO", que costumava passar na Disney.
Michael Jackson estava na Disneylândia?
Pulando sobre as catracas, algo que é permitido...
Isso traz tantas memórias
Finnish:
- Mm-mm, kyllä! Pidän siitä!
- ♪ Joten anna mun pitää susta kii ♪
- ♪ Ja koetaan yhdessä trilleri (ow!) ♪
- Tämä on toinen josta todella pidän.
- Mielestäni on hienoa, että ihmiset yhä kuuntelevat sitä
ja yhä tanssivat sen tahtiin
- ♪ Olemme täällä muuttaaksemme maailman ♪
- Ai, tämä on Captain EO. - ♪ Muuta maailma ♪
- Näin tämän kerran Disneylandissa.
- ♪ Muuta maailma ♪ - En ole aiemmin kuullut tämä kappaletta.
- Okei, en ole oikeastaan ennen kuullut tätä.
- Mitä tässä tapahtuu?
- Joo, mulla ei ole mitään käsitystä mikä tämä biisi on.
Näyttää, että se olisi avaruudessa.
♪ funkkaavaa syntikkapoppia ♪
- Oho, huh!
- (FBE) Tup oli osa Captaion EO'ta, joka oli aiemmin Disneylandissa.
- Ai. (naurua)
Michael Jacksonilla oli jotain Disneylandissa?
- ♪ He sanovat, että vain taivas on rajana ♪
- ♪ Ja mielestäni se on ihan totta ♪
- ♪ Mutta ystäväin.. ♪ - Hän hyppii pyöröporttien yli.
En usko, että se on sallittua.
- ♪ Koska olen paha (olen paha) ♪
- Joo. Tämä tuo takaisin niin monia muistoja.
- (mukana laulua) - ♪ Olen paha, olen paha ♪
Spanish:
si, la amo!
esta es otra que enserio me gusta mucho
yo creo que es genial que las personas lo sigan escuchando y bailando
oh esta es Capitain Eo
veo que es disneyland
nunca había oído esta canción antes
oh,nunca había oído esta
que esta pasando
si,no tengo idea que canción es
se ve como si fuera el espacio
esta es una parte de Capitain Eo esta fue usada en disneyland
oh, Michael Jackson hizo algo en disneyland?
saltar encima de un torniquete esta permitido?
oh si, esto me trae muchos recuerdos
Arabic:
ممممم.... نعم انا احبها
هذه اغنية اخرى احبها جدا جدا
أعتقد أنه من الرائع حقا أن الناس ما زالوا يستمعون إليها
ولازالوا يرقصون عليها
اوووه هذا كابتن ايو
لقد رأيته مره في ديزني لاند
لم أسمع هذه الأغنية من قبل
حسنا... في الواقع لم أسمعها من قبل
ماذا يحدث ؟
نعم، ليس لدي أي فكرة عن هذه الأغنية
انها تبدو مثل الفضاء
اوووه
كان ذلك جزء من الكابتن ايو اعتاد ان يكون في ديزني لاند
اووه
مايكل جاكسون كان شخص في ديزني لاند
يقفزون فوق بوابات الدخول
لا أعتقد أنه مسموح
نعم،.. يا إلهي. انها تعيد الكثير من الذكريات
Vietnamese:
Yea!
Yêu nó!
Đây là một số khác mà tôi thực sự thực sự thích.
Tôi nghĩ rằng đó là thực sự tuyệt khi mà mọi người vẫn đang nghe nó
và vẫn nhảy múa với nó.
Oh này là Captain Eo.
Tôi thấy rằng ở Disneyland một lần.
Tôi đã không nghe bài hát này chưa.
Oh tôi, tôi đã thực sự không bao giờ nghe nói về cái này.
Điều gì đang xảy ra?
Vâng tôi không có ý tưởng những gì bài hát này.
Có vẻ như đó là không gian.
Oh ... * Phù *
Fine Bros: Đó là một phần của Captain Eo, mà sử dụng để được ở Disneyland.
Oh .. * cười * Michael Jackson đã có một cái gì đó ở Disneyland?
Nhảy qua các cửa quay, một cái gì đó cho phép.
Oh yea, điều này mang lại rất nhiều kỷ niệm.
♫ Một người đàn ông, một người đàn ông ♫
Turkish:
Evet!
Buna bayılıyorum!
Bu benim gerçekten sevdiğim başka bir tanesi.
Bence bu gerçekten çok havalı insanlar hala dinliyor
ve hala dans ediyorlar.
Bu Captain Eo.
Bunu bir keresinde Disneyland de görmüştüm.
Bu şarkıyı daha önce hiç duymamıştım.
Aslında bu daha önce duymadığım bir tanesi.
Ne oluyor?
Evet bu şarkının ne olduğuyla ilgili hiçbir fikrim yok.
Uzay gibi görünüyor.
Bu Captain Eo ' nun bir parçasıydı, eskiden Disneylan 'deydi
Michael Jackson Disneylan 'de bir şey mi yaptı.
Turnikelerin üstünden zıplamak, hesaba katılmış bir şey.
Evet, bu bana bir sürü anı hatırlatıyor.
Czech:
Mm-mm, yeah! Miluji to!
♪ So let me hold you tight ♪
♪ And share a killer thriller (ow!) ♪
Toto je další, kterou já vážně, vážně mám ráda.
Myslím si, že je vážně cool, že to lidé stále poslouchají
a stále na to tančí.
♪ We are here to change the... ♪
- Toto je Captain EO.
♪ Change the world ♪
Viděla jsem to jednou v Disneylandu.
♪ Change the world ♪
- Nikdy jsem tuto písničku neslyšel.
Dobře, nikdy jsem to neslyšel.
Co se děje?
Dobře, nemám žádné tušení co za písničku to je.
Vypadá to jako vesmír.
Toto byla část Captaina EO, který se používá v Disneylandu.
Oh...
Michael Jackson má něco v Disneylandu?
♪ They say the sky's the limit ♪
♪ And to me that's really true ♪
♪ But my friend... ♪
- On skáče přes turniket.
Nemyslím si, že je to povolený.
♪ Because I'm bad (I'm bad) ♪
Ano, já... o můj bože. Toto mi vrací tolik vzpomínek.
♪ I'm bad, I'm bad ♪
Korean:
음 좋아요!
이건 제가 좋아하는 노래 중 또 다른거예요
지금까지 사람들이 이 노래를 듣는걸 보면
엄청 좋은 노래 생각해요
그리고 아직까지도 춤추잖아요
아 이거 캡틴 이오네요 (마이클잭슨이 출연한 뮤지컬)
저 디즈니 랜드에서 한번 봤었어요
저 이거 한번도 안들어봤어요
맞아요, 저 한번도 이거 안들어봤어요
무슨 일이죠?
이거 무슨 노래인지 하나도 모르겠어요
이거 우주처럼 보여요
이건 캡틴 이오 중 일부분 이예요
디즈니랜드 에서 보여줬었어요
디즈니 랜드에서 마잭이 뭔가 있었나요?
개찰구를 뛰어넘어요
저렇게 하면 안되는데
좋아요 많은 추억들이 다시 생각나네요
I'm bad I'm bad
Portuguese:
Isso!
Eu amo isso!
Essa é mais uma que eu realmente gosto.
Eu acho bem legal que as pessoas ainda ouvem isso
e ainda dançam.
Oh, isso é Capitão EO.
Eu vi isso na Disneylândia uma vez.
Eu não conhecia essa.
Oh, eu ouvi isso uma vez.
O que está acontecendo?
É, eu não tenho ideia de que música é essa.
Parece algo espacial.
Oh.. *Whew*
Fine Bros: Isso fazia parte do Capitão EO, que costumava passar na Disneylândia.
Oh.. *risos* Michael Jackson tinha algo na Disneylândia?
Pulando sobre as catracas, algo permitido.
Ah sim, isso me traz tantas lembranças.
♫ Eu sou mau, sou mau♫
Finnish:
- ♪ Ja koko maailman on vastattava heti paikalla ♪
- ♪ Kertoa jälleen sen ♪
- ♪ Kuka on paha? ♪
- Kuka on paha?!
- Rakastan hänen tanssimistaan. Aivan mahtavaa.
- ♪ Annie, oletko ok ♪
- ♪ Joten Annie, oletko ok ♪
- ♪ Oletko ok, Annie ♪
- ♪ Sinuun on osunut.. ♪
- Nyt näyttää että hän olisi osa mafiaa.
- Kaikki hänen musiikkivideonsa ovat niin mielenkiintoisia.
- ♪ Sinuun on osunut.. ♪
- ♪ Sinuun on osunut.. ♪ - Voi luoja!
Se oli siistiä.
- ♪ Sinuun on osunut.. ♪ (mukana laulua) - ♪ Sujuva rikollinen ♪
- ♪ Ow! ♪
- Meinasin pukeutua häneksi yhtenä Halloweenina-
- Tapahtuu niin paljon kaikenlaista.
- Miksiköhän hän tekee aina isoja tanssi numeroita?
- Oho, moonwalkki. Se oli siistiä.
- Tuo oli oikeastaan aika hienoa, kuinka hän pyöräytti hattua ja hän on niinkuin..
- ♪ Älä väitä että olet samaa mieltä.. ♪
- ♪ Näin kun potkit.. ♪ Hänen hiuksena ovat kuin enkelin.
- Oho, se on vapaudenpatsas.
- ♪ Mutta jos ajattelet kultaani ♪
- ♪ Ei ole väliä oletko tumma vai vaalea ♪
Turkish:
Kim geri döndü?
Onun dansını seviyorum. Çok güzel.
Şimdi o mafyanın bir parçasıymış gibi gözüküyor.
Bütün müziklerin videoları çok ilginç
Çok güzeldi
Bir keresinde cadılar bayramı için o oldum.
Orada fazla bir şeyler oluyor.
O ve o büyük dans anları ney?
Moonwalk!
Bu süperdi!
Bu çok güzeldi, O nasıl o şapkaya öyle takla attırdı.
Saçları meleklerinki gibi.
Özgürlük Anıtı 'nın üstünde
Portuguese:
Quem é mau?
Eu amo seus passos. É legal.
Agora ele parece que faz parte da máfia.
Todos os seus clipes são interessantes.
Nossa, isso foi legal!
♫Um criminoso ardiloso♫
Uma vez eu ia me fantasiar dele no Dia das Bruxas.
Tem muita coisa acontecendo.
Qual é a dele com esses grandes passos de dança?
Oh, o moonwalk!
Isso foi demais!
Foi bem legal, o jeito que ele gira o chapéu.
Ooh, seus cabelos parecem angelicais.
Oh, isso é na Estátua da Liberdade.
Korean:
저는 마잭 춤이 너무 좋아요 진짜.
마잭이 지금 마피아의 일부처럼 보여요
마잭 뮤비는 다 재미있어요
진짜 멋있네요
할로윈때 한번 마잭처럼 분장했었어요
퍼포먼스가 많네요 (의역)
마잭이랑 백댄서들이 하는게 뭐예요?
문워크네요 멋있어요
이게 엄청 멋있고, 어떻게 모자를 돌리는지... 이렇게요
오 머리가 천사처럼 보이네요
자유의 여신상 위에 예요
Vietnamese:
Ai đang trở lại?
Tôi yêu những bước nhảy của mình. Thật tuyệt vời.
Bây giờ anh ta trông giống như ông là một phần của mafia.
Tất cả các video âm nhạc rất thú vị.
Ôi chúa ơi, ! thật là tuyệt
♫ Một kẻ cướp nhẹ nhàng
♫
Tôi sẽ đi với cậu cho Halloween lần.
Có rất nhiều đang xảy ra.
nó là gì với anh ta và những khoảnh khắc khiêu vũ lớn ??
Oh, Moonwalk!
Đó là mát mẻ!
Đó là thực sự khá cooll, làm thế nào ông quay mũ
Ooh, tóc của anh trông thiên thần.
Oh, trên tượng Nữ thần Tự do.
Thai:
- ♪และทั่วโลก
จะได้คำตอบตอนนี้♪
♪เพียงแค่จะบอกคุณอีกครั้ง♪
♪ใครเลว♪
- ใครเลว ?!
- ฉันรักการเต้นของเขา มันเป็นยอดเยี่ยม
- ♪แอนนี่ คุณโอเคมั้ย♪
♪ไงแอนนี่ คุณโอเคมั้ย♪
♪โอเคมั้ย แอนนี่♪
♪คุณถูกทำร้ายโดย ... ♪
- ตอนนี้ดูเหมือนว่า
เขาเป็นส่วนหนึ่งของมาเฟีย
- มิวสิกวิดีโอของเขาน่าสนใจมาก
- ♪คุณถูกทำร้ายโดย♪
♪คุณถูกทำร้ายโดย♪
- โอวพระเจ้า!
นั่นมันเจ๋ง
- ♪คุณถูกทำร้ายโดย♪
- (ร้องเพลง) ♪อาชญากรผู้แนบเนียน♪
- ♪โอ้ว! ♪
- ผมจะแต่งเป็นเขาสำหรับ
วันฮาโลวีนสักครั้ง
- มีอะไรเกิดขึ้นมากมาย
- มันคืออะไร เขาและการเต้นท่ายากของเขา?
- โอ้มูนวอล์ค
นั่นมันเจ๋ง
- นั่นมันเจ๋งจริงๆ
เขาหมุนหมวกยังไงและเขาก็ ...
- ♪อย่าบอกนะว่าคุณเห็นด้วยกับฉัน♪
♪ตอนที่ผมเห็นคุณเตะ ... ♪
- โอ้, ผมของเขาสลวยสวยงาม
- โอ้บนอนุสาวรีย์เทพีเสรีภาพ
- ♪ แต่ถ้าคุณคิดถึงลูกของฉัน♪
♪มันไม่สำคัญ
ว่าคุณจะดำหรือขาว♪
Russian:
♫Who's bad?♫
Я люблю его танцевальные движения. Это здорово.
Теперь он выглядит, как часть мафии.
Все клипы очень интересные.
Боже мой, это было...
КРУТО!
♫A smooth criminal♫
:D
Я собирался пойти в таком же на Хэллоуин как-то раз.
Там так много всего происходит.
Что это с ним и эти большие танцевальные моменты??
О, Лунная походка!
Это было круто!
Вообще-то очень круто, когда он крутит эту шляпу и...
Ох, его волосы выглядят ангельски.
Ой, он на Статуе Свободы.
Spanish:
amo sus movimientos,son geniales
ahora se ve como si fuera parte de la mafia
todos sus videos musicales son muy interesantes
oh por Dios eso fue genial
iré como uno de ellos en Halloween
hay muchas cosas que estan pasando
que pasa con el y con sus grandes momentos de baile
oh moonwalk
eso fue genial
fue genial cuando hizo girar el sombrero
oh,su cabello se ve angelical
oh, esta en la estatua de la libertad
French:
Qui est mauvais ?
J'adore ses pas de dance. C'est génial.
Maintenant ont dirait qu'il fait partie de la mafia.
Touts les clips sont tellement intéressants.
Oh mon dieu, c'était cool !
Je voulais me déguiser en lui pour Halloween une fois.
Tellement de choses se passent.
Qu'est ce qui il a avec ces grand mouvements de dance ??
Oh, Moonwalk !
C'était cool !
C'était vraiment cool la façon dont il fait tourner ce chapeau
Ooh ses cheveux ressemblent à ceux d'un ange.
Oh, c'est sur la Statue de La Liberté.
Indonesian:
- ♪ Dan seluruh dunia
harus menjawab sekarang ♪
♪ Hanya untuk memberitahumu sekali lagi ♪
♪ Siapa yang buruk ♪
- Siapa yang jahat?!
- Saya suka gerakan tariannya. Itu bagus.
- ♪ Annie, apa kamu baik-baik saja ♪
♪ Jadi, Annie, kamu baik-baik saja ♪
♪ Apakah kamu baik-baik saja, Annie ♪
♪ Anda telah terkena ... ♪
- Sekarang sepertinya
dia bagian dari mafia.
- Semua video musiknya sangat menarik.
- ♪ Kamu telah dihantam ♪
♪ Kamu telah dihantam ♪
- Ya ampun!
Itu keren.
- ♪ Kamu telah dihantam ♪
- (bernyanyi bersama) ♪ Seorang penjahat halus ♪
- ♪ Ow! ♪
- Saya akan pergi
seperti dia untuk Halloween sekali.
- Banyak sekali yang terjadi.
- Ada apa dengannya dan tarian besarnya?
- Oh, moonwalk.
Itu keren.
- Itu sebenarnya sangat keren,
bagaimana dia menyulap topi dan dia seperti ...
- ♪ Jangan bilang kamu setuju denganku ♪
♪ Ketika aku melihatmu menendang ... ♪
- Ooh, rambutnya terlihat seperti malaikat.
- Oh, itu ada di Patung Liberty.
- ♪ Tapi jika kamu memikirkan tentang bayiku ♪
♪ Itu tidak masalah
jika kamu hitam atau putih ♪
Czech:
♪ And the whole world has to answer right now ♪
♪ Just to tell you once again ♪
♪ Who's bad ♪
Kdo je zlý?
Miluji jeho taneční pohyby. Je to úžasné.
♪ Annie, are you okay ♪
♪ So, Annie, are you okay ♪
♪ Are you okay, Annie ♪
♪ You've been hit by... ♪
Teď vypadá jako člen mafie.
Všechny jeho klipy jsou velmi zajímavé.
♪ You've been hit by ♪
♪ You've been hit by ♪
- No nazdar!
To bylo cool.
♪ You've been hit by a smooth criminal ♪
♪ Ow! ♪
Jednou jsem chtěl jít za něj na Halloween.
Tady se toho tolik děje.
Co je to s ním a jeho velkým tančením?
Oh, moonwalk. To bylo cool.
To bylo velmi cool, jak on přetočil ten klobouk a byl jako...
♪ Don't tell me you agree with me ♪
♪ When I saw you kicking... ♪
- Oh, jeho vlasy vypadají tak andělsky.
Oh, to je na Soše Svobody.
♪ But if you're thinkin' about my baby ♪
♪ It don't matter if you're black or white ♪
German:
Wer ist zurück?
Ich liebe seine Tanz-Moves . Sie sind gut.
Jetzt sieht er aus wie jemand aus der Mafia.
Alle diese Musik Videos sind so interresant.
Oh mein Gott, das war cool!
♫A smooth criminal♫
Ich wollte an Halloween mal als er gehen.
Es ist so viel los.
Was ist mit ihm und seinen großen Tanzmomenten?
Oh, moonwalk!
Das war cool!
Das war eigentlich ziemlich cool, wie er den Hut dreht
Oh seine Haare sehen engelhaft aus.
Oh er ist auf der Freiheitsstatue.
Italian:
- ♪ E il mondo intero
deve rispondere adesso ♪
♪ Solo per dirti ancora una volta ♪
♪ Chi è cattivo ♪
chi è cattivo?
adoro i suoi passi di danza. E' magnifico
- ♪ Annie, stai bene ♪
♪ Quindi, Annie, stai bene ♪
♪ Stai bene, Annie ♪
♪ Sei stato colpito da ... ♪
adesso sembra come se facesse parte della mafia
tutti i suoi video musicali sono interesanti
- ♪ Sei stato colpito da ♪
♪ Sei stato colpito da ♪
- Oh mio Dio!
questo era figo!
- ♪ Sei stato colpito da ♪
- (cantando insieme) smooth Un criminale liscio ♪
- ♪ Ow! ♪
una volta mi sono travestito da lui ad halloween
- C'è così tanto da fare.
cosa c'è con lui e con la usa grande danza
oh, the moonwalk. questo era figo
quello era veramente figo, come ha spinto il cappelo e come..
- ♪ Non dirmi che sei d'accordo con me ♪
(canzone)..... ohh i suoi capelli sono come quelli di un angelo
ohhh, è sulla statua della libertà
- ♪ Ma se stai pensando al mio bambino ♪
♪ Non importa
se sei nero o bianco ♪
iw:
אני אוהב איך שהוא רוקד. זה נהדר.
עכשיו זה נראה כאילו הוא חלק מהמאפיה
כל הקליפים שלו כל כך מעניינים
או מי גוש!
זה היה מגניב
רציתי להתחפש אליו בליל כל הקדושים פעם
כל כך הרבה קורה פה
מה הקטע שלו והריקוד המוגזם?
או, 'הליכת ירח'. זה היה מגניב.
זה היה ממש מגניב, איך שהוא סובב את הכובע והוא היה כזה...
אוו, השיער שלו נראה מלאכי.
או, זה על פסל החירות.
English:
- ♪ And the whole world
has to answer right now ♪
♪ Just to tell you once again ♪
♪ Who's bad ♪
- Who's bad?!
- I love his dance moves. It's great.
- ♪ Annie, are you okay ♪
♪ So, Annie, are you okay ♪
♪ Are you okay, Annie ♪
♪ You've been hit by... ♪
- Now it looks like
he's part of the mafia.
- All his music videos are so interesting.
- ♪ You've been hit by ♪
♪ You've been hit by ♪
- Oh my gosh!
That was cool.
- ♪ You've been hit by ♪
- (singing along) ♪ A smooth criminal ♪
- ♪ Ow! ♪
- I was gonna go
as him for Halloween once.
- There's so much going on.
- What is it with him and his big dance?
- Oh, the moonwalk.
That was cool.
- That was actually pretty cool,
how he spinned the hat and he's like...
- ♪ Don't tell me you agree with me ♪
♪ When I saw you kicking... ♪
- Ooh, his hair looks angelic.
- Oh, it's on the Statue of Liberty.
- ♪ But if you're thinkin' about my baby ♪
♪ It don't matter
if you're black or white ♪
Arabic:
من هو السيء
أنا أحب تحركاته بالرقص ... انه رائع
--والآن يبدو أنه جزء من المافيا.
-جميع المقاطع الموسيقية له ، مثيرة للاهتمام.
ياالهي
انه رائع
كنت مستعدا للذهاب له في الهالويين مره واحده
--هناك الكثير يحدث
ماهو الشيء اللذي معه في الرقصة الكبيرة
اووه المشي على القمر انها رائعة
انه رائع فعلا كيف انه لف القبعة مثل
أوه، شعره يبدو ملائكي
-أوه، أنه على "تمثال الحرية".
Portuguese:
Eu amo os passos de dança dele. São ótimos!
Agora parece que ele faz parte da máfia!
Todos os videoclipes dele são interessantes!
Oh meu Deus, isso é tão... legal!
Eu ia vestido assim para o Haloween uma vez.
Tem tanta coisa acontecendo.
Qual é a dele com esses grandes momentos de dança?!
Oh, Moonwalker. Isso foi legal!
Isso foi muito legal, quando ele gira o chapéu e...
O cabelo dele parece angelical!
Oh, é na Estátua da Liberdade!
Spanish:
oh si, es un buen mensaje recuerdo esto
me gusta este vídeo en especial porque es como estar en la cima de todo el mundo
esto algo que una banda de chicos muy cursi haría asi como one direction
todas son grandes,son pegadizas y tienen un gran significado
amo el tema egipcio
escuche esta canción antes pero no se cual es
porque se ve mas o menos como una muñeca
su piel es rara parece que tuviera como cosas encima
su cara se ve rara y mas rara y su nariz se puso *werrgh*
se ve como una mujer
Arabic:
-أوه نعم، هذه رسالة جميلة.
--أنا أحب هذا الفيديو خصوصا .. لأنه يمثل في جميع أنحاء العالم.
--هذا هو الشيء الذي سوف تفعله فرقة تشيزي بوي حقا
مثل اتجاه واحد
جميعها عظيمة وجذابة
وجميعها لها معنى عظيم حقاً
أحب الشعور المصري
لقد سمعت هذه الأغنية من قبل، ألكن لم أعرف من كان يغنيها
لماذا يبدو وكأنه نوعا ما كالدمية
جلده.. إنه غريب كأنه يضع الكثير من الأشياء عليه
وجهه دائما يكون غريبا
مثل خشمه
- ♪ أنت لست وحدك ♪
يبدوا كأنه دمية
Portuguese:
Essa tem uma boa mensagem!
Eu gosto especialmente desse vídeo, porque está em todo o mundo!
Isso é algo elegante que uma "boy band" faria, como One Direction!
São todas ótimas, são cativantes e todas têm um grande significado!
Amo o "clima" egípcio.
Eu ouvi essa música antes, mas não sabia de quem era.
Por que ele parece um boneco?
A pele dele é estranha, como se tivesse colocado alguma coisa.
O rosto dele foi ficando estranho, como o nariz...
"Você não está sozinha"
Ele parece um boneco!
Finnish:
- Joo, tämä oli hyvä viesti.
Muistan tämän.
- ♪ Mutta jos ajattelet kultaani ♪
- ♪ Sillä ei ole väliä.. ♪
- Pidän erityisesti tästä videosta koska se kiertää maailmaa.
- Mielestäni tälläistä tekisi joku poikabändi,
kuten One Direction.
- Ne ovat kaikki mahtavia ja todella tarttuvia
ja niillä kaikilla on todella hyvä tarkoitus.
- ♪ Muistatko sen ajan ♪ Kyllä!
- ♪ Kun rakastuimme ♪
- ♪ Muistatko.. ♪
- Rakastan Egypti teemaa.
- ♪ Muistatko sen ajan ♪
- Olen kuullut tämän biisin, en vain ollut varma kenen se oli.
- ♪ Tyttö, muista se aika ♪
- ♪ Muista, mun kulta ♪
- ♪ Muista se aika (woo!) ♪
Miksi hän näyttää hieman nukelta?
Hänen ihonsa on erikoinen, siinä on niin paljon meikkiä.
- Hänen kasvonsa muuttuivat erikoisen näköiseksi
hänen nenänsä.. errrr.
- ♪ Sinä et ole yksin ♪
- ♪ Sinä et ole yksin ♪
- ♪ Olen täällä kanssasi ♪
- Hän näyttää nukelta.
- ♪ Olen täällä kanssasi ♪
Indonesian:
- Oh ya, ini adalah pesan yang bagus.
Aku ingat ini.
- ♪ Tapi jika kamu memikirkan tentang bayiku ♪
♪ Itu tidak masalah ... ♪
- Saya suka video ini khususnya
karena itu seperti di seluruh dunia.
- Ini sesuatu itu
band anak laki-laki yang benar-benar murahan akan melakukannya,
seperti One Direction.
- Mereka semua hebat,
Mereka semua menarik,
dan mereka semua memiliki arti yang sangat hebat.
- ♪ Apakah kamu ingat waktu ♪
- Ya!
- ♪ Ketika kita jatuh cinta ♪
♪ Apakah kamu ingat ... ♪
- Cintai nuansa Mesir.
- ♪ Apakah kamu ingat waktu ♪
- Saya pernah mendengar lagu ini sebelumnya,
Aku hanya tidak tahu siapa itu.
- ♪ Girl, ingat waktu ♪
♪ Ingat, sayangku ♪
♪ Ingat waktu (woo!) ♪
- Kenapa dia terlihat seperti boneka?
Kulitnya, aneh, seperti
dia menaruh banyak barang di atasnya.
- Wajahnya semakin aneh dan aneh,
seperti hidung baru saja ... errrr.
- ♪ Kamu tidak sendirian ♪
♪ Kamu tidak sendirian ♪
♪ Aku di sini bersamamu ♪
- Dia terlihat seperti boneka.
- ♪ Aku di sini bersamamu ♪
Italian:
oh si, questo era un buon messaggio
me lo ricordo
- ♪ Ma se stai pensando al mio bambino ♪
♪ Non importa ... ♪
mi piace questo video soprattutto perchè è come se fosse sopra tutto il mondo
- Questo è qualcosa che
farebbe un gruppo di ragazzini davvero schizzinosi,
come i one direction
sono tutti veramente bravi. sono tutti orecchiabili
e hanno tutte un significato grandioso
- ♪ Ti ricordi l'ora ♪
- Si!
- ♪ Quando ci siamo innamorati ♪
♪ Ti ricordi ... ♪
adoro l'atmosfera egiziana
- ♪ Ti ricordi l'ora ♪
ho ascoltato questa canzone prima, è solo che non ricordo chi me l'ha fatta ascoltare
- ♪ Ragazza, ricorda l'ora ♪
♪ Ricorda, mia piccola ♪
♪ Ricorda il tempo (woo!) ♪
perche sembra come una bambola?
la sua pelle, è strana, è come se ci avessero messo troppa roba sopra
la sua faccia sta diventando sempre più strana
come il suo naso, sta diventando
..... bleah
- ♪ Non sei solo ♪
♪ Non sei solo ♪
♪ Sono qui con te ♪
sembra una bambola
- ♪ Sono qui con te ♪
English:
- Oh yeah, this was a good message.
I remember this.
- ♪ But if you're thinkin' about my baby ♪
♪ It don't matter... ♪
- I like this video especially
because it's like all over the world.
- This is something that
a really cheesy boy band would do,
like One Direction.
- They're all great,
They're all catchy,
and they all have a really great meaning.
- ♪ Do you remember the time ♪
- Yeah!
- ♪ When we fell in love ♪
♪ Do you remember... ♪
- Love the Egyptian feel.
- ♪ Do you remember the time ♪
- I've heard this song before,
I just didn't know who it was by.
- ♪ Girl, remember the time ♪
♪ Remember, my baby ♪
♪ Remember the time (woo!) ♪
- Why does he look like a doll, kind of?
His skin, it's weird, like
he put so much stuff over it.
- His face just gets weirder and weirder,
like the nose just gets... errrr.
- ♪ You are not alone ♪
♪ You are not alone ♪
♪ I am here with you ♪
- He looks like a doll.
- ♪ I am here with you ♪
Vietnamese:
Oh yea, đây là một thông điệp tốt, tôi nhớ những điều này.
Tôi thích video này đặc biệt, vì nó giống như tất cả các nơi trên thế giới!
Đây là một cái gì đó, như thế, một nhóm nhạc thực sự cheesy sẽ làm gì, giống như One Direction.
Họ đang tất cả tuyệt vời, tất cả họ đang hấp dẫn, và tất cả họ đều có một ý nghĩa thực sự tuyệt vời.
Yea!
Yêu thích cảm giác Ai Cập!
Tôi nghe bài hát này trước đây, tôi chỉ không biết đó là ai bởi.
Đứa bé!
Tại sao anh ta trông giống như một loại búp bê?
Da anh, đó là lạ, giống như họ đặt một số loại công cụ trên nó.
Khuôn mặt anh, nó sẽ trở nên kì quặc và kì quặc. Giống như mũi của mình, nó sẽ chỉ * werrgh *
ông trông giống như một cô gái!
Czech:
O ano, to bylo dobré poselství.
Vzpomínám si na to.
♪ But if you're thinkin' about my baby ♪
♪ It don't matter... ♪
Líbí se mi toto video hlavně proto, že je to jako na celém světě.
Toto je něco, co by měla opravdu dělat kapela
jako One Direction.
Oni všichni jsou skvělí, jsou chytlaví
a všichni mají dobrý význam.
♪ Do you remember the time ♪
- Yeah!
♪ When we fell in love ♪
♪ Do you remember... ♪
Miluji tu egyptskou atmosféru.
♪ Do you remember the time ♪
Slyšel jsem tuto písničku už dříve, ale nevěděl jsem od koho je.
♪ Girl, remember the time ♪
♪ Remember, my baby ♪
♪ Remember the time (woo!) ♪
Proč vypadá jako nějaký druh panenky?
Jeho kůže, je to divné, jako kdyby přes to dal hodně věcí.
Jeho obličej se stával divnějším a divnějším,
jako třeba ten nos, prostě... errrr.
♪ You are not alone ♪
♪ You are not alone ♪
♪ I am here with you ♪
Vypadá jako panenka.
♪ I am here with you ♪
Russian:
Ах да, это было хорошее послание, я помню это.
Мне нравится это видео, особенно, потому, что это нравится всему миру!
Это то, что должны делать подростковые музыкальные группы
Они все великие, они все запоминающиеся, и все они имеют очень большое значение.
Люблю египтянских людей!
Я слышал эту песню раньше, я просто не знаю, кто это был.
Почему он выглядит как кукла какая-то?
Его кожа такая странная, будто он наложил всяких штук на нее.
Его лицо, он просто становится все страннее и страннее. Как и его нос, он просто меньше *гррр*
он выглядит как девочка!
iw:
או כן, זה היה מסר טוב
אני זוכר את זה
אני אוהבת את הוידאו הזה במיוחד כי זה סביב כל העולם
זה משהו שלהקת בנים תעשה
כמו וואן דיירקשן
כולם נהדרים, קולם קליטים
ולכולם יש משמעות טובה
יאיי!
אני אוהבת את הקטע המצרי
שמעתי את השיר הזה בעבר, לא ידעתי מי שר אותו.
למה הוא נראה כמו בובה, סוג של?
העור שלו, הוא מוזר, כאילו הוא שם יותר מידי דברים עליו
הפנים שלו נעשים מוזרים יותר ויותר
כאילו, האף פשוט נהיה... אררר
הוא נראה כמו בובה.
Turkish:
Ah evet, bu güzel mesajdı, hatırladım bunu.
Özellikle bu videoyu seviyorum, çünkü tüm dünyanın üstünde gibi!
Bu şey, sanki, gerçekten sevimsiz, erkek grubu yapacaktı, One Direction gibi.
Bunlar gerçekten güzel, akılda kalıcı ve hepsinin büyük anlamları var
Evet!
Mısırlı gibi olmayı sev!
Bu müziği öncen duydum, sadece kim oldu bilmiyorum.
O neden biri çeşit oyuncak bebeğe benziyor?
Derisi, garip, sanki bir şey koymuşlar gibi.
Yüzü, sadece tuhaflaşıyor ve tuhaflaşıyor, sanki onun burnu...
Kız gibi görünüyor!
Korean:
되게 좋은 메세지네요
저 이거 기억하고 있어요
저는 이 영상 되게 좋아해요 특히 왜냐면 전세계가 다 보여서요
이게 지금 되게 원디렉션 처럼 섹시한 보이그룹이 하는것 같아요
엄청 좋고 중독성도 있고
그리고 그들은 좋은 의미도 가지고 있어요
이집트같은 분위기 좋아해요
전에도 들어본적 있지만 누군지는 몰랐어요
마잭은 왜 인형처럼 생겼을까요?
피부가 좀 이상해요 약간 뭔가 많이 넣은 느낌이예요
얼굴이 더 이상해지고 이상해져서
코가 점점 더....
인형처럼 생겼어요
Portuguese:
Ah sim, essa era uma boa mensagem, eu lembro disso.
Eu gosto desse vídeo em especial, por que parece que é sobre o mundo todo.
Isso parece com algo bem meloso, coisa que boy band faria, tipo o One Direction.
Elas são todas ótimas, todas cativantes, e todas tinham um grande significado.
Aeee!
Adoro o toque egípcio.
Eu ouvi essa música antes, só não sabia de quem era.
Amor!
Porque ele parece uma boneca?
A pele dele, é estranha, parece que colocaram algo sobre.
A cara dele, foi ficando cada vez mais estranha. O nariz, foi ficando *werrgh*
Ele parece uma menina!
Thai:
- นี่เป็นข้อความที่ดี
ผมจำนี่ได้
- ♪ แต่ถ้าคุณกำลังคิดถึงลูกของฉัน♪
♪มันไม่สำคัญ... ♪
- ฉันชอบวิดีโอนี้อย่างยิ่ง
เพราะมันเหมือนไปทั่วโลก
- นี่คือสิ่งที่
บอยแบนด์ที่วิเศษจริงๆจะทำ
เช่น One Direction
- เพลงพวกนี้ดี
มันติดหู
และพวกมันทั้งหมดมีความหมายที่ดีจริงๆ
- ♪คุณจำเวลานั้นได้มั้ย♪
- ใช่!
- ♪เมื่อเราตกหลุมรัก♪
♪คุณจำ ... ♪
- ชอบ ที่ให้ความรู้สึกแบบอียิปต์
- ♪คุณจำเวลา♪
- ผมเคยได้ยินเพลงนี้มาก่อน
ผมแค่ไม่รู้ว่าใครเป็นร้อง
- ♪จำเวลา♪
♪โปรดจำไว้ ที่รัก♪
♪จำเวลานั้นไว้ (วู้ว) ♪
- ทำไมเขามีลักษณะเหมือนตุ๊กตาประมาณนั้น?
ผิวของเขาก็แปลก ๆ แบบ
แต่งหน้ามากเกินไป
- ใบหน้าของเขาแปลกขึ้นเรื่อยๆ
เช่นจมูกโดน ... เอ่ออ
- ♪คุณจะไม่โดดเดี่ยว♪
♪คุณจะไม่โดดเดี่ยว♪
♪ฉันอยู่ที่นี่กับคุณ♪
- เขาดูเหมือนตุ๊กตา
- ♪ฉันอยู่ที่นี่กับคุณ♪
German:
Oh ja, das war eine gute Nachricht, daran erinnere ich mich.
Ich liebe dieses Video, weil es auf der ganzen Welt ist.
Dies ist etwas, das, eine wirklich kitschige Boy-Band tun würde, wie One Direction.
Sie sind alle großartig, sie sind alle eingängig, und sie haben alle eine wirklich große Bedeutung.
Ja!
Ich liebe diesen ägyptischen Stil.
Ich habe diesen Song schon mal gehört, wusste aber icht von wem er sit.
Baby!
Warum sieht er wie eine Puppe aus?
Seine Haut, es ist seltsam, als ob sie irgendetwas über sie getan hätten.
Sein Gesicht, es wird seltsamer und seltsamer. Seine Nase ist sowie *werrgh*
Er sieht wie ein Mädchen aus.
French:
Oh ouais, c'était un bon message, je me rappelle de ça.
J'aime cette vidéo spécialement parce que ça se passe tout autour du monde !
C'est quelque chose qu'un boys band ringard ferait, comme les One Direction.
Ils sont tous géniaux, accrocheurs et ils ont un message vraiment génial.
Ouais!
J'adore cette ambiance égyptienne!
J'ai déjà entendu cette chanson, je ne savais juste pas de qui c'était.
Bébé !
Pourquoi est-ce qu'il ressemble a une sorte de poupée ?
Sa peau est bizarre, comme si il avait mis quelque chose dessus.
Son visage, il devient de plus en plus bizarre, comme son nez qui devient ...
Il ressemble a une fille !
Spanish:
oh no,porfavor
es el?
como que es el?
esta muy palido
esta es una de sus canciones donde agarras tu linterna y eres de
el es de
es muy angelical
el puede mantener su tono por un largo tiempo
tengo que decir que el es mejor que Beyonce
y no puedo creer que este diciendo eso
me gusta mucho su musica
tu puede bailar solo
cuando el murió no sabia quien era el hasta que mi mama me dijo y empece a escucharlo y yo era de wow
me gusto todo es muy bueno
desearía que el este vivo hoy
es triste que el haya muerto pero al menos tenemos algo de su musica
tiempo de preguntas
Portuguese:
Oh, não, por favor.
Esse é ele?!
Como esse é ele???
Ele está tão pálido!
Essa é uma daquelas músicas que você pega uma lanterna e acena...
Isso é tão angelical!
Ele consegue segurar a respiração por muito tempo!
Eu tenho que dizer, isso é melhor que Beyoncé!
Eu não acredito que estou falando isso.
Eu gosto muito das músicas dele. Você pode dançar...
Quando ele morreu, eu não o conhecia, mas minha mãe me disse para começar a ouvi-lo.
Então eu comecei e agora... Uau!
Eu amei tudo isso! Ele é tão bom!
Eu gostaria que ele ainda estivesse vivo. É um saco que ele morreu, mas pelo menos ainda temos as músicas dele.
Hora das perguntas!
Indonesian:
- Ah! Tidak, tolonglah.
- Apakah itu dia?
Bagaimana itu dia?
- ♪ Meskipun kamu berjauhan ♪
- Dia sangat pucat.
- ♪ Aku di sini untuk tetap ♪
- Ini seperti salah satu dari lagu-lagu ini
di mana Anda mengambil senter Anda
dan kamu seperti ...
- ♪ Di hatiku ♪
- (Tertawa) Dia seperti ...
- ♪ Meskipun kita berjauhan ♪
- Itu sangat malaikat.
- ♪ Kamu selalu ada di hatiku ♪
- Dia bisa menahan nafasnya
untuk waktu yang lama.
- Saya harus berkata,
itu lebih baik daripada Beyoncé,
dan itu-- aku tidak bisa
percaya aku mengatakan itu.
- Saya suka musiknya banyak.
Anda hanya bisa menari bersama.
- Ketika dia meninggal, pada saat itu,
Saya tidak tahu siapa dia,
tapi kemudian ibuku memberitahuku
untuk mulai mendengarkannya
dan saya melakukannya dan saya seperti, wow.
- Aku suka semuanya! Itu sangat bagus.
Saya berharap dia masih hidup hari ini,
tapi itu benar-benar--
itu menyebalkan kalau dia mati, tapi ...
setidaknya kita masih memiliki musiknya.
- (Anak-anak) Pertanyaan waktu!
Portuguese:
Ugh, não, por favor.
É ele?
Como esse ai é ele?
Ele está tão pálido!
Essa é uma daquelas músicas que você acende o isqueiro e fica
*risos* ele está tão
Isso é tão angelical
Ele consegue segurar o fôlego por um bom tempo
Eu tenho que dizer, isso foi melhor que a Beyonce.
E isso, eu... eu nem acredito que estou dizendo isso.
Eu gosto muito das músicas dele.
Você pode dança-las.
Quando ele morreu eu não sabia quem ele era, mas minha mãe me disse para começar a ouvi-lo, eu fiz, e foi tipo "nossa".
Eu adorei tudo isso! Foi muito bom!
Eu gostaria que ele ainda estivesse vivo hoje
Mas isso, mas foi um saco que ele morreu, mas
pelo menos nós temos sua música!
Hora das Perguntas!
Arabic:
لا ....ارجوووك
هل هذا هو؟
كيف يكون هذا هو ؟
إنه شاحب جدا
احب هذه النوعية من الاغاني
حيث تأخذ المصباح معك للخارج وتعمل مثل كذا
هذا جدا ملائكي
عنده نفس طويل جدا
-يجب أن أقول، أنه أفضل من بيونسيه،
وانا لا اصدق انني قلت هذا
-أنا أحب موسيقاه كثيرا.
يمكنك أن ترقص على طول
- عندما مات، في ذلك الوقت، لم أكن أعرف من يكون،
بعد ذلك قالت لي أمي ان ابدأ بالاستماع إليه
وقد فعلت ذلك وانه رااائع
- أنا أحب كل ذلك! كان ذلك جيدا.
اتمنى انه لا زال على قيد الحياة اليوم
ولكن هذا صعب وعلى اقل لازالت لدينا موسيقاه
وقت السؤال!
Vietnamese:
Ugh, không vui lòng.
Có phải đó là anh ta?
Làm thế nào là anh ta?
Anh ấy rất nhạt!
Đây là một trong những bài hát mà bạn lấy đèn pin của bạn ra và bạn giống như
* Cười * khi anh ấy giống như
Đó là quá thiên thần
Ông có thể giữ hơi thở của mình trong một thời gian dài như vậy
Tôi có thể nói, đó là tốt hơn so với Beyonce.
Và thats, tôi ... tôi không thể tin rằng tôi đang nói điều đó.
Tôi thích âm nhạc của mình rất nhiều.
Bạn chỉ có thể nhảy cùng.
Khi ông qua đời vào thời điểm đó tôi không biết ông là ai, nhưng cũng giống như mẹ tôi nói với tôi để đi và bắt đầu nghe lời anh, và tôi đã làm, và Iwas như wow.
Tôi yêu tất cả của nó! Nó rất tốt!
Tôi muốn ông vẫn còn sống đến ngày nay
nhưng mà, nhưng mà sucks rằng anh đã chết, nhưng
ít nhất chúng ta vẫn còn có âm nhạc của anh ấy!
Câu hỏi thời gian!
iw:
אה! לא, בבקשה.
זה הוא?!
איך יכול להיות שזה הוא?
הוא כל כך חיוור
זה אחד מהשירים
שמוציאים את הפנסים החוצה
הוא פשוט...
זה כל כך מלאכי.
הוא יכול להחזיק את הנשימה לכל כך הרבה זמן.
אני חייבת להגיד, זה יותר טוב מביונסה,
וזה כאילו- אני לא יכולה להאמין שאני אומרת את זה.
אני ממש אוהבת את המוזיקה שלו
אפשר לרקוד לזה
כשהוא מת, בזמנו, לא ידעתי מי הוא היה
אבל אז אמא שלי אמרה לי להתחיל להקשיב למוזיקה שלו
ועשיתי את זה,
וזה היה כאילו- וואו!
אני אוהב את כל זה! זה כל כך טוב
הלוואי והוא עדיין היה חי היום, אבל זה באמת...
זה ממש באסה שהוא מת, אבל...
לפחות עדיין יש לנו את המוזיקה שלו!
זמן שאלות!
English:
- Ah! No, please.
- Is that him?
How is that him?
- ♪ Though you're far apart ♪
- He's so pale.
- ♪ I am here to stay ♪
- This is like one of these songs
where you take your flashlight
out and you're like...
- ♪ In my heart ♪
- (laughing) He's just like...
- ♪ Though we're far apart ♪
- That's so angelic.
- ♪ You're always in my heart ♪
- He can hold his breath
for such a long time.
- I have to say,
that's better than Beyoncé,
and that's-- I can't
believe I'm saying that.
- I like his music a lot.
You can just dance along.
- When he died, at the time,
I didn't know who he was,
but then my mom told me
to start listening to him
and I did and I was like, wow.
- I loved all of it! It was so good.
I wish he was still alive today,
but that's really--
that sucks that he died, but...
at least we still have music of him.
- (children) Question time!
Finnish:
- Ah, ei kiitos.
- Onko tuo hän?
Kuinka tuo voi olla hän?
- ♪ Vaikka olet kaukana ♪ - Hän on hyvin kalpea.
- ♪ Jään tänne kanssasi ♪
- Tämä on yksi niistä kappaleista
joissa otat taskulampun ja olet niinkuin..
- ♪ Sydämmessäin ♪
- (naurua) hän on vain niinkuin..
- ♪ Vaik' oomme toisistain kaukana ♪ Kuin enkeli.
- ♪ Olet aina sydämmessäni ♪
- Hän voi pidättää hengitystään niin pitkän aikaa.
- Pitää sanoa, tuo on parempaa kuin Beyoncé,
ja se on- en voi uskoa, että sanon niin.
- Pidän hänen musiikistaan paljon.
Voit tanssia mukana.
- Kun hän kuoli, en tiennyt hänestä,
mutta sitten äitini kertoi ja aloin kuunnella häntä
ja olin silleen, vau.
- Pidin kaikesta, se oli niin mahtavaa.
Olisipa hän vielä elossa, mutta se on todella..
todella huono asia, että hän kuoli, mutta.. ainakin meillä on hänen musiikkinsa.
- (lapset) Kysymysten aika!
German:
Ugh, nein bitte.
Ist das er?
Wie kann das er sein?
Er ist so bleich!
Dies ist einer dieser Songs, wo du deine Taschenlampe aus machst und dann so machst
*laughs*Wenn er das macht
Das ist so engelhaft.
Er kann den Atem so lange anhalten
Ich muss sagen, das ist besser als Beyonce
Ich kann nicht glauben, dass ich das sage.
Ich mag seine Musik sehr
Man kann einfach tanzen.
Als er zu der Zeit starb, wusste ich nicht, wer er war, aber wie meine Mutter sagte, dass ich gehen und anfangen sollte, ihm zuzuhören, und ich tat es, und ich war überwältigt.
Ich mag alles von ihm. Es war so gut!
Ich wünschte er wäre heut noch am Leben
Aber das, aber das lutscht, dass er starb, aber
zumindest haben wir noch Musik von ihm!
Fragezeit!
Czech:
Ah! Ne... prosím...
Je to on?
Jak to může být on?
♪ Though you're far apart ♪
- On je tak bledý.
♪ I am here to stay ♪
Tohle je jedna z těch písniček,
kde si vezmete baterku a mávete s ní takto...
♪ In my heart ♪
On je prostě...
♪ Though we're far apart ♪
- To je tak andělské.
♪ You're always in my heart ♪
On udržel svůj dech na hodně dlouhou dobu.
Chtěla bych říct, že to je lepší než Beyoncé.
a to je - já nemůžu uvěřit, že to říkám.
Mám jeho muziku velmi ráda.
Můžete prostě na ni tančit.
Když zemřel, v té době jsem nevěděl, kdo byl,
ale poté mi máma řekla, že bych ho mohl poslouchat
a já to udělal a byl jako... wow.
Miluji všechno z toho! To bylo tak dobrý!
Přeji si, aby byl stále naživu, ale to je vážně...
naštve, že umřel, ale... alespoň máme stále jeho muziku.
Čas na otázky!
Italian:
ahhh, no ti prego
questo è lui?
come è lui?
anche se sei così distante...... è così pallido
sono qui per restare
è come una dellle sue canzoni
quando prendi la luce in faccia e sei tipo...
- ♪ Nel mio cuore ♪
(ride) è come....
anch se siamo molto distanti. E' cosi angelico
- ♪ Sei sempre nel mio cuore ♪
può trattenere il respiro per così tanto
devo dirlo , è meglio di beyoncè
a quello....non posso credere di averlo detto
m piace un sacco la sua musica
danza così a lungo
quando morì, al tempo, non sapevo neanche chi fosse
ma dopo mia mamma mi ha detto di iniziare ad ascoltarlo
e lo feci ed ero tipo, wow
lo adoro tantissimo^ era così bravo
vorrei che fosse ancora vivo, ma è veramente..
fa schifo che è morto, ma .....ma almeno possiamo ancora ascoltare la sua musica
(bambini) il momento delle domande!
Turkish:
Hayır lütfen.
Bu o mu?
Bu nasıl o olabiliyor?
Benzi atmış!
Bu şu tür şarkılardan bir tanesi, el fenerini alırsın ve şöyle yaparsın...
Şöyle yapıyor...
Melek gibi.
Nefesini çok uzun zaman tutabiliyor .
Bunu söylemeliyim, bu Beyonce 'den daha güzel.
ve ben, bunu söylediğime inanamıyorum.
Onun müziğini çok seviyorum.
Dans edebiliyorsun.
O öldüğü zaman ben onun kim olduğunu bilmiyordum ama annem bana git ve onu dinlemeye başla dedi ve bende yaptım ve ben vay.
Hepsini sevdim! Süperdié
Keşke o hala bugün hayatta olsa
ama ama onun ölmesi berbat, ama
en azından onun şarkılarını dinliyebiliyoruz!
Soru Zamanı!
Korean:
아 제발
마잭 맞아요?
어떻게 저사람이 마잭이죠?
그가 너무 창백해보여요
이거는 이런 노래들 중 하나네요
플래시 같은걸 꺼내서 이렇게 해야 돼요
이렇게 하네요 ㅋㅋㅋㅋ
너무 천사같아요
아주 오랫동안 가슴을 잡고 있네요
이말은 해야겠어요 비욘세보다 낫네요
제가 이런 말을 했다는게 놀랍네요
마잭 노래를 엄청 좋아해요
춤도 따라 출수 있어요
그가 죽었을 당시에 그가 누군지 몰랐어요
근데 엄마가 말해주고 난 다음에 음악을 듣기 시작했어요
들었는데 엄청났어요
전 모든노래 다 좋아해요 진짜 좋아요
그가 지금까지 살아있었으면 바람이예요 근데 그게
안돼죠 그가죽었으니까 하지만 최소한 마잭 노래가 있으니까요
질문 시간
Thai:
- อ้า! ไม่ ได้โปรด
- นั่นเขาเหรอ?
เป็นเขาได้ยังไง?
- ♪แม้ว่าคุณจะอยู่ห่างไกลกัน♪
- เขาซีดมาก
- ♪ฉันจะอยู่ที่นี่♪
- นี่เหมือนเป็นหนึ่งในเพลง
ที่คุณใช้ไฟฉายของคุณออก
มาทำแบบ ...
- ♪ในหัวใจของฉัน♪
- (หัวเราะ) เขาทำแบบ ...
- ♪แม้ว่าเราจะอยู่ห่างไกลกัน♪
- สุดแสนดีงาม
- ♪คุณอยู่ในหัวใจของฉันเสมอ♪
- เขาสามารถกลั้นลมหายใจได้นานมาก
- ฉันต้องบอกว่า
นั่นดีกว่าบียอนเซ่
และ นั่น-- ไม่อยากเชื่อเลยที่พูดแบบนั้น
- ฉันชอบเพลงของเขามาก
คุณสามารถเต้นตาม
- เมื่อเขาตายในเวลานั้น
ผมไม่ทราบว่าเขาเป็นใคร
แต่แล้วแม่ บอกให้ผมลองฟังเขา
และผมก็ทำตามและผมก็แบบว่าว้าววว
- ฉันรักทั้งหมดของมัน! มันดีมาก
ฉันหวังว่าเขายังมีชีวิตอยู่ในวันนี้
แต่นั่นมัน--
มันแย่ที่เขาเสียชีวิต แต่ ...
อย่างน้อยเราก็ยังมีเพลงของเขา
- (เด็ก) เวลาคำถาม!
Russian:
Тьфу, нет, пожалуйста.
Это он?
Как это он?
Он такой бледный!
Это одна из тех песен, где вы берете свой фонарик
и вот так...
*смеется* Он будто вот так...
Он такой ангелоподобный
Он может задерживать дыхание на такое долгое время
Я должна сказать, что это лучше, чем Бейонсе.
И вот, я... Я не могу поверить, что я говорю.
Мне очень нравится его музыка.
Вы можете просто танцевать вместе.
Когда он умер, в то время я не знал, кто он был
но потом моя мама сказала мне послушать его
Я послушал и такой.... ВАУ!
Мне понравилось всё! Это было так здорово!
Я хочу, чтобы он был жив сегодня
По правде хреново, что он умер, но...
по крайней мере, у нас есть еще его музыка
Время Для Вопросов
French:
Ugh, non merci.
Est-ce que c'est vraiment lui ?
Comment ça peut être lui ?
Il est tellement pale!
C'est une de ces chansons ou tu prend ta lampe de poche et tu es genre :
*rire* quand il est comme ça
c'est tellement angélique
Il peut retenir sa respiration pendant longtemps
Je dois le dire, c'est mieux que Beyonce.
Et c'est.. Je...je peux pas croire que je dis ça.
J'aime beaucoup sa musique.
On a juste envie de danser.
Quand il est mort, je ne savais pas qui il était, mais ma mère m'a dit d'aller l'écouter, je l'ai fais et j'étais genre : wow !
J'ai tout aimé! C'était trop bien!
J'aimerais qu'il soit encore vivant aujourd’hui.
c'est nul qu'il soit mort, mais
au moins on a sa musique !
Moment des Question !
English:
- (FBE) All of these were hits
from the pop star Michael Jackson.
- Yeah!
- He's pretty famous.
- Everybody should know who he is.
He's like the king of pop!
- King. Of. Pop.
- He's one of the greatest
pop stars of all time.
- If you do not know
who Michael Jackson is,
you live under a rock, literally.
- (FBE) So what do you think
of Michael Jackson
from all of the videos we showed you?
- He always changes. It's weird.
- Kind of creepy.
- Every one of his songs
has a good message.
- His dance moves are great,
his songs are great.
- He is an amazing singer.
He is awesome!
- His dancing is so good, like top one.
I love him so much.
I wish I could just see him again!
- (FBE) So Michael Jackson
started performing
when he was just six years old,
in a group with his brothers,
which later became known as--
- Jackson 5! Jackson 5.
I LOVE the Jack-- Jackson 5.
- (FBE) He eventually went solo
and became one of the most famous stars
of the '80s and '90s, and some say
Portuguese:
(Fine Bros): Todos esses sucessos foram da estrela do Pop Michael Jackson.
Isso!
Ele é bem famoso.
Todo mundo deveria saber quem ele é, ele é tipo o Rei do Pop.
Rei. do. Pop.
Ele é uma das maiores estrelas do Pop de todos os tempos.
Se você não sabe quem é Michael Jackson, você vive debaixo de uma pedra!
Literalmente!
Então, o que você achou do Michael Jackson que lhe mostramos nos vídeos?
Ele sempre mudou. É estranho.
Meio bizarro?
Todas as suas músicas mandam uma mensagem positiva.
Seus passos de dança são incríveis
suas músicas são incríveis
Ele é um cantor maravilhoso. Ele é
DEMAIS!
Ele dança muito bem!
Tipo, top! 1!
Eu gosto muito dele
Eu queria pelo menos poder vê-lo novamente!
Então, Michael Jackson começou a se apresentar quando tinha apenas seis anos de idade
em um grupo com seus irmãos, que depois ficou conhecido como (garota): Jackson five.
Eu adoro os Jack... Jackson five.
Posteriormente ele começou uma carreira solo e se tornou uma das maiores estrelas dos anos 80 e 90.
Vietnamese:
(Fine Bros): Tất cả những là những hit từ các ngôi sao nhạc pop Michael Jackson.
Yeah!
Anh ấy khá nổi tiếng.
Mọi người nên biết mình là ai, ông giống như vua nhạc pop!
Nhà vua. của. Pop.
Ông là một trong những ngôi sao nhạc pop vĩ đại nhất của mọi thời đại.
Nếu bạn không biết ai Michael Jackson là, bạn sống dưới một tảng đá!
Nghĩa đen!
Vậy điều gì làm bạn nghĩ về Michael Jackson từ tất cả các video mà chúng tôi đã cho các bạn?
Ông luôn luôn thay đổi. Đó là lạ
Loại đáng sợ?
Mỗi một trong những bài hát của mình gửi như một thông điệp tốt
điệu nhảy của mình là tuyệt vời
bài hát của mình là tuyệt vời
Ông là một ca sĩ tuyệt vời. Anh ấy là
TUYỆT VỜI!
nhảy múa của mình rất tốt!
Giống như, hàng đầu! 1!
Tôi yêu hiim quá nhiều
Tôi ước tôi chỉ có thể nhìn thấy anh ta một lần nữa!
Vì vậy, Michael Jackson bắt đầu biểu diễn khi mới sáu tuổi
trong một nhóm với anh em của mình mà sau này được gọi là
(Girl): Jackson năm.
Tôi yêu Jack- Jackson năm.
Cuối cùng, ông đã đi solo và trở thành những ngôi sao của thập niên tám mươi và chín mươi.
Arabic:
جميع هذه الروائع هي لنجم البوب مايكل جاكسون
نعم
انه مشهور جداً
يجب على الجميع ان يعرف من هو
انه ملك البوب
ملك البوب
واحد من أعظم نجوم البوب على مر التاريخ
اذا كنت لاتعرف من هو مايكل جاكسون
حرفياً أنت تعيش تحت صخرة
حسنا ماهو رأيك بمايكل جاكسون
من كل مقاطع الفيديو التي جعلناك تشاهدها
انه غريب ... يتغير دائماً
في كل أغنية من أغانية يوجد بها رسالة جميلة
حركاته بالرقص عظيمة واغانيه عظيمة
هو مغني مدهش وهو رائع
رقصه جدا جميل هو مثلي الأعلى في الرقص
أنا احبه كثيرا
أتمنى ان اراه مرة أخرى
مايكل جاكسون بدأ في الغناء
منذ أن كان عمره ست سنوات
مع رفقة من اخوته وكانوا معروفين باسم
جاكسون5 جاكسون5
احب جاكسون5
وبعدها اصبح يغني منفرداً واصبح من أكثر النجوم شهره
في فترة الثمانينات والتسعينيات والبعض يقول
Korean:
들려드린 모든 노래는 팝스타 마잭 노래들이에요
알아요
엄청 유명하죠
모든 사람들이 그가 누군지 알죠
팝의 제왕이니까요
팝.의.황.제
지금까지의 엄청난 팝스타들 중 하나죠
마잭을 모른다면
우물안의 개구리 인거예요 말그대로
우리가 보여준 마잭 비디오들을 보니까
마잭에 대해서 어떻게 생각해요?
그는 항상 바뀌었어요 좀 이상했어요
소름이 끼쳤어요
그의 모든 노래들은 좋은 메세지를 가지고 있어요
춤이랑 노래다 좋아요
엄청난 가수예요 굉장해요
춤이 너무 좋아요 제일 최고예요
그를 엄청 사랑해요
그를 다시 봤으면 좋겠어요
그래서 마잭이 6살 때부터
무대에 서기 시작했어요
그의 형제들과 그룹을 했는데 뭐라고 알려졌냐면
-잭슨 파이브요!
-잭슨 파이브예요
저는 진짜로 잭슨 파이브 좋아해요
그는 결국엔 솔로로 나섰고
80-90년대에 엄청 유명해졌어요
그리고 몇몇은 이렇게 말했어요
French:
Fine Bros : Touts ces hits étaient de la pop star Michael Jackson.
Ouais!
Il est très connu.
Tout le monde devrait savoir qui il est, il est le Roi De La Pop !
Le Roi. De la. Pop.
Il est l'une des plus grandes pop stars de tout les temps.
Si vous ne savez pas qui Michael Jackson est, vous vivez sous un cailloux !
Littéralement !
Donc, que penses tu de Michael Jackson avec toutes les vidéos que nous t'avons montré ?
Il change souvent. C'est bizarre
Ça fait un peu peur ?
Toutes ses chansons envoient comme un bon message
Ses pas de danse sont géniaux
Ses chansons sont géniales
C'est un incroyable chanteur. Il est
FANTASTIQUE !
Il dance vraiment bien!
Il est ... le numéro 1
Je l'aime tellement
J'aimerais pouvoir le voir encore!
Michael Jackson a commencé a se produire quand il n'avait que six ans
dans un groupe avec ses frères plus tard connu comme
La fille : Jackson Five.
J'adore les Jack... Jackson Five.
Il a ensuite chanté seul et il est devenu la star des années 80 et 90.
Spanish:
todas estas canciones eran los éxitos de la estrella pop Michael Jackson
si!
el es muy famoso
todos saben quien es el, el es el rey del pop
rey.del.pop
el es uno de las estrellas pop mas grande de todos los tiempos
si tu no sabes quien es Michael Jackson, tu viviste debajo de una roca, literal
así que piensas sobre todos los vídeos de Michael Jackson que te mostramos
el siempre cambio es raro
un poco escalofriante
todas sus canciones mandaban un buen mensaje
sus movimientos son geniales
sus canciones son geniales
el es un cantante genial.El es asomobroso
sus bailes eran muy buenos
son el top uno 1
lo quiero mucho quisiera poder verlo otra vez
así que michael jackson empezó su carrera cuando tenia seis años
en un grupo con sus hermanos que después se convertiria
Jackson five
amo a los jackson five
el hizo un solo y se convirtió en una estrella famosa de los ochenta y noventa
Indonesian:
- (FBE) Semua ini adalah hits
dari bintang pop Michael Jackson.
- Ya!
- Dia cukup terkenal.
- Semua orang harus tahu siapa dia.
Dia seperti raja pop!
- Raja. Dari. Pop.
- Dia salah satu yang terhebat
bintang pop sepanjang masa.
- Jika kamu tidak tahu
siapa Michael Jackson,
Anda tinggal di bawah batu, secara harfiah.
- (FBE) Jadi apa yang kamu pikirkan
dari Michael Jackson
dari semua video yang kami tunjukkan padamu?
- Dia selalu berubah. Itu aneh.
- Agak menyeramkan.
- Setiap lagu-lagunya
memiliki pesan yang bagus.
- Gerakan tariannya luar biasa,
lagu-lagunya sangat bagus.
- Dia adalah penyanyi yang luar biasa.
Dia luar biasa!
- Tariannya sangat bagus, seperti yang top.
Aku sangat mencintainya.
Saya berharap saya bisa melihatnya lagi!
- (FBE) Jadi Michael Jackson
mulai tampil
ketika dia baru berusia enam tahun,
dalam kelompok dengan saudara-saudaranya,
yang kemudian dikenal sebagai--
- Jackson 5! Jackson 5.
AKU SUKA Jack-- Jackson 5.
- (FBE) Dia akhirnya pergi solo
dan menjadi salah satu bintang paling terkenal
dari 80-an dan 90-an, dan beberapa orang mengatakan
Thai:
- (FBE) ทั้งหมดนี้คือเพลงฮิต
ของดาราเพลงป๊อปไมเคิลแจ็กสัน
- ใช่!
- เขาเป็นคนที่มีชื่อเสียงมาก
- ทุกคนควรจะรู้ว่าเขาเป็นใคร
เขาเป็นเหมือนราชาเพลงป๊อป!
- ราชาเพลงป๊อป
- เขาเป็นหนึ่งในดาราเพลงป๊อปที่ยิ่งใหญ่ที่สุด
ตลอดเวลา
- หากคุณไม่ทราบว่า
ไมเคิลแจ็กสันคือใคร
คุณอาศัยอยู่ภายใต้หินอย่างแท้จริง
- (FBE) แล้วคุณคิดอย่างไร
กับไมเคิลแจ็กสัน
จากวิดีโอทั้งหมดที่เราให้คุณดู?
- เขาเปลี่ยนไปตลอด มันแปลก
- ออกจะน่าขนลุก
- ทุกๆเพลงของเขา
มีความหมายที่ดี
- การเต้นของเขาดี
เพลงของเขาดี
- เขาเป็นนักร้องที่น่าทึ่ง
เขาเป็นคนที่สุดยอด!
- การเต้นของเยี่ยมมากแบบตัวท้อป
ฉันรักเขามาก
ฉันหวังว่าฉันจะได้เจอเขาอีกครั้ง!
- (FBE) เอาละ ไมเคิลแจ็กสัน
เริ่มการแสดง
เมื่อเขาอายุเพียงหกปี
ในกลุ่มกับพี่น้องของเขา
ซึ่งต่อมาได้กลายเป็นที่รู้จักในชื่อ--
- แจ็กสันไฟฟ์! แจ็กสันไฟฟ์
ฉันรัก แจ็ก-- แจ็กสันไฟฟ์
- (FBE) ในที่สุดเขาออกโซโล
และกลายเป็นหนึ่งในผู้ที่มีชื่อเสียงมากที่สุด
ของยุค '80s และ' 90s และบางคนบอกว่า
iw:
כל השירים האלו היו להיטים של כוכב הפופ מייקל ג'קסון
כן!
הוא ממש מפורסם
כל אחד צריך לדעת מי הוא
הוא כאילו מלך הפופ!
מלך. ה-. פופ.
הוא אחד מכוכבי הפופ הכי טובים של כל הזמנים
אם אתה לא יודע מי זה מייקל ג'קסון זה,
אתה חי מתחת לאבן, תרתי משמע
אז מה אתה חושב על מייקל ג'קסון
מכל הסרטונים שהראנו לך?
הוא תמיד משתה. זה מוזר
קצת... הזוי
כל אחד מהשירים שלו שולח מסר נהדר
התנועות ריקוד שלו נהדרות, השירים שלו נהדרים
הוא זמר מדהים. הוא תותח!
הריקוד שלו כל כך טוב, אבל ממש!
אני כל כך אוהב אותו
הלוואי ויכולתי לראות אותו שוב!
אז מייקל ג'קסון התחיל להופיע
כשהיה בן 6 שנים בלבד
בלהקה עם האחים שלו, שלאחר מכן היה ידועה בתור-
חמישיית הג'קסונים!
- חמישיית הג'קסונים
אני אוהבת את חמישיית הג'קסונים!
לבסוף הוא פצח בקריירת סולו והפך לאחד הכוכבים הכי מפורסמים
של שנות ה-80 וה-90,
ויש כאלו שיאמרו
Italian:
tutte queste domande riguardano il re del pop michael jackson
si!
E' veramente famoso
tutti dovrebbero sapere chi è
E' praticamente il re del pop
RE-DEL-POP
E'una delle più grandi pop star di tutti i tempi
se non conosci chi è Michael Jackson,
vivi sotto una roccia, letteralmente
quindi cosa ne pensi di Michael Jackson
riguardo tutti i video che ti abbiamo mostrato
E' sempre cambiato. E' strano
un po' terrificante
tutte queste canzoni hanno un buon significato
i suoi passi di danza sono il massimo, le sue canzoni anche
E' un magnifico cantante. E' stupendo
il suo ballo è perfetto, il migliore
lo adoro tantissimo
spero di poterlo vedere ancora
quindi michael jackson ha incomincito ad esibirsi
quando lui aveva 6 anni
in un gruppo con i suoi fratelli, che dopo diventarono i
Jackson 5! Jackson 5 .
io adoro i Jack, Jackson 5
e quando divenne un solista diventò un delle più grandi star
degli anni 80'e 90' e come qualcuno dice
Czech:
Všechno toto byly hity od jedné popové hvězdy, Michaela Jacksona.
Yeah!
On je velmi slavný.
Všichni by měli vědět, kdo je.
On je prostě král popu!
Král. Popu.
On je jedna z těch největších popových hvězd na světě.
Jestli nevíte, kdo je Michael Jackson,
žijete pod kamením, doslova.
Takže, co si myslíte o Michaelovi Jacksonovi
díky videím, které jsme vám ukázali?
On se vždycky měnil. Je to divné.
Druh strašidelnosti.
Každá jeho písnička má nějaké hezké poselství.
Jeho taneční pohyby jsou úžasné, jeho písně jsou skvělé.
Je úžasný zpěvák. Je boží!
Jeho tančení je úžasné.
Velmi ho zbožňuji.
Přeji si, abych ho mohl znova vidět!
Takže, Michael Jackson začal vystupovat
už když mu bylo šest let,
v kapele s jeho bratry, která byla později známá jako -
Jackson 5! Jackson 5.
MILUJI Jack - Jackson 5.
Nakonec přešel na sólovou kariéru a stala se z něj jedna z nejslavnějších hvězd
80. a 90. let a také
Russian:
Все это были хиты от поп-звезды Майкла Джексона.
Да!
Он довольно известен.
Все должны знать, кто он. Он -
Король поп-музыки!
Король. Поп. Музыки.
Он является одним из величайших поп-звезд всех времен.
Если Вы не знаете, кто такой Майкл Джексон, вы живете под скалой!
Образно.
Так что вы думаете о Майкл Джексон из всех видео, которые мы показывали вам?
Он всегда меняется. Это странно
Вроде... жутковато
Каждая его песня, как передает благую весть
Его танцевальные движения отличные
его песни великолепны
Он удивительный певец. Он...
ПОТРЯСАЮЩИЙ!
Его танцы-это так здорово!
Как, топ! 1 место!
Я так сильно его люблю
Я бы хотел просто увидеть его снова!
Майкл Джексон начал выступать, когда ему было всего шесть лет
в группе со своими братьями, которые позже стали известны как (девочка говорит): Jackson 5.
Я люблю Jackson 5.
В конце концов он начал сольную карьеру и стал одной из знаменитых звезд 80-х и 90-х годов
Finnish:
- (FBE) Kaikki nämä olivat hittejä pop tähti Michael Jacksonilta.
- Kyllä!
- Hän on todella kuuluisa.
- Kaikkien pitäisi tietää kuka hän on.
Hän on popin kuningas!
- Popin. Kuningas!
- Hän on yksi kaikkien aikojen parhaista pop tähdistä.
- Jos et tiedä kuka Michael Jackson on
olet elänyt kiven alla, kirjaimellisesti.
- (FBE) Joten, mitä mieltä olet Michael Jacksonista
videoiden perusteella?
- Hän aina muuttuu. Se on erikoista.
- Hieman pelottava.
- Kaikilla kappaleilla on todella hyvä viesti.
- Hänen tanssinsa on mahtavaa, hänen biisinsä ovat mahtavia.
- Hän on loistava laulaja. Hän on mahtava!
- Hänen tanssinsa on niin hyvää
Rakastan häntä niin paljon.
Voisinpa nähdä hänet uudestaan!
- (FBE) Joten, Michael Jackson aloitti esiintymisen
kun hän oli vain kuusi vuotias,
ryhmässä veljiensä kanssa, joka tultaisiin tuntemaan nimellä
- Jackson 5! Jackson 5.
MINÄ RAKASTAN Jack- Jackson 5'tä.
- (FBE) Myöhemmin hänestä tuli soolo-artisti ja hänestä tuli yksi
80' ja 90' lukujen suurimmista tähdistä, ja jotkut sanovat,
German:
(Fine Bros):All das waren Hits von Popstar Michael Jackson.
Ja!
Er ist sehr bekannt.
Jeder sollte wissen, wer er ist. Er ist der King of Pop!
King. of. Pop!
Er ist einer der besten Pop stars aller Zeiten.
Wenn man nicht weiß, wer Michael Jackson ist, lebt man unter einem Stein.
Buchstäblich!
Also was denkst du von Michael Jackson nachdem wir dir all diese Videos gezeigt haben?
Er verändert sich immer. Das ist seltsam.
Irgendwie gruselig?
Jeder seiner Songs sendet eine gute Botschaft.
Seine Tanz-Moves sind klasse.
Seine Songs sind großartig
Er ist ein großartiger Sänger. Er ist
GROßARTIG!
Er tanzt so gut!
Einfach klasse!
Ich liebe ihn so sehr
Ich wünschte, ich könnte ich nochmal sehen!
Michael Jackson hat mit Auftritten angefangen, als er gerade mal sechs Jahre alt war,
in einer Guppe mit seinen Brüdern, die später bekannt wurden als (Mädchen): Jackson Five.
Ich liebe die Jack- Jackson Five.
Er wurde Solo-Künstler und wurde ein Star der 80er und 90er.
Portuguese:
Todos esses foram hits do Pop Star Michael Jackson.
Ele é bem famoso!
Todo mundo deve saber quem ele é, ele é o REI DO POP!
REI... DO...POP!
Ele é um dos maiores Pop Stars de todos os tempos!
Se você não sabe quem é Michael Jackson, você vive embaixo de uma pedra, literalmente!
Então, o que você acha do Michael Jackson, depois dos vídeos que mostramos a você?
Ele mudou, é estranho!
Meio assustador.
Muitas músicas dele têm uma boa mensagem!
Os passos de dança são ótimos! As músicas são ótimas!
Ele é um cantor INCRÍVEL! IMPRESSIONANTE!
Ele dança TÃO BEM! TOP 1!
Eu o amo tanto! Eu queria poder ver ele de novo!
Michael Jackson começou a performar quando tinha apenas 6 anos.
Em um grupo com seus irmãos, que depois foi chamado de-...
-Jackson 5! Jackson 5!
Eu amo Jackson 5!
Depois ele ficou sozinho, tornando-se a estrela mais famosoa dos anos 80 e 90
Turkish:
Bütün bu hitler pop yıldızı Michael Jacksondandı.
Evet'
O çok ünlü.
Herkes onu popun kralı olarak bilmeli!
Popun kralı.
O bütün zamanların en iyi pop yıldızlarından biri.
Eğer Michael Jackson 'nın kim olduğunu bilmiyorsanız mağarada yaşıyorsunuzdur.
Harfi harfine!
Sana gösterdiğimiz videolardan dolayı Michael Jackson hakkında ne düşünüyorsun?
O her zaman değişiyor. Garip.
Ürpertici mi?
Onun şarkıları her zaman güzel mesajlar verir.
Dans hareketleri harika
şarkıları harika
O büyüleyici bir şarkıcı
Müthiş!
Çok iyi dans ediyor!
En iyié
Onu çok seviyorum
Keşke onu tekrar görebilsem.
Michael Jackson hünerlerini sergilemeye sadece 6 yaşındayken
kardeşiyle grupta başladı bu daha sonra... Jackson Five olarak bilinmeye başlandı.
Jackson five a bayılıyorum.
O neticede solo devam etti ve seksenler ve doksanların yıldızı oldu.
Portuguese:
e alguns dizem que ele foi o mais bem sucedido de toda a história.
Eu acredito.
É verdade.
Isso mesmo, é verdade.
Então, o que você acha que fez o Michael Jackson tão popular por tanto tempo?
Bem, ele escreveu boas músicas
Ele era um bom cantor, um bom dançarino.
Ele era carismático.
Ele era tão bom! Os pais conhecem ele, então eles contam para suas crianças
e seus filhos acabam descobrindo por sí próprios.
Ele não ligava para o que os outros diziam
e tipo, ele fazia do seu jeito.
Tipo, ele é diferente. Ele apenas
Pops!
Ele apenas tinha, tipo, alegria, músicas alegres!
Tipo, que te fazem querer dançar! E tipo, cantar junto
É cativante! Já está na minha cabeça, tipo, não dá pra tirar!
Além dele ser famoso, cantando e dançando, ainda há
um monte de controvérsia sobre ele.
Você sabe algo sobre isso?
O que significa controvérsia?
Não.
Não, por eu, tipo, tenho 10.
uh uh, Não tenho ideia.
Eu acho que ouvi algo sobre ele ter dormido com crianças ou algo do tipo?
Eu ouvi, mas
English:
he is the most successful
entertainer in history.
- I believe it.
- That's true. Right there, that's true.
- (FBE) So what do you think
it is about Michael Jackson
that made him so popular
for such a long time?
- Well, he wrote good music.
- He's a good singer, he's a good dancer,
he's likeable.
- He was so good that,
like, parents know him,
so the parents tell their kids,
or kids can find out on their own.
- He doesn't care what anyone else says,
and he just does his own thing.
He's just different.
He just pops!
- He just has great, happy, good music
that makes you want to dance
and sing along with him.
It's catchy, I mean,
it's already in my head.
You can't get it out.
- (FBE) So besides him being famous,
and singing and dancing,
there's also been a lot
of controversy around him.
Do you know anything about that?
- What does "controversy" mean?
- Mm, no.
- No.
- Mm, no.
- No.
- No.
- No, because I'm, like, ten.
- Uh-uh. I have no idea.
- I think I heard something about,
like, he was like
with kids' sleepovers or something.
Russian:
И некоторые говорят, что он самый успешный артист в истории.
Я верю в это.
И это правда.
Прямо там, это правда.
Как вы думаете, что сделало Майкла Джексона настолько популярным все это время?
Ну, он писал хорошую музыку
Он хороший певец, хороший танцор.
Он симпатичный.
Он был настолько хорош, что родители знают о нем
и затем рассказывают своим детям
или дети сами узнают о нем.
Его не волнует, что говорят другие
он просто делает свое дело.
Похоже, он просто другой. Он просто...
МОДНЫЙ!
У него просто великая,счастливая, хорошая музыка
которая заставляет тебя танцевать! И петь вместе с ним!
Это цепляет! Это уже в моей голове, я имею в виду, я не могу ее вытащить!
Помимо того, что он знаменит, поет, танцует
также было много полемики вокруг него.
Вы знаете что-нибудь об этом?
Что означает "полемика"?
Нет.
Нет, потому что мне 10 лет.
Не-а. Я понятия не имею.
Кажется, я слышала что-то
будто он вроде с детьми ночевал или что-то вроде того
Я слышала об этом
Finnish:
että hän on kaikkien aikojen menestynein viihdyttäjä.
- Minä uskon sen.
- Se on totta. Juuri niin!
- (FBE) Minkä takia mielestäsi Michael Jackson
pystyi olemaan niin suosittu niin pitkän aikaa?
- No, hän kirjoitti hyvää musiikkia.
- Hän on hyvä laulaja, hyvä tanssija,
hän on pidettävä.
- Hän oli niin hyvä, että vanhemmat tietävät hänet
joten myös heidän lapsensa voivat löytää hänet
- Hän ei välitä mitä muut sanovat,
hän vain tekee omaa juttuaan.
Hän on erillainen. Hän korostuu joukosta!
- Hänellä on hyvää, iloista musiikkia, joka saa sinut tanssimaan
ja laulamaan hänen kanssaan.
Se on tarttuvaa, se on jo nyt jumissa päässäni.
En saa sitä sieltä pois.
- (FBE) Joten, sen lisäksi että hän oli kuuluisa laulamisen ja tanssimisen vuoksi
hänen ympärillään on ollut paljon kiistaa ja väittelyä-
Tiedätkö mitään siitä?
- Mitä "kiista" tarkoittaa?
- Mm, en.
- En
- Mm, en.
- En
- En
- En, koska olen kymmenen
- Uh-uh, ei mitään tietoa.
- Taisin kuulla jotan
jostain yökylistä tai jotain sellaista
Spanish:
y muchos dicen que fue el artista mas famoso de la historia
lo creo
es verdad
y que crees que hizo a Michael Jackson famoso por tanto tiempo
bueno, creo que el escribió buena música
él es buen cantante, buen bailarín
él es simpático
el es muy bueno así que los padres lo conocieron y los padres le cuentan a sus hijos así que los hijos podrían averiguar por su cuenta.
a el no le importaba lo que los demás decían el hacia solo una cosa
el era diferente,el solo explotaba
el solo tenia,grandeza,felicidad,buena musica
el te hacia bailar y cantar,es pegadizo esta siempre en mi cabeza eso creo no puedo sacarlo
ademas de que el fuera famoso y de que cante y baile había mucha controversia al rededor suyo
tu sabes algo de eso
que significa controversia
no, porque tengo 10
no, no tenia idea
creo que escuche algo de que el tenia pijamadas con niños o algo asi
Korean:
그는 역사속에 남을
가장 성공하는 엔터테이너가 될것이다
말되네요
맞아요 그렇게 됐죠 사실이죠
그래서 마잭이 오랜시간동안 성공 할 수있었는지
여러분은 어떻게 생각하나요?
일단 그가 좋은 음악을 썼고
좋은 가수였고 춤꾼이였고
호감이가요
너무좋은 사람이고 부모님들도 그를 알고
그리고 부모님들이 그들의 아이들에게 말해주거나
아이들이 찾아 보는거죠
그는 다른 사람이 뭐라고 하든 신경안썼어요
그리고 그는 그만의 것을 계속 해나갔어요
그는 달라요 그는 팝 자체예요
그는 좋고 행복한 음악을 썼고
그게 우리를 춤추게 만들고
그리고 그의 노래를 따라 부르게 했어요
중독성있는거죠
그러니까 제머리속에 계속 맴도는거예요
빠져나갈수없어요
그러면 마잭 자체가 유명해지고 노래부르고 춤추면서
그를 둘러싼 많은 논란거리도 있었어요
그것에 대해서는 알고있나요?
논란이 무슨뜻이에요?
음 아니요
아니요
음 아니요
아니요
아니요
아니요 왜냐면 전 아직 10살이잖아요
아니요 몰라요
몇가지 들어본거 같아요
마잭이 아이들과 잤다거나 그런거요
Arabic:
أنه الفنان الأكثر نجاحاً بالتاريخ
أنا اصدق هذا
هذا صحيح في هذه النقطة هذا صحيح
لذا برأيك مالذي جعل لمايكل جاكسون
هذه الشعبية الكبيرة لمثل هذا الوقت الطويل
حسنا أن يكتب موسيقى جميلة
انه مغني جميل وراقص جميل
انه محبوب جدا
انه جدا جميل والأباء والامهات يعرفونه
لذا فهم يخبرون اطفالهم عنه .....او الاطفال يعرفونه بمفردهم
إنه لايهتم بما يقوله أي شخص اخر عنه
ويفعل فقط بما يعتقده هو
انه فقط مختلف
انه فقط عظيم وسعيد واغانية جميلة دائما تريد الرقص عليها
وتغني معه
إنه جداب... اعني انه دائما في تفكيرك
لاتستطيع أن تخرجه من رأسك
بالإضافة إلى كونه مشهوراً ومغني وراقص
كان هناك الكثير من الجدل حوله
هل تعرف شيئا عن ذلك؟
- ماذا يعني "الجدل"؟
ممممم لا
لا
لا
لا
لا
لا
ليس لدي فكرة
- أعتقد أنني سمعت شيئا عن، مثل، أنه كان
ينام مع الاولاد أو شيء مثل هذا
Czech:
je nejúspěšnější bavič v historii.
Věřím tomu.
Věřím tomu. Přímo zde, to je pravda.
Takže, co si myslíte, že Michaela Jacksona
udělalo tak populárním na tak dlouhou dobu?
Psal dobrou muziku.
Je dobrý zpěvák, je dobrý tanečník,
je sympatický.
Byl dobrý tak, že rodiče ho znají,
takže to rodiče řeknou jejich dětem nebo ty děti si to najdou samy.
Bylo mu jedno, co všichni říkají
a dělal vlastní věc.
On je prostě odlišný.
On je úžasný, šťastný, má dobrou muziku, na kterou byste chtěli tancovat
a zpívat s ním.
Je to chytlavé, právě je to v mé hlavě.
Nemůžete to z té hlavy vyndat.
Kromě toho, že byl slavný, zpíval a tančil,
byla tady spousta kontroverzí, co se jej týče.
Víte o tom něco?
Co "kontroverze" znamenají?
Mm, ne.
Ne.
Mm... ne.
Ne.
Ne.
Ne, protože je mi jenom deset.
Uh... nic mě nenapadá.
Myslím, že jsem něco o tom slyšela...
...něco s dětskými spánky nebo něco takového.
Portuguese:
E alguns dizem que ele é o mais bem sucedido intérprete da história!
Eu acredito!
É verdade! Isso é verdade!
O que você acha que tornou Michael Jackson tão popular por tanto tempo?
Bem... ele escreveu boas músicas!
Ele é um bom cantor, bom dançarino... é agradável!
Ele é tão bom que os pais conhecem, mostram para os filhos, ou os filhos conhecem sozinhos!
Ele não se importa com o que os outros dizem. Ele faz uma coisa própria!
Tipo, ele é diferente... ele... "explode"!
Ele tem essa ótima... tipo, feliz...boa música!
Me faz querer dançar... querer cantar junto! É cativante!
Já está na minha cabeça, e eu não consigo tirar!
Além de ser famoso, cantar e dançar, também há muitas controvérsias sobre ele.
Você sabe alguma coisa sobre isso?
O que "controvérsia" significa?
Não.
Não, porque eu tenho, tipo, 10 anos.
Não, não tenho ideia!
Eu acho que ouvi algo sobre crianças dormirem com ele ou algo assim.
Turkish:
Ve bazıları diyorki o tarihte ki en başarılı şovmen .
Buna inaniyorum.
Bu doğru
Evet, bu doğru.
Sence Michael Jackson 'ı bu kadar popüler ve bu kadar uzun süre başarılı yapan neydi?
Yani, o güzel müzikler yazdı
O iyi bir şarkıcı ve dansçı.
Sevimli.
O çok iyiydi! Ebeveynler onu biliyor ve çocuklarına ondan bahsediyor
ve çocuklar onu kendi kendine öğreniyor.
Kimsenin ne söylediğini umursamıyor.
Sadece kendine ait şeyleri yapiyor.
Sanki, O farklı. O sadece
Onun güzel keyif veren müzikleri vardı.
Senin dans etmeni sağlıyor ve birlikte şarkı söylettiriyor.
Akılda kalıcı! Zaten kafamda, yani onu kafamdan atamıyorum!
Onun ünlü olmasında ve şarkı söylemesinde ve dans etmesinde,
bir çok tartışma vardı.
Bunun hakkında bir şeyler biliyor musun?
Tartışma ne anlama geliyor ?
Hayır.
Hayır çünkü ben 10 yaşında falanım.
Hiçbir fikrim yok.
Bir şeyler duydum o çocuklarının partisinde miydi neydi?
Bir şeyler duydum ama
Vietnamese:
Và một số người nói ông là nghệ sĩ thành công nhất trong lịch sử.
Tôi tin nó.
Đung.
Ngay ở đó, đó là sự thật.
Vậy điều gì làm bạn nghĩ rằng đó là về Michael Jackson khiến ông trở nên phổ biến trong một thời gian dài như vậy?
Vâng, ông đã viết nhạc tốt
Anh ấy là một ca sĩ tốt, anh ấy là một vũ công giỏi.
Anh ấy là dễ thương.
Anh ấy rất tốt! Vì vậy, các bậc cha mẹ biết anh ta, và cha mẹ nói với các con của họ
nên những đứa trẻ có thể tìm ra cho mình.
Ông không quan tâm đến những gì người khác nói
và như thế, anh chỉ làm việc của riêng mình.
Giống như, anh ta chỉ khác nhau. Anh ấy chỉ
Pops!
Ông chỉ có, như, tuyệt vời, như thế, hạnh phúc, giống như, âm nhạc tốt!
Giống như, làm cho bạn muốn nhảy! Và như thế, hát cùng với
Nó hấp dẫn! Nó đã có trong đầu tôi, tôi là, tôi không thể có được nó ra!
Bên cạnh đó ông trở nên nổi tiếng, và ca hát và nhảy múa, đó cũng là
được rất nhiều tranh cãi xung quanh.
Bạn có biết gì về điều đó?
không tranh cãi có ý nghĩa gì?
Không.
Không, vì tôi thấy mình giống như, 10.
Uh uh. Tôi không có ý kiến.
Tôi nghĩ rằng tôi nghe một cái gì đó giống như ông đã được tại sleepovers trẻ em 'hay cái gì?
Tôi nghe nói rằng, nhưng
German:
Und manche sagen, er ist der erfolgreichste Unterhalter der Geschichte.
Ich glaube es.
Das stimmt.
Genau, das stimmt.
Also was denkst du hat Michael Jackson für so lange Zeit berühmt gemacht?
Tja, er hat gute Musik geschrieben.
Er ist ein guter Sänger und guter Tänzer.
Er ist sympathisch.
Er war so gut! Unsere Eltern kennen ihn und sie erzählen es ihren Kindern,
damit sie es selber rausfinden können.
Ihn kümmert es nicht, was irgendjemand anders sagt
und macht sein eigenes Ding.
Er ist einfach anders. Er
sticht heraus!
Er hat gute, fröhliche, gute Musik!
Du willst tanzen! Und mitsingen!
Es ist eingängig! Es ist schon in meinem Kopf, ich krieg es da nicht raus!
Außer dass er berühmt war, singen und tanzen konnte, gab es
auch viele Gerüchte um ihn.
Weißt du etwas darüber?
Was sind Gerüchte?
Nein.
Nein, weil ich erst 10 bin.
Ne. Ich hab keine Idee.
Ich denke, ich hab mal gehört, dass er auf Übernachtungspartys von Kindern war, oder sowas?
Ich habe es gehört, aber
Thai:
เขาเป็นคนบันเทิงที่ประสบความสำเร็จ
มากที่สุด ในประวัติศาสตร์
- ฉันเชื่อนะ
- นั่นจริง นั่นแหละจริง
- (FBE) แล้วคุณคิดว่าอะไรคือสิ่งที่
ทำให้ไมเคิลแจ็กสัน
เป็นที่นิยมอย่างมากมาเป็นเวลานาน?
- ก็ เขาเขียนเพลงที่ดี
- เขาเป็นนักร้องที่ดีเขาเป็นนักเต้นที่ดี
เขาเป็นที่ชื่นชอบ
- เขาดีมากแบบที่ว่า
พ่อแม่รู้จักเขา
แล้วพ่อแม่ก็บอกลูกๆของพวกเขา
หรือเด็กสามารถหาได้ด้วยตัวเอง
- เขาไม่สนใจในสิ่งที่คนอื่นพูด
และเขาก็แค่ทำเรื่องของเขาเอง
เขาแตกต่าง
เขาแค่ป๊อป!
- เขามีดี, ความสุข, เพลงที่ดี
ที่ทำให้คุณอยากจะเต้น
และร้องเพลงไปพร้อมกับเขา
มันจับใจ ฉันหมายถึง
มันติดอยู่ในหัวของฉันแล้วเนี่ย
คุณไม่สามารถเอามันออกได้
- (FBE) แล้ว นอกเหนือจากเรื่องเขามีชื่อเสียง
,การร้องเพลงและเต้นรำ
ยังมีเรื่องข้อถกเถียงมากมาย
รอบตัวเขา
คุณรู้อะไรเกี่ยวกับมันบ้างไหม?
- "ข้อถกเถียง" หมายความว่าอย่างไร?
- อืมม ไม่
- ไม่
- อืมม ไม่
- ไม่
- ไม่
- ไม่รู้ แบบฉันอายุสิบขวบ
- อะอือ ฉันไม่รู้
- ฉันคิดว่าฉันได้ยินมาบ้าง
เหมือนเขาเป็น
กับ เด็กที่มานอนด้วย หรือบางอย่าง
iw:
שהוא שהבדרן הכי מוצלח בהיסטוריה
אני מאמינה לזה
זה נכון. בדיוק ככה, זה נכון
אז מה אתה חושב שגרם למייקל ג'קסון
להיות כל כך פופולרי לכל כך הרבה זמן?
ובכן, הוא כתב מוזיקה טובה
הוא זמן טוב, הוא רקדן טוב
הוא חביב
הוא היה כל טוב,
כאילו- ההורים מכירים אותו
אז ההורים אומרים לילדים שלהם,
או שילדים יכולים למצוא אותו לבד
לא איכפת לו מה אחרים אומרים
הוא פשוט עושה את הקטע שלו
הוא פשוט שונה. הוא פשוט קופץ!
יש לו מוזיקה טובה, נהדרת ושמחה שגורמת לך לרצות לרקוד
ולשיר יחד עם השיר
זה קליט, כאילו, זה כבר תקוע לי בראש.
אי אפשר להוציא את זה.
אז חוץ מלהיות משהיה זמר ורקדן מפורסם
הייתה הרבה מחלוקת סביבו
אתה יודע משהו בקשר לזה?
מה 'מחלוקת' אומר?
ממ, לא.
לא.
ממ, לא.
לא.
לא.
לא, כי אני רק בת 10
אה-אה. אין לי מושג.
אני חושבת ששמעתי משהו בקשר לזה שהוא היה עושה
מסיבות פיג'מות עם ילדים או משהו
French:
Et certains disent qu'il est le meilleur divertisseur de l'histoire
Je le crois sincèrement.
C'est vrai.
Je suis d'accord, c'est vrai.
Que pense tu qui ai rendu Michael Jackson si populaire pendant si longtemps ?
Et bien, il a écrit de bonnes musiques.
C'est un bon chanteur, un bon danseur.
Il est appréciable.
Il était bon ! Donc les parents le connaissent et en parle a leurs enfants
donc les enfant le découvre d'eux même.
Il s'en fiche de ce que les autres disent
et il fait juste ce dont il a envie.
Il est différent. Il ...
Pop !
Il a juste de géniales et joyeuses musique !
Qui te donne envie de danser et de chanter
C'est accrocheur ! Je peux déjà plus le sortir de ma tête !
A coté du fait qu'il ai été connu pour sa voix et ses pas de danse, il y a aussi
beaucoup de polémiques autour de lui.
Est-ce que tu sais quelque chose a propos de ça ?
C'est quoi "polémique" ?
Non
Non, parce que j'ai 10 ans
Non, je ne sais pas
Je pense que j'ai entendu dire qu'il allait a des soirées pyjama d'enfant ou quelque chose comme ça ?
J'ai entendu ça, mais
Italian:
lui è l'intrattenitore più famoso della storia
ci credo!
è vero. Giusto, è vero
quindi cosa ne pensi di Michael Jackson
riguardo al fatto che ha fatto così tante canzoni famose per così tanto tempo
beh, lui ha scritto bella musica
è una bravo ballerino e un bravo cantante
è simpatico
è cosi bravo che, i genitori lo conoscono
quindi i genitori lo diranno ai loro figli, e i loro figli possono dirlo a loro volta
non si preoccupa di cosa dicono gli altri
e fa solo le sue cose
lui è diverso. E' solo pop
lui faceva una meravigliosa, felice, e buona musica che ti fa ballare
e cantare con lui
E' orecchiabile. nel senso, è già nella mia testa
non puoi togliertela dalla testa
quindi dietro al suo essere famoso, e cantarlo e ballarlo
c'è anche molta controversia intorno a lui
conosci qualcosa a riguardo ?
cosa significa "controverso"?
mm, no
no
mm,no
no
no
no, perchè io sono come loro
uh-uh. io non ne ho idea
penso di aver sentito qualcosa riguardo lui, lui era tipo
era come un pigiama party per i bambini
Indonesian:
dia yang paling sukses
penghibur dalam sejarah.
- Aku percaya.
- Itu benar. Di sana, itu benar.
- (FBE) Jadi apa yang kamu pikirkan
ini tentang Michael Jackson
yang membuatnya sangat populer
untuk waktu yang lama?
- Yah, dia menulis musik yang bagus.
- Dia penyanyi yang bagus, dia penari yang bagus,
dia disukai.
- Dia sangat baik itu,
seperti, orang tua kenal dia,
jadi orang tua memberi tahu anak-anak mereka,
atau anak-anak dapat mencari tahu sendiri.
- Dia tidak peduli apa kata orang lain,
dan dia hanya melakukan urusannya sendiri.
Dia berbeda.
Dia baru saja muncul!
- Dia hanya memiliki musik yang bagus, bahagia, dan bagus
yang membuatmu ingin menari
dan bernyanyi bersamanya.
Ini menarik, maksud saya,
sudah ada di kepalaku.
Anda tidak bisa mengeluarkannya.
- (FBE) Jadi selain dia terkenal,
dan bernyanyi dan menari,
ada juga banyak hal
kontroversi di sekitarnya.
Apakah kamu tahu sesuatu tentang itu?
- Apa artinya "kontroversi"?
- Mm, tidak.
- Tidak.
- Mm, tidak.
- Tidak.
- Tidak.
- Tidak, karena saya, seperti, sepuluh.
- Uh-uh. Saya tidak punya ide.
- Saya pikir saya mendengar sesuatu tentang,
seperti, dia seperti
dengan sleepovers anak-anak atau sesuatu.
Finnish:
Kuulin siitä, mutta en tiedä onko se totta vai ei.
- (FBE) Joten, valitettavasti Michael kuoli vuonna 2009
hän oli vain 50 vuotias. - Voi, vain 50.
- 50 ei ole vanha, eikä nuori.
- Mielestäni hänen olisi pitänyt elää kauemmin.
- Kun hän kuoli, se käytännössä muutti koko maailman.
- Se on hyvin surullista, muistan kun isoäitini itki
katsoin heitä, enkä tiennyt mitä oli tapahtunut.
mutta se oli varmasti hyvin surullista.
- (FBE) Kun hän kuoli, se oli massiivinen uutisjuttu
ympäri maailman.
Miksi luulet että hänen kuolemansa vaikutti niin moniin?
- Koska kaikki rakastivat häntä.
- Hän oli erittäin kuuluisa, ja kun kuuluisuuksia kuolee,
kaikki aina muuttuvat surullisiksi.
- Hän on niin hyvä laulaja, että kaikki tuntevat hänet.
En edes muista milloin sain tietää hänestä.
Tuntuu, kuin olisin vain aina tiennyt hänet jostain.
- Kaikkia liikutti hänen musiikkinsa, ne viestit hänen lauluissaan, joita hän teki.
Hänen musiikkinsa, niinkuin, ihmiset haluavat antaa takaisin hänelle.
- (FBE) Ennen kuin päätämme jakson,
haluamme, että teette yhden hänen kuuluisimmista tanssiliikkesitään,
ja se on moonwalk. - Jee!
- Ai, tiedän sen.
- Yritin oppia sen kun olin kymmenen
ja epäonnistuin täysin.
Korean:
들어는 봤는데 그게 진짜인지 아닌지는
확실히 모르겠어요
그래서 나쁘게도 마잭은 2009에 죽었고
-그때는 50살 이였어요
-겨우 50..
-50이면 그렇게 늙지도 어리지도 않네요
저는 그가 더 오래살았어야 한다고 생각해요
그가 죽었을때 모든 세상이 꽤나 많이 변했어요
저는 진짜 슬펐어요 왜냐면 저희 할머니가 우셨거든요
그리고 그들을 봤을때 뭔가
무슨 일이 생겼는지는 모르겠지만
슬프다는 것은 확실했어요
그게 죽었을때 엄청난 언론이 쏟아졌어요
전세계적으로요
왜 많은 사람들에게 마잭의 죽음이 영향을 끼쳤을까요?
왜냐면 많은 사람들이 그를 사랑하니까요
그는 정말 유명하고 유명한 사람이 죽었을땐,
모든 사람들이 항상 슬퍼해 하죠
그는 정말 좋은 가수였고 모든 사람들이 그를 알았어요
그에 대해서 알았을땐 저는 기억조차 못했어요
어떻게든 저는 그냥 느낌으로 그가 누군지 알았어요
모든 사람들이 그가 쓴 노래의 메세지에
감동을 받았어요
그의 음악이 사람들을 바꿨고
그들은 그에게 또 그만큼 주길 원했어요
그럼 이 에피를 끝내기전에
여러분들의 마잭의 유명한 춤들중 하나를하기를 바래요
바로 문워크예요!
-예쓰!
알겠어요
10살때 배워볼려고 했었어요
근데 결국엔 실패했어요
iw:
שמעתי את זה, אבל, אני לא בטוחה אם זה נכון או לא.
אז למרבה הצער, מייקל ג'קסון מת בשנת 2009
כשהוא היה בן 50 בלבד
- אוי, רק 50
50 זה לא מבוגר וגם לא צעיר
אני חושב שהוא היה צריך לחיות יותר
כשהוא מת זה בעצם שינה את כל העולם
זה היה ממש עצוב כי סבתא שלי בכתה
ואני כאילו הסתכלתי עליה ולא היה לי מושג מה קורה
אבל הבנתי שזה משהו ממש עצוב
כשהוא מת זה היה סיפור מטורף בחדשות
בכל רחבי העולם
אז למה אתה חושב שהמוות שלו השפיע על כל כך הרבה אנשים?
כי כולם אהבו אותו!
הוא היה ממש מפורסם,
וכשאנשים מפורסמים מתים
כולם תמיד נהיים עצובים
הוא זמן כל כך טוב שכולם מכירים אותו
אני אפילו לא זוכרת מתי 'גיליתי' אותו
אני מרגישה שתמיד הכרתי אותו איכשהו
כולם ממש הושפעו מהמוזיקה שלו, על ידי המסרים בשירים שהוא כתב
המוזיקה שלו, כאילו, שינתה אנשים ולכן הם רוצים להחזיר לו.
אז לפני שנסיים את הפרק,
אנחנו רוצים שתעשי את אחת מתנועות הריקוד הכי מפורסמות שלו,
וזו 'הליכת הירח'
- יאיי!
או, אני מכיר את זה!
ניסתי ללמוד את זה כשהייתי בת 10
ולגמרי נכשלתי.
English:
I heard that, but I'm not sure
if that's true or not.
- (FBE) So, unfortunately,
Michael died in 2009
when he was just 50 years old.
- Oh, only 50.
- 50's not old and it's not young.
- I think he should have lived longer.
- When he died, it pretty much
changed the entire world.
- It was really sad because
my grandma was crying
and I was looking at them, like,
I don't know what's happening,
but it must be really sad.
- (FBE) When he died, it was massive news,
all around the world.
So why do you think his death
impacted so many people?
- Because everyone loved him.
- He was really famous,
and when famous people die,
everyone always gets sad.
- He's such a good singer
that everybody knows him.
I don't even remember
when I found out about him.
I just feel like I always
just knew him somehow.
- Everybody was moved by his music,
by the messages in the songs that he wrote.
His music, like, changed people
and they want to give back to him.
- (FBE) So before we end the episode,
we want you to do one
of his most famous dance moves,
and that's the moonwalk.
- Yay!
- Oh, I know that.
- I tried to learn it
when I was, like, ten
and I completely failed.
Portuguese:
mas eu não tenho certeza se é verdade ou não.
Então, infelizmente, Michael faleceu em 2009, quando ele tinha apenas 50 anos de idade
Oh, apenas 50.
50 não é tão velho, nem tão novo.
Eu acho que ele deveria ter vivido por mais tempo.
Quando ele morreu, isso meio que mudou o mundo todo.
Foi muito triste, por que minha avó estava chorando e eu tipo "eu não sei, isso deve ser muito triste".
Quando ele morreu, foi notícia no mundo todo.
Então, por que você acha que a morte dele impactou tanta gente?
Porque todos o amavam.
Ele era muito famoso, e quando um famoso morre, todos ficam muito tristes.
Ele era um grande cantor que todos conheciam.
Eu nem me lembro quando descobri sobre ele, eu acho que apenas o conhecia de alguma forma.
Todos era tocados por sua música, pelas mensagens em suas canções.
que ele escreveu. Sua música, tipo, mudou as pessoas.
E eles queriam devolver isso a ele.
Então, antes de encerrarmos esse episódio, nos queremos que vocês façam um de seus passos mais famosos.
que é o moonwalk.
Aeee!
Oh, eu conheço!
Eu tentei aprender quando eu tinha tipo, 10 anos, e falhei completamente.
Turkish:
Doğru mu emin değilim.
Ne yazık ki Michael 2009 da sadece 50 yaşındayken öldü.
Daha 50 de.
50 yaşlı da değil gençte.
Bence o daha uzun yaşamalıydı.
Öldüğünde bütün dünyayı değiştirdi.
Bu çok üzücü çünkü büyükannem ağlıyordu ve ben ne olduğunu bilmiyordum. Çok üzücü olmalı.
Öldüğünde tüm dünya gazetelerinin manşetindeydi
Onun ölümü bir çok insanı etkilemiş midir?
çünkü herkes onu seviyordu.
Çok ünlüydü ve ünlü insanlar ölünce herkes herzaman üzülür.
Çok iyi bir şarkıcıydı herkes onu tanır.
Onu ne zaman tanıdığımı bile bilmiyorum sanki nasıl oluyorsa onu her zaman tanıyormuşum gibi.
Herkes onun müziklerinden ve müziklerindeki mesajlardan etklendi.i
Yazdığı müzikler insanları değiştirdi.
Ve onlar ona geri vermek istedi.
Bu bölümü bitirmeden önce onun en ünlü dans hareketinden bir tanesini yapmanı istiyoruz
ve bu moonwalk.
Olley
Onu biliyorum!
Onu 10 yaşımdayken falan öğrenmeyi denedim ama hiç başaramadım.
German:
ich weiß nicht ob es stimmt.
Unglücklicherweise ist Michael 2009 mit gerade einmal 50 Jahren gestorben.
Oh, nur 50.
50 ist nicht alt, aber auch nicht jung.
Ich denke, er hätte länger leben sollen.
Als er starb, hat es die gesamte Welt verändert.
Es war sehr traurig, weil meine Oma weinte und ich meinte "Ich weiß nicht, es muss wirklich traurig sein."
Als er starb, kam das auf der ganzen Welt in den Nachrichten.
Warum denkst du, hat dieser Tod Auswirkungen auf so viele Menschen?
Weil jeder ihn geliebt hat.
Er war sehr berühmt und wenn berühmte Leute sterben, sind alle immer traurig.
Er ist so ein guter Sänger, dass jeder ihn kennt.
Ich weiß gar nicht mehr, wie ich das herausgefunden habe. Ich fühle mich enfach, als ob ich ihn irgendwie kannte.
Jeder war bewegt von seiner Musik, von den Botschaften in seinen Songs,
die er geschrieben hat. Seine Musik hat Leute verändert.
Und sie wollen es ihm zurückgeben.
Bevor wir diese Folge beenden, wollen wir, dass ihr einen seiner berühmten Tanz-Moves macht.
Und zwar den Moonwalk.
Ja!
Oh, den kenne ich!
Ich habe versucht, ihn zu lernen als ich 10 war, aber ich bin komplett gescheitert.
Portuguese:
Eu ouvi isso, mas não tenho certeza se é verdade ou não!
Infelizmente Michael morreu em 2009, quando ele tinha apenas 50 anos.
- Oh, 50.
- 50 não é velho, nem novo.
Eu acho que ele deveria ter vivido mais!
Quando ele morreu, praticamente mudou o mundo inteiro!
Foi muito triste, porque minha vó estava chorando, e eu "não sei, deve ser muito triste."
Quando ele morreu, houve uma grande massa de notícias ao redor do mundo. Por que acha que sua morte impactou tanta gente?
Porque todos o amavam!
Ele era muito famoso, e quando pessoas famosas morrem, todos ficam tristes!
Ele era tão bom cantor e todos o conheciam.
Eu nem lembro como descobri sobre ele, só sinto como se sempre o conhecesse, de alguma forma!
Todos foram tocados por sua música, pelas mensagens de suas músicas!
Suas músicas mudam as pessoas, e elas querem retribuir a ele.
Antes de terminar, queremos que você faça um dos seus famosos passos: o Moonwalk!
Eu conheço esse!
Eu tentei aprender quando tinha 10 anos, e falhei completamente.
French:
je suis pas sure de si c'est vrai ou pas.
Malheureusement, Michael est mort en 2009, il avait juste 50 ans
Oh, seulement 50
50, c'est pas vieux, c'est même jeune.
Je pense qu'il aurait du vivre plus longtemps.
Quand il est mort, ça a plus ou moins changé le monde entier.
C'était vraiment triste, ma grand mère pleurait et j'étais là : "Je ne sais pas, ça doit être vraiment triste"
Quand il est mort, ça a été une grande nouvelle autour du monde.
Pourquoi penses tu que sa mort a impactée tellement de gens ?
Tout le monde l'aimait.
Il était vraiment connu et quand une personne connu meure, tout le monde est toujours triste.
il est tellement un bon chanteur que tout le monde le connait.
Je ne me rappelle même plus quand je l'ai découvert, c'est comme si je l'avais toujours connu quelque part...
Tout le monde était émue par sa musique, par les messages de ses chansons.
Sa musique a changé les gens.
Et ils veulent le lui rendre.
Avant de finir cet épisode, on voudrait que tu fasses un de ses célèbre pas de danse.
Et ça c'est le moonwalk !
Ouais !
Oh, je sais !
J'ai essayé de l'apprendre quand j'avais 10 ans et j'ai complètement raté.
Czech:
Slyšela jsem to, ale nejsem si zcela jistá, že to je pravda nebo ne.
Bohužel, Michael umřel v roce 2009
bylo mu jenom 50 let.
- Oh, jenom 50.
50 let není ani starý ani mladý.
Myslím si, že mohl žít déle.
Když umřel, celkem změnil celý svět.
Bylo to velmi smutné, protože má babička brečela
a já se na ni dívala a nevěděla, co se děje,
ale muselo to být velmi smutné.
Když umřel, byly byla to masivní zpráva
po celém světě.
Takže, proč si myslíte, že jeho smrt zasáhla tolik lidí?
Protože ho všichni milovali.
Byl velmi slavný a když slavný člověk umře,
všichni jsou hned smutní.
Je velmi dobrý zpěvák, že ho všichni znají.
Nevzpomínám si, když jsem o něm poprvé slyšela.
Cítila jsem se, jako kdybych ho měla nějak znát.
Každý byl posunut jeho hudbou, zprávami v písních, které napsal.
Jeho muzika změnila lidi a oni mu to chtěli vrátit.
Takže, než skončímu tuto epizodu,
chceme po vás, abyste udělali jeden z jeho nejslavnějších tanečních pohybů,
a to je moonwalk.
- Yay!
Oh, to znám.
Chtěla jsem se to naučit, když mi bylo asi deset.
Ale byla to pohroma.
Russian:
но я не уверена, правда это или нет.
К сожалению, Майкл умер в 2009 году, когда ему было всего 50 лет
Ой, только 50.
50 не старый, и не молодой.
Я думаю, что он должен прожить дольше.
Когда он умер, это довольно сильно изменило весь мир.
Это было очень грустно, потому что Моя бабушка плакала, а я смотрела на них с такими глазами: "Что происходит?"
Но это довольно грустно
Когда он умер, была огромная новость по всему миру.
Так как ты считаешь: почему его смерть так повлияла на людей?
Потому что все его любили.
Он был очень знаменит, и, когда известные люди умирают, всем всегда становится грустно.
Он такой хороший певец, что его все знают.
Я даже не помню, когда я узнал о нем. Мне кажется, будто я всегда просто знала его.
Все были тронуты его музыкой, его посланиями в песнях, что он написал.
Его музыка будто изменяла людей.
И они хотят как-то отблагодарить его.
Итак, прежде чем мы закончим этот эпизод, мы хотим, чтобы ты сделал одну из своих знаменитых танцевальных движений.
и это Лунная Походка.
Ура!
О, я знаю, это!
Я пытался научиться этому, когда мне было 10, и я полностью облажалась.
Vietnamese:
Nhưng tôi không chắc chắn nếu đó là sự thật hay không.
Vì vậy, thật không may, Michael qua đời vào năm 2009 khi ông được chỉ 50 tuổi
Oh, chỉ có 50.
50 không phải là cũ, và nó không còn trẻ.
Tôi nghĩ anh nên sống lâu hơn.
Khi ông qua đời, nó khá nhiều thay đổi toàn bộ thế giới.
Nó đã thực sự buồn, vì bà tôi đã khóc và tôi giống như "Tôi không biết, nó phải được thực sự đáng buồn."
Khi ông qua đời, đó là một tin lớn trên toàn thế giới.
Vậy tại sao bạn nghĩ rằng cái chết của ông ảnh hưởng rất nhiều người?
bởi vì tất cả mọi người yêu anh.
Ông đã thực sự nổi tiếng, và khi những người nổi tiếng chết, tất cả mọi người luôn luôn được buồn.
anh ấy là một ca sĩ tốt như vậy mà mọi người đều biết anh ấy.
Tôi thậm chí không nhớ khi tôi phát hiện ra anh ấy tôi chỉ cảm thấy giống như tôi lúc nào cũng chỉ biết anh ấy bằng cách nào đó.
Mọi người đều bị cảm động bởi âm nhạc của mình, bởi những thông điệp trong bài hát của mình.
rằng ông đã viết. Âm nhạc của ông, như, thay đổi người.
Và họ muốn trả lại cho anh ta.
Vì vậy, trước khi chúng tôi kết thúc các tập phim, chúng tôi muốn các bạn làm một trong những điệu nhảy nổi tiếng của ông.
và đó là moonwalk.
Yay!
Oh, tôi biết điều đó!
Tôi đã cố gắng để tìm hiểu nó khi tôi đã thích, 10, và tôi hoàn toàn thất bại.
Spanish:
escuche eso pero no estoy segura si es verdad o mentira
así que desafortunadamente Michael Jackson murió en 2009 cuando el tenia 50 años
oh, solo 50
50 no es viejo ni tampoco joven
yo creo que el hubiera vivido mas
yo creo que cuando el murió el mundo cambio
es muy triste porque mi abuela lloro y yo no sabia porque ella estaba triste
cuando el murió,habían noticias masivas en todo el mundo
asi que porque crees que su muerte impacto a muchas personas
porque todos lo amaban
el fue muy famoso y cuando una persona famosa muere todo el mundo se pone triste
el fue un gran cantante y todo el mundo sabia de el
yo no recuerdo como lo encontré yo solo siento que siempre supe sobre el de algún modo
todo el mundo es movido por su musica por los mensajes de sus canciones
que el escribio. Su música cambio a las personas
y ellos esperaban que el vuelva
así que antes que acabe el episodio queremos que hagas uno de sus movimientos famosos
y es el moonwalk
oh yo se ese
yo intente aprenderlo cuando tenia 10 y fallé
Thai:
ฉันได้ยินมางั้น แต่ฉันไม่แน่ใจว่า
เป็นจริงหรือไม่
- (FBE) น่าเสียดาย
ไมเคิลเสียชีวิตในปี 2009
เมื่อเขาอายุเพียง 50 ปี
- โอ้เพียง 50
- 50 ไม่แก่และมันก็ไม่ได้หนุ่ม
- ฉันคิดว่าเขาควรจะมีชีวิตอยู่นานกว่านี้
- เมื่อเขาตายมันเกิด
การเปลี่ยนแปลงโลกทั้งโลก
- มันเป็นเรื่องน่าเศร้าจริงๆเพราะ
ยายก็ร้องไห้
และฉันมองไปที่พวกเขา แบบ
ฉันไม่รู้ว่าเกิดอะไรขึ้น
แต่มันคงจะเศร้าจริงๆ
- (FBE) เมื่อเขาตายมันเป็นข่าวใหญ่
ไปทั่วทั้งโลก
แล้ว ทำไมคุณคิดว่าการตายของเขา
ส่งผลกระทบต่อผู้คนจำนวนมาก?
- เพราะทุกคนรักเขา
- เขาเป็นคนมีชื่อเสียงจริงๆ
และเมื่อคนที่มีชื่อเสียงตาย
ทุกคนมักจะเศร้า
- เขาเป็นนักร้องที่ดี
ทุกคนรู้จักเขา
ฉันจำไม่ได้ว่า
เมื่อไหร่ที่ฉันรู้จักเขา
ฉันรู้สึกเหมือนฉันต้องได้
รู้จักเขาได้ซักทางนึง
- ทุกคนซาบซึ้งไปกับเพลงของเขา
ด้วยความหมายในเพลงที่เขาเขียน
เพลงของเขา แบบเปลี่ยนผู้คน
และพวกเขาต้องการจะคืนให้เขา
- (FBE) ดังนั้นก่อนที่เราจะจบตอน
เราต้องการให้คุณเต้นหนึ่งในท่าเต้น
ที่มีชื่อเสียงที่สุดของเขา
และนั่นคือมูนวอล์ค
- เย้!
- โอ้ ฉันรู้จัก
- ฉันพยายามจะเรียนรู้มัน
เมื่อตอนอายุสิบปี
และฉันล้มเหลวอย่างสิ้นเชิง
Indonesian:
Saya mendengar itu, tapi saya tidak yakin
jika itu benar atau tidak.
- (FBE) Jadi, sayangnya,
Michael meninggal pada tahun 2009
ketika dia baru berusia 50 tahun.
- Oh, hanya 50.
- 50 tidak tua dan tidak muda.
- Saya pikir dia seharusnya hidup lebih lama.
- Ketika dia meninggal, itu cukup banyak
mengubah seluruh dunia.
- Itu sangat menyedihkan karena
nenek saya menangis
dan saya melihat mereka, seperti,
Saya tidak tahu apa yang terjadi,
tapi itu pasti sangat menyedihkan.
- (FBE) Ketika dia meninggal, itu berita besar,
di seluruh dunia.
Jadi mengapa menurut Anda kematiannya
mempengaruhi begitu banyak orang?
- Karena semua orang mencintainya.
- Dia sangat terkenal,
dan ketika orang terkenal meninggal,
semua orang selalu sedih.
- Dia penyanyi yang bagus
bahwa semua orang mengenalnya.
Saya bahkan tidak ingat
ketika saya tahu tentang dia.
Saya hanya merasa seperti saya selalu
hanya tahu dia entah bagaimana.
- Semua orang tersentuh oleh musiknya,
oleh pesan-pesan di lagu-lagu yang dia tulis.
Musiknya, seperti, mengubah orang
dan mereka ingin membalasnya.
- (FBE) Jadi sebelum kita mengakhiri episode,
kami ingin Anda melakukannya
gerakan tariannya yang paling terkenal,
dan itu moonwalk.
- Yay!
- Oh, saya tahu itu.
- Saya mencoba mempelajarinya
ketika saya, seperti, sepuluh tahun
dan saya benar-benar gagal.
Arabic:
سمعت ذلك، ولكني لست متأكدة مما إذا كان هذا صحيحا أم لا.
لذلك، لسوء الحظ، توفي مايكل في عام 2009
عندما كان عمره 50 عاما فقط. - أوه، 50 فقط.
50 انه ليس كبيراً وليس صغيراً
- أعتقد أنه كان ينبغي أن يعيش لفترة أطول
- عندما مات، تغير العالم كله
- كنت حزينا حقا لأن جدتي كانت تبكي
وكنت ابحث وأنا لا أعرف ماللذي يحدث
لكن يجب أن يكون شيء حزين جدا
عندما توفي كان الحدث الاخباري الأضخم
في جميع أنحاء العالم
لماذا تعتقد أن وفاته اثرت على كثير من الناس بهذا الشكل
لأن الجميع يحبه
لأنه فعلاً مشهور وعندما يموت شخص مشهور
الجميع يصبح حزيناً
إنه مغني جميل جداً والجميع يعرف من هو
أنا لآ أتذكر انني بحثت عن معلومات عنه
أنا فقط أشعر أنني دائما أعرفه بطريقة أو بأخرى.
الجميع يتناقل الرسائل التي يكتبها في جميع اغنية
موسيقاه غيرت الناس وأصبحت تريد ان تعطي مثله
قبل ان ننهي الحلقة
نريد منك ان تفعل شيئأ واحدا ..أن ترقص مثل اشهر رقصة موسيقية له
والرقصة هي المشي على القمر.....نعم
- أوه، لقد علمت انها هي.
لقد حاولت أن اتعلمها عندما كان عمري عشر سنوات
وانا فشلت تماما
Italian:
l'ho sentito, ma non sono sicura se è vero o no
quindi, sfortunatamente, Michael Jackson morì nel 2009
quando aveva solo 50 anni. oh solo 50
a 50 non è vecchio,e non è giovane
io penso che avrebbe dovuto avere una vita più lunga
quando è morto, ha cambiato radicalmente il mondo intero
è stato veramente triste perchè mia mamma stava piangendo
e io stavo lo stavo cercando ,ma , non sapevo cosa stava succedendo
ma deve essere veramente triste
quando è morto, è stata una notizia veramente importante
in tutto il mondo
quindi perchè pensi che la sua morte abbia avuto tutta questa ripercussione sul mondo
perchè tutti lo amavano
lui era veramente famoso, e quando una persona famosa muore
tutti erano tristi
lui è così un gran cantante che tutti lo conoscevano
io neanche mi ricordavo quando l'ho scoperto
e ho solo sentito come se lo conoscessi da sempre
tutti sono stati mossi dalla sua musica, dai messaggi nelle canzoni che scriveva
la sua musica, cambiò
Quindi, prima di concludere l'episodio,
vogliamo che tu ne faccia uno
delle sue mosse di danza più famose,
e questo è il moonwalk.
- Sìì!
- Oh, lo so.
- Ho provato ad impararlo
quando ero, tipo, dieci
e ho completamente fallito.
German:
Ich ziehe jetzt meine Schuhe aus, denn wie du siehst...
hätte ich heute bessere Schuhe tragen sollen.
Seid bereit, zu staunen.
Ich mache nur Spaß.
Ich weiß nicht *lacht*
Hi hi!
*lacht*
Oh Gott, da ist eine Wand!
Hi hi!
Hi hi!
Danke fürs Zuschauen.
Wenn euch das gefallen hat, gebt uns nen like.
Hi hi! Tschau Leute! Es ist Zeit für mich *beat it*!
Danke Leute, dass ihr mich nach all den Jahren immer noch unterstützt und ich
freue mich so, jetzt bei "teens react" mitzumachen.
Russian:
Я собираюсь снять мои ботинки, потому что, как вы видите...
Надо было надеть сегодня лучшие ботинки!
Приготовьтесь удивляться!
Шучу.
Я не знаю *смеется*
О боже, здесь стена
Спасибо за просмотр этого эпизода Kids React.
Если вам понравился этот эпизод, поставьте лайк!
Пока, ребята! Пришло время для *Beat it*!
Спасибо вам ребята за огромную поддержку за все эти годы на канале Kids React
И я в большом волнении от ожидания продолжения на канале Teen React
Italian:
- Mi toglierò le scarpe
perché, come puoi vedere ...
Oggi avrei dovuto indossare scarpe migliori!
- Preparati a rimanere stupito. Stavo solo scherzando.
Non lo so...
♪ Hee hee ♪
♪ (Michael Jackson, "Billie Jean") ♪
- (ridacchiando)
- Oh, Dio, c'è il muro.
- ♪ Hee hee ♪
♪ Hee hee ♪
- Grazie per la visione
questo episodio di Kids React.
Se ti è piaciuto questo episodio, dacci un like.
♪ Hee hee ♪
- Ciao, ragazzi, ora è il momento
per me "Beat it".
- Grazie ragazzi,
così tanto per sostenermi
dopo tutti questi anni su Kids React,
e io sono super, super eccitato
andare su Teens React ora.
♪ (Michael Jackson, "Billie Jean") ♪
Korean:
제 신발을 벗어야할 것 같아요 왜냐면 이렇게 됐어요
오늘 이 신발을 신어서 더 잘 될것 같아요
놀랠킬 준비 다됐어요 농담이예요
모르겠어요..
잠시만 ㅋㅋ 벽이네
다른 영상을 보고싶으시다면
http://cafe.naver.com/yywonking
외국 연예인 카테고리로 와주세요!
Turkish:
Ayakkabılarımı çıkartacağım çünkü görebildiğiniz üzere...
Bugün daha eski ayakkabı giymeliyim!
Hayret etmeye hazırlanın.
Şaka yapıyorum.
Bilmiyorum
Duvar
Çocukların tepkilerinin bu bölümünü izlediğiniz için teşekkürler.
Eğer hoşunuza gittiyse beğenin.
Görüşürüz arkadaşlar. Şimdi zaman benim için *beat it* zamanı
size çok teşekkür ederim beni bunca yıldır çocukların tepkisinde desteklediğiniz için
ve ben ve gençlerin tepkisinde olacağım için çok heyecanlıyım.
French:
Je vais enlevé mes chaussures parce que comme vous pouvez le voir...
J'aurais du mettre de meilleures chaussures aujourd'hui !
Préparez vous a être éblouie
Je rigole.
Je ne sais pas *rire*
*rire*
Oh mon dieu, il y a un mur
Merci d'avoir regardé cet épisode des Enfants réagissent.
Si vous avez aimé cet épisode, mettez un pouce bleu
Au revoir ! Il est tant pour moi de *beat it*!
merci infiniment de m'avoir supporté durant toutes ces années de Les Enfants Réagissent et je suis
tellement excité de rejoindre les Ados Réagissent maintenant.
Portuguese:
Eu vou tirar meus sapatos, porque, como você pode ver...
Eu deveria ter vindo com sapatos melhores hoje!
Prepare-se para ser surpreendido
Tô brincando.
Eu não sei *risos*
Hee hee!
*risos*
Meu deus, a parede
hee Hee
Hee hee!
Obrigado por assistir esse episódio de Reação infantil.
Se você gostou desse episódio, deixe seu like
Hee hee! Tchau galera! Agora é a minha hora de *cair fora*
muitíssimo obrigado a todos por me apoiarem por todos esses anos aqui na reação infantil e eu estou
muito muito ansiosa por ir agora para o reação adolescente.
Indonesian:
- Aku akan melepas sepatuku
karena, seperti yang Anda lihat ...
Seharusnya aku memakai sepatu yang lebih baik hari ini!
- Bersiaplah untuk tercengang. Hanya bercanda.
Aku tidak tahu ...
♪ Hee hee ♪
♪ (Michael Jackson, "Billie Jean") ♪
- (cekikikan)
- Oh, wah, ada dindingnya.
- ♪ Hee hee ♪
♪ Hee hee ♪
- Terima kasih telah menonton
episode Kids React ini.
Jika Anda menyukai episode ini, beri kami suka.
♪ Hee hee ♪
- Sampai jumpa, semuanya, sekarang saatnya
bagi saya untuk "mengalahkannya."
- Terima kasih semuanya,
sangat banyak untuk mendukung saya
setelah bertahun-tahun di Kids React,
dan saya super, sangat bersemangat
pergi ke Remaja Beraksi sekarang.
♪ (Michael Jackson, "Billie Jean") ♪
iw:
אני הולך לחלוץ נעליים, כי כפי שאתם רואים...
הייתי צריך לנעול נעליים יותר טובות היום!
אני הולך להדים אתכם.
סתם, צוחק.
אני לא יודע...
תודה שצפיתם בפרק הזה של "ילדים מגיבים"
אם אהבתם את הפרק, תנו לנו לייק
ביי חבר'ה, עכשיו זה הזמן בשבילי לעוף מפה ('ביט-איט')
ממש ממש תודה לכם על התמיכה שלי
אחרי כל השנים האלו ב-"ילדים מגיבים"
ואני סופר סופר מתתרגשת כי עכשיו אני הולכת להיות ב-"מתבגרים מגיבים"
Thai:
- ฉันจะถอดรองเท้าของฉัน
เพราะตามที่คุณเห็นมัน ...
ฉันน่าจะสวมรองเท้าที่กว่านี้วันนี้!
- เตรียมพร้อมที่จะตะลึง ล้อเล่น
ผมไม่รู้ว่า ...
♪ฮี้ ฮี♪
♪ (ไมเคิลแจ็กสัน "Billie Jean") ♪
- (คิกคัก)
- โอ้เอ้ย ผนัง
- ♪ฮี้ ฮี♪
♪ฮี้ ฮี♪
- ขอบคุณที่รับชม
ตอนนี้ของ คิดส์รีแอค
หากคุณชอบตอนนี้ กดไลค์
♪ฮี้ ฮี♪
- ลาก่อนครับตอนนี้ก็ถึงเวลา
สำหรับฉันที่จะ "ชนะมัน"
- ขอขอบคุณพวกคุณมากๆ
สำหรับการสนับสนุนฉัน
มานานหลายปีกับคิดส์รีแอค
และฉันตื่นเต้นสุดๆที่จะ
ไปสู่ทีนส์รีแอคแล้ว
♪ (ไมเคิลแจ็คสัน "Billie Jean") ♪
Spanish:
me sacare los zapatos porque así podrás ver quisiera haber traído mejores zapatos hoy
listo para quedar impactado
solo bromeo
no se!
oh Dios hay una pared
gracias por ver este capitulo de niños reaccionan
si te gusto este episodio dale un me gusta
adiós chicos ahora es mi turno de batirlo
muchas muchas gracias chicos por apoyarme todos estos años en niños reaccionan y estoy muy emocionada de estar en adolescentes reaccionan ahora
Vietnamese:
Tôi sẽ cởi giày của tôi, bởi vì khi bạn có thể nhìn thấy ...
Tôi nên mặc giày tốt hơn ngày hôm nay!
Hãy sẵn sàng để được ngạc nhiên
Chỉ đùa thôi.
Tôi không biết * cười *
Hee hee!
* Cười *
Oh, thần, có một bức tường
hee hee
Hee hee!
Cảm ơn cho xem tập phim này của Kids React.
Nếu bạn thích bài tập này, cho chúng ta một như
Hee hee! Bye guys! Bây giờ là thời gian cho tôi để đánh bại nó * *!
cảm ơn các bạn rất rất nhiều vì đã ủng hộ tôi sau tất cả những năm về trẻ em phản ứng lại và tôi rất
siêu siêu vui mừng được đi vào thiếu niên phản ứng bây giờ.
Portuguese:
Posso tirar meus sapatos, porque como pode ver...
Eu deveria ter calçado sapatos melhores hoje.
Prepare-se para ficar atônito! Brincadeira...
Opa, tem uma parede!
Czech:
Sundám si své body, protože jak můžete vidět...
Měl jsem si dneska vzít lepší boty!
Jsem připraven být úžasný. Jen vtip.
Já nevím...
Hee-hee!
Oh, sakra, tady je zeď.
Hee-hee!
Hee-hee!
Děkujeme pro sledování dnešní epizody Kids React.
Jestli se vám dnešní epizoda líbila, dejte nám like.
Hee-hee!
Sbohem lidi, teď je čas pro "beat it."
Děkuji vám moc za podporování mé osoby,
po všech těch letech v Kids React
a velmi, velmi se těším do Teens React.
Přeloženo jednou Moonwalkerkou. Zdravím Dorot, Alis, Káju a Barču <3.
Finnish:
- Otan kenkäni pois, kuten näette
olisi pitänyt pistää paremmat kengät tänään!
- Valmistaudu hämmästymään. Vitsailen vain.
Enpä tiedä..
♪ Hee hee ♪
♪ (Michael Jackson, "Billie Jean") ♪
- (kikatusta)
- Voi ei, siinä on seinä.
♪ Hee hee ♪
♪ Hee hee ♪
- Kiitos kun katsoit tämän jakson Kids Reactia
jos pidit tästä jaksosta, anna meille tykkäys.
♪ Hee hee ♪
"Hyvästi, nyt on minun aikani "häipyä".
- Kiitos niin paljon, kun tuette minua
Kaikkien näiden vuosien jälkeen Kids Reactissa,
olen super, super innoissani, että siirryn Teens Reactiin.
♪ (Michael Jackson, "Billie Jean") ♪
Arabic:
- أنا سوف اخلع حذائي لأنه، كما ترون ...
كان يجب أن أرتدي حذاء أفضل اليوم!
كن مستعداً لأني سوف ادهشك
انا امزح
انا لا اعرف...
- شكرا لمشاهدة هذه الحلقة من ردة فعل الأطفال
اذا اعجبتك هذه الحلقة اضغط على لايك
وداعا شباب وحان الوقت لي لكي ( انصرف )
- شكرا جزيلاً يا رفاق لدعمكم لي
بعد كل هذه السنوات على درة فعل الأطفال
والان انا جدا متحمسة لأن أكون مرحلة المراهقين الان
مايكل جاكسون ( بيلي جين )
ترجم للعربية بواسطة ( ابو شذى )
English:
- I'm gonna take off my shoes
because, as you can see...
I should have weared better shoes today!
- Get ready to be astonished. Just kidding.
I don't know...
♪ Hee hee ♪
♪ (Michael Jackson, "Billie Jean") ♪
- (giggling)
- Oh, gosh, there's the wall.
- ♪ Hee hee ♪
♪ Hee hee ♪
- Thanks for watching
this episode of Kids React.
If you liked this episode, give us a like.
♪ Hee hee ♪
- Bye, guys, now it's time
for me to "beat it."
- Thank you guys so,
so much for supporting me
after all these years on Kids React,
and I am super, super excited
to be going onto Teens React now.
♪ (Michael Jackson, "Billie Jean") ♪
| {
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} |
THEN YOU SEE THE EXPLOSION IN
THE MIDDLE MOVE DOWN?
>> AND YOU LISTEN TO THE FLIGHT
DIRECTOR, IT SOWNS LIKE THEY --
SOUNDS LIKE THEY WERE EXPECTING
IT TO WORK FINE AND THEN
SOMETHING WENT KATA TROUGHICLY
WRONG.
IT MAY BE.
I THINK MILES IS DEAD ON, IT
MIGHT BE A PIPING PROBLEM.
>> YOU SAY NOBODY PUSHED THE
BUTTON.
>> IT COULD BE.
BUT ESPECIALLY ON A CLASSIFIED
MISSION, THERE COULD BE
SOMETHING WE DON'T KNOW ABOUT.
BUT IT LOOKS TO ME,
INVESTIGATION WILL FIGURE THIS
OUT, BUT IT LOOKS LIKE THERE WAS
A LEAK AND THE AMOUNT OF FUEL
THAT IS PUSHED THROUGH THIS
PLUMBING IN A VERY SHORT AMOUNT
OF TIME, MAKES A LEAK A KATA
TROUGHIC PROBLEM.
IT IS NOT LIKE A FUEL LEAK IN
YOUR CAR AND YOU THINK YOU SMELL
GAS AND GO TO THE GAS STATION.
THE PRESSURES ARE SO HIGH, THE
FIRE STARTS REALLY FAST.
IT IS JUST -- IT IS JUST
HEART-BREAKING, YOU GUYS.
SO MUCH INVESTMENT, SO MUCH
TIME, EFFORT AND ENERGY AND
THINGS GO WRONG.
BUT IT DOES SHOW YOU THE
INDUSTRY IS -- MATURE AND NOBOD
| {
"pile_set_name": "YoutubeSubtitles"
} |
In this video, we'll be showing you how to
program you universal garage door opener in
select Volkswagen models.
To enter the pairing/reset mode, hold the
1st and 3rd garage door buttons on the vehicle.
Hold for roughly 20 seconds.
At this point, hold the button you wish to
program and the open/close button on your
garage door remote.
At this point, exit your vehicle and press
the learn button on your garage door opener.
Re-enter your vehicle and press and hold the
programmed button on the car for at least
two seconds.
Your garage door opener's lights may flash
at this time, to indicate it is learning.
Generally, the opener will learn the paired
button on the second press.
Your universal garage door opener is now programmed.
For more videos on all available Volkswagen
models, subscribe to our channel.
| {
"pile_set_name": "YoutubeSubtitles"
} |
English:
*WAPOOSH*
Top of the morning to ya laddies! My name is Jacksepticeye
And welcome back to Sword With Sauce
So there's a few that I was a bit silly about because
In here, there's a whole section on gadgets
That I--I remember seeing when I started off the game the first time
And I meant to come back to it and then completely forgot about it
But there's a whole bunch of other gadgets that we're actually able to use
(reading) You must equip the quiver from the gadgets and the bow....
There's a bow as well??
Wait what? Go back!
Go back for a second!
Select the middle of gadget wheel
WHAT?!
Oh my god there's a fuckin' Captain America shield as well! :)
And there's just a basic gun!
A bow please!
So this is and exo-knife and this is my sword
Oh! Okay!
We also have Spinning Death. I'm not getting rid of Spinning Death.
Vietnamese:
chào mấy chế
tên mị là jacksepticeye
chào mừng trở lại với trò cml này
có vài thứ mà mình ngu vãi
vì
vì ở đây có cả đống dụng cụ mà mị ko dùng
....mị nhớ là lúc mị chơi game này lần đầu tiên
mị định vào đây nhưng quên mất *vãi cả jack*
nhưng có cả đống đồ ở đây này
cái cung
có cái cung
từ quay lại đã nào
*hốt hoảng*
cái cml gì!
con lạy thần thánh
có cả cái khiên huyền thoại của captain ở đây à !
và có cả súng ở đây nữa à
mị thích dùng cung hơn nha
có cả cái dao exo đây nữa
và đây là kiếm của mị
*bây giờ thì em đã hiểu*
có cả cái vòng xoái vô cực đây nữa
mị ko dùng vòng xoáy vô cực đâu
Vietnamese:
trẩu lắm
có cái que để leo
có gì nữa ko
thằng này
thằng này là cái thằng mà cứ bò dưới đất mà gặp ai là nổ này
có lỗ đen
có cái dao để phi...
có rất nhiều thứ để dùng ở đây
mị có thể dùng mấy cái đó bây giờ ko
ok, nó có thễ chuyển sang cái kiếm đã từng ở đó
thế là được rồi
mị cũng ko biết mấy thứ đó cho đến khi mấy anh thanh niên kia bình luận là ấn chuột phải là có thể đỡ đạn
MỊ KO BIẾT LÀ CÓ THỂ ĐẤY !
mị cứ chạy như thằng ngu cả ngày
ok, có thằng
bắn sao nhỉ
ưa
nó bắn ra cái gì thế
ô có cái cung giắt trên tường kìa
ok
ưa
*rặn đẻ*
thánh ơi, đau vãi
English:
No. No, I'm not doing it! I can't. The Spinning Death is my favorite
The Poll-O-Matic which helps us climb
Umm... What else will we bring in?
Extra ammo.... Oh! This guy!
This guy is a robot that crawls along the ground and killls guys!
And we have a Black Hole, we have some throwing knives
We have a lot of great things!
But there's also, something else. Oh I don't have it equipped right now
Can I actually equip it though ?
No. Okay so it does change out the sword that was there
That's fair enough. I didn't realize as well until the comments said it, that you could hold right click to deflect bullets.
I didn't know that! I was going 'round like a fuckin' moron all this time!
Okay aaand... Eh! How do I? Oh okay. Eugh!
Did that fire something?
It didn't seem like it fired anything
Wait it did! There's an arrow in the wall over there! Okay (Jack noises)
OWW!!
Jesus!!
OK!
Vietnamese:
cái cung nó bắn tốt hơn mị tưởng*ngược lại*
mị tưởng là một cái một em
mị nghĩ là phải headshot mới được
haha*điệu cười độc ác*
cái cc này
đáng cố
ảo tưởng mà éo được
bọn mày sẽ chết mau thôi
đừng lo
cho em lấy cung tên lại được ko
cái cml! lấy được
đưa cho tao cái cung
ê
cung của bố mà
cung của bố mà
ựa
ngon chim
cho bố cái cung nhé
mị chỉ muốn có lại cung thôi mà
mị chỉ muốn làm người tốt thôi mà
đó ko phải tính của bố mày
*headshot*
phụt
ngon chim
English:
That isn't actually as good as I thought it would be...
I thought it would be a one hit-kill
I guess I have to aim for their heads
(evil laughter)
*Breath*
You guys- Agggh shit!
I was trying to do the cool moves
you guys, are gonna (struggling) get it, now!
You're gonna get it as soon as I figure out how to do it!
Can I have my arrow back? Oo-I fuckin' can!
Nice one dude! Awww can I not get them out of you?
Agh-I fuckin' can.
Gimme back my arrow!
Duuude!?
That's my- ah NOOO I don't wanna fuckin' shotgun!
That's MY arrow!
Huh!
NIIICE!
*Laughs*
You can keep that then as some sort of fuckin' memoir of..
my turn of victory over you.
I can get this one back though
Yyeeah- wait..
Can I..?
No
I want all my arrows back!
I was trying to be the better person and say he can keep it but.
That's not how I role.
Nice!
Oh, this is cool! I feel like Crouching Tiger, Hidden Awesome Bastard.
flunk
*laughs*
English:
oh, that's cool
I mean it's basically--it's just a basic bow and arrow, but SHUT UP
I like the simplicity in life.
I like when things are easy.
and.... flunk
Theres an actual drop to it.
watch this
watch this shot
OK, I hit him but I didn't kill him.
AH, fucking killed him!
*laughs*
ok. who else wants to go.
this actually gets quiet hard when you consider the drop over distance
(wierd monkey noises) lol
(Jack ultimate concentration)
bad guy HUAH!
fuck you!
Hey there's another boat over there
HEY! :D
I'm killing everyone over here! :D
I hope there's someone over on your boat killing everyone else too!
Happy hunting!
flunk!
Right in your fucking melon
*inhales and laughs*
AWESOME!!!
Oh, so glad I found that again!
er--or I should say "I'm so glad people reminded me"
Where did that go?
Vietnamese:
hay vãi
chỉ là bắn cung thôi nhưng thích vãi
mị thích cuộc sống giản dị được chưa
mị thích cuộc sống khi nó đơn giản hơn
phụt
*headshot*
xem cú bắn thần thánh này nè
trúng nó nhưng ko giết nó
ahhh, giết cml nó rồi
ok, ai muốn vui nữa nào
ô, có em
ưa
đm mày
có cái thuyền nữa kìa
chào mấy anh
em chỉ giết người trên cái th này thôi
em mong có ng trên thuyền của anh cũng như thế
chúc vui vẻ nha mấy anh ^^
phụt
trúng ngay cái gáy mày
toẹt vời
English:
Okay, probably still to high
AHHHH RIGHT IN HIS FACE
(evil laughter)
I'm gonna spell out your name in your fucking blood
Over the buildings
hwuah!
Oh yes!
hwuah!
Augh! He fucking stopped
Okay *laughs hysterically*
He's just walking along and--
fwoop!
(imitating enemy) "hm"
"feels a little sore. I'll just keep walking and looking for the bad guys" *laughs*
Oh!
*Flunk*
Not today, bitches!
Hwuah!
(distressed Jack noises)
FUCK
Ouch :(
Uh
AH JESUS
AHHHHHH
AHHHHHH!! RUN!!!
Uh, guys? *giggles*
What're you doing? I'm over here! You can't fucking hit me from there!
You silly bastards-*chuckles*
Okay! I wanna use something else
Go!
Now find them
Did he kill someone?
Go crab friend!
*laughs*
Vietnamese:
ahhhhhhhhhh, trúng cml mày rồi
*jack đang sung*
phụt
oh yes
trượt cml rồi
*jack cười*
phụt
ko phải hôm nay, đm mày
ahhhh
ĐM
hoảng cml
ahhhhh
mấy anh làm gì vậy mấy thằng ngáo
em ở bên này mà
đồ ngu
ok mị muốn dùng em này
go
nó vừa hiếp em nào à
toẹt
mị thích rồi đấy
Vietnamese:
ựa
ohhh, ĐM nó
đi đi em
hiếp nó đi em
nó hiếp em nào chưa
oh em nó hiếp kìa
cái gậy làm cm gì đây
hình như là vứt nó ra rồi trèo lên phải
vô dụng vãi
ok anh chỉ có 3 cái lỗ đen nên chia nhau nha mấy em
toẹt
oh cái Đm, ghê vãi
English:
I love that I can't see it. All you see is--hear is an explosion and see blood going everywhere
HWUAH!
OH FUCKING SEXY NINJA
Just go then
Yes, yes, find them
find them
OH GO
GO LITTLE FRIEND
Which one is he gonna kill?
Did he get someone?
OH, there it is--*laughs*
*laughs more*
You just hear the explosion and then watch them go flying
Oh my god, I was not ready for that
Right
These things I--
*sighs*
I'm not too fond of because they just
they set out a pole that you can climb off
I mean, yeah, cool
but not that helpful, really.
Okay, I only have 3 black holes
So you're all gonna have to bunch up and share
is that okay--AHHH BALLS, I almost fell in
Okay, let's just fire it at these guys
Holy fucking shit!
Vietnamese:
fuckkkkkkkkkk
cho mấy em ăn phi tiêu
toẹt
ựa
em kia lại đây em
ựa
*jack đang ảo tưởng*
mị có thể chạy tường nữa, toẹt vời
phọt
ựa
Vietnamese:
*nói nhiều*
Đm cái que
ninja ko biết bơi mà
chết dưới nươc ko sờ-pon được lại nữa*R.I.P*
toẹt vời
mị đi chuyển đồ đây
có thể là bom thúi cũng được
mấy con người máy...., ko hữu dụng cho lắm
mấy con người máy lởm lắm
bọn nó chỉ chạy lung tung như mấy bọn ngu thôi
ý mị là....
nó vô dụng lắm
muốn rón rén ảo tưởng là ko được với cái đó đâu
ok, ta lên Sài Gòn chơi nào
cái map khác với cái trước quá
cái map trước lởm lắm
đi đi em người máy
oh cái clgt
Đm con người máy
nói rồi nó lởm lắm
cái con clgt ko bảo vệ mị đâu
Vietnamese:
nó ko giúp được cai Đm gì đâu
mị phải ở đây làm cái cái chuyện ảo tưởng đó
ô, mấy em ko nhìn thấy gì đâu
chào em
ok, em nó nhìn thấy mị rồi
con người máy lại chạy lung tung rồi
con lạy thần thánh ơi, yên đi!
cái thằng clgt này ko bắn mị được đâu
ohhhh, cái Đm
làm gì đây, làm gì đây
mấy thằng đó bắn như điên ấy
ok, bọn này chỉ cần giải quyết bằng súng thôi
bọn này ngu lắm
chả cần dùng cái bom thúi nữa
ok, xem này
bọn nó sẽ bay qua cửa và bị nó hiếp
bọn nó bay nhanh thế !
bọn nó sẽ đi qua.... cái Đm
bọn nó sẽ đi qua cái cửa
ko em này sẽ tự đến hiếp
như thế.... đúng rồi, em nó hiếp kìa
ok ai muốn ngửi bom thúi nào
English:
i made that joke already. ok this one is just... (awkward pause)
this one is just straight up a pistol o.o
this one isnt even trying to be anything else
this isnt even a secret...... gadget or anything like that
just straight up a pistol :(
hey watch this :)
they're gonna come through the door
I DIDN'T KNOW YOU WERE THAT CLOSE
gonna come through the door.....
FUCKS SAKE!
THEY'RE GONNA COME THROUGH THE DOOR
BUT MY ROBOTS GONNA GO MEET THEM FIRST
like that.. THATS what was supposed to happen the first time
but did it?
NOPE :l
right. who wants to die?
Vietnamese:
tất nhiên ko ai muốn ngửi bom thúi cả
nhưng bọn mày phải... Đmmmmmmmmmmm
còn ko thằng nào ngửi nữa
mày lại ngửi đi
cái Đm... hai thằng ta ngửi rồi cùng chết luôn
*bắn như điên*
được rồi....
xem cú bắn thần thánh này nè
phụt
hô hô
phụt
ý mị là... phụt
ô thần thánh ơi trúng rồi
bọn mày biết anh là ai ko
phờ-lựt
ngon c-him
f-lựt
ahhh, đm trúng rồi!
hahaha
như cái tiếng nhạc của cô dâu 8 tuổi luôn
Đm rơi rồi
English:
i mean i'd imagine that none of you guys wanna die but..
you're gonna have to after what..
FUCKKK
i didn't even gas anybody!
step into my farts! ( wow gross )
Ok.. okay... OKAY.. OKAYYY
OK. You're dying obnoxious gas..
IM DEAD!?
THATS WHEN YOU ALWAYS CRACK A WINDOW! never fart under your blankets or it will come back to smother ya and kill ya.
: silence for some reason
well than :L
Vietnamese:
thần linh ơi đau vãi
ok ok ok
mấy chế đợi được ko, chưa đái xong mà
hiếp bọn nó đi em, hiếp đi
đúng nghe tiếng là biết nó hiếp ai rồi
go
hiếp bọn nó chưa em
ơ clgt, ơ clgt
toẹt
ok, hiếp nó rồi
cho bọn mày hít bom thúi luôn
để bọn nào đi qua sẽ kêu " brahhh, thúi vãi "
cho thúi cả Sài Gòn luôn này
ơ, thả nhầm vô Cà Mau rồi
thấy nó tai hại thế nào chưa, từ đít người ra cả mà
đó là khí màu xanh của septiceye
English:
English:
Vietnamese:
trực thăng, thả cho em thêm bom thúi
éo ai thả cho mị cả
ok, mị cần một cái dao bầu
có ai có...., ô mày chết vì hít bom thúi à, ngu thế
hello, có em nào có dao bầu ko
đó là cung tên ko phải dao bầu
mị sẽ tạm dùng cái súng lởm này
nhưng mị thích dao bầu với cung hơn
tự tử đeeeeeeeeee
super hot... ahhhhh clgt
clgtttttttttt
em dùng cái khác đe... dùng cái khác đe
ahhhhhh... bị bắn cứt trúng mặt rồi
English:
Vietnamese:
*jack đang ảo tưởng ^^ *
go, hiếp bọn nó đi em
cho hai em hiếp cho phê
toẹt
ngon cờ-him
đéo ảo tưởng nữa, hết rồi
ahhhhhhhhhhhhhhhhhhhhhhhhhhh
ô, cái khiên toẹt vời luôn
toẹt
ê, ok, hiếp nó đi em
thần thánh ơi nó chống cả đạn nữa à
em chỉ đứng đây đợi mấy anh hết đạn thôi
xốt cà chua khắp nơi nhưng... đây chết nó rồi
em chỉ ở đây thôi
English:
Vietnamese:
nó cứ như"bạn em đâu cả rồi anh"
ô, khiên này là toẹt vời nhất
mị chẳng làm gì cả
chỉ ngồi đợi đây đợi nó hết đạn thôi
ô, bọn nó đúng là óc chó nhét đậu phụ
ê anh kia em đây này
nếu mị mà ném khiên được như ông captain cứt vàng ấy thì tuyệt
aha, hello thằng ngu
cảm giác như mấy ông jedi cứt titan ây
đây cái gươm ánh sáng
còn nó bắn cứt laze vào mị
ko xuyên đâu em
như anh nói với bạn của em ấy
ĐM, MÀY!
nhìn một đống sốt cà chua mà xem
haha
mị thích phang cái khiên vào mặt nó
English:
Vietnamese:
hihihhi
mị cũng thích cầm khiên rồi chạy như điên luôn
*lại ảo tưởng nữa rồi*
ko phải.... Đm mày
Đm bọn mày nữa
bọn nó còn ko thể tấn công
nó như "cái clgt gì diễn ra vậy"
"ko em ra đây"
cho mấy em này
ôi mỳ gói, bọn nó ngu vãi
nhưng mị thích bọn nó ngu
*tiếng hét đau đớn*
toẹt
toẹt
English:
And that does it for this episode of Swords with Sauce
Such a fun game!
I cannot wait until there's more levels of this game to play
Well, I can go in and do the mansion level
Might actually do that next time
'cause I'm not done with this game yet
That fucking shield is awesome! I wanna do a whole run with just shield
Just holding it up and ting-ting-ting-ting-ting-ting-ting
running after dudes like "Ha! Come get me, bitches!"
Oh man. I haven't laughed that hard in a while *chuckles*
But, THANK YOU GUYS SO MUCH FOR WATCHING THIS EPISODE
IF YOU LIKED IT
PUNCH THAT LIKE BUTTON IN THE FACE
LIKE A BOSS
AND
*quietly* high fives all around
WAPOOSH
WAPOOSH
but thank you guys and I'll see all you dudes
*high pitched* IN THE NEXT VIDEO
Vietnamese:
ahhhhhhh, chán vãi
*khóc rồi ^^ *
thế là kết thúc cho vid này
đúng là good game
cái khiên là toẹt vời nhất
chỉ cần chạy như spata là được
cảm ơn các bạn đã xem
nếu bạn thích, thì đấm nút like cho bể mặt
như một ông trùm
*ảo tưởng*
hẹn gặp lại ở vid tiếp theo
*good vid*
English:
Hoo, boy. That was like a fucking ab workout
Oh *tired Jack is tired*
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Hi guys, this is Rykker here at Fanshawe
College and today we're going to be
doing a general campus tour for you guys
who can't make it to campus and you want
to see what we have to offer in some of
the amazing spaces here. So why don't we
get started and head out the door here.
So here we are in one of our first
academic areas in the school of IT. So we
actually have two campuses where IT
programs happen. You'll find a lot of the
hardware based programming here, things
like our computer systems technician and
cybersecurity programs, and then downtown
you'll also find our computer programmer
analyst and software our based program.
And here we are at one of our first
on-campus residences so one of the great
things about our close proximity campus
spaces is how we're just steps away
from classes when you're leaving the
doors of residence here, and this is one
of three. We also have off-campus housing
available adjacent to the campus.
So here in the Student Center you're gonna find
one of your most important resources, and
that is the Oasis where you're going to
find all of your fresh food options for
breakfast, lunch, and dinner, and that's in close proximity to
all of our on-campus residences. So we
just passed through falcon house you
also see peregrine house here on this
side and Merlin house on the other side
of the building. And this building is the
home of our Student Union and they
provide a lot of vital services to
students things like on-campus and
off-campus activities student advocacy
and they're here to administer your
health and dental plan as a student
which comes included in tuition as well.
Let's go on to the Student Health and
Wellness Center
And here we are in another newer space
on campus this is the Student Health and
Wellness Center so here you're gonna
find lots of the physical wellness, but
also the mental wellness spaces on
campus. So not only do we have a doctor's
office, but we have a pharmacy and a
physiotherapy clinic and you're also
gonna find our three-story fitness
center and several gym spaces available
to use. And the best thing about it, these
services are all included in tuition so
you won't have to pay any extra to come
and work out here.
And a couple more awesome spaces on
campus, here we have the Outback Shack
this is our on-campus Pub and Grill
so they'll be open Monday through Friday
for lunch and dinner options they are
run by the Student Union so they are
students serving students and they keep
costs in mind so this is a good
cost-effective way to get a nice
restaurant experience in, and they also
have lots of events later at night and
things to do. And then here you also see
the games room where you'll be able to
play pool, board games, video games, things
of that nature just to relax on campus
if you're done class for the day or
maybe you've got a big gap and some time to fill.
So here in retail row we've got lots of
important services, The Campus Store
where you can buy any of your textbooks
supplies and potentially a uniform for
your program. You'll also see Live Chic
here which is a great retail space that
is run by our fashion marketing
management students, so they actually get
some real-life experience here on campus
before they move out into their careers.
We also do a farmers market here every
week and you also have an opportunity to
talk about clubs international
opportunities and degree pathways when
you complete your time at Fanshawe. So
this is a great space when you're
walking through you'll find lots of
resources here.
So here in The Junction
we have one of three Tim Horton's spaces
on campus. If you're like me you need to
get your coffee, and luckily you're gonna
find lots of places to do that on campus.
As well we have the Office of the
Registrar, Financial Aid and
International Centre down the E hallway
here, and we have a handy little variety
store if you need it. And as we walk
around the corner you're gonna see that
we have a Pizza Pizza, A Subway and the Red Zone where you can get all that campus
merchandise and swag to show off your
school spirit.
So you're gonna start seeing as we go
through the college here we're gonna hit
more academic areas. We call this
Apprenticeship Way, so you're gonna see
students are gonna be able to lay
foundations, they're gonna do drywall,
window and door fitting, shingling
roofs, all kinds of those projects you
see some are already on the go here. And
the great thing here is we can
contrast that learning with some of our
engineering programming on the right
side so they'll be doing civil
engineering and lots of different
projects like that on this side here.
Now this area is very popular at Fanshawe,
this is our School of Public Safety so
you're gonna see programs like Paramedic,
Police Foundations, Fire Safety and
Emergency Telecommunications to name a
few. And once a year our students in the
Public Safety program get together
to do one on campus disaster relief
training scenario. So we've done plane
crashes, we'll even do floods, things of
that nature to give them a real-life
learning experience
So here we are in the main space for our
Police Foundations training so you'll
see some mannequins an obstacle course is set up. You're gonna have to do the "Bleep"
test in here things of that nature this
is where you need to get a lot of that
hands-on experience in the program.
Here on the first floor of the B building
you're gonna find some of our Applied
Science programs and classrooms. You'll
see things like Robotics, Sheet Metal, CNC and Millwright, Electronic Systems, lots
of cool stuff going on in here.
And this dark classroom to our right here, this
used to be our aviation home but since
that's moved to the hangar at the London
International Airport we now have our
largest construction lab here. And this
space is actually big enough that our
students will be able to build a whole
two-story house inside in this space. So
they get some really good hands-on
learning here
And we're gonna take a quick step into
our electrical and plumbing lab here I
think this is a cool space.
So students are gonna be able to work on
electrical systems for commercial and
residential right from the ground up
into individual rooms. And they'll also
be able to do the same with plumbing on
this side here so this is a really good
hands-on space there's breakaway
learning space and lots of experiential
learning opportunities here.
So when you look out the windows on the right here
you're gonna see the main bus depot at
the college. This is kind of your gateway
to the city you can get most places with
one bus whether it be downtown or the
Greyhound or via rail station maybe you
want to go to the mall and do some
shopping. You can get on a London Transit
bus you'll be able to show your student
card and year-round that will get you
where you need to go at no extra cost
And here on the left you're going to see
one of several 24-hour study spaces so
you always have access to resources if
you need them.
The Lawrence Kinlin School
of Business is one of the most popular
areas of the college and that's because
of the diversity of options that we have.
So you're gonna see lots of stuff listed
on the wall here we offer programs in HR,
Marketing, Accounting, Finance, Management,
you name it, it's here. And another great
feature of these programs, is that you
can actually pathway through to complete
an Honours Bachelor of Commerce in four
and a half years here at Fanshawe so you
don't necessarily have to have your
university readiness in high school
starting one of our diplomas and work
your way through.
So now we're gonna start our walk
through the Health Science area of the
college. Fanshawe and London in general
are very popular for this area of study
because we do have three hospitals and a
lot of leading medical research comes
from here. So you'll see programs like
Medical Radiation, Respiratory Therapy,
Nursing to name a few.
So this hallway here on the second floor
of F building is a vital space for
students who are looking to seek
accommodations for any physical or
mental barriers that they may have to
success. So that could be things like our
Learning Centre where you get both $5 an hour
private tutoring or free drop-in
tutoring. Or it could be something like
our Counselling and Accessibility office
here where you can seek those
accommodations. Maybe you need to have
something privately proctored in the
Testing Centre, these are options for you
here at Fanshawe and we want to make sure
that our students don't fail based on
things that are out of the control we
want everybody to succeed here.
And now we're going to be entering our School of Design in the H building here so you're
going to find programs in this building
including Landscape Design, Environmental
Design, Graphic Design, Fashion Design,
Interior Design, Interior
Decorating, GIS and Urban Planning so
lots of different options here.
So here in the M building you're going
to find many of our Creative Industries
programs, this includes the programs that
take place in our award-winning
broadcast studio here. So we do things in
TV and Film,
Journalism and Radio, and in fact we have
the oldest CRTC regulated radio station
of any educational institution in Canada.
So we've been at it for a long time and
we think we do a pretty good job here in
that industry.
And here at the end of the
hall we're gonna find the studio for
106.9 the X and for Londoners they'll be
very familiar with that radio station.
Our students are broadcasting live
on-air here so they get some valuable
experiential learning in their time in
the program here.
Alright guys, so that
concludes the tour here at Fanshawe
College there's lots more to see so we
encourage you to book a tour come visit
us come to future Open Houses if you
have questions feel free to reach out in
any way you can. Thanks for sticking with
us, enjoy the rest of your day!
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>> All right.
Hello everyone.
We are here today
to do a webinar
on the trusted internet
connection
and IT modernization efforts
being undertaken as related
to the trusted internet
connection
or TIC update initiative
that's been coming out of OMB
and supplemented by guidance
from CISA, the Cybersecurity
and Information Infrastructure
Security Administration
under DHS.
So, my name is Jim Russo,
and I am with GSA Federal
Acquisition Service IT category
and right now the technical
lead on the EIS program,
Enterprise Infrastructure
Solutions.
Later on, I'll be
joined by Sean Connelly.
Sean is with CISA.
He is currently the TIC
program manager there,
and he was the prime speaker
during the TIC road show
that took place earlier
this year,
January, February timeframe.
And we know a lot of people
saw those either in person
or heard the webinars that
we did online, but you know,
this is pretty important
information
that we want to share.
It's something that you can
listen to multiple times,
sort of to refresh
yourself and learn something
that maybe you missed
the first time
through because there's
an awful lot
of information that's been
discussed throughout the
slide deck.
We also realize that lot
of people didn't have the
opportunity to either see
or hear the road show, you
know, when we were doing a lot
of presentations, as I
said earlier in 2020.
So, this is an opportunity,
we thought,
to put this down on video,
record it, and have it available
for folks to look at
pretty much anytime.
So, with that, I want to
launch into the agenda
for the briefing today.
I'm giving the welcome
and background now.
The agenda slide shows that the
next thing up is Sean Connelly,
and he'll walk through
the TIC 3 draft guidance
that CISA published
right before Christmas.
Then I'll come back and wrap up
with EIS and TIC 3 solutions.
And that is how we're
accommodating potential
solutions under the
EIS contract.
And then, Q and A, well
that's what we had for folks
that were watching us in
person, but maybe we'll throw
out a couple questions
for ourselves to answer.
Okay. So, let's go to the
next, that's background,
and then after that, just
to give you some backdrop
on slide four, the TIC Policy
Update Memo and Guidance.
The policy was out in draft
for a long time, most of 2019.
It was final and OMB released
it as M1926, September 12, 2019.
Shortly thereafter,
CISA put together a set
of TIC-free guidance documents
and published them right before
Christmas, as I said earlier.
There are nine documents in
that tranche of documents, so,
it's a lot to go through.
They, CISA that is, opened
up a RFC or RFI period,
which closed earlier February.
Those comments were
received in good shape,
and I know that the team
is looking at them now.
Subsequent to that, we
at GSA released a TIC update RFI
late February, and we're looking
for comments to come
back from industry
and agencies we've shared that
with by the end of March 2020.
Realizing some of these
dates may have gone
by by the time you watch this,
but that's right now the
plan we've been following
since the OMB memo was released.
So, why do you ask, is
GSA even involved in this.
It's primarily OMB
and DHS, correct?
Well, that is correct
to a point.
DHS has a lead role in managing
TIC pilots, approving use cases,
and collecting feedback from
agencies and talking about,
well, with a new governance,
what does compliance
really mean.
GSA for our part, we
are assisting or sort
of supplementing
what OMB and DHS do
from a contractual
acquisition perspective.
We are also supporting DHS in
the collection of feedback,
witness the RFIs, I
talked about previously,
and we're also tackling the
governance issue as well.
It's going to be different
than it was in the days
where the only solution
there was was [inaudible],
and we'll talk about
that a little later.
But now it's much more diverse.
Okay. So, that was just a
little bit of introduction,
and I'm going to go
ahead and turn it
over to Mr. Connelly
now, and he'll walk
through the TIC 3
draft guidance.
>> Hello everyone.
My name is Sean Connelly.
I'm with CISA.
If you could forward the slides
two more slides, I think.
There we go, and
there, thank you.
So, again, my name is
Sean Connelly with CISA.
Just a little background
on myself.
I've been involved with
TIC since the beginning
of TIC back in the late 2000s.
I was originally part
of the TIC office
at State Department in 2013.
I moved from state over to CISA,
and I've been supporting
the TIC program office ever
since at CISA as a
federal employee.
I've also been part
of the CDM program
at CISA, helped set that up.
The Einstein Center deployment
program office at CISA,
and then more recently in
2017, I was one of the authors
of the IT modernization
report to the President.
And then even more
recent than that,
the NIST Zero Trust Special
Pub that was released last year
in draft, I was on of
the four authors on that.
I bring that up, because I think
all four of those elements, CDM,
Einstein, the IT Mod
Report, and NIST Zero Trust,
are all developments of
where we are today in TIC.
So, next slide please.
So, just the agenda.
We're going to talk
about the history of TIC,
talk about where TIC is
today and a little bit
about the future of TIC.
Just a recap of what, some
of what Jim was talking
about earlier.
In September, OMB released their
update to TIC memo to 1926.
In December, CISA released
our draft guidance.
It was about or nine
different documents,
and we opened the documents up
to a request for comment period.
In January, both GSA and CISA,
we did a number of webinars,
road shows, and talking
to agencies
and different stakeholders,
familiarizing everything
with the new guidance, and
then we closed the request
for comment period.
And now that RFC has been
closed, the TIC PMO is
in the process of
adjudicating the comments.
Next slide please.
Well, go one more.
Thank you.
One more slide.
So, where did TIC come
from, what's the beginning--
oh, go back one, I'm sorry.
There you go.
To start where we are,
where we began with TIC
or how it initiated
back in the mid-2000s,
when Karen Evans was the
head of the OMB cyber office.
OMB asked a simple
question of the agencies.
How many external connections
do the agencies have?
And that opened a lot
of new discussions.
What is an external connection?
What does it mean to have
an external connection
versus my internal connections?
But in the end, the
number that came back
between all the different
agencies was well
above what everyone expected.
There was over 4000
external connections.
And both the OMB and the
Agency CIO and CISO shop
and then CISA ourselves
at DHS, no one was aware
that total number of
connections would be that high.
It was recognized there was not
a parity of security policies
across all those connections,
and then, most importantly,
everyone recognized,
everyone was just going
to become more interconnected,
how are we going
to manage growth or scale?
Then lastly, at the same
time, DHS, we were beginning
to mature our authorities
to monitor
and secure the federal
dot gov horizon.
Next slide please.
So, from this OMB
created the TIC initiative
with a number of TIC memos.
The memos had explicit goals
and what we call implicit goals.
The explicit goals,
the primary one
on the strategy side was
consolidate the network
connections, those external
connection through a number
of thick access points, which
we'll talk about in a moment.
But consolidate all
those connections
into a finite number
of TIC access points.
Really what this was doing was
this was creating the internal
and external strategy of
the federal government
for the next ten years.
Beyond that was the
standardization
of the secretary perimeter.
The agencies are
required to build
out these physical
TIC access points
and the service providers build
out what was called MTIPS TIC
access points, and these were
where the agencies or providers
would have their firewalls,
IDF sensors, all their
telemetry requirements.
These were what were [inaudible]
those security perimeters.
Then lastly, it provided
a platform for CISA
to deploy our centers, our
ability, CISA's ability
to gain situational awareness
from those environments.
This is the beginning of that.
But I think more importantly
was the implicit goals that came
with these new authorities.
It empowered enterprise
CIOs and CISOs.
I remember in 2015 or so, a
deputy CIO said TIC is a hammer,
and it told me that they
understood how to use the powers
within TIC to be able
to move the authorities
or expand the authorities
of the CIO and the CISOs
to gain an awareness of
those type of connections,
what was going through
those connections,
who the people are talking to,
what was on the other
side of those connections.
Next was motivate all agencies
toward a stronger cybersecurity
posture, heard over and over
again during early days of TIC,
rising tide lifts all boats.
And that was to mean
across that dot gov horizon,
making a stronger cybersecurity
posture for all agencies.
And third, it was part of
our initial efforts to,
from the DHS perspective,
the weaken exfiltration
activities across dot gov.
Next slide.
So, the TIC 1 and then
TIC 2 iterations were
around for almost 10 years
between the two, but over time,
there was a number of
challenges that came about.
From the TIC 2 perspective,
that consolidation of networks,
it was a challenge
to move all traffic
to these finite firewall stacks.
Essentially, it was a
binary choice for agencies.
Either everything was inside,
it was trusted, and everything
on the outside was not trusted.
There was only one security
architectural model.
We recognize that the perimeter
was starting to dissolve.
Mobile, Cloud, partner networks
were all ways the perimeter was
not what it was anymore as it
was in the traditional TIC 1
and TIC 2 iterations,
and the risk tolerance
of agencies varied.
I think from before, there was
this one policy, this one model
for all agencies, we recognize
the agencies had different
models based on resources
on risk omission.
Then also, the traditional
security assets that were
in those tradition
TICs, the firewalls,
the web-application firewalls
and antivirus, they may not work
as well in these
new environments
of mobile and cloud.
It began to be recognized that
the security architectures
that emphasize the traditional
[inaudible] strategy are
inhibitors to the dynamic
access requirements of today.
Next slide.
Now we'll move onto the present
day of TIC and where we are.
Next slide.
So, the memo that we mentioned
earlier, memo 1926, was released
in September 2019 from the
federal CIO [inaudible],
tasked DHS with modernizing
the TIC initiative.
It calls for update program
guidance and use cases.
And then the focus of the
memo is on the strategy.
Where before the strategy was
this consolidation of networks,
now there's this controlled
expansion of circuits
and connections at
the discretion
of the agency CIO and CISO.
The architecture, where for the
last 10 years the architecture
was simply that traditional
TIC access point.
Now, we had the options
for alternatives,
what we call use cases.
And third, visibility.
The telemetry and
situation awareness,
both toward the agency and CISO.
What is needed for
the agency to be able
to understand what's going
on in those environment
and then what is available
or what's possible for CISA
and our situational
awareness requirements.
What you don't see in this
memo as much is governance,
and we'll talk a
little bit about that.
But the paradigm is moved
from that fixed asset
and fixed networks and
what we meant by desktops.
For right now it's
less fixed assets
and less fixed networks means
laptops maybe [inaudible] Wi-Fi.
Pretty soon we know
we're going to be
on an entirely new platform that
isn't fixed, mobile and tablets.
So, we're shifting from that
single network boundary to more
of a distributed
secure architecture.
The new policy begins
that transition
to multiboundary to trust zones.
It allows us to be more
iterative and adaptive.
It gives broader interpretation
authorities to the agencies
and also rescinds
the old OMB memos.
Next slide please.
Well, this shows the old,
what was called the TIC tax,
the cost to support
the TIC policy.
And as agencies had their
offices and their mobile users
around the continental U.S.
or with some of the agencies,
OCONUS, overseas, there was
still this cost, if you will,
for the traffic to come en route
through these physical
TIC access points.
And so the idea with TIC 3
was to eliminate that TIC tax,
to reduce the transport
cost, to reduce the latency,
meaning the time it took from
the server to talk to the client
or for the client
to talk to a server,
and last to improve
the user experience.
We recognize that the access
requirements were becoming
inverted with more users,
applications, devices, services,
and ultimately data outside
the traditional enterprise
environment than inside.
Next slide.
So, multiboundary approach.
This is the trust zones
that are discussed
in the reference guidebook that
we'll talk about in a minute.
It's important to understand
what a trust zone is.
A trust zone is an
abstract concept.
It's elastic.
A trust zone can
still be a network.
But conceptionally, a trust
zone can be an application.
It can be a user identity.
It can be a cloud container.
It can be an endpoint.
Ideally, also, when we start
talking about zero trust,
the trust zone can be
that narrowly defined,
trusted enterprise resource, the
trusted application has defined,
as outlined in the NIST Zero
Trust Special Publication.
Part of the challenge right now
is until we develop more pilots,
it's difficult to
embed the expectations
of what the trust zone could
be and the current artifacts.
But in the end, even in
a zero trust environment,
there's still something
that's trusted,
whether it's the user,
the app, or the data.
One of the aspects of the TIC
program in general is we had
to accommodate multiple
architectures.
And those multiple architectures
means agencies that still want
to support that traditional
TIC access,
would show before the TIC
tax, and then ones that want
to support more modern
environments, zero trust,
or micro segmentation.
Ideally, we want to shrink
that trust zone down as small
as possible, but
TIC 3 cannot only be
about micro segmentation
or trust zones.
We want to contract
that-- I'm sorry.
We want to contract
the attack service
to as narrow a vector
as possible.
So, this framework that
we've outlined in TIC 3 is
to accommodate multiple types of
trust zones and architectures.
Next slide.
So, now I'll go through
each of the documents
that has been released.
It's important to understand
with these documents,
these documents have been
two years in the making.
The documents can be grouped
into two different
categories, if you will.
The first one is the
program guidebook
in the reference architecture.
We consider those to be more
strategic and programmatic.
We suggest those be the first
ones that stakeholders look
at to understand
the TIC program.
And then what we consider
the more operational
of tactical documents, that
Security Capabilities Handbook,
the TIC Use Case Handbook and
Use Cases, and the Overlays.
We believe those will be the
documents that agencies use more
on a day-to-day basis.
We mentioned before about
these documents being built
over two years.
We've had multiple
interagency working groups.
We've had participation
from over 50 agencies
in those working groups.
We've also held through GSA,
Jim's team, multiple meetings
with each of the
[inaudible] vendors.
We've also had [inaudible]
and one-on-one meetings
with cloud providers,
security vendors,
and agencies themselves.
And we've also completed a
number of TIC pilots already.
Next slide please.
So, the first document
is the program guidebook.
It talks about the history
of the TIC initiative.
It gives a direction for TIC
outlined in IT modernization.
It gives core updates and
changes to the program itself
and gives an idea of how
to use the different documents
together, the orchestration
of the use cases, the
capabilities, and the overlays.
The goals were more
boundary focused,
what I mentioned
before, the trust zones.
It's not only about
internal and external.
Now, we can shrink
those boundaries
down to more trust zones
and multiple trust zones.
It's descriptive, based more
on objective and intent,
and that is about saying
this is the only way
to meet a capability.
So, risk based mean
agencies are able to employ
and secure environments using
the risk policy of their agency.
Trying to make it more
environment-agnostic means not
only for the agency's
on-prem environments.
Dynamic and adaptable, how we'll
be supporting new information
and new use cases on
a [inaudible] basis.
Automated and streamlined
verification.
How we're looking at
gaining telemetry.
Then also last, about
how the TIC program
and the Einstein program are
being decoupled somewhat.
Traditionally, the Einstein
program, known as NCPS,
has been embedded at
those TIC access points.
As we start to move toward
virtual environments,
physical centers may
not be the only way
to gain situational awareness,
and so we are starting
to both work together with NCPS
but at the same time let each
program involve independently.
Next slide please.
The reference architecture.
The reference architecture,
traditional TIC, TIC 2,
was the primary document
for the program.
A lot of the material that was
in the reference
architecture has now been split
up into other documents.
We still believe the
reference architecture is
of primary importance.
It serves as the reference
foundation for solutions.
It's being used for
comparison and lineup purposes.
It provides common
language and terminology.
It ensures consistency of
technological implementations.
It supports solution
validations.
We know some agencies use
the reference architecture
to justify their budgets
and acquisition requests.
It encourages adherence
to common standards,
specifications, and patterns.
It also defines the concepts
used throughout this document,
the trust zones that we
mentioned earlier, the PEPs,
which are the policy
enforcement points,
use of security environments,
and the management plane.
Aside from the user
plane, the data plan,
and also go into discussion
about how to secure the admins
that secure these environments.
Next slide.
The next document is Security
Capabilities Handbook.
The objectives, which you
see on the right side,
manage the traffic, protect
traffic confidentiality,
integrity, ensure
service resiliency,
ensures effective response.
What's important to understand
about the capabilities
wherein the old TIC 2 reference
architecture that was a static
list, we now have the ability
to update the capability
list periodically.
As we have new use cases and
new overlays and services,
we can update the
capability to help agencies
to meet their mission
needs, meet market trends
as the threat landscape evolves.
Next slide.
The application themselves,
the capabilities that are
in the document, they're grouped
into two different types.
We have the universal
capabilities.
[inaudible] those example would
be configuration management,
lease privilege,
time synchronization,
those are ones we
recognize are important
for most every type of use case.
We give some guidance
on those, but we believe
that those aren't the
focus of the use cases,
so we lead the guidance at
very high level and recognize
that they're still
important to be addressed.
But now we just start
putting out the use cases
to the different environments,
and we also have a second group
called the policy enforcement
point capabilities,
and these are the ones
that are more focused on
the different use case.
Right now, the PEP
capabilities are grouped
into about eight
different categories,
support applications, services,
or devices along the path.
For example, we have a
PEP capability for email,
a grouping for web browsing, and
a third one for bio protection.
What's important to understand
is not all capabilities,
not all PEP capabilities are
applicable to every use case.
We can also cross map
the capabilities both
to the NIST cybersecurity
framework and 853,
and what's different from TIC 2
to TIC 3 is PEP's
policy enforcement point
and the security capabilities
themselves can be embedded
in multiple locations and
not about just one location
where the PEPs are located.
Next slide.
The next book is the, the
next document is the Use
Case Handbook.
The Handbook itself is
only a few pages long,
and then the Use Cases,
which are separate documents,
they can be somewhere between
20 to 30 pages of guidance,
and we'll go into detail
on an example use case.
The use cases give a
description, identify the scope
of the use case, identify the
assumptions and constraints,
map out the proper
security capabilities,
[inaudible] conceptual
architecture,
and define security patterns.
Next slide.
So, now I'll go into one
of the use case examples.
When we released the documents
at the end of December,
we released two draft use cases,
and the reason we
released two was we wanted
to both show what we
were planning to do
with the use cases
and gain feedback
from the agencies before
we invested too much time
in building up the
rest of the use cases.
We wanted to hear if these
use cases gave the right level
of information, gave the right
tone, gave the right cadence.
So, right now we'll go through
one of the two use cases.
The other one releases
traditional TIC access point,
which sort of covers
what we've been doing
for the last ten years.
So, we focus on the
branch office
because this is unique
and different.
This is what's new about TIC 3.
What this does is it
eliminates that TIC tacks,
that network gymnastics that
we talked about earlier having
to route traffic back
through the TIC access point
of an agency as a branch office.
In this use case, we let
the agency show scenarios
where the agency
connects to the internet,
connect to different
cloud providers,
and because we are allowing
the agency to connect directly
to those different environments,
we now give guidance
in a way we didn't before,
which was the agency back
to the headquarters of
the campus as we call it.
Those donuts you see there,
those represent the
policy enforcement points.
And we struggled for a
while with the placement
of these PEPs, these
donuts as you see here,
in terms that we recognize
that PEPs can be put
in multiple places.
I could be the branch
office side.
It could be at the
cloud provider side.
It could be multiple
PEPs in there at a time.
But in the end, we
put one PEP in there,
just so that it shows the
conceptual architecture itself.
Next slide please.
Along with security patterns
that we talked about,
the branch office use case,
is how the branch
office can connect
to different internet
environments.
We offered three
different security patterns,
going from left to right.
The first one is if the
agency's branch office wants
to go directly to the web.
We give a number of
capabilities on how
to secure those type
of environments.
The second one is the branch
office wants to go back
through an agency
campus through the web,
and you can see the
connection it has,
both PEPs in this
location between the branch
of the agency campus and
then separate PEPs possibly
from the campus to the web.
I forgot to mention
those triangles there.
That's the management.
That's what we were
talking about before
where it gives guidance
in terms of how
to secure the management
connections for the admins
to be able to monitor and
administer those environments.
And the third option is the
agency branch office using a
CASB to go between the agency
branch office to the internet.
So, what you see here, these
diagrams are detailed out in
about 20 different
pages of guidance
between the capabilities and
the different security patterns.
Next slide please.
At the same time,
we want to make sure
that the agency understand
the side
for securing the connections.
There's also the telemetry
requirements, both for CDM
and for NCPS Einstein.
While the use cases themselves
are not focused either
on the CDM program or
Einstein, we want to make sure
that it's understood that
it's still a requirement.
So, in each of these use cases,
we also put at the end some
very high-level guidance just
about the agencies recognizing
the requirements both
for CDM and NCPS.
Next slide please.
The next one is the Service
Provider overlay handbook.
This is a draft document
that we're just developing.
We didn't have this and
released, as we mentioned,
with all of the other
documents released in December.
The reason was, as we developed
the use cases and we started
to focus on infrastructures
and service use case,
at the use cases themselves
have to be very agnostic,
have to be vendor agnostic,
environment agnostic in a way,
and we recognize that
left a gap in terms
of the service provider
services that may be able
to support those use cases.
So, we introduced
these overlays,
which creates a high-level
mapping
of the vendor security functions
to the TIC capabilities.
We addressed some of the
use case limitations,
but they are independent
in the use cases themselves
and do not [inaudible]
civic use case.
And we recognize at the
same time the mappings may
be imprecise.
The vendor security
solution may not map exactly
to its security capabilities.
The overlays don't talk about
the strength of the mapping.
They don't address
the configuration,
but it just gives a high
level idea to the agencies
about what services can be
used by the provider to be able
to meet those TIC capabilities.
Next slide please.
The important thing
to understand is the guidance
that's released from CISA, OMB,
and GSA, the guidance we
released in the documents,
is intentionally notional.
It's conceptual.
It's abstract.
It's theoretical.
Provide agencies with
flexibility they need
to interpret the guidance
to suit their requirements.
Agencies are expected to
incorporate the guidance
into their risk management
strategy.
Agencies should determine if
the protections are commensurate
with the level of
risk pertaining
to their computing scenarios.
Next slide please.
This shows how all the
documents that we just went
through work together.
The agency has the Use Cases,
that shows the different
architectures.
The Security Capabilities
will give the services,
the security services
that are required
to meet the agency's
risk management.
And then the Overlays give an
idea of the provider service
that can be used to meet those
security capabilities on top
of those architectures.
In the background, the NIST
Cybersecurity Framework
and the NIST 800-53 are
our foundational documents.
All these work together to help
the agency's risk management
decisions, the agency's
architectural documents,
their system design
documents, security documents.
Next slide please.
So, now we'll go
into TIC future.
Next slide please.
So, this is just a
subset of the total number
of documents that were released.
Again, we released these in
January, I'm sorry, December.
They are accessible on
the CISA TIC website.
They are still in
the draft form,
but where we are
right now, addressing
and adjudicating those
comments, the expectation is
that the documents
will be released
in a final form later this year.
Next slide please.
At the same time,
one of the documents
that was released was an
update to the Einstein program.
The NCPS team released
their draft cloud interface
reference architecture.
The agency will refer
to this document
for telemetry requirements
and contact the NCPS PMO
for additional information.
Again, this was released
by the NCPS PMO.
It was released at the same
time as the TIC documentation.
It had a different iteration.
You see this is volume
one of the NCPS.
This will be a separate
[inaudible] documents.
The NCPS team will be releasing
what we thought was important
for the agency to understand
how the two programs are both
evolving and what's important
[inaudible] moving forward.
Next slide please?
So, now we'll go
into TIC pilots.
Jim mentioned a little
bit about this before.
The TIC pilots have a
number of stakeholders.
They had to sponsor
an agency, OMB,
the federal CISO
Council, GSA, and CISA.
Next slide please.
Now, we'll map out the TIC
process, the pilot process.
For the federal CISO Council
will announce a data call
for pilot proposals.
Agencies will then have a
number of days or a month or so
to cement pilot proposals.
At the same time, CISA and
GSA will be providing a number
of templates to help agencies
to position their proposals.
Once the agencies submit them,
the federal CISO Council
will select proposals
for their pilots.
The agencies will then work on
their pilots, both CISA and GSA.
We will monitor those pilots.
We'll work with the
pilot agency.
Once the pilot is complete,
the agency completes
the pilot [inaudible],
we will [inaudible] the pilot
lessons learned into use cases.
We'll turn that draft use case
over to the federal
CISO Council.
We'll approve that use case
for adoption across dot gov.
At the same time, GSA, they
will add those use cases
to their service packages.
Next slide please.
The lessons learned, so we've
had a number of pilots already.
You'll hear me talk
about just pilots
without addressing
all the agencies.
We work on a number of
pilots at any one time.
We intentionally don't talk
about the agencies unless
the agencies themselves are
promoting their pilots.
For example, SBA
promoted their pilot.
The Department of Energy
has promoted their pilot.
So, we talk about them.
There's also been a
number of other pilots
that we're working
on at the same time.
And so, when we talk about
let's learn, maybe we're talking
about SBA or Department
of Energy,
but maybe we're also
talking about one
of the other ones we
haven't talked about yet.
The pilots are unique to
each agency and impacted
by the tech acumen
of the project team.
We know that pilots only
represent a snapshot in time.
We mentioned SBA before.
If we look at how SBA's
environment is today,
it'd be radically different
than the time we did
the pilot two years ago.
We recognize that when the
pilot agency proposes a pilot,
it may not use the full suite
of the cloud provider services.
And cloud provider
differentiators result
in customized pilots.
It may not be adaptable
to broader use case,
so this where I mentioned before
about the use cases
themselves are agnostic.
But we have to make sure when
we're making these use cases
that doesn't focus on any one
particular cloud provider.
The pilots have been
susceptible to delays
that may prolong both the pilot
and use case development
process.
Next slide please.
There are a number of use cases,
both I already mentioned
the OMB memo
and ones we've already discussed
as potential ones I mentioned
earlier on the left side.
The ones that were
mentioned in the OMB memo,
the traditional TIC and the
branch office we released
as draft use cases.
But we are still
responsible also for building
out infrastructure as
a service use case,
software as a service use case,
email as a service use case,
and platform as a service.
And now also remote
user use case.
At the same time, we know
there's [inaudible] Zero Trust
use case.
We're talking about to OMB
about maybe mapping
the Zero Trust use case
to the remote user use case.
This is outlined in OMB's memo.
Also, there's interest
in other use cases.
Internet of Things use
case, partner networks.
When an agency is talking to
a bank or maybe a research
and develop or to
universities, how to build
out those connections securely.
Also talking to the [inaudible]
team about maybe building
out one unique to the managed
services but part of EIS.
And lastly, one we've heard
for a long time is
unified communications.
What used to be instant
messaging, if you will.
Now, with the type of
communication solutions
for today, how agencies can
build out secure connections.
Next slide please.
I'm going a little bit
on TIC 3 and Zero Trust.
But we recognize that there's
been independent Zero Trust
activities going
on for over a year.
We know that the enterprise
perimeter is no longer
single location.
As services move
toward the service edge,
unless were the central
hub, LAN services will begin
to offer more security services.
The trust zones in
our guidance aligns
with the trusted resource
in that Special Pub.
At the same time, we know the
trust zones themselves need
to be flexible to support TIC 2.
We believe the TIC
3 guidance aligns
with the Zero Trust
goals objectives.
For over a year now,
OMB, NIST, GSA,
and ourselves have been
meeting with agencies and vendor
on different Zero
Trust solutions.
We think there's enough
crucial mass to begin
to formalize the Zero Trust
activities toward TIC 3,
but we also recognize that
Zero Trust is not a complete
enterprise solution
[inaudible] federal enterprises.
Next slide please.
So, we wrap up here.
We recognize that data centers
are no longer the center
of the enterprise.
The federal enterprise
of tomorrow will
support more work off
of the enterprise
network than on it.
More workloads are
running in the cloud
than at their enterprise
data centers.
More traffic destined to the
cloud than to the data centers.
More traffic from the branch
offices going directly
to the cloud than
to the enterprise.
We also recognize the
growing enterprise needs
for this [inaudible]
computing capabilities
that are distributed and closer
to the systems and devices
that require low latency.
Next slide.
This just shows the difference
between TIC 2 to TIC 3
where TIC 2 on the left side had
that consolidated architecture
where everything routed
through those TICs.
Now, we have distributed
architecture
with distributed capabilities,
distributed security.
As we wrap up, the focus
is still on that strategy,
the architecture,
and the visibility.
But [inaudible] move the
inspection capabilities closer
to the sessions, no longer
need to reroute the sessions
through the inspection engines.
Next slide.
So, the future for TIC,
what I mentioned before
in those explicit
and implicit goals,
the implicit goals
are still relevant.
Empowering the enterprise
CIOs and CISOs,
give them the authority they
need to support their mission.
Motivate all agencies toward a
stronger cybersecurity posture.
And assessing the CISA
that would weaken the
exfiltration activities
across dot gov.
Next slide.
And with that, I'll pass
it back over to Jim.
Thank you.
>> Okay. Thank you, Sean.
There's an awful lot to absorb
there, as you figured out.
It's almost a misnomer
in my mind to,
I mean we're calling it TIC 3,
we're calling it TIC update,
but you know, TIC 2 was in place
for an awfully long
time, nearly a decade.
And you know, the pace
of innovation there
was pretty slow.
With the explosion of
services capabilities moving
to the clouds and some
federal agencies going ahead
and starting to move their,
you know, their operations
into the cloud, the previous TIC
2 solution set, although a lot
of agencies are still using
them, are obviously strained.
You know, as Sean
showed earlier,
and the TIC tacks is real.
And so, again, to emphasize what
he just said, you know, the CIOs
and CISOs have been empowered,
but you know, there's a lot
of responsibility there
and a lot of questions
that each agency
has to ask itself
as it designs its enterprise
network and then how
to secure that network.
So, you know, how do we approach
that from the EIS standpoint,
and why are we focusing
on EIS so much.
So, hopefully I can answer
those questions as I go
through the last
set of slides here.
So, let's move to the next
slide, which is number 42.
These are some of the points
that Sean's already made.
You know, the typical
agency network, you know,
there's a lot of cloud usage.
There you know, may be pockets
of static enterprise networks
with a known perimeter out
there, but by and large,
a lot of agencies are doing at
least something in the cloud,
if not everything in the cloud.
So, you know, now the solutions
are more focused on, you know,
in the future securing the data,
securing, and the transport
from the agency's let's
say headquarters or premise
to cloud applications,
data centers,
and now especially remote users,
and you're seeing that now
with the COVID-19 situation.
There's a lot of
stress on the networks,
as you've really energized,
you turned full throttle
on remote users.
So, you know, now
transport and the security
of that transport is
very important and access
and authorization to get to
the cloud tools and datasets.
So, it requires proactive
network management
and information sharing
going forward.
You know, that's one of
the things that, you know,
we've tried to foot stomp on
in our contract requirements
where we're really looking
to our industry partners to,
you know, share vulnerability,
share solutions
to vulnerabilities, and
knowledge of attacks, you know,
how they're found and defended.
That becomes even
more important.
You know, that typically was
handled through telemetry
and as John talked
about with NCPS,
but I think there
is probably room
for that proactive network
management to reach directly
to the agency that's, you
know, buying the service
from industry provider.
Because, you know, the sooner
that everybody knows
what's going on,
the better off everybody is.
Let's move to the next slide.
A again, the focus on EIS really
is a followup to the Report
to the President on the Federal
IT Modernization back in 2017.
There was concern there that,
you know, there was many places,
many ways to get solutions
to a particular security
question or challenge.
And it was an attempt to,
well, I guess if you look at it
in one way, the agencies,
if they're doing
everything themselves,
could very likely reach
out and buy a solution set
from one provider and transport
from another in cloud services
from yet another or
maybe multiple others,
and when you start stacking all
of that up, there's an awful lot
of acquisition burden that
falls back on the agency.
Now, some of that is going to
remain, but there's an intent
to try to reduce that
explosion of contracting and try
to aggregate or consolidation
acquisition
into an enterprise solution set.
And that's really where
we want to focus EIS
as a primary acquisition
vehicle for enterprise network,
that would include IT
modernization and security
and especially TIC improvements
in the solution sets
that get delivered.
So, all along, EIS
has encouraged the use
of coming technology, such
as software-defined wide-area
networks, Zero Trust
networking, 5G,
and especially cloud-based
security solutions.
There has been actually a
question that's drawn out of
that is because, you know,
in our previous contracts,
we were kind of rigid in terms
of where a particular
service was homed,
whether it was a security
solution, let's say,
or a cloud solution, or
a transport solution.
When you're looking at
an enterprise solution,
it really cuts across
all of those.
And we tried to make EIS
flexible so that it, you know,
it's not as dependent on whether
a policy enforcement point is
provided as a fast tool or as
a managed security service.
The point is that you get
the security capability
that you need.
So, the focus is on
delivering solutions that way.
It's sort of breaking out
of the box that we were
in for some other contracts,
and it definitely is a
challenge going forward.
But, you know, we're trying to
make EIS as flexible as possible
and useful to the agencies
as they tackle both
IT modernization
and security with that.
As Sean says, we've
reached out to industry.
We've had, you know, meetings
with all EIS prime certainly,
and you know, in terms
of putting solutions
on the contract, it's
a little too early
to say how those will
totally shake out.
We developed our managed
security services area to take
into account the types
of potential solution sets
we would get in the future.
We're currently, I guess,
working with our EIS
prime contractors
through our RFI process right
now and some one-on-one meetings
to sort of work out what
would be the best way
to put those solutions
sets on the contract.
We need to really find a
baseline first before we come
up with the ideal way to
do that, but one thing
that we've decided is, you know,
we're going to do what's
reasonable for the agencies
and reasonable in terms
of are we putting things
on the contract that can be
leveraged by multiple agencies
or is the solution
set that we're looking
at just really helping one
agency or a couple of agencies?
That really is going to
dictate how we put the type
of solution sets agencies
need on the contract.
But for now, as we said for
many of our other services,
you can buy solution sets
now through the EIS program,
and it is flexible enough
to accommodate customer-unique
requirements, and you know,
we're still standing by that,
and we're still in place
and position to service
requirements that way.
Let's go to the next slide.
This is a graphic, and it
sort of places, we were trying
to figure out how we would
position TIC 3 in relation
to all of the other
things going on as part
of the modernization challenge.
So, modernized transport, we're
looking at moving from TDM
to ethernet transport
by and large,
software-defined
networks, and more of,
you know, more apparent SD-WAN.
And secure access to the cloud.
You know, how do you get that?
You kind of need all those
in place, or having all those
in place really helps put
energize TIC 3 solutions.
And TIC 3 solutions
also would enable,
or not totally necessary,
but would enable some
of the mobility and 5G
challenges and also Zero Trust
as we go forward, as Sean
alluded to with the pilots.
So, you know, TIC 3,
we kind of show it here
as the center of the universe.
It's, I guess it's arguable,
but we do see a lot of synergy
between those modernizing
technologies and TIC 3.
Both says that enabler
and enabled,
if you will, each other.
So, by each other.
So, let's go to the next
slide and talk about how EIS,
as I said just a few
minutes ago, you know,
we're telling agencies and
industry to not, you know,
necessarily wait for the
perfect contracting solution.
If we have something, an
agency has a requirement,
and industry has a
solution, let's figure out how
to do it through the contract.
And then that'll build
our set of solutions
that can be leveraged
by other agencies.
So, you've got a number
of tools on the contract
that we're planning to
use to make that happen,
primarily our managed
network services.
This would enable
SD-WAN type solutions
and secure connections
to cloud services.
In fact, we're making
SD-WAN a stand-alone managed
network service.
So, we're moving forward
in that direction.
That's modification is
in process as we speak.
Also, the secure connections
to the cloud service,
the cloud service provider
connection mod is going
on as we speak.
So, those will be more
defined requirement sets
that can be used as a baseline
both by agencies and industry,
and, you know, those will be
on the contract very soon.
Our managed security services
are defined as they were
when we awarded the contracts
in 2017, and that's based
on managed prevention service,
our vulnerability
scanning service,
and incident response services.
Some of these are holdovers from
our previous networks contract.
The managed prevention service,
in particular, was refactored
from security solutions or the
security capabilities that were
in networks, and you know,
these really do focus
on I'll say network hygiene
in terms of making sure
that software is
patched, updates are put
on in a timely fashion,
and threats are both found
and resolved in a timely manner.
We're keeping MTIPS.
I reference version 2.2,
which was the latest version
that was before the
TIC 3 update came out.
MTIPS still remains available.
It's a baseline package.
It's defined, as it has
been defined in the past,
thru version, the
reference architecture 2.2
that CISA had put out.
It's still useful, we
think, in certain situations
where an agency still has
maybe a premise-based segment
that they want to
apply MTIPS to.
It can still be used, you know,
that TIC tacks though becomes
more and more onerous as more
and more cloud services
get used.
And we see it sort of as a
stepping stone for agencies
that are trying to
modernize, they're trying
to upgrade their security
posture, and they're trying
to transition from networks
to EIS all at the same time.
Very difficult triad
to navigate.
And, so we left MTIPS in there.
It's maybe not the best
solution in some cases,
but it is a stepping stone
into more modern TIC solutions,
and so for that reason it
remains in the contract.
SaaS based tools.
I sort of mentioned this
before or alluded to it.
We see many of the solutions
that are going to be applied
to the TIC and likely to
Zero Trust as a SaaS tool.
It'll be a cloud-based tool.
And of course, the fed ramp
certification will apply
to those.
The EIS contracts mandates
that any cloud solution,
whether it be SaaS or
[inaudible] infrastructure has
to be fed ramp certified to
be delivered on the contract.
So, that's our tether
into cloud.
So, you can see there,
there's a lot of places
that solutions can borrow from
when being put together on EIS.
And we have the flexibility to
update and add new capabilities,
new services, as we go along.
Okay. Let's go to
the next slide.
It'll be number 46.
One of the things we do in
terms of our transition efforts
from networks to EIS and
modernization support
with agencies is we have
a solicitation assist tool
that we offer to agencies
in terms of we'll work
with them using the tool, which
basically spins out a template,
a contract template, and a
questionnaire for agencies
to basically sort of determine
what the requirements are
and map that into
an EIS solicitation.
So, we've extended that
basic tool or template
to include modernization such
as SD-WAN and TIC going forward.
Now, we're sort of piggybacking
on what Sean's team is doing
in terms of putting
out the TIC guidance.
We've overlapped, I would
say, a little bit in terms
of their [inaudible] idea, and
we've also wished to borrow,
or we will borrow heavily
from the security capabilities
and the PEP capabilities
that are
in the TIC 3 guidance
documents as part of this tool.
So, that is being put
together as we speak again.
It's nearing finalized form.
And, you know, with this tool,
we can help agencies customize
their requirements and map them
against TIC use cases
that have been established
or will be established
through a pilot later on.
Okay, let's go to the next.
Okay, the template, as
I said, borrows heavily
from the TIC 3 guidance.
I guess I shouldn't
really say it that way.
It really employs TIC 3 guidance
and supplements it so that
when agencies are developing
requirements we can refer
to the TIC volumes
three, four and five
and in reference
architecture as well,
as Sean already walked
through, and apply them
to well how would you overlay
that, how would you map those
to an EIS solution or
an EIS solution set.
So, we're using that concept as
well to try to get to solutions
that agencies can buy
on the contract and ways
to offer those solutions
on the contract.
Okay. Let's go to the next.
All right.
So, I've mentioned
that we're in process
of doing a lot of things.
So, what are we doing
with the contract?
First thing is, obviously,
we've got to update the policy
references in the contract.
When it was delivered or
awarded, I should say,
everything pointed back to the
OMB memos from 2008, 2009, 2012.
Those have all been wiped away.
We're referring to the latest
memo that came out in 2019.
We're updating the cloud service
provider connection feature.
Right now, this is a feature
on our transport VPNS service.
It could be extended in
the future to other types
of transport, but for now, we're
leaving it there, and we're sort
of leverage the existing
services that have been
in place already that
use that capability.
We're updating it and right
now that modification is
out basically working directly
with the EIS primes to get
that on their contracts.
SD-WAN availability
as a defined service.
As I said before, SD-WAN
could be delivered today using
existing services, but
we're going to define it
as a separate managed
network service with a set
of standard requirements.
That will be coming
along shortly.
That's being developed.
And then, you know,
we want to flush
out the TIC 3 solution
areas on EIS.
Because I keep saying TIC 3.
It's very easy to say
that because it follows 2,
but it's really a
TIC solution area.
We've, you know, we're looking
at different ways
we could do that.
We could have sort of
a general TIC solution
where industry can put
packages together and offer them
to agencies, or we could
them by use case, you know,
get a little more granular.
At some point, you know, there
may be too many use cases
to do that effectively.
So, we just have to sort of
sit back a little bit on that
and wait and see how the
initial use cases turn out
and how they're leveraged
between
or among agencies before we
make a final decision on that.
But we will have a way to
have those solutions developed
through the contract either way.
I've talked about our RFI
out to industry in March,
that since we're still
in March it's still open.
We have in this slide an
email address where comments
and questions can come
in regarding this,
[email protected].
So, we'll respond to anything
coming in through that and add
that to the pool of
comments and questions.
Let's go to the next.
So, we're to the end.
I just wanted to use
this just real quickly.
We do, we have been
getting a number
of questions regarding
the MTIPS service,
and one of the questions was,
well, can we still get that?
The answer is yes.
And another one is, you
know, what if you have to,
what if you decide
to modify MTIPS?
And here our current stand is
that we want MTIPS baseline
to stay as it's currently
defined.
If CISA comes out in the future
and redefines the MTIPS
security stack let's say
or no longer requires
that Einstein be part
of the MTIPS security
stack, then maybe we go back
and we edit MTIPS and it
becomes, you know, MTIPS update.
But for now, since the agencies
have relied on the MTIPS to work
in a certain way,
the requirements still have
not really been rescinded.
The policy says that for the
traditional TIC baseline,
MTIPS can be leveraged.
So, what does that mean?
In terms of the contract,
we've taken that to mean
if it's MTIPS, we're going
to use the MTIPS requirements
and solution as it's
defined in the contract.
If it's MTIPS like, it's MTIPS
with a shorter security stack
or an expanded security stack.
We want to put that in our
managed security services
basket, just for contract
management purposes,
really nothing else.
So, that's where we are on that
particular question right now.
I've also gotten some
on are the use cases
in the policy the only
ones we're going to have?
Well, I think Sean's already
answered that question,
showing that there's
possibilities
for many use cases.
And again, one early one we
had was are TIC solutions going
to be seen as cloud
based or security based,
and the easy answer to that
is really they're both.
So, with that, I want to
thank Sean for joining me.
Thank you for listening,
and hopefully you gained
some knowledge from listening
to us talk for the
last hour or so.
And we look forward to
your input and questions.
So, good day.
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TO THE FOREFRONT. THE AIDES CRISIS.
THE AIDES CRISIS. >> THEY WERE ARRESTING US.
>> THEY WERE ARRESTING US. >> Reporter: THE STONE WALL
>> Reporter: THE STONE WALL RIOTS GAVE BIRTH TO THE GAY
RIOTS GAVE BIRTH TO THE GAY RIGHT MOVEMENT.
RIGHT MOVEMENT. IT TOOK DECADES TO REACH
IT TOOK DECADES TO REACH EQUALITY.
EQUALITY. >> MEDICAL EXPERTS AGREE WE’RE
>> MEDICAL EXPERTS AGREE WE’RE IN AN EPIDEMIC.
IN AN EPIDEMIC. >> Reporter: WAS IT THE AIDES
>> Reporter: WAS IT THE AIDES CRISIS THAT REALLY ELEVATED GAY
CRISIS THAT REALLY ELEVATED GAY RIGHTS IN AMERICA?
RIGHTS IN AMERICA? SOME SAY IT WAS, BUT NOT WITHOUT
SOME SAY IT WAS, BUT NOT WITHOUT AN IMMENSE COST.
AN IMMENSE COST. >> IT WAS CRUSHING.
>> IT WAS CRUSHING. IT WAS LIKE NOTHING ELSE I EVER
IT WAS LIKE NOTHING ELSE I EVER EXPERIENCED.
EXPERIENCED. IT WAS LIKE RUSSIAN ROULETTE.
IT WAS LIKE RUSSIAN ROULETTE. WE DIDN’T KNOW.
WE DIDN’T KNOW. >> Reporter: THIS PAINFUL BUT
>> Reporter: THIS PAINFUL BUT IMPORTANT STORY GOES BACK TO
IMPORTANT STORY GOES BACK TO 1969, BUT NOT TO THE WELL-KNOWN
1969, BUT NOT TO THE WELL-KNOWN STONE WALL RIOTS.
STONE WALL RIOTS. RATHER ST. LOUIS WHERE A BLACK
RATHER ST. LOUIS WHERE A BLACK TEENAGER DIED OF NEWPNEUMONIA.
TEENAGER DIED OF NEWPNEUMONIA. WHAT THEY DIDN’T FIGURE OUT
WHAT THEY DIDN’T FIGURE OUT UNTIL MUCH LATER WAS THAT ROBERT
UNTIL MUCH LATER WAS THAT ROBERT HAD AIDES, LIKELY MAKING HIM THE
HAD AIDES, LIKELY MAKING HIM THE FIRST DEATH IN AMERICA.
FIRST DEATH IN AMERICA. >> IT’S UNIMAGINABLE THAT WE
>> IT’S UNIMAGINABLE THAT WE COULD GET TO THE POINT WE’RE AT
COULD GET TO THE POINT WE’RE AT TODAY.
TODAY. THERE’S BEEN INCREDIBLE
THERE’S BEEN INCREDIBLE PROGRESS, BUT THERE’S STILL A
PROGRESS, BUT THERE’S STILL A LOT TO DO.
LOT TO DO. >> Reporter: AT UCLA, THE SAME
>> Reporter: AT UCLA, THE SAME PLACE TO REPORT THE DISEASE,
PLACE TO REPORT THE DISEASE, PROMPTING AN ALERT FROM THE CDC
PROMPTING AN ALERT FROM THE CDC AND SENDING DOCTORS AND THE
AND SENDING DOCTORS AND THE MEDIA TO EXPLAIN WHAT PEOPLE
MEDIA TO EXPLAIN WHAT PEOPLE STARTED TO CALL GAY CANCER.
STARTED TO CALL GAY CANCER. >> THIS HAS TRIGGERED AN
>> THIS HAS TRIGGERED AN EPIDEMIC OF A RARE FORM OF
EPIDEMIC OF A RARE FORM OF CANCER.
CANCER. >> I HAD A FRIEND BENARD THAT
>> I HAD A FRIEND BENARD THAT SAID HE HAD GAY CANCER.
SAID HE HAD GAY CANCER. I WAS LIKE WHAT?
I WAS LIKE WHAT? WHAT IS THAT?
WHAT IS THAT? I DIDN’T UNDERSTAND AND THEN HE
I DIDN’T UNDERSTAND AND THEN HE WAS GONE.
WAS GONE. >> HE DIED?
>> HE DIED? >> YEAH.
>> YEAH. >> Reporter: THAT SORT OF STORY
>> Reporter: THAT SORT OF STORY BEGAN PLAYING OUT ACROSS THE
BEGAN PLAYING OUT ACROSS THE COUNTRY AS HOSPITALS BECAME
COUNTRY AS HOSPITALS BECAME OVERWHELMED BY AIDES, ESPECIALLY
OVERWHELMED BY AIDES, ESPECIALLY THE ONE AT SAN FRANCISCO GENERAL
THE ONE AT SAN FRANCISCO GENERAL WHERE RITA VOLUNTEERED AROUND
WHERE RITA VOLUNTEERED AROUND ALLISON AND CLIFF WERE NURSE.
ALLISON AND CLIFF WERE NURSE. >> AFTER THE INTENSIVE CARE UNIT
>> AFTER THE INTENSIVE CARE UNIT FILLED UP AND WE WERE SPILLING
FILLED UP AND WE WERE SPILLING OVER INTO THE REGULAR UNIT OF
OVER INTO THE REGULAR UNIT OF THE HOSPITAL, THAT’S WHEN THINGS
THE HOSPITAL, THAT’S WHEN THINGS GOT OUT OF HAND.
GOT OUT OF HAND. >> Reporter: THE NURSES FEARED
>> Reporter: THE NURSES FEARED THIS UNKNOWN DISEASE THEY
THIS UNKNOWN DISEASE THEY WOULDN’T GO NEAR SOMEONE WITH
WOULDN’T GO NEAR SOMEONE WITH AIDES.
AIDES. >>
>> SOMETHING DIFFERENT BEGAN TO
SOMETHING DIFFERENT BEGAN TO HAPPEN AT SAN FRANCISCO GENERAL.
HAPPEN AT SAN FRANCISCO GENERAL. CLIFF SAW HIS FRIENDS GETTING
CLIFF SAW HIS FRIENDS GETTING SICK AND DYING.
SICK AND DYING. THAT LED TO THE NATION’S FIRST
THAT LED TO THE NATION’S FIRST AIDES FLOOR, FIVE B, ALSO A
AIDES FLOOR, FIVE B, ALSO A DOCUMENTARY.
DOCUMENTARY. >> THIS FILM STARTS WITH YOU RE
>> THIS FILM STARTS WITH YOU RE REVISITING PARTS OF THE FLOOR.
REVISITING PARTS OF THE FLOOR. >> THIS IS THE HARDEST THING.
>> THIS IS THE HARDEST THING. >> IT’S PROBABLY TOUGH TO
>> IT’S PROBABLY TOUGH TO SEPARATE PLACE FROM PEOPLE.
SEPARATE PLACE FROM PEOPLE. >> I DIDN’T REALLY THINK ABOUT
>> I DIDN’T REALLY THINK ABOUT THE POWER OF THAT IMAGE, WHAT IT
THE POWER OF THAT IMAGE, WHAT IT WAS GOING TO DO.
WAS GOING TO DO. >> YOU LOST FRIENDS ALONG THE
>> YOU LOST FRIENDS ALONG THE WAY IN THAT PLACE.
WAY IN THAT PLACE. >> YES.
>> YES. >> IT INSPIRED THE OPENING OF
>> IT INSPIRED THE OPENING OF THE UNIT.
THE UNIT. THERE WAS THE DESIRE TO SEE THE
THERE WAS THE DESIRE TO SEE THE PATIENTS AS PEOPLE, NOT AS A
PATIENTS AS PEOPLE, NOT AS A DISEASE.
DISEASE. >> HOW DIFFICULT WAS THAT
>> HOW DIFFICULT WAS THAT KNOWING THAT WHEN PEOPLE WOULD
KNOWING THAT WHEN PEOPLE WOULD COME IN THAT YOU PROBABLY
COME IN THAT YOU PROBABLY COULDN’T SAVE THEIR LIFE?
COULDN’T SAVE THEIR LIFE? >> IT WAS -- IT WAS DIFFICULT.
>> IT WAS -- IT WAS DIFFICULT. WE KIND OF KNEW THAT.
WE KIND OF KNEW THAT. THEN I THINK SPEAKING FOR MYSELF
THEN I THINK SPEAKING FOR MYSELF I HAD THIS HOPE, YOU KNOW, IT
I HAD THIS HOPE, YOU KNOW, IT WAS STILL RELATIVELY EARLY ON.
WAS STILL RELATIVELY EARLY ON. WE DIDN’T KNOW HOW THE NUMBERS
WE DIDN’T KNOW HOW THE NUMBERS WOULD GROW.
WOULD GROW. >> Reporter: THE NUMBER, THE
>> Reporter: THE NUMBER, THE DEATHS DID GROW QUICKLY.
DEATHS DID GROW QUICKLY. WITH THEM SO DID THE FEAR.
WITH THEM SO DID THE FEAR. >> A SIZEABLE MAJORITY OF
>> A SIZEABLE MAJORITY OF AMERICANS BELIEVE NO SEGMENT OF
AMERICANS BELIEVE NO SEGMENT OF THE POPULATION WILL BE SPARED
THE POPULATION WILL BE SPARED AIDES.
AIDES. >> IT FELT LIKE THE END OF THE
>> IT FELT LIKE THE END OF THE WORD.
WORD. I HAD THE OPPORTUNITY TO REVISIT
I HAD THE OPPORTUNITY TO REVISIT AND THE REASON I’M WORKING AT A
AND THE REASON I’M WORKING AT A LATE AGE IS BECAUSE I DIDN’T
LATE AGE IS BECAUSE I DIDN’T PLAN FOR RETIREMENT.
PLAN FOR RETIREMENT. I THOUGHT I WOULD BE DEAD.
I THOUGHT I WOULD BE DEAD. >> YOU THOUGHT YOU WERE GOING TO
>> YOU THOUGHT YOU WERE GOING TO GET AIDES AND DIE?
GET AIDES AND DIE? >> YES.
>> YES. >> Reporter: A GROWING NUMBERS
>> Reporter: A GROWING NUMBERS OF DOCTORS AN NURSES IN WARD
OF DOCTORS AN NURSES IN WARD FIVE B DID SOMETHING
FIVE B DID SOMETHING REVOLUTIONARY.
REVOLUTIONARY. THEY TOUCHED PEOPLE WITH AIDES.
THEY TOUCHED PEOPLE WITH AIDES. >> SOMEWHERE IN MY UNCONSCIOUS
>> SOMEWHERE IN MY UNCONSCIOUS THERE WAS A CONCERN.
THERE WAS A CONCERN. I THINK WHAT OVERRODE THAT IN MY
I THINK WHAT OVERRODE THAT IN MY CONSCIOUSNESS REALLY WAS A
CONSCIOUSNESS REALLY WAS A PASSION TO PROVIDE CARE AND TO
PASSION TO PROVIDE CARE AND TO SOMEHOW MAKE A DIFFERENCE IN THE
SOMEHOW MAKE A DIFFERENCE IN THE COURSE OF THIS DISEASE.
COURSE OF THIS DISEASE. >> EVERY SINGLE DAY AIDES KILLS
>> EVERY SINGLE DAY AIDES KILLS ALL KIND OF PEOPLE RANDOMLY.
ALL KIND OF PEOPLE RANDOMLY. >> THIS IS HYSTERIA, FEAR
>> THIS IS HYSTERIA, FEAR MONGERING, CRAZINESS.
MONGERING, CRAZINESS. SOMEBODY HAD TO SAY YOU GOT TO
SOMEBODY HAD TO SAY YOU GOT TO STOP THIS.
STOP THIS. >> Reporter: THE CARE GIVERS IN
>> Reporter: THE CARE GIVERS IN FIVE B WERE DOING THEIR OWN
FIVE B WERE DOING THEIR OWN ACTIVISM SHOWING THE WORD THAT
ACTIVISM SHOWING THE WORD THAT AIDES PATIENTS NEEDED TO BE
AIDES PATIENTS NEEDED TO BE TREATED LIKE EVERYONE ELSE.
TREATED LIKE EVERYONE ELSE. THEY EXPRESSED THAT ON NATIONAL
THEY EXPRESSED THAT ON NATIONAL TELEVISION.
TELEVISION. >> WHAT ARE YOU LEARNING IN SAN
>> WHAT ARE YOU LEARNING IN SAN FRANCISCO?
FRANCISCO? >> ONE OF THE TRAGEDIES IS THAT
>> ONE OF THE TRAGEDIES IS THAT A PERSON CAN BE INFECTED AND
A PERSON CAN BE INFECTED AND APPEAR CERTAINLY HEALTHY AND BE
APPEAR CERTAINLY HEALTHY AND BE CONTAGIOUS.
CONTAGIOUS. >> Reporter: SOMETHING WAS
>> Reporter: SOMETHING WAS HAPPENING OUTSIDE HOSPITAL WALLS
HAPPENING OUTSIDE HOSPITAL WALLS ON AMERICA STREETS AS PRIDE
ON AMERICA STREETS AS PRIDE PARADES GREW AND MARCHES AND
PARADES GREW AND MARCHES AND PROTESTS GREW.
PROTESTS GREW. ONE OF THOSE AIDES ACTIVISTS WAS
ONE OF THOSE AIDES ACTIVISTS WAS TERRY PROTESTS IN FRONT OF SAN
TERRY PROTESTS IN FRONT OF SAN FRANCISCO POLICE.
FRANCISCO POLICE. >> THEY CAN DO SOMETHING ABOUT
>> THEY CAN DO SOMETHING ABOUT IT.
IT. THEY CAN FIGHT BACK AND
THEY CAN FIGHT BACK AND ORGANIZE.
ORGANIZE. >> Reporter: HE’S NOW THE
>> Reporter: HE’S NOW THE EXECUTIVE DIRECTOR OF THE LGBTQ
EXECUTIVE DIRECTOR OF THE LGBTQ HISTORICAL SOCIETY AND HE MADE
HISTORICAL SOCIETY AND HE MADE AN IMPORTANT POINT.
AN IMPORTANT POINT. THE AIDES CRISIS GALVANIZED THE
THE AIDES CRISIS GALVANIZED THE LGBTQ COMMUNITY LIKE NOTHING
LGBTQ COMMUNITY LIKE NOTHING BEFORE.
BEFORE. UP UNTIL THE ’80s DISCRIMINATION
UP UNTIL THE ’80s DISCRIMINATION WAS TOUGH.
WAS TOUGH. BUT NOW DISKRIMCRIMINATION AND
BUT NOW DISKRIMCRIMINATION AND PREJUDICE WERE COSTING PEOPLE’S
PREJUDICE WERE COSTING PEOPLE’S LIVES.
LIVES. >> IT PROPELLED THE RIGHTS
>> IT PROPELLED THE RIGHTS MOVEMENT BECAUSE IT BROUGHT
MOVEMENT BECAUSE IT BROUGHT FORWARD THE DISEASE AND
FORWARD THE DISEASE AND SURVIVAL.
SURVIVAL. WE WERE FIGHTING FOR OUR LIVES.
WE WERE FIGHTING FOR OUR LIVES. IT FORCED OUR COMMUNITY ACTUALLY
IT FORCED OUR COMMUNITY ACTUALLY EVEN MORE OUT OF THE CLOSET AND
EVEN MORE OUT OF THE CLOSET AND FORCED US TO ORGANIZE AND
FORCED US TO ORGANIZE AND FUNDRAISE, FORM NEW
FUNDRAISE, FORM NEW ORGANIZATIONS.
ORGANIZATIONS. >> Reporter: DECADES LATER
>> Reporter: DECADES LATER AMERICA HAS MARRIAGE EQUALITY.
AMERICA HAS MARRIAGE EQUALITY. WE HAVE MEDICINE THAT RISKS
WE HAVE MEDICINE THAT RISKS SPREADING HIV.
SPREADING HIV. >> DID YOU HAVE ANY IDEA YOU
>> DID YOU HAVE ANY IDEA YOU WOULD BE STANDING HERE?
WOULD BE STANDING HERE? >> I HAD NO IDEA.
>> I HAD NO IDEA. >> ME NEITHER.
>> ME NEITHER. I’M WITH A REAL HERO.
I’M WITH A REAL HERO. SHE’S DONE SOME STUFF.
SHE’S DONE SOME STUFF. >> WE’RE ALL HEROS.
>> WE’RE ALL HEROS. I FEEL LIKE I’M STANDING HERE
I FEEL LIKE I’M STANDING HERE WITH MANY ANGELS NO LONGER HERE.
WITH MANY ANGELS NO LONGER HERE. >> THAT’S AN IMPORTANT POINT.
>> THAT’S AN IMPORTANT POINT. EVERY PERSON WE TALKED TO,
EVERY PERSON WE TALKED TO, EVERYONE KNEW AT LEAST ONE IF
EVERYONE KNEW AT LEAST ONE IF NOT DOZENS OF THE 35 MILLION
NOT DOZENS OF THE 35 MILLION PEOPLE THAT DIED FROM HIV AND
PEOPLE THAT DIED FROM HIV AND AIDES.
AIDES. >> Reporter: THEY TALKED ABOUT
>> Reporter: THEY TALKED ABOUT THE PROGRESSED YET ACHIEVED.
THE PROGRESSED YET ACHIEVED. >> I THINK ELIMINATING THE
>> I THINK ELIMINATING THE STIGMA AND ACCESS TO MEDICAL
STIGMA AND ACCESS TO MEDICAL CARE WOULD GO A LONG WAY.
CARE WOULD GO A LONG WAY. THERE SEEMS TO BE AN ABSENCE OF
THERE SEEMS TO BE AN ABSENCE OF COMPASSION.
COMPASSION. >> COMPASSION, THE BELIEF THAT
>> COMPASSION, THE BELIEF THAT EVERYBODY HAS THE RIGHT TO BE
EVERYBODY HAS THE RIGHT TO BE WHO THEY ARE.
WHO THEY ARE. >> THE BIG CHALLENGE I THINK IS
>> THE BIG CHALLENGE I THINK IS LOOKING AT HOW HEALTH CARE IS
LOOKING AT HOW HEALTH CARE IS DELIVERED.
DELIVERED. >> THERE’S A SERIOUS DISPARITY
>> THERE’S A SERIOUS DISPARITY IN CARE THAT’S PROVIDED TO
IN CARE THAT’S PROVIDED TO PEOPLE OF COLOR IN OUR COUNTRY.
PEOPLE OF COLOR IN OUR COUNTRY. >> IF IT’S JUST GAY WHITE MEN OF
>> IF IT’S JUST GAY WHITE MEN OF PRIVILEGE WHO ARE ASKING FOR OUR
PRIVILEGE WHO ARE ASKING FOR OUR RIGHTS AND IGNORING THE
RIGHTS AND IGNORING THE NECESSITY TO FIGHT TO THE RISING
NECESSITY TO FIGHT TO THE RISING TREND OF PEOPLE, NEITHER ONE OF
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Czech:
Žhnoucí objekt na tomto novém snímku z Hubblova teleskopu
možná vypadá, jako kdyby patřil do nějakého Tolkienova románu,
ale ve skutečnosti je to mlhovina obvykle zvaná Prstencová nebo Messier 57.
I když mlhovina patří k nejpopulárnějším nebeským objektům,
astronomové, více než 200 let po jejím objevu stále ještě odhalují některá z jejích tajemství.
Hubblecast 66: Hubble odhaluje tajemství Prstencové mlhoviny
Průvodcem je Dr. J, alias Dr. Joe Liske
Vítejte u další epizody série Hubblecast!
Modern Greek (1453-):
Το πύρινο θέαμα σε αυτή τη νέα εικόνα του Χαμπλ
μοιάζει να ταιριάζει περισσότερο σε νουβέλα του Τόλκιν,
όμως πρόκειται για το γνωστό Δακτυλιοειδές Νεφέλωμα, ή Μεσιέρ 57.
Αν και το νεφέλωμα αυτό είναι από τα πιο διάσημα αντικείμενα του ουρανού,
200 χρόνια μετά την ανακάλυψή του εξακολουθεί να αποκαλύπτει τα μυστικά του.
Hubblecast 66: Το Χαμπλ αποκαλύπτει τα μυστικά του Δακτυλιοειδούς Νεφελώματος
Παρουσιάζει ο Δρ. Τζέι, ή κατά κόσμον Δρ. Τζο Λίσκε
Γεια σας και καλωσήλθατε σε ένα ακόμη επεισόδιο του Hubblecast!
German:
Das feurige Thema dieses neuen Hubble-Bildes
mag wohl eher wie aus einem Tolkien-Roman erscheinen.
Doch es ist in Wirklichkeit ein Nebel, bekannt als der Ringnebel oder Messier 57.
Obwohl dieser Nebel eines der bekanntesten Objekte am Himmel ist,
rätseln mehr als 200 Jahre nach seiner Entdeckung die Astronomen immer noch an einigen seiner Geheimnisse.
Hubblecast 66: Hubble lüftet die Geheimnisse des Ringnebels
Präsentiert von Dr. J, alias Dr. Joe Liske
Hallo und willkommen zu einer weiteren Folge des Hubblecast!
English:
The fiery subject of this new Hubble image
may seem like it would be more at home in a Tolkien novel,
but, it is actually a nebula known as the Ring Nebula, or Messier 57.
Although this nebula is one of the most famous objects in our skies,
more than 200 years after its discovery astronomers are still unveiling some of its secrets.
Hubblecast 66: Hubble uncovers the secrets of the Ring Nebula
Presented by Dr. J, aka Dr Joe Liske
Hello and welcome to another episode of the Hubblecast!
Polish:
Ognisty bohater nowego zdjęcia wykonanego teleskopem Hubble'a
wydaje się żywcem wyciągnięty z powieści Tolkiena,
to mgławica znana jako Mgławica Pierścień lub Messier 57.
Chociaż jest to jeden z najbardziej znanych obiektów nieba,
ponad 200 lat po jej odkryciu astronomowie wciąż odkrywają jej kolejne tajemnice.
Hubblecast 66: Hubble odkrywa tajemnice Mgławicy Pierścień
przedstawia dr J, a.k.a. dr Joe Liske
Witajcie! Zapraszam na kolejny odcinek Hubblecast!
Spanish:
El tema candente de esta nueva imagen del Hubble
podría parecer más apropiado para una novela de Tolkien,
pero, en realidad es una nebulosa conocida
como la Nebulosa del Anillo, o Messier 57.
Aunque esta nebulosa es uno de los objetos
más famosos de nuestros cielos,
más de 200 años después de su descubrimiento los astrónomos
aún están revelando algunos de sus secretos.
Episodio 66: Hubble descubre los secretos de la Nebulosa del Anillo
Presentado por Dr J, alias Dr Joe Liske
Hola y bienvenidos a otro episodio del Hubblecast!
Russian:
Огненный объект на этом новом снимке Хаббла
может показаться более уместным в романе Толкиена,
но в действительности, это Туманность Кольцо или М57.
Хотя эта туманность - один из самых знаменитых объектов на нашем небе,
и сейчас, спустя 200 лет после ее открытия, астрономы продолжают узнавать о ней что-то новое.
Хабблкаст 66: Хаббл открывает секреты Туманности Кольцо
Представляет д-р Джей ака д-р Джо Лиске
Привет и добро пожаловать в еще один эпизод Хабблкаста!
Slovenian:
Vroč objekt na tej novi Hubblovi sliki
izgleda, kot da je bolj doma v Tolkienovem romanu,
vendar je pravzaprav meglica, znana kot Obročasta meglica ali Messier 57.
Čeprav je ta meglica ena najbolj znanih objektov na nebu,
več kot 200 let po njenem odkritju astronomi še vedno razkrivajo nekatere njene skrivnosti.
Hubblecast 66: Hubble razkrije skrivnost Obročaste meglice
Voditelj: Dr. J., znan tudi kot Dr. Joe Liske
Pozdravljeni in dobrodošli v novi epizodi Hubblecast!
Spanish:
Hay muchas, muchas, hermosas y muy distintivas
nebulosas allí afuera,
y el Hubble ha fotografiado a muchas de ellas
a lo largo de los últimos 20 años.
Ahora, una de las más famosas de estas nebulosas
es un objeto llamado Messier 57,
también conocida por su nombre más popular: la Nebulosa del Anillo.
Bastante brillante y cercana a la Tierra,
la Nebulosa del Anillo se encuentra a poco más
de 2 000 años luz de distancia de nosotros.
Es un ejemplo prominente de una nebulosa planetaria,
donde una estrella moribunda similar a nuestro Sol
ha expulsado sus capas exteriores hacia el espacio.
La nebulosa se asemeja mucho a la igualmente colorida
Nebulosa de la Hélice, que se formó de la misma manera.
Ambas son objetivos comunes de observación
y han sido bien estudiadas por años tanto
por astrónomos profesionales como aficionados.
Polish:
Na niebie można znaleźć wiele pięknych i oryginalnych mgławic
i teleskop Hubble'a sfotografował wiele z nich w ciągu ostatnich 20 lat.
Jedną z najbardziej znanych mgławic
jest obiekt o nazwie Messier 57,
znany szerzej pod nazwą: Mgławica Pierścień.
Jasna i położona blisko Ziemi
Mgławica Pierścień znajduje się zaledwie 2000 lat świetlnych od nas.
To doskonały przykład mgławicy planetarnej,
w której umierająca gwiazda podobna do naszego Słońca odrzuciła zewnętrzne powłoki w przestrzeń.
Mgławica bardzo przypomina równie barwną Mgławicę Slimak, która powstała w podobny sposób.
Obie są częstym obiektem obserwacji
i zostały w ciągu wielu lat dobrze zbadane przez zawodowych astronomów i amatorów astronomii.
Modern Greek (1453-):
Υπάρχουν πάρα πολλά όμορφα και ξεχωριστά νεφελώματα εκεί έξω,
και το Χαμπλ έχει απεικονίσει πολλά από αυτά τα τελευταία 20 περίπου χρόνια.
Ένα από τα πλέον γνωστά από αυτά τα νεφελώματα
είναι το ονομαζόμενο Μεσιέρ 57,
γνωστό επίσης ως Δακτυλιοειδές Νεφέλωμα.
Αρκετά λαμπρό και κοντινό προς τη Γη,
το Δακτυλιοειδές Νεφέλωμα βρίσκεται περισσότερο από 2000 έτη φωτός μακριά.
Αποτελεί εξέχον παράδειγμα πλανητικού νεφελώματος,
στο οποίο ένα άστρο σαν τον Ήλιο μας εκτίναξε τα εξωτερικά του στρώματα τη στιγμή του θανάτου του.
Το νεφέλωμα μοιάζει αρκετά με το εξίσου πολύχρωμο Νεφέλωμα της Έλικας, το οποίο δημιουργήθηκε με τον ίδιο τρόπο.
Και τα δύο αποτελούν συχνά αντικείμενο παρατηρήσεων
και έχουν μελετηθεί ιδιαίτερα για χρόνια, τόσο από επαγγελματίες όσο και από ερασιτέχνες αστρονόμους.
Russian:
На небе есть много, много красивых и очень узнаваемых туманностей,
многие из которых Хаббл снимал в течение последних 20 лет или около того.
Одной из самых известных туманностей
является объект Мессье 57,
который также называют Туманность Кольцо.
Очень яркая и близкая к Земле,
Туманность Кольцо находится на расстоянии всего 2 тысячи световых лет от нас.
Это - выдающийся пример планетарной туманности,
когда умирающая звезда наподобие нашего Солнца вытолкнула внешние слои в космос.
Своим цветом туманность сильно напоминает Туманность Улитка, которая сформировалась так же.
Обе - обычные цели для наблюдений
и хорошо изучены профессионалами и любителями за годы наблюдений.
German:
Es gibt ja so viele schöne und markante Nebel da draußen.
Und Hubble hat viele von ihnen in den letzten 20 Jahren fotografiert.
Einer der berühmtesten dieser Nebel
ist ein Objekt namens Messier 57,
auch bekannt als: Der Ringnebel.
Er ist ziemlich hell und ist uns relativ nah;
der Ringnebel steht knapp über 2 000 Lichtjahre von uns entfernt.
Er ist ein prominentes Beispiel für einen planetarischen Nebel,
bei dem ein sterbender Stern wie unsere Sonne seine äußeren Schichten in den Weltraum abgestoßen hat.
Der Nebel ähnelt stark dem ebenfalls farbenprächtigen Helixnebel, der auf gleiche Weise entstanden ist.
Beide sind beliebte Beobachtungsobjekte
und werden schon seit Jahren sowohl von professionellen, als auch Amateurastronomen erforscht.
Czech:
Ve vesmíru jsou spousty nádherných a zajímavých mlhovin
a mnohé z nich Hubblův teleskop během posledních 20 let vyfotil.
Mezi nejznámější mlhoviny
patří objekt zvaný Messier 57,
populární též jako Prstencová mlhovina.
Je oslnivě jasná a je k nám blízko.
Prstencová mlhovina leží ve vzdálenosti něco přes 2000 světelných roků.
Je to typický příklad planetární mlhoviny,
již po sobě zanechala umírající hvězda podobná Slunci poté, co odvrhla svou obálku.
Mlhovina připomíná stejně barevnou, zvanou Helix, která vznikla stejným způsobem.
Obě mlhoviny jsou častým cílem
pozorování profesionálních i amatérských astronomů.
Slovenian:
Na nebu je veliko, veliko čudovitih in zelo raznolikih meglic
in Hubble je mnoge med njimi v zadnjih 20 letih tudi posnel.
Ena najbolj znanih izmed teh meglic
je objekt, imenovan Messier 57,
poznan tudi po bolj popularnem imenu: Obročasta meglica.
Ognjeno svetla in blizu Zemlje,
Obročasta meglica leži le nekaj več kot 2000 svetlobnih let stran od nas.
Je še posebej izstopajoč primer planetarne meglice,
kjer je umirajoča zvezda, kot je na primer naše Sonce, odvrgla svoje zunanje plasti v vesolje.
Meglica je zelo podobna enako barviti Meglici Helix, ki je nastala na enak način.
Obe sta pogosti opazovalni tarči,
ki ju tako amaterski kot tudi profesionalni astronomi preučujejo že veliko let.
English:
Now there are many, many beautiful and very distinctive nebulae out there,
and Hubble has imaged many of these over the past 20 years or so.
Now one of the most famous of these nebulae
is an object called Messier 57,
also known by its more popular name: the Ring Nebula.
Fairy bright and close to Earth,
the Ring Nebula lies just over 2 000 light-years away from us.
It is a prominent example of a planetary nebula,
where a dying star like our Sun has pushed its outer layers out into space.
The nebula closely resembles the equally colourful Helix Nebula, which formed in the same way.
Both are common observational targets
and have been well studied by both professional and amateur astronomers for years.
Spanish:
La Nebulosa del Anillo fue descubierta a finales del siglo 18
Pero su verdadera forma y estructura
se han mantenido poco claras ...
...hasta ahora.
Un grupo de astrónomos ha utilizado el Telescopio Espacial Hubble de NASA/ESA,
junto con datos existentes en tierra,
para explorar en profundidad la Nebulosa del Anillo.
Los astrónomos querían comprender mejor la estructura de la nebulosa,
su evolución, condiciones físicas y movimiento.
Y resultó que la Nebulosa del Anillo no es, después de todo,
muy en forma de anillo.
Desde la perspectiva de la Tierra, la Nebulosa del Anillo
se parece a una forma elíptica simple con límites borrosos.
Pero las nuevas observaciones del Hubble muestran claramente
que la nebulosa tiene en realidad una forma
más parecida a una rosquilla distorsionada.
English:
The Ring Nebula was discovered in the late 18th century
But its true shape and structure have remained somewhat unclear...
...until now.
A team of astronomers has used the NASA/ESA Hubble Space Telescope,
alongside existing ground-based data,
to explore the Ring Nebula in depth.
The astronomers wanted to better understand the nebula’s structure,
its evolution, physical conditions, and motion.
And it turns out that the Ring Nebula is not in fact very ring-shaped after all.
From Earth’s perspective, the Ring Nebula
looks like a simple elliptical shape with a fuzzy boundary.
But the new Hubble observations show clearly
that the nebula is actually shaped more like a distorted doughnut.
Slovenian:
Obročasta meglica je bila odkrita konec 18. stoletja,
vendar je njena prava oblika in struktura ostala nekoliko nejasna...
do sedaj.
Skupina astronomov je uporabila Nasin/Esin Hubblov vesoljski teleskop
skupaj z obstoječimi podatki z Zemlje,
da bi lahko podrobno raziskali Obročasto meglico.
Astronomi so hoteli bolje razumeti strukturo meglice,
njeno evolucijo, fizično stanje in gibanje.
Izkazalo se je, da Obročasta meglica pravzaprav sploh nima oblike obroča.
Iz Zemljine perspektive Obročasta meglica
izgleda kot preprosta eliptična figura z nejasnimi mejami.
Vendar nova Hubblova opazovanja jasno kažejo,
da je oblika meglice bolj podobna raztegnjenemu ameriškemu krofu z luknjo.
German:
Der Ringnebel wurde Ende des 18. Jahrhunderts entdeckt.
Doch seine wahre Form und Struktur sind etwas unklar geblieben ...
...bis heute.
Ein Team von Astronomen hat das Hubble-Weltraumteleskop der NASA/ESA genutzt,
neben älteren vom Boden aus gewonnenen Daten,
um dem Ringnebel auf den Grund zu gehen.
Die Astronomen wollten die Struktur des Nebels besser verstehen,
seine Entwicklung, seine physische Beschaffenheit und seine Bewegung.
Und es stellte sich heraus, dass der Ringnebel gar nicht wirklich ringförmig ist.
Aus der Sicht der Erde sieht der Ringnebel
wie eine einfache Ellipse mit einem unscharfen Rand aus.
Aber die neuen Hubble-Beobachtungen zeigen deutlich
dass der Nebel eher wie ein verzerrter Donut geformt ist.
Czech:
Prstencová mlhovina byla objevena na konci 18. století,
ale jejím skutečným tvarem a strukturou jsme si nebyli jisti…
...až dosud.
Tým astronomů, který použil data z Hubblova teleskopu
spolu s daty z pozemských dalekohledů,
prozkoumal Prstencovou mlhovinu doslova do hloubky.
Astronomové chtěli lépe porozumět struktuře mlhoviny,
jejímu vývoji, fyzikálním vlastnostem a vlastnímu pohybu.
Ukazuje se, že Prstencová mlhovina ve skutečnosti není moc prstencová.
Při pohledu ze Země má tvar
jednoduché elipsy s rozmazaným okrajem.
Nová pozorování Hubblova teleskopu však ukazují,
že mlhovina má spíš tvar deformované koblihy.
Modern Greek (1453-):
Το Δακτυλιοειδές Νεφέλωμα ανακαλύφθηκε προς το τέλος του 18ου αιώνα
Όμως το πραγματικό του σχήμα και η δομή του παρέμειναν ασαφή...
...μέχρι σήμερα.
Μία ομάδα αστρονόμων χρησιμοποίησε το Διαστημικό Τηλεσκόπιο Χάμπλ των NASA/ESA
σε συνδυασμό με επίγεια παρατηρησιακά δεδομένα,
για να μελετήσει σε βάθος το Δακτυλιοειδές Νεφέλωμα.
Οι αστρονόμοι θέλησαν να καταλάβουν καλύτερα τη δομή του νεφελώματος,
την εξέλιξη, τις φυσικές ιδιότητες και τη κίνησή του.
Και αποκαλύφθηκε ότι το Δακτυλιοειδές Νεφέλωμα δεν έχει τόσο καλοσχηματισμένο δακτύλιο.
Παρατηρώντας το από τη Γη, το Δακτυλιοειδές Νεφέλωμα
δείχνει να έχει ένα απλό ελλειψοειδές σχήμα με αόριστα όρια.
Όμως οι νέες παρατηρήσεις του Χαμπλ δείχνουν καθαρά
πως το νεφέλωμα μοιάζει περισσότερο με ένα κακοσχηματισμένο ...λουκουμά.
Russian:
Туманность Кольцо была открыта в конце 18го века
Но ее настоящие форма и структура оставались непонятными
до сих пор.
Команда астрономов использовала космический телескоп Хаббл
вместе с данными наземных наблюдений,
чтобы тщательно изучить Туманность Кольцо.
Астрономы хотели лучше понять структуру туманности,
ее эволюцию, физические условия и движение.
Оказалось, что в действительности, что у Туманности Кольцо совсем не кольцеобразная форма.
С Земли Кольцо
видно как простая эллиптическая форма с размытыми краями.
Но новые наблюдения Хаббла ясно показывают,
что форма туманности похода на искаженный пончик.
Polish:
Mgławica Pierścień została odkryta pod koniec XVIII wieku
Jednak jej prawdziwy kształt i budowa pozostały nieznane...
....do teraz.
Zespół astronomów wykorzystał należący do NASA/ESA Teleskop Kosmiczny Hubble'a
oraz istniejące dane zebrane z Ziemi
i dogłębnie zbadał Mgławicę Pierścień.
Astronomowie chcieli lepiej zrozumieć budowę mgławicy,
jej ewolucję, warunki fizyczne i ruch.
Okazało się, że Mgławica Pierścień wcale nie ma kształtu pierścienia.
Z perspektywy Ziemi Mgławica Pierścień
wygląda jak prosty, eliptyczny kształt o nierównej granicy.
Jednak nowe obserwacje za pomocą teleskopu Hubble'a wyraźnie ukazują,
że mgławica ma w rzeczywistości rozmyty kształt pączka z dziurką.
Polish:
My spoglądamy prawie bezpośrednio na jeden z biegunów obiektu,
i widzimy jasny, rozciągający się pierścień materii.
Chociaż środek tego pączka może wydawać się pusty,
w rzeczywistości wypełniony jest materią o niższej gęstości, która rozciąga się w naszym i w przeciwnym kierunku
tworząc kształt trochę podobny do piłki do rugby wciśniętej w środek pączka.
Przestrzeń otaczająca mgławicę jest pełna turbulencji i węzłów, które powstały w przeszłości.
Nowe badania nie zgadzają się z wcześniejszymi modelami Mgławicy Pierścień,
które sugerowały sferyczny kształt obiektu.
Gdybyśmy byli w stanie obrócić Mgławicę Pierścień o 90 stopni i spojrzeć na nią z boku,
wyglądem przypominałaby mgławicę Messier 76
znaną pod nazwą "Małe Hantle".
German:
Wir schauen fast genau auf einen der Pole der Struktur,
mit einem farbenfrohen Reif aus Materie.
Obwohl das Zentrum dieses Donuts vielleicht leer aussieht,
ist es voller Materie geringer Dichte, die sich sowohl auf uns zu als auch von uns weg erstreckt
und dabei eine Form wie ein Rugby-Ball hat, der in dem zentralen Loch des Donuts sitzt.
Der umgebende Raum ist turbulent und voller knotiger Strukturen, die sich im Laufe der Zeit gebildet haben.
Diese neuen Erkenntnisse stimmen nicht mit früheren Modellen des Ringnebels überein,
die vermutet ließen, dass das Objekt eine weniger kugelförmige Gestalt hat.
Wenn wir den Ringnebel um 90 Grad drehen und dann seitlich betrachten könnten,
würde er wohl eher ähnlich wie Messier 76 aussehen,
dem „kleinen Hantelnebel“.
Czech:
Díváme se na ni téměř přesně ze směru její polární osy
a vidíme stěny barevného válce směřující od nás dozadu.
Ačkoli vnitřek koblihy vypadá být prázdný,
je ve skutečnosti vyplněn látkou o nižší hustotě, která se v prostoru rozprostírá směrem od nás i k nám
a vytváří strukturu připomínající ragbyový míč zasazený do centrální dutiny v koblize.
V turbulentním okolí mlhoviny pozorujeme četné vláknité struktury, které vznikly během vývoje mlhoviny.
Nový výzkum zpochybňuje starší modely Prstencové mlhoviny,
které předpokládaly spíše sférický tvar.
Kdybychom mohli mlhovinu otočit o 90 stupňů a podívat se na ni ze strany,
mohla by vypadat podobně jako Messier 76,
mlhovina známá též jako „Malá činka“.
English:
We are looking almost directly down one the poles of the structure,
with a brightly-coloured barrel of material stretching away from us.
Although the centre of this doughnut may look empty,
it is full of lower-density material that stretches both towards and away from us,
creating a shape a little like a rugby ball slotted into the doughnut’s central gap.
The space surrounding the nebula is turbulent and full of knotty structures that formed in the nebula’s past.
This new research disagrees with previous models of the Ring Nebula,
which had suggested that the object has a less spherical shape.
If we were able to rotate the Ring Nebula by 90 degrees and view it side-on,
it has been suggested that it would actually look more like Messier 76,
a nebula also known as the “Little Dumbbell”.
Slovenian:
Gledamo skoraj direktno proti poloma strukture
s svetlo obarvanim snopom materiala, ki se razteza stran od nas.
Čeprav središče tega krofa mogoče izgleda prazno,
je polno materiala z majhno gostoto, ki se razteza tako stran kot proti nam
in ustvarja obliko, ki spominja na žogo za rugby, ki je vstavljena v krofovo luknjo.
Prostor v bližini meglice je turbulenten in poln vozlastih struktur, ki so nastale v preteklosti.
Ta nova raziskava se ne strinja s prejšnjimi modeli Obročaste meglice,
ki so predlagali, da ima meglica manj sferično obliko.
Če bi lahko Obročasto meglico zavrteli za 90 stopinj in jo pogledali od strani,
naj bi po predlogih izgledala bolj podobna Messierju 76,
meglici, ki je znana tudi kot "Mala ročka".
Russian:
Мы смотрим на полюс этой структуры практически прямо сверху-вниз
а красивая цветная бочка материала вытянута от нас.
Хотя центр этого пончика выглядит пустым,
он полон материала низкой плотности, который вытянулся по направлению к нам и от нас,
создав форму, слегка похожую на регбийный мяч, помещенный в центральное отверстие пончика.
Пространство вокруг туманности турбулентно и полно узелков, сформировавшихся в прошлом.
Новое исследование опровергает ранние модели Туманности Кольцо,
которые предполагали, что у объекта менее сферическая форма.
Если бы мы могли повернуть Туманность Кольцо на 90 градусов и посмотреть на нее сбоку,
она бы выглядела, как Мессье 76,
туманность под названием "Маленькая Гантель"
Spanish:
Estamos mirando casi directamente hacia abajo
de uno de los polos de la estructura,
con un colorido y brillante tonel de material
que se extiende lejos de nosotros.
Aunque el centro de esta rosquilla puede parecer vacío,
está lleno de material de baja densidad que se extiende
tanto hacia nosotros como en dirección opuesta,
creando una forma parecida a una pelota de rugby
encajada en el agujero de la rosquilla.
El espacio que rodea la nebulosa es turbulento y está repleto de estructuras nodulares que se formaron en el pasado de la nebulosa.
Esta nueva investigación discrepa con
los modelos anteriores de la Nebulosa del Anillo,
que había sugerido que el objeto tiene una forma
menos esférica.
Si fuéramos capaces de girar la Nebulosa del Anillo
90 grados y verla de lado,
se ha sugerido que en realidad se vería más como Messier 76,
una nebulosa también conocida como la "Pequeña Mancuerna".
Modern Greek (1453-):
Εμείς βλέπουμε σχεδόν κάθετα ένα από τους πόλος αυτής της δομής,
με ένα κύλινδρο ύλης με έντονο χρώμα να απομακρύνεται από εμάς.
Αν και το κέντρο του λουκουμά μπορεί να μοιάζει άδειο,
είναι γεμάτο από ύλη χαμηλής πυκνότητας που εκτείνεται τόσο προς, όσο και μακριά από εμάς,
δημιουργώντας ένα σχηματισμό σα μπάλα του ράγκμπι που διαπερνά το κεντρικό άνοιγμα.
Ο χώρος που περιβάλλει το νεφέλωμα είναι ταραχώδης και γεμάτος από σχηματισμούς σα κόμπους, που δημιουργήθηκαν στην εξέλιξη του νεφελώματος.
Η νέα μελέτη διαφοροποιείται από τα προηγούμενα μοντέλα του Δακτυλιοειδούς Νεφελώματος
τα οποία θεωρούν ότι το σχήμα του δεν είναι τόσο σφαιρικό.
Αν μπορούσαμε να περιστρέψουμε το Νεφέλωμα κατά 90 μοίρες και να το δούμε από το πλάι
θεωρείται ότι θα έμοιαζε περισσότερο με το Μεσιέρ 76,
γνωστός ως Νεφέλωμα του Μικρού Αλτήρα.
Slovenian:
Te meglice nastanejo iz ioniziranega plina iz atmosfere umirajoče zvezde.
Na koncu svojih življenj te zvezde odvržejo svoje zunanje plasti
in se spremenijo v zelo majhna, vroča telesa, znana kot bele pritlikavke,
ki so končna evolucijska faza zvezd, kot je naše Sonce.
S pomočjo novih Hubblovih opazovanj
sedaj veliko bolje razumemo
pravo strukturo Obročaste meglice.
Za Hubblecast: Dr. J.
Tudi tokrat nas je narava presenetila preko naše najbolj drzne domišljije.
Hubblecast pripravlja ESA/Hubble in Evropski južni observatorij v Nemčiji.
Misija Hubble je projekt mednarodnega sodelovanja med Naso in Evropsko vesoljsko agencijo.
www.spacetelescope.org
Besedilo: ESA/Hubble. Prevod: Portal v vesolje
German:
Diese Nebel bestehen aus ionisiertem Gas, das aus der Atmosphäre eines sterbenden Sterns stammt.
Am Ende ihres Lebens stoßen diese Sterne ihre äußeren Schichten ab
und schrumpfen dann zu sehr kleinen, heißen Körpern, die man weiße Zwerge nennt;
der letzten Evolutionsstufe eines Sterns wie unsere eigene Sonne.
Dank dieser neuen Beobachtungen von Hubble
haben wir jetzt ein viel besseres Verständnis
von der wahren Struktur des Ringnebels.
Ich bin Dr. J und sage auf Wiedersehen vom Hubblecast.
Wieder einmal hat uns die Natur über unsere wildeste Vorstellungskraft hinaus überrascht ...
Hubblecast wird von ESA/Hubble an der Europäischen Südsternwarte in Deutschland produziert.
Die Hubble-Mission ist ein Projekt der internationalen Zusammenarbeit zwischen der NASA und der Europäischen Weltraumorganisation.
www.spacetelescope.org
Untertitel: ESA/Hubble, Übersetzung: Norbert Vorstädt
Czech:
Tyto mlhoviny obsahují ionizovaný plyn pocházející z atmosfér umírajících hvězd.
Na konci života tyto hvězdy odvrhují vnější vrstvy
a zbydou po nich malá horká jádra známá jako bílí trpaslíci,
konečná stádia vývoje hvězd podobných našemu Slunci.
Díky pozorování Hubblova teleskopu
nyní struktuře Prstencové mlhoviny
rozumíme mnohem lépe.
Dr. J se loučí s dnešní epizodou série Hubblecast.
Příroda nás opět překvapila a překonala naše nejsmělejší představy.
Hublecast produkuje ESA/Hubble na Evropské jižní observatoři v Německu.
Hubblův teleskop je produktem mezinárodní spolupráce mezi NASA a Evropskou kosmickou agenturou.
www.spacetelescope.org
Text titulků ESA/Hubble, překlad Jan Veselý – Hvězdárna a planetárium v Hradci Králové.
Spanish:
Ahora bien, estas nebulosas están formadas de gas ionizado
de la atmósfera de una estrella moribunda.
Al final de sus vidas, estas estrellas pierden sus capas exteriores
y se convierten en cuerpos muy pequeños y calientes
conocidos como enanas blancas
la etapa evolutiva final de una estrella como nuestro Sol.
Gracias a estas nuevas observaciones del Hubble
tenemos ahora una mucho mejor comprensión
de la verdadera estructura de la Nebulosa del Anillo.
Este es Dr J despidiéndose para el Hubblecast.
Una vez más la naturaleza nos ha sorprendido
más allá de los límites de nuestra imaginación.
Hubblecast es producido por ESA/Hubble en el Observatorio Europeo Austral, en Alemania.
La misión Hubble es un proyecto de cooperación internacional entre la NASA y la Agencia Espacial Europea.
www.spacetelescope.org
Transcripción por ESA/Hubble - Traducido por Gastón Santhiá
Polish:
Te mgławice zbudowane są ze zjonizowanego gazu pochodzącego z atmosfery umierającej gwiazdy.
Pod koniec swojego życia odrzucają one zewnętrzne powłoki
i zmieniają się w bardzo małe, gorące obiekty znane jako białe karły
ostatni etap ewolucji gwiazd podobnych do naszego Słońca.
Dzięki tym nowym obserwacjom teleskopu Hubble'a
dużo lepiej rozumiemy teraz
prawdziwą strukturę Mgławicy Pierścień.
Tu dr J, to już wszystko w dzisiejszym odcinku Hubblecast.
Po raz kolejny natura zaskoczyła nas bardziej niż wyobraźnia.
Hubblecast powstaje w ESA/Hubble w Europejskim Obserwatorium Południowym w Niemczech.
Misja Hubble to międzynarodowy projekt NASA i Europejskiej Agencji Kosmicznej.
www.spacetelescope.org
Transkrypcja: ESA/Hubble. Tłumaczenie: Radosław Kosarzycki
Modern Greek (1453-):
Αυτά τα νεφελώματα αποτελούνται από ιονισμένο αέριο προερχόμενο από την ατμόσφαιρα ενός ετοιμοθάνατου άστρου.
Στο τέλος της ζωής τους αυτά τα άστρα αποτινάσσουν τα εξώτερα στρώματά τους
και γίνονται πολύ μικρά υπέρθερμα σώματα, γνωστά ως λευκοί νάνοι
το τελευταίο εξελικτικό στάδιο για άστρα όπως ο Ήλιος μας.
Εξαιτίας των νέων αυτών παρατηρήσεων του Χαμπλ
έχουμε πλέον κατανοήσει πολύ καλύτερα
τη πραγματική δομή του Δακτυλιοειδούς Νεφελώματος
Είμαι ο Δρ. Τζέι και εδώ τελειώνει το Hubblecast.
Για μία ακόμη φορά η φύση μας εκπλήσσει πέρα από κάθε φαντασία.
Το Hubblecast είναι μία παραγωγή του ESA/Hubble στο Ευρωπαϊκό Νότιο Αστεροσκοπείο στη Γερμανία.
Η αποστολή του Χαμπλ αποτελεί διεθνή συνεργασία μεταξύ της NASA και του Ευρωπαϊκού Οργανισμού Διαστήματος.
www.spacetelescope.org
Κείμενα: ESA/Hubble. Μετάφραση: Μανώλης Ζούλιας (ESON)
English:
Now these nebulae are formed of ionised gas from the atmosphere of a dying star.
At the end of their lives, these stars throw off their outer layers
and turn into very small, hot bodies known as white dwarfs
the final evolutionary stage of a star like our own Sun.
Thanks to these new observations from Hubble
we now have a much better understanding
of the true structure of the Ring Nebula.
This is Dr. J, signing off for the Hubblecast.
Once again nature has surprised us, beyond our wildest imagination.
The Hubblecast is produced by ESA/Hubble at the European Southern Observatory in Germany.
The Hubble mission is a project of international cooperation between NASA and the European Space Agency.
www.spacetelescope.org
Transcribed by ESA/Hubble. Translation --
Russian:
Эти туманности сформированы из ионизованного газа атмосфер умирающих звезд.
В конце жизни эти звезды сбрасывают внешние слои
и превращаются в очень маленькие горячие тела под названием белые карлики,
которые представляют собой конечную стадию эволюции звезды солнечного типа.
Благодаря этим наблюдениям Хаббла
теперь мы лучше понимаем
настоящую структуру Туманности Кольцо.
Это д-р Джей и я завершаю Хабблкаст.
И снова, природа удивила нас больше, чем самое живое воображение.
Хабблкаст производится Европейской Южной Обсерваторией в Германии
Миссия Хаббл - совместный проект НАСА и Европейского Космического Агентства
www.spacetelescope.org
Сценарий ESA/Hubble. Перевод д-ра Майкла и www.nebulacast.com
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The Search Engine Google is showing this animated
Doodle in few Countries for Maria Reiche’s
115th Birthday.
Maria Reiche was a German mathematician, archaeologist, and technical translator who carried out research
into the Nazca Lines in Peru, beginning in
1940, and had success in gaining recognition
and preservation of the property.
She helped educate people about this resource
and gain government recognition and preservation,
gaining her the title "Lady of the Lines".
In 1995 the Nazca Lines were declared a UNESCO
World Heritage Site.
The Nazca Lines are a series of large ancient
geoglyphs in the Nazca Desert, in southern
Peru.
The largest figures are up to 370 m long.
The scholars believe the Nazca Lines were
created by the Nazca culture between 500 BC
and 500 AD
The figures vary in complexity.
Hundreds are simple lines and geometric shapes;
more than 70 are zoomorphic designs of animals,
such as birds, fish, llamas, jaguars, and
monkeys, or human figures.
Other designs include phytomorphic shapes,
such as trees and flowers.
The designs are shallow lines made in the
ground by removing naturally occurring reddish
pebbles and uncovering the whitish/grayish
ground beneath.
Scholars differ in interpreting the purpose
of the designs but, in general, they ascribe
religious significance to them.
Because of its isolation and the dry, windless,
stable climate of the plateau, the lines have
mostly been preserved naturally.
Extremely rare changes in weather may temporarily
alter the general designs.
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Merhabalar! Ben Ercan.
Çırak Atölye’de yeni bir video ile karşınızdayım.
Bugün konumuz KODLAMA.
Kodlama ile ilgili merak ettiğiniz şeyleri konuşacağız.
Bir de sürpriz konuğum var.
Sürpriz! Onunla bir “kodlama kapışması” yapacağız.
YouTube’da “challenge”lar standarttır biliyorsunuz.
Yazılımcının da yapacağı challenge,
olsa olsa “kodlama challenge” olur!
Biliyorsunuz daha önce Arduino
ile ilgili bir video çekmiştik.
Hatta izlemediyseniz buradan izleyebilirsiniz.
O videoda iki takipçimize kitap hediye etmiştik.
Serimizin bu videosunda da ...
... yine, bu işi bir gelenek haline getirmek istiyoruz ve ...
... bize yorum yapan iki takipçimize daha
hediyeler vermek istiyoruz.
Haydi bakalım.
Bir tane çektim, iki tane çektim.
Bakalım neler çıktı?
Birinci yorumumu açıyorum.
Burak Şahan: “Bir Öğretmen olarak yakın takipteyim” demiş. Çok teşekkür ederiz Öğretmenim.
Öğrencilerinize selamlar.
İkinci talihlimiz:
Elif Tepe: “Tinkercad dersleri olacak mı?” demiş.
Evet, olacak.
Aynı Arduino ve kodlama formatında ...
... Tinkercad ile ilgili kodlama videolarımız da yakında.
Şimdi, Burak ve Elif için hediyelerimizi gösterelim.
"Projeler" başlıklı Çırak Dergi
hediye edeceğiz kendilerine.
Aşağıda bulunan Instagram
hesabından bize ulaşabilirsiniz.
Bilgilerinizi aktardığınızda ...
...kargo ile iletiyor olacağız hediyelerinizi.
Arduino, Scratch ve diğer konularda
projeler barındırıyor Çırak Dergi.
Bu projeleri Öğretmenim, öğrencilerine yaparsın İnşallah.
Elif sen de kendi projelerinde kullanırsın.
Güle güle kullanın.
Evet, klasiğimiz ile başlayalım:
“Kodlama hakkında merak ettiğiniz 8 şey!”
KODLAMA HAKKINDA BİLMENİZ GEREKEN 8 ŞEY
Kodlama, diğer adı ile Programlama;
bilgisayara, cep telefonuna, ...
... tablete ya da elektronik devrelere, hatta robotlara; ...
... ihtiyaçlarımızı karşılaması için neler
yapacağını kendi dilinde anlatmaktır.
Kodlama; bilgisayar yazılımları, uygulamalar ve
web sitelerini oluşturmamızı mümkün kılan şeydir.
Yani kullandığınız internet tarayıcınız,
işletim sisteminiz, ...
... telefonunuzdaki uygulamalar, Facebook
ve şu an bizi izlemekte olduğunuz YouTube ...
... kodlar ve kodlama yardımı ile çalışır.
Bugünkü bilgisayarlara ilham veren ilk
karmaşık makineler 19. yüzyılda üretildi.
İngiliz Matematikçi Ada Lovelace’ın
analitik motor için hazırladığı algoritma, ...
... bir makine tarafından çalıştırılması amacıyla ...
... hazırlanmış ilk yazılım olarak kabul ediliyor.
Bu yüzden Ada Lovelace’a
dünyanın ilk yazılımcısı diyebiliriz.
Üzerine kod yazılan ilk bilgisayar ise 1946 yılında ...
... ABD ordusu tarafından geliştirilen ...
... ve onluk sayı tabanına dayalı olan ENIAC’tır.
Eniac, genel kullanım amaçlı ilk
elektronik bilgisayar unvanına sahiptir.
Ve 0, 1’lerle; yani makine dili ile programlanmıştır.
Kodlama dilleri seviyelerine göre ayrılır ve her biri ...
... kendi içinde farklı metotlar barındırır.
Dillerin seviyeleri zorluk-kolaylık
ya da yeteneklerine göre değil, ...
... insan diline yakın olup olmamalarına göre tanımlanır.
ASSEMBLER gibi düşük seviyeli diller
makine diline daha yakınken, ...
... VISUAL BASIC gibi yüksek seviyeli diller,
insan diline daha yakındır.
Bunların haricinde, herkesin ismini duyduğu C, C++, ...
... C#, JAVA gibi diller,
orta seviyeli diller olarak tanımlanır.
Kod yazmanın yaşı yoktur!
5 yaşında, SCRATCH JUNIOR
ile kodlama yapan da var; ...
... 61 yaşında, mesleğini kod yazarak devam ettiren de.
Ayrıca, kodlama yapmak için
bir bilgisayara da gerek yok!
Bugün telefon ve tablet üzerinden de
kodlama yapılabiliyor.
Fakat profesyonel anlamda
kodlama yapmanız gerektiğinde, ...
... artık bir bilgisayara ihtiyacınız muhakkak ki olacaktır.
Kodmalaya başlamadan önce, algoritma
hakkında bilgi sahibi olmak önemlidir.
Kod yazıp, bilgisayarın yapmasını
istediğimiz şeyleri anlatırken ...
... bunu belli bir sırayla ve
düzen içerisinde yapmamız gerekir.
Eğer komutların sırası yanlış olursa
istediğimiz sonucu alamayız.
Mesela bardağı koy, çayı koy.
Herhangi bir problem yok. Yanmadık, dökülmedi.
Ama çayı koy, bardağı koy.
Saçma!
Demek ki bu algoritmada bir problem var.
Artık teknolojinin nimetlerinden
faydalanmak isteyen her ülke, ...
... müfredatında kodlama eğitimine yer veriyor.
Üniversiteler her bölümden öğrencilerin faydalanabileceği seçmeli dersler koyuyor, ...
... şirketler çalışanlarının kendisini geliştirebilmesi
için kodlama eğitimine yönlendiriyor.
İster 7 yaşında olun, ister 70 yaşında olun, ...
... herkesin anlayabileceği bir kodlama eğitimi mevcut.
Kod yazmayı öğrenmek için bir kitap alabilir,
eğitimlere katılabilir ...
... ya da videolarımızı izlemeye devam edebilirsiniz.
Stüdyomuzdayız. Sürpriz konuğum: Kadir Can.
- Hoş geldin.
- Hoş buldum. Merhaba.
- Nasılsın?
- İyiyim abi. Sen nasılsın?
- İyilik benden de, sağ olasın.
Kadir Can kodlama öğrenmek isteyenler için ...
... mobil ortamlarda uygulama geliştirdi.
Ve mobil ortamda kodlamayı
öğreten bir uygulaması var.
Uygulamamızın adı: SCODE.
Aynı zamanda, firmanın kurucu ortağı.
- Biraz bize kendinden bahseder misin?
- Tabii.
Aslında lise 2’de ben de kodlamayı öğrenmeye başladım.
Aslında senin derslerinle başladım ben de.
Bir nevi burada çırağın olarak bulunuyorum!
- Çok güzel, harika!
- Devamında, “Madem ben birinden öğrendim, ...
... ben de başkalarına öğreteyim.”
diyerek bu heyecan ve tutku ile ...
... bir uygulama geliştirdik. Ve bu ugulama ile şu âna kadar 250 bin kişiye kodlama öğretimi sağladık.
- İki… 250 bin kişi! Söyleyemiyorum bile!
Çok ciddi bir sayıya ulaşmışız. Harika bir şey bu.
Peki, kitleden tepkiler nasıl? Geri dönüşler nasıl?
- Şöyle oldu: İlk versiyonu açıkçası acele ile çıktı.
Büyük heyecan ile kodlama yaptık.
“Hemen deneyelim, test edelim.” heyecanı ile çıktı.
Ve bu yüzden mükemmel değildi!
Biz o yüzden sevmiyorduk açıkçası!
Çok eksiği vardı, hep kusur buluyorduk.
Ancak bizim inadımıza kullanıcılarımız sevdi.
Arkadaşlarına önerdi!
Aslında biz reklam falan hiç vermedik.
Tamamen herkesin “Abi böyle uygulama varmış!”
demesi ile herkesin ilgisini çekti.
- Çok güzel. Daha organik bir büyüme
olmuş oldu aynı zamanda.
- Kesinlikle!
Harika!
- Daha heyecanlı olmuş oldu bizim için de.
- Beni de heyecanlandıran şeyler var.
Mesela kanala yeni abone geldiği zaman ...
... çok heyecanlanıyorum! Kanalımıza abone misin?
- Evet. İlk abonelerdenim tabii ki.
- Güzel! Ama hiç yorum bırakmıyorsun?
- Ben biraz hayalet gibi izliyorum sizi!
- Oo güzel, dışarıdan stalk’lanıyoruz!
Gözün üstümüzde yani, adımlarımıza dikkat edelim!
Harika.
Küçük yaşta kodlamaya başladın.
250 bin kişinin kod yazabileceği bir platform kurdun.
Çok güzel bir şey olmalı.
Ama herhalde bir inşaat değil değil mi!?
Yani inşaat mı, kodlama mı? Niye inşaat değil mesela?
- Aslında şöyle: Belki o zaman yapabilseydim yapardım.
Çünkü o popülerdi. Ama biz
o dönem şunu yapamıyorduk, ...
... bir şirket kuramıyorduk! Çünkü reşit değildik.
O zaman ne yapabiliyoruz? Teknoloji üretebiliyoruz.
O zaman teknoloji üretelim çünkü
ihtiyacımız olan tek şey aslında bu.
Yani herhangi bir şekilde kuantum
bilgisayarlara şu aşamada ihtiyacımız yok.
Ya da inşaat için çimentoya
ve paraya da ihtiyacımız yok.
Yalnızca “saksıyı” çalıştırmaya ihtiyacımız var.
- Bize bir saksı lazım!
- Sadece saksı lazım!
- Bir de kod yazacak ortam lazım tabii.
- Kesinlikle.
- Gerçi kod yazacak ortam lazım deyince,
bugün herkeste bir ...
... laptop olmayabilir ama
cep telefonu herkesin elinde var.
Kod yazmak için yeterli de.
- Artık dünya ona gidiyor. Artık kod yazma ortamı ...
... belki tamamen mobil cihazlara taşınacak, kim bilir?
Sürekli yeni çözümler çıkıyor. Tabii olabilir.
- Para var mı bu işte?
- Allah’a şükür.
- Güzel. İyi kazanıyorsun o zaman.
- Halimize şükür diyelim!
- Tamamdır. Peki, ...
... para için yapılacak iş mi?
- Abi bence değil.
- Güzel cevap! Genel anlamda, ...
“Bu işte para varmış.” diyerek girilecek bir sektör değil ...
... aslında. Kişisel olarak benim de görüşüm bu yönde.
Biraz böyle gönülden yapılacak işlerden bir tanesi.
Çilesi çok mu?
- Çok. Dışarıda anlatıldığı gibi tozpembe değil açıkçası.
Çok çalışmak gerekiyor. Ancak bir şeyler
ürettiğinizde, ...
... insanlar onu kullandığında, insanlara yardım ettiğinizde duyduğunuz haz ...
... size yetiyor aslında. Her şeye değiyor.
- Aslında ürettiğin şeyin başkaları
tarafından kullanılıyor olması ve ...
... bir nevî: “Benim yaptığım şey işe yarıyor.
- Kesinlikle.
- Birilerinin işine yarıyor. Birilerini mutlu ediyor.” Bunun duygusu bambaşka.
Eğitimler verirken aynı şey benim için de geçerli.
Bir proje yapmaktan ziyade, benim
anlattıklarım ile bir başka kişi ...
... bir proje yaptığında çok
daha fazla mutlu ediyor bu beni.
Burada da zaten, aynı zamanda kanalda ...
... bunu sağlamaya çalışıyoruz.
Arduino projeleri olsun, kodlama tarafı olsun, ...
... faydalı olabiliyorsak ne mutlu bizlere.
Şimdi Kadir Can, “Kodlamayı senin
videolarından öğrendim.” dedin.
YouTube’da gelenektir, “challenge”lar var.
Seninle bir kodlama challenge yapalım o zaman.
Bakalım boynuz kulağı geçmiş mi?
- Denemek lazım ama ...
... daha yolum var gibi sanki yahu.
Ama yine de deneyelim.
- Senaryo düşünelim. Bir senaryo seçelim.
Platform olarak ilk Scratch geliyor benim aklıma.
Bizi izleyenlerin aynı zamanda kendilerinin de ...
... deneyebilecekleri bir platform olmuş olur en azından.
İlk kodlamaya girişlerini yapmış olurlar.
Ama şu konuda kararsızım:
Animasyon mu deneyelim, program mı, oyun mu?
Eğlenceli olsun, oyun deneyelim.
- Olur. Madem basit dedik, yeni başlıyoruz dedik;
basit bir oyun yapalım.
- Olur. İlk aklına gelen ne?
Eğitimlerdeki ilk örnekleri hatırlıyor musun?
- Genellikle sayı tahmin oyunu oluyor.
Bu sefer de onu yapalım en iyisi.
- Tamam. Sayı tahmin oyunu o zaman.
- Tamam, güzel fikir, alkış!
- Kodlama Challenge’ımız, sayı tahmin oyunu!
- Yalnız, arkadaş mouse ile hile yapıyor en baştan daha!
- Tamam, şartları eşitleyelim,
kaldıralım mouse’umuzu da.
- 10 dakika yeter mi?
- Bence yeterli.
- Haydi başlayalım o zaman.
- Başlayalım.
- Mouse falan diyordun? Hiç senden click sesi gelmiyor?
- Birazcık zorlandım diyelim ama sıkıntı yok, devam.
- OK! Bakalım ne çıkartacağız ortaya?
- Bakalım.
- Ben de, bir anda başlayınca…
Öyle, derste elli kere anlatmaya
benzemiyormuş kameranın önünde yazmak!
- Ben de uzun zamandır yapmamıştım,
birazcık unutmuşum açıkçası.
- Bakalım ne çıkartacağız ortaya.
- Bakalım.
[Alkış sesi]
Vallahi bu şova geçmiş artık!
- Evet, kodları tamamladık.
10 dakikadan biraz uzun sürdü ama, olsun.
Güzel oldu bence.
Benimki daha güzel olmuştur bence, ne dersin?
- Vallahi, ustam ne derse doğrudur!
- Haydi yahu! Ben gayet iddialı bekliyordum seni!
Adı ne senin oyununun?
- Vallahi şu an… “Adsız” olsun benimkinin adı!
Ad koymadım.
- “Adsız” olsun, tamam.
Benimki de “Öksüz” olsun o zaman!
Ben direkt, “Sayı Tahmin” yazmıştım klasik bir isim ile.
Haydi deneyelim bakalım.
- Anlaştık.
- İlk kim deniyor?
- Önden buyur.
- Haydi bakalım.
Scratch kedisi.
Aslında en sevdiğim karakter bu.
Ama nedense onu seçmedim.
Şimdi bakınca, “Neden ben bunu
seçmedim?” dedim kendi kendime!
Böyle bir tuhaf oldu içim.
Bakalım kodlara.
Bir çanımız var.
Bastım start’a. Basamadım. Bu sefer bastım.
Hello! Merhaba! Tahminin ne?
Tahminim, ama doğru cevabı görüyorum yukarıda!?
3!
Aa, bir dakika!
Ben buldum!
- Galiba süreyi yetiştiremediğimiz
için eksik çıkmış orada.
- 3 dedim, direkt doğru cevap değişti!!
Benim sonuca ulaşamamam
için burada hile yapılmış olabilir!
Aslında anti-hile kurduk!
- Hata yok! Bu bir özellik!
- Kesinlikle! Anti hile!
- Stop’luyorum. Tekrar, hello!
Tahminin ne?
Hmm, aslında “Tahminin ne?” dedikten sonra tutuyor.
Ben bu iki sefer de bildim kabul ediyorum kendimi!
- Tamam öyle sayalım.
- Benim algoritma şöyle işliyor:
Ortadakini söyle. Daha küçük ise,
kalan kısmın ortasındakini söyle.
Böylece en az adımda sonuca gitmeye
çalışıyorum. Aslında sana da ...
... kopyayı vermiş oldum oynarken direkt.
- Açıp deneyeyim o zaman.
- Dene bakalım.
- Dene bakalım. İlkinde olmadı. [Ses]
İkincide de olmadığını anlıyorum buradan.
[Tezahürat sesi]
Tamam, üçüncüde oldu!
Nasıl? Beğendin mi oyunu?
- Ben beğendim. Ellerine sağlık.
- Seninki de güzel. Bir-iki bug var
bazı yerlerde, paslanmışsın gerçekten!
- Paslanmışım evet!
- Daha iyi performans bekliyordum.
- Evet, videomuzun sonuna geldik.
“Adsız” ve “Öksüz”ün linkleri açıklamalar bölümünde.
Siz de oynayın ve oylayın.
Şu anda anketi görüyorsunuz.
Bize oy verin. Veya Kadir Can’a oy verin. Bana verin.
Bana verin, bana oy verin!
Kupayı götürmek istiyorum.
Çok teşekkür ediyorum Kadir Can sana.
- Ben teşekkür ederim.
- Videoda eşlik ettin bana.
Çok keyif aldığım bir video oldu.
Aynı zamanda heyecandığım bir video oldu.
Bu challenge işleri güzelmiş.
- Vallahi güzelmiş. Bence rövanşını yapalım!
- Olur. Deplasmana geleyim ben bu sefer.
- Her zaman beklerim!
- Cezalı yapalım ama bu sefer!
- Anlaştık!
- Tamamdır.
Kadir Can’ın “Scode” uygulamasının linkini
açıklamalar bölümünde bulabilirsiniz.
Onu da indirin. Onu da oynayın. Onu da oylayın.
Bu arada bir duyurum var. Videolarımızı
bildiğiniz gibi Salı günleri saat 19.00’da giriyorduk.
Bundan sonra Salı günleri saat 17.00’de giriyor olacağız.
Videolarımızı beğendiyseniz beğenmeyi
ve kanala abone olmayı unutmayın.
Sonraki videolarda görüşmek üzere.
Hoşça kalın!
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>> Dana: THE GROWING VIEWS,
TWO MEMBERS OF THE SQUAD.
CONGRESSWOMAN RASHIDA TLAIB AND
ILHAN OMAR AGAINST ISRAEL.
THEY ARE PLANNING TO SPEAK
90 MINUTES FROM NOW ABOUT THEIR
RECENT TROUBLE WITH ISRAEL BUT
THEY ARE ALSO LIKELY TO GET
ASKED ABOUT A VERY CONTROVERSIAL
CARD TO THE NET THEY SHARED ON
SOCIAL MEDIA.
BEN SHAPIRO, HOST OF THE
BEN SHAPIRO SHOW.
A CROWD FAVORITE AND EVERYONE
LOVES THAT.
WE WANT TO PUT UP THIS CARTOON.
CAN YOU EXPLAIN TO PEOPLE HOW
OFFENSIVE THIS IS?
>> IT'S NOT MERELY OFFENSIVE
BECAUSE IT PAINTS HIS ARM
SILENCING RASHIDA TLAIB AS THE
ISRAELI FLAG AND THE IDEA IS
THAT ISRAEL IS TRYING TO SILENCE
THESE MUSLIM CONGRESSWOMAN BUT
IT SHOWS OUT THE PERSON WHO
CREATED THIS CAME SECOND IN THE
HOLOCAUST DENIAL CONTEST.
THERE IS A CARTOON CONTEST AND I
WRONG FOR THIS THING
SO IMAGINE THAT SOMEBODY ON THE
RIGHT HAD TWEETED OUT A CARTOON
BY A RACIST AND HAD DONE SO
ANNOYING WITH THAT PERSON WAS.
THERE WOULD BE APPROPRIATE
BLOWBACK AND THEY ARE GETTING
NONE OF THAT FROM THE MAINSTREAM
MEDIA, BUT NONE OF THIS IS
SURPRISING.
THEY WERE GOING ON A TOUR THAT
WAS RUN BY A GROUP THAT PUT UP
ON ITS OWN WEBSITE, USING
CHRISTIAN BLOG.
IT'S POSTED ARTICLES FROM OPEN
NEO-NAZI SOURCES AND THE MEDIA
HAS ENCUMBERED THAT EITHER.
WHEN THEY ARE IN SEARCH OF AN
ERROR ON THE ON VICTIMIZE
CONGRESSWOMAN AT THE NEFARIOUS
JEWISH STATE THEY ARE WILLING TO
OVERLOOK ALL EVIDENCE TO THE
CONTRARY.
>> Dana: WHAT YOU THINK THEY
WILL TRY TO SAY WHEN THEY HAVE
THEIR PRESS CONFERENCE?
>> THE SAME STUFF THEY'VE BEEN
SAYING BEFORE, ISRAEL IS A
DISCRIMINATORY STATE.
THIS IDEA IS SO ANTI-SEMITIC
THAT NANCY PELOSI CALLED IT THAT
TWO MONTHS AGO WHEN SHE WAS
SPEAKING AND THAT IDEA IS A GOOD
IDEA AND THAT THE STATE OF
ISRAEL OUGHT TO BE DENIED
FOREIGN AID BASED ON THE FACT
THAT THEY WON'T ALLOW A COUPLE
OF ANTI-SEMITES TO COME AND TALK
ABOUT WHY ISRAEL SHOULD BE
OVERTHROWN.
>> Dana: LET ME MOVE ON TO THE
OTHER ONE.
HE MENTIONED THE MEDIA.
"THE NEW YORK TIMES"
SPECIFICALLY.
THERE WAS A MEETING LAST WEEK
AFTER THE BIG HUBBUB ABOUT THE
HEADLINE THAT A LAW TO PEOPLE ON
THE LEFT AND PEOPLE APPARENTLY
IN THE NEWSROOM DID NOT LIKE,
"THE NEW YORK TIMES" EXECUTIVE
EDITOR BROUGHT EVERYBODY
TOGETHER ON SOMETHING LEAKED
FROM THAT MEETING.
IT WAS BASICALLY A TRANSCRIPT IN
WHICH HE TALKS ABOUT THE OUTLETS
COVERAGE OF TRUMP AND HE SAID IT
WENT FROM BEING A STORY ABOUT
WHETHER THE TRUMP CAMPAIGN HAD
COLLUDED WITH RUSSIA AND
OBSTRUCTION OF JUSTICE FOR BEING
A MORE HEAD-ON STORY ABOUT THE
PRESIDENTS CHARACTER.
WE BUILD OUR NEWSROOM TO COVER
ONE STORY AND WE DID ACTUALLY
WELL AND NOW WE HAVE TO REGROUP
AND CHECK THE RESOURCES AND
EPHESUS TO TAKE ON A DIFFERENT
STORY IN THE STORE THEY WANT TO
COVER IS HOW AMERICA HAS BECOME
SO DIVIDED UNDER
PRESIDENT TROUT.
THE PRESIDENT TWEETING
"THE NEW YORK TIMES" WILL BE OUT
OF OFFICE AFTER HE LEAVES OFFICE
IN SIX YEARS AND HE SAID BECAUSE
OF THAT HE IS CERTAIN THEY WILL
ENDORSE HIM IN ORDER TO KEEP IT
ALL GOING.
WHAT EVER HAPPENED TO REPORTING
WHATEVER THE NEWS IS?
WHY DO YOU HAVE TO HAVE A
VISION?
>> THAT WOULD BE A NICE THING
ABOUT THE FACT THAT
"THE NEW YORK TIMES" IS DECIDING
WHAT NARRATIVE TO SELL TO THE
PUBLIC RIGHT BEFORE THE
ELECTION -- THIS IS AN ACTIVIST
ORGANIZATION.
I DON'T KNOW HOW THEY REPORT TO
BE A NEWS ORGANIZATION WHEN THEY
ARE EXPLICITLY STATING FOR THEIR
NEXT NARRATIVE WILL BE ABOUT THE
DIVISIVE NATURE OF
PRESIDENT TRUMP AND HIS RACISM
AS OPPOSED TO THE TRUMP AND
RUSSIA STUFF.
WHEN YOU DESIGN YOUR NEWSROOM
AROUND TAKING SOMEONE DOWN, THAT
IS MEDIA MATTERS.
I GUESS "THE NEW YORK TIMES" AND
THE MEDIA MATTERS ARE ONE AND
THE SAME NOW.
>> Dana: THERE ARE DAYS WHEN
YOU WAKE UP AND YOU FIND THAT
YOU YOURSELF ARE TRENDING ON
TWITTER AND THERE WAS SOME
BACKLASH LAST WEEK AFTER YOU
SEND THIS.
IF YOU HAD TO WORK MORE THAN ONE
JOB TO HAVE A ROOF OVER YOUR
HEAD OR FOOD ON THE TABLE YOU
PROBABLY SHOULDN'T HAVE TAKEN A
JOB THAT IS NOT PAYING ENOUGH.
TAKING OUT OF CONTEXT AND
CONGRESSWOMAN SP 13 TWEETED THIS
TO YOU.
ONE OF THE MOST MANIPULATIVE
WRITERS IS SAYING IT'S A
CHARACTER FLAW, PEOPLE AREN'T
DUMB OR INFERIOR NOR ARE THEY
KNOWING WHY INSULIN COST $300,
CORRUPTION IS THERE AND I
THOUGHT I WOULD GIVE YOU A
CHANCE TO SET THE RECORD
STRAIGHT.
>> THE ONLY PEOPLE WHO ARE
SCORNED FOR WORKING PEOPLE
THINKS THAT WORKING PEOPLE WITH
A PATH TOWARD UPWARD MOBILITY
AND AOC IS RESPONSIBLE FOR THE
LOSS OF 25,000 JOBS IN
NEW YORK CITY AND TALKING ABOUT
HOW SHE STANDS UP FOR WORKING
PEOPLE.
IF THE JOBS YOU TAKE IN A FREE
SOCIETY ARE THE JOBS YOU CHOOSE
TO TAKE IN A FREE SOCIETY.
KAMALA HARRIS WAS SAYING WE NEED
TO DRASTICALLY RESTRUCTURE ALL
AMERICAN ECONOMIC SO DON'T HAVE
TO WORK TWO JOBS IN MY POINT IS
THAT WE'LL HAVE TO MAKE
DECISIONS ABOUT OUR JOBS AND
THINK WE HAVE THE ABILITY TO DO
SO.
THAT IS WHAT ALLOWS US TO TO GET
AHEAD.
I HAVE NOTHING BUT RESPECT FOR
PEOPLE TO WORK TWO JOBS,
ENCOURAGE EVERYBODY TO WORK AS
MANY JOBS AS THEY WANT TO GET
AHEAD.
>> Dana: I THINK YOUR POINT
WAS THAT YOU CAN'T EXPECT THE
GOVERNMENT TO SET THE WAGE
BECAUSE THAT HAS PROVEN NOT TO
WORK.
>> IT'S ALSO IRRITATING.
WHEN KAMALA HARRIS AND AOC
SUGGEST -- THEY WILL MAGICALLY
BE ABLE TO MAKE A $17 DROP WORTH
$25 AN HOUR JOB AND THEY ARE
LYING TO YOU BECAUSE THEY WANT
POWER AND YOUR MONEY AND THEY
WILL GET BOTH OF THEM IF YOU
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[SCREAMING]
[SCREAMING]
[SCREAMING]
[HOWLING]
So Mr. Dela Torre,
do we have a deal?
Is Primo Diablo and Dela Torre
Brand International
gonna partner with us and
conquer the world together?
Did you really think that
I was gonna say yes to this?
Hell no!
Luciano!
How did you meet those men?
Can you please
listen to me first?
No!
They'll use the plantation
- to produce and sell drugs!
- And so what?
So what?
Your father won't
hand it over to you anyway!
He obviously would rather
give it to that bastard, Camila!
Luciano.
This is your chance
to be great!
To be something more!
They always belittle you!
But now, you can get
ahead of them!
Think about the money
and power we can get here!
Think of what
we can accomplish!
But if we'll do this,
we have to take care
of something.
And it's Camila.
Once Papa hands her over
the plantation,
she'll find out
about the drugs!
She will ruin everything!
So we need to get ahead of her!
We need to take
your niece down.
I'm okay, Doc.
Somebody here just
tends to worry too much.
You're not fine, Camila.
You're stressed out.
Your blood pressure is high,
so you need to rest.
Camila, please.
Just listen to the doctor.
Don't worry, Doc.
I'll make sure she
gets some rest.
You don't have to
speak for me, Vito.
I know.
But you need to take
care of yourself.
Without you, Camila,
who else would stab a
serial killer for us?
Thank you, Doc.
What are you doing here?
It's almost dawn!
They might be looking for
you now at the mansion!
You need to be there
before the sun rises.
What happened?
[SCOFFS]
I'm sure everyone in
Las Espadas already knows...
...except you.
You know how fast
news spreads around.
I wonder what Luciano
sees in you.
I clean up well, Killer Groom.
But I kill better than you!
[GROANS]
Are you okay?
You look like you
need some help.
I'm sorry, Ma'am.
Mayor!
I think I know who
the Killer Groom is.
And I'll need your help
to confirm my suspicion.
Who is it?
It's Tatiana!
Nanny, here's the room
I had Tsoknat prepare.
I don't want Sir Andres
to disturb you.
Don't worry about me.
I'll be fine.
I'm more worried for you.
You went up against
the killer groom.
I'm fine, don't worry.
The important thing is that
you get some rest.
Don't you worry because...
The funeral home
is well-guarded.
Emma.
Hold on a
second, Emma.
I heard that you escaped from
your bodyguards last night.
Where did you go?
I just had to check
on something, Camila.
Is this about your mother?
Emma,
I want you to let me in on
everything Aurora tells you.
I don't want to dictate how
you should treat her,
but you understand, right?
You know how dangerous
our situation is right now.
So please, Emma,
don't you ever leave
without your bodyguards.
Promise me?
[FOOTSTEPS APPROACHING]
Thank you for taking
my call, Camila.
And for letting us see you.
Is there a problem?
I'm sure Luis already
told you...
...about Tatiana.
She's not doing this, Camila.
She may not be the
person I stabbed,
but she could be an accomplice.
She could be the one
behind all of this.
Are you really going to be
suspicious of all of us?
Until when?
Until you stop messing
with my life.
What do Mama and I
have to do, Camila?
Do we have to show
you our bodies
to prove you it's not us?
Why not?
Why not, Aunt Alice?
If that's what you want,
I'm not stopping you.
Go ahead.
Are you ready for this?
I haven't been back here
since it happened.
So, when you tell a
girl you love her,
you should really mean it.
Dad...
I'm still too young to be
talking about girls.
I need to prepare
you as early as now.
I'm sure lots of girls
will fall for you
since you're
handsome like me.
[GASPS]
[SCREAMING]
Emma?
Emma?!
Emma?
Emma?
Stay still.
Emma?
- Emma.
- Elias.
Are you okay?
Huh?
I'm fine.
Are you sure?
Yes. I'm okay.
I'm alright, Elias.
You're sure?
I saw a person.
That's why I went here.
He ran toward
this direction.
And here is our
formal wear.
You can tell how
beautiful the fabric is.
These are just some samples of
the outfits you can make
using banana fabric.
Don't worry. We have
experts with us today.
They're here to help us.
Please feel free to approach
them if you have questions.
Thank you so much.
[MESSAGE ALERT]
"Your bodyguards
haven't caught on yet.
But you should
come back ASAP."
I need to get going.
Okay, I'll get going.
Okay, I'll get going.
What's this so important
that Camila shouldn't know?
If she finds out you're
hiding something,
she'll be furious.
I know.
So what is it?
I'm sorry, Luis.
But it's not my story to tell.
Dad?
I'm the one who was
supposed to die that night.
They only got caught in it.
You're right, Elias.
I'm a bad person.
But I loved your
mom very much.
I loved you and
your siblings.
I thought that the
good things I was doing
could compensate for all the
bad things I've done.
I shouldn't have
been surprised
when fate came to
collect its dues.
You monster!
You monster!
You heartless monster!
I'll kill you!
You demon!
My children!
If there's one thing to be
grateful for that night,
it's when I locked you up
in the storage, Elias.
Because now, you're
still alive.
I had to keep you alive
no matter what.
And that's what happened.
They never harmed you
these last few years.
But what you're
doing right now,
asking questions and
looking for me...
You're only putting
yourself in harm's way!
Why, Elias?!
Why now after
so many years?!
Because I received this.
Who gave you this?
I don't know!
What happened, Dad?
Why did you hide
from everyone?
From me?
I heard about the explosion
so I came back to
make sure you're safe.
I thought I can
get away with him.
With who? Luciano?
Dad, he's dead!
It's best that
you know nothing, Elias.
So just forget about all this!
Forget about seeing me!
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A subjetividade no caso Lula, as decisões
de bastidores.
Ficou muito claro que, desde o início do
processo contra o ex-presidente Lula que,
tanto das pessoas comuns quanto das institucionalizadas,
como a imprensa, o legislativo, e o judiciário
tinham posicionamentos a favor, e contra antecipados.
Hegel diz que, "a certeza de si exclui da
sua essência qualquer referência a objetos,
e pretende manifestar-se como "negatividade
absoluta", em relação a toda a esfera do
ser objetivo-natural".
Portanto, o homem subjetivo, "conhece apenas
a si mesmo".
Vou explicar, para não ter que desenhar!
Os jornalistas que se posicionaram ideologicamente
contra o ex-presidente, sem se importar com
o que ‘reza' a Lei, continuaram firmes em
seus ideais, criticando e descendo a lenha
no ex-presidente.
Do mesmo modo, os jornalistas que, se posicionaram
a favor do ex-presidente, continuaram a favor
e pronto!
Fica claro também, a presença manipulativa
de grupos políticos, e econômicos dominantes.
Mas não fica só no âmbito da imprensa.
Do mesmo modo, ocorre no legislativo.
Parlamentares que eram contra o ex-presidente
Lula, por interesses políticos ou econômicos,
continuaram contra e pronto!
Aqueles parlamentares que, sempre declararam
a favor, continuaram a favor e pronto, defendendo
as teses de conquistas sociais.
Para ambos, não importa o transcorrer do
evento, muito menos a transcrição da Constituição
Federal.
Novamente, se nota fortemente a presença
de grupos econômicos e políticos dominantes.
Isso ficou também muito claro, no TRF 4,
de Porto Alegre, por ocasião do julgamento
do recurso impetrado pelos advogados de defesa,
quanto no STF no julgamento do Habeas Corpus,
do ex-presidente Lula, para não ser preso.
Pois, "subjetivo é tudo aquilo que é próprio
do sujeito", quando que, historicamente, descendentes
de alemães ou italianos vão simpatizar com
nordestinos.
Hegel explica como sendo, "a fonte em si mesmo".
No exemplo do STF, a corrente ideológica
contra o ex-presidente Lula, inclusive com
proximidades com o presidente Temer, interpreta
a Constituição para condenar e pronto!
Eles mesmos confessam: "sigo a linha do...
etc. etc."
Do mesmo modo, os ministros ideologicamente
favoráveis ao ex-presidente, fazem a interpretação
em favor do ex-presidente, buscando pontos
na Constituição que tragam benefícios.
Isso é ainda mais evidente entre a população.
O Brasil se dividiu em, quem está a favor
e contra ao ex-presidente.
Não há espaço para o bom senso, para o
razoável.
Não importa o que as pessoas ouçam, elas
estão configuradas para estar de um lado
ou de outro.
O Brasil atual é Lula e o resto!
Resta saber como vai se reconfigurar as próximas
eleições, pois Lula foi preso, seus eleitores
não!
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Marie Jean Antoine Nicolas de Caritat, Marquis
of Condorcet (French: [maʁi ʒɑ̃n‿ɑ̃twan
nikola də kaʁita kɔ̃dɔʁsɛ]; 17 September
1743 – 29 March 1794), known as Nicolas
de Condorcet, was a French philosopher and
mathematician.
His ideas, including support for a liberal
economy, free and equal public instruction,
constitutional government, and equal rights
for women and people of all races, have been
said to embody the ideals of the Age of Enlightenment
and Enlightenment rationalism.
He died in prison after a period of flight
from French Revolutionary authorities.
== Early years ==
Condorcet was born in Ribemont (in present-day
Aisne), descended from the ancient family
of Caritat, who took their title from the
town of Condorcet in Dauphiné, of which they
were long-time residents.
Fatherless at a young age, he was raised by
his devoutly religious mother.
He was educated at the Jesuit College in Reims
and at the Collège de Navarre in Paris, where
he quickly showed his intellectual ability
and gained his first public distinctions in
mathematics.
When he was sixteen, his analytical abilities
gained the praise of Jean le Rond d'Alembert
and Alexis Clairaut; soon, Condorcet would
study under d'Alembert.
From 1765 to 1774, he focused on science.
In 1765, he published his first work on mathematics,
entitled Essai sur le calcul intégral, which
was well received, launching his career as
a mathematician.
He went on to publish more papers, and on
25 February 1769, he was elected to the Académie
royale des Sciences.
In 1772, he published another paper on integral
calculus.
Soon after, he met Jacques Turgot, a French
economist, and the two became friends.
Turgot became an administrator under King
Louis XV in 1772 and Controller-General of
Finance under Louis XVI in 1774.
Condorcet worked with Leonhard Euler and Benjamin
Franklin.
He soon became an honorary member of many
foreign academies and philosophic societies,
including the Royal Swedish Academy of Sciences
(1785), the American Academy of Arts and Sciences
(1792),
and also in Prussia and Russia
His political ideas, many in congruity with
Turgot's, were criticized heavily in the English-speaking
world, however, most notably by John Adams
who wrote two of his principal works of political
philosophy to oppose Turgot's and Condorcet's
unicameral legislature and radical democracy.
== Early political career ==
In 1774, Condorcet was appointed inspector
general of the Paris mint by Turgot.
From this point on, Condorcet shifted his
focus from the purely mathematical to philosophy
and political matters.
In the following years, he took up the defense
of human rights in general, and of women's
and Blacks' rights in particular (an abolitionist,
he became active in the Society of the Friends
of the Blacks in the 1780s).
He supported the ideals embodied by the newly
formed United States, and proposed projects
of political, administrative and economic
reforms intended to transform France.
In 1776, Turgot was dismissed as Controller
General.
Consequently, Condorcet submitted his resignation
as Inspector General of the Monnaie, but the
request was refused, and he continued serving
in this post until 1791.
Condorcet later wrote Vie de M. Turgot (1786),
a biography which spoke fondly of Turgot and
advocated Turgot's economic theories.
Condorcet continued to receive prestigious
appointments: in 1777, he became Permanent
Secretary of the Académie des Sciences, holding
the post until the abolition of the Académie
in 1793; and, in 1782, secretary of the Académie
française.
== Condorcet's paradox and the Condorcet method
==
In 1785, Condorcet wrote an essay on the application
of analysis of the probability of decisions
made on a majority vote, one of his most important
works.
This work described several now famous results,
including Condorcet's jury theorem, which
states that if each member of a voting group
is more likely than not to make a correct
decision, the probability that the highest
vote of the group is the correct decision
increases as the number of members of the
group increases, and Condorcet's paradox,
which shows that majority preferences can
become intransitive with three or more options
– it is possible for a certain electorate
to express a preference for A over B, a preference
for B over C, and a preference for C over
A, all from the same set of ballots.The paper
also outlines a generic Condorcet method,
designed to simulate pair-wise elections between
all candidates in an election.
He disagreed strongly with the alternative
method of aggregating preferences put forth
by Jean-Charles de Borda (based on summed
rankings of alternatives).
Condorcet was one of the first to systematically
apply mathematics in the social sciences.
== Other works ==
In 1781, Condorcet wrote a pamphlet, Reflections
on Negro Slavery, in which he denounced slavery.
In 1786, Condorcet worked on ideas for the
differential and integral calculus, giving
a new treatment of infinitesimals – a work
which was never printed.
In 1789, he published Vie de Voltaire (1789),
which agreed with Voltaire in his opposition
to the Church.
In 1791, Condorcet, along with Sophie de Grouchy,
Thomas Paine, Etienne Dumont, Jacques-Pierre
Brissot, and Achilles Duchastellet published
a brief journal titled Le Républicain, its
main goal being the promotion of republicanism
and the rejection of constitutional monarchy.
The journal's theme was that any sort of monarchy
is a threat to freedom no matter who is leading
and that liberty is freedom from domination.In
1795, Condorcet had a book published called
Sketch for a Historical Picture of the Progress
of the Human Mind.
It dealt with theoretical thought on perfecting
the human mind and analyzing intellectual
history based on social arithmetic.
Thomas Malthus wrote An Essay on the Principle
of Population (1798) partly in response to
Condorcet's views on the "perfectibility of
society."
== French Revolution ==
===
Deputy ===
Condorcet took a leading role when the French
Revolution swept France in 1789, hoping for
a rationalist reconstruction of society, and
championed many liberal causes.
As a result, in 1791 he was elected as a Paris
representative in the Legislative Assembly,
and then became the secretary of the Assembly.
In April 1792 Condorcet presented a project
for the reformation of the education system,
aiming to create a hierarchical system, under
the authority of experts, who would work as
the guardians of the Enlightenment and who,
independent of power, would be the guarantors
of public liberties.
The project was judged to be contrary to the
republican and egalitarian virtues, giving
the education of the Nation over to an aristocracy
of savants.
The institution adopted Condorcet's design
for the state education system, and he drafted
a proposed Bourbon Constitution for the new
France.
He advocated women's suffrage for the new
government, writing an article for Journal
de la Société de 1789, and by publishing
De l'admission des femmes au droit de cité
("For the Admission to the Rights of Citizenship
For Women") in 1790.Condorcet was not affiliated
with any political party but counted many
friends among the Girondins.
He distanced himself from them during the
National Convention, however, due to his distaste
for their factionalism.
At the Trial of Louis XVI, Condorcet, who
opposed the death penalty albeit supporting
the trial itself, spoke out against the execution
of the King during the public vote at the
Convention – he proposed to send the king
to the galleys.
Condorcet was on the Constitution Committee
and was the main author of the Girondin constitutional
project.
The constitution was not put to vote.
When the Montagnards gained control of the
Convention, they wrote their own, the French
Constitution of 1793.
Condorcet criticized the new work, and as
a result, he was branded a traitor.
On 3 October 1793, a warrant was issued for
Condorcet's arrest.
=== Arrest and death ===
The warrant forced Condorcet into hiding.
He hid for five (or eight) months in the house
of Mme.
Vernet, on Rue Servandoni, in Paris.
It was there that he wrote Esquisse d'un tableau
historique des progrès de l'esprit humain
(Sketch for a Historical Picture of the Progress
of the Human Spirit), which was published
posthumously in 1795 and is considered one
of the major texts of the Enlightenment and
of historical thought.
It narrates the history of civilization as
one of progress in the sciences, shows the
intimate connection between scientific progress
and the development of human rights and justice,
and outlines the features of a future rational
society entirely shaped by scientific knowledge.On
25 March 1794 Condorcet, convinced he was
no longer safe, left his hideout and attempted
to flee Paris.
He went to seek refuge at the house of Jean-Baptiste
Suard, a friend of his with whom he had resided
in 1772, but he was refused on the basis that
he would be betrayed by one of their residents.
Two days later, he was arrested in Clamart
and imprisoned in Bourg-la-Reine (or, as it
was known during the Revolution, Bourg-l'Égalité,
"Equality Borough" rather than "Queen's Borough")
where, after another two days, he was found
dead in his cell.
The most widely accepted theory is that his
friend, Pierre Jean George Cabanis, gave him
a poison which he eventually used.
However, some historians believe that he may
have been murdered (perhaps because he was
too loved and respected to be executed).
Jean-Pierre Brancourt (in his work L'élite,
la mort et la révolution) claims that Condorcet
was killed with a mixture of Datura stramonium
and opium.
Condorcet was symbolically interred in the
Panthéon in 1989, in honour of the bicentennial
of the French Revolution and Condorcet's role
as a central figure in the Enlightenment.
His coffin, however, was empty as his remains,
originally interred in the common cemetery
of Bourg-la-Reine, were lost during the nineteenth
century.
== Family ==
In 1786 Condorcet married Sophie de Grouchy,
who was more than twenty years his junior.
Sophie, reckoned one of the most beautiful
women of the day, became an accomplished salon
hostess as Madame de Condorcet, and also an
accomplished translator of Thomas Paine and
Adam Smith.
She was intelligent and well educated, fluent
in both English and Italian.
The marriage was a strong one, and Sophie
visited her husband regularly while he remained
in hiding.
Although she began proceedings for divorce
in January 1794, it was at the insistence
of Condorcet and Cabanis, who wished to protect
their property from expropriation and to provide
financially for Sophie and their young daughter,
Louise 'Eliza' Alexandrine.
Condorcet was survived by his widow and four-year-old
Eliza.
Sophie died in 1822, never having remarried,
and having published all her husband's works
between 1801 and 1804.
Her work was carried on by Eliza, wife of
former United Irishman Arthur O'Connor.
The Condorcet-O'Connors published a revised
edition between 1847 and 1849.
== Gender equality ==
Condorcet's work was mainly focused on a quest
for a more egalitarian society.
This path led him to think and write about
gender equality in the Revolutionary context.
In 1790, he published "De l'admission des
femmes au droit de cité"("On the Admission
of Women to the Rights of Citizenship") in
which he strongly advocated for women's suffrage
in the new Republic as well as the enlargement
of basic political and social rights to include
women.
One of the most famous Enlightenment thinkers
at the time, he was one of the first to make
such a radical proposal.
A visionary, he identified gender as a social
construction based on perceived differences
in sex and rejected biological determinism
as being able to explain gender relations
in society.
He denounced patriarchal norms of oppression,
present at every institutional level, and
continuously subjugating and marginalising
women.
Like fellow Enlightenment thinker Jean-Jacques
Rousseau in his book Emile ou De l'Education
(1762), Condorcet identified education as
crucial to the emancipation of individuals.
He stated: "I believe that all other differences
between men and women are simply the result
of education″.
He saw it as the only solution for women to
deconstruct gender roles and promote another
kind of masculinity, not based on violence,
virility and the subjugation of women but
rather on shared attributes such as reason
and intelligence.
In her book "Essays in the Philosophy of Humanism",
Hooks calls this new concept "feminine masculinity",
″new models of self‐assertion that do
not require the construction of an enemy 'other,'
be it a woman or the symbolic feminine, for
them to define themselves against″.Condorcet's
whole plea for gender equality is founded
on the recognition that the attribution of
rights and authority comes from the false
assumption that men possess reason and women
do not.
This is, according to Nall, an obvious example
of an individual practising and advocating
this feminist masculinity.
As such, women should enjoy the same fundamental
"natural right".
Scholars often disagree on the true impact
that Condorcet's work had on pre-modern feminist
thinking.
His detractors point out that when he was
eventually given some responsibilities in
the constitutional drafting process, his convictions
did not translate into concrete political
action and made limited efforts to push these
issues on the agenda.
Some scholars on the other hand, believe that
this lack of action is not due to the weakness
of his commitment but rather to the political
atmosphere at the time and the absence of
political appetite for gender equality on
the part of decision-makers.
Along with authors such as Mary Wollstonecraft,
d'Alembert or Olympe de Gouges, Condorcet
made a lasting contribution to the pre-feminist
debate.
== The Idea of Progress ==
Condorcet's Sketch for a Historical Picture
of the Progress of the Human Spirit (1795)
was perhaps the most influential formulation
of the idea of progress ever written.
It made the Idea of Progress a central concern
of Enlightenment thought.
He argued that expanding knowledge in the
natural and social sciences would lead to
an ever more just world of individual freedom,
material affluence, and moral compassion.
He argued for three general propositions:
that the past revealed an order that could
be understood in terms of the progressive
development of human capabilities, showing
that humanity's "present state, and those
through which it has passed, are a necessary
constitution of the moral composition of humankind";
that the progress of the natural sciences
must be followed by progress in the moral
and political sciences "no less certain, no
less secure from political revolutions"; that
social evils are the result of ignorance and
error rather than an inevitable consequence
of human nature.Condorcet's writings were
a key contribution to the French Enlightenment,
particularly his work on the Idea of Progress.
Condorcet believed that through the use of
our senses and communication with others,
knowledge could be compared and contrasted
as a way of analyzing our systems of belief
and understanding.
None of Condorcet's writings refer to a belief
in a religion or a god who intervenes in human
affairs.
Condorcet instead frequently had written of
his faith in humanity itself and its ability
to progress with the help of philosophers
such as Aristotle.
Through this accumulation and sharing of knowledge
he believed it was possible for any man to
comprehend all the known facts of the natural
world.
The enlightenment of the natural world spurred
the desire for enlightenment of the social
and political world.
Condorcet believed that there was no definition
of the perfect human existence and thus believed
that the progression of the human race would
inevitably continue throughout the course
of our existence.
He envisioned man as continually progressing
toward a perfectly utopian society.
He believed in the great potential towards
growth that man possessed.
However, Condorcet stressed that for this
to be a possibility man must unify regardless
of race, religion, culture or gender.
To this end, he became a member of the French
Société des Amis des Noirs (Society of the
Friends of the Blacks).
He wrote a set of rules for the Society of
the Friends of the Blacks which detailed the
reasoning and goals behind the organization
along with describing the injustice of slavery
and put in a statement calling for the abolition
of the slave trade as the first step to true
abolition.Condorcet was also a strong proponent
of women's civil rights.
He claimed that women were equal to men in
nearly every aspect and asked why then should
they be debarred from their fundamental civil
rights; the few differences that existed were
due to the fact that women were limited by
their lack of rights.
Condorcet even mentioned several women who
were more capable then average men, such as
Queen Elizabeth and Maria-Theresa.
==
Civic duty ==
For Condorcet's republicanism the nation needed
enlightened citizens and education needed
democracy to become truly public.
Democracy implied free citizens, and ignorance
was the source of servitude.
Citizens had to be provided with the necessary
knowledge to exercise their freedom and understand
the rights and laws that guaranteed their
enjoyment.
Although education could not eliminate disparities
in talent, all citizens, including women,
had the right to free education.
In opposition to those who relied on revolutionary
enthusiasm to form the new citizens, Condorcet
maintained that revolution was not made to
last and that revolutionary institutions were
not intended to prolong the revolutionary
experience but to establish political rules
and legal mechanisms that would insure future
changes without revolution.
In a democratic city there would be no Bastille
to be seized.
Public education would form free and responsible
citizens, not revolutionaries.
== Evaluation ==
Rothschild (2001) argues that Condorcet has
been seen since the 1790s as the embodiment
of the cold, rational Enlightenment.
However she suggests his writings on economic
policy, voting, and public instruction indicate
different views both of Condorcet and of the
Enlightenment.
Condorcet was concerned with individual diversity;
he was opposed to proto-utilitarian theories;
he considered individual independence, which
he described as the characteristic liberty
of the moderns, to be of central political
importance; and he opposed the imposition
of universal and eternal principles.
His efforts to reconcile the universality
of some values with the diversity of individual
opinions are of continuing interest.
He emphasizes the institutions of civilized
or constitutional conflict, recognizes conflicts
or inconsistencies within individuals, and
sees moral sentiments as the foundation of
universal values.
His difficulties call into question some familiar
distinctions, for example between French,
German, and English-Scottish thought, and
between the Enlightenment and the counter-Enlightenment.
There was substantial continuity between Condorcet's
criticism of the economic ideas of the 1760s
and the liberal thought of the early 19th
century.The Lycée Condorcet in the rue du
Havre, in the 9th arrondissement of Paris,
is named in his honour, as are streets in
many French cities.
== Bibliography ==
Condorcet: Political Writings (Cambridge Texts
in the History of Political Thought) edited
by Steven Lukes, and Nadia Urbinati (2012)
== See also ==
History of the metre
Seconds pendulum
Society of the Friends of Truth
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once i do it
its hard to make it back edit
i will switch it
to intelligent smart full
hit the hater in the face
No need to open a big case
Not for creamy salty cakes
Hey, go back to your mind cages
Because my slap is one, can't be over takes.
Am the dark matter, Am the beast
Am your nightmare, Am your curse
In every where i can see you copy me,
will I appreciate your efforts but you not me.
My style is highly different hard levels
Non everyone can understanding, even the devils
So be yourself better
Before the hole, starting getting bigger
After that you seaking down, the time is over
For your pain a no healer
As i said is getting bigger
But Am not the digger
He was dig in, for hes death
like Mother fake prodigy, i know i'm talking to dead body
i remember when he insult our book
i wish i where there that time to gave him a hook, to make him understand, the Miracle of our book
I know he facing the truth in his grave ,
god all justice and mercy he will take what he deserve
You said you sold your soul to the devils
But actually you sold, your illusion to the evils
it is not our soul, to sale it it is belong to our god the greatest
you know the devils under god judgment
they cannot cross the line this is god limit
Wait here ? you wanna take the hallway by sprint? hope you not in pace rest
i know he pass a way, but he still in my B list
Where is my big meal ,gave me the T REX
Now deleted out, from my B list
Excuse me now ,and til me what next.
what broken, cannot be fix-it
Am asking myself, if the beast waking from hes rest . excuse aging and til me? who's next. Bra..
THE DARK MATTER
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Chinese:
你好！欢迎回到"Weka在数据挖掘中的运用"
的课程。
这是讲座1.3。我们将学习如何
4
00:00:28,499 --> 00:00:32,230
分析数据集。
我们已在上节课学习了数据文件。
是关于天气的数据。
它是个非常简单的数据集， 包含了14天的天气，或者
说实例。 每天是一个实例，它由
五种属性来描述。
四种与天气有关,
最后一个叫类
属性。
它是我们希望要预测的：是否玩这个
未定的游戏。
English:
Hi! Welcome back for another
five minutes in New Zealand
with Data Mining with Weka.
This is Lesson 1.3, and we're going
to look at exploring datasets
in this lesson.
We looked at this data file in the
last lesson. It's the
weather data
toy dataset, of course. It has
fourteen days, or
instances, and each instance,
each day, is described by
five attributes,
four to do with the weather, and
the last attribute,
which we called the class value,
the thing that we're trying to
predict, whether or not to play this
unspecified game.
English:
This is called a classification problem.
We're trying to predict the class value.
Let's open up Weka.
It's here on my desktop.
I'm going to go into the Explorer.
We always use the Explorer.
I'm going to open the file.
I put the datasets in My Documents folder,
so I can see them here.
Just open
the Weka datasets and
the nominal weather data.
There's the weather data in Weka.
As we saw last time,
you can see the size of the dataset,
the number of instances—fourteen—
you can see the attributes,
you can click any of these attributes
and get the values for those attributes
up here in this panel.
You also get at the bottom
a histogram of the attribute values
with respect to the different
class values. The different class
values are
Chinese:
这是个关于分类的问题。
我们希望要预测类的值。
现在打开Weka
它已安装到我的笔记本电脑上。.
我打开了Explorer。
我们将一直使用Explorer。
我将打开一个文档。
我把数据集放在我的文件夹中，这样便于我找到它们。
我打开了
天气的名词性数据。
这是Weka里显示的天气数据，
正如我们上次看到的。
你能看到数据集的大小，实例的数量，14个
你能看到属性，
你可点击其中的一个，
在这个面板的上部，
看到它们的值。
在这个面板的下部是根据不同的类值形成的
属性值直方图。 这些
不同的类值有
Chinese:
兰色代表 yes, 即 play，
红色代表 no, 即 don't play，
在Weka中，
默认的类是最后一个属性。
如果你愿意，你可以改变。这样你可以
预测其它的属性。
这是天气的数据。
我已提到，这是个分类的问题，有时也称为监督学习的问题。
它是监督学习的问题，
因为你已知道了
每个训练实例的类的值。
我们用已录入的数据作为已分类的例子。
这些都是独立的已知类值的实例。
我们希望自动地建立一个
可用于预测新的
实例的模型。
这是个分类的问题。
这些例子是这样的。这是个实例，有
不同的属性值，
English:
blue for yes, play and
red for no, don't play.
By default,
the last attribute in Weka is always the class value.
You can change this if you like. If you
change it here you can decide to
predict a different one other than the last
attribute.
That's the weather dataset, and
we've already explored that.
As I said, it's a classification problem,
sometimes called a supervised learning
problem. Supervised
because you get to know the
class values of the training instances.
We take as inputted data
set as classified examples,
these examples are independent
examples with a class value attached.
The idea is to produce automatically
some kind of model
that can classify new examples.
That's the classification problem.
Here is what the examples
look like. This is an instance, with
the different attribute values
Chinese:
有一组固定的特性。
我们赋予它一个类值，
这样就产生了一个已分类的实例。
这就是我们为什么要训练数据集。
这些属性或特性可以是离散的或连续的。
我们看到
过的天气数据
是离散的，所以也称为名词性的。
通常它们有一组固定的数据值。
他们也可以是数字
一组连续的数字。
同时，类 可以是离散的或连续的。我们看到的是离散的类,
例如在天气数据中的类yes 或 no。 其它机器学习问题
可能涉及到连续的类，
这时我们希望预测一个数字。
在商业领域叫
回归问题。
我们来看一组和
天气数据集近似的数据。
数字天气
数据集
在Weka中打开
English:
a fixed set of features,
and then we add to that
the class to get the classified example.
That's what we have to
have in our training dataset.
These attributes or features
can be discrete or continuous.
What we
looked at in the weather data were
discrete, or we call them nominal,
attribute values where they
belong to a certain fixed set,
or they can be numeric
or continuous values.
Also, the class can be discrete or
continuous. We're looking at a discrete class,
yes or no, in the case of the weather
data. Another kind of machine
learning problem would involve
continuous classes, where
you're trying to predict a number.
That's called a regression problem
in the trade.
I'm going to have a look at a similar
dataset to the weather dataset.
The numeric weather
dataset.
Let me just open that in Weka,
Chinese:
weather.numeric.arff.
看到没有，非常近似。
实际上，几乎是相同的。
14个实例，5个属性, 相同的属性。
我们来用编辑面板
看看这个数据集。
你可看到，这里， temperature 和 humidity 是
数字性的属性，之前他们是名词性的
这里全是数字。
我们看下outlook 的值，
和以前一样， 有
sunny, overcast 和 rainy.
对于温度来说，我们不能枚举所有的值
因为有太多的数字。
但我们可以有最大值，最小值，平均值和标准差。
这些信息是Weka为
数字属性提供的
我们来看一个不同的数据集。
我们来看下玻璃的数据集。它是个大的数据集。
一个真实的数据集
English:
weather.numeric.arff.
Here it is. It's very similar,
almost identical in fact,
for 14 instances, 5 attributes, the same attributes.
Maybe I should just look at this dataset
in the edit panel.
You can see here that two of the
attributes—temperature and humidity—
are numeric attributes, whereas
previously they were nominal
attributes. So here there are numbers.
What we see when we look at
the attributes values for outlook, just as
before, we have
sunny, overcast and rainy.
For temperature, though,
we can't enumerate the values,
there are too many numbers to enumerate.
We have the minimum and maximum
value, mean, and standard deviation.
That's what Weka gives you
for the numeric values.
I'm going to look at a different dataset.
I'm going to look at the glass dataset,
which is a rather more extensive dataset.
It's a real world dataset,
English:
not a terribly big one.
Let's open it.
Here we've got 214 instances
and 10 attributes.
Here are the 10 attributes,
it's not clear what they are.
Let's look at the class,
by default the last
attribute shown.
There are seven values for the class,
and the labels of these values give
you some indication of what
this dataset is about.
We have headlamps, tableware, and containers.
Then we have building and vehicle windows,
both float and non-float.
You may not know this, but there are
different ways of making glass, and
the floating process is a way of making glass.
These are seven different kinds of glass.
What are the attribute values?
I don't know what you remember about physics,
and I guess it doesn't
matter if you don't remember.
RI stands for the refractive index.
Chinese:
不是特别大的一个。
让我们打开它，
它包含214个实例， 和
10 个属性。
这是10个属性, 不太清楚它们是什么。
让我们看下类。
默认值应是
最后的属性。
这个类有7个值。你可以从值的名称大概猜到
这个数据集是关于什么的。
这里有 前大灯，餐具，容器。
然后，有建筑物和车辆的窗子。
使用浮法和不使用浮法的。
你可能不知道这是什么，
制造玻璃有许多方法，
浮法生产是一种制作玻璃的方法。
这里有七种不同的玻璃。
它们的属性值都是些什么呢？
我不知道你还记得那些物理知识。
我想你不记得也没关系。
RI 指的是折射率。
English:
It's always a good idea to check for
reasonableness when you're looking at
datasets. It's really important to
get down and dirty with your data.
Here we're looking at the values of the
refractive index—a minimum of 1.511,
a maximum of 1.534.
It's good to think about whether these are
reasonable values for refractive index. If you
go to the web and have a look around,
you'll find that these are
good values for
the refractive index.
Na.
If you did chemistry, you'll recognize Na as sodium.
Here, it looks like these are percentages,
the different percentages of sodium.
Magnesium, Mg,
and so on. We would expect Silicon (Si),
to make up the majority of glass.
It varies between 69.81%
and 75.41%.
These are percentages of
different elements in the glass.
Chinese:
在你查看数据时，看看它们是否合理总是个好主意。
深入了解你的数据是
非常重要的。
我们来看看折射率的值，最小值是1.511
最大值是1.534.
想一想这些数据对于折射率来说
是否合理总是好的。 如果你到网上查一查，
你会发现这些值数据
对于折射率来说
是合理的。
Na.
如果你学过化学，你知道Na是钠
这里看起来是些百分比，
钠的不同百分比
锰, Mg,
等等。可能会想到硅 (Si),
玻璃的主要组成元素，它的含量在69.81%
和75.41%之间。
这些数据是各种元素在玻璃中的含量。
Chinese:
我们可以通过观察数据来肯定我们的猜测。
让我们找一找玻璃数据，
它在Weka提供的数据集中，
它是glass.arff.
这是ARFF
文件格式。
开头是些关于玻璃数据的说明。
由%打头的行都是说明。
你可以读一下。 但我们现在没时间这样做。
你可以看下各个属性
他们是
折射率，钠，锰, 等等。
和玻璃的种类，例如，
窗户， 容器，餐具，等等。
我们看下说明的结尾部分，
这些是Weka特定的. 这就是ARFF格式。
这个关系有个名字。
你能在Weka的界面上看到.
English:
We can confirm our guesses
here by looking at the data file itself.
Let me just find the glass data.
It's in Weka datasets,
and it's glass.arff.
This is the ARFF
file format.
It starts with a bunch of comments about
the glass database. These lines beginning
with percentage signs (%) are comments.
You can read about this.
We don't have time to read it now.
You can see about the
attributes and it does say that
the attributes are
refractive index, sodium, magnesium, and so on.
And the type of glass, just like I said, is about
windows, containers, and tableware, and so on.
We can get down to the end of the comments,
and here we have stuff for Weka. This is
the ARFF format. The relation has a
name,
you'll see it printed in
the interface when you look.
English:
The attributes are defined,
they are real valued attributes,
numeric attributes.
The type
attribute is nominal, and
the different values of type are
enumerated here in quotes.
That defines the relation
and the attributes. Then we have an
'@data' line, and following that in the
ARFF format, are simply the instances,
one after the other, with the attribute
values all on one line, ending with
class by default. This is the
class value for the first instance.
I think there are 214
instances here.
There's the last one.
That's the ARFF format. It is a very simple,
textual file format.
Now we've confirmed our guesses
about these numbers being percentages
and different elements.
We can think about
this some more. It's important
then, that these numbers are
Chinese:
属性都被定义过了，拥有真正的值。
数字性属性。.
这个属性是
名词性的，它的值已被罗列出来，
放在引号中。
这些是关于关系和属性的。接下来，我们看一看
'@data' 打头的行，接下来都是一个接一个的实例。
每行包含了所有的属性的值， 默认类的值是
最后一个属性的值。 这是第一个
实例的类的值。
这里大概有
214个实例。
这是最后一个。
这就是ARFF格式。 它是一个简单
的文本文件格式。
现在，我们已确认了我们关于这些数字是百分比的猜测，
和各种不同的元素。
如果我们再思考一下，
这些数字的合理性
English:
reasonable. If they went negative, for example,
that would indicate some kind of corrupted
value. You can't have a negative
percentage.
We're expected silicon to
be the majority component;
we're expecting the refractive index to be
in this kind of range. It's always a good
idea when you get a dataset to just
click around in the Weka interface
and make sure things look real.
Rather small amounts
of aluminum in glass. I guess that's not surprising;
I don't know very much about glass myself.
We're just kind of checking for reasonableness here—
a very good thing to do.
That's it then.
In this lesson, we've
looked at the classification problem.
We've looked at the nominal weather
data and the numeric weather data.
We've talked about
nominal versus numeric attributes,
and we've
talked about the ARFF file format.
We've looked at the glass.arff
dataset,
and I've talked about sanity checking
of attributes, and the importance of
Chinese:
是很重要的。 如果他们是负数，这可能
意味着这些值已被损坏了。 负数百分比
是不正常的。
我们预测硅是主要的元素，
预测折射率在这个范围内。 当你拿到一组数据时，
一个好的方法是把它放在Weka中
检查一下
以确保数据看起来合理真实。 我想玻璃中
含有些微量的铝，也是很正常的。
我对玻璃知道的不多。
我们这里只是看一下合理性。
这是应该做的。
就到这里吧。
这节课，我们学习了分类问题。
我们了解了名词性和数字性的天气数据。
我们谈到了名词性和数字性的属性。
同时，我们
学习了ARFF文件格式。
我们看了下
glass.arff
我们谈到了对属性的合理性的检测，
English:
getting down and dirty with your data.
If you'd like some further background
on this, you can read Section 11.1
of the text and read about
Preparing the data and Loading the data
into the Explorer.
Whether or not you do that,
please go and look at the activity
associated with this lesson.
We'll see you soon. Bye!
Chinese:
和深入了解你的数据的重要性。
你如果还想知道更多的背景知识，可以看一看教科书的第11.1节
关于如何组织数据和将数据
读入到Explorer的部分。
这个可做，可不做，
但你应该完成这节课的课后练习。
下次课见！
| {
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Post-disaster nuclear safety efforts continue.
As of Friday, May 13, Japan’s National Police
Agency confirmed over 15,000 fatalities from
the devastating 9.0-magnitude quake and tsunami
in March, as well as two deadly aftershocks
in April. Over 500 survivors perished in the
subsequent two months, many from a combination
of stress and fatigue. Some 115,500 displaced
persons are still staying in shelters with
no privacy, mostly in the worst-hit Iwate,
Miyagi, and Fukushima prefectures. Moreover,
nearly 80,000 people have been unable to return
to their homes that are located within 20
kilometers of the disaster-stricken Fukushima
Daiichi plant. Tens of thousands other residents
may also be evacuated from towns further away
as radiation levels are expected to rise along
with long-term cancer risk.
At the Fukushima Daiichi nuclear power plant,
the crisis triggered by the twin disasters
continues, and on Thursday, the operator Tokyo
Electric Power Company (TEPCO) stated that
the No. 1 reactor is believed to be in a state
of meltdown. Most of the fuel rods may have
melted and fallen to the bottom of the reactor,
creating one or more holes which led to a
leak of highly radioactive water into the
containment vessel. With less than half of
the 10,000 tons of water injected into the
reactor since the initial disasters still
remaining in the reactor or its container
vessel, the company is now also searching
for the source of the dangerously contaminated
water.
On Saturday, a contract worker collapsed and
died after working in the plant for two days.
Medical examination revealed no traces of
radiation, with the cause of death thought
to be exhaustion.
The Japanese government has also announced
it is shutting down 35 of its 54 nuclear reactors
by the end of May. The nuclear accident at
the Fukushima Daiichi plant also prompted
the US Nuclear Regulatory Commission on Wednesday
to ask American utilities to present their
plans for handling similarly extreme events
by June 10.
We appreciate the protective efforts of the
Japanese and US governments, officials, and
nuclear experts. Our prayers that such hazardous
conditions are soon minimized as humanity
chooses gentler, more Earth-protecting ways�
| {
"pile_set_name": "YoutubeSubtitles"
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welcome to UC Santa Cruz in the Baskin
school of engineering I'm Tracy Larrabee
I'm a professor of computer science and
engineering and I'm also the associate
dean of undergraduate affairs in the
School of Engineering UC Santa Cruz
offers a unique undergraduate education
in games The Bachelor of Science program
is technology focused with a strong core
of computer science supplemented with
courses on game design and development
students receive a strong theoretical
foundation in computer science as well
as the opportunity to pursue specific CS
topics in greater depth including
databases operating systems networking
and distributed systems compilers
security and other topics of interest in
addition to the unique design of our
program a highlight of the undergraduate
degree is the required year-long
three-course game design studio senior
sequence students work in teams to
create a substantial video game on a
platform of their choice true to its
name the program's core focus is to
prepare students for jobs in the game
industry whether it be in the
professional games industry independent
games or somewhere in between
additionally our program includes a
significant component of research
preparing students to become game
researchers in academia or industry some
of our undergraduates have continued on
to our masters and PhD programs others
secure jobs in the larger field of
computing including social media virtual
reality and web design our program helps
facilitate paid and unpaid internships
portfolio review portfolio development
with professionals internship recruiting
events and both internal and public
playtesting events our school has
resources for your many interests in
engineering with over 20 student
organizations speaker series hackathons
and research talks we have an office of
undergraduate affairs with peer and
professional advisors to help you with
your path we're looking forward to your
joining the Baskin school of engineering
| {
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Bonjour à toutes et à tous
Soupe de vermicelles de riz épicées au boeuf
Faire tremper les vermicelles dans l'eau froide
Après faire cuire dans l'eau bouillie
Faire de l'huile de roucou
Pâte de crevettes fermentées
L'eau
Carotte de boeuf
Os de porc
Citronelle et annanas
Sucre
Knorr granulés
Sauce de poisson
L'huile de roucou
Feuilles de laksa, oignons et coriandre
Mortadelle vietnamienne
Couper la viande de boeuf
Abonnez-vous à ma chaîne Youtube
Merci et bon appétit
| {
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One of the wow moments is the
day you remember how
much you now depend on
your phone,
which is the day you lose it
right?
Another one is the day when you
put your whole genome in the
cloud, and then you realise
that researchers are going to start
using your genetics, with
your permission, right, to help
other people with these extraordinarily
difficult diseases that people get
For me, last week
I met a blind man who could
now see because
he had a retinal implant, and
he told me, 'I can see with
my eyes closed.' That's what
did it.
It's extraordinary.
So the underlying technological
things going on here have to do with
machine learning, and Andrew mentioned
this a little bit. What machine learning is
is a series of what are called neural
networks, and they're layered, and
you take these layers and you classify
at various levels what you see
These algorithms work by taking a
very large amount of data and producing
new algorithms, essentially, and
they get better with more training
data. This works for
lots of business things that you see
but it doesn't work for things which have
very narrow or specialised
data, or very infrequent data. So
I'll give you a simple example
It works well for consumer
fashion, but not very well
for luxury fashion
because there is so much more consumer data
than there is luxury data. So
easy to understand that the way
this technology will appear
in our lives, in things where there
are lots and lots of data sets
I mentioned driving a car
There's lots of data driving a car
because there are lots of things going on all the time
Plus, we've driven our cars
you know, half a million miles, whatever
the number is, and every time you drive
the algorithm just gets a little
bit better.
So there are all sorts of questions you
could ask. 'Which stores should have my
inventory?' 'Where will the traffic
be?' A possible future could
be, 'Suggest what I should
do today.' I mentioned we're trying to move
to suggest. Maybe we'll be able to
do that. 'Send me a summary
of something.' 'Make me smarter
on a subject I know very little
about. Educate me.' Right? That's
the kind of thing that these things can do
| {
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ABSOLUTELY. THIS IS MY
HOUR ABOUT GREAT GIFT HO
FOR UNDER $100.
$100.[INAUDIBLE] IT
WILL BE A LOT OF FUN AND
I HOPE YOU STICK AROUND.
WE WILL GET STARTED AND
GET OUT A LITTLE BIT OF
THE PEP UP ENERGY. HOW
ABOUT SOME GOOD OLD STYLE
ROCK THEM SOCK THEM
ROBOTS, WHO DOES NOT ROB
LOVE BACK? YOU GET BOTH
ROBOTS HERE, 2, THE ROBO
BLACK SERIES HEAD-2-HEAD
CYBER BOXING RC ROBOT
2-PACK. THIS IS A
FIVE-STAR RATED PRODUCT.
I WILL TELL YOU IT IS
ARGUMENT HOLIDAY PRICE
AND WE KNOW YOU ARE
LOOKING FOR THOSE LOOKIN
SPECIAL AND FUN,
ONE-OF-A-KIND GIFTS, ONE
WHAT I LOVE ABOUT THIS
BEING A MOM, I KNOW IF
YOUR GRAND JURY TO
UNDERSTAND, THIS IS A UN
TOY THAT MAKES EVERYBODY
INTERACT. -- YOU ARE A
GRANDMA
>>HOST: (...) RETREAT >
TO THEIR OWN CORNER AND
THEN THEY WILL STEP AWAY
AND THAT IS GOOD AND FINE
ANY LITTLE BIT OF THAT
IS FINE AS LONG AS IT IS
IN MODERATION, THIS IS A
GAME THAT WILL MAKE
PEOPLE INTERACT AND PEOP
LAUGH AND PLAY TOGETHER.
HERE ARE YOUR FEATURES;
[READING]
IS REALLY COOL AND A
GREAT WAY. I USED TO
PLAY WITH(...) BILL
DUGGAN IS A PARTY
CHALLENGING ME. GET OUT
HERE AND FACE ME MAN TO
MAN. FIVE-STAR RATED
PRODUCT. LOOK AT THIS.
UNIT 2 FLEX PAPER THIS
HOUR ONLY. YOU GET TO
BRING IT HOME AND $19.
THIS IS SO MUCH FUN!
>>GUEST: HOURS OF PLAY
FOR THE KIDS. RIGHT FOR
HERE WE ARE PLAYING
TOGETHER AT THE SAME TIME
TIME(...) AND LIKE YOU
WERE TALKING ABOUT, HAVE
FUN WITH IT. YOU GET A
RED ONE AND A BLUE ONE.
WE ARE PLAYING AT THE
SAME TIME YOU DO NOT SAM
HAVE TO TAKE TURNS. THE
COOL PART IS THAT THIS C
IS FUN, THEY ARE 8 IS FU
INCHES TALL AND WE GO UP
AGAINST EACH OTHER. AS
LESLEY MENTIONED YOU GET
A CHEST PLATE AND THEN
THE HEAD WILL POP OFF.
WHO CAN WIN THE BATTLE.
[LAUGHTER] THE GAME IS
NOT OVER. JUST PUT MY
HEAD BACK ON AND GO BACK
AT IT. HOURS OF
ENTERTAINMENT. CLASSIC
REMOTE-CONTROL ACTION.
THE CONFIGURATION ON THE
JOYSTICK IS SIMPLE TO
USE, UP AND DOWN AND USE
LEFT TO RIGHT. WHETHER
FULL OR FINGERS OR FULL
LITTLE FINGERS IT IS LIT
EASY TO CONFIGURE. HOW
MANY TIMES DID WE LOSE
ANTENNAS BACK IN THE ANT
DAY? YOU WILL NOT HAVE A
PROBLEM WITH THIS. WHAT
I REALLY APPRECIATE IS
NOT LOSING!
[LAUGHTER] HOWEVER THE
BEST PART ABOUT IT(...)
>>HOST: YOU ARE BEING
BEAT BY A CHILD WILL DO
IN!
[LAUGHTER]
>>GUEST: I AM LETTING
HER WIN. SHE IS ON MY
TV. ALWAYS HAD TO TAKE
TURNS WITH MY SISTER BUT
MAGGIE DO NOT HAVE TO DO
THAT. YOU GET BOTH OF
THEM, RED AND BLUE,
EVERYBODY CAN HAVE FUN,
HOURS OF FUN. WHETHER H
WE ARE 9 OR 39, ADULTS
CAN HAVE FUN. EVEN KIDS
IN COLLEGE. READY? YOUR
WE GO!
[LAUGHTER]
>>HOST: SHE IS SO GOOD.
WE BROUGHT HER IN
SPECIFICALLY TO SPECIFIC
HUMILIATE YOU ON TV. HU
FOR THIS HOUR ONLY BRING
THESE NUMBER $19.98. AS
BILL SAID IT IS BILL SAI
COUNTLESS HOURS OF FUN. I
LIKE SO MANY THINGS
ABOUT THIS, THEY ARE
ROBOTS, THEY ARE NOT
ITTY-BITTY AND DELICATE
NOT LIKE THAT THE
ANTENNAS ARE SOFT AND
FLEXIBLE. AS A MOTHER I
WORRY ABOUT EYES AND WOR
THAT GOOD STUFF. I ALSO
LIKE THAT IT IS SIMPLE.
TO BE HONEST A LOT OF
REMOTE-CONTROL TOYS, I R
AM NOT VERY TALENTED
WITH. I DO NOT HAVE THE
GIFT FOR GAMING SYSTEMS.
THIS IS EASY LIKE I
COULD DO THIS.
>>GUEST: THAT IS WHY >
IT IS SO MUCH FUN FOR IT
ALL AGES, SMALL HANDS OR
OLDER HANDS ON GET IN
THERE AND[INAUDIBLE] I
WILL GET REDEMPTION WILL
HERE. I SWEAR! WHEN
YOU THINK ABOUT THE
GAMING SYSTEM AND GAMING
DEVICES, THE ALPHABET
LETTERS AND COLORS, THIS
IS SIMPLE AND FUN AND
CONTROL. HOURS OF
ENTERTAINMENT.
>>HOST:
[LAUGHTER] I GOT YOU
BILL! FOR ALL THE BILL
TIMES YOU DID NOT BRING
A COPY.
[LAUGHTER]
>>GUEST: --COFFEE
THAT IS WHAT I LOVE THAT
ABOUT IT, IS RESET AND
REVIEWS AND EVEN AS A
ROBOT ON ITS OWN, JUST
HAVE FUN WITH IT AND
DIRECT IT ACROSS THE
LIVING ROOM FLOOR OR LIV
COPY TABLING COUNTERTOP.
BUT IF YOU HIT THE BUT
CHEST PLATE AND YOU HAVE
YOUR LITTLE BROTHER,
SISTER OR COUSIN, OVER,
OVER,[INAUDIBLE] YOU
JUST GO AT EACH OTHER.
THEN YOU RESTART ALL THE
OVER AGAIN. -- COFFEE
TABLE AND
>>HOST: LET ME TELL >>H
YOU, A LITTLE UPDATE, WE
ONLY HAVE 10 MIN. IN THE
PRESENTATION AND I DO PR
NOT KNOW IF IT WILL LAST
LONG. 196 REMAINING LON
WHAT YOU GET IS BOTH
ROBOTS, BOTH REMOTE
CONTROLS AND THEY DO
REQUIRE BATTERIES THAT
ARE NOT INCLUDED. MAKE
SURE TO PICK UP THE
BATTERIES BEFORE YOU GET
THEM TO SOMEBODY. BUT T
AS BILL SAID IT IS TONS
OF FUN. YOU KNOW HOW HE
GOT ME? I WAS NOT GOT ME
PLAYING BILL DUGGAN! RE
IS THE THING, IT IS AN
INTERACTIVE GAME AND FOR
ME I LIKE BEING ABLE TO
INTERACT INSTEAD OF THE
KIDS RETREAT TO THEIR
ROOM WITH THEIR OWN
VIDEOGAME AND IN THEIR
OWN WORLD. WITH THIS
GAME EVERYBODY INTERACT
AND HAVE FUN AND YOU ARE
INITIATING A CONVERSATION
CONVERSATION. THAT IS
SO IMPORTANT. THOSE SO
DAYS ARE SLIPPING AWAY
FROM US AND WE ARE FROM
TRYING TO FIND WAYS.
>>GUEST: IT IS FUN TO
GET UP AND I ORDINATION
WITH THE JOYSTICKS --
HAND AND EYE
>>GUEST: YOU CAN GET >>
OUT THERE AND HAVE FUN
WITH IT. BEYOND THE WIT
LAZY BOY PLAYING WITH LA
THE GRANDKIDS NOT JUST
FIGURE OUT AS YOU GO. ND
YOU HAVE A VICTORY YOU H
REWARD OF WHEN YOU
COMPLETE A BATTLE.
[LAUGHTER]
>>HOST:
[LAUGHTER] IT IS NOT
YOUR DAY BILL DUGGAN. OU
HAVE A CASE OF THE
MONDAYS.
>>GUEST: I NEED COFFEE.
THAT IS WHAT I
APPRECIATE ALSO, YOU GET
THIS GIFT AND[INAUDIBLE]
THERE ARE NOT A LOT OF
PIECES NOT YOURS OR
CONTROLLER AND ROBOT CON
THEY HAD THAT POPS OFF.
THERE WAS NOTHING WORSE
WHEN I WAS A KID AND MY
MOM AND SAY YOU CANNOT
OPEN IT YET. THERE ARE
TOO MANY LITTLE PIECES.
PIECES.[INAUDIBLE]
PLAYING IT RIGHT NOW. OU
CAN GIVE IT AND ENJOY IT
RIGHT AWAY BECAUSE YOU
GET BOTH ROBOTS, THE GET
BLUE AND RED AND NO
SINKING. --SYNCING
>>HOST: IT NEEDS TO BE
EASY BECAUSE YOU DO NOT
NEED TO WORRY ABOUT THEM
WORKING TOGETHER. IT
WILL WORK RIGHT OUT OF
THE BOX.
>>GUEST: YOU WANT TO
SEE JOY WHEN YOU GIVE IT
TO SOMEBODY RIGHT AWAY
AND MAYBE PLAY WITH THEM
AND TALK THEM THROUGH.
THAT IS THE HOURS OF FUN
THAT YOU WILL GET OUT OF
IT. THEY ARE 8 INCHES
TALL AND MAKING BATTLE
AGAINST EACH OTHER. WE
SHOW RIGHT HERE ON THE
CHEST PLATE, YOU CAN CHE
ROCK THEM AND SOCKED ROC
THEM WITH YOUR GLOVES
RIGHT THERE AND BOOM, IT
POPS OFF AND THEN YOU
RESET THE HEAD AND GO AT
IT AGAIN AND AGAIN.
>>HOST: THAT IS JUST
IT, NICE AND EASY, NO
ADDITIONAL PIECES THAT
YOU HAVE TO CRAWL ON A
RESTAURANT FLOOR. I
HAVE DONE IS TRYING TO
FIND ITTY-BITTY PIECES
YOU HAVE LOST. EASY,
EASY, YOU'RE NOT EASY, Y
BREAKING THE BANK AND UK
KIDS SOMETHING ORIGINAL
AND DIFFERENT. PEOPLE
WILL GRAVITATE TOWARDS
OTHER TOYS, VIDEO GAMES,
ALL OF THAT OTHER STUFF.
THIS STUFF HAS A RETRO
NOSTALGIA TO IT AND WILL
GET THE ENTIRE FAMILY
INVOLVED WHICH IS NICE.
THEY ARE SUBSTANTIAL
ROBOT THEN YOU DO NOT
HAVE TO WORRY ABOUT IT
FALLING AND BREAKING FAL
INTO PIECES. REMEMBER
ALSO, THE MOST IMPORTANT
THING IS THAT IT IS EASY.
AS BILL SAID YOU WILL
GET UP THERE AND HAVE
DEXTERITY ISSUES THEN DE
YOU WILL NOT HAVE A
PROBLEM WITH THIS. PRO
ALSO SMALL FINGERS AND
DELICATE FINGERS CAN GET
THE HANG OF IT AS WELL.
THE MOST IMPORTANT THE
THING IS THAT YOU GET
THOSE BRIGHT[INAUDIBLE]
SMILE. THAT IS JUST IT.
I HAVE 119 REMAINING I
AND IF YOU'RE JUST AND I
TUNING IN FOR THIS
PRESENTATION, THE FLEX
PAY GO AWAY AT THE END P
OF THIS HOUR. 47 MIN.,
IN 47 MIN. IT WILL GO
AWAY. REGULAR HOME NOW
FOR $20. NUMBER WE HAVE
EXTENDED HOLIDAY RETURNS
WHICH IS REALLY NICE
ALSO. -- BRING IT
YOU HAVE UNTIL JANUARY Y
31 TWO RETURN THIS IF 31
YOU ARE NOT 100%
SATISFIED BUT I MISS YOU
YOU WILL NOT AND YOU YOU
WILL LOVE IT. ITEM
NUMBER 351514. IT IS NU
ONE PURCHASE THAT YOU ON
ARE MAKING AND GETTING
BOTH ROBOTS, YOU GET BOT
BOTH REMOTE CONTROLS, BO
AND LOOK AT THIS. WE
CANNOT EVEN GET IT
TOGETHER THIS MORNING.
YOU'RE HAVING SO MUCH
FUN.
>>GUEST: YOU WANT TO
HAVE FUN. IT IS NOT JUST
CHRISTMAS BUT TOYS FOR
TOTS, BIRTHDAY PRESENT!
DID EVERYBODY SEE THAT
HOME? YES!
[LAUGHTER] SORRY
EVERYBODY. I JUST BEAT
A NINE-YEAR-OLD. SORRY.
[LAUGHTER] THAT IS THE
FUN PART. NOW SHE HAS
HER CHANCE. WE WILL HER
PLAY TOGETHER. WHEN YOU
HAVE REMOTE CONTROL,
REMOTE CONTROL REMOTE CO
TECHNOLOGY HAS BEEN
AROUND FOR A WHILE.
CLASSIC FUN, HANDED IKE
ORDINATION, CAN'T CONVEY
TOGETHER. REMEMBER WHEN
YOU COULD NOT PLAY
TOGETHER AND HAD TO TAKE
TURNS? THESE WILL RUN ON
DIFFERENT FREQUENCIES TO
RUN ON THE SAME TIME.
>>HOST: 100 REMAINING
EVERYONE. THANK YOU FOR
YOUR CALLED. --HAND AND
EYE
THIS IS MY FAVORITE THIS
HOUR. SO MUCH FUN. YOU
CAN BRING IT HOME FOR
$19, FOR THE NEXT 45 $19
MIN. TO A BANDAGE OF MIN
LIKE A IF YOU MISS THE
375
00:09:22,333
FLEX BETA STILL HOLIDAY
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How’s it going Youtube, I am Landon and
welcome back to another most amazing top 10
video.
Throughout history we have witnessed and experienced
some pretty crazy disasters whether it is
natural disasters or disasters created by
man.
We are talking about Hurricanes, to Tsunamis,
to the 9-1-1 attacks and the boston bombing.
We have had some amazing stories of people
surviving these disasters.
So lets take a look at the top 10 people who
survived disasters.
It’s a triple threat in at number 10, we
have Mason Wells who has survived 3 different
terrorist attacks let me explain.
Mason Wells has become one of the unluckiest
and luckiest people ever.
He was present at the time of the Boston Bombings
back in 2013, The Paris attack in 2015, and
last years 2016 Brussels bombing attack.
Mason wells is only 19 yrs old and he has
seen way more than most people in their life
time.
Although Mason Wells survived all of those
attacks he was still injured.
He suffers a ruptured Achilles tendon, he
also has shrapnel injuries as well as second-
and third degree burns on his face and hands
after these bombings took place.
He is very lucky to be alive and it just seems
like the odds are likely to place him at another
terrorist attack.
If I was Mason Wells I would stop travelling
for a little bit.
We now have a 9/11 attack survivor who was
also present at the time of the Paris Attack
at number 9.
This right here is 36 yr old Matthew who is
an American survivor who was shot during the
Paris attack back in 2015, that attack is
now being called the Bataclan massacre.
The attackers killed 89 people.
Matthew was shot right in the calf right on
Friday the 13th to make matters worse.
It just wasn’t his day at all.
Matthew also works at the world trade Centre
and he was there during the 9/11 attacks that
happened back in 2001.
The perpetrator was Al-Qaeda and those events
changed the world forever.
Matthew was able to escape the building and
run for his life before the building fell
on top of him.
Its so crazy to go through such a traumatic
event like the 9/11 event and then years later
getting shot by a crazy terrorist.
His life just keeps flashing before him.
It’s time to get out your life jackets because
there is a woman over board at number 8.
This right here is Irish nurse Violet Jessop
who became a celebrity in the 1920s after
she survived three different shipwrecks in
a span of 5 yrs.
The first shipwreck was in 1911 when she was
a stewardess on the RMS Olympic when it collided
with the cruiser HMS Hawke.
This boat looks very similar to the Titanic.
The second shipwreck Violet was able to survive
was the Titanic.
She was working on the Titanic when it hit
an iceberg and sank we all know that story
because of the famous movie inspired by true
events.
Violet was able to save a baby that was on
board.
The baby on board we will get to in a bit.
So the third shipwreck was in 1916 when she
was a nurse on the hospital ship Britannic.
A lot of people lost their lives that day
but Violet was able to survive.
It’s an Iceberg ahead at number 7.
We are talking about another Titanic survivor
and perhaps that baby that was carried off
the by Violet Jessop in at number 8.
Well the baby was identified as Millvina Dean
who was just 2 months old at the time she
was onboard the ship.
She was the youngest passenger aboard.
Millvina was the last remaining survivor from
the shipwreck but unfortunately she passed
away back in 2009 at the age of 97 yrs old
so she was still able to live a full life.
Blasting out way into number 6 we have Tsutomu
Yamaguchi who was a survivor of the Hiroshima
and Nagasaki atomic bombing during world war
2.
The United States dropped these nuclear weapons
on these two Japanese cities.
The Hiroshima blast killed around 126,000
people and the blast in Nagasaki killed about
80,000 thousand people.
This was a huge day in history.
Around a quarter of a million people died
from these two bombings but Tsutomu was someone
who survived both blasts.
It is known to be just 69 people to survive
both attacks.
Tsutomu was able to live out a long life until
he died of stomach cancer in 2010, dying at
the age of 93 yrs old.
At number 5 its unprecedented but we have
1 former president of the united states of
America who survived not just 1 but 2 assignation
attempts.
We are talking about President Gerald Ford.
Gerald Ford was the 38th President of the
united states and the 40th Vice President
of the united States.
In 1975 someone tried to take his life using
a Colt .45 caliber handgun.
The shooter was identified as a female.
Well a secret service agent Larry Buendorf
was able to grab the gun before she was able
to pull the trigger.
The woman was convicted of attempted assassination
of the President and she was sentenced to
life in prison.
But she was paroled in 2009 after serving
around 34 yrs in prison.
The second attack was just 17 days later when
someone actually got a shot of from a .38
caliber revolver.
It was another female trying to take down
the president.
These woman be crazy.
Luckily she missed the president.
She was also caught and served 32 yrs behind
bars.
Things are about to get really steamy and
hot at number 4 at it’s not what you think.
We are talking about Michael Benson who survived
a helicopter crash.
Michael Benson was shooting aerial footage
of Hawaii for a movie when their helicopter
crashed over the world’s most active volcano.
Michael had to live inside a volcano crater
for a couple of days.
He narrowly missed crashing into a boiling
pool of Lava.
Well after a few days of living in such extreme
conditions he was rescued.
This has to be a one of a kind experience.
I really hope you guys aren’t to squeamish
with this next one at number 3.
Well this is no magic trick but we have 38
yr old Truman Duncan who was cut in half when
he was ran over by a train.
Let me tell you guys what happened.
Truman back in 2006 was working at his job
in the rail yards in Texas when he slipped
and fell onto the tracks.
He was pulled under the train and his lower
body not to get to graphic but it was mangled
up.
So he has to be fully cut into two losing
his legs.
Well one of his legs was attached by a single
muscle.
This is a traumatic shock to the body and
a lot to endure.
Any other person in this situation would have
died but miraculously enough Truman did not.
His body was dragged for 75 ft. Truman had
the incredible power and the will to live
to tell his story.
He said that day was a miracle.
Moving into number 2, I know most of you guys
know this story because this horrible situation
was turned into a movie.
Well I am talking about the Aron Ralston story
do you guys know who he is?
Well let me give you guys a hint.
James Franco played the character Aron Ralston
who was the real man behind that movie.
Aron feel in Blue John Canyon and on the way
down he got his right forearm stuck in the
boulder.
Aron was left to fight for his life for 127
hours which is 5 days and 7 hours.
He was finally able to get free after he amputated
his own arm with a dull pocketknife.
Its such a remarkable story and its amazing
that Aron is still alive today.
Finally at number 1 we have a remarkable story
that I don’t even believe but everything
I am about to tell you is real.
This right here is Frane Selak who is the
worlds unluckiest lucky man.
He is a music teacher that has come close
to death many times.
It all started back in 1962 when he was riding
on a train on a cold rainy day when the train
crashed and flipped off the tracks.
The train fell in a river.
Someone was able to pull Frane out of the
train wreck alive.
Many people lost their lives that day and
he just suffered from a broken arm and hypothermia.
The next year during his first and only plane
ride he was blown out of a malfunctioning
plane door and he landed on a haystack just
moments before the plane crashed killing everyone
inside.
3 yrs later he was on a bus when the bus skidded
of the road and went in yet again another
river.
But some how Frane survived that.
In 1970 he was in a car where the car caught
fire and it blew up but again he escaped.
I am starting to think that death is trying
to kill him just like in the final destination
movies but this guy just wont die.
He went on to out live multiple more accidents
that’s are unbelievable.
He cheated death 7 times.
Well in 2003 2 days after his 73rd birthday
he was the lottery.
He bought two houses and a boat, and then
he gave his remaining money away to relatives
and friends.
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King: Use funding from food stamps, Planned Parenthood to pay for border wall
Story highlights Im sure that all of them didnt need it, he said White House budget proposal would slash $193 billion from food stamp program (CNN)Congress should use money from its food stamp budget and Planned Parenthood funding to pay for a wall along the border between the United States and Mexico, Rep.
Steve King said Wednesday. The House appropriations committee released its homeland security bill on Tuesday, which includes the full $1.6 billion requested by the Office of Management and Budget to begin construction on a southern border wall.
The Iowa Republican, however, wants to more than triple taxpayer dollars spent on the wall.
Are you comfortable, congressman, with providing $1.6 billion of taxpayer money, not from Mexico, to build that wall? CNNs Alisyn Camerota asked on New Day. Absolutely, yes and more, he replied.
And Id throw another $5 billion on the pile and I would find half a billion of that from right out of Planned Parenthoods budget.
And the rest of it could come out of food stamps and the entitlements that are being spread out for people who havent worked in three generations. The lawmaker said the government needs to ratchet back down the number of Americans on food stamps.
More than 40 million Americans receive food stamps, and nearly two-thirds of them are children, elderly or disabled. The average household on food stamps had income of less than $10,000 a year.
Read More I wouldnt impose anything more strict on anybody in America than what (former first lady) Michelle Obama did with her school lunch program. So, I would just say lets limit to that, King said.
But weve seen this go from 19 million people now on the SNAP program up to 47 million people on the SNAP program, he added. Im sure that all of them didnt need it.
So, we need to set this down and ratchet it back down again. A document circulated on Capitol Hill in May said that a White House budget proposal would slash $193 billion from the Supplemental Nutrition Assistance Program (SNAP) also known as food stamps.
A CNN analysis found that of the top 10 places with the largest percentage of residents who use SNAP, seven voted for Trump in the 2016 elections.
We built the programs because to solve the problem of malnutrition in America, said King, who backed Trump in 2016. Now we have a problem of obesity.
When you match up the EBT card with what the scales say on some of the folks, I think its worth looking at. Michelle Obama looked at it. Republicans should be able to look at it too, he added.
More than 2 billion adults and children globally are overweight or obese and suffer health problems because of their weight, according to the New England Journal of Medicine, with the United States having the greatest percentage (13%) of obese children and young adults.
The Healthy, Hunger-Free Kids Act legislation spearheaded by the former first lady in response to Americas childhood obesity problem was regularly criticized by Republicans and her efforts may be in jeopardy under the Trump administration.
The School Nutrition Association, a lobbying group, released recommendations in March to scale back federal nutrition standards set under the Obama administration. .
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English:
Vsauce!
Kevin here.
I’ve got 23 babies.
Which means there’s a 50% chance one of
them can hack one of the others and replace
their DNA.
Wait.
Humans can’t hack each other.
Yet.
But computers can and luckily for us, it turns
out that the fine folks at BitDefender are
big fans of Vsauce2.
And I’ll get into the ways Bitdefender is
a great solution for protecting your devices,
like… that open wifi connections aren’t
safe, but why exactly?
And how can you get hacked for connecting
to public, unsecured wifi?
But first, what do hacking and babies have
in common?
Birthdays.
Let me explain.
Each one of these babies has a random birthday,
meaning that they each have the same chance
Turkish:
Vsauce!
Ben Kevin.
23 tane bebeğim var
Yani bu bebeklerden birinin diğerini hackleyerek DNA'sını değiştirme olasılığı
%50
Dur bir dakika
İnsanlar birbirini hackleyemez!
Şimdilik.
[BitDefender reklamı]
Öncelikle, hacklemek ve bebeklerin ne ortak yanı var?
Doğum günleri.
Anlatmama izin verin.
Her bebeğin rastgele bir doğum günü var yani yılın 365 gününün herhangi bir
English:
of having been born on any 1 of the 365 days
in a year.
So, what are the odds that two of them share
the same birthday?
We’ll keep it simple: no twins, no leap
years, no patterns that suggested parents
made their babies at non-random, specific
times.
The odds aren’t 23 out of 365, which would
be about 6%.
The odds are actually 50%.
There’s a 50% chance that out of 23 random
people, 2 have the same exact birthday.
Which seems impossible given that we’ve
got so few babies and so many possible birthdays.
And if we have just 50 babies, the odds of
a birthday match jump up to 97%.
Turkish:
gününde doğmuş olma olasılıkları aynı
O zaman, iki bebeğin aynı doğum gününü paylaşma olasılığı nedir?
İkizler, artık yıllar ve anne babaların bebeklerini rastgele olmayan bir şekilde
yaptıklarını gösteren hiçbir örüntü yok
İhtimal 365'te 23, yani %6 değil.
İhtimal aslında %50.
23 rastgele kişi arasından iki kişinin aynı doğum gününü paylaşma olasılığı %50.
Bu bebeklerin azlığı ve mümkün doğum günlerininin çoğunluğu yüzünden imkansız görünüyor.
Ve eğer sadece 50 bebek varsa bu şans %97'e çıkıyor.
English:
At 75, it’s 99.97%, making it a virtual
certainty that when you get 75 babies together
-- or 75 things with birthdays, they don’t
have to be babies -- two of them will share
a birthday.
The Birthday Paradox is a veridical paradox.
It’s surprising and absurd-sounding, but
we have the math to prove it’s true.
How is it possible that so few babies can
have such a high chance of sharing a birthday?
And how is it that despite 365 possibilities,
we only need a sixth of that number to be
pretty sure there’s a match?
The easiest way to do this isn’t to -- excuse
me, babies.
Babies… aw, jeez.
Awww, jeez.
Babies… erasing babies!
Alright, that’s not good.
The easiest way to do this isn’t to calculate
the probability that two of any number of
Turkish:
75'te bu %99.97 oluyor. Yani 75 bebeği bir araya getirdiğinizde
- ya da aynı doğum günlü 75 şey, bebek olması zorunlu değil - 2 tanesi neredeyse kesinlikle aynı doğum gününü
paylaşır.
Doğum Günü Paradoksu gerçeğe uygun bir paradoks.
Kulağa inanılmaz geliyor ama matematik bize doğruluğunu gösteriyor.
Nasıl oluyor da bu kadar az bebekten 2 tanesinin bir doğum günü paylaşma olasılığı bu kadar fazla oluyor?
Ve nasıl oluyor 365 olasılık arasından iki tanesinin aynı olma olasılığı
bu sayının sadece 6'da bir oluyor?
Bunu yapmanın en kolay yolu - pardon bebekler.
Bebekler... Lanet olsun.
Lanet olsun!
Bebekler! Bebekleri siliyorum!
Evet, bu hiç iyi değil.
Bunu yapmanın en kolay yolu iki olasılığın aynı olmasını değil de,
Turkish:
aynı olmamasını hesaplamaktır.
Bunun için 1. bebeğin doğduğunu varsayıyoruz.
Yani bu bebeğin bir doğum günü olma olasılığı 365/365'ten 1.
Sonra bunu 2. bebeğin aynı doğum gününe sahip olmama olasılığıyla (364/365) çarpıyoruz
Bunun sonucunu 3. bebeğin diğer iki bebekle de bir doğum günün paylaşmama olasılığıyla çarpıyoruz.
Ve olasılığını bulmak istediğimiz tüm bebekler için
böyle devam ediyoruz.
23. bebekte 343/365 ile çarpıyoruz.
Bu işlemi sadeleştirmek için 364! (Faktöriyel)
- 364 çünkü 365/365 1 eder - bölü 342!
English:
babies share the same birthday; it’s to
calculate the probability that they don’t.
To do that, we assume that Baby #1 has been
born.
So, the probability of this baby having a
birthday is 1, or 365/365.
Then we multiply that by Baby #2’s probability
of not sharing that birthday: 364/365.
We multiply that result by Baby #3’s probability
of not sharing a birthday with either Baby
#1 or Baby #2, which is 363/365… and we
keep doing this for as many babies as we want
to calculate the odds for.
At Baby #23, we’re multiplying by 343/365.
To simplify this calculation we can write
it as -- 364! Factorial -- we’ll start with
364 because 365 over 365 is just 1, over 342!
Turkish:
(365 - 23 bebek 342 ettiği için) çarpı 365'in
22. kuvveti yani 23 bebeğimizin bir eksiği.
ve bu hesap bize sonunda 0.492703 yani yaklaşık %49.3 verir.
Bu bizim bebeklerin bir doğum günü paylaşmama olasılığı yani
bundan 1 çıkararak paylaşma olasılığını yani 0.507297'den yaklaşık %50.7 buluruz.
Buradaki numara tüm bebeklerin birbirine karşı değerlendirilmesi, bu hesapları
yaparken kalemimi kırdı bu arada.
2'den 23'e herhangi bir bebeğin 1. bebekle doğum paylaşması değil bu.
English:
Because 365 minus our 23 babies gives us 342,
times 365 days out of the year raised to the
22nd power which is our 23 babies minus baby
one again.
-- and the result of the whole equation gives
us .492703, or about 49.3%.
Again, that’s the probability we don’t
have a birthday match with 23 babies, so we
subtract this from 1 to find the chance that
we do, which is 0.507297, which is about 50.7%.
The trick here is that every baby is being
evaluated against each other; I actually broke
my pen trying to make all these evaluation
lines.
it’s not whether Babies #2 through #23 share
a birthday just with Baby #1 -- to have a
English:
50% match with a single, pre-defined birthday,
like a 50% chance of finding a match with
Baby #5’s specific birthday, we’d need
a pool of 253 babies -- which sounds about
right and isn’t particularly surprising.
This is whether any two babies share any birthday
with one another.
The high probability, 50%, with a low baby
count, 23, is surprising, but the math works.
And if we keep extending the series and the
results show that with 100 babies -- fewer
than a third of the possible birthdays in
a given year -- the chances of a match are
99.99997%, which means the chances of NOT
having a birthday overlap would be just .00003%,
or 3 in 10 million.
Turkish:
Mesela 5. bebeğin önceden belirlenmiş bir doğum gününü başka bir bebekle paylaşması
olasılığının %50 olması için 253 bebek gerekir.
Ki bu çok etkileyici değil.
Bu, herhangi iki bebeğin bir doğum günü paylaşma olasılığı.
%50 gibi yüksek bir ihtimal ve 23 gibi az bir bebek sayısı ile beklenmedik ama matematik açısından doğru.
Bu işlemi uzatıp 100 bebeğe getirirsek - yani olası doğum günü sayısının 3'te 1'i -
iki aynı doğum günü olma olasılığı
%99.99997 olur. Bu da iki aynı doğum günü olmama olasılığını %0.00003 yapar.
Yani 10 milyonda 3.
Turkish:
Eğer doğum günü bebeklerimizi online şifrelerle değiştirirsek,
Doğum Günü Saldırısı adında bir hack türü buluruz.
Bir websitesinde bir şifre yaptığınızda şifre, yazdığınız karakterlerin bilgisini tutan
uzunluğu sabit bir hash'e dönüştürülür.
Yani "12345”, "827ccb0eea8a706c4c34a16891f84e7b" olur.
Çok basit.
MD5 mesaj-hazmetme algoritmasını şifrelemenin kaidesiyken, 128-bit 32-onaltılık
hashleri bebeklerim vasıtasıyla yapılan hacklere zayıftı.
Hedef, aynı değerdeki iki hashi bulmaktı.
O değer ne olursa olsun.
Yani eğer vsauce2.doc ve kevin.doc aynı hash değerine sahip olsaydı birindeki bilgileri değiştirip
English:
If we replace our birthday babies with online
passwords, we’ve got the basis for a type
of hack known as the Birthday Attack.
When you make a password for a website, that
password is crunched into a fixed-length hash
value that stores and identifies the combination
of characters you input.
So like, “12345” becomes, “827ccb0eea8a706c4c34a16891f84e7b.”
Simple.
When the MD5 message-digest algorithm was
a standard for encryption, its 128-bit, 32-hexadecimal
hashes were vulnerable to a hack based on
my babies.
The goal was to find and force a collision
-- when two hashes have the same exact value
regardless of what that value is.
So like if Vsauce2.doc and Kevin.doc had the
same hash value I could change information
Turkish:
diğerini etkileyebilirim ya da bunun gibi aynı hashli dosyaları kullanarak şifreleme algoritmasını
çözüp nasıl çalıştığını anlayabilirim.
Bunu yapmanın en kolay yolu deneme yanılma veya 128*bit hashde 3.4*10^38
sonucun herhangi birini sırf tahminle bulmak değildi.
Doğum Günü Paradoksu'nu kullanmaktı.
Hackerlar, doğum günü paradoksundaki matematiğe benzer bir algoritma geliştirerek
aynı hashli dosyaları bulmayı ve zamanın en yaygın şifreleme
sistemini kırmayı başardı.
Yani doğum günlerinin aynı olma olasılığı internet güvenliğinde gelişmelere yol açtı.
Eğer şu anda bu videoyu 70 kişi aynı anda izliyorsa
English:
in one and affect the other or I could eventually
use collisions like this to decode the encryption
algorithm itself and learn how it works.
And the best way to do that wasn’t a trial-and-error,
or “brute force” attempt to guess a specific
match in the 3.4 × 10^38 possible outcomes
in a 128-bit hash.
It was putting the Birthday Paradox to use.
Hackers developed an algorithm based on the
math of the birthday paradox to more quickly
cause hash collisions and ultimately crack
one of the most widely-used cryptographic
algorithms of its time.
So, probability surrounding birthdays helped
lead to the improvement of internet security.
And right now online, as long as 70 people
are watching this video at the same time,
Turkish:
aranızdan iki kişinin aynı günde doğum günü mumlarını üfleyecek olma olasılığı %99.9'dur.
Peki... Sen ne zaman doğdun?
Her zamanki gibi, izlediğiniz için teşekkürler.
English:
there’s a 99.9% chance two of you blow out
birthday candles on the same day of the year.
So… when were you born?
And as always -- thanks for watching.
Okay now.
Here’s how you can get hacked by connecting
to open wifi.
Whenever you connect to a WIFI network, your
phone or laptop will remember it and then
automatically connect to it when in range.
Now, if you only connected to secured WIFI
networks, you’re fine.
If, however, you connected to just one open
WIFI in your device’s history, an attacker
will have an easy time hijacking your device.
All WIFI enabled devices, when not connected,
constantly broadcast their known WIFI access
point list.
Basically, they keep shouting “is Starbucks
here?” “is McDonalds here?” is “the
Airport here?” and so on.
English:
Attackers can listen for these broadcasts
and once they see their target asking for
something that looks like an open WIFI they
just create a new one with that same name.
All the devices that have that name in their
memory will then automatically connect to
the attacker’s imposter wifi.
And once you’re connected to their wifi,
the attackers are inside your device.
So first of all, don’t do that to other
people.
Don’t be an attacker.
And second of all, stop cyber attacks before
they begin by protecting all of your privacy,
data and devices with Bitdefender’s award-winning
2019 security suite.
Which includes Bitdefender VPN to protect
you from those open wifi attacks.
Trusted by over 500 million users and for
a limited time for new users in the U.S. and
Canada, they’re offering your first six
months for free.
Six months.
Half a year of cybersecurity for free.
So find the link below to get yours right
now.
Turkish:
Turkish:
English:
It’s free.
Six months, for free.
So.
Uh, click that.
Click that down there.
And thank you, Bitdefender for supporting
Vsauce2.
And my birthday babies.
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Darwin's Dinner is a survival game
where your actions influence the evolution of the creatures you eat.
Explore the island to hunt a variety of species.
After each foraging cycle time advances to the next year
and the animal populations reproduce.
Eat all the slow bunnies this year,
you may starve next year when the new bunnies are too quick to catch.
Try to maintain the existing balance or
reshape a species as you see fit.
Can you evolve that chicken into a ferocious dinosaur?
Find out in Darwin's Dinner.
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[Ed Ruscha]
I’m gonna play this tune called ‘Goodnight My Love’
and this represents everything
that I felt about California when I
first came out here…
Ed Ruscha’s been making work in Los Angeles
for the better part of a century
People often talk about Ed’s work —
his paintings, his books, photos or films
as being ‘about’ Los Angeles, California, or The West
When they talk about Ed they describe him as ‘cool’…
and yes, he’s cool
and yeah, the places he paints
or photographs are usually in Los Angeles
he’s lived her for over 60 years after all
I’m not going to try to explain Ed’s work —
we’ve only got a few minutes here
but I am gonna show you as much as I can
and there’s a lot, so buckle up
[Reyner Banham]
Ed? What should people see?
[Ed Ruscha]
Maybe… Gas stations maybe
They're streamlined… Everything about it
is streamlined, that's what I like
In the early sixties, Ed was making
the thousand-mile drive
from Los Angeles to Oklahoma City a lot
The thing I really noticed were gasoline stations
So he took photos of them
and published 26 of them in a little book
[Irving Blum]
Ed said to me at the time, "it's a diary"
sold the books at three bucks a pop
…and I went home and thought about that
When he ran out,
he printed more
[Kim Gordon]
It was kind of a punk move
[Jim Ganzer]
It looked like anybody could've done that
if they had their eyes open
One photo in particular stuck with Ed:
a Standard station outside Amarillo, Texas
He borrowed a composition from the movies…
When the Lumière brothers first show this in 1896,
audiences jumped out of their seats
Standard Station's an image
Ed revisited many times
Here it is on fire in 1966,
burning in '68
with a 10-cent western being torn in half…
an olive
An olive?
[Ed Begley, Jr.]
Does that mean 'olive oil'?
Whatever the joke is, I love it
Here's what the buliding looks like today
It's called K&T Automotive Transmission
He used this format on a few
paintings from that time
Here's Norms Diner, also on fire
They tried to tear the building down last year
You know, architects are into it for it
what they can do with a space
I'm into it for something else…
I'm still trying to understand what that is
Apartment buildings caught Ed's attention next
There weren't that many in Oklahoma at
the time
He started photographing them
Gee, look at these apartment
buildings are just totally square
— The buildings have a name
— like it was a car
and then the name is in a font
He made another book, then started
drawing some of these pictures
It was like a nervous compulsion
I remember growing up thinking how tacky they were
and now they look actually sort of quaint
He used a motorized camera to shoot
a long picture of the Sunset Strip
Two and a half miles became a book
that folded out for 27 feet
25 years later, Ed was still painting buildings
He called these five black and white ones
his 'Blue Collar' series
10 years after that, when when Ed was invited to
represent the United States at the Venice Biennale
he updated those five with five new color ones
[Ed Moses]
He looks at them directly, without any beauty or mystery
although, the paintings are great to look at
yeah, they are great to look at
Maybe we should have started with the word paintings
Let's try that…
Word paintings. Ed Ruscha. Go.
[Billy Al Bengston]
He's more interested in words than he is in architecture
You know, it's where Ed started after all:
one word knockouts, straight out of school
Prior to Ruscha, how many of you took the
opportunity to consider the word 'Oof'?
Something about these felt inspired by
his childhood love of comics
These early paintings got Ed his first big break
Walter Hopps included 3 of them in his
breakthrough exhibition at Pasadena Art Museum
and Ed was the youngest artist included
He also made the poster
In the next few years, he started tweaking his text
…claiming it
making it his word
pulling it apart
first literally, then in his kerning
By the late '60s, Ed was making it
look like as text was made of maple syrup
jelly, beans, water
[Larry Bell]
He had an enormous amount of skill for a young guy
in terms of handling paint
…and also, it's funny
In the early '70s, Ed started
painting with actual foods
chocolate, cilantro, catchup, caviar, hot sauce
Anything that he could use to leave his mark
Here's Ed with some chewing tobacco
So, I just picked tobacco
just because of the marks it makes
How can you get romantic about prune juice?
You can taste it, and see it
or see the stains…
He likes the stains
Who would've ever done something like that?
Ed Ruscha—
that's what he do
He started making drawings
using gunpowder a few years prior
and made these prints out a squid ink,
daffodils, and axle grease and '69
[Joe Goode]
How's the word 'jelly' look with jelly?
Try putting that your hat before
you've seen somebody else do it
A few years later he made a movie about a car mechanic that goes from grease-covered to pristine
The movie that I was in is
about a mechanic who forgets
that he made a date with a girl
He starts out in a small dirty little garage,
ends up in a great big clean garage
Words were all spoken in this one
save for this great-looking title
I mean, sometimes when you finish a
painting you feel clean
By the late '70s, he'd worked clouds into the background
and in '82, he standardized his type with a
font he calls 'Boy Scout Utility Modern'
It looked like it was done by a lineman
for the telephone company
and he's asked to make the poster
for the annual picnic
in the '80s, the phrases got longer… You could
kinda make sense of little stories here and there
You right away, when you hear a phrase
like that, you want to know
Who is she and why did they call her 'Styrene'?
'85 brought about the first of these city lights
and the first appearance of censor strips
kind of like redacted government documents
In 1997, he started painting these majestic mountains
As much as I like Ed's words, and he's got a few
he's just as good without them
1997, Picture Without Words
He'd been making sketches of it for over 25 years
you can kind of look at it forever
It's a godlike painting
So what's the secret? What makes Ed Ruscha keep painting every day over 50 years later?
I think he came from a different place
He had a different source
the direct source of reality
Like a person from another planet would come in here and see this stuff directly
That's it
Ed Ruscha — amen
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The sun that shines, suggests to me
That I am in love with you
Not it's time for you to promise
That someday you'll love me too
Say you'll be the one
And tell me that, that you'll be true
I want to fly away
Say you want to come with me
Cause I want to fly away
A thunderstorm is in the air
But the sky is blue above the clouds
The ring of fire, on planet earth
Is a son of destruction
To live with you is dangerous
Like an eruption
So say you'll be the one
And tell me that, that you'll be true
I want to fly away
Say you want to come with me
Cause I want to fly away
A thunderstorm is in the air
Cause I want to fly away
A thunderstorm is in the air
But the sky is blue above the clouds
Death is a privilege
I couldn't rise with you
Because your pretty face
Put out that new grace
What have you done to
Me and You
You and me
Our life of dreams will never be
Our love will die with me
Cause I can see, in your eyes
You regret your time with me
You say you're not the one
And tell me you, you can't be true
I want to fly away
Say you want to come with me
Cause I want to fly away
A thunderstorm is in the air
But the sky is blue above the clouds
A thunderstorm is in the air
But the sky is blue above these clouds
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Monkey King Conquers the Demon
The Monkey King had been trapped by the Buddha in Five Finger Mountain.
500 years later, he is saved by Tang Sanzang, who is on his pilgrimage to the West.
Understanding that the Monkey King will be difficult to control, Tang places a magical circlet on the Monkey King's forehead.
Once Tang speaks out spells, the magical circlet will give the Monkey King headache.
But later, the Monkey King becomes loyal to Tang and protects him on his pilgrimage to the West.
Later on, Tang and the Monkey King are joined by Pigsy
and Sandy.
They face many difficulties on their journey.
Report!
My Lord, I've spotted Tang's group.
So here they are.
Yes.
They are on the road.
Now send out my order!
Our preys arrive.
It is said that if we eat Tang's flesh, we can be immortal.
Oh really?
It is true!
Then I must catch Tang!
He is mine!
He is mine!
Yours? Don't overestimate yourself!
Shut up!
Do you really believe you can catch Tang?
Our Lord, why do you underestimate us?
Don't you know who Tang's disciple is?
Sorry, we don't know.
He is the powerful Monkey King, who wrecked havoc in heaven 500 years ago.
Really?
I have heard it.
The Monkey King defeated the army of heaven easily.
Oh no, I don't believe we can win.
We can only give up.
No, we can't give up.
I have a plan.
My disciples, we have faced so many difficulites.
We rarely find a place as beautiful as this one.
It seems to be a peaceful place.
True, but I'm hungry.
I need to eat.
Me too.
Who can find us food?
I'll do it, Master.
No, I'll go.
I don't think we can find any food in this barren place.
Let me fly to South Sea and get some fruits.
Please get as many as you can, Big Brother.
We give you our blessings.
Fine.
Take care of Master, Pigsy and Sandy.
Do stay alert.
Can you hear it?
Who is asking for help?
Seems to be a woman.
Who will go to have a look?
Master...
Master, I'll do it.
Help!
Don't be afraid.
I'm a monk.
I see.
What happens to you?
I encountered a tiger on my way.
I was scared and I fell off the hillside.
A tiger?
Did it eat you up?
If I was eaten, why could you talk with me now?
Right.
Let me help you to get up.
I'm painful.
No problem. I'll carry you.
Please don't.
Don't.
Stay here. I'll come back soon.
I'll come back soon.
There is a woman who encountered a tiger.
What's up, Sandy?
I'll kill the tiger.
The tiger is gone, but the woman is injured. She can't walk.
Can I lend your horse, Master?
As a monk, helping the needed is my duty.
Let's go.
Master.
May the Buddha bless you.
Are you alright? I heard that you are injured.
I recover. Thanks for your caring.
Oh...
You recover so quickly.
It's dangerous for a woman to walk on the mountain alone.
My husband passed away one year ago.
I go to the temple to hold a memorial ceremony for him.
Master, are you hungry?
May the Buddha bless you.
Pigsy!
Master, why don't you go to the temple.
You can stay there and have your meal.
Why didn't you tell us earlier?
Master, let's go.
Where is the temple?
It is a short walk across the peak.
Please follow me.
Let's go.
May the Buddha bless us.
Master, we need to wait for Big Brother.
Oh...
Follow me, Master. Follow me.
How rude are you!
Who are you?
Who are you?
You're a demon!
Help, Master!
Stop, Monkey!
She is a widow but not a demon.
No, she is a demon!
Stay calm, Big Brother!
A demon can't be so pretty.
I see. You become lustful seeing her pretty face.
Don't misunderstand.
But who wouldn't be lustful after seeing a pretty woman?
Monks are still human beings.
It's wrong, Pigsy.
Sorry. Please forgive me.
How can you kill the woman?
We are in trouble now.
How dare you to kill an innocent woman, Monkey!
Wait, Master.
Look what she is hiding.
I can't believe it.
It's your trick, Big Brother.
Even if you can fool Master, you can't fool me.
It's a lie!
How dare you to fool me, Monkey!
So painful!
So painful!
Stop it, Master! Listen to me!
Big Brother!
Master!
Big Brother!
Monks should show mercy, but you killed an innocent.
I don't want a disciple like you.
Oh really?
You'll regret.
Don't argue, Big Brother.
You'll make Master more angry.
Forget about it. The woman is dead already.
It is useless to do anything now.
Let's finish our meal and restart our journey.
More arguments won't do any good.
May the Buddha bless us.
Alright, I'll forgive you this time.
But if you make the same mistake next time, I'll punish you even harder.
No problem.
Mother!
Mother!
Who is asking for help?
Don't worry about it.
It is not our business.
Yes. We had enough troubles with the woman's case.
I don't want another one.
Mother!
Mother!
The voice came from my back, but now it came from my front.
Who are you? Why do you cry?
My mother went to the temple, but she haven't returned.
I'm seeking for her.
But I'm so tired now.
This kid...
Poor kid.
Carry him, Pigsy.
Fine.
Don't! He is ugly.
I'm afraid.
Alright, it is not my business now.
Give it to me.
Don't!
Give it to me.
No, I want this monk to carry me.
Yes, only Master is a human being.
Pigsy, help him get on the horse.
You can't escape, demon!
Don't harm him, Monkey!
Oh no!
179
00:24:59,631 --> 00:25:01,656
Master!
Don't escape, demon!
How weak you are.
Try again.
She disappeared.
What a cunning demon!
Another trap!
You must be tired.
Please come to my home and take a rest.
No.
We hurry on our journey.
See you and thanks for your kindness.
No need to hurry.
How dare you to trick us so many times?
Monkey!
Big Brother!
Don't kill him!
Get off my way!
Help!
Help!
Stop it, Monkey!
Master,
he is a demon.
Stop!
We can't make judgement without reasoning.
My eyes can identify whether he is human or demon.
Don't fall into his trap, Master.
Whatever he is, human or demon...
What now?
Even if he is a demon, you can't hurt him if he doesn't harm us.
Nonsense! I'm so angry now.
You killed the widow and claimed that she was a demon.
Later you killed her son.
And now you claim that this old man is a demon.
In your eyes,
everyone is a demon.
What? Were my daughter and grandson killed?
I don't want to live anymore! Kill me!
Since you want to die,
I can beat you now.
Are you really a monk? Your disciple is cold-blooded.
Don't badmouth us, demon!
Stop, Monkey.
I'm gonna punish you.
Even if you punish me, I'll still kill this demon.
Master.
Please stop it, Master.
Big Brother.
I won't let you escape.
Master.
Big Brother.
Big Brother has fainted.
Please stop it, Master.
That's right.
Please forgive Big Brother, Master.
Monkey is disobedient to me.
Big Brother.
Big Brother.
You cold-blooded murderer.
Why don't you follow my teaching?
You have killed three innocent people.
What will Buddha think of us?
I don't want you to be my disciple anymore.
You misunderstand me, Master.
All of the three people were disguised by the demon.
The demon wanted to harm you, so I beat him.
It is you who fell into the trap, so don't blame me.
Master.
We need Big Brother.
Only he can protect us.
Please punish me instead.
I've made my decision.
I won't change my mind.
Master!
Go away.
Alright.
But you need to remove my magical circlet.
I don't know how to remove it.
Alright.
Big Brother.
Sandy.
Pigsy.
Big Brother.
Be alert on your journey.
It's your duty to protect Master now.
Master, I've followed for many years.
Now you decide to abandon me.
However, please accept my gratitude as your disciple.
Then I can leave without regret.
Master.
Master.
Take care.
Who is he?
He is our king.
Our king is back.
Our king is back.
I've arrived for a while.
Why don't you welcome me?
Why did you hide yourselves?
Since the day you were trapped in Five Finger Mountain,
we were injured or killed by the army of heaven.
We have had a difficult life.
How many of you still survive?
No more than a hundred.
Aren't you on the journey to the West?
Why are you here?
It's hard to tell.
Why should you be a monk?
Please stay with us.
Stay with us. Monkey King.
Since I've returned,
let's decorate our home.
Obey my order, the God of Wind.
Obey my order, the God of Cloud.
The God of Thunder.
The God of Lightning.
Dragon King of East Sea.
Finished.
Finished.
Thank you all.
How nice.
It's late now.
Let's find a place to stay.
Alright. Please take a rest.
I'll go and see if there are any places to stay.
Protect Master, Sandy.
Be alert.
I'm free now.
It's very late. Why hasn't Pigsy returned?
Where does he go?
Can you see it?
There is a tower.
Towers are usually close to temples.
But why is there a tower in this barren place?
Go immediately. We need a place to stay at night.
May the Buddha bless you.
May the Buddha bless you.
Master!
Master!
I see. It's you who are disturbing me from sleeping.
Your Master is seeking for a place to stay,
but you fall asleep.
None of your business.
How do you know it?
I know many things.
Tell me more.
Your master and Sandy have been captured by the demons.
You're lying.
Really?
I swear that I'm telling the truth.
Where are the demons?
Follow me.
Open the door.
Open the door.
My Lord.
My Lord.
Our prey arrives.
Where is he?
He is standing and shouting outside.
I see.
So Pigsy finds our base himself.
It does save me the effort of finding him.
I'll come to see him.
No need to do it yourself.
Let me do it.
Are you afraid of demons?
Who is shouting outside?
It's me! Your boss!
Release my master!
Otherwise I'm gonna kill you.
It's too late.
Your master had been eaten by us.
I'm gonna kill you!
Oh my God!
He escapes.
My Lord, Pigsy escapes.
Go and catch him immediately.
Yes.
Mouse.
I'm here.
Go invite my Granny.
Invite her to eat Tang's flesh with us together.
Yes.
It's mine.
It's mine.
It's mine.
I'll give it to Monkey King.
Please accpet our gift.
How delicious.
Show yourself!
Catch him!
Yes.
Don't run away.
It's me. Pigsy.
Pigsy.
I see. You're Pigsy.
Yes. It's me.
Why are you here?
Aren't you following Master?
Master asked me to find you.
I don't believe it.
Master hates me.
I won't go with you.
Master really wants to see you.
No, I won't go.
I am free now.
I don't want to be a monk anymore.
Forget about it.
Master really wants to see you.
Get out.
This monkey wants to be a demon instead of a monk.
How bad he is!
Who are you badmouthing?
No, I didn't say a word.
I'm scared.
Why are you badmouthing me?
No, I didn't.
I swear that I didn't badmouth you.
Tell me the truth.
Otherwise I'll beat you.
Big Brother.
Listen to me.
Listen to me, Big Brother.
Alright.
Tell me the truth.
I'll tell you the truth.
Master and Sandy were captured by the demons.
Why don't you tell me the truth?
I'm afraid that you are still hating, Master.
Let's go and rescue them.
Yes.
If you come, our enemies will be in fear.
Wait.
I won't go.
What's the matter with you?
If Master claims that the demons are innocent,
why should I worry about him?
Are you serious?
No demons are innocent.
Come with me.
No.
I won't go.
How cold-blooded you are.
It's Master who is cold-blooded.
Alright. I'll rescue Master myself.
I'll try my best to rescue Master.
Even if it is on the cost of my life.
You've grown a lot, Pigsy.
Monkey King, why do you reject his request?
The demons are smart.
I'm afraid they are supervising Pigsy.
Therefore I reject Pigsy's request on purpose.
My boys, stay here and protect our home.
I'm leaving to fight the demons now.
You bastard!
Retrieve!
Retrieve!
Who are you?
Why are you here?
I'm enjoying my wine.
I'm thirsty.
Can you share it with me?
Good wine.
You're drunken.
Where are you going?
I'm going to invite my Lord's Granny.
We're going to have Tang's flesh as our meal.
So Tang is alive.
Yes.
We can't eat him until Granny arrives.
Here is my home.
You can drop me here.
No. You're dead now.
Open the door! Open the door!
Open the door!
I see. It's Brother Mouse.
How are you?
I'm fine.
Mouse, why don't you greet me?
Sorry, Granny.
My Lord is inviting you to eat Tang's flesh.
Please come.
Good daughter.
Let's go.
Let's go.
Yes.
Mouse, guide us.
Yes.
Sandy, I don't know which one of us will suffer first.
You're older than me.
It should be you.
Actually Monkey is older than both of us.
But he didn't come.
I'm here.
Are you tired? Let's eat something.
Come.
Eat.
You fall into my trap.
Help! Help!
I won't let you escape, demon.
Transform.
Transform.
Let's go.
This is mine.
No.
It is mine.
Mine.
May the Buddha bless you.
Give it to me.
Watch closely.
Isn't this farmer's tool?
How funny Pigsy is!
Don't tease me.
I'll beat you once I'm released.
How cocky you are! We'll cook you first.
Report!
Granny arrives.
Bow to Granny.
Granny.
Hello.
Oh.
Why do you laugh?
Are you crazy?
Look.
That Granny looks familiar.
Did you meet her before?
Look carefully.
I've caught Tang the monk.
Great.
We'll have Tang's flesh as our meal.
Then we can become immortal.
You're really a good daughter.
I heard that Pigsy is also caught.
There he is.
I want to have some pork.
Must be delicious.
I'll beat you if I'm released.
Don't overestimate yourself.
You'll regret for underestimating me.
What you have is just a big belly.
No, I have a large brain also.
Don't be rude to Granny.
Is he Tang?
Yes.
Where is Monkey King then?
He won't come.
Why?
Ask Tang.
Where is Monkey King?
I've abandoned him.
Why?
He killed three innocent people.
This is a disgrace to the Buddha.
Why do you laugh?
It was my plan.
Those three people were disguised by me.
And I broke their relationship easily.
How smart my daughter is.
Can you show me your tricks?
Yes.
Take your seat. Appreciate my tricks.
Master, follow me.
Follow me.
Mother! Mother!
I want my mother! I want my mother!
You have killed my daughter and grandson!
How dare you to claim yourself a monk!
Master.
I want my mother!
How dare you to claim yourself a monk!
Answer me.
Mother.
Master.
Answer me.
Mother.
Master.
Mother.
Monkey!
I regret not having listened
to you before.
Right.
What's wrong with you, mother?
I'm so proud of you.
You are really smart.
I'm so happy.
Would you like to see my tricks also?
Why not?
Watch closely then.
Transform.
How is this?
Do I look like Monkey King now?
How amazing you are.
I am completely fooled by you.
Why are you laughing?
What are you doing, mother?
No, I'm really Monkey King.
Die, demon.
Fine.
How dare you to fool me, Monkey King.
I'll kill your master if you keep chasing me.
Do anything you want.
You can't escape.
Transform.
May the Buddha bless you.
Master.
Master.
Here is the demon.
What should we do with her?
I'll let you decide it this time.
Fine.
Master.
Big Brother.
Pigsy and Sandy.
We have killed all the demons.
Monkey.
I'm so sorry.
Forget about it.
Just promise me not to punish me again.
Master.
Get on the horse.
Please.
The end
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WHO BELIEVE THEY ARE VIRUS-FREE
COULD BE SPREADING IT
UNKNOWINGLY.
>> YOU KNOW ME.
YOU KNOW MY HEART.
ASK YOURSELF, DO I LOOK LIKE A
RADICAL SOCIALIST WITH A SOFT
SPOT FOR RIOTERS?
REALLY?
>> Trace: FORMER VICE PRESIDENT
JOE BIDEN BREAKING HIS SILENCE
ON URBAN VIOLENCE.
BOTH HE AND PRESIDENT TRUMP
ADDRESSED THE GROWING PROBLEM
THIS WEEK BUT WITH VERY
DIFFERENT APPROACHES.
EACH CANDIDATE BLAMING THE
OTHER AND HIS PARTY FOR THE
UNREST.
ARE THE STRATEGIES RESONATING
WITH VOTERS?
LET’S BRING IN HOWIE KURTZ FOX
NEWS MEDIA ANALYST AND HOST OF
"MEDIA BUZZ".
INTERESTING, HOWIE, AS I READ
YOUR COLUMN IN foxnews.com YOU
POINT OUT NO MATTER WHAT THE
ISSUE IS, JOE BIDEN LEANS ON
HIS FAMILIARITY SAYING WHATEVER
TRUMP SAYS BAD ABOUT ME, YOU
KNOW ME BETTER THAN THAT, RIGHT?
>> RIGHT.
THIS IS A GUY WHO HAS BEEN IN
POLITICS FOR 47 YEARS.
HIS GREATEST STRENGTH AND
WEAKNESS.
PEOPLE KNOW UNCLE JOE AND
AMTRAK JOE.
WHEN HE ASKED THE QUESTION HE
IS SAYING COME ON, THIS IS ALL
MALARKEY TO USE HIS PHRASE.
THE FACT HE HAS BEEN AROUND SO
LONG MEANS HE HAS PLENTY OF
BAGGAGE.
CONTROVERSIAL RECORD FOR THE
PRESIDENT TO SHOOT AT.
WE HAVE THE PRESIDENT WANTING
TO GET BIDEN TO HIS TURF, THE
LAW AND ORDER TURF MAKING HIM
TALK MORE ABOUT URBAN VIOLENCE.
CITIES RUN BY DEMOCRATS AND NOT
ABOUT THE CORONAVIRUS WHICH THE
BIDEN CAMPAIGN WOULD LOVE TO
MAKE THE TOP ISSUE.
>> Trace: I WANT TO PLAY THE
SOUND BITE FROM PRESIDENT TRUMP
TALKING ABOUT THE VIOLENCE AND
GET YOURSELF RESPONSE ON THE
OTHER SIDE OF IT.
WATCH.
>> President Trump: WE SHOULD
TALK ABOUT THE KIND OF VIOLENCE
WE’VE SEEN IN PORTLAND AND HERE
AND OTHER PLACES.
IT IS TREMENDOUS VIOLENCE.
YOU MAY HAVE PROTESTORS BUT YOU
HAVE SOME REALLY BAD PEOPLE,
TOO.
YOU HAVE ANARCHISTS AND THE
LOOTERS AND RIOTERS AND
AGITATORS.
>> BOTH CANDIDATES ARE POINTING
THE FINGER AT THE OTHER ONE.
THE PRESIDENT LOVES THIS BATTLE.
THIS IS HIS TURF, HE WANTS JOE
BIDEN TO TALK ABOUT THE
VIOLENCE OF THE AMERICAN CITIES
HE THINKS IT IS A WINNER.
WHEN YOU SAY IT THE TRUMP’S
FAULT AND HAPPENING IN
DEMOCRATIC CITIES, THE WHOLE
IDEA OF THIS IS LOOK, COME OVER
ON MY TURF AND WE’LL FIGHT.
>> A LOT OF THIS IS BASE
POLITICS.
WHEN JOE BIDEN HAS A NEW AD
DENOUNCING VIOLENCE IN CITIES
HE IS PLAYING ON THE
PRESIDENT’S TURF.
HE IS GIVING A SPEECH ABOUT
COVID-19 AND SCHOOLS TRYING TO
GET BACK ON HIS PREFERRED TURF.
THE PRESIDENT PREFERS TO TALK
ABOUT AGITATORS AND ANARCHISTS
AND LOOTERS AND RIOTERS AND
SUGGESTING THAT THE TRUMP
SUPPORTER IN PORTLAND CHARGED
WITH HOMICIDE IN THOSE TWO
FATAL SHOOTINGS MAY HAVE BEEN
ACTING IN SELF-DEFENSE.
JOE BIDEN PREFERS TO TALK ABOUT
RACIAL INJUSTICE AND POLICE
MISCONDUCT AND WENT A WHOLE
CONVENTION WITHOUT MENTIONING
THE RIOTS.
IT IS A CLASH OF CULTURES AND
IT HAS A LOT -- IT WILL HAVE A
LOT TO DO WITH THE OUTCOME OF
THIS ELECTION BECAUSE IT IS
SUCH A VISCERAL ISSUE.
IF PEOPLE DON’T FEEL SAFE OR
THEIR FAMILIES ARE SAFE ALMOST
EVERY OTHER ISSUE BECOMES
SECOND ENDEAR.
>> Trace: I FOUND IT
INTERESTING AT THE SAME TIME
THE PRESIDENT IS KIND OF BACK
TO HIS OLD WAYS.
PUT THIS ON THE SCREEN.
YOU QUOTE HERE AS FOR TRUMP, HE
IS AGAIN GOING FULL BLAST ON
CONTROVERSIAL COMMENTS AND
TWEETS THAT HE HAD BEEN
DISCIPLINED ENOUGH TO PUT ON
HOLD DURING LAST WEEK’S
CONVENTION.
>> YEAH.
PRESIDENT OF THE UNITED STATES
WAS VERY DISCIPLINED LAST WEEK
BECAUSE THE REPUBLICAN
CONVENTION, WELL-PRODUCED.
HAD A LOT OF WOMEN AND
AFRICAN-AMERICANS TO PAINT A
PICTURE A KINDER, GENTLER TRUMP
AND NOW THAT THAT IS OVER WITH
HE IS NOT ONLY HAMMERING AWAY
AT A LAW AND ORDER ISSUE, WHICH
IS PERFECTLY LEGITIMATE.
RETWEETING CONTROVERSIAL VIDEOS
AND INSULTING CERTAIN PEOPLE.
NOT ANY SURPRISE.
THIS HAS BEEN THE PRESIDENT’S
STYLE THAT WORKS FOR HIM WITH
HIS SUPPORTERS.
IT IS INTERESTING THAT AS
"POLITICO" PUT IT HE IS BACK TO
BEING TWITTER TRUMP AS OPPOSED
TO CONVENTION TRUMP.
>> Trace: WE TALK WE’RE TEASING
AHEAD SAYING THE CORONAVIRUS
NUMBERS ARE BETTER THESE DAYS.
A BIG TOPIC.
180,000 AMERICANS DEAD, A BIG
TOPIC BUT LOSING A LITTLE
STEAM, HOWIE.
AND PEOPLE WONDER IF THE
ECONOMY STARTS AND CONTINUES
GOING UP AND THE CORONAVIRUS
NUMBERS CONTINUE GOING DOWN,
THEN IT BECOMES PROBLEMATIC FOR
THE DEMOCRATIC PARTY AND YOU
MAY HEAR AND SEE A LOT LESS OF
THIS ATTACK ON TRUMP FOR
CORONAVIRUS OR NO?
WHAT IS YOUR THOUGHT ON THAT?
>> I DON’T THINK THE DEMOCRATS
WILL LET THE ISSUE GO.
THEY’LL PLAY THE TAPE OF THE
EARLY TRUMP SAYING IT WILL GO
AWAY.
GONE BY APRIL AND SUMMER.
IF THE CORONAVIRUS NUMBERS
CONTINUE TO GO DOWN AND ECONOMY
CONTINUES TO BOUNCEBACK IT
WOULD BE GOOD FOR THE COUNTRY.
FORGET ABOUT POLITICS FOR A
MOMENT.
WITH SCHOOLS REOPENING AND SOME
CLOSE TO CLOSE OR CHANGE PLANS
BECAUSE OF COVID-19 BEING
EXPOSED TO HUNDREDS OF
THOUSANDS OR MILLIONS OF
STUDENTS, I DON’T THINK IT WILL
FADE AS A POLITICAL ISSUE AND I
DON’T THINK THE BIDEN CAMPAIGN
AS MUCH AS PLAYING DEFENSE ON
THE QUESTION OF URBAN VIOLENCE
WANTS IT TO FADE.
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Now that we've found the eigenvalues
and eigenvectors of the second derivative
operator for periodic functions, we're
gonna do the first derivative, or more
precisely, minus i times the first
derivative, because we worked out
previously that minus i times the
first derivative is Hermitian, so the
eigenvalues are real, the eigenvectors
are orthogonal, and the eigenvectors
give an orthogonal basis for the entire
vector space.
So let's go to. We want to solve
minus i times the derivative of f
is equal to lambda times f, where
lambda's some real number.
Well that means the derivative
of f must be i lambda times f,
and that means that f must go
as e to the i lambda x.
If we had just a derivative is
lambda times f, we would have
e to the lambda x. If we have
i lambda, we have i lambda x.
So our function is some arbitrary
constant, e to the i lambda x,
and now we're applying periodic
boundary conditions, which means
that the value at 0 and at L have to
be the same, which means that
if you plug in L, you have to get
e to the i L x times c equals c,
in other words, e to the i lambda x -
sorry, e to the i lambda L has to
be 1, but we know that if e to the
i- this is cosine lambda L plus
i sine lambda L, and that's 1 precisely
when the cosine is 1 and the sine is 0,
in other words, when lambda L is a
multiple of 2 pi, so lambda L
has to be a multiple of 2 pi, which
means that lambda has to be a
multiple of 2 pi over L. Okay,
but the key thing to note here is,
in this equation, nothing says that
lambda has to be positive or negative.
n can be any integer, not just positive
integers, any integer, so we have this
whole string of eigenvalues running from
minus infinity to plus infinity,
going by steps of 2 pi over L.
Well that's the eigenvalues, and we have
our eigenfunctions, our eigenfunctions
are e to the i lambda x, so that's e
to the 2 pi i over L, n x.
Okay, and of course that's a cosine
plus i times a sine.
Now we've seen these functions
before, we already saw cosine of 2 pi n x
over L, and sine of 2 pi n x over L when
we were diagonalizing the second
derivative. Here they come in a particular
combination, cosine plus i sine, and if
you look at the minus n eigenfunction,
you get cosine minus i sine.
That is to say, if the eigenfunction from
minus 2 pi n over L is the same cosine
minus the same sine. Cosine plus i
sine has eigenvalue 2 pi n over L,
cosine minus i sine has eigenvalue
minus 2 pi n over L.
Now, remember, we saw the cosine
and the sine as eigenfunctions of the
second derivative, and that's not
a coincidence, because if you take
minus i times the first derivative,
and do it twice, you get minus the
second derivative. In other words,
P squared is minus A, so anything
that's an eigenfunction of P is
automatically an eigenfunction of A,
with eigenvalue minus lambda squared.
And sure enough, 2 pi n over L squared,
or minus 2 pi n over L squared,
gives you 4 pi squared n squared over
L squared, and that's minus the
eigenvalues of A. Okay, now these
eigenfunctions of our operator P
give a nice orthogonal basis for L2,
so here are our eigenfunctions,
e to the 2 pi i n x over L, where n
is any integer positive or negative,
and you can check directly that
they're orthogonal, the inner
product of psi n with psi m,
is this integral, see this, you take
e to the 2 pi i n x over L bar,
is e to the minus 2 pi i n x over L,
you conjugate the i, and that's
e to the 2 pi i m minus n, x over L,
and if m is different from n, you just
do the integral, you get something,
which when you apply it at the
two endpoints gives you the same
value, and so you get 0.
If m is equal to n, it's e to the 0
dx, so you're integrating 1 dx,
and that gives you L. In other words,
the inner product of any vector
with itself gives you L, the inner
product of any vector with a
different eigenvector, gives you 0,
which is to say we have an orthogonal
basis for L2. In the next video, we'll
see what happens when you
decompose functions in this basis,
and that's a Fourier series.
| {
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French:
LES THÈMES C'EST BON
POUR LES EXPOSÉS DE QUATRIÈME
Bon...
Internet est devenu dingue.
Je m'inclus moi-même
dans cette description.
Je ne peux pas ouvrir YouTube
sans voir un flot de...
réactions furieuses sur Game of Thrones.
Et me voici donc,
un mois après tout le monde,
à ajouter ma pierre à l'édifice.
Et j'en suis désolée.
Mais vous savez...
Parfois...
On a des émotions et il faut...
Il faut bien les monétiser.
[Thème d'intro de Game of Thrones]
Comment ce monument culturel,
l'une des séries les plus populaires de l'histoire...
chouchou de la critique
et succès public,
English:
So, the Internet has lost its mind.
I include myself in that description
I cannot open my YouTube homepage
without a flood of angry Game of Thrones
hot takes, and here I am a month late to
the conversation just adding to that
deluge and I'm sorry but you know
sometimes you've got some feelings and
you just... you just gotta monetize them.
How did this cultural landmark one of
the most popular television shows in
history critical darling and commercial
Spanish:
["Las temáticas son para los informes de literatura de 8vo grado." - David Benioff, 2011]
Así que...
... internet perdió la cabeza.
Me incluyo a mí misma en esa descripción.
No puedo abrir la página principal de Youtube sin una... inundación de opiniones furiosas
sobre Juego de Tronos, y... aquí llego un mes tarde a la conversación simplemente añadiendo más agua
al diluvio, y lo siento; pero, ¿saben? A veces... tienes ciertos sentimientos y
solo...
solo necesitas monetizarlos.
¿Cómo fue que este punto destacado de la cultura,
uno de los programas de televisión más populares en la historia, adorado por la crítica y éxito comercial,
Italian:
"I temi sono per le recensioni di terza media" - David Benioff, 2011
Allora, internet è impazzito
Mi includo in questa descrizione
Non riesco ad aprire la mia home page di YouTube
senza essere inondata da prese di posizione controverse
su Il trono di spade, ed eccomi qui con un mese di ritardo sulla conversazione per aggiungermi
all'inondazione e mi dispiace ma sapete
a volte hai dei sentimenti e
e.. devi monetizzarli
Come ha fatto questo punto di riferimento culturale,
uno dei programmi televisivi più popolari della storia, adorato dalla critica e di successo
Russian:
"Темы это для сочинений восьмиклассников",
Дэвид Бениофф, 2011 год.
Итак, весь Интернет сошел с ума.
Включая меня.
Всякий раз как захожу на главную страничку Youtube, на меня вываливаются гневные реакции
на "Игру Престолов". И вот месяц
спустя я присоединяюсь к народу.
Извините, но иногда хочется
выплеснуть чувства и
просто... сделать на этом деньги.
Как получилось, что культурная веха
телевидения,
самый популярный сериал в истории,
любимец критиков и публики,
Spanish:
un programa que inequívocamente cambió la manera en que se hacía la televisión...
- ¡Nunca sabrás lo rápido que matarán a un personaje...! Oh...!"
¡Y he vuelto!"
(L) ... terminó como todo un desastre?
No es que hubiesen cambiado los jefes creativos,
los show runners siempre fueron los mismos, el elenco fue casi uniformemente el mismo, entonces...
¿Qué demonios?
Así que esta es una autopsia más sobre qué creo yo... que demonios pasó,
y en la mayor parte voy a limitar esto a una discusión sobre el programa de televisión.
Podríamos meternos a discutir la intencionalidad de autor y las adaptaciones, pero
... te voy a detener justo ahí porque...
... no me importa.
Esta es una adaptación, por tanto cada decisión creativa debería soportarse a sí misma, independiente de si
estaba en los libros o no o de cómo crees tú que George R.R. Martin lo hará,
qué importa. Porque los libros no están terminados aún. La serie... sí.
- ... de qué te quejas.
Italian:
commerciale, uno spettacolo che inequivocabilmente
ha cambiato il modo di fare televisione -
"Non sai mai quanto rapidamente uccideranno i nostri personaggi"
"E sono tornato!"
- Finisca in un tale casino? Non è che i creatori della serie sono cambiati,
gli sceneggiatori erano sempre gli stessi,
il cast era quasi uniformemente lo stesso
e allora, che diavolo?
Quindi, questa è l'ennesima autopsia su quello che penso
è successo e per la maggior parte manterrò la discussione sulla serie tv.
Potremmo entrare in discussioni sull'intenzione autoriale e l'adattamento, ma
mi fermo qui, perché non mi interessa. Questo è un adattemento
quindi ogni decisione creativa dovrebbe
funzionare indipendentemente dal fatto che
era nei libri o no, o come voi pensate che George RR Martin voglia finire la storia,
non importa. Perché i libri
non sono ancora finiti. La serie sì.
English:
success a show that unequivocally
changed the way television was made
End in such a trash fire? it's not like
there was a change in the creative heads
the show runners were always the same
cast was almost uniformly the same so
like, what the hell?
So, this is yet another autopsy on what I think the hell
happened and for the most part I'm going
to keep this to a discussion of the TV
show we could get into discussions of
author intentionality and adaptation but
I'm gonna stop you right there because I
don't care this is an adaptation
therefore every creative decision should
stand on its own regardless of whether
it was in the books or not or how you
think George RR Martin is going to go
with it whatever. Because the books
aren't done yet. The show is.
French:
une série qui a changé la façon dont nous concevons la télévision...
« On sait jamais à quelle vitesse
ils peuvent faire mourir un personnage.. »
« Et j'suis d'retour !»
A-t-il pu se terminer en
un tel feu de poubelle ?
Il y a pas eu de changement
chez les directeurs créatifs,
les showrunners sont
toujours restés les mêmes.
Le casting est, globalement,
presque resté le même, alors...
C'est quoi ce bordel ?
Donc, voici un énième
post mortem sur...
ce que je crois...
que le bordel a été.
Et, pour l'essentiel,
je vais me limiter à la série télé.
On pourrait parler de l'intention de l'auteur
et du travail d'adaptation mais...
J'vais vous arrêter
tout de suite, parce que...
Je m'en fous.
On parle d'une adaptation,
donc toute décision créative est censée se tenir.
Sans avoir à se soucier de
si c'était ou pas dans les livres.
Ou de comment vous pensez
que G.R.R Martin va s'y prendre.
C'est pas grave.
Parce que les livres
sont pas encore finis.
Et la série, si...
« Alors pourquoi tu chouines ?
– Je chouine pas !
Russian:
проект, без сомнения изменивший
отношение к телесериалам...
["Вы не представляете, как быстро можно убить вашего любимого персонажа!"
"И я вернулась!"]
закончился так бездарно? Сценаристы
у него вроде бы не поменялись.
Создатели сериала остались те же,
даже актеры в основном сохранились,
так какого черта?
Итак, это будет очередная аутопсия
и размышление на тему,
что черт побери пошло не так. По
большей части я буду говорить о сериале.
Мы могли бы поговорить о замысле
автора и адаптации, но
тут я вас остановлю, потому что мне плевать.
Это адаптация, а значит
каждое творческое решение должно быть
оценено отдельно. Вне зависимости от того,
были некоторые события в книге или что,
как вы думаете, Джордж Мартин напишет дальше.
Без разницы. Потому что книги еще
не закончены. А сериал - да.
Russian:
["Ты чего ноешь?"
"Я не ною."
"Твои губы двигаются, и ты о чем-то жалуешься.
Это называется нытье".]
[СЦЕНАРИЙ ПЛОХ]
После окончания сериала большинство разговоров
об "Игре Престолов" сводились к тому, что
сценарий... плох. Популярные вещи
всегда противоречивы, и "Игра Престолов"
не исключение. С момента выхода
сериал вызвал шквал претензий к
изображениям расы, сексуального
насилия, рабства и так далее. Все сами
решали, сколько готовы
вытерпеть. Я была согласна смириться
с некоторыми проблематичными вещами.
Не игнорировать их, но принять
как есть. Но критика сексизма
и расизма все же связана с
дискуссией о качестве сценария.
Когда сценаристы прибегают к стереотипам,
это признак лени и глупости, что приводит к
плохим или, по крайней мере, неинтересным сценариям.
["Разве орки так скачут?"]
Подробнее смотри в эпизоде про "Яркость".
["Жизнь фей сегодня ничего не значит".]
Но в то же время,
French:
– Tes lèvres bougent,
et tu te plains de quelque chose...
J'appelle ça chouiner. »
ÉCRITURE NULLE
Le sujet le plus fréquent
après la fin de Game of Thrones,
portait sur le fait
que l'écriture était...
nulle.
Avec la popularité vient la controverse,
et Game of Thrones n'y a pas échappé.
Dès le premier jour
on a eu des réactions à chaud.
Sur sa représentation des genres...
Sur sa représentation des ethnies...
Sur la violence sexuelle, sur l'exploitation,
sur tout ce que vous voulez.
Le seuil de tolérance
varie en fonction de chacun.
J'étais prête à tolérer
les éléments problématiques,
pas à les ignorer mais...
ouais, les accepter.
Mais la critique du sexisme
et du racisme dans les médias n'est pas...
hors de propos quand
on parle d'écriture nulle :
Quand on s'en remet aux stéréotypes,
on est paresseux et peu subtil,
ce qui entraîne généralement une écriture
NULLE, du moins inintéressante.
« Est-ce que les Orques savent sauter ? »
Pour approfondir ce sujet,
voyez l'épisode sur Bright.
« Aujourd'hui, les vies de fées comptent pas. »
Mais dans le même temps,
aucune émanation d'un média ne sera jamais...
idéologiquement immaculée.
Italian:
"Di cosa ti stai lamentando?"
"Non mi sto lamentando."
"La tua bocca si muove, stai piagnucolando per
qualcosa. Questo è lamentarsi."
[copione brutto]
Il punto di discussione più comune sulla scia del finale
di Il trono di spade è che il copione
era... brutto.
Con qualcosa di successo
ci sono sempre polemiche e Il trono di spade non faceva eccezione. Dal primo giorno c'erano opinioni controverse
riguardo la sua rappresentazione del genere, sulla sua rappresentazione della razza, violenza
sessuale, sfruttamento, scegliete voi. La lista può cambiare in base ha quanto
siete disposti a sopportare. Io ero disposta ad assecondare gli elementi problematici,
non ignorarli, ma accettarli.
Ma la critica del sessismo
e del razzismo nei media non è irrilevante
nella discussione su un copione cattivo.
Quando ricadi per default sull'uso di stereotipi, sei pigro e sconsiderato, il che generalmente crea
copioni brutti o almeno non interessanti.
"Gli orchi giocano a basket?"
- per saperne di più guardate l'episodio su Bright -
"La vita delle fate non vale niente, oggi."
Ma allo stesso tempo
English:
what your whingeing about.
I'm not whingeing.
Your lips are moving and you're complaining about
something that's whingeing.
The most common talking point in the wake of the finale
of Game of Thrones is that the writing
was bad so with the popular thing always
comes controversy and Game of Thrones
was no exception from day one we had hot
takes about its portrayal of gender
about its portrayal of race sexual
violence exploitation you name it your
mileage may vary on how much you're
willing to put up with I was willing to
roll with the problematic elements you
know not ignore them but accept them.
But the critique of sexism
and racism in media is not not relevant
to the discussion of bad writing.
When you default to stereotyping you're being lazy
and thoughtless which generally makes
for bad or at least uninteresting
writing dwarfs have mad hops for more on
that see the Bright episode.
"Fairy lives don't matter today."
But at the same time
Spanish:
- No me estoy quejando.
- Tus labios se están moviendo y estás
reclamando por algo. Eso es quejarse.
[Guión malo]
El punto más común de conversación tras el final
de Juego de Tronos es que el guión era...
malo.
Así que con lo que es popular siempre
viene controversia y Juego de Tronos no fue la excepción.
Desde el día 1 tuvimos super-opiniones sobre su representación de género, sobre su representación racial,
violencia sexual, explotación... lo que se te ocurra.
Depende de la persona cuánto estás
dispuesto a tolerar... Yo estaba dispuesta a seguirle el juego a los elementos problemáticos, ya saben,
no ignorarlos, pero aceptarlos. Pero esta crítica del sexismo y
racismo en los medios no es irrelevante en la discusión sobre mala escritura de guión.
Cuando te apoyas en estereotipos, estás siendo holgazán e irreflexivo, lo que en general
resulta en guiones malos o al menos poco interesantes.
- Los enanos sí que saltan.
Para ver más al respecto, vean el episodio de Bright.
- Las vidas de las hadas no importan hoy.
French:
Et il est irréaliste
de s'attendre à ça.
« Honte !
Honte ! »
Les fans comme les critiques ont
discuté des éléments problématiques...
dans Game of Thrones
depuis son premier épisode.
Pour certains, c'était trop.
Et ces gens ont
arrêté de regarder.
Je connais beaucoup
de ces gens.
D''autres, comme moi,
les ont digérés.
Et ouais... Sansa se fait violer
et Theon est obligé de regarder.
« Donnez-moi juste
une petite seconde.
Mais pu-tain ? »
Mais on l'a accepté et on a continué
de regarder, parce que bon...
Ça va « sûrement » nous
mener à un truc captivant.
Ou en tout cas... de poignant.
C'est pas comme c'était nouveau,
les critiques sur Game of Thrones.
Mais maintenant elles sont différentes.
Avant c'était au sujet de...
« d'un truc », qui était problématique.
« On ne va pas attaquer Port-Réal pour
que vous puissiez violer la Reine.
–Je ne vais pas la violer.
Je vais la baiser. »
Ou encore « c'est quand le bon moment
pour avoir une scène de viol ? »
Aujourd'hui on parle plus
de trucs comme...
la structure, les mises en place
et leurs gratifications...
Spanish:
Pero al mismo tiempo, ninguna obra va a ser jamás ideológicamente pura, y es poco realista esperar que lo sea.
- Vergüenza. Vergüenza.
Tanto la crítica como los fans han estado discutiendo los elementos problemáticos
de Juego de Tronos desde el día que debutó.
Para algunos, estos fueron demasiados, y estas personas dejaron de ver la serie.
Conozco a muchas de estas personas.
Para otros, gente como yo, lo digirieron.
Sip. A Sansa la van a violar y Theon tiene que verlo...
- ¡Solo denme MEDIO segundo!
... (risa nerviosa) ¿Qué mierda?
(Lindsay) Pero lo aceptamos y seguimos viendo porque, vamos, seguramente esto está llevando
a algo interesantísimo... o al menos... conmovedor...
["Soy Boo Boo el Tonto"]
No es que la crítica de Juego de Tronos sea algo nuevo, pero es- es...
distinto ahora. Antes era sobre como, eh, cómo esa cosa es problemática.
- No vamos a atacar King's Landing solo para que puedas violar a la Reina.
- No la voy a violar, me la voy a coger.
(Lindsay) O... cuándo está bien tener una escena de violación.
English:
no piece of media is ever going to be
ideologically pure and it's unrealistic
to expect that.
"Shame. Shame"
Critics and fans alike have been discussing the problematic
elements of Game of Thrones since the
day it debuted for some they were too
much, and these people stopped watching. I know
a lot of these people for others people
like me they digested it. Yep. Sansa's
getting raped and Theon has to watch
but we accepted it and continued to
watch because hey surely this is leading
up to something riveting or at least
poignant
it's not like critique of Game of
Thrones is anything new but it's it's
different now before it was about like
how the thing is problematic.
"We're not attacking Kings Landing so that you can rape the Queen."
"I'm not going to rape her I'm
going to fuck her."
Or when is it okay to have a rape scene. Now the discussion is
Italian:
nessuna opera sarà mai
ideologicamente pura ed è irrealistico
aspettarselo.
"Vergogna. Vergogna."
Critici e fan hanno discusso gli elementi
problematici de Il trono di spade dal
giorno che ha debuttato.
Per alcuni ce n'erano
troppi, e queste persone hanno smesso di guardare, conosco
molte di queste persone. Gli altri, come me, li hanno digeriti. Sì. Stanno
violentando Sansa e Theon deve guardare
"Datemi un attimo...
che cazzo..."
ma l'abbiamo accettato e abbiamo continuato a guardare perché, ehi, sicuramente porterà
a qualcosa di avvincente o almeno
commovente.
Non è che le critiche a Il trono di spade siano qualcosa di nuovo, ma è... è
diverso ora. Prima si parlava di come
questa cosa è problematica.
"Non stiamo attaccando Approdo del re così puoi violentare la regina."
"Non ho intenzione di violentarla,
intendo scoparla. "
O quando va bene inserire una scena di stupro.
Adesso la discussione è
Russian:
ничто в медиа не может быть
идеологически чистым, и нельзя
ожидать обратного.
["Позор. Позор".]
Критики и фанаты обсуждали проблематичные аспекты
"Игры престолов" с его премьеры.
Некоторым они казались чересчур,
и эти люди перестали смотреть. Я знаю
многих, кто так сделал. Другие, вроде
меня, переварили их. Ага. Сансу
насилуют и заставляют Теона за этим наблюдать.
["Дайте мне всего секунду!
Какого хера?"]
Но мы приняли это и продолжили смотреть
с мыслью "Эй, наверняка это ведет к
чему-то захватывающему или,
по крайней мере, значимому?".
[Ох, дурак я, дурак]
В критике "Игры Престолов"
нет ничего нового, но сейчас
все по-другому. Раньше говорили о том,
как проблематично было то-то и то-то.
["Мы не нападаем на Королевскую гавань, чтобы ты мог изнасиловать королеву."
"Я собираюсь ее не изнасиловать,
а трахнуть".]
Или уместна ли сцена изнасилования. Сейчас дискуссия
Spanish:
Ahora la discusión es más sobre cosas como estructura, y planting y pay off, y desarrollo de personajes, y
escritura de guión, y expectativas de audiencia y -subvertir expectativas-.
- Sir Bronn de las Aguas Negras, Señor de Altojardín, Señor Supremo de la región, Maestro de Moneda.
"¿QUÉ MIERDA?"
(L) Pero hay más que eso. En la cultura de fans, en general, especialmente para
una querida serie de larga duración como Juego de Tronos, puede que nos encontremos eventualmente con la
["Falacia de Costo Hundido"]
que podría hacerte defender algo por mucho más tiempo del que debiste. Después de todo,
viste y re-viste todas las temporadas varias veces,
tienes una cuenta de Twitter dedicada solo a live-twittear sobre GOT,
sí, bueno, todos pueden viajar rápido de pronto cuando la distancia era un enorme punto a considerar
en las tácticas en las primeras temporadas, pero no importa, está bien...
... estoy bien... Estoy segura de que esto es porque la historia necesita llegar a una parte importante.
La séptima temporada no fue MALA...
solo estaban preparando algo genial,
dales una oportunidad.
["Soy Boo Boo el Tonto"]
Russian:
идет о структуре, завязке и развязке,
развитии персонажей,
повествовании, ожиданиях аудитории
и опровержении этих ожиданий.
["Сэр Бронн Черноводный, Лорд Хайгардена,
верховный лорд Простора, мастер над монетой".]
[Что, бля?]
Но дело не только в этом. В
фанатской культуре, особенно
в фэндомах таких долгоиграющих любимых сериалов, как "Игра Престолов", существует
[ЭМОЦИОНАЛЬНАЯ ЛОВУШКА]
Которая заставляет тебя защищать что-то
дольше, чем нужно. В конце концов,
ты же посмотрел и пересмотрел все
сезоны несколько раз, ты завел
аккаунт в Twitter специально, чтобы постить
об "Игре престолов" в прямом эфире. Ладно, ОК,
все внезапно получили доступ к "быстрому перемещению", хотя раньше расстояние играло огромную
тактическую роль в первых сезонах.
Но пофиг, я уверена,
им просто нужно двигать историю в
важном направлении. 7 сезон не был
плох...
Они просто подводили сюжет к чему-то
крутому, дайте им шанс.
[Ох, дурак я, дурак]
French:
l'évolution des personnages,
le scénario, les attentes du public,
le « retournement »
de ces attentes.
« Ser Bronn de la Néra,
Seigneur de Hautjardin,
Défenseur du Bief et
Grand Argentier. »
PUTAIN, QUOI ?
Mais y a plus que ça :
dans la fan-culture en général,
et surtout pour une série adulée
au long-cours comme Game of Thrones,
Il arrive qu'on puisse
finir par tomber sur...
LE SYNDROME DU COÛT IRRÉCUPÉRABLE
Qui peut nous faire
défendre quelque chose,
plus longtemps
qu'elle le mérite :
« après tout : on a regardé toutes
les saisons plusieurs fois,
on a un Twitter spécialement
dédié pour commenter la série en direct...
Bon... d'accord... tout le monde
a maintenant l'option voyage rapide,
alors que les distances étaient
tactiquement très importantes au début.
Mais, ç'pas grave, ça va...
Je vais bien...
J'suis sûre parce que l'histoire
nous amène sur un truc important.
La saison 7 était pas "nulle".
Il pavaient le chemin
pour un truc cool,
laissez-leur une chance ! »
[Lindsay soupire]
Italian:
più sulla struttura, e sull'allestimento e il risultato, e lo sviluppo dei personaggi, e la
sceneggiatura e le aspettative del pubblico
e il sovvertimento delle aspettative.
"Ser Bronn delle Acque Nere, Lord di Alto Giardino, Lord protettore dell' Altopiano, maestro del conio."
ma c'è di più. In genere con i fan, e soprattutto quelli di
una serie amata e di lunga data come Il trono di spade, possiamo eventualmente incorrere nel
[falso mito dei costi irrecuperabili]
che potrebbe farvi difendere una cosa per
più a lungo di quanto dovreste, perché, dopo tutto,
hai guardato e riguardato tutte le stagioni più volte, hai un
account Twitter dedicato solo a twittare live durante Il trono di spade. Sì, okay,
improvvisamente tutti possono viaggiare velocemente anche se la distanza era un'importante considerazione
tattica nelle prime stagioni, ma
non importa, va bene, va bene, sono sicura
sia perché la storia deve arrivare a qualcosa di importante. La settima stagione non era
brutta, stavano solo sviluppando qualcosa di
bello. Dategli una possibilità.
English:
more about like structure and planting
and payoff and character development and
screenwriting and audience expectations
and subverting expectations.
"Sir Bronn of the Blackwater, Lord of Highgarden, Lord paramount of the region, master of coin."
but there's more to it than that in fan
culture in general especially for a
long-running beloved series like Game of
Thrones we may eventually run into the
which might make you defend a thing way
longer than you should have after all
you've watched and re-watched all of the
seasons multiple times you have a
dedicated Twitter account just for live
tweeting Game of Thrones yeah okay
everyone can fast travel all of a sudden
when distance was a huge tactical
consideration in early seasons but
whatever it's fine I'm fine I'm sure
this is because the story needs to head
somewhere important season seven wasn't
bad
they were just building up to something
cool give them a chance.
English:
What I hear really often probably even more often
than I don't watch the show is I stopped
watching the show usually around season
five when it really started to go off
the rails but either way don't worry
we're going to do a quick recap for the
benefit of the people who stopped
watching the show who never watched the
show and probably the people who
everyone needs a quick recap anyway and
by quick I mean about half the runtime
of this video and I'm also about to
steal a lot of jokes from Gay of Thrones
so sorry Jonathan Van Ness you're just
too difficult not to steal from strap in
season 1 basically a murder mystery
surrounding the line of succession for
the Iron Throne after the last hand of
the King dies. Hand of the king is
basically like the Grand Vizier let's say.
"She says Jon Arryn was murdered."
episode 1 ends with a child witnessing
some incest and Prince Charming from
Shrek 2 aka brother D pushing the
child out of a window presumably to kill
Russian:
Часто я слышу даже не
"я не смотрю сериал", а "я перестал
смотреть сериал на 5 сезоне",
когда он начал съезжать с катушек.
Но не беспокойтесь,
сейчас мы устроим быстрый
пересказ для тех, кто перестал
смотреть сериал, кто никогда
его не смотрел, да и всем
остальным за компанию. И под "быстрым" я
имела в виду "на пол видео".
Я также украду множество
шуток из "Геев Престолов".
Ты уж прости, Джонатан Ван Несс,
тебя трудно не цитировать. Погнали!
Первый сезон. По сути детектив
о линии наследования
Железного Трона, начавшийся со смерти
последнего Десницы Короля. Десница
это что-то вроде Великого визиря. Типа.
["Она говорит, что Джон Аррен был убит."]
Эпизод 1-й заканчивается тем, что ребенок
застает инцест. Принц Обворожительный
из "Шрека 2" (он же брат Ди)
выталкивает его из окна, чтобы убить,
Spanish:
Lo que oigo muy a menudo, quizá incluso más a menudo
que "no veo la serie" es "dejé de ver la serie", usualmente por ahí en la 5ta temporada,
cuando realmente comenzó a descarrilarse, pero de cualquier manera, no se preocupen.
Vamos a hacer una recapitulación rápida de ayuda para la gente que
dejó de ver la serie, que nunca vio la serie, y probablemente...
la gente que- todos necesitan un resumen rápido de todos modos,
y con rápido, quiero decir... alrededor de la mitad de la duración de este video.
Y también voy a robar un montón de chistes de Gay of Thrones, así que...
lo siento, Jonathan Van Ness, eres demasiado difícil de no robar,
PREPÁRENSE
¡Temporada 1! Básicamente un misterio de asesinato rodeando la línea de sucesión
para el Trono de Hierro después de que muere la última Mano del Rey. Mano del Rey
es básicamente como, digamos, el Gran Vizier.
- Dice que Jon Arryn fue asesinado.
Episodio 1 termina con un niño siendo testigo de algo de incesto, y el Príncipe Encantador
de Shrek 2, alias hermano D empujando al niño por una ventana, presumiblemente para matarlo,
Italian:
Quello che sento dire davvero spesso, probabilmente anche più spesso
di "non guardo la serie", è "ho smesso di guardare la serie", di solito intorno alla quinta
stagione quando ha iniziato davvero a andare fuori controllo, ma in entrambi i casi, non vi preoccupate
faremo un breve riepilogo per il
beneficio delle persone che hanno smesso di
guardare la serie, che non hanno mai visto la serie, e probabilmente le persone che...
tutti hanno comunque bisogno di un breve riepilogo, e per breve intendo circa metà
di questo video. E sto anche per rubare molte battute da Gay of Thrones
mi dispiace tanto Jonathan Van Ness è
troppo difficile non rubare da te.
Allacciate le cinture!
Stagione 1
[è fantastico!!]
praticamente un giallo sulla linea di successione al
Trono di spade dopo che l'ultimo "primo cavaliere" del re muore. Il Primo cavaliere è
sostanzialmente come il Gran Visir, diciamo.
"Dice che Jon Arryn è stato assassinato."
[produttore esecutivo Dick Wolf]
l'episodio 1 termina con un bambino testimone di un incesto e il Principe Azzurro di
Shrek 2 aka fratello D che spinge il
bambino fuori dalla finestra presumibilmente per ucciderlo
French:
Ce que j'entends très souvent,
peut-être encore plus que
« je regarde pas la série, »
c'est : « j'ai arrêté la série. »
En général vers la saison 5,
quand ça a commencé à dérailler.
Mais de doute façon,
vous inquiétez pas.
On va faire un rapide résumé.
Au bénéfice des gens qui :
ont arrêté la série,
qui ne l'ont jamais regardée et...
sans doute pour les gens qui...
tout le monde a besoin
d'un p'tit résumé de toute façon.
Et par « p'tit », j'entends...
« qui va faire près de la
moitié de cette vidéo... »
Et je vais aussi piquer
plein de vannes à Gay of Thrones.
Donc désolée Jonathan Van Ness,
Il est trop dur de rien te piquer.
Accrochez-vous !
SAISON UN
C'EST TROP BIEN !
En fait, c'est un polar articulé
autour de la ligne de succession...
pour le Trône de Fer après la
mort de la dernière Main du Roi.
(En gros la Main du Roi c'est comme...)
(...un Grand Vizir, on va dire.)
« Elle dit que Jon Arryn
a été assassiné. »
À la fin de l'épisode 1,
un enfant est témoin d'inceste,
et Prince Charmant de Shrek 2,
alias « Frère PQR, »
le défenestre et
apparemment le tue.
Spanish:
pero falla. El Rey le pidió a Sean Bean que sea la nueva Mano del Rey
después de que el antiguo muriera misteriosamente, así que va a King's Landing con sus dos
hijas, compromete a la hija Sansa con el Príncipe Malvado, ella está emocionada.
Pero finalmente Sean Bean descubre que el príncipe es el bastardo de incesto de Lena
Headey y hermano D.
- Robert Baratheon, de cabello negro.
Joffrey Baratheon, cabeza dorada.
(L) y no el hijo legítimo del Rey, Bobby B.
- Ya oíste a la Mano, el Rey está muy gordo para su armadura.
¡Ve a buscar el estirador de pechera!
(L) Pero Bobby B muere, a Sean Bean lo decapitan, y empieza una gran guerra:
la gente de Sean Bean peleando por independencia, y todos los demás peleando por el trono.
Y también el Lord Alerta de Vida por aquí anda de
"¡Oye!
¡Yo también estoy en la guerra!"
Pero a nadie le importa.
La hija Sansa queda cautiva, la
otra hija Arya escapó y está furiosa.
Mientras tanto, al otro lado del mar, la hija
del rey derrocado Daenerys la hacen casarse con este tipo y la violan,
French:
Mais ça foire !
Le Roi demande à Sean Bean
de devenir sa nouvelle Main,
après la mystérieuse
mort du prédécesseur.
Il va donc à Port-Réal
avec ses deux filles.
Il fiance sa fille Sansa
au méchant Prince.
(Elle est au taquet)
Sean Bean finit par découvrir
que le Prince est le bâtard incestueux
de Lena Headey et Frère PQR.
« Robert Baratheon,
au cheveu noir...
Joffrey Baratheon...
au cheveu blond... »
Et donc pas le fils
légitime du Roi Bobby B.
« Tu as entendu, le Roi
ne rentre pas dans son armure.
Vas donc chercher
l'embauchoir à plastron ! »
Mais Bobby B calanche,
Sean Bean se fait décapiter.
Et une bonne grosse
guerre commence.
Le peuple de Sean Bean
se bat pour l'indépendance.
Et tout le reste
se bat pour le trône.
Et y a aussi le Seigneur
Monte-escalier, là.
Qui dit : « héé je fais aussi la guerre, »
Mais tout le monde s'en tape.
Sansa est faite captive,
mais Arya,
l'autre fille, s'echappe.
Et elle est pas contente.
Pendant ce temps-là,
sur le continent,
Daenerys,
la fille du Roi déchu, euh...
Se fait marier à ce type.
Et violer.
Italian:
ma non ci riesce. Il re ha chiesto a Sean
Bean di essere il nuovo primo cavaliere del re
dopo che quello vecchio muore misteriosamente, così
va a Approdo del re con le sue due
figlie. Promette in sposa la figlia Sansa
al malvagio Principe. Lei è elettrizzata.
Ma alla fine Sean Bean scopre che
il principe è il bastardo dell'incesto di Lena
Headey e fratello D.
"Robert Baratheon, nero di capelli
Joffrey Baratheon, testa d'oro ".
E non il figlio legittimo
del re, Bobby B.
"Il primo cavaliere ha detto che il re è troppo grasso.
cerca un'appendice per la placca frontale".
Ma Bobby B muore, Sean Bean viene decapitato e
inizia una grande guerra. Il popolo di Sean
Bean lotta per l'indipendenza, e tutti
gli altri lottano per il trono e anche
Lord Salvavita qui è tipo "ehi
ci sono anch'io" ma non importa a nessuno.
La figlia, Sansa, diventa una prigioniera, l'altra
figlia, Arya, è fuggita ed è arrabbiata.
Nel frattempo dall'altra parte del mare la figlia
del re deposto, Daenerys, è data in sposa a questo tipo e violentata.
Russian:
но терпит неудачу. Король просит Шона
Бина стать новым Десницей Короля
после таинственной смерти предыдущего. Так что тот едет в Королевскую Гавань со своими двумя
дочерьми. Он обручает дочь Сансу
со злобным Принцем. Она в восторге.
Но вскоре Шон Бин узнает, что
Принц это продукт инцеста Лены
Хеди и брата Ди.
["Роберт Баратеон, черный волос.
Джоффри Баратеон, золотой волос"]
[Генетика, 8 класс в школе Эйниса I]
А не законный сын
Короля БОББИ БИ-И-И.
[ПОКОЙСЯ С МИРОМ]
["Ты слышал Десницу, король слишком толст для
своей брони. Тащи расширитель доспехов, бегом!"]
Но Бобби Би умирает, Шон Бин
теряет голову, и начинается
старая-добрая войнушка. Люди Шона Бина
бьются за независимость, остальные
бьются за трон. А Лорд Мед
Сигнализация где-то там такой
"Эй, я тоже воюю", но все плевать.
Дочь Санса стала пленницей,
другая дочь Арья сбежала и зла. В тоже
время, по ту сторону моря дочь
English:
him but he fails the King asked Sean
Bean to be the new hand of the king
after the old one dies mysteriously so
he goes to King's Landing with his two
daughters he engages daughter Sansa
to the evil Prince she's thrilled
but eventually Sean Bean discovers that
the prince is the incest bastard of Lena
Headey and brother D.
"Robert Baratheon, black of hair
Joffrey Baratheon, golden head."
And not the legitimate son
of the King, Bobby B.
"You heard the hand, the king's too fat for his armor. Go
find the breastplate stretcher."
But Bobby B dies, Sean Bean gets beheaded, and a
big ol' war begins. Sean Bean's people
fighting for independence, and everyone
else fighting for the throne and also
Lord Life Alert over here is like hey
I'm in the war too but nobody cares
daughter Sansa becomes a captive other
daughter Arya escaped and is angry
meanwhile across the sea the deposed
Italian:
Ma poi il marito impara a rispettarla, e va bene.
[Mio sole e mie stelle, tocca a te portare fuori l'immondizia]
Ma oh no, è morto, ma poi lei prende dei draghi.
E al nord Jon Snow scopre degli zombi di ghiaccio.
Stagione 2
[Wow è anche meglio!]
Grande guerra di successione.
Bobby B ha due fratelli, più
il Re bastardo, più il figlio di Sean Bean
e poi il Lord delle isole non frega niente a nessuno fa "ehi, anch'io sono in guerra"
ma a nessuno importa.
finisce in una grande battaglia
guidata da Peter Dinklage.
Vince il lato del malvagio re bastardo.
Ma il vero potere dietro il trono di spade è Charles Dance
e anche il miglior personaggio della
storia della televisione, non mi @, è vero.
Nel frattempo il popolo di Sean Bean
sta vincendo la guerra per l'indipendenza e
Sean Bean jr. dovrebbe sposare la figlia del Lord Salvavita, ma invece sposa
Oona Chaplin. Curiosità: questa è la nipote di Charlie Chaplin
A nord, altri zombi.
Stagione 3
[Sono cazzi amari!]
Nessuno è grato a Peter Dinklage per
il suo ruolo nella grande battaglia. ah!
Be' diventa comunque segretario del tesoro.
Arya è ancora arrabbiata.
Sansa non è più la fidanzata del malvagio re bastardo
Russian:
свергнутого короля, Дейенерис выдают за этого
мужика, насилуют, но потом ее
муж учится уважать ее, и все ОК.
["Мое солнце и звезды, сегодня твоя очередь выносить мусор".]
Но, о нет, теперь он мертв, а она получает
драконов. На севере Джон Сноу находит
ледяных зомби.
Сезон два. Старая-добрая войнушка за престол.
В ней два брата БОББИ БИ-И-И +
ублюдок-король + сын Шона Бина.
А также Лорд Всем-Насрать-островов,
который такой "Эй, я тоже воюю",
но всем плевать. Все заканчивается большой
битвой под руководством Питера Динклэйджа.
Сторона злобного ублюдка-короля побеждает,
но Чарльз Дэнс - это реальная сила за троном,
а также лучший персонаж в истории телевидения.
(Не лезьте ко мне со своими @, я знаю, что права).
В то же время люди сына Шона Бина
выигрывают войну за независимость,
а Шон Бин младший должен жениться на дочери
Лорда Мед Сигнализация, но вместо этого
женится на Уне Чаплин. Забавный факт,
она - правнучка Чарли Чаплина.
На севере опять зомби.
Сезон третий.
Никто не благодарит Питера Динклэйджа за
его роль в большой битве, но зато он теперь Министр Финансов.
Где-то там Арья все еще злится. Теперь не Санса
невеста злобного ублюдка-короля,
English:
king's daughter Daenerys gets married
off to this guy and raped but then her
husband learns to respect her, and it's fine.
But oh no, he's dead and but then she gets some
dragons and up north Jon Snow discovers
some ice zombies.
Season two big ol' war for succession
Bobby B has two brothers, plus
inbread bastard King plus Sean Bean's son
and also Lord of the no one cares
islands is like hey I'm in the war too
but nobody cares ending in a big battle
led by Peter Dinklage. Evil inbred
bastard Kings side wins but Charles
Dance is the real power behind the throne
and also the best character in
television history, do not @ me, he just
is. Meanwhile Sean Bean's people are
winning the war for independence and
Sean Bean jr. is supposed to marry Lord
Life Alert's daughter, but then he marries
Oona Chaplin instead. Fun fact that's
Charlie Chaplin's granddaughter.
Up north more zombies.
Season 3
no one is grateful to Peter Dinklage for
his role in the big battle ah well he
gets to be secretary of the Treasury
anyway Arya is still angry. Sansa is no
longer evil inbred bastard King's fiancee,
Spanish:
pero luego su esposo aprende a respetarla, y está... bien.
"Mi sol y estrellas, es tu turno de sacar la basura."
Pero oh no, él muere, pero luego ella tiene dragones, y en el Norte Jon Snow descubre unos zombies de hielo.
¡Temporada 2! ¡Gran guerra de sucesión!
BOBBY B tiene dos hermanos, más el Rey bastardo de incesto más el hijo de Sean Bean
y también el Lord de... las Islas A Nadie Le Importa anda como "¡Oye, también estoy en la guerra!"
Pero a nadie le importa. Termina en una gran batalla liderada por Peter Dinklage.
Gana el lado del malvado Rey bastardo de incesto, pero Charles Dance es el verdadero poder tras el trono
y también el mejor personaje en la historia de la televisión, no me @-en, simplemente lo es.
Mientras tanto, la gente de Sean Bean está ganando la guerra por independencia, y
se supone que Sean Bean Junior se case con la hija del Lord Alerta de Vida, pero se casa
con Oona Chaplin. Dato curioso, esa es la nieta de Charlie Chaplin.
Al Norte: más zombies.
¡Temporada 3! Nadie le da las gracias a Peter Dinklage
por su rol en la gran batalla. Ahh. Bueno, logra ser secretario de Tesorería
de todos modos. Arya sigue furiosa. Sansa ya no es la prometida del malvado Rey bastardo de incesto,
French:
Mais son mari apprend
à la respecter, donc ça va.
« Mon soleil et mes étoiles,
c'est ton tour de sortir les poubelles. »
Mais, oh non, il meurt...
Mais après, elle a des dragons !
Et au Nord, Jon Snow
découvre des zombies givrés.
SAISON 2
OUAH, C'EST ENCORE MIEUX !
Bonne grosse guerre
pour succéder à...
Bobby B !
Y a ses deux frères.
Plus le bâtard incestueux.
Plus le fils de Sean Bean.
Mais aussi, le Seigneur
des Îles Osef qui dit :
« hééé, je fais la guerre aussi. »
Mais tout le monde s'en tape.
Ça se finit dans une grande bataille,
menée par Peter Dinklage.
Le camp du méchant Prince
incestueux l'emporte.
Mais Charles Dance incarne
le vrai pouvoir en coulisses,
(mais aussi le meilleur
perso de l'histoire des séries)
(me mentionnez pas,
c'est la pure vérité.)
Pendant ce temps-là,
le Nord est en train de gagner
sa guerre d'indépendance.
Et Sean Bean Jr. est censé
épouser la fille du Seigneur Monte-escalier.
Mais il épouse
Oona Chaplin à la place.
(Petite anecdote : c'est l'arrière-
petite-fille de Charlie Chaplin)
Et au Nord !?
Encore des zombies.
SAISON TROIS
C'EST LE DAWA !
Personne ne remercie Peter Dinklage
pour son rôle dans la grand bataille.
Snif.
Bon, il devient au moins
Ministre des Finances.
Arya est toujours pas contente.
Sansa est plus la fiancée
du méchant Prince incestueux.
French:
Maintenant c'est Natalie Dormer.
Arya est kidnappée par ce gars :
Il s'appelle le Limier,
pas d'inquiétude, il est génial.
Frère PQR a eu un arc de rédemption
vraiment superbement réussi
avec le Capitaine Phasma.
« De quel droit...
le Loup juge-t-il le Lion !? »
Sérieusement, ça appartient
au panthéon des séries télé.
La campagne de Sean Bean Jr.
ne se passe plus très bien.
Ils prévoient de marier un autre noble
à la fille du Seigneur Monte-escaliers.
(Celle que Sean Bean Jr.
était censé épouser.)
La cérémonie se finit en massacre
et toute la famille est tuée.
Ce sont les fameuses
« Noces Pourpres. »
La guerre pour l'indépendance
du Nord est terminée.
Sur le continent, Daenerys utilise
ses dragons pour...
« libérer » des esclaves.
La saison se termine sur son
grand moment de sauveuse Blanche.
SAISON QUATRE
VOIT LA HYPE S'ACCROÎTRE
Le méchant Prince incestueux
est empoisonné à son mariage.
On en fait porter le chapeau
à Peter Dinklage.
Sansa s'enfuit vers le Nord.
Avec l'aide du carrément
digne de confiance...
('savez quoi, je vais encore
piquer un truc à Gay of Thrones :)
« le Alan Cumming vintage. »
Le Bâtard incestueux
aux yeux de biche est maintenant Roi.
Natalie Dormer lui est fiancée.
Après un procès fantoche,
Tyrion réclame un Duel judiciaire.
English:
Natalie Dormer is Arya is kidnapped by
this guy he's called the Hound
don't worry he's great brother D had a
genuinely wonderful redemption arc with
Captain Phasma
seriously it's some of
the best television in all of the
television Sean Bean Junior's campaign
is no longer going so well
They plan to wed a different Lord to Lord
Life Alert's daughter that Sean Bean Jr. was
supposed to marry but instead the
wedding ends in a massacre and the whole
family is slaughtered this is the
infamous red wedding the war for
northern independence is over
Across the sea, Daenerys has been using those
dragons to "liberate" a bunch of slaves.
Season ends with
her big white Savior moment.
Season Four
Evil inbred bastard King is poisoned
at his own wedding Peter Dinklage is
framed for it
Sansa escapes to the north with the help
of totally trustworthy--You know what? I'm just
going to steal another thing from Gay of
Thrones--vintage Alan Cumming. Doe-eyed
inbred bastard King is now king Natalie
Dormer is engaged to him after a rigged
Italian:
Natalie Dormer lo è.
Arya viene rapita da questo tizio che si chiama il Mastino
non vi preoccupate, è un grande.
Fratello D ha avuto un arco di redenzione veramente meraviglioso con
Capitano Phasma
"Ma con quale diritto il lupo giudica il leone
Sul serio è uno dei migliori momenti della televisione nella storia della televisione
La campagna di Sean Bean Jr non sta più andando così bene.
Hanno in programma di far sposare un Lord diverso alla figlia di Lord Salvavita
che avrebbe dovuto sposare Sean Bean Jr
ma invece il matrimonio termina in un massacro e
l'intera famiglia è massacrata.
Questo sono le famigerate Nozze Rosse.
La guerra per l'indipendenza del nord è finita
Dall'altra parte del mare, Daenerys sta usando quei
draghi per "liberare" un sacco di schiavi.
La stagione finisce con il suo grande momento da "salvatore bianco"
Stagione 4
[Sali sul treno dell'hype]
Il malvagio re bastardo viene avvelenato al proprio matrimonio.
Peter Dinklage viene incastrato per questo.
Sansa fugge verso nord con l'aiuto
del totalmente affidabile
-Sapete una cosa? Rubo un'altra cosa da Gay of Thrones-
vintage Alan Cumming.
Re bastardo con gli occhi da cerbiatto è ora re.
Natalie Dormer è fidanzata con lui.
Dopo un processo truccato, Tyrion richiede un processo per combattimento,
Russian:
а Натали Дормер. Арья похищена
этим мужиком, его зовут Пес.
Не переживайте, он крут. С братом Ди случается
по-настоящему прекрасный сюжет про искупление
с участием Капитана Фазмы.
["Но по какому праву волк может судить льва?"]
Серьезно, лучшая арка в
истории телевидения.
Кампания Шона Бина младшего идет так себе.
Они планируют женить другого Лорда на
дочери Лорда Мед Сигнализация, на которой
должен был жениться Шон Бин младший.
Но свадьба оборачивается резней, и вся
семья истреблена. Это знаменитая
Красная Свадьба. Война
за независимость Севера окончена.
За морем Дейенерис с помощью своих драконов
"освобождает" кучку рабов.
Сезона заканчивается
сценой "Белого Спасителя" с ней в главной роли.
Сезон Четыре.
Злобный ублюдок-король отравлен
на собственной свадьбе.
В этом винят Питера Динклэйджа.
Санса сбегает на Север с помощью 100%
стоящего доверия (знаете что? Я просто
стащу еще одну цитату у "Геев Престолов")
средневекового Алана Камминга. Оленеглазый
ублюдок-король теперь король. Натали
Дормер его невеста. После подстроенного
Spanish:
Natalie Dormer lo es. Arya es secuestrada por este tipo. Se llama El Perro,
no se preocupen, él es genial. Hermano D tuvo un arco de redención genuinamente maravilloso
con Capitán Phasma.
En serio, es de lo mejor de la televisión en toda la televisión.
A la campaña de Sean Bean Junior ya no le está yendo tan bien.
Planean casar a un Lord distinto con la hija del Lord de Alerta de Vida que Sean Bean Junior
tenía que desposar, pero en su lugar la boda termina en una masacre y toda
la familia es asesinada; esta es la infame Boda Roja. La guerra por
la independencia del Norte se acabó.
Al otro lado del mar, Daenerys ha estado usando a esos
dragones para "liberar" a un montón de esclavos. La temporada termina
con su gran momento de Salvadora Blanca.
¡Temporada 4!
El malvado Rey bastardo de incesto es envenenado
en su propia boda, Peter Dinklage es inculpado por ello.
Sansa escapa al Norte con la ayuda del totalmente confiable - ¿saben qué?
Voy a robar otra cosa de Gay of Thrones - Alan Cumming Vintage.
El Rey bastardo de incesto inocente ahora es rey, Natalie Dormer se compromete con él.
Spanish:
Tras un juicio arreglado, Tyrion demanda un juicio por combate, lo que le sale bien hasta que no lo hace.
Su Hermano D lo saca a escondidas de la ciudad, pero no antes de que él mate a Charles Dance.
Y también a su novia, pero no se preocupen, todavía simpatizas con él.
- Lo siento...
["Novio del año"]
["¡Se disculpó!"]
El compañero de viaje de Arya, El Perro, pierde en batalla contra Capitán Phasma. Ella escapa
de él y decide dejar el país para ir a la escuela de asesinos.
Al Norte, hay una batalla entre estas personas, que están tratando de escapar de los zombies de hielo, y
la patrulla del borde de la que es parte Jon Snow. Su interés amoroso muere. Daenerys conquista
otra ciudad de esclavos y decide gobernarla en lugar de venir a Westeros,
El niño que fue empujado de la ventana en la 1ra temporada, está, como, aprendiendo... poderes mentales
... omniscientes de Max von Sydow.
¡Temporada... 5! Tyrion, con la ayuda del Lord Dr. Evil
está dando vueltas por Essos, tratando de encontrar a Daenerys. Cersei intenta explotar
el extremismo religioso al alza en la capital, lo que ¡ups! le sale por la culata
una vez que se enteran de todos esos reyes bastardos de incesto.
Italian:
che va bene per lui, fino a che non va più bene.
Suo fratello D lo fa sgattaiolare fuori dalla città,
ma non prima che egli uccida Charles Dance
e anche la sua ragazza,
ma non preoccupatevi, è ancora totalmente comprensivo.
"Mi dispiace"
[fidanzato dell'anno]
[fidanzato dell'anno]
[ha chiesto scusa]
Il compagno di viaggio di Arya, Il Mastino, perde in battaglia contro il Capitano Phasma.
Lei scappa e decide di lasciare il paese per
andare alla scuola per assassini.
A nord c'è una battaglia tra
queste persone, che stanno cercando di sfuggire agli zombi di ghiaccio e
la pattuglia di frontiera di cui fa parte Jon Snow.
Il suo interesse amoroso muore.
Daenerys conquista un'altra città di schiavi
e decide di governarla invece di venire a Westeros.
Il bambino che è stato spinto fuori dalla finestra nella stagione 1,
sta imparando poteri mentali onniscienti da Max von Sydow
Stagione 5
[è ancora figo... no?
Tyrion, con l'aiuto di Lord Dr. Evil, sta correndo per Essos cercando Daenerys.
Cersei cerca di sfruttare il crescente estremismo religioso nella capitale,
ma - ops - le si ritorce veramente contro
quando scoprono di tutti quei
re bastardi.
Russian:
процесса, Тирион требует суда поединком,
который сначала идет хорошо, а потом - нет!
Его брат Ди вытаскивает Тириона из города,
но перед этим тот убивает Чарльза
Дэнса и свою подружку. Но не волнуйтесь,
он все еще вызывает симпатию.
["Мне жаль"]
[Парень года.
Он извинился!]
Спутник Арии, Пес, проигрывает битву
Капитану Фазме. Она сбегает от него
и решает уехать из страны в
школу ассассинов. На севере битва
между этими ребятами, которые пытаются
сбежать от ледяных зомби, и
пограничниками, среди которых Джон Сноу.
Его девушка умирает. Дейенерис покоряет
очередной город и решает править им,
а не отправляться в Вестерос. Ребенок,
которого выкинули из окна в
первом сезоне, типа учится силам
всезнания от Макса фон Сюдов.
Сезон пятый.
Тирион с помощью Лорда
Доктор Зло бегает по Эссосу, пытается
найти Дейенерис. Серсея пытается
нажиться на растущем религиозном
экстремизме в столице. Но ей самой достается,
когда они узнают обо всех этих
ублюдках-королях. Есть тупой
French:
Qui se passe bien pour lui
jusqu'à ce qu'en fait non...
Son Frère PQR l'aide à s'évader,
mais avant ça il tue Charles Dance...
et aussi sa copine...
Mais pas d'inquiétiude !
Il est toujours carrément compatissant.
« Je suis désolé. »
PETIT-AMI DE L'ANNÉE
PETIT-AMI DE L'ANNÉE
IL S'EST EXCUSÉ !
Le Limier, qui accompagne Arya,
perd en combat contre Capitaine Phasma.
Arya échappe au Limier et quitte
le pays pour aller à l'Écolle des Assassins.
Au Nord, il y a
une bataille entre :
ces gens, qui tentent d'échapper
aux zombies givrés,
et les gardes-frontières
dont fait partie Jon Snow.
Son amoureuse meurt.
Daenerys conquiert
un autre cité esclavagiste.
Elle décide de la diriger
plutôt que d'aller à Westeros.
L'enfant défenestré
de la saison un...
Il apprend des pouvoirs
psychiques omniscients auprès de...
Max von Sydow.
SAISON CINQ
EST-CE LÀ QU'ON TRINQUE ?
Tyrion, aidé par
le Seigneur Dr Denfer,
se trimballe en Essos
pour essayer de trouver Daenerys.
Cersei tente d'exploiter
l'extrémisme religieux en hausse,
ce qui (oups !) lui revient
bien dans la tronche
quand les bigots découvrent
toutes ces histoires d'inceste.
English:
trial Tyrion demands a trial by combat
which goes well for him until it doesn't
His Brother D sneaks him out of the
city, but not before he murders Charles
Dance and also his girlfriend, but don't
worry, he's still totally sympathetic.
Arya's travel companion, The Hound loses
in battle to Captain Phasma. She escapes
him and decides to leave the country to
go to assassin school up north there's a
battle between these people, who are
trying to escape the ice zombies and
the border patrol Jon Snow is a part of
his love interest dies Daenerys conquers
another slave city and decides to rule
it instead of coming to Westeros child
who was pushed out of the window in
season one he's like learning omniscient
mind powers from Max von Sydow
Season 5
Tyrion, with the help of lord
Dr. Evil is running around Essos, trying to
find Daenerys. Cersei tries to exploit
rising religious extremism in the
capital which oops really backfires on
her once they find out about all those
inbred bastard kings there's a really
Russian:
сюжет о народе вот этого парня,
который кинут в следующем сезоне.
Он ужасен.
["Ты хочешь хорошую девочку,
но тебе нужна плохая писька".]
Брат БОББИ БИ-И-И, мужик с
самыми сильными притязаниями на престол,
сжигает собственную дочь, потому что
думает, что это даст ему магическую
огневую поддержку (что не происходит).
["Поздравляю, ты облажался".]
Арья идет в школу ниндзя, решает, что
это не для нее и уходит. Дейенерис плохо управляет
городом, культуру которого она
не понимает. Ее драконы отбились от рук.
Она вообще лажает. В конце концов
происходит восстание работорговцев. Ее почти убивают,
но не беспокойтесь, ее главный
дракон ее спасает. Его имя Дрогон. Джон
Сноу пытается помочь свободному народу,
с которым дрался в прошлом сезоне, потому что
выясняется, что те ледяные зомби
набирают армию обычных зомби.
И чем больше у них тел,
тем больше армия.
Его братья-пограничники закалывают
его насмерть, потому что
против его помощи
иммигрантам. Он мертв.
Spanish:
Hay una historia secundaria muy tonta con la gente de este tipo que es abandonada la temporada siguiente
Es terrible.
"Quieres una buena chica, pero necesitas un coño malo."
El hermano de BOBBY B, el tipo
con más derecho al trono... quema viva a su hija, porque
cree que eso le dará algo de magia de fuego para ganar una batalla. No lo hace.
"Felicitaciones, te embarraste solo."
Arya va a la escuela de ninja, decide
que no es para ella y se va. Daenerys es mala para gobernar una ciudad cuya cultura
ella no entiende. Sus dragones son revoltosos, ella es mala para todo.
Eventualmente hay una rebelión... pro-esclavos. Casi la matan pero no se preocupen, su dragón
principal la salva, su nombre es Drogon. Jon Snow trata de ayudar al Pueblo Libre con el que
peleaban en la temporada anterior porque resulta que esos zombies de hielo
están creando un ejército de... zombies regulares, y mientrás más cadáveres tengan
más grande se hace el ejército.
Sus hermanos de patrulla del borden lo apuñalan fatalmente porque
no les gusta que esté ayudando a los *extranjeros*. Murió.
Sansa-
English:
dumb subplot involving this guy's people
that gets dropped the following season
It's awful.
"You want a good girl, but you need a bad pussy."
Bobby B's brother, the guy
with the strongest claim to the throne
burns his daughter to death because he
thinks that will give him some fire
magic to win a battle it doesn't
"Congratulations, you played yourself."
Arya goes to ninja school, decides it
isn't for her and leaves Daenerys is bad
at ruling a city whose culture she does
not understand her dragons are unruly
she's bad at everything eventually
there's a pro-slave rebellion. She almost
gets killed, but don't worry, her main
dragon saves her his name is drogon Jon
Snow tries to help the free folk they
were battling in the previous season
because it turns out those ice zombies
are raising an army of regular zombies
and the more dead bodies they have the
bigger their army gets.
His border patrol brothers stab him to death because
they don't like that he's helping the
foreigners he's dead
French:
Il y a une sous-intrigue débile
autour du peuple de ce gars.
Intrigue oubliée
la saison suivante.
(C'était atroce.)
« Tu cherches une bonne fille,
mais c'est une méchante
chatte qu'il te faut. »
Le frère de Bobby B,
prétendant au trône
le plus légitime...
Fait cramer sa fille !
Parce qu'il croit que ça va lui
filer de la magie de feu
pour remporter une bataille.
(Il la paume.)
[Cris agonisants de sa fille sur le bûcher]
« Félicitations. Tu t'es fait
avoir tout seul. »
Arya va à l'École des Ninja,
mais trouve que c'est pas
pour elle, et se barre.
Daenerys règne mal sur une
ville dont elle ne comprend pas la culture.
Ses dragons sont indisciplinés
et elle foire tout ce qu'elle fait.
Il y a une rébellion pro-esclavage,
elle y passe presque,
mais pas de soucis :
elle est sauvée par
son Dragon Alpha.
(Il s'appelle Drogon)
Jon Snow essaie d'aider
les Peuples libres
(avec qui il se battait
dans les saisons d'avant)
parce qu'en fait les zombies givrés
forment une armée de...
...zombies normaux.
Et plus y a de morts,
plus leur armée grandit.
Se frères gardes-frontières
le poignardent à mort
parce que ça leur plaît pas
qu'il aide les ÉTRANGERS.
Il est mort.
Sansa...
« Tu as connu Sansa alors
qu'elle était petite fille...
Italian:
C'è una trama secondaria veramente stupida che coinvolge il popolo di questo tipo,
che viene abbandonata nella stagione successiva.
È orribile.
"Vuoi una brava mogliettina, ma una ragazza viziosa sarebbe meglio."
Il fratello di Bobby B,
quello con la più forte pretesa al trono,
brucia viva sua figlia
perché pensa che gli darà una 'magia del fuoco' per vincere una battaglia.
Non è così.
"Congratulazioni, ti sei fregato da solo."
Arya va alla scuola per ninja,
decide che non fa per lei e se ne va.
Daenerys non sa governare una città la cui cultura non capisce,
i suoi draghi sono indisciplinati,
non sa fare niente.
Alla fine c'è una ribellione pro schiavitù.
Lei viene quasi uccisa, ma non vi preoccupate, il suo drago principale la salva,
si chiama Drogon.
Jon Snow cerca di aiutare il popolo dei bruti
che stavano combattendo nella stagione precedente,
perché si scopre che gli zombi di ghiaccio stanno creando un esercito di zombi normali
e più cadaveri hanno, più grande diventa il loro esercito.
I suoi fratelli di pattuglia di confine lo hanno pugnalato a morte perché
a loro non piace che stia aiutando il
gli stranieri.
E' morto.
Italian:
Sansa--
"Conosci Sansa da quando era una ragazza.
Ora guardala diventare una donna. "
Quindi qui è dove praticamente finiscono completamente
i libri da adattare.
Stagione 6
[okay magari l'ultima stagione è stato solo un caso e adesso si risistemerà tutto sarà fantastico]
Jon Snow viene resuscitato dalla donna che ha detto al fratello di Bobby B di bruciare la figlia.
Daenerys è catturata dal popolo al quale era stata data in sposa nella stagione 1
ed è costretta alla prigionia con le altre vedove di Khal
ma riesce a stupirle tutte uccidendo tutti i loro re con il fuoco,
ma lei stessa è immune all'essere incendiata
il che significa che ora lei è la Khal, perché
è così che funziona la loro società.
Allora si riunisce con i suoi draghi e riesce con un colpo a liberare Meereen
dalla ribellione pro schiavitù.
Lord dell'isola non importa a nessuno viene spinto giù da un ponte
dal pirata di Hot Topic aka il peggior personaggio della serie.
"E vado a Galavant
subito e lo do a Daenerys Targaryen insieme al mio grosso cazzo ".
French:
tu vas maintenant la voir
devenir une femme. »
[Lindsay soupire de consternation]
Donc... euh...
Là c'est le moment où
on se retrouve à cours de bouquins...
à adapter...
SAISON 6
OK PEUT-ÊTRE QUE LA DERNIÈRE SAISON ÉTAIT
UN ACCIDENT ET LÀ ON VA REVENIR SUR LES RAILS
POUR FINIR EN FEU D'ARTIFICE ?
Jon Snow est ressuscité par
la femme qui avait convaincu
le frère de Bobby B
de faire brûler vive sa fille.
Danerys est capturée
par le peuple
qu'elle avait rejoint par
mariage dans la saison 1.
Elle est tenue prisonnière avec...
toutes les autres veuves de Khal.
Mais elle surprend
tout le monde...
en tuant tous
leur rois par le feu.
Mais, vous voyez, elle
est immunisée au cramage,
donc maintenant
c'est elle leur Khal.
Parce que leur société
marche comme ça.
Donc elle retrouve ses dragons
et enchaîne en libérant Meereen
des griffes des...
rebelles pro-esclavage.
Le Seigneur des Îles Osef
se fait jeter d'un pont par
« Pirate Lidl »
alias « pire perso de la série* »
alias « pire perso de la série* »
(*peut-être)
« ...et je vais voguer jusque-là,
et l'offrir à Daenerys Targaryen,
en plus de ma grosse bite. »
English:
Sansa--
"You've known Sansa since she was a girl.
Now watch her become a woman."
So here is where we pretty much completely run out
of books to adapt.
Season Six
Jon Snow gets resurrected by the woman
who talked Bobby B's brother into
burning his daughter alive. Daenerys is
captured by the people she married into
in season one and is forced into
captivity with the other Khal widows but
manages to wow them all by murdering all
of their kings with fire, but you know, she
herself is immune to being set on fire
which means she's the Khal now, because
that's how their society works. So she
reunites with her dragons and manages to
do one-two punch of liberating Meereen
from the pro slave rebellion Lord of the
no one cares island gets thrown off a
bridge by Hot Topic Pirate aka the worst character in the show.
"And I'm going to galavant
right over and give it to Daenerys
Targaryen along with my big cock."
Spanish:
- Conoces a Sansa desde que ella era una niña.
Ahora observa cómo se convierte en mujer.
Así que...
aquí es donde básicamente se nos acaban por completo los libros...
para adaptar.
¡... Temporada 6!
Jon Snow es resucitado por la mujer
que convenció al hermano de BOBBY B para que quemara viva a su hija. Daenerys
es capturada por la gente a la que se unió por matrimonio en la 1ra temporada y es forzada a
cautiverio con las otras viudas Khal, pero logra sorprenderlas a todas... asesinando a todos
sus reyes con fuego, pero ya saben, ella es inmune a ser quemada por el fuego,
lo que significa que ELLA es el Khal ahora, porque así funciona su sociedad.
Así que se reúne con sus dragones y logra matar 2 pájaros de un tiro liberando a Meereen
de la rebelión... pro-esclavos. El Lord de las Islas A Nadie le Importa es empujado de un
puente por el Pirata de Hot Topic, alias el peor personaje de la serie.
[*posiblemente]
- Y me voy a dar un viaje directo
y dárselo a Daenerys Targaryen junto con mi gran pene.
Russian:
Санса...
["Ты знал Сансу с тех пор, как она была девочкой.
А теперь смотри, как она становится женщиной".]
И вот тут окончательно закончился книжный
материал, как вы видите.
Сезон шесть.
Джона Сноу возвращает к жизни женщина,
которая уговорила брата БОББИ БИ-И-И
сжечь свою дочь заживо. Дейенерис
схвачена людьми своего мужа
из первого сезона и заключена
под стражу вместе с другими вдовами Кхалов.
Но ей удается расположить их к себе, убив всех
других королей огнем. А ее саму,
как вы знаете, огонь не берет,
и теперь она Кхал, потому что
так у них принято. Она
воссоединяется с драконами и
влегкую освобождает Миэрин
от восставших рабов. Лорда
Всем-Насрать-островов сбрасывает
с моста Пират-Бунтарь, он же худший персонаж этого сериала.
[*кроме вот них]
["Я собираюсь притащиться
прямо туда и дать его Дейенерис
вместе с моим большим членом".]
Russian:
Да вообще любого сериала. Арья убивает
весь дом Лорда Мед Сигнализация, а потом
скармливает их ему и убивает его.
Тирион становится Десницей
Королевы по хрен его знает какой причине.
Наверное, потому что его играет
Питер Динклэйдж. Потом Дени и ее свита
уматывают в Вестерос в компании
дочери Лорда Всем-Насрать-островов и
железного флота, о которых я еще
не говорила, но они будут
той еще занозой в жопе.
Санса сбегает и воссоединяется с Джоном
Сноу. Они отбивают Винтерфелл
и скармливают...
["Мои псы меня не тронут".
"Ты сам сказал, что не кормил их семь дней".]
своим собакам. Это сильный
феминистичный момент. А, и Серсея
взрывает Ватикан, уничтожает религиозных
экстремистов и своих врагов в
аристократии, и откочевывает
на балкон с винишком. Где она и будет
обитать следующие два сезона. Но сначала
ее последний ребенок самоубивается.
Сезон семь.
ОК, скоро пойдет совсем
Spanish:
(L) ... o posiblemente de cualquier serie. Arya asesina a la casa entera de Lord Alerta de Vida y luego
se los da de comer a él y luego mata al Lord Alerta de Vida. Tyrion se vuelve Mano
de la Reina por alguna maldita razón - no sé, probablemente porque es interpretado por
Peter Dinklage. Luego es camino a Westeros para Dany y su séquito, con la ayuda
de... la hija del Lord de Las Islas A Nadie Le Importa y la Flota de Hierro, que no he
mencionado aún pero están por volverse realmente frustrantes.
Sansa escapa y se reúne con Jon Snow. Reclaman Winterfell para los Starks
y dan de comer...
- Mis perros nunca me háran daño.
- No les has dado de comer en siete días. Lo dijiste tú mismo.
(L) ... a sus perros! ¡Es un momento feminista empoderador!
Oh, y Cersei hace explotar al Vaticano, borra a sus extremistas religiosos
y a sus adversarios en la aristocracia, y se estaciona
en el balcón bebiendo vino, donde se quedará por las siguientes 2 temporadas.
Pero no antes de que su último hijo se suicide.
¡¡Temporada 7!! ¡Muy bien, está por ponerse
muy tonto!
Italian:
O forse di qualsiasi serie.
Arya uccide l'intera casata di Lord Salvavita e poi
la serve a Lord Salvavita e lo uccide.
Tyrion diventa primo cavaliere della regina per qualche dannata ragione,
non lo so, forse perché è interpretato da Peter Dinklage.
Poi Dany e il suo entourage partono per Westeros
con l'aiuto della figlia del Lord dell'isola non importa a nessuno
e la flotta di ferro,
che non ho ancora menzionato, ma che sta per diventare davvero fastidiosa.
Sansa fugge e si riunisce con Jon Snow.
Reclamano Grande Inverno per gli Stark
e danno in pasto...
"I miei mastini non mi toccheranno"
"Non mangiano da una settimana. Lo hai detto tu stesso."
ai suoi cani.
E' uno stimolante momento femminista!
Oh e Cersei fa esplodere il Vaticano,
uccide gli estremisti religiosi
e i suoi avversari nell'aristocrazia
e si parcheggia sul balcone bevendo del vino,
dove resterà per le prossime due stagioni.
Ma non prima che il suo ultimo figlio si uccida.
Stagione 7
[sto iniziando a preoccuparmi]
Okay, sta per diventare veramente stupido!
English:
Or possibly any show. Arya murders the
entire house of Lord Life Alert and then
feeds them to him and then kills Lord
Life Alert. Tyrion becomes hand of the
queen for some goddamn reason I don't
know probably because he's played by
Peter Dinklage then it's off to Westeros
for Dany and her entourage with the help
of Lord No One Cares Island's daughter
and the iron fleet, which I haven't
mentioned yet but they're about to get
real frustrating
Sansa escapes and reunites with Jon Snow.
They reclaim Winterfell for the Starks
and feed...
"My hounds will never harm me."
"You haven't fed them in seven days. You said it yourself."
to his dogs. It is an empowering
feminist moment oh and Cersei blows up
the Vatican wipes out their religious
extremists and her adversaries in the
aristocracy and parks herself at the
balcony drinking wine where she will
stay for the next two seasons but not
before her last child kills himself.
Season Seven
Okay, it's about to get
French:
Ou peut-être le pire
perso de série tout court...
Arya assassine toute la Maison
du Seigneur Monte-escaliers.
...avant de les lui faire manger
Et de tuer le Seigneur
Monte-escaliers.
Tyrion devient Main de la Reine,
on sait pas pourquoi.
J'sais pas, probablement
parce qu'il est joué par Peter Dinklage.
Puis Dany et sa clique
voguent vers Westeros.
Avec l'aide de...
la fille du Seigneur
des Îles Osef...
et de la Flotte de Fer.
(Dont j'ai pas encore parlé,
mais qui va causer moult frustrations)
Sansa s'échappe et
retrouve Jon Snow.
Il reprennent Winterfell
au nom des Stark.
Et jettent en pâture...
« Mes chiens ne me
feront jamais de mal.
– Vous ne les avez pas
nourri pendant sept jours,
vous l'avez dit vous-même. »
...à ses propres chiens !
C'est un moment
féministe valorisant !
Oh. Et Cersei fait
sauter le Vatican,
décimant ainsi
les extrémistes religieux
et ses opposants
dans l'aristocratie ;
et se colle au balcon
à siroter du vin,
une position qu'elle va conserver
pendant les deux prochaines saisons.
Mais avant ça, son dernier
enfant se suicide.
SAISON SEPT
JE M'INQUIÈTE
Bon, ça va devenir très con !
Italian:
"È una bella canzone. Non l'ho mai sentita prima."
"È nuova."
Wee!
Daenerys e Jon Snow hanno un incontro da rom-com.
"Non intendo offenderla, sua grazia, ma non la conosco."
"Da quando mi ha incontrato,
si è rifiutato di chiamarmi regina, si è
rifiutato di inchinarsi, e ora mi sta chiamando una bambina."
"Credo che stia chiamando tutti noi bambini."
"Figura retorica."
Trascorrono la maggior parte della stagione preoccupandosi
se Jon Snow piegherà il ginocchio --
"Piega il ginocchio."
"Piega il ginocchio."
"Piega il ginocchio."
- a nome del Nord dopo aver aiutato Dany a salire sul trono,
litigando sulla necessità o meno di combattere le Ombre Bianche o attaccare Cercei prima.
Daenerys combatte per un po 'i Lannister,
Jon Snow e Daenerys **** e poi, okay, questo
è dove diventa davvero stupido. Va bene, quindi tutti dicono, "ehi la grande
minaccia esistenziale è gli zombi di ghiaccio
come convincere Cersei a smettere di
combatterci in modo da poter affrontare la minaccia esistenziale degli zombie? Lo so,
French:
« Jolie chanson.
Je l'avais jamais entendue.
– C'est une nouvelle. »
Oh, oui !
Daenerys et Jon Snow
ont un léger coup de foudre.
CET ÉTÉ
« Je ne veux pas vous offenser,
votre Grâce.
Mais je ne vous connais pas. »
« Depuis notre rencontre,
il refuse de m'appeler "Reine",
il refuse de se prosterner,
et voilà qu'il me traite d'enfant.
– Je crois qu'il nous
traite tous d'enfants...
...figure de style. »
Mais il passent l'essentiel
de la saison à traînasser pour savoir
si Jon Snow va « plier le genou »...
« Pliez le genou. »
« Pliez le genou. »
« Plier le genou. »
...au nom du Nord, une fois
qu'il aura aidé Dany à conquérir le Trône.
Ils débattent pour savoir s'il faut
combattre les Marcheurs Blancs
ou plutôt s'attaquer
à Cersei d'abord.
Daenerys affronte les
Lannister un petit moment.
Jon Sow et
Daenerys BA*SENT !
Et ensuite, bon...
euh, en fait c'est là
que ça commence à être très con.
OK :
Tout le monde dit :
« hé, la grosse menace existentielle...
c'est les zombies givrés.
Comment on convainc Cersei, genre,
d'arrêter de se battre avec nous,
pour qu'on puisse
affronter la menace zombie ? »
« Je sais !
Russian:
херня.
["Милая песня. Никогда ее не слышала".
"Она новая"]
Дейенерис и Джон попадают в романтическую комедию.
["Я не хочу вас обидеть, ваша милость, но я вас не знаю".
"С тех пор, как мы встретились, он
отказался называть меня королевой,
отказался преклонять колено,
а теперь называет меня ребенком".
"Кажется, он называет детьми всех нас".
"Это фигура речи".]
Они тратят большую часть сезона,
выясняя, преклонит ли Джон Сноу колено...
["Преклонить колено"
"Преклонить колено."
"Преклонить колено"]
от лица севера после того, как он поможет Дени захватить трон,
спорят по поводу того, биться ли сначала
с Белыми Ходоками или с Серсеей,
Дейенерис немного бьется с Ланнистерами,
Джон Сноу и Дейенерис тр*хаются, а потом...
ОК, сейчас начинается самый смак.
Итак, все такие "Эй, главная
угроза жизни это ледяные зомби.
Как нам убедить Серсею, типа, прекратить
драться с нами, чтобы мы
победили зомби-покалипсис. Знаю!
English:
really dumb.
"It's a pretty song. I've never heard it before."
"It's a new one."
Wee!
Daenerys and Jon Snow have a meet-cute.
"I mean no offense, your grace, but I don't know you."
"In the time since he's met me,
he's refused to call me queen, he's
refused to bow, and now he's calling me a
child."
"I believe he's calling all of us children."
"Figure of speech."
They spend most of the season faffing
around whether Jon Snow will bend the
knee--
"Bend the knee."
"Bend the knee."
"Bend the knee."
--on behalf of the North after he helps Dany take the throne,
debate about whether or not to fight the
White Walkers or go after Cersei first
Daenerys battles the Lannisters a bit,
Jon Snow and Daenerys **** and then, okay, this
is where it gets really dumb. All right, so everyone is like, hey the big
existential threat is the ice zombies
how do we convince Cersei to like stop
fighting us so we can deal with the
existential zombie threat I know let's
Spanish:
- Es una linda canción. Nunca la he oído antes.
- Es una nueva.
(L) Wiiiiiiiiii.
Daenerys y Jon Snow tienen un tierno encuentro.
["ESTE VERANO"]
- Es decir, sin ofender, su Majestad, pero no la conozco.
- En el tiempo desde que me conoció, él se ha rehusado a llamarme Reina, se ha
rehusado a hacer reverencia, y ahora me llama una niña.
- Creo que nos está llamando niños a todos nosotros.
Es un decir.
(L) Pasan la mayoría de la temporada dando
vueltas sobre si Jon Snow se hará de rodillas--
- Hazte de rodillas.
- Hazte de rodillas.
- Hacerme de rodillas.
--en nombre del Norte después de que ayude a Dany a tomar el trono;
debatiendo si pelear o no con los Caminantes Blancos o ir primero tras Cersei...
Daenerys pelea un poco con los Lannisters, Jon Snow y Daenerys f*llan y luego, bueno...
... aquí es donde se pone de verdad tonto. Muy bien, así que todos andan como "oye, la
gran amenaza existencial son los zombies de hielo. ¿Cómo convencemos a Cersei para que, no sé, pare
de pelear con nosotros para poder lidiar con la amenaza zombie existencial? Ya sé:
French:
Envoyons les Sept Mercenaires
au Nord du mur pour choper, genre,
un zombie échantillon. »
Et ils y allèrent !
Et c'est complètement con !
Mais, vous comme moi,
on est prêts à laisser
le bénéfice du doute aux showrunners.
Vous savez ? « Ils font sûrement
ces trucs cons pour aboutir aux trucs bien. »
Donc... Ils se retrouvent coincés.
Et le bâtard de Bobby B,
doit se taper un marathon littéral
pour envoyer un message à Daenrys,
pour aller les-sauver-s'il-vous-plaît.
CE QU'ELLE FAIT !
En risquant sa vie pour ça.
Et en perdant un putain
de dragon dans la manœuvre.
Mais c'est pas grave,
elle leur a sauvé les miches.
Et c'est là, uniquement après qu'elle
ait risqué sa vie et paumé un dragon,
que Jon se dit :
« OK, j'vais plier le genou. »
Et Daenerys dit :
« Ok, bon.
J'ai déjà mis un peu d'eau
dans mon vin pour vous sauver.
Donc j'espère que
j'en serai digne.
Parce que je sais que c'est important
pour toi et pour toute l'humanité
pour... tu vois...
qu'on survive. »
Ensuite, ils se
téléportent à Port-Réal.
Spanish:
mandemos a los Siete Magníficos al Norte del Muro para conseguir un zombie de prueba."
Así que lo HACEN, y es lo más tonto, pero, como yo, estás dispuestx a darle
a estos show runners el beneficio d-de la duda... como, oh cielos, solo están
haciendo esta cosa tonta para llegar a lo bueno. Así que quedan varados...
y el hijo bastardo de BOBBY B tiene que hacerlas de... Carrozas de Fuego y mandar una nota a Daenerys para
que "por favor venga a salvarnos", lo que ella HACE... arriesgando su vida para hacerlo... pero pierde
un maldito dragón en el proceso. Pero como sea, ella salva sus culos... y es
aquí, solo después de que ella arriesgara su vida y perdiera un maldito dragón que Jon dice
"bueno, me pondré de rodillas." Y Daenerys dice "bueno, pues ya me comí algo de
pastel de humildad para salvarte así que espero que yo lo valga, porque sé que esto
es importante no solo para ti sino, ya sabes, para la humanidad para, ya sabes... sobrevivir."
Russian:
Давайте пошлем Великолепную Семерку к северу
от стены и добудем зомби-образец. Что они и делают.
Как полные идиоты.
Но если вы как я, то готовы
довериться сценаристам. Типа,
"О, божечки, они наверное творят
эту тупую фигню, чтобы добраться до вкусненького".
Итак, они застревают, и
сын-бастард БОББИ БИ-И-И должен пробежать как в "Огненных колесницах", чтобы послать Дейнерис
мольбу "Пожалуйста, спаси нас". Что она и
делает, рискую жизнью. Но в процессе
теряет сраного дракона. Но пофиг, зато жопы спасены. И только
после того, как она рисковала
жизнью и потеряла дракона, Джон такой
"ОК, я преклоню колено". А Дейенерис
такая "ОК, я уже испила чашу
смирения, чтобы спасти тебя, так что
надеюсь, я этого достойна. Я знаю,
как важно для тебя и
человечества выжить". Итак,
Italian:
mandiamo i magnifici sette a nord del
muro per ottenere un campione di zombie"
e lo fanno ed è stupidissimo, ma, come me, siete disposti a dare
ai produttori il beneficio del dubbio.
"sai, stanno solo facendo
questa cosa stupida per arrivare alla roba buona."
Quindi restano intrappolati, e il figlio
bastardo di Bobby B deve fare 'momenti di gloria' e inviare una nota a Daenerys per dirle
'per favore, vieni a salvarci', cosa che fa, rischiando la propria vita, ma perde
un dannato drago nel processo. Ma
non importa, ha salvato loro il culo ed è
qui solo dopo aver rischiato la propria vita e aver perso un dannato drago che John fa
"ok, piegherò il ginocchio" e Daenerys fa
"va bene, ho già abbassato un po '
la cresta per salvarti, quindi spero di esserne
degna perché so che questo è una
cosa importante non solo per te ma
per la sopravvivenza dell'umanità" e poi
English:
send the Magnificent Seven north of the
wall to get like a sample zombie so they
do that and it is the dumbest thing but
you like me are willing to give these
showrunners the benefit of the doubt
like oh boy you know they're just doing
this dumb thing to get to the good stuff.
So they get stuck, and Bobby B's
bastard son has to go do it chariots of
fire and send a note to Daenerys to
please come save us which she does
risking her life to do so but loses a
goddamn dragon in the process but
whatever she saves their asses and it is
here only after she risked her life and
lost a goddamn dragon that John is like
okay I will bend the knee and Daenerys
is like okay well I already ate some
humble pie to save you so I hope I am
worthy of this because I know this is a
big deal not only for you but you know
for Humanity to you know survive so then
Italian:
viaggiano velocemente verso Approdo del re e
mostrano a Cersei lo zombi e dicono:
"Fidati. So che questo è solo uno, ma
ce ne sono molti". E Cersei:
"oh, va bene tregua, e anche io manderò
soldati per aiutarti a combattere gli zombi
di ghiaccio". Ma indovinate un po ', sta mentendo!
"Hai promesso alle nostre forze di combattere il nostro
nemico comune ".
"Dirò tutto ciò che devo dire per garantire la sopravvivenza della nostra casa."
Ed è solo allora che il fratello D fa, "sai, penso di averne avuto abbastanza del tuo
essere subdola e malvagia e l'aver fatto esplodere la Basilica di San Pietro." Quindi tutta questa stupida
[Perchè cazzo lo hai fatto?]
trama secondaria non è stata solo uno spreco totale di
tempo, ma hanno perso il loro esperto di
trama secondaria non è stata solo uno spreco totale di
tempo, ma hanno perso il loro esperto di
resurrezione e hanno dato al Re della Notte un dannato
drago nel processo. Forza squadra.
Stagione 8
[uccidetemi]
episodio 1 tutti arrivano a Winterfell,
Cersei scopa il pirata di hot topic,
il Nord è razzista, credo.
Episodio 2, gli zombi stanno arrivando,
oh, no, un sacco di dialoghi, in pratica si
legge come un grande addio a tutti i nostri
personaggi preferiti.
Russian:
они совершают "быстрое перемещение" в Королевскую гавань, чтобы показать Серсее зомби, и такие:
"Верь нам. Знаю, он всего один, но
там таких много". И Серсея отвечает:
"О, ОК, мир. И я тоже пошлю
солдат в помощь с ледяными зомби."
Но знаете что, она врала!
["Ты пообещала нашу поддержку в борьбе
с общим врагом".
"Я скажу что угодно ради выживания нашего дома".]
И только после этого брат Ди такой:
"Знаешь, что? Меня достало твое
коварство, злобство и взрывы Базилики
Святого Петра". Так что весь этот тупой
сюжет был не только потерей времени,
но и потерей эксперта по
воскрешению вместе с драконом, который
теперь у Короля Ночи. Вперед, команда!
Сезон восьмой.
(УБЕЙТЕ МЕНЯ)
Эпизод 1. Все появляются в Винтерфелле,
Серсея трахает Пирата-Бунтаря. Северяне
расисты, по ходу. Эпизод 2. Зомби
на подходе, о нет. Много диалогов,
по сути прощание со всеми
нашими любимыми персонажами.
French:
Ils montrent le zombie à Cersei.
Ils lui disent de leur
faire confiance,
que c'en est peut-être qu'un,
mais que y en a plein.
Et Cesei dit :
« Ok, trêve. »
Et en plus elle enverra
des soldats pour aider
à combattre les
zombies givrés.
Mais devinez-quoi !?
Elle ment !
« Tu as promis des hommes
pour combattre l'ennemi commun...
– Je dis ce que je dois dire
pour assurer la survie de notre Maison. »
Et ce n'est qu'à cet instant
que Frère PQR se dit :
« Tu sais je crois que j'en ai marre
de ta fourberie, de ta méchanceté,
et de l'explosion de la
Basilique St-Pierre. »
Donc...
Tooooooooute
cette sous-intrigue débile
était non seulement
une grosse perte de temps,
mais ça leur a coûté
leur expert en résurrection
et a filé au Roi de la Nuit
un putain de dragon dans la foulée.
Bien joué l'équipe...
[Gros soupir]
SAISON HUIT
VITE, UNE CUITE
Épisode un :
tout le monde arrive à Winterfell,
Cersei baise
avec Pirate Lidl,
le Nord est raciste.
Apparemment.
Épisode deux :
Les zombies arrivent. Oh non.
Plein de dialogues.
On comprend ça comme un bel
adieu à tous nos chers personnages.
Spanish:
Así que viajan rápido a King's Landing y le muestran a Cersei el zombie y ellos dicen
"Confía en nosotros. Sé que este es uno solo, pero hay un montón de estos". Y Cersei dice
"Ah, bueno. Tregua... Y también mandaré soldados para ayudarte a pelear con los zombies de hielo."
¡Pero adivina qué, ella miente!
- Comprometiste a nuestras fuerzas a pelear contra nuestro enemigo común-
- Diré lo que sea que necesite decir para asegurar la supervivencia de nuestra Casa.
(L) Y es recién entonces que Hermano D se pone en onda de "sabes qué, creo que ya tuve suficiente de
tus conspiraciones y maldad y de que hagas explotar la Basílica de San Pedro."
Así que toda esta...
estúpida... historia secundaria
["por qué mierda alguien haría esto??"]
no solo fue una total pérdida de tiempo, sino que además perdieron a su experto en resurrección
y le dieron al Rey de la Noche un maldito dragón en el proceso.
Hurra, equipo.
¡... Temporada 8...!
Episodio 1: todos llegan a Winterfell, Cersei se coge al Pirata de Hot Topic,
el Norte... es racista, supongo. Episodio 2: vienen los zombies, oh no. Mucho diálogo básicamente
se lee como una gran despedida a todos nuestros personajes favoritos...
English:
they fast travel to King's Landing and
show Cersei the zombie and they're like
trust us. I know this is just one, but
there's a lot of these. And Cersei's like
oh okay truce and also I will send
soldiers to help you fight the ice
zombies. But guess what, she's lying!
"You pledged our forces to fight our
common enemy."
"I'll say whatever I need to say to ensure the survival of our house."
And it is only then that brother D's like, you know, I think I've had enough of your
conniving and evil and blowing up St. Peter's Basilica.
So this whole stupid
subplot was not only a total waste of
time but they lost their resurrection
expert and gave the Night King a goddamn
dragon in the process. Go team.
Season 8
episode 1 everyone arrives at Winterfell
Cersei fucks hot-topic pirate the North
is racist I guess episode 2 zombies are
coming oh no a lot of dialogue basically
reads like a big send-off to all our
favorite characters
French:
[Applaudissements]
L'histoire retiendra que c'était
le dernier épisode correct de la série.
Mais aussi une énorme
perte de temps.
Qui va en plus se faire
chier dessus plus tard.
Oh, et il apparaît aussi
que Jon Snow n'est pas un bâtard,
mais en fait l'héritier
légitime du trône,
« Mon vrai nom...
est Aegon Targaryen. »
mais aussi le
neveu de Daenerys.
Ouiiiiiiiiiiiiiiiiiiii...
Épisode 3 :
la grande bataille.
La plus grande de toutes.
À laquelle survivent presque
tous les persos principaux...
Elle est résolue quand Arya
poignarde le Roi de la Nuit,
le zombie en chef, avec
une lame spéciale.
Et puis ils nous sortent
le tropisme de fantasy...
celui où quand
on tue le chef...
« L'Œil de Sauron
a explosé donc...
tous les Orcs sont...
maintenant... morts... »
Doooonc...
Ouaaaaaais...
Bon bah c'en est fini,
visiblement...
Finis les
zombies givrés.
Et ouais. Et il nous reste
encore trois épisodes.
(Et il font tous 1h30...
Tout va bien...)
Italian:
Questo passerà alla storia come l'ultimo
episodio decente di Il trono di spade e
anche una grande perdita di tempo, sulla
quale verrà gettata merda dopo.
Oh, si scopre anche che Jon Snow non è un bastardo, ma è in effetti l'erede legittimo al trono.
"Il mio vero nome è Aegon Targaryen."
E anche il nipote di Daenerys.
Weeeeeeeeeeeeee.
Episodio 3
La grande battaglia. La più grande battaglia, che
quasi tutti i personaggi principali
sopravvivono e si risolve quando
Arya accoltella lo zombi di ghiaccio principale, il Re della notte con una lama speciale, e poi c'è il cliché fantasy
"oh hai ucciso il capo,
l'occhio di Sauron è esploso e così tutti
gli orchi sono morti ora". Quindi sì,
è finita così, immagino.
Niente più zombi di ghiaccio. Veramente. E ci sono
ancora tre episodi. E sono tutti di 90 minuti
ciascuno, oh bene.
English:
this will go down in history as the last
decent episode of Game of Thrones and
also a massive waste of time that gets
totally shat upon later.
Oh, it also turns out that Jon Snow is not a bastard but is in fact the rightful heir to the throne.
"My real name is Aegon Targaryen."
And also Daenerys's nephew.
Weeeeeeeeeeeeee.
Episode 3
The big battle. The biggest battle, which
almost all of the major characters
survive and it is resolved when
Arya stabs the main ice zombie, the Night King with a special blade, and then they do the fantasy trope
thing of you know oh you killed the main
one the Eye of Sauron is exploded so all
of the the orcs are dead now. So yeah, so
that that's the end of that, I guess.
No more ice zombies. Really. And we still
have three episodes to go. And they're all 90 minutes
Russian:
Этот эпизод войдет в историю как
последний хороший во всем сериале,
а также как огромная трата времени,
на которую все наплюют позже.
А, также выясняется, что Джон Сноу не
бастард, а истинный наследник престола.
["Мое настоящее имя Эйгон Таргариен".]
И племянник Дейенерис.
Уи-и-и-и-и-и-и-и!
Эпизод 3.
Большущая битва. Самая большая, которую
переживают почти все главные персонажи.
И которая заканчивается, когда
Арья пыряет главного ледяного зомби, Короля Ночи,
особым ножиком, а потом все как в сказке.
Ну, типа, "О, ты убил главаря,
Око Саурона взорвалось, так что
все орки мертвы". Ну вот.
С этим покончили, полагаю.
Капут ледяным зомби. Ага. И у нас еще
три эпизода впереди. Все по 90 минут.
Spanish:
Este quedará en la historia como el último episodio decente de Juego de Tronos y
también una gran pérdida de tiempo sobre la que se cagan por completo después.
Oh, y también resulta que Jon Snow no es un bastardo, sino que de hecho es el heredero legítimo al trono.
- Mi verdadero nombre [...] es Aegon Targaryen.
(L) Y también es el sobrino de Daenerys. Wiiiiiiiiiiiiiiiiiiiiiiiiiii.
Episodio 3: La gran batalla. La más grande batalla...
que casi todos los personajes principales sobreviven y se resuelve cuando Arya
apuñala al zombie de hielo principal, el Rey de la Noche, con una hoja especial, y luego hacen el tropo de fantasía
de "oh, sabes, oh, mataste al principal... el Ojo de Sauron... está explotado
así que... todos los orcos ahora están muertos."
Así que eso... así que eso- así termina eso, supongo...
Ya no hay más zombies de hielo... En serio.
Y todavía nos quedan 3 capítulos.
... y son de hora y media cada uno. Oh bueno.
Italian:
episodio 4
Voglio morire.
E' ora di andare al sud e conquistare Cercei,
Solo che lungo la strada, il pirata di hot topic abbatte uno di quei draghi indistruttibili,
con DUE colpi da un milione a uno,
da un miglio di distanza,
che i draghi non hanno visto.
Inoltre, in qualche modo hanno catturato l'amichetta di Daenerys ma nessun altro, e indovinate un po '
che cosa succede a lei? sì, sì.
E poi tutti vogliono tradire
Daenerys, per qualche ragione, anche se lei
a questo punto non ha fatto nulla di male.
"Hai mai pensato che il miglior sovrano possa
essere qualcuno che non vuole governare? "
"Stiamo parlando di tradimento."
È letteralmente un'eroina di guerra, ma Lord Dr. Male è tipo,
"hmm, non so, era dalla sua parte
per circa la metà di tutta la serie, ma
ho un sospetto".
"È temperato e misurato. È un uomo, il che lo rende più
attraente per i signori di Westeros ".
episodio 5
uccidetemi
E' ora di invadere Approdo del re
English:
each oh good
episode 4 I want to die time to head
south and conquer Cersei only on the way
hot topic pirate shoots one of those
indestructible dragons out of the sky
with TWO million-to-one
shots from a mile away
which the dragons did not see also
somehow they captured Daenerys's
gal-pal but no one else, and guess what
happens to her yep yep also everyone
kind of wants to do some treason on
Daenerys for some reason even though she
has by this point done nothing wrong.
"Have you considered the best ruler might
be someone who doesn't want to rule?"
"We're discussing treason."
She's like a literal war hero, but Lord Dr. Evil's like
hmm I don't know I was supporting her
for like half of the entire show but
I got a hunch.
"He's temperate and measured. He's a man, which makes it more
appealing to the Lords of Westeros."
episode 5 kill me time to invade King's
French:
Épisode 4 :
Je veux mourir.
Il est temps d'aller au Sud
et de conquérir Cersei.
Mais sur le chemin,
Pirate Lidl abat un des
dragons indestructibles.
Avec... avec... un tir
à deux millions contre un.
À une borne de là...
Que le dragon
n'a pas vu venir.
Aussi, on sait pas comment,
ils ont capturé la pote de Daenerys,
mais personne d'autre !
Et devinez ce qui lui arrive !?
Oui ! Et oui...
En plus, tout le monde
veut trahir Daenerys !
On sait pas pourquoi,
jusque-là elle avait rien fait de mal.
« Avez-vous songé au fait
que le meilleur dirigeant
pourrait être quelqu'un
qui ne désire pas diriger ?
– Nous parlons trahison. »
C'est littéralement
une héroïne de guerre,
mais le Seigneur Dr Denfer
se dit : «Mm... Je sais pas... »
« Je l'ai soutenue pendant
la moitié de la série...
mais... mmm...
j'ai un pressentiment. »
« Il est calme et mesuré.
C'est un homme.
Ce qui le rend plus attractif
aux yeux des seigneurs de Westeros. »
Épisode 5 :
Tuez moi.
Russian:
Супер.
Эпизод 4 (я хочу сдохнуть). Время идти
на юг, покорять Серсею. Вот только на
пути Пират-Бунтарь сбивает одного из
непобедимых драконов ДВУМЯ
выстрелами один-на-миллион
с расстояния в милю. И драконы
его не заметили. Также
они как-то захватили подружку
Дейенерис и больше никого. Угадайте, что
с ней случится... Ага, ага. И по какой-то
причине все хотят предать
Дейенерис, хотя к этому моменту она
вообще ничего плохого не сделала.
["А вам не кажется, что лучшим правителем станет тот, кто не желал править?"
"Мы говорим о предательстве".]
Она блин, герой войны, а Лорд Доктор Зло такой:
"Хмм, не знаю, я поддерживал
ее пол-сериала, но
у меня предчувствие".
["Он сдержанный и осмотрительный. И он мужчина, что больше, а значит,
более приемлем для лордов Вестероса".]
Эпизод 5 (убейте меня). Время вторгнуться в
Spanish:
Episodio 4: Quiero morir.
Hora de irse al sur y... conquistar a Cersei,
excepto que en el camino el Pirata de Hot Topic le dispara a uno de esos
dragones indestructibles en el cielo, con
probabilidad de... DOS millones a una,
a una milla de distancia... lo que los dragones no vieron...
también de algún modo capturaron a la amigui de Daenerys pero a nadie más,
Y adivinen qué le pasa a ella- sí...
... sip.
También todos como que quieren traicionar a Daenerys
por alguna razón, pese que hasta ahora no ha hecho nada mal...
- ¿Has considerado que el mejor gobernante podría ser alguien que no quiera gobernar?
- Estamos discutiendo traición.
(L) Ella es como literalmente una heroína de guerra, pero Lord Dr. Evil anda de
"Mmm, no sé... Yo la estaba apoyando por como la mitad d-de la serie entera... pero
eh, tengo una corazonada."
- Él es moderado y mesurado. Es un hombre, lo que lo vuelve
más atractivo para los Lords de Westeros.
Episodio 5: ¡Mátenme! Hora de invadir King's Landing,
Spanish:
pero no sin antes quemar vivo al Lord Dr. Evil, porque... está haciendo algo de
traición. La invasión tiene éxito, y es absurdamente unilateral y fácil.
Resulta que no importa nada que Daenerys perdiera la mitad de sus fuerzas o a 2 de
sus dragones. Invaden la ciudad en como 90 segundos y Tytion dice como:
"Bueno, cuando suenen LAS CAMPANAS-
- Sonar las campanas-
- Espera a que suenen las campanas.
- Hagan sonar las campanas.
- Cuando suenen las campanas.
- Si se rinde la ciudad, harán sonar las campanas y abrirán las puertas.
[EN LA TEMPORADA 2]
- Siempre he odiado las campanas. Suenan por el horror.
Un rey muerto, una ciudad bajo ataque...
- Están dando bienvenida a un nuevo rey.
- Nunca he sabido de campanas que suenen por rendición.
- Si la ciudad se rinde, harán sonar las campanas y abrirán las puertas.
Y luego suenan las campanas, y entonces Daenerys dice como: "No...
... creo que voy a... hacer unos crímenes de guerra."
y luego, como que....
hace un 9/11 elevado a 100.
- "9/11 elevado a 100. Jesús, eso es..."
- "Sí."
French:
Il est temps d'envahir Port-Réal,
mais pas avant d'avoir brûlé vif
le Seigneur Dr Denfer.
Parce que... Parce qu'il
a fait de la trahison !
L'invasion est un succès !
Et elle est à sens unique
et facile jusqu'à l'absurde.
En fait, avoir perdu la moitié
de ses forces et deux dragons
n'avait aucune
importance pour Daenerys.
Ils envahissent la ville
en pratiquement 1 mn 30.
Et Tyrion dit :
« Bon, quand ils sonneront "Les Cloches" »
« Sonner les cloches. »
« Fais sonner toutes les cloches. »
« Sonne les cloches. »
« Quand les cloches sonneront. »
« Si la ville se rend,
ils sonneront les cloches
et ouvriront les portes. »
PENDANT CE TEMPS-LÀ,
EN SAISON DEUX
« J'ai toujours détesté
les cloches.
Elles sonnent l'horreur.
La mort d'un Roi,
une cité assiégée. »
« Ils accueillent
le nouveau Roi.
– Je n'ai jamais entendu
de cloches signaler une reddition. »
« Si la ville se rend,
ils sonneront les cloches
et ouvriront les portes. »
Et donc les cloches sonnent
et Daenerys décide que
« noooon...
Je pense que...
que je vais aller faire
quelques crimes de guerre. »
Et après elle s'en va faire...
le 11/09 fois 100.
« Le 11/09 fois 100...
Mon Dieu, ça fait...
Russian:
Королевскую гавань. Но сначала надо сжечь
Лорда Доктора Зло заживо, а то он там
предательствует. Вторжение проходит
успешно и абсурдно легко.
Неважно, что Дейенерис потеряла
половину ее армии, двух
драконов, они захватывают город
секунд за 90. Тирион такой: "ОК, когда
зазвонят колокола...
["Зазвонят колокола"
"Когда зазвонят колокола".
"Если город сдастся, они прозвонят в колокола и откроют ворота".
[ВО ВТОРОМ СЕЗОНЕ]
"Всегда ненавидел колокола. Их звон означает ужас. Смерть короля или осада города".
"Они приветствуют нового короля".
"Никогда не слышал, чтобы звон колоколов означал сдачу".
"Если город сдастся, они позвонят
в колокола и откроют ворота".]
А потом колокола звонят, а Дейенерис такая:
"Нет, хочу делать военные преступления",
и устраивает 11 сентября в 100 кратном масштабе.
English:
Landing but not before burning lord dr.
evil alive because he's doing some
treason. The invasion succeeds,
and it is absurdly one-sided and easy
turns out it does not matter at all that
Daenerys lost half her forces or two of
her dragons they invade the city in like
90 seconds and Tyrians like okay when
they ring the bells--
"Ringing the bells."
"When the bells ring."
"If the city surrenders, they will ring the bells and raise the gates."
"I've always hated the bells. They ring for horror. A dead King, a city under siege."
"They're welcoming a new king."
"I've never known bells to mean surrender."
"If the city surrenders they will ring
the bells and raise the gates."
And then the bells ring, and then Daenerys is like
no I think I'm gonna go do some war
crimes and then like does 9/11 times 100
Italian:
ma non prima di bruciare il Lord dott.
male vivo
perché la sta un po' tradendo
L'invasione ha successo,
ed è assurdamente unilaterale e facile
si scopre che non ha nessuna importanza che
Daenerys ha perso metà delle sue forze o due
dei suoi draghi, invadono la città in circa 90 secondi
e Tyrian dice "Okay, quando
suonano le campane ...
"Suonare le campane."
"Quando suonano le campane."
"Se la città si arrende, suoneranno le campane e solleveranno le porte."
[nella stagione 2]
"Ho sempre odiato le campane. Suonano per l'orrore. Un re morto, una città sotto assedio."
"Accolgono un nuovo re."
"Non ho mai saputo che le campane significassero arrendersi."
"Se la città si arrende suoneranno
le campane e alzeranno le porte ".
E poi le campane suonano, e poi Daenerys fa
"no, penso che commetterò un po' di crimini di guerra" e poi fa l'11 / 9 moltiplicato per 100
English:
"9/11 times a hundred. Jesus, that's..."
"Yes. 91 thousand 100."
Episode Six. I long for death.
Triumph of the will shots all
around Danny does her big fascism speech
and scary foreign language and Nazi
clothes
The only non-white characters left
in the show are the people who are
really into it.
Tyrion's like, well, the madness has taken
her we should probably put her down like
Old Yeller
"It's a terrible thing I'm asking.
It's also the right thing."
And Jon Snow, who has done nothing all season but say
she's my queen--
"She is my queen."
--is like no, but then he goes and puts her down
like Old Yeller
her one surviving dragon in a fit of
rage burns not the person responsible
for her murder but the symbolism and
then he flies away with her corpse there
is a trial in which the prisoner is
Italian:
"L'11 / 9 moltiplicato per cento. Gesù, è ..."
"Sì. 91 mila 100."
Episodio Sei. Desidero la morte.
Inquadrature del trionfo della volontà ovunque,
Danny fa il suo grande discorso fascista
in una spaventosa lingua straniera e abiti nazisti
Mi avete consegnato i sette regni!
Gli unici personaggi non bianchi rimasti nella serie, sono quelli a cui piace veramente
Tyrion fa, "beh, la pazzia l'ha presa, dobbiamo abbatterla come Zanna Gialla"
"È una cosa terribile che sto chiedendo.
È anche la cosa giusta ".
E Jon Snow, che per tutta la stagione non ha fatto altro che dire
lei è la mia regina ...
"Lei è la mia regina."
dice di no, ma poi la sopprime come Zanna Gialla.
Il suo unico drago sopravvissuto, in un impeto di rabbia, non brucia la persona responsabile dell'omicidio,
ma il simbolismo
poi vola via con il suo cadavere.
C'è un processo durante il quale viene permesso al prigioniero di scegliere il nuovo re,
Russian:
["9/11 в сто кратном масштабе. Господи, это же..."
"Да. 91100".]
Эпизод 6. Я жажду смерти.
Кадры из "Триумфа воли". Дени говорит
свою громкую фашисткую речь
на страшном иноземном языке
в одежде нацистов.
["Вы дали мне Семь Королевств!"]
Единственные оставшиеся
темнокожие персонажи в сериале
100% одобряют.
Тирион говорит: "Ну, безумие ее взяло,
надо от нее избавиться.
Как от "Старого брехуна".
["То, что я прошу, ужасно.
Но также правильно."]
И Джон Сноу, который весь сезон
только и делал, что говорил
"Она моя королева"
["Она моя королева".]
отказывается. А потом все равно избавляется
от нее, как от "Старого Брехуна".
Последний дракон в приступе
гнева сжигает не виновника
ее смерти, а символизм.
И улетает с трупом. Проходит
суд, на котором узнику
French:
– Oui. 122,2222222222
– Oui. 122,2222222222
(ndT : don't @ me c'est à cause du français)
Épisode 6 :
Je désire ardemment la Mort.
Partout, des plans du
Triomphe de la volonté.
Dany donne son discours
fasciste dans un langue étrangère flippante
et sapée en nazi.
« Vous m'avez donné
les Sept Royaumes ! »
Les seuls persos non-blancs
qui restent dans la série
sont ceux qui
kiffent ça le plus.
Tyrion se dit :
« Bon. La Folie s'est emparée d'elle.
On devrait p'tet la faire piquer,
comme un vieil animal. »
« C'est une terrible
chose que je demande.
Mais c'est aussi
la chose à faire. »
Et Jon Snow, qui n'a rien
foutu cette saison à part dire :
« Elle est ma Reine. »
« Elle est...
ma Reine. »
Bah il dit...
« noooon. »
Mais après il va l'abattre
comme un animal enragé.
De rage, son seul
dragon survivant,
plutôt que de
rôtir son assassin,
crame le SYMBOLISME.
Puis il s'envole
avec son cadavre.
Y a un procès...
dans lequel le prisonnier
est autorisé à désigner le nouveau Roi.
Spanish:
- "91.100."
Episodio 6: Anhelo la muerte.
Planos estilo "Triunfo de la Voluntad" por todos lados. Dany hace su aterrador discurso de fascismo
usando un aterrador idioma extranjero y ropa Nazi.
- "¡Ustedes me dieron los Siete Reinos!"
Los únicos personajes no-blancos que quedan en la serie son la gente que de verdad le gusta eso.
Tyrion anda como... "bueno, La Locura la ha dominado,
probablemente deberíamos ponerla a dormir como al Viejo Yeller."
- Es... algo terrible lo que pido.
También es lo correcto.
(L) Y Jon Snow, que no ha hecho nada toda la temporada excepto decir "ella es mi reina"...
- Ella...
.... es mi reina.
(L) Dice como... "... no..."
Pero luego va y la pone a dormir como al Viejo Yeller.
Su único dragón que sobrevivió, en un ataque de ira,
mata no a la persona responsable por su asesinato, sino al SIMBOLISMO,
... y luego se va volando con su cadáver. Hay un juicio en que al prisionero
Spanish:
se le permite nominar al nuevo rey, lo que al parecer nadie ha discutido en los
meses que pasaron entre medio.
- ¿Y quién tiene una mejor historia...
... que Bran el Quebrado?
Y sí... el tipo omnisciente termina en el trono, y tenemos nuestro final de John Hughes, donde
el Parricida y Matarreinas simplemente logra irse al Norte a Nievechella,
y todas estas personas cuya Diosa Reina fue asesinada por este tipo andan como:
"bueno, está bien... supongo que nos ponemos de acuerdo en no estar de acuerdo." Y la monarquía por derecho de nacimiento se acaba
ahora tenemos oligarquía aristocrática en su lugar, lo que por supuesto que es mejor...
Fin.
Así que el final fue...
fue malo...
Fue bastante malo, pero el final, para ser justos,
se preveía...
porque otras cosas eran malas
Así que no es original de mi parte sugerir
que Juego de Tronos tuvo un declive agudo en calidad después de la 4ta temporada.
Russian:
позволяют номинировать нового
короля, о чем никто речь не заводил за
эти месяцы, видимо.
["И чья история лучше, чем у Брана Сломленного?"]
И, да, всезнающий парень оказывается на троне, а нам достается концовка в стиле Джон Хьюза, где
убийца родни и королевы просто
сваливает в снеголяндию.
А все эти товарищи, чья Королева-Бог
была им убита, такие:
"Ну, ладно, позволим себе не согласиться".
И монархия по рождению окончена,
теперь у нас аристократическая олигархия.
Прогресс налицо.
Конец.
Итак, концовка была, эмм... плоха, очень
плоха. Но она была, по чести сказать,
оттеснена на второй план остальными
ужасными вещами. Я не оригинальна
во мнении, что сериал резко упал в качестве
после четвертого сезона. Некоторые
Italian:
che nessuno ha discusso nel corso dei mesi passati, a quanto pare
"E chi ha una storia migliore di Bran lo Spezzato?"
E sì, il
il ragazzo onnisciente finisce sul trono
e abbiamo il nostro finale alla John Hughes dove
lo Sterminatore di re e lo sterminatore di regine
arriva a nord a Snowchela e
e tutte queste persone la cui dea-regina
è stata assassinata dicono,
"bene ok immagino che saremo d'accordo
nel nostro disaccordo"
e la monarchia del diritto di nascita è finita
abbiamo un'oligarchia aristocratica ora
invece, che è totalmente migliore.
La fine.
quindi il finale era... era brutto, era
piuttosto brutto, ma ad essere corretti il finale è stato
prefigurato da altre cose che erano brutte.
quindi non è originale da parte mia suggerire
che Il trono di spade è peggiorato moltissimo
in qualità dopo la stagione 4. Alcuni lo hanno
English:
allowed to nominate the new king which
no one has discussed in the intervening
months apparently.
"And who has a better story than Bran the Broken?"
And yeah, the
the omniscient guy ends up on the throne
and we get our John Hughes ending where
the Kinslayer and the Queen Slayer just
gets to go up north to snowchela and
and all of these people whose God Queen
has been murdered by this guy are like
well okay I guess we'll agree to
disagree and birthright monarchy is over
we have aristocratic oligarchy now
instead, which is totally better.
The end.
so the ending was um was bad it was
quite bad but the ending was in fairness
foreshadowed by other things being bad
so it's not original of me to suggest
that Game of Thrones took a sharp dive
in quality after season 4 some have
French:
(Ce dont, apparemment,
personne n'a discuté)
(pendant les mois qui
séparent ces événements.)
« Et qui aurait une meilleure histoire...
que Bran le Rompu ? »
Et, ouais, le mec omniscient...
finit sur le trône.
Et on a une fin
façon John Hughes
où le FAMILICIDE et RÉGICIDE
s'en va dans les neiges
septentrionales avec ses potes.
Et tous ces gens dont
la Reine-Déesse a été tuée
par ce type se contentent de dire
« Bon, on va s'accorder sur un désaccord. »
Et la monarchie par droit
de naissance, c'est terminé !
Maintenant, c'est
oligarchie aristocratique.
Ce qui est carrément mieux !
Fin.
Donc la fin était, euh...
nulle.
C'était très nul, mais...
en toute honnêteté,
elle était annoncée
par d'autres trucs
qui étaient nuls.
C'est pas nouveau de ma part
de suggérer que la série
a cruellement chuté
en qualité après la saison 4.
Certains mettent ça sur le dos
de l'absence des derniers livres,
Spanish:
Algunos han culpado el que a la serie se le acabara el material fuente, otros han dicho que también es por
la falta de personajes nuevos interesantes, pues todos tus favoritos
se estaban muriendo rápido, que no estaban realmente haciendo en los libros.
Como sea, no estoy aquí por eso.
Entonces, ¿qué cambió realmente? Pues, como lo veo yo,
hubo dos cambios principales en componentes narrativos: uno, que los personajes-
tomemos por ejemplo a Tyrion, que están definidos por su inteligencia y
habilidad de leer las señales en lo que va de políticas de Westeros...
- Mi hermano tiene su espada, y yo tengo mi mente. Y una mente necesita libros como una espada necesita una piedra de afilar.
(L) ... de pronto tuvieron que tomar un puñado entero de píldoras de estupidez para que la historia llegara a donde necesitaba estar;
y... número 2:
mientras en las primeras temporadas la historia estaba altamente motivada por las tendencias sociales
de su mundo ficticio - ver el alza en extremismo religioso en la 5ta temporada -,
la serie optó por completo a ignorarlas en las siguientes temporadas porque era simplemente inconveniente para la historia.
La escritora e investigadora Zeynep Tufekci escribió
una entrada de blog para Scientific Aemerica, donde postuló que el cambio yacía
English:
blamed that on the show running out of
source material others have said as much
as the lack of interesting new
characters as all your faves were
rapidly dying off which they weren't
really in the books whatever I'm not
here for that
so what really changed well as I see it
there were two main storytelling
component shifts one that characters
let's take for instance Tyrion who are
defined by their intelligence and
ability to read the writing on the wall
as far as Westerosi politics go
"My brother has his sword, and I have my mind. And a mind needs books like a sword needs a whetstone."
suddenly he had to
take a whole bunch of stupid pills in
order for the plot to get where it
needed to be and number two where in
earlier seasons the plot was highly
motivated by the social trends of its
fictional world see the rise in
religious extremism in season 5 the show
completely opted to ignore them in later
seasons because it was simply
inconvenient to the plot.
Writer and researcher, Zeynep Tufekci, wrote a
blog entry for Scientific American, in
which she posited that the shift lying in
Italian:
imputato al fatto che la serie stava finendo il materiale da adattare, altri a cose come
la mancanza di nuovi personaggi interessanti, il fatto che tutti i personaggi preferiti
stavano morendo rapidamente, cosa che non accadeva nei libri, non importa, non sono
qui per quello.
Quindi, cosa è davvero cambiato? Per come la vedo io,
c'erano due principali cambiamenti nei componenti della narrazione, uno, che personaggi,
prendiamo ad esempio Tyrion, che sono
definiti dalla loro intelligenza e
capacità di leggere la scritta sul muro
per quanto riguarda la politica di Westerosi
"Mio fratello ha la sua spada e io ho la mia mente. E una mente ha bisogno di libri come una spada ha bisogno di una pietra per affilare."
improvvisamente ha dovuto prendere
un sacco di pillole della stupidità
perché la trama arrivasse dove voleva arrivare,
e numero due, mentre nelle
stagioni precedenti la trama era altamente
motivato dalle tendenze sociali
del suo mondo immaginario, come la crescita dell'estremismo religioso nella stagione 5, la serie
ha deciso di ignorarli completamente nelle stagioni seguenti perché era semplicemente
scomodo per la trama.
Scrittore e ricercatore, Zeynep Tufekci, ha scritto un
post di blog per Scientific American, in
in cui ha ipotizzato che il cambiamento si trovasse
French:
d'autres y voient un manque
de nouveaux persos intéressants
surtut avec les favoris qui
crèvent comme des mouches.
(Ce qui est pas vraiment le cas
dans les bouquins, mais bon.)
(Je suis pas là pour ça.)
Alors, qu'est-ce qui
a vraiment changé ?
De mon point de vue, il y a eu deux
tournants importants dans la narration.
Primo : le fait que des persos
(Tyrion, par exemple)
qui sont définis par leur intelligence
et leur capacité à déchiffrer
des signes avant-coureurs
dans le domaine
de la politique de Westeros...
« Mon frère a une épée,
et moi j'ai mon esprit.
et l'esprit a besoin de livres
comme l'épée d'une pierre à aiguiser. »
Se sont soudainement mis
à devenir hyper stupides
pour que les scénaristes
puissent avancer dans le sens voulu.
Et.
Deuxio :
Là où, dans les premières saisons,
l'histoire était largement mue
par les tendances sociales
de son univers fictif...
(Voir la montée de
l'extrémisme religieux en saison 5)
La série a décidé de les ignorer
dans les dernières saisons,
parce qu'elles étaient devenues
encombrantes pour les scénaristes.
L'auteure et chercheuse
Zeynep Tüfekçi
a rédigé un texte de blog
pour Scientific American ;
dans laquelle elle postulait que
ce tournant reposait sur le fait
Russian:
винили в этом отсутствие книжного
материала. Другие говорили
о недостатке новых интересных
персонажей взамен тех, что
умирали как мухи. (Хотя тех не было в
книгах, ну да ладно, я здесь
не за этим).
Так что изменилось? Ну, как я думаю,
сценарных причин было две.
Первая - персонажи,
(вроде Тириона), главными чертами
которых были интеллект и
способность держать руку на
пульсе политики Вестероса...
["У моего брата есть меч, у меня - ум. А уму
нужны книги, как мечу нужен точильный камень".]
...внезапно вынуждены принимать
ряд глупых решений,
чтобы сюжет двигался в нужном
направлении. И вторая -
если в ранних сезонах сюжет был
мотивирован социальными тенденциями
выдуманного мира (к примеру, возникновение
религиозного экстремизма в 5 сезоне), то позже
сериал предпочел проигнорировать
их, так как они попросту
мешали сюжету. Писатель и исследователь
Зейнел Туфекчи в своем
посте для "Научной Америки" предположила,
что причиной подобного перехода может быть то,
English:
the fact the first few seasons were
dominated by sociologically driven
storytelling ie characters responding to
a broad physical and social institution
and that the latter seasons were driven
by psychologically driven storytelling
as in driven by the characters
themselves and therefore we're more in
line with typical Hollywood storytelling
I half agree with this the show's plot
and point of view has always been
extremely character driven and always
extremely in line with Hollywood's
storytelling in that way the plot is
driven by a few powerful people trying
to figure out how best to manipulate the
society they lived in to their will.
"When you play the game of thrones, you win or you die."
But I will agree that earlier
seasons had the main characters making
decisions less based on personal whims
and more in response to social trends
We had war, politics, religion, and so on. But
really where things fall apart can be
traced to one underlying main problem
the showrunners had a destination in
mind and a set length of time to get
there meaning they had to bend the
character actions and world around the
Russian:
что первые сезоны были в основном
социологически мотивированы.
Т.е. персонажи сериала отвечали на
действия социальных и физических институтов.
А в последних сезонах мотивация
была психологической.
Т.е. сюжет двигали персонажи,
что характерно для
классических сценариев Голливуда.
Я согласна только отчасти. Сюжет сериала
и точка зрения всегда сильно
зависели от персонажей, что
очень схоже со многими Голливудскими
историями. Сюжет
движем несколькими могущественными
людьми, пытающимися изо всех сил подчинить
общество своей воле.
["Когда играешь в игру престолов, ты побеждаешь или умираешь"]
Но я согласна, что в первых
сезонах персонажи принимали
решения исходя не из личных капризов,
а больше из социальных тенденций.
Вроде войны, политики, религии и т.д.
Но если по правде, то первопричину краха
можно отыскать в следующем:
создатели сериала имели в голове
четкую цель и время, за которое к ней нужно
прийти. То есть, им пришлось
толкать персонажей и мир к этой цели,
Italian:
nel fatto che le prime stagioni erano
dominate da una narrazione sociologicamente
guidata, cioè personaggi che rispondono a
un'ampia istituzione fisica e sociale
e che le ultime stagioni erano guidate
da una narrazione psicologicamente guidata
cioè guidata dai personaggi
stessi e quindi siamo più in
linea con la narrazione tipica di Hollywood.
Io sono quasi d'accordo. La trama della serie
e il punto di vista è sempre stato
estremamente guidato dai personaggi e sempre
estremamente in linea con la narrazione di hollywood. La trama è
guidata da alcune persone potenti che tentano
di capire come manipolare al meglio la
società in cui vivevano secondo la loro volontà.
"Al gioco del trono o vinci o muori."
Ma è vero che nelle prime stagioni i personaggi prendevano
decisioni basandosi meno su capricci personali e più in risposta a tendenze sociali.
Avevamo guerra, politica, religione e così via. Ma
dove tutto inizia veramente a cadere a pezzi può essere ricondotto a un principale problema di base
i produttori avevano una destinazione in
mente e un determinato periodo di tempo per
raggiungerla, e quindi hanno piegato le azioni
e il mondo dei personaggi intorno alla
French:
que les premières saisons proposaient
surtout une narration mue par la sociologie.
(C'est-à-dire des persos
qui répondaient à de larges)
(institutions physiques
comme sociales.)
Et que les dernières saisons proposaient
une narration mue par la psychologie.
(C'est-à-dire mue par
les personnages eux-mêmes.)
Elles se conformaient donc davantage
à de la narration hollywoodienne typique.
Je suis qu'à moitié
d'accord avec ça.
Le scénar' et le point
de vue de la série
ont toujours été très
axés sur les personnages.
Et toujours très conformes à la narration
hollywoodienne à cet égard.
Le scénar' est guidé par
quelques personnes de pouvoir
qui tentent de comprendre
la meilleure façon de manipuler
la société dans laquelle
ils vivent, pour la contrôler.
« Quand on joue au jeu
des trônes, soit on gagne...
soit on meurt. »
Mais je suis d'accord pour dire
que, dans les premières saisons,
les persos principaux
prenaient des décisions
moins issues de
leurs propres lubies
que de réactions
aux tendances sociales.
La guerre, la politique,
la religion etc.
Mais on peut identifier un problème
sous-jacent qui explique la chute de qualité :
les showrunners avaient
une destination en tête,
et un temps donné
pour y parvenir.
Ils ont donc dû tordre
l'univers et les actions des persos
pour les faire correspondre
à cette destination.
Spanish:
en el hecho de que las primera temporadas eran dominadas por narrativa motivada sociológicamente,
es decir, personajes respondiendo a una institución física y social amplia,
y que las temporadas tardías eran motivadas por narrativa psicológicamente motivada,
o sea, motivada por los personajes mismos; y por tanto, estamos
más en línea con la narrativa típica de Hollywood. Yo estoy de acuerdo a medias con esto;
la historia y punto de vista de la serie siempre ha sido extremadamente impulsada por personajes, y siempre
extremadamente en línea con la narrativa de Hollywood en ese sentido. La historia
es impulsada por unas pocas personas poderosas que tratan de averiguar cuál es la mejor manera de manipular
la sociedad en la que vivieron a su voluntad.
- Cuando juegas el juego de tronos, ganas o mueres.
Pero sí estoy de acuerdo con que las primeras temporadas tenían a los personajes principales
tomando decisiones menos en base a antojos personales y más en respuesta a tendencias sociales.
Teníamos guerra, política, religión, entre otras cosas. Pero
donde realmente las cosas se caen puede ser vinculado a un problema principal subyacente:
los show runners tenían un destino en mente y una cantidad determinada de tiempo para llegar ahí,
lo que significa que tuvieron que torcer las acciones de los personajes y el mundo en torno al destino,
Spanish:
en lugar de permitir a los personajes en el mundo llegar al destino de manera orgánica.
- ¡MUERE, CARAJO!
(L) Pero el problema es que los personajes que escribieron... como que..
... desarrollaron una vida propia... Y los personajes en la serie no son los mismos
personajes que los de los libros. Algunos ven este desastre como
un problema de tener un final planeado, aunque yo personalmente pienso que siempre
tienes que tener más o menos una buena idea de a dónde vas en una serie. Es solo que
siempre que estés trabajando hacia un final, tienes que aceptar un poco que
puede que no llegues ahí en la manera que tú crees que lo harás, o en la cantidad de tiempo que crees que tomará.
¿Cierto, amigo?
- En serio, trata de escribirlo, 1500 páginas de largo.
Algunas personas ni siquiera pueden leerlas.
(L) Entonces, antes de que de verdad vayamos a donde llegamos,
primero hablemos de cómo llegamos aquí.
["FANTASIA PARA LA GENTE A LA QUE NO LE GUSTA LA FANTASÍA"]
Así que deténganme si han oído esto sobre Juego de Tronos: "es fantasía para la gente
a la que no le gusta la fantasía". Este fue un punto popular para promover la serie en la prensa
Italian:
destinazione, piuttosto che consentire ai
personaggi e al mondo di raggiungere la
destinazione in modo organico.
Ma il problema è che i personaggi che hanno scritto
hanno sviluppato una vita propria e
i personaggi della serie non sono gli stessi
personaggi dei libri. Alcuni interpretano
questo disastro come il
problema di avere un finale pianificato,
anche se personalmente penso che si abbia sempre
bisogno di avere una buona idea di
dove si sta andando in una serie, è solo
che ogni volta che lavori verso
un finale devi accettare che
potresti non arrivarci come avevi pensato o nel tempo che avevi pensato
di impiegare. Giusto, amico?
"Ci vuole tempo per scriverlo, è lungo 1.500 pagine
alcune persone non riescono nemmeno a leggerle
Quindi prima di arrivare davvero a dove siamo arrivati
parliamo prima di come ci siamo arrivati .
[fantasy per persone a cui non piace il fantasy]
Fermatemi se avete sentito dire questo su Il trono di spade, "è fantasy per persone
a chi non piace il fantasy" era
un punto di forza popolare nella pubblicità
English:
destination rather than allowing the
characters in the world to reach the
destination organically.
But the problem is the characters they wrote kind of
developed a life of their own and the
characters in the show are not the same
characters as the characters in the
books some see this clusterfuck as a
problem of having a planned ending
although I personally think you always
kind of need to have a good idea of
where you're going in a series it's just
that whenever you're working towards an
ending you kind of have to accept that
you might not get there the way that you
think you will or in how long you think
it will take. Right buddy?
seems take time to write it 1,500 pages long
some people can't even read them
So before we really get into where we got
first let's talk about how we got here
so stop me if you've heard this about
Game of Thrones it's fantasy for people
who don't like fantasy this was a
popular selling point in the press back
French:
Au lieu de permettre
aux personnages et à l'univers
d'atteindre naturellement
cette destination.
« Crève, putain ! »
Les problème est que
les personnages qu'ils ont écrit...
se sont plutôt...
développés une
vie à part entière.
Et les personnages de la série...
ne sont pas les mêmes
que ceux des livres.
Certains pensent que
ce merdier est lié
au fait d'avoir une fin
planifiée à l'avance.
Personnellement,
je pense qu'il faudrait toujours
avoir une bonne idée globale de l'endroit
où on veut emmener une série.
C'est juste que,
quand on élabore une fin,
il faut accepter qu'on va
pas forcément y arriver
de la façon dont on le croit.
Ou en prenant le temps
qu'on pense que ça va prendre.
Pas vrai mon pote ?
« Ça prend du temps à écrire,
ça fait 1 500 pages.
Y en a qui arrivent
même pas à les lire. »
Alors, avant de regarder
où on en est arrivés.
Parlons d'abord de
comment on y est arrivés.
« DE LA FANTASY POUR CEUX
QUI N'AIMENT PAS LA FANTASY »
Faites moi signe si vous avez déjà
entendu ça sur Game of Thrones :
« C'est de la fantasy pour
les gens qui n'aiment pas la fantasy. »
C'était une accroche
populaire dans la presse
Russian:
а не позволять им
самостоятельно приходить к ней.
["Сдохни уже!"]
Но проблема в том, что их герои
начали жить собственной жизнью.
И персонажи в сериале и книгах
друг на друга не похожи. Некоторые
считают, что эта херня произошла из-за
запланированного финала. Хотя
я лично считаю, что всегда
надо держать в голове примерное
направление своей истории. Просто
двигаясь к финалу нужно
мириться с тем фактом, что
никто точно не знает, как путь к нему
будет выглядеть. Или как долго
он займет. Верно, приятель?
[Одни тратят кучу времени на книги в 1500 страниц,
а другие еще даже читать не умеют.]
Итак, прежде чем говорить о том, где мы,
давайте вернемся к тому, как мы до этого дошли.
["ФЭНТЕЗИ ДЛЯ ТЕХ, КТО НЕ ЛЮБИТ ФЭНТЕЗИ"]
Остановите меня, если вы уже это слышали:
""Игра Престолов" это фэнтези для тех,
кто не любит фэнтези". Это был
излюбленный рекламный слоган прессы
Italian:
nelle prime stagioni della serie e
dato la diversa situazione del
tempo è facile capire perché. Il fantasy era di successo al cinema, ma non così tanto in televisione.
Quando debuttò Il trono di spade, la televisione di prestigio stile Soprano, che era anche
narrativa di genere era per lo più inesistente
e / o relegata in reti via cavo come
SyFy allora chiamato SCI FI channel. Era il genere di cosa che aveva un seguito di
appassionati su LiveJournal, non era il tipo di cosa che tuo cugino Brian che ancora
bazzica Penn State nonostante si sia
laureato un decennio fa avrebbe avuto
interesse a discutere in una riunione d famiglia.
Questa dicotomia è ovviamente
completamente assurda,
non c'è nulla di apprezzabilmente
non fantasy su Cronache del ghiaccio e del fuoco
che lo distingue dal resto del
genere, ma prova a dirlo a cugino Brian
nel 2010, ma solo i nerd apprezzano quel
tipo di sfumatura. Quindi affinché una serie fantasy si meriti il tempo e l'interesse
di fan non del genere su un canale ad abbonamento, non può essere solo
English:
in the show's first few seasons and
given the different landscape of the
time it's easy to see why. Fantasy did
well in film, television not so much.
When Game of Thrones debuted, prestige Soprano-style television that happened to also
be genre fiction was mostly non-existent
and/or relegated to cable networks like
SyFy then called the SCI FI channel. It
was a kind of thing that had a cult
following on LiveJournal not the kind of
thing your cousin Brian who still
tailgates at Penn State despite having
graduated a decade ago would have any
interest in discussing at the family
reunion this dichotomy is of course
complete nonsense
there isn't anything appreciably
non-fantasy about A Song of Ice and Fire
that sets it apart from the rest of the
genre but try telling cousin Brian that
in 2010 but only nerds appreciate that
kind of nuance so in order for a fantasy
show to be worth the time and interest
of non-genre fans on a premium
subscription channel, it can't just be
French:
pendant les premières saisons.
Vu le contexte différent à l'époque,
c'est facile de comprendre pourquoi.
La fantasy fonctionnait bien au ciné
et pas tellement à la télé.
Aux débuts de Game of Thrones,
des séries à la fois prestigieuses
à la façon des Soprano
tout en étant également des
« séries de genre »
étaient principalement...
inexistantes.
Et/ou reléguées sur des chaînes
du câble comme SYFY.
(Anciennement Sci-Fi Channel)
C'était le genre de
trucs qui avaient
leurs suiveurs
acharnés sur des blogs.
Pas le genre de trucs
dont va discuter le cousin Brian
(Qui squatte les apéros étudiants
alors qu'il est diplômé depuis 10 ans)
au beau milieu des
repas de famille.
Cette dichotomie est
bien sûr totalement inepte.
Y a rien de sensiblement
"non fantasy" dans Le Trône de Fer
qui distinguerait la saga
du reste du genre.
Mais allez expliquer
ça au cousin Brian en 2010.
Mais y a que les NERDS
qui sont sensibles à ces nuances.
« Éclair ! »
« Éclair ! »
Donc, pour qu'une
série de fantasy
attire l'attention et
la disponibilité
de gens qui sont pas
amateurs de genre.
(Et sur une chaîne payante)
Elle peut pas se contenter
de « fantasy standard » !
Spanish:
durante las primeras temporadas de la serie, y dado el panorama diferente de la época,
es fácil ver por qué. A la fantasía le iba bien en el cine. En televisión, no tanto.
Cuando Juego de Tronos debutó, la televisión de prestigio al estilo Los Sopranos que también resultaba
ser ficción de género era en su mayoría... inexistente y/o relegado a canales de cable
como SyFy, entonces llamado el canal de Sci Fi. Era algo del tipo que tenía una...
fanaticada de culto en LiveJournal, no del tipo que a tu primo Brian - que todavía
se sirve comida detrás de un auto en Penn State pese a haberse graduado hace una década - le interesaría
en absoluto discutir en la reunión familiar. Esta dicotomía es, por supuesto,
un completo sinsentido. No hay nada que apreciablemente
no sea fantasía en Una Canción de Hielo y Fuego que la distinga del resto del género.
Pero trata de decirle al primo Brian eso en 2010; pero solo los ñoños aprecian ese tipo de matices.
"¡Rayo! ¡Rayo!"
Así que para que una serie de fantasía valga el tiempo e interés
de no-fans de género en un canal de subscripción premium, no puede ser solo
Russian:
во время выхода первых сезонов.
И, оглядываясь назад, становится
понятно почему. Фэнтези преуспевали в
формате фильма, но не сериала.
На момент выхода "Игры Престолов" престижные
сериалы в стиле "Клана Сопрано" в этом
жанре либо отсутствовали, либо
выходили на кабельных каналах
вроде SyFy (ранее канал SCI FI). И эти
сериалы скорее имели мелкий фан-клуб
на LiveJournal. Нежели были предметом разговора на семейном ужине с вашим кузеном
Брайаном, который все еще тусуется с пивком и шашлыками у Пенн Стэйта, хоть и выпустился
оттуда 10 лет назад.
Эта дихотомия, конечно,
полная чушь.
В "Песни льда и пламени"
нет ничего особенно не-фэнтезийного,
что отличало бы ее от других представителей
жанра. Но попробуйте сказать об этом кузену Брайану в 2010 году. "Только нерды оценят такие мелочи!"
["Удар молнии! Удар молнии!"]
Чтобы фэнтезийный сериал
стоил времени и внимания
не-фанатов жанра на премиальном
кабельном канале он не может быть
English:
regular fantasy with its you know
wizards of great import and prophecies
and heroes what were destined No it had
to be hot fantasy that fucks the word of
mouth narrative around the show quickly
devolved into a message of see how Game
of Thrones subverts fantasy expectations
because we've never read a fantasy book
besides Lord of the Rings before see
this isn't your wide-eyed brotherhood of
man too much hugging and forehead
kissing fantasy for nerds this is
hardcore violent darkly cynical titty
besotted fantasy hot fantasy that fucks
"Thank gods for Bessy and her tits."
Game of Thrones also came about at the dawn of
what has become to be known as the
golden age of television we could go on
for a while as to the validity of this
label but for now let's just take for
granted that, yeah, sure this is the
golden age of television. Here we are
Spanish:
fantasía regular... con sus, ya saben, magos de gran importancia y profecías
y héroes, a qué fueron destinados... No, tenía que ser
Fantasía Ardiente que Folla.
La narrativa de boca en boca en torno a la serie rápidamente incumbió en un mensaje de: "¡Mira cómo
Juego de Tronos subvierte expectativas de la fantasía! ... Porque... nunca hemos leído un libro de fantasía antes aparte del Señor de los Anillos."
"Mira, esta no es tu fantasía de hermandad idealista de
hombres con demasiados abrazos y besos en la frente para ñoños;
esta es fantasía de violencia hardcore, oscuramente cínica, llena de tetas;
Fantasia Ardiente que Folla."
- Gracias a los dioses por Bessy... y sus tetas.
Juego de Tronos también apareció en el nacer
de lo que ha pasado a conocerse como... la Era Dorada de la Televisión.
Podríamos seguir hablando por... un tiempo de la validez de esta etiqueta, pero por ahora solo demos
por hecho que, sí, claro, esta es la Era Dorada de la Televisión. ¡Aquí estamos!
Esta es. Wiiiiiiiiiiiii
French:
Avec, vous savez,
ses magiciens de...
grande importance
et ses prophéties,
et ses héros
au grand Destin.
Naaaaan.
Fallait que ce soit...
DE LA FANTASY TORRIDE
QUI BAISE
Le bouche à oreille
autour de la série
s'est vite réduit
à un message disant :
« Regardez comme GoT
renverse les attentes de la fantasy. »
« Parce qu'on a jamais lu
un bouquin de fantasy à part le SdA ! »
« Voilà ! Pas de confrérie
d'hommes candides !
C'est pas de la fantasy
avec des câlins et des bisous !
Ça c'est bon
pour les nerds ! »
« Là on a de la
fantasy ultra-violente,
au cynisme sombre
et qui aime les nibards. »
DE LA FANTASY TORRIDE
QUI BAISE
« Je remercie
les Dieux pour Bessie...
et pour ses loches. »
GoT est aussi sorti à l'aube
de ce qu'on allait appeler aux États-Unis...
« l'âge d'or des séries. »
On pourrait discuter des heures
de la validité de cette appellation.
Mais pour le moment,
on va partir du principe que
ouais, bon, d'accord,
c'est l' « âge d'or des séries ».
Voilà !
On y est.
Ouiiiii.
Ça veut dire quoi ?
Russian:
просто обычным фэнтези. Со всеми всеми этими
волшебниками великой важности, пророчествами
и героями с судьбой. Нет, это должен быть
ГОРЯЧИЙ ФЭНТЕЗИ С ТРАХОМ.
Молва сформулировала следующий посыл:
"Смотри как "Игра Престолов"
опровергает фэнтезийные стереотипы". Потому
что кроме "Властелина колец" фэнтези
не написали, ага. "Вот видишь,
это не твое фэнтези про лупоглазое
братство мужиков, которые слишком много
обжимаются и целуют друг друга в лобик.
Это хардкорное жестокое темное циничное фэнтези с сиськами и бухлом.
ГОРЯЧИЙ ФЭНТЕЗИ С ТРАХОМ".
["Благословят боги Бесси и ее сиськи".]
"Игра Престолов" также вышел на заре
того, что сейчас называют "Золотым Веком
Телевидения". Можно долго рассуждать
о корректности этого термина,
но пока давайте примем его
за чистую монету. Ага, точно, у нас
золотой век телевидения. И мы в нем.
Italian:
un fantasy normale con i suoi
maghi di grande importanza e profezie
ed eroi che erano predestinati. No, doveva essere un fantasy figo che scopa. Il passa
parola sulla serie si è rapidamente trasformato in
"guarda come il trono
di spade sovverte le aspettative del fantasy,
perché non abbiamo mai letto un libro fantasy
oltre a Il Signore degli Anelli.
Questa non è il tuo innocente fantasy di
fratellanze di uomini che si abbracciano e si danno baci sulla fronte, per nerd, questo
è un fantasy hardcore, violento, dark, cinico, con le tette, arrapato, un fantasy figo che scopa
"Grazie agli dei per Bessy e le sue tette."
Il trono di spade è anche nato all'alba di
quello che è diventato noto come
l'età d'oro della televisione, potremmo continuare
per un po' sulla validità di questa
etichetta, ma per ora prendiamo per
garantito che, sì, certo questa è
l'epoca d'oro della televisione. Eccoci qui
English:
this is it.
Weeee.
What does that mean? Broadly, the
golden age of television is marked by a
period of serialized prestige drama that
debatably began with The Sopranos and
has now become an oversaturated market
with not only cable and premium channels
ie HBO and Showtime
but with streaming venues themselves
less encumbered with budgetary
constraints like Amazon and Netflix not
only piggybacking off of the success of
premium cable but sometimes outshining
it we've hit a period of over saturation
that is referred to by some as peak TV
and while that might lead to some truly
excellent polished high budget art that
we've genuinely never seen before
the push for networks is more to become
the next big thing so when you're
writing your series novel comic TV
whatever there are broadly two ways you
can go about it you know the ending or
you don't
Breaking Bad is widely considered to
have one of the best most coherent most
satisfying finales and all of prestige
television according to creator Vince
Italian:
è così.
Weeee.
Cosa significa? In generale,
l'età d'oro della televisione è contrassegnata da a
periodo di prestigiosi drammi serializzati
iniziato indiscutibilmente con I Soprano e
è ora diventato un mercato saturo
con non solo canali via cavo e premium
cioè HBO e Showtime
ma con i siti di streaming stessi
meno gravati da vincoli
di budget, come Amazon e Netflix, che esistono non
solo sulle spalle del successo di
tv via cavo premium ma che a volte li superano. Abbiamo raggiunto un periodo di over saturazione
che alcuni chiamano Peak TV
e mentre ciò potrebbe portare a
un'arte eccellente, rifinita e ad alto budget, che non abbiamo mai visto prima,
la spinta per le reti è piuttosto di diventare il nuovo successo, quindi quando si
scrive una serie, un romanzo, fumetto, non importa, ci sono sostanzialmente due modi
per affrontare la cosa: sai il finale o no.
[Il finale pianificato]
E' ampiamente ritenuto che Breaking Bad abbia uno dei finali migliori, più coerenti e
più soddisfacenti di tutta la televisione di prestigio. Secondo il creatore Vince
Russian:
И он здесь.
Уи-и-и-и.
Так что это значит? Ну, говоря
в общем, Золотой Век Телевидения это
период сериализованной престижной драмы,
который вроде бы начался с "Клана Сопрано". Теперь он превратился в рынок, перенасыщенный
не только кабельными и премиальными
каналами (вроде HBO и Showtime),
но и потоковыми мультимедиа с
меньшими ограничениями бюджета,
(вроде Amazon и Netflix) которые
не только пользуются успехом
премиумных каналов. А иногда и превосходят
его. Мы живем во времени перенасыщения,
которые некоторые называют "Пиком ТВ".
И хотя мы можем получить из этого
великолепный безупречный высокобюджетный
предмет искусства, который никогда раньше не видели,
от ТВ сейчас ждут очень многого.
Так что когда вы
пишете свой сериал, роман, комикс,
ТВ, да что угодно, для вас есть
два пути: вы знаете концовку
или не знаете.
[ЗАПЛАНИРОВАННЫЙ ФИНАЛ]
"Во все тяжкие" считают сериалом
с одной из лучших вменяемых
удовлетворительных концовок среди всех
престижных сериалов. По словам создателя
French:
En gros, cet âge
d'or est marqué
par une période d'accumulation
de séries dramatiques prestigieuses
qui a peut-être été lancée
par les Soprano (y a débat).
Et qui représente
maintenant un marché saturé,
avec des chaînes du câble
et les chaînes payantes,
(comme HBO ou ShowTime)
mais aussi avec des
plateformes de streaming
qui sont moins gênées
par des restrictions budgétaires,
comme Amazon ou Netflix.
Et elles se contentent pas
toujours suivre les chaînes payantes,
il arrive qu'elles
les surpassent.
On est dans une
période de saturation
que certains appellent
« PEAK TV » (ndT : Télé au sommet).
Et bien que ça puisse parfois donner
d'excellentes œuvres à gros budget,
bien soignées, et qui proposent
des choses véritablement inédites.
Ce que veulent les plateformes,
c'est surtout qu'une série devienne
« le prochain gros carton. »
Donc quand on écrit une série,
un roman, une BD etc.
Y a en gros deux
manières de s'y prendre :
soit on sait comment ça finit...
soit on sait pas.
LA FIN PLANIFIÉE
On considère largement
que Breaking Bad propose
l'une des meilleurs fins,
à la fois cohérente et satisfaisante,
parmi les séries de prestige.
Selon son créateur,
Vince Gilligan :
Spanish:
¿Qué significa eso? En términos amplios,
la Era Dorada está marcada por un período de dramas serializados de prestigio que
posiblemente comenzó con Los Sopranos y se ha convertido ahora en un mercado sobre-saturado
con no solo canales de cable y premium - como HBO y Showtime - ,
sino también con lugares de streaming, estos menos impedidos por límites
de presupuesto, como Amzaon y Netflix, no solo agarrándose del éxito
del cable premium, sino a veces superándolo. Hemos alcanzado un período de sobre-saturación
al que algunos se refieren como la cima de la TV, y si bien eso podría llevar a arte pulido
de alto presupuesto de verdad excelente que genuinamente nunca hemos visto antes,
la presión de los canales es más de convertirse en el siguiente gran fenómeno. Así que cuando
escribes tu serie/novela/cómic/TV/lo que sea, hay en términos amplios 2 maneras
de aproximarte a ello. Sabes el final... o no.
["EL FINAL PLANEADO"]
Breaking Bad se considera ampliamente que tiene uno de los mejores, más coherentes y más satisfactorios
finales en toda la televisión de prestigio. Según el creador Vince
Spanish:
Gilligan, "fue diseñada para ser de final cerrado y no tener si quiera la posibilidad
de continuar indefinidamente. Es de verdad obligatorio para nosotros llevarla
a una conclusión tan satisfactoria como sea posible, y la única manera en que podremos tener
la chance de hacerlo es saber exactamente cuándo vamos a terminar y también
que ese final no sea demasiado lejos en el futuro."
En el otro lado de la moneda, tienes
series como Dexter y Lost, donde los showrunners no tenían plan para un final, y
Lost es quizá el ejemplo más emblemático del problema de un concepto sin final en mente.
J.J. Abrams es famoso por su método de narrativa de caja de misterio,
que presentar a una audiencia con un misterio tentador, digamos, sobre
el parentesco misterioso de alguien...
- Para mi familia.
...Volverán.
(L)... es una gran manera de mantenerlos metidos, sepas o no
la solución a ese misterio. Pero los finales planeados también pueden crear problemas.
La escritora de Vox Emily VanDerWerff, escribió sobre el final de los finales planeados tras
Juego de Tronos. Ella apunta a Breaking Bad como un ejemplo de una serie
que encontró una manera de meter el hilo en la aguja de un final planeado con
la narración orgánica que viene de la televisión, y después de que Gilligan y compañía
French:
« Elle a été conçue
pour être fermée
et empêcher de
continuer indéfiniment...
Il est vraiment de notre devoir
d'apporter une conclusion
aussi satisfaisante que possible.
Elle la seule manière
de pouvoir y parvenir,
c'est de savoir exactement
quand on veut finir la série ;
et il faut aussi que la fin ne soit
pas trop éloignée dans le temps. »
À l'opposé, il y a des
séries comme Dexter ou Lost.
Où les showrunners n'avaient
aucun plan pour la fin.
Lost est peut-être
la plus représentative
du problème d'avoir un concept
sans plan final en tête.
J.J. Abrams est célèbre
pour son approche très
« boîte à mystères » de la narration.
Qui part du principe que présenter
au public mystère hypnotisant,
disons... au sujet des origines
mystérieuses de quelqu'un...
« Pour ma famille.
Ils vont revenir. »
est un excellent moyen
de les garder fidèles.
(Qu'Abrams en connaisse
le fin mot ou pas)
Mais les fins planifiées
peuvent aussi provoquer des soucis.
Sur Vox,
Emily VanDerWerff
a écrit au sujet des
risques des fins planifiées
après celle de
Game of Thrones.
Elle cite Breaking Bad
comme un exemple
de série ayant allié
une fin planifiée
avec une narration
naturelle propre aux séries.
Et après avoir
méticuleusement écrit la saison 2,
Russian:
Винса Гиллигана, "Он создавался с окончательным
финалом без каких-либо намерений
продолжать его до бесконечности. На нас
лежала обязанность привести сериал
к как можно более удовлетворительной
концовке. И мы могли это сделать
только если знали когда
именно он закончится,
и не отодвигали его слишком далеко".
С другой стороны, есть сериалы
вроде "Декстера" и "Остаться в живых", где
создатели сериалов понятия не имели, что происходит.
"Остаться в живых"наверное наиболее
наглядно продемонстрировал проблему отсутствия
запланированного финала. Дж.Дж. Абрамс
известен своими сюжетными "коробками с тайной",
дразнящими аудиторию некой
загадкой. Например,
тайной родителей персонажа...
["Мою семью.
Они вернутся".]
...которая увлекает зрителей вне зависимости от того, знает
ли кто-нибудь ответ на нее. Но запланированные
концовки также создают проблемы.
Эмили ВанДерВерфф писала в журнале Vox
об опасностях запланированных финалов
после выхода "Игры престолов". Она ставит
"Во все тяжкие" в пример как сериал,
который нашел баланс между запланированным
финалом и естественным
развитием сериала по ходу его выхода.
После того, как Гиллиган с компанией
English:
Gilligan it was designed to be closed
ended and not have even the possibility
of going on indefinitely it's really
incumbent upon us to bring it to as
satisfying a conclusion as possible and
the only way we'll have a chance at
doing that is to know exactly when it is
that we're going to end and also to have
that ending not be too far off in the
future on the other side of the coin you
have shows like Dexter and Lost, where
the showrunners had no end game plan, and
Lost is perhaps the most emblematic of
the problem of a concept with no end
game in mind JJ Abrams is infamous for
his mystery box approach to storytelling
that presenting an audience with a
tantalizing mystery let's say about
someone's mysterious parentage--
"For my family.
They'll be back."
--is a great way to keep them engaged, whether you know the
solution to that mystery or not but
planned finales can also create problems
Vox writer, Emily VanDerWerff, wrote about
the danger of planned finales in the
wake of Game of Thrones she points to
Breaking Bad as an example of a show
that found a way to thread the needle of
planned finale with the organic
storytelling that comes with television
and after Gilligan and company
Italian:
Gilligan è stato progettato per avere un finale chiuso e non avere nemmeno la possibilità
di andare avanti indefinitamente è davvero
nostro dovere portarlo a una
conclusione la più soddisfacente possibile e
l'unico modo in cui avremo la possibilità di
farlo è sapere esattamente quando arriverà la conclusione e anche il fatto che
quel finale non è troppo lontano nel
futuro. Dall'altra parte della medaglia si
hanno serie come Dexter e Lost, dove
i produttori non avevano un finale pianificato.
Lost è forse l'esempio più emblematico del problema di un concetto senza un finale
in mente. JJ Abrams è famoso per
il suo approccio misterioso alla narrazione
che presentando al pubblico un
allettante mistero, come
la misteriosa parentela di qualcuno ...
"Per la mia famiglia.
Torneranno ".
- è un ottimo modo per tenerlo interessato,
sia che tu conosca la
soluzione a quel mistero o no.
Ma i finali pianificati possono anche creare problemi.
La scrittrice di Vox, Emily VanDerWerff, ha scritto
del pericolo di finali pianificati nella
scia del Trono di Spade. Punta a
Breaking Bad come esempio di una serie
che ha trovato il modo di bilanciare un
finale pianificato con la narrazione
organica della televisione
e dopo che Gilligan e compagnia
Spanish:
planearan meticulosamente la 2da temporada, más o menos planearon el resto de la serie
en el camino. Según VanDerWerff, "Esta es
la paradoja de la TV. Pensarías que tener un final satisfactorio requeriría tener
un plan sólido como roca para llegar a ese final, pero el opuesto es a menudo
cierto, pues mientras más sepas sobre cómo una historia va a ir de manera macro,
más lo micro solo se convierte en una serie de puntos a checar en una lista."
Saber la meta hacia la que estás trabajando es grandioso, pero solo si dejas espacio para
el hecho de que los personajes y las relaciones pueden cambiar durante la vida
de la serie, incluso si sabes por completo a dónde va la serie. Así que con Juego
de Tronos, este fue un beneficio y una desventaja. Los showrunners sabían a dónde
iban, aún si los actores no sabían.
- "Los ojos de Jon también se abren, ya llenándose de
lágrimas. Por un momento ninguno se mueve, como si moverse hará esto real. Vemos a Jon
con sus manos todavía en la empuñadura de la daga que acaba de clavar en el corazón de Dany."
"La fuerza de ella la abandona y ella colapsa al mármol. Él la sostiene
en sus brazos y ella cae." "Y luego levanta su espada para atacar, pero algo
se le acerca a toda velocidad en la oscuridad-"
English:
meticulously plotted season 2 they more
or less plotted the rest of the show on
the fly.
According to VanDerWerff, "This is the
paradox of TV you'd think that having a
satisfying ending would require having a
rock-solid plan to get to that ending
but the opposite is often
true because the more you know about how
a story is going to play out in the
macro the more the micro just becomes a
series of items checked off a list."
knowing the goal you are working towards
is great but only if you leave room for
the fact that characters and the
relationships can change during the life
of the show even if you totally know
where the show is going so with Game of
Thrones that was a benefit and a
handicap the showrunners knew where they
were going, even if the actors didn't.
"Jon's eyes open as well, already filling with
tears for a moment neither movies as if
moving will make this real we see John
with his hands still on the hilt of the
dagger he just lodged in Dany's heart
her strength leaves her and she
collapses to the marble he keeps her in
his arms and she falls."
"And then raises his sword to strike, but something is
hurtling toward him out of the dark."
Italian:
hanno meticolosamente tracciato la seconda stagione
hanno più o meno pianificato il resto della serie
al volo.
Secondo VanDerWerff, "Questo è il
paradosso della tv. Si penserebbe che avere un
un finale soddisfacente richiederebbe di avere un
piano solido per arrivare a quel finale.
Ma il contrario è spesso
vero, perché più si sa come una storia si svilupperà nel
macro più il micro diventa una
serie di elementi spuntati da un elenco ".
Conoscere l'obiettivo a cui si sta lavorando
è fantastico ma solo se si lascia spazio al
fatto che i personaggi e
le relazioni possono cambiare durante la vita
dello spettacolo anche se si sa perfettamente
dove lo spettacolo sta andando. Così con Il trono di
spade questo fu un vantaggio e un
handicap. I produttori sapevano dove si stavano
dirigendo, anche se gli attori no.
"Anche gli occhi di Jon si aprano, già pieni di
lacrime, per un momento nessuno dei due si muove, come se muoversi lo renderà reale, vediamo Jon
con le mani ancora sull'elsa del
pugnale che ha appena conficcato nel cuore di Dany
le forza l'abbandonano e lei collassa sul marmo, lui la tiene tra
le sue braccia e lei cade ".
"E poi alza la spada per colpire, ma qualcosa si sta
precipitando verso di lui dal buio. "
Russian:
прописали 2 сезон до мелочей, они придумывали
сюжет остального сериала на лету.
По словам ВанДерВерфф,
"В этом состоит
парадокс ТВ. Казалось бы,
удовлетворительная концовка требует
продуманный надежный план как до нее
добраться, но чаще истинным оказывается
обратное. Потому что чем больше вы знаете
о том, чем все закончится в "общем",
тем больше "частное" превращается в
список, напротив которого надо поставить галочки".
Знать, к чему идет твое творение, здорово.
Но только если вы оставляете место
для персонажей и отношений,
меняющихся в течении жизни
сериала. Хотя вы и точно знаете,
чем все закончится. Так что у
"Игры Престолов" были плюс и минус.
Создатели сериала знали, куда все идет,
даже если актеры не знали.
["Глаза Джона тоже открыты,
они уже наполняются
слезами. Мгновение никто не двигается, будто это
сделает происходящее более реальным. Мы видим
руки Джона на рукояти кинжала,
воткнутого в сердце Дени".
"Силы покидают ее, и она опадает на мраморный
пол. Он подхватывает ее
и держит в своих руках".
"А затем он замахивает меч для удара, но что-то
несется к нему во тьме".
"...первая своего имени, Разрушительница Оков, мать драконов".
French:
Gilligan et cie ont plus
ou moins écrit le reste à la volée.
VanDerWerff écrit :
« C'est le paradoxe des séries.
On peut croire qu'il
faudrait un plan bien solide
pour arriver à une fin satisfaisante.
Mais c'est souvent l'inverse,
parce que plus on sait comment
sa série va se dérouler
dans les grandes largeurs,
plus ses petites histoires
se contentent de devenir
une suite de cases
à cocher dans une liste. »
C'est super de savoir vers
quel but on se dirige,
mais uniquement si on laisse
de la place aux personnages
et à leurs relations pour
changer pendant que la série vit ;
même si on sait
complètement où va la série.
Pour Game of Thrones,
c'était donc un avantage et un handicap.
Les showrunners
savaient où ils allaient.
(même si les acteurs, non)
« Les yeux de Jon son aussi ouverts,
déjà remplis de larmes,
pendant un instant, aucun ne bouge,
comme pour ne pas rendre cela réel,
on voit Jon, la main encore
sur la poignée de la dague
qu'il vient de loger
dans le cœur de Dany.
Ses forces la quittent
et elle s'écroule sur le marbre.
Il la garde dans ses bras,
puis elle tombe. »
«... puis il lève son
épée pour frapper,
mais quelque chose
arrive depuis l'obscurité. »
« ...Première du nom,
Briseuse de Chaînes
Spanish:
"Parada frente al Trono de Hierro,
Dany da un paso adelante-" "-y entierran sus cuchillos en él, él recibe más
daño de lo que Hodor recibió en la puerta, y luego Barret recibió el-"
Y en términos amplios,
no dudo que a donde D&D terminaron era a donde Martin tenía la intención de ir. No obstante,
ellos crean problemas grandes: tomando atajos, haciendo cambios de personajes y
cortando de lleno ciertos personajes e historias secundarias, han escrito una historia
diferente a la que escribió Martin. Sus personajes son distintos a
los que Martin estaba escribiendo, Cersei es distinta, Daenerys es distinta, Tyrion
es MUY distinto. Maldito seas, Peter Dinklage, por simplemente ser tan
carismático y guapo.
- ¡LE HABLAS A UN REY!
- Y ahora golpeé a un rey.
¡¿Acaso se cayó mi mano de mi muñeca?!
["Q. E. P. D. El personaje de Tyrion (2011-2016)"]
No podemos hacerlo el malo. ¿A quién le importa si estranguló a su amante un una ira
por celos o en auto-defensa, como es en la serie...?
S-supongo que con eso iremos.
French:
et Mère des Dragons. »
« Le sang et le feu
sont la nature de notre Reine. »
« Debout devant le Trône de Fer,
Dany s'avance et... »
«... le plantent de leurs couteaux.
Il subit plus encore
qu'Hodor à la porte,
plus que Béric
à Winterfell... »
Et, dans les grandes largeurs,
je doute pas que D&D
sont arrivés là
où Martin voulait aller.
Cependant !
Ils se créent de
gros problèmes car,
en prenant des raccourcis,
en changeant les personnages,
et en virant entièrement certaines
intrigues et personnages,
ils ont écrit une histoire
différente de celle de Martin.
Leurs personnages sont
différents de ceux écrits par Martin.
Cersei est différente.
Daenerys est différente.
Tyrion est trèèèès différent.
Foutu Peter Dinklage !
Il fallait que tu sois
si beau et charismatique !
« Tu parles à un Roi !
– Et maintenant j'ai
frappé un Roi !
Est-ce que ma main
s'est détachée de mon bras !? »
REPOSE EN PAIX
PERSONNAGE DE TYRION (2011-2016)
On peut pas en faire un méchant.
Tant pis s'il a étranglé
son amante dans un accès de jalousie.
Ou euh...
En... légitime défense...
Comme c'est le
cas dans la série.
En tout cas,
on est partis là-dessus.
English:
"Standing before the iron throne
Dany steps forward and they plunge their
knives into him he takes more punishment
than Hodor took at the door then Barret
took in the gray--"
And in broad strokes, I
don't doubt that where D&D ended up was
where Martin intended to go however they
create big problems in that taking
shortcuts making character changes and
cutting certain characters and subplots
altogether they've written a different
story to the one that Martin wrote their
characters are different characters than
the ones Martin was writing Cersei is
different Daenerys is different Tyrion
is way different. Damn you, Peter Dinklage
for just being so ding dang dong
charismatic and handsome
we can't make him the bad guy who cares
if he strangled his lover in a jealous
rage
or in self-defense as it is in the show
I guess that's what we're going with.
Russian:
"В духе королевы пламя и кровь".
"Стоя перед железным троном,
Дени делает шаг вперед..."
"...и они пронзают его ножами. Его терзают больше,
чем Ходора у двери. Затем Берик оглядывает..."
И говоря в общем,
я не сомневаюсь, что Д&Д пришли к тому,
что задумал Мартин. Но!
В процессе они сократили сюжет, меняя одних персонажей,
выбрасывая других, убирая целые
сюжетные линии. Они написали другую историю,
нежели ту, что придумал Мартин.
Их персонажи - не персонажи
Мартина. Серсея другая.
Дейенерис другая. Тирион
совсе-е-ем другой. Черт бы тебя побрал,
Питер Динклэйдж, это все твоя обалденная
красота и харизма.
["ТЫ ГОВОРИШЬ С КОРОЛЕМ!"
"А теперь я ударил Короля!
Что-то у меня рука не отвалилась!"]
[Покойся с миром, книжный Тирион (2011-2016)]
Мы не может сделать его плохишом! Кому какое
дело, что он убил любовницу в приступе
ревности...
Или в целях самозащиты, как в сериале.
То есть вы так это решили вывернуть.
Italian:
"In piedi davanti al trono di spade
Dany fa un passo avanti e loro affondano
coltelli in lui, lui sopporta più punizione
di Hodor alla porta, e di Barret
nel grigio ... "
E a grandi linee,
non dubito che dove D&D sono arrivati è dove Martini voleva andare, tuttavia
creano grossi problemi perché,
prendendo scorciatoie, modificando i personaggi e
tagliando determinati personaggi e trame secondarie,
complessivamente hanno scritto una storia
diversa da quella che Martin ha scritto.
I loro personaggi sono diversi da
quelli che Martin stava scrivendo, Cersei è
diversa, Daenerys è diversa, Tyrion
è molto diverso. Accidenti a te, Peter Dinklage
per essere così dannatamente
carismatico e bello
"Stai parlando a un re"
"E adesso ho colpito un re.
Mi è forse caduta la mano?"
non possiamo renderlo il cattivo, a chi importa
se ha strangolato la sua amante in un attacco
di gelosia o per autodifesa, com'è nello spettacolo
Immagino sia quello a cui stiamo mirando.
Italian:
"Mi dispiace."
Sì, vedete, il modo in cui questo arco si è sviluppato
era una bandiera rossa. Questa scena non ha senso dato il modo in cui sia Tyrion che Shae
si sono evoluti dalla loro caratterizzazione
nel libro.
"Io sono tua e tu sei mio."
pur continuando ad avere lo stesso finale del libro. Quindi i produttori avevano ricevuto una destinazione
ma quando la serie che hanno scritto e
i personaggi che hanno creato sono andati in
direzioni che non funzionavano con quella
destinazione predeterminata o almeno
dovremo prendere una strada molto diversa per arrivarci.. a chi importa
facciamolo comunque, quindi nessuna discussione
sulla televisione di prestigio è completa
senza parlare di I Soprano, e
questo rovinerà la fine dei Soprano, quindi
vi avverto.
"Sai, ho ancora persone che mi chiedono che diavolo era
ultimo episodio?"
I Soprano iniziano l'era del
dramma televisivo di prestigio sul serio
come Il trono di spade è stato enorme
tesoro della critica e successo commerciale
Spanish:
- Lo siento...
["Novio del año"]
["¡Se disculpó!"]
Sí, miren, la manera en que este arco salió
fue una señal. Esta escena no tiene sentido dado como tanto Tyrion como Shae
evolucionaron alejándose de su caracterización en el libro...
- Soy tuya, y tú eres mío.
(L)... pero igualmente tuvieron su final del libro. Así que a los guionistas se les dio un destino
pero cuando en la serie que escribieron los personajes que crearon como que fueron
en direcciones que no funcionaban con ese destino predeterminado o al menos
vamos a tener que tomar un camino muy distinto para llegar ahí...
Eh, a quién le importa, hagámoslo de todos modos. Así que ninguna discusión sobre TV de prestigio está completa
sin hablar de Los Sopranos, y esto va a dar spoilers de cómo termina Los Sopranos, así que...
advertencia con tiempo.
- Sabes, todavía recibo gente que me pregunta "¿qué diablos fue
ese último capítulo? O sea...
(L) Los Sopranos comenzaron la era del drama de TV de prestigio de lleno.
Como Juego de Tronos fue tremendamente adorada por la crítica y todo un éxito comercial,
French:
« Je suis désolé. »
PETIT-AMI DE L'ANNÉE
PETIT-AMI DE L'ANNÉE
IL S'EST EXCUSÉ !
'voyez, la façon dont cet arc
s'est joué était une alerte.
Cette scène n'a aucun sens,
vu comme Tyrion et Shae
se sont démarqués de
leurs personnages des livres.
« Je suis à toi.
Et tu es à moi. »
Mais on leur a quand même
donné leur fin du bouquin...
On a donc donné une
destination aux showrunners,
mais quand leur série
et les personnages qu'ils ont créés
ont commencé à prendre
une mauvaise direction
par rapport à cette
destination prévue...
ou qu'en tout cas,
il aurait fallu prendre une
toute autre direction pour y parvenir.
Et bin, c'est pas grave !
On va le faire quand même !
Bon, aucune discussion
sur les séries de prestige
ne peut avoir lieu sans
qu'on parle des Soprano.
Et ça va divulgâcher
la fin des Soprano,
donc attention.
« Il y a encore des gens
qui me demandent :
"mais qu'est-ce qui se passe
dans ce dernier épisode ?" »
Les Soprano ont lancé l'ère
des séries de prestige pour de bon.
Comme Game of Thrones,
c'était un énorme succès
critique et populaire
dès le départ.
Donc, comme Game of Trones,
Russian:
["Мне жаль"]
[Парень года.
Он извинился!]
Вот, видите, от этой арки должны были
зазвонить тревожные звоночки. Эта сцена
лишена смысла, так как Тирион и Шая
уже давно ушли от своих
прототипов в книгах...
["Я твоя и ты мой".]
Но они все равно получили книжную концовку.
У создателей сериала был конечный пункт.
Но когда написанный ими сериал и
персонажи ушли в другом направлении,
которое вело к другому финалу
(или по крайней мере
требовало иного пути к нему), они решили:
"Да пофиг! Оставляем как есть".
Ни одно обсуждение престижного
телевидения не может обойтись
без "Клана Сопрано". Впереди спойлеры
окончания "Клана Сопрано",
так что имейте в виду.
["Знаете, меня до сих пор спрашивают,
что, черт побери, произошло
в последнем эпизоде?"]
"Клан Сопрано" по-настоящему начал
эру престижных телевизионных драм.
Как и "Игра Престолов", он сразу стал крупным
коммерческим успехом и любимцем критиков.
English:
"I'm sorry."
Yeah see, the way this arc played
out was a red flag. This scene makes no
sense given how both Tyrion and Shae
evolved away from their characterization
in the book.
"I am yours and you are mine."
while still getting their book ending so
the showrunners were given a destination
but when the show they wrote in the
characters they created kind of went in
directions that did not work with that
predetermined destination or at least
we're going to have to take a very
different way to get there who cares
let's do it anyway so no discussion
about prestige television is complete
without a talk about The Sopranos, and
this will spoil how The Sopranos ends, so
fair warning.
"You know, I still have people asking me what the hell was that
last episode? Like..."
The Sopranos begin the era of prestige
television drama in earnest
like Game of Thrones it was a massive
critical darling and commercial success
Russian:
Как и с "Игрой Престолов", когда "Клан Сопрано"
заканчивался после 6 сезонов,
было много разговоров о том,
как это произойдет.
Будет ли Тони застрелен одним из своих
врагов? Или же он вырежет всех своих
противников и добьется Пирровой победы? К чему
приведут его отношения с доктором Мелфи?
Уйдет ли он из криминальной жизни?
Мы получаем ответы на некоторые
из этих вопросов. Доктор Мелфи отказывается
от него, когда понимает, что Тони безнадежный
случай, Тони не уходит из криминала.
Последняя сцена в сериале
происходит в кафе, где Тони
запланировал обыденный ужин
с семьей. Кармела появляется,
его дочь с трудом
паркуется. Но потом мы замечаем,
что некоторые посетители
подозрительно ведут себя и косятся на Тони.
Песня "Don't stop believing"
Journey играет все громче,
пока не кажется оглушающей.
Сцена полна диссонирующей
черно комедийной атмосферы,
которая все сгущается и потом...
экран темнеет. И вот так закончился "Клан Сопрано".
Italian:
immediatamente, così, come Il Trono di Spade,
quando i Soprano finirono dopo sei
stagioni ci furono un sacco di aspettative per come sarebbe finito.
Uno dei tanti nemici di Tony gli avrebbe sparato? Avrebbe massacrato tutti i suoi
nemici in qualche vittoria di Pirro? Come si
sarebbe sviluppato il suo rapporto con
dr. Melfi? Si allontanerà completamente dall vita criminale? Otteniamo risposte ad alcune
di queste domande. Dr. Melfi lo manda via quando si rende conto che Tony è una causa
persa e Tony non si allontana dalla vita criminale. La scena finale della serie
si svolge in una tavola calda dove Tony dovrebbe incontrare la propria famiglia per una
cena normale.
Carmela arriva, sua figlia ha un po' di
difficoltà nel parcheggiare. Ma poi notiamo
che molti degli altri clienti nella
tavola calda si comportano in un modo sospetto e guardano male Tony. Si alza il volume di
Don't stop believin dei Journey fino al punto che è quasi travolgente,
c'è questo davvero dissonante
tono comico e cupo, la tensione cresce
e cresce e poi ....
si interrompe, e questa è la fine di
French:
quand la série s'est
achevée après 6 saisons.
Il y avait beaucoup
d'anticipation sur sa fin.
Est-ce qu'un des ennemis
de Tony allait l'abattre ?
Tuerait-il tous ses ennemis
dans une victoire à la Pyrrhus ?
Comment sa relation avec
le Dr Melfi allait évoluer ?
Est-ce qu'il allait
abandonner le crime ?
On a eu des réponses à
certaines de ce questions :
Le Dr Melfi coupe les ponts
en se rendant compte
qu'il est une
cause perdue
et Tony n'abandonne
pas le crime.
La dernière scène de la
série se déroule dans un restaurant,
où Tony va retrouver sa
famille pour un dîner normal.
Carmella arrive.
Sa fille a du
mal à se garer...
On remarque ensuite que
certains autres clients du resto
se comportent de façon
un peu suspecte,
qu'ils regardent
Tony du coin de l'œil
La chanson Don't Stop Believing
de Journey
passe de plus
en plus fort,
au point que c'en
est presque écrasant.
Il y a un ton de comédie
noire très dissonant.
La scène fait monter et
monter la tension et puis...
Écran noir.
Et c'était la fin
des Soprano.
Et comme pour
Game of Thrones 12 ans après,
English:
out of the gate so like Game of Thrones
when The Sopranos ended after six
seasons there was a lot of buildup for
how it would end
Would one of Tony's many enemies gun
him down? Would he slaughter all of his
enemies in some Pyrrhic victory how
would his relationship with dr. Melfi
play out would he walk away from the
life altogether we get answers to some
of these questions. Dr. Melfi cuts him
off when she realizes Tony is a lost
cause and Tony does not walk away from
the life the final scene in the show
takes place at a diner where Tony is
scheduled to meet his family for a
regular dinner
Carmela shows up his daughter has some
difficulty parking. But then we notice
that several of the other patrons in the
diner are acting kind of suspicious and
giving Tony the side-eye. Journey's Don't
stop believin increases in volume to the
point that it's almost overwhelming
there's this really dissonant dark
comedic tone the scene is building and
building in tension and then....
it cuts to black, and that is the end of The
Spanish:
así que, como Juego de Tronos, cuando Los Sopranos terminó tras
6 temporadas, había mucha anticipación sobre cómo iba a terminar.
¿Mataría a Tony uno se sus muchos enemigos? ¿Mataría él a todos sus
enemigos en alguna victoria pírrica? ¿Cómo terminaría su relación
con Dr. Melfi? ¿Se alejaría de esa vida de lleno? Recibimos respuestas a algunas
de esas preguntas. Dr. Melfi corta lazos cuando se da cuenta de que Tony es
causa perdida y Tony no se aleja de esa vida. La escena final de la serie
tiene lugar en un restorán donde Tony agendó una reunión con su familia para
una cena ordinara. Carmela aparece, su hija tiene algo de
dificultad para estacionarse. Pero luego notamos que varios de los otros clientes en
el lugar están actuando medio sospechosamente y mirando a Tony de reojo. "Don't Stop Believing"
de Journer aumenta en volumen hasta el punto que es casi abrumador.
Está este tono oscuramente cómico muy disonante. La escena construye anticipación y
aumentando en tensión, y entonces...
Corta a negro, y ese es el final de
Spanish:
Los Sopranos, y como con Juego de Tronos 12 años después, la gente perdió la cabeza.
- Enojó a mucha gente.
El creador David Chase sabía cómo iba a terminar por un
tiempo, diciendo: "Nadie estaba tratando de ser audaz; con completa honestidad, hicimos lo que
pensamos que teníamos que hacer. Nadie estaba tratando de hacer explotar la mente de la gente o pensando 'Wow,
esto los va a enojar.' La gente tiene la impresión de que estás tratano de
joderlas y eso no es cierto."
En realidad me gustó mucho el final de Los Sopranos.
Creo que funciona tanto temática como dramáticamente. Tony podría haber muerto
en el momento que cortó a negro podría simplemente haber tenido una cena aburrida, pero mientras
siga en esa vida, siempre va a estar viviendo al filo del cuchillo.
- ¿Habría hecho algo distinto respecto al final de la serie? No lo creo.
(L) Pero Los Sopranos sentó el escenario para finales memorables y otra lección fue aprendida aquí,
la lección errónea, en mi opinión: un final memorable, incluso controversial,
es lo mismo que un final bueno.
French:
les gens sont
partis en vrille.
DAVID CHASE
CRÉATEUR DES SOPRANO
« J'ai énervé pas
mal de monde. »
Ça faisait un moment
que David Chase
savait comment
ça se terminerait, il a déclaré :
« Je vous jure que
personne n'a voulu faire dans l'audace.
On a fait ce qu'on
a cru devoir faire.
Personne n'essayait de
retourner la tête des gens,
ou ne se disait :
"ouah ! Ça, ça va les énerver."
Les gens ont l'impression
qu'on essaie de se foutre
de leur gueule mais c'est pas le cas. »
J'aime beaucoup
la fin des Soprano,
je trouve qu'elle marche autant
dramatiquement que thématiquement.
Tony pourrait être mort
au moment de l'écran noir,
ou il a peut-être juste
mangé un repas banal.
Mais tant qu'il vit
une vie de crime,
il va constamment vivre
sur le fil du rasoir.
« Est-ce que j'aurais fait
quelque chose différemment
avec la fin de la série ?
Je crois pas. »
Mais les Soprano on pavé
la route pour les fins mémorables.
Et une autre leçon
a été retenue ici,
la mauvaise selon moi :
une fin mémorable,
même si controversée...
équivaut à une bonne fin.
Italian:
I Soprano, e, come con Il Trono di Spade 12
anni dopo, le persone hanno perso a testa
"ha fatto arrabbiare molte persone"
Il creatore David
Chase sapeva come sarebbe finita da
un po' dicendo che nessuno stava cercando di essere
audace, giuro su Dio, abbiamo fatto ciò che noi
pensavamo di dover fare. nessuno stava provando a
far esplodere le menti delle persone o pensava "wow,
questo li farà incazzare". La gente pensa che stai provando a farli
incazzare e non è vero. "
In realtà mi è piaciuto molto il finale dei Soprano.
Penso che funzioni sia tematicamente che
drammaticamente. Tony potrebbe essere morto nel
momento in cui diventa nero o potrebbe semplicemente
aver avuto una cena noiosa, ma fino a quando
è bloccato in quella vita starà sempre
vivendo sulla lama di un coltello.
"Avrei fatto qualcosa di diverso con il finale della serie? Non credo."
Ma i Soprano prepararono il terreno per i finali memorabili ed era stata appresa un'altra lezione
quella sbagliata, secondo me, un
finale memorabile, persino controverso,
è uguale a un buon finale.
Russian:
И, как и с "Игрой Престолов" 12-ю
годами позже, люди слетели с катушек.
["Многие взбесились".]
Создатель Дэвид Чейз
давно знал, чем все
закончится. "Никто не пытался никого обмануть,
честное слово. Мы не представляли
себе иного конца. Никто не пытался
взорвать людям мозг, никто не думал,
"Вау, это точно всех взбесит". Люди думают,
что мы пытались их так на**ать,
но это не так".
Мне правда понравился финал "Клана Сопрано".
Мне кажется, что он удался в тематическом
и драматическом плане. Тони мог умереть
в момент, когда экран потемнел. А мог и
продолжить свой скучный ужин. Но до тех пор,
пока он преступник, он всегда
будет жить на лезвии ножа.
["Закончил ли бы я сериал как-нибудь иначе?
Не думаю."]
Но "Клан Сопрано" начал тренд запоминающихся
финалов, и из произошедшего был усвоен урок.
Неправильный, по моему мнению. А именно,
запоминающийся, хоть и противоречивый, финал
равняется хорошему финалу.
English:
Sopranos and as with Game of Thrones 12
years later people lost their shit
made a lot of people angry
creator David
Chase knew how it was going to end for a
while saying no one was trying to be
audacious honest to god we did what we
thought we had to do no one was trying
to blow people's minds or thinking wow
this will piss him off people get the
impression that you're trying to fuck
with them and it's not true."
I actually really liked the ending of The Sopranos.
I think it works both thematically and
dramatically. Tony might have died in the
moment it cut to black or he may just
have had a boring dinner but as long as
he's stuck in that life he'll always be
living on a knife's edge.
"Would I have done anything differently with the ending of the show? I don't think so."
But The Sopranos set the stage for memorable
endings and another lesson was learned
here the wrong one in my opinion a
memorable even controversial ending
is the same as a good one.
English:
Fan service also merits discussion here because fans in
recent years have had a much more active
role in shaping media typically the
longer a thing goes the more fan service
gets jammed in to keep people engaged
and not all fan service is bad one of
the positive changes from the books is
the fight between Brienne and the Hound
in season four
"You're the wrong one to watch over her."
"That's what you're doing? Watching over her?"
"Aye, that's what I'm doing."
in the book The
Hound goes down from blood poisoning
from a stupid wound he gets in a bar fight
but in the show you have two characters
you both care about fighting over Arya
to the death? Like, I want them both to wi--No! No, my children! I'm screaming.
So... Cleganebowl.
Spanish:
El fan service también vale la pena discutir aquí, porque los fans
en años recientes han tenido un rol mucho más activo en dar forma a las obras en medios; típicamente,
mientras más tiempo siga algo, más fanservice sele mete para mantener a la gente interesada.
Y no todo el fanservice es malo; uno de los cambios positivos de los libros es
la pelea entre Brienne y El Perro en la 4ta temporada.
- Eres la persona incorrecta para cuidar de ella.
- ¿Es eso lo que estás haciendo? ¿Cuidarla?
- Sí, eso es lo que estoy haciendo.
(L) En el libro, El Perro cae por envenenamiento sanguíneo
por una herida estúpida que recibe en una pelea de bar,
pero en la serie tienes a dos personajes que te importan, peleando por Arya,
¿a muerte? O sea, quiero que los dos gan- ¡No! ¡No, mis niños! ¡Estoy gritando!
Así que... Cleganebowl.
(8) "¿Quién dejó salir a los perros?"
French:
LE FAN SERVICE
Le fan service mérite
ici qu'on se penche sur lui.
Parce que ces dernières années,
les fans ont pris un rôle beaucoup
plus actif dans le façonnage des médias.
Typiquement : plus un truc dure,
plus on va y foutre du fan service
pour que les gens
y restent fidèles.
Et le fan service
c'est pas toujours mauvais...
L'un des changements positifs
par rapport aux bouquins,
c'est le combat entre
Brienne et le Limier dans la saison 4.
« Vous n'êtes pas la
bonne personne pour la protéger.
– Ah, et vous, c'est
ce que vous faites ?
Vous la protégez ?
– Ouais, c'est
ce que je fais. »
Dans les livres, le Limier
succombe à l'infection
d'une blessure débile
dans une rixe de bar.
Mais dans la série,
on a deux persos dont on se soucie,
qui se battent pour Arya.
Et à mort !
Mais moi je veux
que les deux...
Non ! Non !
Mes enfants !
Je hurle !
Dooonc...
le Cleganebowl...
« Je suis pas Chevalier. »
Russian:
[ФАНСЕРВИС]
Фансервис также стоит упоминания,
так как фанаты
в последние годы принимают гораздо
больше участия в медиа. Обычно,
чем дольше идет сериал, тем больше в него
впихивают фансервиса, чтобы поддерживать интерес.
И не весь фансервис плох. Из позитивных
отклонений от книг можно назвать
битву между Бриенной и Псом
в четвертом сезоне.
["Ты не годишься, чтобы за ней присматривать."
"А ты этим занимаешься? Присматриваешь за ней?"
"Именно".]
В книгах Пес сваливается
от отравления крови
из-за глупого ранения в потасовке в баре.
Но в сериале два наших любимых
персонажа дерутся за Арью
до смерти? И типа, я хочу, чтобы они оба выигр-
Нет! Нет, детки мои! Я в ужасе.
Итак, "Клиганбой".
["Я не рыцарь!"]
["А ты высокая".]
Italian:
Anche il fan service merita
una discussione qui perché i fan
negli ultimi anni hanno avuto un ruolo molto più attivo nel modellare i media. In genere
più a lungo dura qualcosa più fan service viene ficcato dentro per tenere interessate le persone
e non tutto il fan service è cattivo, uno
dei cambiamenti positivi dai libri è
la lotta tra Brienne e il mastino
nella quarta stagione
"Sei la persona sbagliata per proteggerla."
"È quello che stai facendo? La stai proteggendo?"
"Sì, è quello che sto facendo."
nel libro il mastino muore per avvelenamento del sangue
da una stupida ferita che si procura in una rissa da bar
ma nella serie ci sono due personaggi a cui siamo affezionati, che duellano alla morte
per Arya? Voglio che entrambi vinc- No! No, i miei bambini! Sto urlando.
Quindi ... Cleganebowl.
Spanish:
Como mucho, Cleganebowl es/era una teoría de fans
que combinaba conocimientos de tanto los libros como la serie con un montón de cultura online de memes y el deseo
ardiente de ver a este hombre gigante patearle el culo a este otro hombre gigante, y
una pelea de venganza tan épica que haría temblar las bases del mismo Westeros.
- Sabes quien va por ti. Siempre lo has sabido.
(L) Que aumente el hype.
Verán, El Perro se ve de la manera
en que se ve y le tiene miedo al fuego porque su hermano, La Montaña, puso su cara
al fuego cuando eran niños, y desde entonces él ha querido un poco de venganza
por eso y algunas otras cosas
Todo sobre esa venganza, simplemente de veras, de veritas odia
a esa Montaña. Lo odia.
- Mi hermano está vivo.
Lo odia. El Perro...
- Si nos encontramos con mi hermano, quizá los dos podamos tachar un nombre de una lista.
French:
« T'aimes bien parler. »
« Quand j'écoute les parleurs. »
« Ça me donne soif. »
Au mieux, le Cleganebowl
est, ou était, une théorie de fan
qui mélangeait l'univers
des livres et de la série,
beaucoup de culture
du mème Internet,
et le désir ardent de voir
ce géant botter le cul de cet autre géant ;
dans un combat
vengeur tellement épique
qu'il ferait trembler la
terre sur tout Westeros.
« Tu sais ce qui t'attend...
Tu l'as toujours su. »
On. Se. Hype.
'voyez, le Limier
a cette tête là,
et a peur de flammes parce
que son frère, la Montagne,
lui a foutu la tête dans
le feu quand ils étaient gamins.
Et depuis tout ce temps,
il veut se venger de ça, et d'autres choses.
Tout pour la vengeance.
Il hait vraiment vraiment
la Montagne qui monte,
il le déteste.
« Mon frère est en vie. »
Le Limier le déteste.
« Si on croise mon frère...
on rayera peut-être tous les
deux un nom de nos listes. »
English:
At best, Cleganebowl is/was a fan theory
that combined both book and TV lore a lot
of internet meme culture and the burning
desire to see this giant man kick the
ass of this other giant man and a
revenge fight so epic that it would rock
the foundations of Westeros itself.
"You know who's coming for you. You've always known."
Get hype.
See, the Hound looks the way he
does and is afraid of fire because his
brother the mountain shoved his face
into a fire when they were kids and ever
since then he's wanted him some revenge
for that and some other things all about
that revenge just really really hates
that mountain that rides. Hates him.
"My brother's alive."
Hates him, the Hound.
Russian:
["Хочу пить".]
В лучшем случае, "Клиганбой"
это бывшая фанатская теория,
соединившая в себе информацию из книг и сериала,
сдобренная культурой интернет-мемов. А также жгучим
желанием увидеть, как один огромный мужик
надирает жопу другому огромному мужику
в битве за месть настолько эпичной,
что весь Вестерос содрогнется.
["Ты знаешь, кто за тобой придет. Всегда знал".]
Хайп.
Видите ли, внешний вид Пса
и его страх перед огнем вызван его братом,
Горой, который засунул его лицом
в огонь в детстве. И с тех самых пор,
Пес хотел отомстить за это,
да и за многое другое. Все из-за мести.
Реально ненавидит эту
Гору, прям до нельзя.
["Мой брат жив".]
Прям ненавидит.
Italian:
Nella migliore delle ipotesi, Cleganebowl è / era una fan theory
che ha combinato sia la tradizione dei libri che della tv, la cultura dei meme e il desiderio
ardente di vedere questo uomo gigante fare il
culo di quest'altro uomo gigante e una
lotta di vendetta così epica da scuotere
le fondamenta di Westeros.
"Sai chi ti aspetta. Lo hai sempre saputo"
Eccitatevi
Il mastino ha questo aspetto
e ha paura del fuoco perché suo fratello, la montagna, gli ha messo la faccia
nel fuoco quando erano bambini e
da allora vuole vendicarsi
di questo e di qualche altra cosa. Tutto per la vendetta. Odia veramente
quella montagna che cavalca. Lo odia.
"Mio fratello è vivo"
Lo odia, il mastino.
Spanish:
(L)... quiere venganza.
Y bueno, sí, el meme en sí era muy divertido, y tuvimos hype y todo; como
un punto narrativo dramático es... um...
¿es putamente tonto?
1: No solo está La Montaña funcionalmente muerto ya, o sea Oberyn Martell lo mató, y lo que
tenemos ahora es básicamente solo un zombie sin mente que hace lo que sea
que diga Cersei. Pero 2: Los libros ponen bastante en claro que Sandor al fin
está en paz consigo mismo y su necesidad de venganza.
- Si los dioses son reales, ¿por qué no me han castigado?
- Lo han hecho.
La confusión entre venganza y justicia es un tema muy grande
en los libros, y llegaremos a eso después; su arco no era sobre conseguir venganza,
era sobre superarlo. En la serie...
- Todavía puedes ayudar mucho más
de lo que has dañado, Clegane. No es demasiado tarde para ti.
- Nunca es demasiado tarde para dejar
de robar, para dejar de matar. Empieza a ayudar. Nunca es demasiado tarde para volver.
"Una temporada después"
French:
Il veut se venger.
Et bon, ouais,
ce mème était très rigolo...
on s'était hypés et tout...
mais en tant qu'élément
d'intrigue dramatique c'est...
C'est vraiment con, putain.
Primo : non seulement la Montagne
est essentiellement mort à ce moment-là,
(Oberyn Martell l'a tué)
Et donc à la fin on a juste...
un zombie qui fait tout
ce que lui demande Cersei.
Mais, deuxio : il est assez
clair dans les livres que Sandor est...
enfin en paix
avec lui-même,
et avec son
désir de vengeance.
« Si les Dieux existent...
pourquoi ils m'ont pas puni ?
– Ils t'ont puni. »
La vengeance qu'on
confond avec la justice
est une grosse
thématique des livres.
Et on va y
revenir plus tard.
Son arc consistait pas
à exercer sa vengeance...
Il consistait à la
laisser derrière lui.
Dans la série... Je...
« Tu peux encore faire bien plus de
bien que tu n'as fait de mal, Clegane.
Il n'est pas trop
tard pour toi. »
« Il n'est jamais trop tard
pour arrêter de voler,
ni pour arrêter de tuer...
ni pour commencer à aider.
Il n'est jamais trop
tard pour en revenir. »
UNE SAISON PLUS TARD
« Tu sais ce qui t'attend...
Italian:
"Se incontriamo mio fratello, forse possiamo cancellare entrambi un nome dalla lista." Vuole vendetta
e, sì, il meme di per se era molto divertente e ci siamo eccitati, ma
come punto di svolta drammatico è... fottutamente stupido e non solo la
montagna è praticamente morto a questo punto, cioè Oberyn Martell lo ha ucciso e quello
che è rimasto è praticamente uno zombi senza cervello che fa tutto quello
Cersei dice. Ma, i libri hanno reso chiaro che
Sandor è finalmente in
pace con se stesso e il suo bisogno di vendetta. "Se gli dei sono reali, perché non mi
hanno punito?"
"Lo hanno fatto."
Scambiare la giustizia per vendetta è una cosa grossa
nei libri e ci torneremo, il suo arco non era vendicarsi
era superarla, nella serie, ...
"Puoi ancora aiutare molte più persone di
quelle che hai ferito, Clegane. Non è troppo tardi."
"Non è mai troppo tardi per smettere di rubare,
di uccidere, per iniziare ad aiutare le persone, non è mai troppo tardi per cambiare."
Una stagione dopo
English:
"We come across my brother, maybe we can both cross a name off a list."
Wants revenge
and well yeah the meme itself was a lot
of fun and we got hype and everything, as
a dramatic plot point it's um it's
really fucking dumb one not only is the
mountain functionally dead by this point
like Oberyn Martell killed him and what
we have now is basically just a
mindless zombie that does whatever
Cersei says. But two, the books make it
pretty clear that Sandor is finally at
peace with himself and his need for revenge.
"If the gods are real, why haven't they
punished me?"
"They have."
Revenge being mistaken for justice is a big thing in
the books and we will get to that later
his arc wasn't about getting revenge it
was about moving past that in the show, I...
"You can still help a lot more than
you've harmed, Clegane. It's not too late
for you."
"Never too late to stop robbing
people to stop killing people start
helping people never too late to come back."
One season later
Russian:
["Если наткнемся на моего брата, то оба сможем вычеркнуть имя из списка"]
Мести хочет.
Ну и мемы были забавные,
мы хайпнулись и все такое.
Но как драматический сюжетный ход это,
эм, тупизм полный. Первое - Гора
технически мертв к этому моменту.
Оберин Мартелл его чпокнул.
И теперь мы имеем безмозглого
зомби, который делает все,
что хочет Серсея. Во-вторых, в книгах ясно
говорится, что Сандор наконец-то
примирился с собой и своей жаждой мести.
["Если боги существуют, почему они не
наказали меня?"
"Они наказали".]
Месть, принятая за правосудие это важная тема
книг, и мы к ней позже вернемся.
Его сюжетная арка была не о мести,
а о том, как от жить без нее. А в сериале...
["Ты можешь помочь больше,
чем навредить, Клиган. Для тебя еще не поздно."
"Никогда не поздно перестать грабить или
убивать людей, а начать помогать им.
Никогда не поздно вернуться".]
ОДИН СЕЗОН СПУСТЯ
Italian:
"Sai chi ti sta aspettando. Lo hai sempre saputo"
Una stagione dopo
Chi ti sta costringendo a farlo? E' come uno zo--
è morto, è un guscio, è uno zombie, Cleganebowl avviene mentre Daenerys sta
commettendo dei crimini di guerra e Approdo del re sta bruciando, stanno lottano per niente
Il mastino è andato avanti da un pezzo, questa non è stata più la sua motivazione da un po',
Gregor è un guscio vuoto e il mondo sta finendo e tutti
stanno per morire comunque, quindi a chi importa. Il mastino non sta neanche lottando per Arya,
non sta protegendo nessuno
"Guardami. Guardami! Vuoi essere come me?"
Voi due avete cavalcato insieme per migliaia di miglia e solo adesso avete deciso di avere
questa conversazione?
"Vai a casa. Il fuoco la ucciderà o uno dei Dothraki."
Aghhhhhhhhhhhhhhhhhh!!!
E poi Arya ha ucciso tutta la casata di Lord Salvavita e ci ha fatto delle torte e
le ha servite al loro padre.
English:
"You know is coming for you. You've always known."
One season later
Who was forcing you to do this? He's like a zo--
he's dead he's a shell he's a zombie
Cleganebowl happens while Daenerys is
doing some war crimes and King's Landing
is burning they're fighting for nothing
the hound has long since moved on this
has not been his motivation for a while
Gregor is an empty zombie shell and the
world is ending outside and everyone
here is about to die anyway so who cares
The Hound isn't even fighting for Arya
he's not protecting anyone
"Look at me. Look at me! You want to be like me?"
You two rode a thousand miles on horseback
together and you only now decide to have
this conversation?
"Go home, girl. The fire'll get her or one of the Dothraki."
Aghhhhhhhhhhhhhhhhhh!!!
Also Arya murdered all of House Lord
Life Alert and baked them into pies and
fed them to their father.
French:
Tu l'as toujours su. »
UNE SAISON PLUS TARD
Mais qui t'oblige à faire ça ?
Il est com... Il est comme
un zomb... Il est mort !
Le Cleganebowl a lieu...
Pendant que Daenerys
commet quelques crimes de guerre
et que Port-Réal crame.
Ils se battent pour rien.
Le Limier est passé à autre
chose depuis longtemps,
ça fait un moment que
c'est plus sa motivation.
Gregor est une
coquille vide zombie
et c'est la fin
du monde dehors,
et comme tout le monde ici
va crever, on en a rien à battre.
Le Limier se bat
même pas pour Arya,
il ne protège personne.
« Regarde moi.
Regarde moi !
Tu veux finir comme moi ? »
Vous avez fait 2 000
bornes à cheval tous les deux,
et c'est que maintenant
que vous avez cette conversation ?
« Rentre chez toi, fillette.
les flammes l'emporteront,
ça ou un Dothraki. »
[Lindsay grogne et feule à la fois]
Et d'ailleurs, Arya a tué TOUTE
la Maison du Seigneur Monte-escalier
avant d'en faire des tourtes.
Et de les faire
manger au patriarche.
Spanish:
- Sabes quién viene por ti. Siempre lo has sabido.
"Una temporada después"
¿Quién te estaba forzando a hacer eso? Él es como un zo--
está muerto, es un cadáver, es un zombie. Cleganebowl ocurre mientras Daenerys está
haciendo algunos crímenes de guerra y King's Landing está en llamas. ¡Están peleando por nada!
El Perro ya lo ha superado hace mucho, esta no ha sido su motivación por un tiempo.
Gregor es un cuerpo de zombie vació y el mundo se está acabando afuera y todos
aquí están a punto de morir de todos modos, ¿así que a quién le importa?
El Perro ni siquiera está peleando por Arya. No está protegiendo a nadie.
- Mírame. ¡MÍRAME!
¿Quieres ser como yo?
(L) ¿Ustedes dos fueron a caballo por una mil millas juntos y solo ahora deciden tener
esta conversación?
- Ve a casa, chica. El fuego la matará a ella o uno de los Dothraki.
¡¡¡Aghhhhhhhhhhhhhhhhhh!!!
Además, Arya asesinó a toda la Casa Lord Alerta de Vida y los cocinó en una torta y
se los dio de comer a su padre.
Russian:
["Ты знаешь, кто за тобой придет. Всегда знал."]
ЕЩЕ ОДИН СЕЗОН СПУСТЯ
Зачем ты это делаешь? Он же как зом-
Он мертв, это пустышка, он зомби...
Идет "Клиганбой", а там за заднем плане
Дейенерис испепеляет людей, Королевская
гавань горит. Они сражаются впустую.
Пес уже давно оставил месть позади,
она не была его мотивацией долгое время.
Григор тупой зомби, снаружи
конец света, все и так
скоро умрут, так какого черта?
Пес даже не за Арью сражается,
никого не защищает.
["Посмотри на меня. Посмотри на меня! Хочешь быть как я?"]
Вы вместе проскакали тысячу милей
и только сейчас решили
поговорить?
["Иди домой, девочка. Ее достанет огонь или дотракийцы".]
К тому же, Арья убила весь дом Лорда
Мед Сигнализация, спекла из них пироги
и скормила их ему.
English:
I'm pretty sure
her revenge quest is shot the moon in
comparison to yours, sir.
"I'm no sir."
So Cleganebowl had no reason to exist
other than the concept becoming mimetic
on a god tier level
"Yeah. That's you."
"That's what you've always been."
fanservice also comes with the
double-edged sword of in this case the
show's self-imposed burden of needing to
be smarter than the fans which becomes
harder and harder in a world with
massive subreddits dedicated to
theorizing about the thing in incredible
detail so somewhere along the lines,
subverting expectation stopped being a
thing one did because it benefited the
story and more a thing one did because,
well...
"We hoped to kind of avoid the
expected."
"She seemed like the best candidate provided we weren't thinking
about her in that moment."
this isn't necessarily unique to Game of Thrones
Russian:
Уверена, в достижении
мести она больший дока,
чем вы, сир.
["Я не сир".]
Так что, "Клиганбой" существует лишь потому,
что сама идея стала мемом
Божественного масштаба.
["Да, это ты".
"Ты всегда таким был".]
["Сдохни уже!"]
Фансервис также может стать
обоюдоострым мечом, как в случае
с добровольно возложенным на себя
обязательством быть умнее фанатом. А это все
сложнее и сложнее делать в мире
с крупными форумами, посвященными
подробнейшему разбору теорий.
И где-то по пути
"опровержение ожиданий" перестали
использовать во благо истории,
а стали использовать ради, ну...
["Мы как бы хотели избежать
очевидного".
"Она казалась наилучшим кандидатом, учитывая, что мы о ней
не думали в тот момент".]
Это касается не только "Игры Престолов".
Spanish:
estoy bastante segura de que su búsqueda de venganza es un disparo en la luna
en comparación con la de usted... Sir.
- No soy un Sir.
(L) Así que Cleganebowl no tenía razón para existir
aparte de que... el concepto se volvió un meme a un nivel dios.
- Sí. Ese eres tú.
Es lo que siempre has sido.
(8) "¿Cómo me ves ahoraaaa?" (8)
"¡MUERE, CARAJO!"
El fanservice también viene con la espada de doble filo de, en este caso, la
carga auto-impuesta de la serie de necesitar ser más astuta que los fans, lo que se vuelve
más y más difícil en un mundo con subreddits masivos dedicados a
hacer teorías sobre esa cosa a un nivel de detalle increíble, así que en algún momento,
subvertir expectativas dejó de ser algo que uno hacía porque beneficiaba
a la historia y más algo que uno hacía porque, bueno...
- Esperábamos medio evitar lo esperado.
- Ella parecía la mejor candidata, dado que no estábamos pensando
en ella en ese momento.
(L) Esto no es necesariamente único para Juego de Tronos;
Italian:
Sono abbastanza sicura che la sua missione di vendetta è "mira alla luna" in
confronto alla tua, signore.
"Non sono signore."
Quindi Cleganebowl non aveva ragione di esistere
oltre il fatto che il concetto era
diventato un meme di livello god tier
"Sì. Sei tu."
"Sei come sei sempre stato."
Il fan service si presenta anche con la lama a doppio taglio del
peso auto inflitto di aver bisogno di essere più intelligenti dei fan, che diventa
sempre più difficile in un mondo con giganteschi subreddit dedicati a
teorizzare sulla cosa in incredibili dettagli.
Quindi a un certo punto,
sovvertire le aspettative ha smesso di essere qualcosa che si fa a beneficio
della storia e più qualcosa che si fa perché...
"Speravamo di evitare ciò che ci si
aspettava. Lei sembrava la migliore candidata considerato che non stavamo pensando
a lei in quel momento."
Questo non è necessariamente unico a il trono di spade
French:
Je suis plutôt sûre
que sa quête de vengeance
a quand même déjà
bien dépassé la vôtre. Ser.
« 'M'appelez pas Ser. »
Cleganebowl n'avait donc
aucune raison d'être
en dehors du fait que le concept
soit devenu un mème de proportions divines.
« Ouais...
Ça te ressemble bien.
C'est ce que
t'as toujours été. »
« Crève, putain ! »
Le fanservice est
aussi à double tranchant.
Comme ici le fardeau
que s'auto-impose la série
de vouloir être plus
maligne que les fans.
Ce qui devient de plus
en plus dur dans un monde...
Avec des subreddits de partout
dédiées au theorycrafting
dans ses moindres détails.
Donc, quelque part
sur la route...
On n'a plus « renversé les attentes »
pour bénéficier à l'histoire,
mais on a plutôt commencé
à le faire parce que... ben...
Benioff : « On espérait
arriver à être imprévisibles. »
Weiss : « C'était la meilleure
candidate étant donné que...
même nous on n'y pensait
pas pour ça à ce moment-là. »
Ça n'est pas propre
à Game of Thrones :
English:
Westworld creator and showrunner
Jonathan Nolan admitted that an episode
from season two had to be rewritten
after reddit fans guessed a major
upcoming twist reddit has already
figured out the third episode twist said
Nolan so we're changing that right now
it's annoying sometimes when people
guess the twists and then blog about it
you can't complain when people are that
engaged," he added. "It's very gratifying,
but stop doing it please."
I can't help but think that fans should be allowed to,
like, gather in groups online and
theorize and have fun without networks
like watching in and going oh no they
figured us out we better go change the
show because we only exist to outsmart
reddit like you don't have to be
unexpected for the sake of being
unexpected. But when your show is kind of
known for that...
"We hope to kind of avoid
the expected."
"These people have guessed the secret that I'm gonna reveal in book
Italian:
il creatore e produttore di Westworld, Jonathan Nolan, ha ammesso che un episodio
della seconda stagione è stato riscritto dopo che dei fan su reddit avevano indovinato
un colpo di scena. "Reddit ha già capito il colpo di scena del terzo episodio" ha detto
Nolan "quindi adesso lo stiamo cambiando. A volte è fastidioso quando le persone
indovinano i colpi di scena e poi li postano... Non ci si può lamentare quando le persone sono così
Interessate" ha aggiunto. "E' molto incoraggiante, ma smettete di farlo, per favore."
Non posso fare a meno di pensare che i fan dovrebbero essere in grado di riunirsi online e
teorizzare e divertirsi senza che i network li controllino e dicano "Oh no,
ci hanno scoperto, dobbiamo andare a cambiare la serie perché esistiamo solo per essere più intelligenti
di reddit". Non bisogno essere
inaspettati solo in nome di essere
inaspettati. Ma se la tua serie è conosciuta per questo... "Speravamo di evitare ciò che ci si
aspettava."
"Queste persone hanno indovinato il segreto che rivelerò
French:
Jonathan Nolan, créateur
et showrunner de Westworld,
a admis devoir réécrire
un épisode de la saison 2
après que des fans sur Reddit
aient deviné un gros twist à venir.
« Reddit a déjà compris
le twist de l'épisode 3, a dit Nolan,
donc on change
ça tout de suite.
C'est ennuyeux des
fois quand les gens
devinent les twists
et postent à ce sujet.
Il ajoute : on peut pas se plaindre
que les gens soient aussi investis,
C'est très gratifiant.
Mais s'il vous plaît arrêtez de faire ça. »
Je peux pas
m'empêcher de penser que...
que les fans devraient
pouvoir se réunir en ligne,
pouvoir échafauder des
théories et s'amuser
sans que les chaînes
ne les surveillent ;
pour finir par se dire :
« oh noooon. Ils ont compris.
On f'rait mieux d'aller
modifier la série parce que...
notre seule raison d'être
c'est d'être plus malins que Reddit. »
C'est pas la peine d'être imprévisibles
juste pour le principe d'être imprévisibles.
Mais quand ta série
est plutôt connue pour ça...
Benioff : « On espérait
arriver à être imprévisibles. »
« Ces gens ont deviné le secret
que je vais révéler dans le livre 6.
Les gens ont deviné ça alors
que le livre 2 venait juste de sortir.
Spanish:
el creador y showrunner de Westworld Jonathan Nolan admitió que un episodio
de la 2da temporada tuvo que ser reescrito después de que fans de Reddit adivinaran un
gran giro que venía. "'Reddit ya ha adivinado el giro del tercer episodio', dijo Nolan,
'así que lo cambiaremos ahora mismo. Es irritante a veces cuando la gente
adivina los giros y después escribe en internet sobre eso... No te puedes quejar cuando la gente está así
de interesada,' añadió. 'Es muy gratificante, pero por favor dejen de hacerlo.'"
No puedo evitar pensar que a los fans se les debería permitir reunirse en grupos online y
hacer teorías y divertirse sin que los canales estén, como, observando y poniéndose como "oh, no, nos
descubrieron, mejor cambiemos la serie porque solo existimos para ser más listos
que Reddit", o sea, no tienes que ser inesperado solo por ser
inesperado. Pero cuando tu serie es medio conocida por eso...
- Esperamos medio evitar lo esperado.
- Estas personas han adivinado el secreto que voy a revelar en
Russian:
Создатель сериала "Мир дикого запада"
Джонатан Нолан признал, что ему пришлось
переписать эпизод из второго сезона,
потому что фанаты на reddit отгадали важный
сюжетный поворот.
"Reddit уже отгадал сюжетный поворот 3 эпизода",
сказал Нолан, "Так что мы его сейчас
переписываем. Иногда бесит, когда люди
догадываются о подобном, а потом постят
в интернете... И ведь не пожалуешься на такой
уровень вовлеченности". Он добавил:
"Это отрадно видеть - но пожалуйста, хватит".
Мне почему-то кажется, что фанаты должны
иметь возможность, типа, собираться в онлайн-группки
и теоретизировать забавы ради. Без
телевидения за спиной с их "О, нет,
они нас раскусили, надо менять сериал.
Потому что мы живем, чтобы обхитрить Reddit".
Необязательно устраивать
неожиданное ради него самого.
Но когда ваш сериал этим известен...
["Мы как бы хотели избежать
очевидного".
"Эти люди уже разгадали секрет, который я собирался раскрыть в
English:
6. People have already guessed that here,
and book 2 is just out. You really have two
choices there you can ignore it and
proceed with your plan despite the fact
that some people know where you're going,
or you can get all panicky and say, oh my
god they figured it out I can't let that
be I'll have to change it I'll have to
go in a different direction. And I think
some writers do that, and I think that's
always a mistake."
"Yeah."
"You know, if you've planned your book that the butler did it
and then you read on the Internet someone
has figured out that the butler did it,
and you suddenly change in midstream and
it was the chambermaid who did it then
you screw up the whole book."
So, I'm not saying that
Benioff and DB Weiss were writing the
show with the intention of both
indulging in fanservice while also
avoiding correct fan theories I'm just
saying this culture inevitably
influences and infiltrates the writing
of a show that was already handicapping
itself by limiting its runtime for
no reason except that you're really over
the show that made you famous and you
Spanish:
el libro 6. La gente ya ha adivinado eso aquí, y el libro 2 acaba de salir. En realidad tienes
2 opciones ahí: puedes ignorarlo y proceder con tu plan, pese al hecho
de que algunas personas sepan a dónde vas; o puedes entrar en pánico y decir, "oh, Dios mío,
lo adivinaron, no puedo dejar que eso sea, tendré que cambiarlo, tendré que ir
en una dirección distinta. Y creo que algunos escritores lo hacen, y yo creo que eso
siempre es un error.
- Sí
- Sabes, si has planeado en tu libro que el mayordomo lo hizo,
y luego lees en internet que alguien ha adivinado que lo hizo el mayordomo,
y de pronto cambias en medio de río y fue la ama de llaves quien lo hizo,
entonces arruinas el libro entero.
Así que no estoy diciendo que Benioff y DB Weiss escribían la serie con la intención de tanto
complacer con fanservice como también evitar teorías de fans correctas; solo
digo que esta cultura inevitablemente influencia y se infiltra en el guión
de una serie que ya se estaba poniendo impedimentos al limitar su duración
sin razón alguna, excepto que... de verdad estás harto de la serie que te hizo famoso y
tienes una Star War que necesitas ir a arruin- es decir, hacer.
French:
Y a que deux choix
dans ces cas-là :
soit on l'ignore et
on suit le plan initial,
malgré le fait que
certains savent où on va.
Soit on peu se mettre à paniquer,
à se dire : "mon Dieu, ils ont compris !
Je peux pas laisser faire ça,
il faut que je change de direction."
Et je pense que certains
auteurs font comme ça.
Et je pense que c'est
toujours une erreur.
Si vous avez prévu votre livre
autour du fait que le coupable soit le majordome...
que vous voyez que
quelqu'un sur Internet l'a déjà compris,
et que vous changez au beau milieu
pour que ce soit la bonne qui soit coupable,
alors... vous foutez
tout le livre en l'air. »
Je dis pas que
Daniel Benioff et D.B.Weiss
aient écrit la série avec
l'intention de contenter le fanservice
tout en évitant de
donner raison aux théories de fans.
Je dis juste que,
inévitablement,
cette culture influence et
infiltre l'écriture d'une série,
qui s'handicapait déjà d'elle-même
en limitant sa durée...
sans raison...
en dehors de...
« Vous voulez en finir avec la
série qui vous a rendus célèbres.
Et vous avez un Star Wars
à aller flingu... J'veux dire : filmer. »
Italian:
nel sesto libro. Lo hanno già indovinato, ed è appena uscito il secondo libro. Ci sono solo due
scelte: lo puoi ignorare e continuare
con il tuo piano anche se
alcune persone sanno dove stai andando, o puoi andare nel panico e dire, oh mio
dio, lo hanno indovinato, non posso
lasciarlo così, devo cambiarlo, dovrò
andare in un'altra direzione. E penso che alcuni scrittori facciano così, e penso che sia
sempre un errore."
"Si."
"Se hai deciso nel tuo libro che è stato il maggiordomo
e poi leggi online che qualcuno ha capito che è stato il maggiordomo,
e improvvisamente cambi a
metà strada ed è stata la cameriera, allora
rovini tutto il libro."
Non sto dicendo che
Benioff e DB Weiss stavano
scrivendo la serie con l'intenzione di
assecondare il fan service mentre contemporaneamente evitare le teorie dei fan, sto solo
dicendo che questa cultura inevitabilmente influenza e infiltra la scrittura
di una serie che si stava già ostacolando
avendo limitato la propria durata
senza ragione, a parte il fatto che vi siete stufati della serie che vi ha reso famosi e
Russian:
шестой книге. Они уже догадались, а сейчас
выходит вторая книга. В таком случае есть два
пути: либо игнорировать их и
продолжить сюжет, даже если кто-то
уже знает, к чему все идет. Или можно
запаниковать и сказать "О, боже мой,
они все узнали, я не могу этого допустить!
Надо все изменить, поменять
направление истории!" Мне кажется, некоторые
писатели так и делают, и это я считаю ошибкой".
"Ага."
"Вот положим, вы задумали, что убийца - дворецкий.
А потом вы узнаете, что
кто-то в Интернете об этом догадался.
Вы резко меняете сюжет на полпути
и делаете убийцей горничную, и
тогда вся книга летит к чертям".]
Я не говорю, что
Бениофф и Д.Б. Уайсс писали
сценарий с намерением не только
предоставить фансервис, но и избежать
правильных фанатских теорий. Я просто
говорю, что фанкультура рано или
поздно влияет и проникает в сценарий
сериала. А его и так ограничили
в длине лишь потому,
что создателей уже достал сериал,
принесший им известность. А ведь надо еще
Italian:
e dovete andare a rovinare - cioè, fare - Star Wars
"Perché sta finendo?"
"Non lo so.
Chiedi a Dave e Dan quando passano. Avremmo potuto fare undici, dodici,
tredici stagioni, ma immagino che loro volessero una vita." Il giornalista che
a riportato quella frase di Benioff ha diplomaticamente descritto la sua reazione
come frustrata. In retrospettiva è un eufemismo considerato che
ogni coerenza tematica è caduta a pezzi dopo che Martin ha smesso di essere
attivamente coinvolto nella produzione, dopo, chi l'avrebbe detto, la quarta stagione, quante
possibilità c'erano. Ma, per me, tradisce una certa mancanza di curiosità da parte di
Benioff e Weiss e mi porta a chiedermi perché stanno dedicando le proprie vite
alla narrazione di storie se sono così disinteressati nei temi, specialmente considerando
che hanno adattato un libro che ne era pieno.
"Che cosa unisce le persone?
Eserciti? Oro?
French:
« Pourquoi ça se termine ?
– Ah, je sais pas, demandez
à David et Dan quand ils passeront. »
« On aurait pu faire...
11, 12 ou 13 saisons...
Mais, ils... Je dirais qu'il
voulaient retrouver une vie. »
Le journaliste qui a rapporté
cette citation de Benioff* (*voir début de vidéo)
a décrit avec diplomatie
sa réaction en l'entendant comme...
« de la frustration »
Avec le recul,
c'est un peu un euphémisme,
vu que toute la cohérence
thématique dans la série
s'est écroulée dès que Martin
a cessé de s'y impliquer après...
vous devinerez jamais :
la saison 4 !
Quel hasard !
Pour moi, ça trahit
un certain manque
de curiosité de la part
de Benioff et Weiss,
et ça me fait
me demander...
Pourquoi ils consacrent leurs
vies à raconter des histoires...
s'ils sont aussi peu
intéressés par les thèmes ?
Surtout qu'ils ont adapté des
livres qui en étaient vraiment remplis.
« Qu'est-ce qui unit les gens ?
Les armées ?
L'or ?
Les histoires.
Spanish:
- ¿Por qué está terminando?
- No lo sé,
pregúntale a Dave y Dan cuando pasen. Podríamos haber llegado a... once, doce,
trece temporadas, pero... supongo que querían una vida.
(L) El periodista que reportó esa cita de Benioff diplomáticamente describió su reacción a ella como...
"frustrado". En retrospectiva, eso es ponerlo un poco corto, viendo cómo
cualquier coherencia temática en la serie se cayó después de que Martin dejó de estar
involucrado activamente en la producción después de, ¿a que no saben? la 4ta temporada, qué coincidencia.
Pero para mí dejar ver una cierta falta de curiosidad de parte
de Benioff y Weiss, y me hace preguntarme por qué si quiera están dedicando sus vidas
a contar historias si están tan poco interesados en temática, especialmente dado
que adaptaron un libro que están tan cargado de temáticas.
- ¿Qué une a la gente? ¿Ejércitos? ...¿Oro?
English:
got a Star War you need to go ruin--I mean, make.
"Why is it ending?"
"I don't know.
Ask Dave and Dan when they come through. We could have gone to eleven twelve
thirteen seasons but they I guess they wanted a life."
The journalist who
reported that quote from Benioff
diplomatically described his reaction to
it as frustrated in hindsight that's a
bit of an understatement seeing as
any thematic coherence in the series
fell apart after Martin stopped being
actively involved in the production
after wouldn't you know season four what
are the odds but to me it betrays a
certain lack of curiosity on the part of
Benioff and Weiss and it makes me wonder
why are they even dedicating their lives
to storytelling if they are so
uninterested in themes especially given
that they adapted a book that was so heavy with them.
"What unites people?
Armies? Gold?
Russian:
"Звездные войны" испортить... в смысле, сделать.
["Почему он заканчивается?"
"Не знаю.
Спросите Дэйва и Дэна, когда они подойдут.
Мы могли бы сделать 11, 12,
13 сезонов. Но, полагаю,
им захотелось сменить обстановку".]
["Темы это для сочинений восьмиклассников".]
Журналист, опубликовавший эту цитату Бениоффа, дипломатично назвал ее
"разочаровывающей". Сейчас это кажется
преуменьшением, учитывая,
что все внятные темы сериала развалились
после прекращения активного участия
Мартина в съемках после - как
вы уже догадались - четвертого сезона.
Какое совпадение. Но мне это говорит скорее
об отсутствии некоего любопытства со стороны
Бениоффа и Уайсса. Хочется спросить,
зачем они посвящают свою жизнь
рассказыванию историй, если им не
интересны их тематические линии. Особенно
в случае адаптации книги, в которой их полно.
["Что объединяет людей?
Армии? Золото?
Spanish:
Historias. No hay nada en el mundo más poderoso que una buena historia.
(L) Sí, así que esta serie termina funcionalmente con estos dos imbéciles, como, fetichizando
a los cuenta-historias como las personas más importantes que existen, pero sí, las temáticas son
para informes de literatura de octavo grado. Queremos evitar lo *esperado* porque eso significa
que es malo. Bueno.
- ¿Y quién tiene una mejor historia... que Bran el Quebrado?
(L) ¡¡¡¡Aggghhhhhhhhhhhhhhhh!!!!
Así que ustedes podrían estarse preguntando: ¿de verdad acabas de pasar 45 minutos quejándote?
- ¡No me estoy quejando!
- Tus labios se mueven y estás reclamando por algo. Eso es quejarte.
(L) ¿Y ni siquiera te metiste en nada específico? Sip.
Sí, teníamos el equivalente a unas 10.000 palabras de quejas...
- Eso es quejarse.
(L)... en nuestro Google Doc antes de darnos cuenta de que esto iba a tener dos partes. Sip.
Es de dos partes. Lo siento. Y esta parte es la parte de patrocinadores. ¿Estás interesadx
en la coherencia temática? ¿Tienes un informe sobre un libro que necesitas escribir? ¿Estás en el
Russian:
Истории. В мире ничто не сравнится с хорошей историей".]
Ага, в конце сериала эти
два долбоё*а возводят
рассказчиков в ранг сраных
богов. Но да, "темы это
для сочинений восьмиклассников", а мы хотим
избежать очевидного, потому что
это плохо. ОК.
["И чья история лучше, чем у Брана Сломленного?"]
Итак, наверное вы спрашивайте, "Ты серьезно потратила 45 минут на нытье...
["Я не ною".
Твои губы двигаются, и ты о чем-то
жалуешься. Это называется нытье".]
...и даже не дошла до главного?" Ага.
Да, мы наныли 10000 слов...
["Это называется нытье".]
в документе Google, когда поняли,
что тут будет две части. Ага, так точно.
Звиняйте. И это часть спонсируется.
Вы заинтересованы в
тематической внятности? Нужно написать
эссе о книге? Вы в 8 классе
Italian:
Storie. Non c'è niente di più
potente al mondo di una storia"
Quindi questa seria finisce in pratica con questi due coglioni che feticizzano
i narratori come le persone più importanti mai esistite, ma sì, i temi sono
per le recensioni di terza media, vogliamo evitare ciò che ci si aspetta perché significa che
E' brutto. Va bene.
"E chi ha una storia migliore di Bran lo spezzato?"
Aggghhhhhhhhhhhhhhhh!!!!
Vi potreste star chiedendo se ho speso 45 minuti lamentandomi?" "Non mi sto lamentando"
"La tua bocca si muove, stai piagnucolando per qualcosa. Questo è lamentarsi."
E non sei neanche entrata nei dettagli? Sì.
sì, abbiamo circa 10.000 parole del nostro lamentarsi.
"Questo è lamentarsi."
nel nostro Google Doc prima di realizzare che questo sarà diviso in due parti, sì sono
due parti, mi dispiace, e questa è la parte sponsorizzata. Sei interessato in
coerenza tematica? Devi scrivere la
recensione di un libro? Sei in
English:
Stories. There's nothing in the world
more powerful than a good story."
Yeah, so this series functionally ends with these
two chucklefucks like fetishizing
storytellers as the most important
people to ever exist but yeah themes are
for eighth grade book reports we want to
avoid the expected because that means
it's bad. Okay.
"And who has a better story than Bran the Broken?"
Aggghhhhhhhhhhhhhhhh!!!!
So you might be asking did you really just spend 45 minutes whinging?
"I'm not whinging."
"Your lips are moving and you're complaining about something. That's whinging."
And you didn't even get into any specifics? Yep.
yeah we got about 10,000 words worth of
our whinging.
"That's whinging."
In our Google Doc before we realized that this
was this is gonna be two-parter yep it's
two-parter sorry and this part is the
sponsored part are you interested in
thematic coherence? Do you have a book
report you need to write? Are you in the
French:
Rien au monde n'est plus
puissant qu'une bonne histoire. »
Ouais, dans les faits cette
série se termine donc
avec ces deux connards
fétichisant les raconteurs,
comme étant les personnes
les plus importantes qui soient.
Mais bon, ouais :
« les thèmes c'est bon
pour les exposés de quatrième. »
« On veut éviter d'être prévisibles
parce que ça veut dire que c'est nul. »
Ok...
« Et qui aurait une meilleure histoire...
que Bran le Rompu ? »
[Elle refait le truc où elle grogne
et feule à la fois, c'est impressionnant]
Vous vous demandez peut-être :
« Est-ce que tu viens vraiment
de passer 45 minutes à chouiner ? »
« Je chouine pas !
– Tes lèvres bougent,
et tu te plains de quelque chose...
J'appelle ça chouiner. »
« Et t'es même pas rentrée
dans le moindre détail ? »
Ouais. Biiin. On en avait environ
pour 10 000 mots de chouinerie...
« J'appelle ça chouiner. »
Et on s'est rendus
compte que...
Il va falloir faire
ça en deux parties.
Ouaip ! C'est en
deux parties. Désolée.
Et là on arrive à la
partie de nos sponsors.
« Est-ce que ça vous
intéresse la cohérence thématique ?
Vous avez un
exposé à écrire ?
Vous êtes
en quatrième ?
Russian:
и у вас нет времени читать "Песнь льда
и пламени"? Почему бы не воспользоваться
Audible. Члены Audible получают
больше, чем раньше. Участники выбирают
3 книги каждый месяц - 1 аудиокнига
+ две оригинальных новеллы от Audible -
которые можно послушать где угодно. У членов
также есть неограниченный доступ к более чем
сотне аудиопособий по фитнессу и медитации.
Люблю их. Также вы можете думать,
что "Игра Престолов" длится 33 часа,
то есть дофига, на что я отвечу, что первой
рекомендованной мной книгой на Audible
была "Война Дисней", а этот засранец
на 3 часа дольше, но короче на 33%,
если слушать ее на 1,5 скорости, как я.
Сейчас я слушаю номинантов
на премию Хьюго за лучший роман.
Если вы не слышали, мы с Анджелиной тоже
номинированы на Хьюго в этом году за нашу
дилогию о "Хоббите". Эй, может я даже встречу
Джорджа Мартина на его вечеринке для лузеров.
О, нет.
А сейчас я позволю автору бестселлеров,
Джону Грину, передать вам ссылку,
по которой можно начать
Italian:
terza media e non hai tempo di leggere
Cronache del ghiaccio
e del fuoco, perché non ascoltarlo su audible. I membri di audible hanno più cose
di prima, i membri scelgono 3 titoli ogni mese, un audio libro più
due originali di audible che non puoi sentire da nessun'altra parte. I membri hanno anche
accesso illimitato a più di cento audio guide di fitness e meditazione
Io le adoro. E potresti star pensando che Il trono di spade dura 33 ore
e sono molte--al che rispondo che il primo libro che ho consigliato per audible era
Disney War e quello era 3 ore più lungo, e che è più breve del 33%
Se lo ascolti a velocità 1.5, come me. Al momento sto ascoltando
la nomination al premio Hugo per miglior romanzo, se non lo avete già sentito, Angelina e io siamo state
nominate per un premio Hugo quest'anno per la nostra duologia dell'Hobbit. Potrei incontrare
George RR Martin alla sua festa per perdenti.
Oh no.
Lascerò che l'autore di best seller
John Green vi dica le informazioni dell'URL per iniziare ad ascoltare con
French:
Vous avez pas le temps
de lire Le Trône de Fer ?
Alors pourquoi pas
l'écouter avec Audible ?
Les membres d'Audible
sont plus gâtés que jamais,
ils peuvent choisir 3
titres tous les mois :
un livre-audio + deux
originaux d'Audible,
qu'on peut pas
écouter ailleurs.
Les membres ont
aussi un accès illimité à
plus de 100 guides
de fitness et de méditation.
Je les adore...
Et vous pourriez vous dire :
"Mais le volume 1 dure 33 heures !
Et ça fait beauc..."
Ce à quoi je réponds que le premier
livre que j'ai recommandé pour Audible
était Disney War et que ce morcif
faisait 3 heures de plus.
Et aussi, c'est 33 % moins long
si on les écoute en vitesse x1,5 ;
moi c'est ce que je fais.
En ce moment, j'écoute les nommés
aux Hugo Awards pour le meilleur roman.
Si vous êtes pas au courant :
Angelina et moi on est nommées
aux Hugo cette année
pour notre "dyptique"
sur le Hobbit.
Hé !
Peut-être que je vais rencontrer
G.R.R. Martin à son cocktail de défaite.
Oh, non...
Je vais laisser l'auteur de
best sellers John Green vous donner
les infos URL pour savoir
comment vous pouvez commencer...
Spanish:
8vo grado? ¿No tienes tiempo para leer la Canción de Hielo
y Fuego? Bueno, ¿por qué no escucharla usando Audible? Los miembros de Audible ahora reciben más
que nunca antes. Los miembros eligen 2 títulos cada mes, un audiolibro más
2 originales de Audible que no puedes escuchar en ningún otro lado. Los miembros también tienen
acceso ilimitado a más de 100 programas de fitness y meditación con
guía de audio, me encantan esas. Y puede que digas como: "Juego de Tronos dura 33 horas
y eso es mucho"-- a lo que digo, el primer libro que recomendé para Audible fue
"Disney War" y ese dura 3 horas más, y también es 33% más corto
si lo escuchas a una velocidad de x1.5 como yo. Ahora estoy escuchando a los
nominados a los Hugo por mejor novela. Por si no se han enterado, Angelina y yo estamos
en realidad nominadas a un Hugo este año por nuestra "duología" de el Hobbit... oye, puede que pueda
encontrarme con George R.R. Martin en su fiesta de perdedores.
... ¡Oh no!
Dejaré que el autor de best-sellers
John Green entregue la información con la URL para cómo podrías comenzar a escuchar con-
English:
8th grade
don't have time to read the Song of Ice
and Fire well why not listen to it using
audible audible members now get more
than ever before members choose three
titles every month one audiobook plus
two audible originals that you can't
hear anywhere else members also have
unlimited access to more than a hundred
audio guided fitness and meditation
programs I love those and you might be
like Game of Thrones is 33 hours long
and that's a lot--to which I say, the first
book I recommended for audible was
Disney War and that sucker is three
hours longer and it's also 33% shorter
if you listen to it at 1.5 times speed
like I do right now I'm listening to the
Hugo nominees for best novel if you
didn't hear Angelina and I are actually
nominated for a Hugo this year for our
Hobbit duology hey I might get to meet
George RR Martin at his losers party.
Oh no.
I'm going to let best-selling author
John Green deliver the URL information
for how you could start listening with
French:
...une période d'essai de 30 jours,
et le premier livre-audio est gratuit.
Vous pouvez aller sur
audible.com/lindsayellis,
je répète :
audible.com/lindsayellis
pour avoir votre premier
livre audio gratuit.
OU !
Ou !
Ou.
Ou.
Envoyez "LindsayEllis"
par SMS au 500500
C'est "Lindsay",
avec un "a".
"Ellis", avec
un "e" et un "i"...
Deux "l" et un "s".
au 500500.
Et obtenez votre
premier livre audio gratuit. »
J'suis contente qu'ils
m'aient laissé garder la même URL...
Spanish:
--la prueba de 30 días y tu primer audiolibro es gratis. Puedes ir a
audible.com/LindsayEllis, ese es audible.com/LindsayEllis para recibir
tu primer audiolibro gratis o-o-o enviar-enviar un mensaje diciendo "Lindsay Ellis" al 500500,
es Lindsay con una A, Ellis con una E y una I, 2 Ls y una S al 500500, y
recibir gratis tu primer audiolibro.
Me alegro de que me dejaran quedarme con la misma dirección.
Russian:
30-дневное пробное использование.
Первая аудиокнига бесплатна. Можете пройти на
audible.com/LindsayEllis,
audible.com/LindsayEllis, чтобы получить
свою первую аудиокнигу бесплатно,
или написать Lindsay Ellis 500500
и получить первую аудиокнигу бесплатно.
Как же я рада, что мне оставили ту же ссылку.
English:
the 30-day trial and your first
audiobook is free you can go to
audible.com/LindsayEllis that's
audible.com/LindsayEllis to get
your first audiobook free or or
or or text text Lindsay Ellis to 500500
that's Lindsay with an A Ellis with an E
and an I, two L's and an S to 500500 and
get your first audio book free
I'm glad they let me keep the same URL
Italian:
30 giorni di prova e il vostro primo audio libro è gratis, potete andare su
audible.com/LindsayEllis ripeto
audible.com/LindsayEllis per ottenere
il vostro primo audio libro gratis, o scrivete Lindsay Ellis al 500500
è Lindsay con una A, Ellis con una E
e una I, due L e una S al 500500 e
ottenete il vostro primo audio libro gratis
Sono felice che mi hanno lasciato usare lo stesso URL
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Deberías hacer tu trabajo, es lo que intento decir.
Deberías hacer tu trabajo
Porque es tu trabajo
Porque tú eres la persona que está ahí de pie haciendo eso..
Así que simplemente hazlo!
Hazlo de cojones!
Porqué no irías a hacerlo así?
Me vuelvo loco cuando alguien tiene un trabajo que no le gusta así que lo hace de culo
Qué tipo de reacción es esa!?
Si lo haces de culo, no es peor para ti!?
Yo viajo así que... necesito ayuda todo el rato.
Y alquilo un coche y siempre quiero otro. Estoy loco.
Así que alquilo el coche y..
"No me gusta, quiero otro coche"
Así que voy al mostrador
"Puedo coger otro coche..?"
Y a veces la persona reacciona en plan..
"Porqué??"
"Porque soy un capullo, dámelo! Qué quie... ?"
"Cual es el problema?"
"Que estoy loco es el problema!"
"Llevas un chaleco a juego con el edificio! Haz la cosa que es el propósito de este sitio"
Porqué!?
Sabes porqué? Porque tienes 20 años. Por eso!
Porque eres un niñato de 20 años
Y no tienes ni idea de cómo funciona el mundo
Porque crees que mereces algo mejor
Crees que eres una persona demasiado interesante..
Para tener un trabajo de mierda.
Cada veinteañero que me encuentro detrás del mostrador
Pone esa cara de..
"Este trabajo da asco"
"Si, por eso te lo hemos dado a ti!!"
Porque tienes 20!
Lo cual es una garantía matemática de que no tienes habilidades..
Y nada que ofrecer a nadie en este mundo!
Tienes 20! Durante dos décadas solo has estado cogiendo y chupando del bote!
Educación.. y amor.. y..
..comida y iPods. Simplemente chupando de todo..
Y juzgándolo.
"...."
Sólo has estado..
Seleccionando y..
..absorbiendo mierdas que no te has ganado!
Durante dos décadas!
Tres presidentes! Eso es cuánto tiempo..
..no has sido más que una carga!
Eres como una naranja que se está pudriendo en el arbol y el arbol...
"Quita de aquí.. esta cosa está loca!"
"No me quiero ir! Deja que me quede!"
Tienes 20! Nunca has hecho nada.. Si tienes 20 te garantizo..
...que nunca has hecho nada por nadie..
..nunca!
Nunca! Si, fuiste en un viaje escolar a Guatemala..
Y te dijeron que ayudaste, pero en realidad no ayudaste nada.
Y el tío estaba.. "Tengo un deslizamiento de lodo en casa.."
"..y ahora tengo que cuidar de un jodido estudiante universitario. Porqué cojones tengo que hacer esto?"
"Jesus!"
"Solo sácale una foto con una pala y mándale a casa para que la ponga en facebook."
"Tuve una experiencia increíble en Guatemalaaaaa... super increíble.."
"Y verdaderamente ayudé a esa gente.. les ayudé..!"
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French:
La France est un pays situé en Europe, il
possède aussi des territoires ailleurs, mais
j’en parlerai plus tard. 675 000 km² dont
551 000 en Europe, la population du pays est
d’environ 67 millions d’habitants. La
capitale est Paris et c’est une république
semi-présidentielle. Les citoyens sont amenés
à voter directement pour leur président.
Géo Physique
Regardons rapidement où sont les montagnes
: Alpes, Massif central, Pyrénées, Vosges,
Jura et j’en passe.On peut dire que l’est
est plus montagneux que l’ouest.
Et regardons rapidement les fleuves : La Seine,
la Loire, la Garonne, le Rhône et le Rhin.
Sinon pour ce qui est du climat, climat océanique,
continental et méditerranéen.
Sinon, ce territoire a été divisé administrativement
en 36 000 communes environ. Le nombre baisse
chaque année. Ce qui est un nombre énorme
surtout en comparaison avec les autres pays
européens, l’Allemagne par exemple en a
trois fois moins. Ces communes sont l’héritage
des paroisses catholiques de l’ancien régime
depuis 1789.
Spanish:
Francia es un país ubicado en Europa,
también tiene territorios en otros lugares, pero
Hablaré de eso más tarde. 675,000 km² de los cuales
551,000 en Europa, la población del país es
unos 67 millones de habitantes. El
la capital es París y es una república
semipresidencial. Los ciudadanos son traídos
votar directamente por su presidente.
Geo Física
Miremos rápidamente dónde están las montañas
: Alpes, Macizo Central, Pirineos, Vosgos,
Jura y demás, podemos decir que el este
Es más montañoso que el oeste.
Y veamos rápidamente los ríos: el Sena,
Loira, Garona, Ródano y Rin.
De lo contrario, en términos de clima, clima oceánico,
continental y mediterraneo.
De lo contrario, este territorio se ha dividido administrativamente.
en aproximadamente 36,000 municipios. El número cae
cada año. Que es un gran número
especialmente en comparación con otros países
Europeos, Alemania por ejemplo
tres veces menos Estas ciudades son patrimonio
Parroquias católicas del antiguo régimen
desde 1789.
German:
Frankreich ist ein in Europa gelegenes Land
besitzt auch Gebiete anderswo aber
Ich werde später darüber reden. 675.000 km² davon
551 000 in Europa ist die Bevölkerung des Landes
ungefähr 67 Millionen Einwohner. die
Hauptstadt ist Paris und es ist eine Republik
semi-präsidentiellen. Bürger werden gebracht
direkt für ihren Präsidenten zu stimmen.
Physisches Geo
Lass uns schnell schauen, wo die Berge sind
: Alpen, Zentralmassiv, Pyrenäen, Vogesen,
Jura und so weiter, das können wir sagen
ist bergiger als der Westen.
Schauen wir uns schnell die Flüsse an: Die Seine,
die Loire, die Garonne, die Rhone und der Rhein.
Ansonsten, in Bezug auf Klima, Meeresklima,
kontinental und mediterran.
Ansonsten wurde dieses Gebiet administrativ geteilt
in ungefähr 36.000 Gemeinden. Die Anzahl sinkt
jedes Jahr. Was ist eine große Zahl?
besonders im Vergleich mit anderen Ländern
Europäische Länder, zum Beispiel Deutschland
dreimal weniger. Diese Städte sind das Vermächtnis
Katholische Pfarreien des alten Regimes
seit 1789.
Esperanto:
Francio estas lando situata en Eŭropo, ĝi posedas ankaŭ teritoriojn aliloke, sed
mi parolos pri tio poste. 675 000 km² inter kiuj 551 000 en Eŭropo, la landa popolaro estas
de ĉirkaŭ 67 milionoj da loĝantoj. La ĉefurbo estas Parizo kaj ĝi estas respubliko
duonprezidenta. Civitanoj estas invititaj voĉdoni rekte por ilia prezidento.
Rigardu ni rapide kie estas la montaroj : Alpoj, Centra Masivo, Pireneoj, Vogezoj,
Ĵuras kaj tiel plu. Eblas diri ke oriento pli montaras ol okcidento.
Kaj rigardu ni rapide la almarajn riverojn : Sejno, Luaro, Garono, Rodano kaj Rejno.
Krome, pri la klimato : Klimato oceana, kontinenta kaj mediteranea.
Krome, tiu teritorio estis disigita administracie en 36 000 komunumojn ĉirkaŭ. La kvanto malpliiĝas
ĉiujare. Tio estas grandega kvanto ĉefe kompare al la aliaj eŭropaj
landoj, Germanio ekzemple havas trifoje malpli. Tiuj komunumoj estas heredaĵo
de katolikaj paroĥoj de la malnova regado ekde 1789.
Russian:
Франция - это страна, расположенная в Европе, она
также есть территории в других местах, но
Я буду говорить об этом позже. 675 000 км² из которых
551 000 человек в Европе, население страны составляет
около 67 миллионов жителей.
Столица Париж, и это республика
полупрезидентской. Граждане привезены
голосовать непосредственно за своего президента.
Геофизика
Давайте быстро посмотрим, где горы
: Альпы, Центральный массив, Пиренеи, Вогезы,
Юра и пр. Можно сказать, что восток
более гористый, чем запад.
И давайте быстро посмотрим на реки: Сена,
Луара, Гаронна, Рона и Рейн.
В противном случае с точки зрения климата, климата океана,
континентальный и средиземноморский.
В противном случае эта территория была административно разделена
примерно в 36 000 муниципалитетов. Количество падает
каждый год. Который огромное количество
особенно по сравнению с другими странами
Европейский, Германия например
в три раза меньше. Эти города являются наследием
Католические приходы старого режима
с 1789 г.
Portuguese:
A França é um país situado na Europa, mas que possui territórios em outros lugares, mas eu falarei deles mais tarde.
675 000 km² de área, dos quais 551 000 na Europa,
e uma população de cerca de 67 milhões de habitantes.
A capital é Paris, e o país é uma república semipresidencialista:
os cidadãos votam diretamente por um presidente.
Vejamos rapidamente onde estão as montanhas.
Alpes, Maciço Central, Pireneus, Vosges, Jura,
e podemos dizer que o leste é mais montanhoso que o oeste.
Vejamos rapidamente os rios:
o Sena, o Loire, o Garona, o Ródano, e o Reno.
Quanto ao clima: oceânico (oeste), continental (leste), e mediterrânico (litoral sul)
Administrativamente o país é composto por 36 mil comunas, e esse número diminui a cada ano,
o que é um número enorme, sobretudo se comparado aos demais países europeus,
a Alemanha, por exemplo, tem um número três vezes menor de divisões desse tipo.
Essas comunas são a herança das paróquias católicas do Antigo Regime desde 1789.
English:
France is a country located in Europe, it also owns territories elsewhere but I will speak about it later.
675 000 km² (726 500 sq. mi) including 551 000 (593 000 sq. mi) in Europe.
The population is about 67 millions of inhabitants. The capitale is Paris
and it's a semi-presidential Republic, citizens are led to vote directly for their president.
Let's look quickly where are located moutains : Alpes, Massif Central, Pyrénées, Vosges, Jura and any more.
We can say East is more montainous than West.
Let's look quickly rivers : the Seine, the Loire, the Garonne, the Rhône and the Rhin.
Otherwise, in termes of climate : oceanic, continental and mediterranean climate.
France is administrated in 36 000 "communes" (cities) approximatively. The number goes down each year.
It's an important number, especially comparing to other europeans countries.
Germany, for example, has three times less.
Theses communes are an heritage from catholic parishes of Old Regime since 1789.
Spanish:
Francia es un país ubicado en Europa,
también tiene territorios en otros lugares, pero
Hablaré de eso más tarde. 675,000 km² de los cuales
551,000 en Europa, la población del país es
unos 67 millones de habitantes. El
la capital es París y es una república
semipresidencial. Los ciudadanos son traídos
votar directamente por su presidente.
Geo Física
Miremos rápidamente dónde están las montañas
: Alpes, Macizo Central, Pirineos, Vosgos,
Jura y demás, podemos decir que el este
Es más montañoso que el oeste.
Y veamos rápidamente los ríos: el Sena,
Loira, Garona, Ródano y Rin.
De lo contrario, en términos de clima, clima oceánico,
continental y mediterraneo.
De lo contrario, este territorio se ha dividido administrativamente.
en aproximadamente 36,000 municipios. El número cae
cada año. Que es un gran número
especialmente en comparación con otros países
Europeos, Alemania por ejemplo
tres veces menos Estas ciudades son patrimonio
Parroquias católicas del antiguo régimen
desde 1789.
Spanish:
Los municipios se distribuyen en departamentos,
También, establecido en 1789, su número
ha evolucionado y hoy hay 101,
a lo que hemos agregado desde 2015, una metrópoli,
la metrópoli de Lyon que se ha vuelto independiente
de su departamento de origen.
Luego estos departamentos fueron distribuidos
en regiones, originalmente 26 en número,
algunos se fusionaron el 1 de enero
2016, solo hay 18.
El municipio de París tiene 2 millones de habitantes,
con su aglomeración, preferiría
10.11 o incluso 12 millones de habitantes.
Lyon y Marsella son los dos más grandes.
aglomeraciones después de París, con alrededor
o casi 2 millones de habitantes cada uno.
Las otras grandes ciudades del país son Toulouse,
Burdeos, Lille, Niza, Nantes, Estrasburgo.
Cada uno con un papel regional.
Pero Francia sigue siendo un país bien centralizado,
lejos de ser único en el mundo. Paris
grupos entre 10 y 20% de la población
Del país.
En el futuro, lo que se planea es que
las regiones, ganan poder, que el
los departamentos se eliminan y el
los municipios más poblados son reemplazados
por metrópolis. Es descentralización.
Russian:
Муниципалитеты распределены по департаментам,
также, созданный в 1789 году, их число
эволюционировал и сегодня насчитывается 101,
к которому мы добавляем с 2015 года мегаполис,
мегаполис Лиона, который стал независимым
из его домашнего отдела.
Затем эти отделы были распределены
в регионах, первоначально 26 в количестве,
некоторые слились 1 января
2016 г. их всего 18.
Муниципалитет Парижа имеет 2 миллиона жителей,
с его агломерацией, он предпочел бы
10,11 или даже 12 миллионов жителей.
Лион и Марсель являются двумя крупнейшими
агломерации после Парижа, с около
или почти 2 миллиона жителей каждый.
Другие крупные города страны - Тулуза,
Бордо, Лилль, Ницца, Нант, Страсбург.
Каждый с региональной ролью.
Но Франция остается хорошо централизованной страной,
далеко не единственный в мире. Париж
группы от 10 до 20% населения
из страны.
В будущем планируется то, что
регионы, получить власть, что
отделы удаляются и
большинство населенных пунктов заменены
по мегаполисам. Это децентрализация.
German:
Die Gemeinden sind in Abteilungen unterteilt,
auch sie stellten 1789 ihre Nummer auf
hat sich weiterentwickelt und heute gibt es 101,
hinzugefügt seit 2015, eine Metropole,
die Metropole Lyon, die unabhängig wurde
von seiner Heimatabteilung.
Dann wurden diese Abteilungen verteilt
in Regionen, ursprünglich 26,
einige fusionierten am 1. Januar
2016 sind sie nur 18.
Die Gemeinde von Paris macht 2 Millionen Einwohner,
mit seiner Agglomeration wäre es eher
10,11 oder sogar 12 Millionen Einwohner.
Lyon und Marseille sind die zwei größten
Agglomerationen nach Paris, mit rund
oder fast 2 Millionen Menschen.
Die anderen großen Städte des Landes sind Toulouse,
Bordeaux, Lille, Nizza, Nantes, Straßburg.
Jeder hat eine regionale Rolle.
Aber Frankreich bleibt ein gut zentralisiertes Land,
ein Fall, der in der Welt einzigartig ist. Paris
versammelt zwischen 10 und 20% der Bevölkerung
des Landes.
In Zukunft wird das projiziert
Regionen, Machtgewinn, dass die
Abteilungen werden entfernt und das
die am dichtesten besiedelten Gemeinden werden ersetzt
von Metropolen. Es ist Dezentralisierung.
Spanish:
Los municipios se distribuyen en departamentos,
También, establecido en 1789, su número
ha evolucionado y hoy hay 101,
a lo que hemos agregado desde 2015, una metrópoli,
la metrópoli de Lyon que se ha vuelto independiente
de su departamento de origen.
Luego estos departamentos fueron distribuidos
en regiones, originalmente 26 en número,
algunos se fusionaron el 1 de enero
2016, solo hay 18.
El municipio de París tiene 2 millones de habitantes,
con su aglomeración, preferiría
10.11 o incluso 12 millones de habitantes.
Lyon y Marsella son los dos más grandes.
aglomeraciones después de París, con alrededor
o casi 2 millones de habitantes cada uno.
Las otras grandes ciudades del país son Toulouse,
Burdeos, Lille, Niza, Nantes, Estrasburgo.
Cada uno con un papel regional.
Pero Francia sigue siendo un país bien centralizado,
lejos de ser único en el mundo. Paris
grupos entre 10 y 20% de la población
Del país.
En el futuro, lo que se planea es que
las regiones, ganan poder, que el
los departamentos se eliminan y el
los municipios más poblados son reemplazados
por metrópolis. Es descentralización.
Esperanto:
La komunumoj estas grupitaj en departementojn, ili mem starigitaj en 1789, ilia kvanto
evoluis kaj nunepoke, ekzistas 101, al kiuj aldoniĝas ekde 2015, metropolo,
metropolo de Liono kiu sendependiĝis de sia origina departemento.
Poste tiuj departementoj estis grupitaj en regionojn, origine 26,
iuj unuiĝis la 1an de januaro 2016, ili estas plu nur 18.
La komunumo de Parizo havas 2 milionojn da loĝantoj, kun sia ĉirkaŭurbaro, ĝi havus pli precize
10, 11 aŭ eĉ 12 milionojn da loĝantoj. Liono kaj Marsejlo estas la du plej grandaj
urbaroj post Parizo, kun ĉirkaŭ aŭ preskaŭ po 2 milionoj da loĝantoj.
La aliaj grandaj urboj de la lando estas Tuluzo, Bordozo, Lilo, Nico, Nanto, Strasburgo.
Ĉiu havas regionan rolon.
Sed Francio restas lando tre centrigita, kazo tute ne unika en la mondo. Parizo
kunigas inter 10% kaj 20% de la landa popolaro.
Estontece, estas planata ke regionoj gajnu potencon, ke
departementoj estu nuligitaj kaj ke la plej multpopolaj komunumoj estu anstataŭigitaj
per metropoloj. Tio estas ekscentrigo.
Portuguese:
As comunas são repartidas entre os departamentos, estes também criados em 1789.
O número de departamentos aumentou e hoje são 100,
aos quais adiciona-se, desde 2015, uma "metrópole",
a Metrópole de Lyon, que se tornou independente de seu departamento original.
Os departamentos são repartidos em regiões, originalmente 26,
algumas foram unificadas em 1 de janeiro de 2018, formando, hoje, 18.
A cidade de Paris tem 2 milhões de habitantes, e, com sua região metropolitana, tem 10, 11, ou mesmo 12 milhões de habitantes.
Lyon e Marselha são as duas maiores aglomerações depois de Paris,
com mais ou menos, ou quase, 2 milhões de habitantes cada.
As outras grandes cidades do país são Toulouse, Bordeaux, Lille, Nice, Nantes, Estrasburgo,
cada uma tendo um papel regional.
Mas a França continua um país altamente centralizado, um caso longe se ser único no mundo.
Paris reúne entre 10% e 20% da população do país.
No futuro, segundo as projeções, as regiões terão mais poderes,
os departamentos deixarão de existir, e as comunas mais populosas sejam substituídas pelas "metrópoles".
É a decentralização.
English:
Communes are divided in "départements", themselves were created in 1789.
Their number has evolved and today, they are 101, added since 2015 to a "métropole" :
the métropole of Lyon which became independant from its original département.
Next, these départements were distributed in regions, they were originally 26,
Some of them merged the 1st January 2016, they are only 18.
The commune of Paris has 2 millions of inhabitants. With its agglomeration,
It would have 10, 11 or even 12 millions of inhabitants.
Lyon and Marseille are the biggest agglomerations after Paris
with approximatively each 2 millions of inhabitants.
The other big cities of the country are Toulouse, Bordeaux, Lille, Nice, Nantes, Strasbourg.
Each of them have a regional role.
But France stay a very concentrated country, a case far from unique in the world.
Paris groups between 10 and 20% of the population of the country.
In the future, what is planned, Regions will gain power,
Départements will be deleted and most populated communes will be replaced by metropoles.
It's the decentralization.
French:
Les communes sont réparties dans des départements,
eux aussi, mis en place en 1789, leur nombre
a évolué et aujourd’hui, il y en a 101,
auxquels on ajoute depuis 2015, une métropole,
la métropole de Lyon qui est devenue indépendante
de son département d’origine.
Puis ces départements ont été répartis
en régions, à l’origine au nombre de 26,
certaines ont fusionné le premier janvier
2016, elles ne sont plus que 18.
La commune de Paris fait 2 millions d’habitants,
avec son agglomération, elle en ferait plutôt
10,11 voire 12 millions d’habitants.
Lyon et Marseille sont les deux plus grandes
agglomérations après Paris, avec environ
ou presque 2 millions d’habitants chacune.
Les autres grandes villes du pays sont Toulouse,
Bordeaux, Lille, Nice, Nantes, Strasbourg.
Chacune ayant un rôle régional.
Mais la France reste un pays bien centralisé,
un cas loin d’être unique au monde. Paris
regroupe entre 10 et 20% de la population
du pays.
A l’avenir, ce qui est projeté, est que
les régions, gagnent en pouvoir, que les
départements soient supprimés et que les
communes les plus peuplées soient remplacées
par des métropoles. C’est la décentralisation.
English:
This decentralization began in 1982 when départements and region got their own assemblies.
Outside of Europe, France also has territoires that have either the same statuts
like the Guadeloupe or the Réunion which have each a regional assembly and a département assembly.
Next, there are the Guyane, the Martinique and Mayotte which have a single assembly,
region and département in the same time.
The other territories have particulars statuts : Saint-Pierre et Miquelon, Saint-Barthélémy,
Saint-Martin, Wallis-et-Futuna, French Polynesia and New-Caledonia
they are "collectivités d'outre-mer" (overseas collectivities) but they are apart in administration.
They have a greater autonomy, especially the New-Caledonia which is almost an independant country.
Anyway, "La Grande Terre", the principal island of New-Caledonia is the biggest french island.
The Southern and Antartics Lands and Clipperton Island are Overseas territories.
They have no autonomy, moreover, they haven't inhabitants.
The official language of France since 1992 is French,
which come from Île-de-France, itself from the "langue d'oïl",
of which various dialects are spoken in the North of France.
Spanish:
Esta descentralización comenzó en 1982.
cuando comenzaron los departamentos y regiones
para tener sus propias reuniones.
Fuera de Europa, Francia tiene
También territorios que tienen el mismo
estatutos, como Guadalupe o Reunión
quienes tienen una asamblea regional y una asamblea
cada uno Luego está Guyana,
Martinica y Mayotte que tienen una asamblea
Único tanto regional como departamental.
Los otros territorios tienen estatutos especiales.
: San Pedro y Miquelón, San Bartolomé,
San Martín, Wallis y Futuna, Polinesia
Francia y Nueva Caledonia son
comunidades en el extranjero pero son
aparte de la administración. Tienen una
mayor autonomía, especialmente Nueva Caledonia
que es casi un país aparte Además
Grande Terre, la isla principal de
Nueva Caledonia es la isla más grande.
francésa.
Tierras australes y antárticas y la isla
Clipperton son territorios de ultramar.
No tienen autonomía, además
No tienen habitantes.
El idioma oficial de Francia, tiene desde
1992 francés que es un idioma nativo
de Île-de-France, viniendo de
El lenguaje del aceite, incluyendo varios dialectos.
se hablan en el norte de Francia. El
dialectos actuales de la lengua del aceite como
Portuguese:
Essa decentralização se iniciou em 1982, quando os departamentos e as regiões começaram a ter suas próprias assembleias.
Fora da Europa, a França possui territórios que possuem, seja o mesmo estatuto,
como Guadalupe ou Reunião, que têm uma assembleia regional e uma assembleia departamental cada uma,
e a Guiana Francesa, Martinica e Mayotte, que têm uma assembleia única, simultaneamente regional e departamental.
Os outros territórios têm estatutos particulares: Saint-Pierre e Miquelon, Saint-Bathélémy, Saint-Martin,
Wallis e Futuna, a Polinésia francesa, e a Nova Caledônia
são coletividades ultramarinas, mas possuem estatuto diferenciado na administração.
Eles possuem autonomia mais ampla, sobretudo a Nova Caledônia que é quase um país à parte.
Além disso, a Grande Terre, a principal ilha da Nova Caledônia, é a maior ilha francesa.
As Terras Austrais e Antárticas e a Ilha Clipperton são territórios ultramarinos
que não têm nenhuma autonomia, e, além disso, são inabitadas.
A língua oficial da França é, desde 1991, o francês,
que é uma ilha originária da região Île-de-France,
proveniente das Línguas de Oil, cujos diversos dialetos são falados no norte da França.
Os dialetos atuais das Línguas de Oil, como o normando (normand) e o burgúndio (bourgignon)
German:
Diese Dezentralisierung begann 1982
als Abteilungen und Regionen begannen
um eigene Treffen zu bekommen.
Außerhalb Europas besitzt Frankreich
auch Territorien, die entweder das Gleiche haben
Statuten wie Guadeloupe oder Reunion
die eine regionale Versammlung und eine Versammlung haben
je Abteilung. Dann gibt es Guyana,
Martinique und Mayotte, die eine Versammlung haben
einzigartig sowohl regional als auch abteilungsbezogen.
Andere Gebiete haben einen besonderen Status
: Saint-Pierre und Miquelon, Saint-Barthélemy,
St. Martin, Wallis und Futuna, Polynesien
Französisch und Neukaledonien sind
Überseegemeinschaften sind aber
außer in der Verwaltung. Sie haben eine
größere Autonomie, insbesondere Neukaledonien
Das ist fast ein anderes Land. Außerdem
Grande Terre, die Hauptinsel der
Neukaledonien ist die größte Insel
Französisch.
Süd- und Antarktisgebiete und die Insel
Clipperton sind Überseeterritorien.
Sie haben außerdem keine Autonomie
sie haben keine Einwohner.
Die Amtssprache von Frankreich ist seit
1992 Französisch, das ist eine Originalsprache
Ile-de-France, selbst herkommend
der langue d'oïl, von denen verschiedene Dialekte
werden im Norden Frankreichs gesprochen. die
aktuelle Dialekte der Ölzunge als
Esperanto:
Tio ekscentrigo ekiĝis en 1982 kiam departementoj kaj regionoj komencis
obteni iliajn proprajn asembleojn.
Ekster Eŭropo, Francio posedas ankaŭ teritoriojn kiuj havas aŭ samajn
statutojn, kiel Gvadelupo aŭ Reunio kiuj havas po regiona asembleo kaj
departementa asembleo. Kaj estas Franca Gviano, Martiniko kaj Majoto kiuj havas unikan asembleon
samtempe regionan kaj departementan.
La aliaj teritorioj havas specifajn statutojn : Sankta-Piero kaj Mikelono, Sankta-Bartolomeo,
Sankta-Marteno, Valiso kaj Futuno, Franca Polinezio kaj Novkaledonio estas
transmaraj kolektivoj sed estas apartaj administracie. Ili havas
pli larĝan aŭtonomecon, ĉefe Novkaledonio kiu estas preskaŭ aparta lando. Fakte,
Grande Terre, ĉefa insulo de Novkaledonio, estas la plej granda franca
insulo.
La Francaj Sudaj kaj Antarktaj Teritorioj kaj Klipertono estas transmaraj teritorioj.
Ili havas neniun aŭtonomecon, fakte ili havas neniun loĝanton.
La oficiala lingvo de Francio estas ekde 1992, la franca, kiu estas lingvo origina
de Francilio, kiu mem venas el la lingvo de Oïl, kies diversaj dialektoj
estas parolataj en norda Francio. La nunepokaj dialektoj de la lingvo de Oïl kiel
French:
Cette décentralisation a commencé en 1982
quand les départements et régions ont commencé
à obtenir leurs propres assemblées.
En dehors de l’Europe, la France possède
aussi des territoires qui ont soit les mêmes
statuts, comme la Guadeloupe ou la Réunion
qui ont une assemblée régionale et une assemblée
départementale chacune. Puis il y a la Guyane,
la Martinique et Mayotte qui ont une assemblée
unique à la fois régionale et départementale.
Les autres territoires, ont des statuts particulier
: Saint-Pierre et Miquelon, Saint-Barthélemy,
Saint-Martin, Wallis-et-Futuna, la Polynésie
française et la Nouvelle-Calédonie sont
des collectivités d’outre-mer mais sont
à part dans l’administration. Ils ont une
plus large autonomie, notamment la Nouvelle-Calédonie
qui est presque un pays à part. D’ailleurs,
la Grande Terre, la principale île de la
Nouvelle-Calédonie est la plus grande île
française.
Les Terres australes et antarctiques et l’Île
Clipperton sont des territoires d’outre-mer.
Ils n’ont aucune autonomie, d’ailleurs
ils n’ont pas d’habitants.
La langue officielle de la France, est depuis
1992 le français qui est une langue originaire
de l’Île-de-France, elle-même provenant
de la langue d’oïl, dont divers dialectes
sont parlés dans le nord de la France. Les
dialectes actuels de la langue d’oïl comme
Russian:
Эта децентрализация началась в 1982 году
когда начались департаменты и регионы
чтобы получить свои собственные сборки.
За пределами Европы Франция имеет
также территории, которые имеют одинаковые
уставы, такие как Гваделупа или Реюньон
у кого есть региональное собрание и собрание
каждый. Тогда есть Гайана,
Мартиника и Майотта, у которых есть собрание
уникальный как региональный, так и ведомственный.
На других территориях действуют особые законы
: Сен-Пьер и Микелон, Сен-Бартельми,
Святой Мартин, Уоллис и Футуна, Полинезия
Французская и Новая Каледония
зарубежные сообщества, но
кроме администрации. У них есть один
большая автономия, особенно Новая Каледония
это почти отдельная страна. Кроме,
Гранд Терре, главный остров
Новая Каледония - самый большой остров
Французский язык.
Южные и Антарктические Земли и Остров
Клиппертон являются заморскими территориями.
Более того, они не имеют автономии
у них нет жителей.
Официальный язык Франции с тех пор
1992 Французский, который является родным языком
из Иль-де-Франс, сама приходит из
язык масла, включая различные диалекты
говорят на севере Франции.
текущие диалекты нефтяного языка как
Spanish:
Esta descentralización comenzó en 1982.
cuando comenzaron los departamentos y regiones
para tener sus propias reuniones.
Fuera de Europa, Francia tiene
También territorios que tienen el mismo
estatutos, como Guadalupe o Reunión
quienes tienen una asamblea regional y una asamblea
cada uno Luego está Guyana,
Martinica y Mayotte que tienen una asamblea
Único tanto regional como departamental.
Los otros territorios tienen estatutos especiales.
: San Pedro y Miquelón, San Bartolomé,
San Martín, Wallis y Futuna, Polinesia
Francia y Nueva Caledonia son
comunidades en el extranjero pero son
aparte de la administración. Tienen una
mayor autonomía, especialmente Nueva Caledonia
que es casi un país aparte Además
Grande Terre, la isla principal de
Nueva Caledonia es la isla más grande.
francésa.
Tierras australes y antárticas y la isla
Clipperton son territorios de ultramar.
No tienen autonomía, además
No tienen habitantes.
El idioma oficial de Francia, tiene desde
1992 francés que es un idioma nativo
de Île-de-France, viniendo de
El lenguaje del aceite, incluyendo varios dialectos.
se hablan en el norte de Francia. El
dialectos actuales de la lengua del aceite como
Portuguese:
podem ser considerados como dialetos do francês.
Além da Língua de Oil, podemos considerar outras duas línguas bastante similares como dialetos variantes do francês:
o occitano de um lado, ao sul, e o franco-provençal falado no leste.
Mas também existem na França línguas regionais não originárias do galo-romano.
Existe o bretão, que é uma língua céltica, como o irlandês, por exemplo.
O flamengo (flammand), historicamente falado no extremo norte da França.
Na Alsácia há o alsaciano, que é uma língua germânica.
No Rossilhão existe o catalão, língua romana, como o francês, mas não galo-romana.
A França compreende uma parte do País Basco, a outra parte estando na Espanha,
e lá se fala o basco, uma língua completamente isolada.
Ela já existia antes da chegada do latim.
Enfim, na Córsega há o corso, que pode ser considerado como uma língua de origem italiana.
Obviamente, nos territórios ultramarinos, falam-se outras línguas,
sejam elas línguas nativas ou línguas crioulas.
Todas essas línguas regionais são, hoje, muito pouco faladas, devido a uma política de uniformização.
O Conselho Europeu, do qual a França faz parte, exige a seus países membros que tentem valorizar suas línguas regionais,
German:
der Normanne oder der Burgunder kann sein
berücksichtigte Dialekte von Französisch.
Neben der langue d'oïl, zwei andere
ziemlich ähnliche Sprachen können in Betracht gezogen werden
als Varianten von Französisch, Okzitanisch,
aus dem Süden von Frankreich und dem Francoprovençal,
gesprochen im Osten.
Da ist Bretonisch, eine keltische Sprache,
wie zum Beispiel Irisch.
Flämisch wird historisch gesprochen
der extreme Norden Frankreichs.
Im Elsass gibt es Elsässer, das ist ein
Germanische Sprache.
In Roussillon gibt es Katalanisch, Sprache
Romanisch wie Französisch, aber nicht gallo-romanisch.
Frankreich umfasst einen Teil des Baskenlandes,
der andere Teil ist in Spanien. Wir reden darüber
Baskisch, das ist eine völlig isolierte Sprache.
Es existierte vor der Ankunft des Lateinischen.
Schließlich sprechen wir in Korsika Korsisch, was kann
als eine italienische Sprache betrachtet werden.
Natürlich sprechen wir auch im Ausland
andere Sprachen. Entweder einheimische Sprachen,
Kreolische Sprachen.
All diese regionalen Sprachen sind heute
aufgrund einer Politik der Standardisierung sehr wenig gesprochen.
Der Europarat, von dem Frankreich ist
Partei, bittet seine Mitgliedstaaten um
French:
le normand ou le bourguignon peuvent être
considérés comme des dialectes du Français.
En plus de la langue d’oïl, deux autres
langues assez similaires peuvent être considérés
comme des variantes du français, l’occitan,
provenant du sud de la France et le francoprovençal,
parlé dans l’Est.
Il y a le breton, qui est une langue celte,
au même titre que l’irlandais par exemple.
Le flamand est historiquement parlé dans
l’extrême-nord de la France.
En Alsace, il y a l’alsacien, qui est une
langue germanique.
Dans le Roussillon, il y a le catalan, langue
romane comme le français mais pas gallo-romane.
La France comprend une partie du Pays-Basque,
l’autre partie étant en Espagne. On y parle
le basque, qui est une langue totalement isolée.
Elle existait avant l’arrivée du latin.
Enfin en Corse, on parle le Corse, qui peut
être considérée comme une langue italienne.
Evidemment, dans l’outre-mer, on parle aussi
d’autres langues. Soit des langues autochtones,
soit des langues créoles.
Toutes ces langues régionales sont aujourd’hui
très peu parlée dû à une politique d’uniformisation.
Le Conseil de l’Europe dont la France fait
partie, demande à ses pays membres de tenter
Russian:
норманд или бургиньон могут быть
считается диалектами французского языка.
В дополнение к языку масла, два других
довольно похожие языки можно считать
как варианты французского, окситанского,
с юга Франции и франко-провансальский,
говорят на Востоке.
Есть бретонский, который является кельтским языком,
как ирландцы, например.
Фламандский исторически говорят в
Крайний север Франции.
В Эльзасе есть эльзасский, который является
Германский язык.
В Руссильоне есть каталанский язык
Романский, как французский, но не галло-романский.
Франция включает в себя часть Страны Басков,
другая часть находится в Испании. Мы говорим там
Баскский, который является полностью изолированным языком.
Он существовал до прихода латыни.
Наконец на Корсике мы говорим на Корсике, которая может
считаться итальянским языком.
Очевидно, что на заморских территориях мы также говорим
Другие языки. Либо коренные языки,
либо креольские языки.
Все эти региональные языки сегодня
очень мало говорят из-за политики стандартизации.
Совет Европы, который делает Франция
партия, попросите страны-члены попробовать
Spanish:
el normand o el bourguignon pueden ser
considerados dialectos del francés.
Además del lenguaje del petróleo, otros dos
se pueden considerar idiomas bastante similares
como variantes del francés, occitano,
del sur de Francia y el francoprovenzal,
hablado en el este.
Hay bretón, que es una lengua celta,
al igual que el irlandés, por ejemplo.
El flamenco se habla históricamente en
El extremo norte de Francia.
En Alsacia, está el alsaciano, que es un
Idioma germánico.
En el Rosellón, hay catalán, una lengua.
Románico como el francés pero no galorrománico.
Francia incluye parte del País Vasco,
La otra parte está en España. Hablamos alli
Euskera, que es un idioma completamente aislado.
Existía antes de la llegada del latín.
Finalmente en Córcega, hablamos Córcega, que puede
ser considerado un idioma italiano.
Obviamente, en los territorios de ultramar, también hablamos
otros idiomas Cualquiera de los idiomas nativos,
ya sea lenguas criollas.
Todos estos idiomas regionales son hoy
muy poco hablado debido a una política de estandarización.
El Consejo de Europa que Francia hace
partido, pide a sus países miembros que intenten
Spanish:
el normand o el bourguignon pueden ser
considerados dialectos del francés.
Además del lenguaje del petróleo, otros dos
se pueden considerar idiomas bastante similares
como variantes del francés, occitano,
del sur de Francia y el francoprovenzal,
hablado en el este.
Hay bretón, que es una lengua celta,
al igual que el irlandés, por ejemplo.
El flamenco se habla históricamente en
El extremo norte de Francia.
En Alsacia, está el alsaciano, que es un
Idioma germánico.
En el Rosellón, hay catalán, una lengua.
Románico como el francés pero no galorrománico.
Francia incluye parte del País Vasco,
La otra parte está en España. Hablamos alli
Euskera, que es un idioma completamente aislado.
Existía antes de la llegada del latín.
Finalmente en Córcega, hablamos Córcega, que puede
ser considerado un idioma italiano.
Obviamente, en los territorios de ultramar, también hablamos
otros idiomas Cualquiera de los idiomas nativos,
ya sea lenguas criollas.
Todos estos idiomas regionales son hoy
muy poco hablado debido a una política de estandarización.
El Consejo de Europa que Francia hace
partido, pide a sus países miembros que intenten
English:
Currently dialects of the langue d'oïl as the Normand or the Bourguignon can be considered like French dialects.
In addition to langue d'oïl, two other similar languages can be considered like French dialects or variations,
the occitan which come from the south of France, and the francoprovençal which is spoken in the East.
But there are too regional languages which are not gallo-roman.
There is the breton, which is a celtic language, as well as Irish for example.
The flemish is historically spoken in Far North of France.
In Alsace, there is Alsatian, which is a germanic language.
In the Roussillon, there is the catalan, roman language like French but not gallo-roman.
France comprises part of the Basque country, the other part is in Spain.
We speak basque which is a totally isolated language. It existed before latin coming.
Finally, in Corsica, we speak Corsican, which can be considered like an italian language.
Of course, in overseas territories, we speak too other languages.
Either indigenous languages or Creole languages.
Today, all of these regional languages are very little spoken because of an standardization policy.
The Europe council, to which belong France, ask to its member countries to try to value its regional languages,
Esperanto:
la normanda aŭ la burgonja povas esti konsiderataj kiel dialektoj de la franca.
Aldone al la lingvo de Oïl, du aliaj lingvoj iom similaj povas esti konsiderataj
kiel variecoj de la franca. La okcitana, kiu venas el suda Francio kaj la arpitana,
parolata en oriento.
Ekzistas la bretona, kiu estas kelta lingvo, same kiel la irlanda ekzemple.
La flandra estas historie parolata en tutnorda Francio.
En Alzaco, ekzistas la alzaca, kiu estas ĝermana lingvo.
En Roussillon, ekzistas la kataluna, latinida lingvo kiel la franca sed ne gaŭlo-latinida.
Francio enhavas parton de Eŭskio, la alia parto estas en Hispanio. Tie estas parolata
la eŭska, kiu estas lingvo tute isolata. Ĝi ekzistas antaŭ alveno de la latina.
Finfine, en Korsiko, estas parolata la korsika, kiu povas esti konsiderata kiel iu itala lingvo.
Kompreneble, en transmaro, estas parolataj ankaŭ aliaj lingvoj. Aŭ indiĝenaj lingvoj,
aŭ kreolaj lingvoj.
Ĉiuj tiuj regionaj lingvoj estas nunepoke malmultege parolataj pro unuformiga politiko.
Konsilio de Eŭropo kies Francio estas parto, petas al siaj anaj landoj provi
Russian:
улучшить свои региональные языки, но
Франция не ратифицировала соответствующую хартию.
Короче говоря, чтобы стандартизировать все эти территории,
они должны быть связаны. С точки зрения зарубежных,
практически все делается на самолете, с
прямые рейсы из Парижа, кроме тихоокеанского
где остановки являются обязательными, но
это потому что это слишком далеко
В противном случае, если мы посмотрим на дорожную сеть, это
хорошо развит за пределами гор.
То же самое относится к автомагистралям, которые примыкают к
главные города страны. Основная ось
страна может считаться единственной
из Лилля в Марсель через
Парижем и Лионом. Шоссе закончено
между 1969 и 1971 гг.
В противном случае Франция разработала один из первых
высокоскоростные железнодорожные сети (TGV)
в Европе с первой линией между Парижем
и Лион в 1981 году, то с реальной сетью
звезда в 1990-х и 2000-х годах.
Будь шоссе или TGV, эти
сети приводят к созданию
туннельные эффекты. Регионы пересекаются
по основным маршрутам, но не пользуясь ими.
Действительно, если мы посмотрим на карту плотности,
некоторые регионы малонаселены.
Ось, идущая с северо-востока на юго-запад
даже прозвали диагональ вакуума.
Spanish:
para mejorar sus idiomas regionales, pero
Francia no ha ratificado la carta en cuestión.
En resumen, para estandarizar todos estos territorios,
Tienen que estar vinculados. En términos de ultramar,
prácticamente todo se hace en avión, con
vuelos directos desde París, excepto el Pacífico
donde las escalas son obligatorias, pero
es porque está muy lejos.
De lo contrario, si miramos la red de carreteras,
Está bien desarrollado fuera de las montañas.
Lo mismo se aplica a las autopistas adyacentes a la
principales ciudades del pais. El eje principal de
país puede ser considerado como el
de Lille a Marsella vía
por París y Lyon. La carretera se ha completado
Entre 1969 y 1971.
De lo contrario, Francia ha desarrollado uno de los primeros
redes ferroviarias de alta velocidad (TGV)
en Europa con primero una línea entre París
y Lyon en 1981 y luego con una red real
estrella en los años 1990 y 2000.
Ya sean carreteras o TGV, estos
redes resultan en la creación
efectos de túnel Las regiones se cruzan
por rutas principales pero sin beneficiarse de ellas.
De hecho, si miramos el mapa de densidad,
Algunas regiones están escasamente pobladas.
Un eje que va del noreste al suroeste
incluso es apodado la diagonal del vacío.
German:
seine Regionalsprachen zu schätzen, aber
Frankreich hat die entsprechende Charta nicht ratifiziert.
Kurz gesagt, um alle diese Gebiete zu standardisieren,
Sie müssen verbunden sein. Was die Übersee betrifft,
alles wird fast mit dem Flugzeug erledigt, mit
Direktflüge von Paris, außer dem Pazifik
wo Zwischenlandungen obligatorisch sind, aber
weil es zu weit weg ist.
Ansonsten, wenn wir auf das Straßennetz schauen, es
ist außerhalb der Berge gut entwickelt.
Gleiches gilt für die Autobahnen, die an die
Hauptstädte des Landes. Die Hauptachse von
Land kann als das eine betrachtet werden
von Lille nach Marseille übrigens
von Paris und Lyon. Die Autobahn ist fertiggestellt
zwischen 1969 und 1971.
Ansonsten hat Frankreich einen der ersten entwickelt
Hochgeschwindigkeitsbahnnetze (TGV)
in Europa mit einer Linie zuerst zwischen Paris
und Lyon 1981 dann mit einem echten Netzwerk
Stern in den 1990er und 2000er Jahren.
Ob Autobahnen oder der TGV, diese
Netzwerke führen zur Erstellung von
Tunneleffekte. Regionen sind gekreuzt
auf den wichtigsten Strecken, aber ohne Nutzen.
In der Tat, wenn wir die Karte der Dichten betrachten,
einige Gebiete sind sehr dünn besiedelt.
Eine Achse, die von Nordosten nach Südwesten verläuft
wird sogar die Diagonale der Leere genannt.
French:
de valoriser ses langues régionales, mais
la France n’a pas ratifié la charte concernée.
En bref, pour uniformiser tous ces territoires,
il faut les relier. Pour ce qui est de l’outre-mer,
tout se fait pratiquement par avion, avec
vols directs depuis Paris, sauf pour le Pacifique
où là les escales sont obligatoires, mais
c’est parce que c’est trop loin.
Sinon, si on regarde le réseau routier, il
est bien développé en dehors des montagnes.
Pareil pour les autoroutes qui jouxtent les
principales villes du pays. Le grand axe du
pays peut être considéré comme étant celui
partant de Lille vers Marseille en passant
par Paris et Lyon. L’autoroute est complétée
entre 1969 et 1971.
Sinon, la France a développé un des premiers
réseaux ferroviaires à grande vitesse (TGV)
en Europe avec d’abord une ligne entre Paris
et Lyon en 1981 puis avec un véritable réseau
en étoile au fil des années 1990 et 2000.
Que ce soit les autoroutes ou le TGV, ces
réseaux ont pour conséquence de créer des
effets tunnels. Des régions sont traversées
par les grands axes mais sans en bénéficier.
En effet, si on regarde la carte des densités,
certaines régions sont très peu peuplées.
Un axe allant du Nord-Est vers le Sud-Ouest
est même surnommé la diagonale du vide.
Spanish:
para mejorar sus idiomas regionales, pero
Francia no ha ratificado la carta en cuestión.
En resumen, para estandarizar todos estos territorios,
Tienen que estar vinculados. En términos de ultramar,
prácticamente todo se hace en avión, con
vuelos directos desde París, excepto el Pacífico
donde las escalas son obligatorias, pero
es porque está muy lejos.
De lo contrario, si miramos la red de carreteras,
Está bien desarrollado fuera de las montañas.
Lo mismo se aplica a las autopistas adyacentes a la
principales ciudades del pais. El eje principal de
país puede ser considerado como el
de Lille a Marsella vía
por París y Lyon. La carretera se ha completado
Entre 1969 y 1971.
De lo contrario, Francia ha desarrollado uno de los primeros
redes ferroviarias de alta velocidad (TGV)
en Europa con primero una línea entre París
y Lyon en 1981 y luego con una red real
estrella en los años 1990 y 2000.
Ya sean carreteras o TGV, estos
redes resultan en la creación
efectos de túnel Las regiones se cruzan
por rutas principales pero sin beneficiarse de ellas.
De hecho, si miramos el mapa de densidad,
Algunas regiones están escasamente pobladas.
Un eje que va del noreste al suroeste
incluso es apodado la diagonal del vacío.
Esperanto:
valorigi iliajn regionajn lingvojn, sed Francio ne ratifikis la ĉarton pri tio.
Resume, por unuformigi ĉiujn tiujn teritoriojn, necesas ligi ilin. Pri transmaro,
preskaŭ ĉio estas farata aviadile, per rektaj flugoj ekde Parizo, krom al Pacifiko.
Tiukaze vojaĝhaltoj estas devigataj, sed tio estas ĉar ĝi tro malproksimas.
Krome, pri la voja reto, ĝi estas tre disvolvigita ekster montaroj.
Same pri aŭtovojoj kiuj apudigas la ĉefajn urbojn de la lando. La granda akso de la
lando povas esti konsiderata estante tiu kiu ekiras de Lilo al Marsejlo pasante
tra Parizo kaj Liono. La aŭtovojo estas kompletigita inter 1969 kaj 1971.
Krome, Francio disvolvigis unu el la unuaj altrapidecaj fervojaj retoj (TGV)
en Eŭropo per unue linio inter Parizo kaj Liono en 1981, kaj poste per vera reto
stelforma dum la jaroj 1990 kaj 2000.
Ambaŭ pri aŭtovojoj kaj TGV, tiuj retoj konsenkvas krei
tunelajn efikojn. Regionoj estas trairataj de la grandaj aksoj sed sen profiti ilin.
Efektive, rigardanta mapon de densecoj, iuj regionoj estas ege malmultpopolaj.
Akso iranta de nordoriento ĝis sudokcidento estas eĉ kromnomita "diagonalo de malpleno".
English:
but France hasn't ratified the relevant charter.
In short, to standardize all of these territories, they must be connected.
For overseas, everything is done by plane, with direct flights from Paris,
except for the Pacific where stopovers are required, but it's because it's too far away.
Otherwise, if we look the road network, it's well-developped outside of mountains.
It's the same thing for highways which connects the main cities of the country.
The main axe of the country can be considered as starting from Lille to Marseille,
passing trough Paris and Lyon. The highway is completed between 1969 and 1971.
Otherwise, France has developped one of the first high-speed railways in Europe
with first a line between Paris and Lyon in 1981, next with a real star-network during 90s and 2000s.
Whether it's highways or high-speed train (TGV), these networks creates a tunnel effect.
Some regions are crossed by main axes but without benefiting.
Indeed, if we take a look on the density map, some of regions are very sparsely populated.
An axis between North-East and South-West is even nicknamed "The diagonal of the void".
Yet, the villages are very numerous.
Portuguese:
mas a França não ratificou a carta que trata deste assunto.
Em resumo, para uniformizar todos esses territórios é preciso conectá-los entre si.
No que diz respeito ao além-mar, tudo é feito, praticamente, por aviões,
com voos diretos de Paris, exceto para os territórios no Pacífico, onde escalas são obrigatórias, mas apenas porque é muito longe.
Senão, se olharmos a malha viária, vemos que ela é bem desenvolvida fora das zonas montanhosas.
Igualmente para as auto-estradas que conectam as principais cidades do país.
O grande eixo pode ser considerado como aquele que parte de Lille rumo à Marselha,
passando por Paris e Lyon.
Essa auto-estrada foi completada entre 1969 e 1971.
Além disso, a França desenvolveu uma das primeiras redes de trens de alta velocidade (TGV, na sigla em francês) na Europa.
Inicialmente com uma linha entre Paris e Lyon, em 1981,
depois uma verdadeira malha em forma de estrela, ao longo dos anos 1990 e 2000.
Seja com as auto-estradas ou o TGV, essas malhas tiveram como consequência a criação de "efeitos túnel":
as regiões são atravessadas por grandes eixos mas sem se beneficiarem disso.
Efetivamente, se observamos o mapa da densidade demográfica,
vemos que algumas regiões são pouco povoadas.
Um eixo que se estende do nordeste ao sudoeste é, inclusive, chamado de "diagonal do vazio",
contudo, essa zona possui inúmeras pequenas cidades.
French:
Pourtant les villages y sont très nombreux.
Historiquement, la France est un pays avec
une forte population, mais la baisse des fécondités
et l’exode rural a vidé certaines régions.
C’est d’ailleurs les constructions des
infrastructures de transport qui ont permis
de récupérer beaucoup de main-d’oeuvre
des campagnes, main-d’oeuvre qui sera amené
à vivre en ville ensuite.
Depuis les années 1950, ces régions peu
peuplées ont accueilli différents lacs artificiels.
Comme par exemple le lac du Der-Chantecoq
ou plus petit, celui de Naussac. Même s’ils
ont permis de créer une certaine attractivité
dans ces régions en attirant les touristes,
ces lacs ne sont finalement que l’utilité
des grandes villes. Le Der-Chantecoq est là
pour accueillir les crues en cas d’inondation
de Paris, Naussac quant à lui, ne sert qu’à
augmenter les débits fluviaux, car les centrales
nucléaires ont besoin d’énormément d’eau.
Car en effet, la France comporte 19 centrales
nucléaires, soit un total de 58 réacteurs.
Le nucléaire représente les 3 quarts de
l'électricité produite dans le pays et elle
est le deuxième producteur électro-nucléaire
au monde après les Etats-Unis.
La France fut aussi un producteur de charbon
bien que non autosuffisant. Avec des bassins
miniers importants dans le nord du pays mais
aussi dans le massif central.
German:
Aber die Dörfer sind sehr zahlreich.
Historisch gesehen ist Frankreich ein Land mit
eine große Bevölkerung, aber der Rückgang der Fruchtbarkeit
und die Landflucht hat einige Gebiete geleert.
Es ist neben den Konstruktionen von
Transportinfrastruktur, die erlaubt
um eine Menge Arbeitskräfte wiederzugewinnen
Kampagnen, Arbeitskräfte, die gebracht werden
dann in der Stadt leben.
Seit den 1950er Jahren sind diese Regionen
Bevölkerte haben verschiedene künstliche Seen beherbergt.
Wie zum Beispiel der See von Der-Chantecoq
oder kleiner, das von Naussac. Selbst wenn sie
haben eine gewisse Attraktivität geschaffen
in diesen Gebieten durch die Anziehung von Touristen,
Diese Seen sind letztlich nur Nutzen
große Städte. Der Der-Chantecoq ist hier
Hochwasser im Falle von Hochwasser
Paris, Naussac unterdessen dient nur
erhöhen Flüsse als die Kraftwerke
Atomkraft braucht viel Wasser.
Denn in der Tat hat Frankreich 19 zentrale
Kernkraftwerke für insgesamt 58 Reaktoren.
Kern macht 3 Viertel aus
Strom produziert in dem Land und sie
ist der zweitgrößte elektro-nukleare Produzent
in die Welt nach den Vereinigten Staaten.
Frankreich war auch ein Kohleproduzent
obwohl nicht autark. Mit Becken
wichtige Minen im Norden des Landes aber
auch im Zentralmassiv.
Spanish:
Sin embargo, los pueblos son muy numerosos.
Históricamente, Francia es un país con
una gran población pero la disminución de la fertilidad
y el éxodo rural ha vaciado ciertas regiones.
También son las construcciones de
infraestructura de transporte que permitió
para recuperar mucho trabajo
campañas, mano de obra que será traída
para vivir en la ciudad después.
Desde la década de 1950, estas regiones tienen
poblada albergaba varios lagos artificiales.
Como por ejemplo el Lac du Der-Chantecoq
o más pequeño, el de Naussac. Incluso si ellos
ayudó a crear cierto atractivo
en estas regiones atrayendo turistas,
estos lagos solo son útiles
grandes ciudades El Der-Chantecoq está aquí.
para acomodar inundaciones en caso de inundación
de París, Naussac solo se utiliza para
aumentar los caudales de los ríos porque las centrales eléctricas
nuclear necesita mucha agua.
Porque, de hecho, Francia tiene 19 centrales eléctricas
nuclear, para un total de 58 reactores.
Nuclear representa tres cuartos de
electricidad producida en el país y ella
es el segundo productor electro-nuclear
al mundo después de los Estados Unidos.
Francia también fue productora de carbón.
aunque no autosuficiente. Con cuencas
minas importantes en el norte del país pero
También en el macizo central.
Portuguese:
Historicamente a França é um país bastante populoso,
mas a diminuição da taxa de fecundidade e o êxodo rural esvaziou algumas regiões.
Foi a construção de uma infraestrutura de transporte que permitiu a recuperação de mão-de-obra do campo,
mão-de-obra que será levada à viver em cidades, em seguida.
Desde os anos 50, nessas regiões pouco povoadas foram criados lagos artificiais,
como, por exemplo, o Lago do Der-Chantecoq, ou, um menor, o de Naussac.
Embora eles tenham criado uma certa atratividade nessas regiões, ao trazer turistas,
esses lagos são úteis apenas às grandes cidades.
o de Der-Chantecoq existe para receber a água drenada em caso de inundações em Paris,
o de Naussac, por sua vez, serve para aumentar a vazão fluvial,
pois as usinas nucleares exigem muita água.
Afinal, a França possui 19 usinas nucleares, com um total de 58 reatores.
O energia nuclear representa 3/4 da eletricidade produzida no país,
e a França é o segundo maior produtor mundial de energia nuclear, depois dos EUA.
A França produziu também carvão, embora de maneira insuficiente,
com bacias mineiras importantes no norte do país, mas também no maciço central.
English:
Historically, France is a very populated country,
but the declining fertility and the rural exodus has emptied some areas.
Constructions of transports infrastructures have permitted to recover a lot of manpower from countrysides,
manpower which will live in town then.
Since 50s, these sparsely populated areas have hosted artificials lakes,
Like for example the Der-Chantecoq lake or, smaller, the Naussac lake.
Despite these lake have created a kind of attractiveness in these areas attracting tourists,
these lakes are finally only used by big cities. The Der-Chantecoq lake welcome floods to preserve Paris.
Naussac on the other hand is used to increase river flows,
because nuclear power plants needs a lot of water.
Indeed, France has 19 nuclear power plants, totaling 58 reactors.
Nuclear production is equal to 3/4 of the energy production of the country,
and it's the second largest nuclear power producer in the world after United States.
France was too a coal producer, even if it was not self-sufficient.
With mining basins in the north of the country but also in the Massif Central.
Spanish:
Sin embargo, los pueblos son muy numerosos.
Históricamente, Francia es un país con
una gran población pero la disminución de la fertilidad
y el éxodo rural ha vaciado ciertas regiones.
También son las construcciones de
infraestructura de transporte que permitió
para recuperar mucho trabajo
campañas, mano de obra que será traída
para vivir en la ciudad después.
Desde la década de 1950, estas regiones tienen
poblada albergaba varios lagos artificiales.
Como por ejemplo el Lac du Der-Chantecoq
o más pequeño, el de Naussac. Incluso si ellos
ayudó a crear cierto atractivo
en estas regiones atrayendo turistas,
estos lagos solo son útiles
grandes ciudades El Der-Chantecoq está aquí.
para acomodar inundaciones en caso de inundación
de París, Naussac solo se utiliza para
aumentar los caudales de los ríos porque las centrales eléctricas
nuclear necesita mucha agua.
Porque, de hecho, Francia tiene 19 centrales eléctricas
nuclear, para un total de 58 reactores.
Nuclear representa tres cuartos de
electricidad producida en el país y ella
es el segundo productor electro-nuclear
al mundo después de los Estados Unidos.
Francia también fue productora de carbón.
aunque no autosuficiente. Con cuencas
minas importantes en el norte del país pero
También en el macizo central.
Esperanto:
Tamen la vilaĝoj tre multnombras. Historie, Francio estas lando kun
multnombra popolaro, sed malkreskiĝo de naskigoj kaj kampara elirado malplenigis iujn regionojn.
Estas fakte konstruado de transportaj enstrukturaĵoj kiuj ebligis
repreni multe da manlaboruloj de kamparoj, manlaboruloj kiu estos instigita
vivi urbe poste.
Ekde la jaroj 1950, tiuj malmultpopolaj regionoj ekhavis diversajn artefaritajn lagojn.
Kiel ekzemple la lago de Der-Chantecoq aŭ pli ete, tiu de Naussac. Kvankam ili
ebligis krei iom da allogemo en tiuj regionoj allogante turistojn,
tiuj lagoj estas finfine nur utileco de grandaj urboj. Der-Chantecoq ĉeestas
por preni superakvumadojn de Parizo, pri Naussac, ĝi utilas nur por
pliigi la debitojn de almaraj riveroj, ĉar nukleaj centraloj bezonas multege da akvo.
Ĉar efektive, Francio enhavas 19 atomcentralojn, tio estas entute 58 atomreakciiloj.
Atomenergio reprezentas 3/4 de la produktata energio de la lando kaj ĝi
estas la dua atomelektra produktanto post Usono.
Francio estis ankaŭ produktanto de karbo kvankam ne memsufiĉa. Kun gravaj
minujaroj en nordo de la lando sed ankaŭ en Centra Masivo.
Russian:
Однако деревень очень много.
Исторически Франция является страной с
большое население, но снижение рождаемости
и сельский исход опустошил некоторые регионы.
Это также конструкции
транспортная инфраструктура, которая позволила
вернуть много труда
кампании, труд, который будет принесен
жить в городе потом.
С 1950-х годов эти регионы
Население принимало различные искусственные озера.
Как, например, Lac Du Der-Chantecoq
или меньше, что у Науссака. Даже если они
помог создать определенную привлекательность
в этих регионах путем привлечения туристов,
эти озера полезны только
большие города. Der-Chantecoq здесь
для размещения наводнений в случае наводнения
из Парижа, Науссак используется только для
увеличить речные потоки, потому что электростанции
Ядерной нужно много воды.
Потому что на самом деле во Франции 19 электростанций
ядерный, всего 58 реакторов.
Ядерный представляет 3 четверти
электричество производится в стране, и она
является вторым по величине производителем ядерной энергии
в мир после Соединенных Штатов.
Франция была также производителем угля
хотя не самодостаточный. С бассейнами
важные шахты на севере страны, но
также в центральном массиве.
Russian:
Таким образом, север страны был преобразован
в некоторых районах с индустриализацией
массивные и создание мин и это,
с 18-го века. Уголь закончен
мимо исчезают и мины закрываются, оставляя
за ними шахтерские города и
отвалы, остатки того, что было
был вырыт под землей.
Понятно, что это сильно повлияло
те регионы, экономика которых была сосредоточена
на угле. Тем не менее, небольшие бассейны
были наиболее серьезно затронуты,
большие смогли переучиться.
Север Франции, таким образом, видел рождение
многие крупные розничные компании
такие как Декатлон, Ашан, Леруа-Мерлен,
Касторама, La Redoute ...
Другие регионы все еще очень индустриальные,
Овернь и Франш-Конте, это
из-за задержки в предложении о работе
в третичном секторе.
Хотя занятость в первичном секторе
резко упал в 1960-х годах,
нам пришлось иметь дело с увеличением
спрос на рабочую силу в промышленности,
что привело к очень высокой иммиграции.
Алжирцы, марокканцы, итальянцы, португальцы,
Испанский, тунисский, турецкий, польский. затем
позже иммиграция из Африки к югу от Сахары
Франкоязычный, азиатский.
В дополнение к этой иностранной иммиграции,
Франции пришлось столкнуться в начале года
1960 к независимости Алжира
English:
North of the country has been metamorphosed in some areas with massive industrialisation
and the etablishment of mines as early as the 18th century.
The coal finally disappeared and mines have closed, leaving behind them mining cities and heaps,
the remains of what was dug underground.
It is clear that it has deeply affected these areas whose economies were centered on coal.
However, the smallest mining bassins were the most seriously affected.
The big ones managed to reconvert themselves.
The north of the France has seen the birth of many large retailers
like Décathlon, Auchan, Leroy-Merlin, Castorama, La Redoute
Other regions are still very industrialized like Auvergne and Franche-Comté for example,
This is due to a delay in the supply of jobs in the tertiary sector.
While employment in the primary sector dropped drastically in the 1960s,
we had to deal with an increase in the demand for manpower in the industry,
which has resulted in high immigration. Algerian, Moroccan, Italian, Portuguese,
Spanish, Tunisian, Turkish, Polish. Later, a subsaharian Africa, French and Asian immigration.
In addition to this foreign immigration, France had to face in early 1960 to independance of Algeria
Spanish:
El norte del país se ha transformado así
en algunas zonas con industrialización
masivo y el establecimiento de minas y esto,
del siglo 18 El carbón esta terminado
por desaparecer y las minas cerraron dejando
detrás de ellos están las ciudades mineras y
montones de escoria, el residuo de lo que tenía
sido excavado bajo tierra.
Está claro que esto afectó profundamente
aquellas regiones cuya economía estaba centrada
en carbón. Sin embargo, pequeñas piscinas
fueron los más gravemente afectados
los grandes han logrado volver a entrenar.
El norte de Francia vio así el nacimiento de
muchas grandes empresas minoristas
como Décathlon, Auchan, Leroy-Merlin,
Castorama, La Redoute ...
Otras regiones siguen siendo muy industriales,
Auvernia y Franco Condado, esto es
debido a retraso en la oferta de trabajo
en el sector terciario.
Mientras empleo en el sector primario
cayó dramáticamente en la década de 1960,
tuvimos que lidiar con un aumento en el
demanda de trabajo en la industria,
lo que resultó en una inmigración muy alta.
Argelinos, marroquíes, italianos, portugueses,
Español, tunecino, turco, polaco. Después
posterior inmigración del África subsahariana
Habla francés, asiático.
Además de esta inmigración extranjera,
Francia tuvo que enfrentarse al comienzo de los años
1960 a la independencia de Argelia
Esperanto:
La nordo de la lando estis tial formŝanĝita en iuj zonoj per ega
industriiĝo kaj starigo de minujoj kaj tio ekde la 18a jarcento. Karbo fine
malaperis kaj minujoj malfermiĝis lasante poste minajn urbojn kaj
ŝutmontojn, tio estas la restaĵoj de tio kio estis fosigita subtere.
Klaras ke tio profunde atingis tiujn regionojn kies ekonomio estis centrita
pri karbo. Tamen, etaj minujaroj estis la plej grave atingitaj,
la grandaj, tamen, sukcesis rekonvertiĝi. Nordo de Francio tiel spertis aperon de
multaj entreprenoj de vasta distribuado kiel Décathlon, Auchan, Leroy-Merlin,
Castorama, La Redoute...
Aliaj regionoj estas ankoraŭ tre industriaj, Aŭvernjo kaj Franĉkonteo, tio estas
pro malfruo pri dungoferto en la tria sektoro.
Kvankam dungado en la prima sektoro ege malkreskiĝis dum la jaroj 1960,
necesi antaŭstari kreskiĝon de manlaborula mendado en industrio,
tio implikis tre fortan enmigradon. Alĝerianoj, marokanoj, italoj, portugalanoj,
hispanoj, tunizianoj, turkoj, poloj. Kaj poste enmigrado el franclingva subsahara Afriko,
azio. Aldone al tiu eksterlanda enmigrado,
Francio devis antaŭstari komence de la jaroj 1960 sendependecon de Alĝerio
German:
Der Norden des Landes wurde metamorphosiert
in einigen Bereichen mit Industrialisierung
massiv und die Gründung von Minen und das,
schon im 18. Jahrhundert. Die Kohle ist fertig
indem sie verschwinden und die Minen geschlossen haben
hinter ihnen Bergbau Städte und
Schlackenhaufen, der Rest von was hatte
wurde unterirdisch gegraben.
Es ist klar, dass dies tief betroffen ist
diese Regionen, deren Wirtschaft zentriert war
auf Kohle. Allerdings kleine Becken
Bergbauunternehmen waren am stärksten betroffen,
die Erwachsenen haben es geschafft, sich wieder zu verwandeln.
Der Norden von Frankreich hat die Geburt von gesehen
viele große Einzelhandelsunternehmen
wie Decathlon, Auchan, Leroy-Merlin,
Castorama, La Redoute ...
Andere Regionen sind immer noch sehr industriell,
Auvergne und Franche-Comté, das ist
aufgrund einer Verzögerung bei der Bereitstellung von Arbeitsplätzen
im tertiären Sektor.
Während der Beschäftigung im primären Sektor
drastisch in den 1960er Jahren fallen gelassen,
es musste mit einem Anstieg der
Arbeitsnachfrage in der Industrie,
was zu einer sehr starken Einwanderung führte.
Algerier, Marokkaner, Italiener, Portugiesen,
Spanisch, Tunesisch, Türkisch, Polnisch. dann
später eine Einwanderung aus Subsahara-Afrika
Französisch, Asiatisch.
Zusätzlich zu dieser ausländischen Einwanderung,
Frankreich musste sich den frühen Jahren stellen
1960 zur Unabhängigkeit Algeriens
Portuguese:
O norte do país, foi, dessa forma, transformado em certas zonas,
com uma industrialização massiva e a criação de minas desde o século 18.
O carvão acabou desaparecendo e as minas fecharam, deixando para trás cidades mineiras e as montanhas de resíduos
que resultaram da escavação do subsolo (terrils, em francês).
Claramente isso marcou profundamente essas regiões cuja economia era centrada no carvão.
Entretanto, as pequenas bacias mineiras foram as que mais sofreram,
as grandes, por sua vez, conseguiram se reinventar.
O norte da França viu, assim, o nascimento de muitas empresas de grande alcance,
como Décathlon, Auchan, Leroy-Merlin, Castorama, La Redoute...
Outras regiões são ainda bastante industriais, o Auvergne e o Franco-Condado (Franche-Comté), por exemplo,
isso é devido a um atraso na oferta de emprego no setor terciário.
Embora o trabalho no setor primário tenha diminuído nos anos 60,
foi preciso enfrentar uma alta na demanda por mão-de-obra na indústria,
o que gerou uma forte imigração... argelinos, marroquinos, italianos, portugueses, espanhois, tunisianos, turcos, poloneses...
em seguida uma imigração da África sub-saariana francófona e da Ásia.
Além da imigração estrangeira, a França teve de lidar, no início dos anos 60,
Spanish:
El norte del país se ha transformado así
en algunas zonas con industrialización
masivo y el establecimiento de minas y esto,
del siglo 18 El carbón esta terminado
por desaparecer y las minas cerraron dejando
detrás de ellos están las ciudades mineras y
montones de escoria, el residuo de lo que tenía
sido excavado bajo tierra.
Está claro que esto afectó profundamente
aquellas regiones cuya economía estaba centrada
en carbón. Sin embargo, pequeñas piscinas
fueron los más gravemente afectados
los grandes han logrado volver a entrenar.
El norte de Francia vio así el nacimiento de
muchas grandes empresas minoristas
como Décathlon, Auchan, Leroy-Merlin,
Castorama, La Redoute ...
Otras regiones siguen siendo muy industriales,
Auvernia y Franco Condado, esto es
debido a retraso en la oferta de trabajo
en el sector terciario.
Mientras empleo en el sector primario
cayó dramáticamente en la década de 1960,
tuvimos que lidiar con un aumento en el
demanda de trabajo en la industria,
lo que resultó en una inmigración muy alta.
Argelinos, marroquíes, italianos, portugueses,
Español, tunecino, turco, polaco. Después
posterior inmigración del África subsahariana
Habla francés, asiático.
Además de esta inmigración extranjera,
Francia tuvo que enfrentarse al comienzo de los años
1960 a la independencia de Argelia
French:
Le nord du pays a été ainsi métamorphosé
dans certaines zones avec une industrialisation
massive et la mise en place de mines et ce,
dès le 18ème siècle. Le charbon a fini
par disparaître et les mines ont fermé laissant
derrière-elles des cités minières et des
terrils, soit les résidus de ce qui avait
été creusé sous terre.
Il claire que cela a profondément touché
ces régions dont l’économie était centrée
sur le charbon. Cependant, les petits bassins
miniers furent les plus gravement touchés,
les grands, eux, ont réussi à se reconvertir.
Le nord de la France a ainsi vu naître de
nombreuses entreprises de grande distribution
telle que Décathlon, Auchan, Leroy-Merlin,
Castorama, La Redoute…
D’autres régions sont encore très industrielles,
l’Auvergne et la Franche-Comté, cela est
dû à un retard dans l’offre d’emplois
dans le secteur tertiaire.
Alors que l’emploi dans le secteur primaire
a drastiquement baissé dans les années 1960,
il a fallu faire face à une hausse de la
demande en main-d'oeuvre dans l’industrie,
ce qui a entraîné une très forte immigration.
Algériens, marocains, italiens, portugais,
espagnols, tunisiens, turcs, polonais. Puis
plus tard une immigration d’Afrique subsaharienne
francophone, asiatique.
En plus de de cette immigration étrangère,
la France a dû faire face au début des années
1960 à l’indépendance de l’Algérie
Russian:
и массовое возвращение потомков поселенцев.
Мы говорим о репатриации французов из Алжира,
по прозвищу Черноногий.
Около миллиона французов являются вынужденными переселенцами
на другой стороне Средиземного моря.
Чтобы справиться с этим внезапным увеличением
населения, крупные жилые комплексы
рождаются в пригороде основного
Французские города. Цель также состоит в том, чтобы
уничтожить все трущобы.
Но эти районы построены без единства
социальная воля быстро ухудшится, и население
самые богатые смогут
в конце 1960-х годов выгоду от кредитов
социальное вступление, позволяющее им
стать владельцем.
Таким образом, новая форма городского планирования
Появилось, что из жилых комплексов. Тогда больше
поздно, как и везде в Европе,
модернизация городских центров.
Короче говоря, самые бедные слои населения
остаться в пригороде, который создал
гетто из этих районов, где живут
люди из тех же социальных слоев. это
что привело к инцидентам, в том числе
беспорядки в пригороде Лиона в
1970-е и 1980-е годы.
Тогда появление культуры
пригород в 1980-х и 1990-х годов осуждая
социальная ситуация.
Spanish:
y el regreso masivo de los descendientes de los colonos.
Estamos hablando de la repatriación de franceses de Argelia,
apodado blackfoot.
Alrededor de un millón de franceses están desplazados.
al otro lado del mediterráneo.
Para hacer frente a este aumento repentino
de la población, grandes desarrollos habitacionales
nacen en los suburbios de los principales
Ciudades francesas. El objetivo también es que
para erradicar todos los barrios marginales.
Pero estos distritos construidos sin cohesión
lo social se deteriorará rápidamente y las poblaciones
los más ricos podrán
fines de la década de 1960 se benefician de préstamos
adhesión social que les permite
Conviértete en propietario.
Por lo tanto, una nueva forma de planificación urbana tiene
surgió el de las urbanizaciones. Entonces más
tarde, como en todas partes en Europa, la del
mejora de los centros de las ciudades.
En resumen, las poblaciones más pobres.
permanecer en los suburbios, lo que creó
una guetización de estos barrios donde viven
personas de los mismos orígenes sociales. Este
que ha llevado a incidentes, incluidos
disturbios en los suburbios de Lyon en
las décadas de 1970 y 1980.
Luego el advenimiento de una cultura de
suburbio en la década de 1980 y 1990 denunciando
La situación social.
Esperanto:
kaj egan revenon de kolonianidoj. Temas pri reenlandigo de la francoj de Alĝerio,
kromnomitaj nigra-pieduloj.
Ĉirkaŭ 1 miliono da francoj estas movitaj aliflanken de mediteraneo.
Por antaŭstari tiun subitan popolaran kreskiĝon, grandaj loĝejaroj
aperas en ĉirkaŭurboj de la ĉefaj francaj urboj. La celo estas ankaŭ
malaperigi ĉiujn ladurbojn. Sed tiuj kvartaloj konstruitaj sen socia
kohezio rapide malvaloriĝos, kaj la plej facilvivaj popoloj povos ekde
fino de la jaroj 1960 profiti pruntedonoj por socia aliro kiu ebligas al ili
iĝi posedantoj. Tiel, nova formo de urbismo
aperis, tiu de loĝejaroj. Kaj poste, kiel ĉie en Eŭropo, tiu de
revalorigo de urbocentroj.
Resume, la plej malriĉaj popoloj restas en ĉirkaŭurboj, tio kio kreis
getiĝo de tiuj kvartaloj kie loĝas personoj de sama socianaro.
Tio kio implikis incidentojn, ĉefe tumultojn en lionaj ĉirkaŭurboj dum
la jaroj 1970 kaj 1980. Kaj poste apero de ĉirkaŭurba
kulturo en la jaroj 1980 kaj 1990 denuncantaj la socian situacion.
German:
und die massive Rückkehr von Nachkommen von Siedlern.
Wir sprechen über die Repatriierung der Franzosen aus Algerien,
Spitznamen schwarze Füße.
Etwa eine Million Franzosen sind vertrieben
auf der anderen Seite des Mittelmeers.
Um mit diesem plötzlichen Anstieg umzugehen
Bevölkerung, große Wohnprojekte
entstehen in den Vororten des Hauptgebietes
Französische Städte. Das Ziel ist auch das eine
um alle Slums auszurotten.
Aber diese Viertel bauten ohne Zusammenhalt
wird schnell degradieren, und die Bevölkerung
die reichsten können von der
Ende der 1960er Jahre nutzen die Darlehen
zum sozialen Beitritt, der ihnen erlaubt
Besitzer werden.
So hat eine neue Form der Stadtplanung
sah den Tag, den der Unterteilungen. Dann mehr
spät wie überall in Europa
Neubewertung von Downtowns.
Kurz gesagt, die Ärmsten
in den Vororten bleiben, die geschaffen haben
eine Ghettoisierung dieser Viertel, in denen Leben herrscht
Menschen aus den gleichen sozialen Verhältnissen. diese
was zu Vorfällen führte, einschließlich
Unruhen in den Vororten von Lyon in
die 1970er und 1980er Jahre.
Dann das Aufkommen einer Kultur von
Vororte in den 1980er und 1990er Jahren denunzieren
die soziale Situation.
French:
et au retour massif des descendants de colons.
On parle du rapatriement des français d’Algérie,
surnommé pieds-noirs.
Environ un million de français sont déplacés
de l’autre côté de la méditerranée.
Pour faire face à cette accroissement soudain
de la population, des grands ensembles d’habitation
voient le jour dans les banlieues des principales
villes françaises. Le but est aussi celui
d’éradiquer tous les bidonvilles.
Mais ces quartiers construits sans cohésion
sociale vont vite se dégrader, et les populations
les plus aisées pourront à partir de la
fin des années 1960 bénéficier des prêts
à l’accession sociale leur permettant de
devenir propriétaire.
Ainsi, une nouvelle forme d’urbanisme a
vu le jour, celui des lotissements. Puis plus
tard, comme partout en Europe, celui de la
revalorisation des centre-villes.
En bref, les populations les plus pauvres
restent dans les banlieues, ce qui a créé
une ghettoïsation de ces quartiers où vivent
des personnes de mêmes milieux sociaux. Ce
qui a amené à des incidents, notamment les
émeutes dans les banlieues lyonnaises dans
les années 1970 et 1980.
Puis l’avènement d’une culture de la
banlieue dans les années 1980 et 1990 dénonçant
la situation sociale.
English:
and to mass return of descendants of settlers. We speak about repatriation of the French of Algeria,
nicknamed "pieds-noirs" (black feet).
About one million of French people are displaced on the other side of the Mediterranean Sea.
To cope with this sudden increase in population, large housing projects
are created in french main cities' suburbs.
The goal is also to eradicate shantytowns. But these neighborhoods were built without any social cohesion,
they will quickly degrade and the wealthiest people will be able from the end of the 1960s
to benefit of loans for social accede to become owner.
So, a new form of urbanism is born : subdivisions.
Later, like everywhere else in Europe, the revalorization of the city centers.
In short, poorest populations stay in suburbs, creating a ghettoization of these districts
where living people coming from the same social backgrounds.
It led to incidents, especially riots in Lyon suburbs in 1970s and 1980s.
Next, a suburb culture was appeared in the 1980s and 1990s, denoncing social situation.
In 2005, there will be the biggest riots in the suburbs of France,
Spanish:
y el regreso masivo de los descendientes de los colonos.
Estamos hablando de la repatriación de franceses de Argelia,
apodado blackfoot.
Alrededor de un millón de franceses están desplazados.
al otro lado del mediterráneo.
Para hacer frente a este aumento repentino
de la población, grandes desarrollos habitacionales
nacen en los suburbios de los principales
Ciudades francesas. El objetivo también es que
para erradicar todos los barrios marginales.
Pero estos distritos construidos sin cohesión
lo social se deteriorará rápidamente y las poblaciones
los más ricos podrán
fines de la década de 1960 se benefician de los préstamos
adhesión social que les permite
Conviértete en propietario.
Por lo tanto, una nueva forma de planificación urbana tiene
surgió el de las urbanizaciones. Entonces más
tarde, como en todas partes en Europa, la del
mejora de los centros de las ciudades.
En resumen, las poblaciones más pobres.
permanecer en los suburbios, lo que creó
una guetización de estos barrios donde viven
personas de los mismos orígenes sociales. Este
que ha llevado a incidentes, incluidos
disturbios en los suburbios de Lyon en
las décadas de 1970 y 1980.
Luego el advenimiento de una cultura de
suburbio en la década de 1980 y 1990 denunciando
La situación social.
Portuguese:
com a independência da Argélia,
e o retorno massivo de descendentes dos colonos.
Fala-se de uma repatriação dos franceses da Argélia, apelidados "pieds-noirs" (pés pretos).
Cerca de um milhão de franceses se deslocaram ao outro lado do Mediterrâneo.
Para lidar com o crescimento repentino da população, grandes conjuntos habitacionais surgiram
nas periferias das principais cidades francesas.
O objetivo era de erradicar os cortiços/favelas,
mas esses bairros construídos sem coesão social se degradaram rapidamente,
e as populações mais favorecidas puderam, a partir do fim dos anos 60,
se beneficiar de empréstimos de acessão social que lhe permitiram se tornar proprietários.
Assim surge uma nova forma de urbanismo, a dos loteamentos,
e, mais tarde, como em toda a Europa, o da revalorização dos centros das cidades (gentrificação).
Em resumo, as populações mais pobres permanecem nas periferias,
o que criou uma "guetização" (de "gueto") desses bairros onde vivem pessoas do mesmo meio social,
o que gerou incidentes, como as convulsões sociais nas periferias de Lyon, nos anos 70 e 80,
em seguida o surgimento de uma cultura da periferia nos anos 80 e 90, denunciando a situação social.
Em 2005 ocorreram as maiores convulsões sociais nas periferias da França,
Esperanto:
En 2005 okazos la plej gravaj ĉirkaŭurbaj tumultoj en Francio, tio kio ebligos
famigi internacie la delikatan kaj socian situacion en tiuj urbaj zonoj.
Ekde tiam, la kvartaloj konstruitaj en Francio provas enigi socian miksecon.
Pri instaligado, grandaj enstrukturaĵoj estis starigitaj dum la jaroj
1960 por disvolvigi turismon. Langvedoko, kiu estas la pasa litoralo
por Hispanio estis tute restrukturita por krei banstaciojn danke al
Mission Racine. La plej fama el tiuj stacioj estas Grande-Motte, urbo tute
nova, konstruita tie kie antaŭe ekzistis nur marĉoj. La celo estas
konkurenci Hispanion kaj disvolvigi tiun parton de franca mediteraneo
malgraŭe al Lazura Marbordo. Daŭre dum la jaroj 1960, Plan Neige
estos starigita, tiam temas pri kreado de multaj skistacioj kaj modernigo
de la malnovaj, per feriaj vilaĝoj kaj ĉiuj enstrukturaĵoj kiuj kuntemas.
Francio iĝas do skia lando kaj ĉiujare, la alpaj stacioj allogas
popolojn de la tuta teritorio. Tiu politiko pri instaligo de skiumado estos
haltigita en 1977 ĉar endubigita pro malvalorigo de pejzaĝo.
English:
which will allow to make internationally famous the social and delicate situation of these urban spaces.
Since this date, neighborhoods built in France are trying to integrate a social mix.
In term of land planning, big infrastructures were built in the 1960s to develop tourism.
The Languedoc which is the shoreline crossing to Spain was totally restructured to create seaside resorts
thanks to the Racine Mission.
Most famous is "La Grande-Motte", a brand new city, built on old swamps.
The objective is to compete Spain and to develop this part of French Mediterranean area
to the detriment of the Côte d'Azur.
Still in the 1960s, the Snow Plan will be placed.
It concerns many ski resorts and the modernisation of the oldest,
with creation of vacancy villages and all the infrastructure that goes with it.
So, France become a ski country and each year, alpine resorts attracts population from the whole territory.
This ski planning policy will be stopped in 1977 because of the degradation of the landscape.
German:
Im Jahr 2005 werden die größten Krawalle sein
in den Vororten von Frankreich, die erlauben wird
Machen Sie die Situation international bekannt
sozial und zart von diesen städtischen Räumen.
Seitdem bauten sich Nachbarschaften in Frankreich auf
versucht, eine soziale Mischung zu integrieren. in
Entwicklungszeit, große Infrastruktur
wurden in den Jahren eingeführt
1960 um den Tourismus zu entwickeln.
Languedoc, das ist die Küstenlinie der Passage
denn Spanien wurde komplett umstrukturiert
um Badeorte zu schaffen dank
in der Racine Mission. Das berühmteste von
Stationen, ist die Grande-Motte, eine Stadt komplett
neu, wo vorher gebaut
hatte nur Sümpfe. Das Ziel ist
mit Spanien konkurrieren und entwickeln
dieser Teil des französischen Mittelmeers
auf Kosten der Riviera.
Noch in den 1960er Jahren der Snowplan
wird an Ort und Stelle sein, da betrifft es die Schöpfung
viele Skigebiete und Modernisierung
alt, mit Feriendörfern
und die gesamte damit verbundene Infrastruktur.
Frankreich wird ein Land des Skifahrens und jeder
Jahr, ziehen alpine Ferienorte an
Populationen im gesamten Gebiet.
Diese Skiplanungspolitik wird sein
1977 eingestellt, weil es in Frage gestellt wurde
Verschlechterung der Landschaft.
Spanish:
En 2005 tendrán lugar los mayores disturbios
en los suburbios de Francia, lo que permitirá
hacer que la situación sea famosa internacionalmente
social y delicado de estos espacios urbanos.
Desde entonces, los distritos construidos en Francia.
intenta integrar una mezcla social. En
plazo de desarrollo, gran infraestructura
han estado en su lugar a lo largo de los años
1960 para desarrollar el turismo.
Languedoc, que es la costa que pasa
para España ha sido completamente reestructurada
para crear balnearios allí
en la Misión Racine. El mas famoso de
estaciones, es Grande-Motte, una ciudad completamente
nuevo, construido donde antes
solo tenía pantanos. El objetivo es
competir con España y desarrollar
esta parte del mediterráneo francés
a expensas de la Riviera francesa.
También en la década de 1960, el plan de nieve
se establecerá, allí se trata de la creación
muchas estaciones de esquí y modernización
viejos, con pueblos de vacaciones
y toda la infraestructura que lo acompaña.
Francia por lo tanto se convierte en un país de esquí y cada
año los centros turísticos alpinos atraen el
poblaciones de todo el territorio.
Esta política de desarrollo de esquí
arrestado en 1977 porque fue interrogado por
degradación del paisaje.
Spanish:
En 2005 tendrán lugar los mayores disturbios
en los suburbios de Francia, lo que permitirá
hacer que la situación sea famosa internacionalmente
social y delicado de estos espacios urbanos.
Desde entonces, los distritos construidos en Francia.
intenta integrar una mezcla social. En
plazo de desarrollo, gran infraestructura
han estado en su lugar a lo largo de los años
1960 para desarrollar el turismo.
Languedoc, que es la costa que pasa
para España ha sido completamente reestructurada
para crear balnearios allí
en la Misión Racine. El mas famoso de
estaciones, es Grande-Motte, una ciudad completamente
nuevo, construido donde antes
solo tenía pantanos. El objetivo es
competir con España y desarrollar
esta parte del mediterráneo francés
a expensas de la Riviera francesa.
También en la década de 1960, el plan de nieve
se establecerá, allí se trata de la creación
muchas estaciones de esquí y modernización
viejos, con pueblos de vacaciones
y toda la infraestructura que lo acompaña.
Francia por lo tanto se convierte en un país de esquí y cada
año los centros turísticos alpinos atraen la
poblaciones de todo el territorio.
Esta política de desarrollo de esquí
arrestado en 1977 porque fue interrogado por
degradación del paisaje.
Russian:
В 2005 году состоятся крупнейшие беспорядки
в пригороде Франции, что позволит
сделать ситуацию известной на международном уровне
социальный и деликатный из этих городских пространств.
С тех пор районы построены во Франции
пытается интегрировать социальную смесь. В
срок развития, большая инфраструктура
были на месте в течение многих лет
1960 год для развития туризма.
Лангедок, который является проходящим побережьем
для Испании была полностью перестроена
создавать там морские курорты
в Миссии Расин. Самый известный из
вокзал, Гранд-Мотт, город полностью
новый, построенный где раньше
были только болота. Цель состоит в том, чтобы
конкурировать с Испанией и развивать
эта часть французского Средиземноморья
за счет французской ривьеры.
Также в 1960-х годах, Снежный План
будет создан, там это касается создания
множество горнолыжных курортов и модернизация
старые, с дачами
и вся инфраструктура, которая идет с этим.
Поэтому Франция становится страной катания на лыжах, и каждый
год альпийские курорты привлекают
население всей территории.
Эта политика развития лыж будет
арестован в 1977 году за допрос
деградация ландшафта.
French:
En 2005 auront lieu les plus grandes émeutes
en banlieue en France, ce qui permettra de
rendre célèbre à l’international la situation
sociale et délicate de ces espaces urbains.
Depuis, les quartiers construits en France
tente d’intégrer une mixité sociale. En
terme d’aménagement, de grandes infrastructures
ont été mises en place dans les années
1960 pour développer le tourisme.
Le Languedoc qui est le littoral de passage
pour l’Espagne a été complètement restructuré
pour y créer des stations balnéaire grâce
à la Mission Racine. La plus célèbre des
stations, est la Grande-Motte, une ville complètement
nouvelle, construite là où avant il n’y
avait que des marécages. Le but étant de
concurrencer l’Espagne et de développer
cette partie de la méditerranée française
au détriment de la côte d’azur.
Toujours dans les années 1960, le Plan Neige
sera mis en place, là il concerne la création
de nombreuses stations de ski et la modernisation
des anciennes, avec des villages de vacances
et toutes les infrastructures qui vont avec.
La France devient donc un pays du ski et chaque
année, les stations alpines attirent les
populations de tout le territoire.
Cette politique d’aménagement du ski sera
arrêtée en 1977 car remise en cause pour
dégradation du paysage.
Portuguese:
o que tornou internacionalmente conhecida
a delicada situação social desses espaços urbanos.
Desde então, os bairros construídos na França tentam integrar diferentes camadas sociais.
Em se tratando de planejamento territorial, grandes infra-estruturas
foram criadas nos anos 60 para desenvolver o turismo.
O Languedoc, que é o litoral de passagem rumo à Espanha, foi completamente re-estruturado
para a criação de estações balneares, graças à "Missão Racine".
A mais famosa dessas estações, a Grande-Motte, uma cidade completamente nova,
construída onde antes havia apenas pântanos.
O objetivo é de fazer concorrência à Espanha e desenvolver essa parte do litoral mediterrâneo francês
em detrimendo da Côte d'Azur.
Ainda nos anos 60, o "Plan Neige" sera posto em prática.
Ele diz respeito à criação de novas estações de esqui, e a reforma das já existentes,
com as "vilas de férias" e toda a infra-estrutura pertinente.
A França se torna, assim, um país do esqui, e, todos os anos, as estações alpinas atraem populações de toda parte.
Essa "política do esqui" será cancelada em 1977 devido à degradação da paisagem.
Russian:
Франция, кроме того, является членом Союза
Европейский как член-основатель,
член ООН в качестве члена Совета
постоянный, таким образом, он имеет право
вето, которое она использовала очень редко.
Как и все постоянные члены, он имеет
ядерного оружия. Но она не подпишет
не договор о нераспространении оружия
ядерный, когда он был создан в 1970 году,
подождите до 1992 года, чтобы это сделать.
А пока она успеет развиваться
его технологии, делать воздушные испытания
сначала в алжирской сахаре, затем
во французской полинезии. Только тогда
подземные испытания.
Что не преминет привлечь
враги, в частности экологическая ассоциация
Гринпис в 1970-х годах. В 1985 году
Франция, не колеблясь, совершит
нападение на лодку Гринпис, когда
пришвартовался в Новой Зеландии, которая
создаст дипломатический инцидент великого
масштаб.
В 1991 году Франция обещала остановить
выстрелы, но в конце концов она берет их обратно для
одна последняя серия в 1995 году. Там будет
беспорядки на Таити и протест
Океанические страны. Франция подпишет год
Spanish:
Francia, además, es miembro de la Unión
Europeo como miembro fundador,
miembro de la ONU como miembro del Consejo
permanente, por lo tanto tiene derecho
de veto que usaba muy raramente.
Como todos los miembros permanentes, tiene
de armas nucleares. Pero ella no firmará
no el tratado de no proliferación de armas
nuclear cuando se creó en 1970,
espere hasta 1992 para que lo haga.
Mientras tanto, ella habrá tenido tiempo de desarrollarse
su tecnología, haciendo pruebas aéreas
primero en el sahara argelino, luego
en la polinesia francesa Solo entonces
pruebas subterráneas
Lo que no dejará de atraer
enemigos, en particular la asociación ambiental
Greenpeace en la década de 1970. En 1985,
Francia no dudará en cometer un
ataque al barco de Greenpeace cuando
fue amarrado en Nueva Zelanda, que
creará un incidente diplomático de gran
escala
En 1991, Francia prometió detener el
disparos, pero finalmente los toma de vuelta para
una última serie en 1995. Habrá
disturbios en Tahití y una protesta de
Países de Oceanía. Francia firmará el año
German:
Frankreich ist ein Mitglied der Union
Europäer als Gründungsmitglied,
Mitglied der UNO als Mitglied des Rates
permanent, sie hat also ein Recht
Veto benutzt sie nur selten.
Wie alle ständigen Mitglieder hat es
der Atomwaffe. Aber sie wird nicht unterschreiben
nicht der Nichtverbreitungsvertrag
bei seiner Gründung im Jahr 1970 wird es notwendig sein
warte bis 1992, um es zu tun.
Inzwischen wird sie Zeit haben sich zu entwickeln
seine Technologie, Lufttests durchführend
zuerst in der algerischen Sahara
in Französisch-Polynesien. Dann dann nur
unterirdische Tests.
Was nicht fehlen wird, um anzuziehen
Feinde, vor allem die Umweltorganisation
Greenpeace in den 1970er Jahren.
Frankreich wird nicht zögern, eine
Angriff auf das Greenpeace-Schiff, als er
wurde in Neuseeland festgemacht
wird einen diplomatischen Vorfall von großer schaffen
Größenordnung.
1991 versprach Frankreich, aufzuhören
Schüsse, aber schließlich nimmt sie sie für zurück
eine letzte Serie im Jahr 1995. Es wird sein
Aufstände in Tahiti und ein Protest von
Pazifische Länder. Frankreich wird das Jahr unterzeichnen
Esperanto:
Francio fakte estas membro de Eŭropunio kiel fondinta membro,
membro de UN kiel membro de la konstanta konsilio, ĝi tial disponas vetoan
rajton kiun ĝi uzis nur malofte. Kiel ĉiuj konstantaj membroj, ĝi disponas
atomarmilon. Sed ĝi ne ratifikos la traktaton de atomarmila
nedisvastigo dum ĝia kreiĝo en 1970, necesos atendi 1992 por ke ĝi faru tion.
Intertempe, ĝi havis tempon por disvolvigi sian teknologion, farante aerajn provojn
unue en alĝeria Saharo, kaj poste en Franca Polinezio. Kaj poste, nur
subterajn provojn. Tio ne maltrafos allogi
malamikojn, ĉefe la ekologiista asocio Greenpeace dum la jaroj 1970. En 1985,
Francio ne hezitos fari atencon kontraŭ ŝipo de Greenpeace kiam ĝi
estis almarita en Novzelando, tio kreos diplomatan incidon de granda
amplekso. En 1991, Francio promesas ĉesi
pafojn, sed finfine ĝi reekigas ilin por lasta serio en 1995. Okazos
tumultoj en Tahitio kaj kontestado el oceaniaj landoj. Francio ratifikos sekvontjare
Spanish:
Francia, además, es miembro de la Unión
Europeo como miembro fundador,
miembro de la ONU como miembro del Consejo
permanente, por lo tanto tiene derecho
de veto que usaba muy raramente.
Como todos los miembros permanentes, tiene
de armas nucleares. Pero ella no firmará
no el tratado de no proliferación de armas
nuclear cuando se creó en 1970,
espere hasta 1992 para que lo haga.
Mientras tanto, ella habrá tenido tiempo de desarrollarse
su tecnología, haciendo pruebas aéreas
primero en el sahara argelino, luego
en la polinesia francesa Solo entonces
pruebas subterráneas
Lo que no dejará de atraer
enemigos, en particular la asociación ambiental
Greenpeace en la década de 1970. En 1985,
Francia no dudará en cometer un
ataque al barco de Greenpeace cuando
fue amarrado en Nueva Zelanda, que
creará un incidente diplomático de gran
escala
En 1991, Francia prometió detener el
disparos, pero finalmente los toma de vuelta para
una última serie en 1995. Habrá
disturbios en Tahití y una protesta de
Países de Oceanía. Francia firmará el año
French:
La France d’ailleurs est membre de l’Union
Européenne en tant que membre fondateur,
membre de l’ONU en tant que membre du Conseil
permanent, elle dispose ainsi d’un droit
de véto qu’elle n’a utilisé que rarement.
Comme tous les membres permanents, elle dispose
de l’arme nucléaire. Mais elle ne signera
pas le traité de non prolifération des armes
nucléaires à sa création en 1970, il faudra
attendre 1992 pour qu’elle le fasse.
Entre temps, elle aura eu le temps de développer
sa technologie, faisant des essais aériens
d’abord dans le sahara algérien, puis ensuite
en polynésie française. Puis ensuite, seulement
des essais souterrains.
Ce qui ne manquera pas de s’attirer des
ennemis, notamment l’association écologiste
Greenpeace dans les années 1970. En 1985,
la France n’hésitera pas à commettre un
attentat contre le bateau de Greenpeace lorsqu’il
était amarré en Nouvelle-Zélande ce qui
créera un incident diplomatique de grande
ampleur.
En 1991, la France promet d’arrêter les
tirs, mais finalement elle les reprend pour
une dernière série en 1995. Il y aura des
émeutes à Tahiti et une contestation des
pays océaniens. La France signera l’année
English:
France is a member of the European Union as a founding member,
member of UNO as member of Permanent council, it dispose of a power of veto which was rarely used.
Like the other permanents members, it disposes of the nuclear weapon,
but it will not sign the treaty of non-proliferation of nuclear weapons at its creation in 1970.
It was not until 1992 that she did it.
In the meantime, it will have had the time to develop her technology, doing aerial tests,
first in the algerian Sahara, next in French Polynesia. Then only underground tests.
What will not fail to get into trouble, especially the ecologist association Greenpeace in 1970s.
In 1985, France won't hesitate to commit an attack on the ship of Greenpeace when moored in New-Zeland,
which will create a diplomatic incident of great magnitude
In 1991, France promised to stop shooting, but finally, there was a last serie in 1995.
There will be riots in Tahiti and a challenge of the Oceanian countries.
Portuguese:
A França é, além disso, membro fundador da União Europeia,
membro da ONU e também membro permanente de seu Conselho de Segurança,
o que lhe confere um direito de veto, utilizado pelo país raramente.
Como todos os demais membros permanentes, ela possui ogivas nucleares,
mas não assinará o tratado de não proliferação de armas nucleares em sua criação, em 1970.
Apenas em 1992 a França o assinou.
Entre esse tempo, o país teve tempo de desenvolver sua tecnologia, fazendo testes balísticos,
primeiramente no saara argelino, depois na polinésia francesa.
Em seguida, apenas testes subterrâneos, o que não deixará de gerar incômodos,
principalmente para a associação ecológica Greenpeace, nos anos 1970.
Em 1985,
a França não hesita em cometer um atentado contra uma embarcação do Greenpeace ancorado na Nova Zelândia,
o que cria um incidente diplomático de grande amplitude.
Em 1991, a França se compromete a parar com os testes,
mas acaba os retomando em uma última série, em 1995.
Surgiram revoltas no Taiti, e uma contestação de países do pacífico.
German:
nach dem umfassenden Verbot Vertrag
Atomtests.
Wie auch immer, es war Frankreich. Es würde sein
hatte viele andere Dinge zu sagen, aber
Ich konnte nicht alles sagen.
French:
suivante le traité d’interdiction complète
des essais nucléaires.
Enfin bref, c’était la France. Il y aurait
eu beaucoup d’autres choses à dire mais
je ne pouvais pas tout dire.
Esperanto:
la traktaton pri tuta malpermeso de atomprovoj.
Nu, resume, tio estis Francio. Estus multe da aliaj aferoj dirindaj sed
mi ne povos ĉion diri.
English:
France will sign the following year the Comprehensive Nuclear-Test-Ban Treaty.
Anyway, it was France. There would have been many more things to say but I could not tell everything.
Portuguese:
A França assina, no ano seguinte, o tratado de interdição completa dos testes nucleares.
Enfim, essa foi a França, e há muito mais coisas para dizer,
mas eu não poderia dizer tudo.
Spanish:
siguiendo el tratado de prohibición integral
pruebas nucleares
De todos modos, fue Francia. Habría
tenía muchas otras cosas que decir pero
No pude decirlo todo.
Spanish:
siguiendo el tratado de prohibición integral
pruebas nucleares
De todos modos, fue Francia. Habría
tenía muchas otras cosas que decir pero
No pude decirlo todo.
Russian:
следуя договору о всеобъемлющем запрещении
ядерные испытания.
Во всяком случае, это была Франция. Там будет
было много других вещей, чтобы сказать, но
Я не мог сказать все.
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GOOD EVENING.
JUST TWO YEARS AFTER THE
STATE- RUN MARTIN LUTHER
KING JUNIOR
COMMISSION EMPLOYEES
WERE CONVICTED OF
EMBEZZLEMENT -- A FORMER
EMPLOYEE SAYS THEY ARE
STILL UP TO NO GOOD.
HERE'S NEWS 13'S JEANNIE
NGUYEN WITH THE
DETAILS... JEANNIE.
JACKIE -- THE FORMER
ASSOCIATE DIRECTOR SAYS
THE COMMISSION IS STILL
MISUSING TAXPAYER
DOLLARS.
BUT SHE SAYS SHE HIT A
FEW ROAD BLOCKS IN HER
EFFORT TO EXPOSE
THEM.
Jacob Candelaria -
Attorney - 1:01:07
"There's some real red
flags here." 1:01:10 IT
STARTS WITH THE MARTIN
LUTHER KING JUNIOR
COMMISSION.
IT'S A STATE-RUN
NON-PROFIT ORGANIZATION
THAT PROMISES TO BRING
SOCIAL CHANGE FOR NEW
MEXICANS.
BUT ATTORNEY JACOB
CANDELARIA SAYS THE
COMMISSION IS
HIDING SOMETHING.
Jacob Candelaria -
Attorney - 1:01:12 "The
commission has not
submitted its audits to
the state of New Mexico
in several years."
1:01:17
CANDELARIA IS THE
ATTORNEY FOR THE
ORGANIZATION'S FORMER
ASSOCIATE
DIRECTOR -- ERICA DAVIS
CRUMP.
HE SAYS SHE WAS
SUSPICIOUS OF THE
COMMISSION'S SPENDING
AND ALSO CLAIMS THE
CURRENT EXECUTIVE
DIRECTOR -- LEONARD
WAITES -- MADE
INAPPROPRIATE AND SEXUAL
COMMENTS TO HER ON THE
JOB.
Jacob Candelaria -
Attorney - 1:00:48 "When
she blew the whistle on
his sexual harassment,
as well as her
concerns about what's
going on financially at
the commission, he
retaliated." 1:00:59
THAT'S WHEN SHE FILED A
PUBLIC RECORDS REQUEST
FOR THE FINANCIAL
RECORDS... CLAIMING 50-
THOUSAND DOLLARS WENT
MISSING FROM
THE COMMISSION BUDGET.
BUT SHE WAS HIT WITH
THIS RESPONSE FROM
WAITES.
IT SAYS -- IN PART --
THAT THE RECORDS ARE NOT
REQUIRED TO BE REVEALED
BECAUSE IT'S A PRIVATE
PART OF THE COMMISSION.
Jacob Candelaria -
Attorney - 1:05:31 "I
think the real problem
is that no one knows."
1:05:34 BUT CANDELARIA
POINTED TO THE STATE'S
WEBSITE... SHOWING THAT
WAITES CREATED THE
FOUNDATION AS "THE
FUNDRAISING ARM OF THE
M-L-K
COMMISSION" -- WHICH IS
A PUBLIC ENTITY.
0:00 Judge: Are you
admitting your part in
that conspiracy?
Yazzie: Yes, your honor.
Judge: Okay. 0:04
THIS COMES JUST TWO
YEARS AFTER FORMER
EXECUTIVE DIRECTOR
KIMBERLY GREEN ALONG
WITH FORMER EMPLOYEES,
CHERYL YAZZIE AND
CHARLES
COUNTEE, USED PHONY
STATE VOUCHERS TO STEAL
MONEY FROM THE
M-L-K COMMISSION.
LEAVING CANDELARIA TO
WONDER IF HISTORY IS
REPEATING
ITSELF.
Jacob Candelaria -
Attorney - 1:08:28 "What
foundation doesn't tell
people how its spending
its money?"
1:08:32
AFTER MULTIPLE ATTEMPTS
TO CONTACT WAITES -- WE
HAVE YET TO
GET A RESPONSE.
JACKIE -- BACK TO YOU.
OKAY... JEANNIE.
CANDELARIA SAYS WHEN HIS
CLIENT QUESTIONED THE
COMMISSION ABOUT THE
MISSING 50-THOUSAND
DOLLARS -- THEY TOLD HER
THEY WOULD NOT LOOK INTO
IT BECAUSE THEY TRUSTED
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Sur cette question au fond, le poète René Char
est très éclairant, il écrit :
"la perspective d'un paradis hilare détruit l'Homme".
Peut-on encore être heureux alors qu'on est encore confinés
et que la situation est difficile
et par certains côtés
angoissante ?
Mais plus largement, peut-on être heureux
quand la situation
est douloureuse ?
C'est une question
qui nous impose de
penser peut-être
plus loin le sens
de ce que ça pourrait vouloir dire qu'être heureux.
Pendant le confinement,
j'ai des amis qui me font part,
avec surprise, parfois même avec une certaine gêne,
qu'ils sont heureux de ce temps
qui, les coupant
d'un certain régime d'occupations
courantes, leur permet
de se retrouver, de couper
avec un certain nombre d'habitudes
comme si il y avait une occasion de retrouver quelque chose d'essentiel
qui les faisait toucher quelque chose comme une vérité profonde
de leur propre existence.
J'ai d'autres amis qui redécouvrent des choses très simples, le plaisir de
voir des westerns avec leurs enfants,
et de partager leur passion alors qu'ils n'avaient jamais le temps
ou de redécouvrir
le bonheur de cuisiner.
C'est pas du tout
des choses anodines
ça pose une question, un déplacement profond.
L'état de bonheur ne veut pas dire un état
de satisfaction complet
coupé de l'ampleur de la réalité
de l'existence.
Mais peut-être qu'il y a une manière d'être heureux
qui ne se coupe pas de la douleur et de la difficulté
mais réussit à y trouver
une certaine alchimie.
Sur cette question au fond,
le poète René Char
est très éclairant,
il écrit : "la perspective d'un paradis hilare
détruit l'Homme."
C'est une phrase qui depuis que je l'ai lue
me frappe, elle a cette force
de ce qui est pensant,
qui nous déplace, nous secoue, nous surprend.
"La perspective d'un paradis hilare",
on pourrait croire que c'est
ce qu'on souhaite tous : enfin,
les lendemains qui chantent, le paradis sur Terre,
enfin la joie universelle,
c'est au fond le discours
très courant de tout un discours de sagesse,
de spiritualité,
qui entourent la méditation et des tas de choses de ce type.
On voudrait grâce à ça trouver un paradis hilare, et René Char
souligne que c'est ça qui détruit l'Homme,
ça détruit l'Homme parce que ça l'empêche
d'habiter l'ampleur de
de la vie et de la réalité.
Mais ça ne veut pas dire là, qu'on renonce
c'est pas une invitation à la détresse, au contraire,
peut-être que cette phrase
elle est la clé du bonheur
qu'il est possible de vivre en ce moment.
"La perspective d'un paradis hilare détruit l'Homme
toute l'aventure humaine contredit cela
mais pour nous stimuler
et non nous accabler."
C'est ça qui est profondément
génial dans ce que voit René Char.
C'est pas qu'il s'agit d'être accablé
en laissant tomber ce rève
au fond d'un paradis
d'un rêve de pacotille, mais au contraire c'est ça qui nous stimule.
Et je crois que c'est à ce prix là
qu'il existe la possibilité d'un bonheur qu'il faudrait repenser
complètement à neuf.
Être heureux nécessiterait donc ce travail pour revenir
à quelque chose de plus essentiel
à quelque chose de
qui nous anime, de plus profond,
et qu'on pourrait enfin laisser se déployer.
Comme ce qui nous empêchait d'être heureux c'est d'être à côté de soi,
à côté du réel, à côté de la vie.
Et donc on comprend bien qu'on peut faire l'épreuve du confinement
dans toute l'épreuve douloureuse
de cette situation,
être en rapport à la crise profonde qui secoue notre monde
qui conduit tant de gens à souffrir
et d'être heureux sans que ce soit un aveuglement à la situation,
mais une manière au contraire
de trouver comme le dit
René Char, une stimulation par rapport à quelque chose d'essentiel.
Et je crois que c'est ça qu'il faut réussir à penser.
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Hi, man.
What are you doing?
I’m drinking wine and eating cheese,
and catching some rays, you know.
What’s happening?
Well, the tank’s broke and they’re trying to fix it.
Well, then, why the hell aren’t you up there helping them?
Oh man!
I only ride them,
I don't know what makes them work.
Oh, creeps!
Definitely an anti-social type.
Woof, woof, woof!
That's my other dog imitation.
It's sucks, Kelly.
Maybe we can use the fuel pump
from that tank.
No no, it won't work on this motor.
Mechanical genius.
Oh, man!
Oddball, I can't make it work without
the parts
no matter how positive I think!
Then make a deal.
What kind of a deal?
A deal deal!
Maybe the guy's a Republican.
Business is business.
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Aunque aquí sea un desastre
Si dormí como un tronco anoche dormi mejor que nunca gracias por todo
creo que tu verdadero viaje comienza
ahora no es verdad Ash y por cierto
ya te dieron un pokédex de la región
Kalos no entonces por favor llevate
esté contigo y has buen uso de él
muchas gracias profesor estás listo
para irte amigo suerte con su
investigación profesor adios! aaay!
Froakie?
oye creo que quiere irse contigo
no puedo creerlo Froakie te eligio
Si que le gusta Ash que dulce
eso creen eh?
bien Froakie quieres venir con nosotros?
es asombroso que vengas con nosotros froakie
Pikachu Froakie es nuestro primer amigo en kalos
si tengo un Froakie si!
nuestro heroe tiene a su primer Pokemon de la region Kalos Froakie ahora que otros amigo y aventuras le esperan a Ash
Descubrelo cuando el viaje continue
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Transcription: Elise LECAMP
Relecteur: eric vautier
(Applaudissements)
Salut.
Je remonte mon pantalon pour ma mère,
je pense qu'elle doit être dedans.
Je vous dis salut pas seulement pour
mettre un peu de proximité, d'intimité,
plutôt que bonsoir.
Salut car je voudrais être
dans l'intimité quand même un peu,
dans la confidence,
parce que je vais
vous faire une confidence.
C'est une confidence qui peut vous
paraître anecdotique, on s'en fiche.
Mais il me semblait
important de vous la dire,
cette confidence,
c'est que j'adore mon troll.
Je ne sais pas si vous savez...
En fait vous savez ce que c'est,
parce qu'on en a tous un dans la vie.
Il y a des gens qui ont plus
de trolls que d'autres
mais tout le monde a un troll
si vous cherchez bien sur Internet.
Le troll, c'est cette étrange créature
qui surgit des tréfonds d'Internet
et qui est là, souvent sous pseudonyme,
pour vous pourrir,
pour vous éclater, pour dire
que vous êtes extrêmement mauvais,
méchant, bête, épouvantable.
Le troll a envie de vous tuer.
Mais moi, j'adore mon troll.
C'est comme ça, j'adore mon troll.
Je vais vous dire pourquoi évidemment.
Déjà, je l'appelle mon troll, je ne sais
pas si c'est un homme ou une femme,
c'est toujours au masculin.
Ne vous avisez pas de dire ma troll,
parce qu'alors là,
c'est une catastrophe.
Vous allez
prendre très cher sur Internet.
Ça m'est arrivé,
j'en ai souvent fait les frais.
Donc,
je l'appelle mon troll effectivement.
Mon troll.
Moi, je pense que
c'est une femme, ce troll.
Je vous dis ça...
Je ne vais pas vous dire
la relation que j'ai avec,
parce que c'est une relation
qui est quand même intime,
même si c'est une relation publique.
Je pense que c'est une femme
parce qu'il surgit
à chaque fois que j'interviewe
une artiste femme,
c'est quand même mon métier.
Il est là tout le temps.
Pour vous donner des exemples,
petit flashback :
il n'y a pas si longtemps, avril 2016.
« Augustin Trapenard.
Vous soutenez donc le viol. »
Là, il était 9h40,
je sortais de mon émission.
J'allume Internet,
j'allume Twitter :
« Vous soutenez donc le viol. »
vous conviendrez qu'il y a
d'autres matinées plus agréables.
Je vais vous expliquer pourquoi,
j'ai vérifié,
j'avais invité ce matin-là,
le cinéaste Roman Polanski
dans une émission culturelle,
il me paraissait intéressant d'entendre
ce cinéaste de Chinatown, de Lune de Fiel,
cinéaste qui a un passé
que vous connaissez,
mais bon, je n'aurais
peut-être pas dû l'inviter.
Mais j'ai une vieille histoire
avec mon troll
puisqu'un an et demi plus tôt,
il était déjà là.
Il était déjà là.
Voilà, pareil 9h40,
je sors de la radio,
j'allume mon ordinateur,
je vais sur Internet, sur Twitter.
« Présentement en train de souffrir
la beaufitude d'Augustin Trapenard
juste pour entendre le sourire
dans la voix de Jessica Chastain. »
Beaufitude...
Ce qu'il s'est passé :
j'avais eu le malheur
de mentionner la couleur de cheveux
de mon invitée de ce jour-là,
l'actrice Jessica Chastain,
qui est rousse.
Je me disais comme on est à la radio,
c'est bien de rappeler aux gens qui c'est.
C'est vrai qu'elle est rousse.
J'ai regretté,
je n'aurais pas dû le faire.
Je l'ai fait.
Plus récemment, septembre,
en septembre, mon troll était toujours là.
« Dites Augustin Trapenard,
possible de parler d'autre chose
que du petit minois
quand vous parlez
d'Audrey Tautou,
une Femme »
avec un F majuscule.
Effectivement,
je décris mon invité le matin,
c'est de la radio,
ce n'est pas filmé.
J'ai eu le malheur d'employer ce terme.
Je n'aurais peut-être pas dû.
Je l'ai regretté immédiatement.
Elle est excessive.
Enfin, il est excessif, mon troll.
Très excessif et je l'adore en fait.
J'adore ce troll en fait
parce qu'il a raison.
Il a raison, c'est absurde de parler
de la mignonnerie d'Audrey Tautou,
à la radio
pendant une interview.
Et je fais acte de contrition,
ce n'est pas intéressant.
Ce n'est pas nécessaire de mentionner
que Jessica Chastain est rousse.
On le sait,
ce n'est pas nécessaire de le dire.
Quant à Roman Polanski,
aussi bon soit-il, immense cinéaste,
il y a des gens, des auditeurs,
des auditrices,
des hommes et des femmes,
rien que d'entendre son nom,
de l'entendre parler,
ça les heurte.
C'est quelque chose à respecte.
Ce n'est pas pour ça qu'il a raison.
Il a raison parce qu'il me pose question.
Il me pose des questions, il me force
à m'interroger, tout le temps.
Quelles questions est-ce qu'il me pose ?
Où est le sexisme dans mon métier ?
Quelle place est-ce que je donne
aux femmes dans mon émission,
que ce soit à la radio
ou à la télévision ?
Comment est-ce que je parle des femmes,
comment je parle aux femmes,
quand je suis un homme ?
Est-ce que c'est possible
quand on est un homme
d'interroger une femme,
- vous avez vu, je dis bien interroger,
pas cuisiner, sinon mon troll revient -
d'interroger une femme
sans paraître macho.
Je vous dirai, c'est facile, tous les
matins, je fais une programmation.
C'est-à-dire que je travaille à
l'invitation de cinq invités par semaine.
Alors c'est très compliqué
parce qu'il faut varier les arts.
Je ne peux pas avoir un comédien le lundi
et un comédien le mardi.
Il faut varier les arts,
les genres, les tonalités.
Il faut varier plein de choses,
il faut un petit peu de diversité.
Il faut évidemment de la parité,
de la mixité, de l'égalité.
Inutile de vous dire que cette
programmation est un cauchemar,
c'est un puzzle.
Tous les jours j'essaye, je travaille,
je me bats pour faire
une bonne programmation.
Évidemment,
je ne sais pas
si vous avez remarqué
mais le plus compliqué,
en fait, c'est l'égalité.
A la radio comme à la télé,
on entend toujours plus
d'hommes que de femmes.
Ça semble un cliché, mais c'est vrai.
C'est d'autant plus vrai et intéressant
dans le domaine de la culture
où il y a énormément de lectrices,
d'auditrices, de spectatrices,
bien plus que de lecteurs,
auditeurs, spectateurs.
Il y a énormément de femmes artistes,
sans doute plus que d'hommes artistes.
Mais à niveau de célébrité égal,
on invite toujours d'abord
un homme plutôt qu'une femme.
Alors il faut résister.
Même moi qui résiste sans cesse -
parce que j'en fais un combat,
je vais vous raconter après -
je me fais prendre au piège.
Je me souviens, il n'y a pas si longtemps,
à cette rentrée,
je construis ma programmation, j'ai
une semaine exclusivement féminine.
C'est-à-dire que le lundi,
j'ai l'actrice Virginie Efira.
Le mardi, une romancière :
Céline Ménard.
Mercredi, Sophie Marceau,
j'étais très content.
Le jeudi, Brigitte Fontaine,
très content aussi,
après l'émission un peu moins...
Le vendredi...
A la question :
« Qu'est-ce qu'une féministe ? »
elle m'a répondu :
« Quelqu'un qui n'est pas québécoise. »
Je n'ai pas compris.
(Rires)
Et le vendredi, j'avais
cette immense intellectuelle américaine
qui s'appelle Siri Hustvedt.
Et je me suis vanté
de cette programmation :
« Génial, une semaine
exclusivement féminine. »
C'est un scandale.
Je n'aurais jamais dû m'en vanter.
Ça devrait être normal.
Première erreur.
Deuxième erreur,
à mon avis encore plus grave,
j'ai dit une connerie monumentale :
- je me disais que Siri Hustvedt
n'est pas très connue,
alors qu'elle l'est partout.
Mais en France un peu moins.
J'essayais de me rattraper.
J'ai dit : « Je suis très content
de recevoir Siri Hustvedt
parce que je l'ai invitée
plutôt que son mari Paul Auster. »
Très maladroit.
On ne devrait pas faire ça.
Je n'aurais pas dû le faire.
Je fais acte de contrition.
Là encore,
la moindre des choses quand on veut
une programmation de mixité,
c'est justement ça.
C'est justement de ne pas s'en vanter,
de ne pas insister.
Mais, ça c'est rien, la programmation.
Parce que souvent, mon troll me dit :
« Le problème n'est pas le sujet,
ni les gens que vous invitez,
que vous parliez de féminisme ou non,
c'est les mots
que vous employez. »
C'est vrai que ce langage
que vous connaissez tous,
qu'on emploie tous,
c'est un langage très souvent
très masculin.
C'est un langage machiste.
C'est un langage qui a en lui
la mémoire du patriarcat.
C'est impressionnant.
Ça peut être une question.
Quand on la pose à une femme,
soudain, ça devient extrêmement dur.
On lui demande de se justifier.
Ça peut être un cliché sur la beauté,
un mot qu'on emploie,
du coup toute la ligne éditoriale change.
Je me souviens,
j'ai reçu Marion Cotillard.
C'était il y a 3 semaines,
au moment, il ne fallait pas en parler,
où, en plein divorce
de Brad Pitt et Angelina Jolie,
un site américain nous a expliqué que
Marion Cotillard était
sans doute responsable.
Tous me disaient :
« Tu vas lui poser la question ? »
Je ne l'ai pas fait,
ça ne m'intéresse pas.
Mais ça à la limite,
vous pouvez vous dire
qu'il y a des auditeurs que ça pourrait
intéresser. Il pourrait poser la question.
C'est une première chose.
Puis j'ai pensé :
« Ça va la heurter. »
Vous allez me dire :
« On n'est pas là
pour lui servir la soupe.
Elle peut quand même répondre.
Ça va ! »
Mais ce n'est pas pour ça en fait.
Je ne l'ai pas fait
car si j'avais posé
la question à un homme,
ça aurait été drôle.
Quand je la pose à une femme,
ce n'est pas drôle, c'est insultant.
Cette question porte en elle
la mémoire d'une soumission.
Elle porte en elle,
elle charrie, elle véhicule
des clichés épouvantables,
contre lesquels
il s'agit sans cesse de lutter,
et c'est la moindre des choses
quand on fait mon métier.
Moi, je suis féministe.
(Applaudissements)
Alors, je le dis.
Je dis : « Je suis féministe. »
Je suis féministe,
je le dis aux hommes, à mes frères.
Je le dis aux machos,
à mes frères.
Je le dis aux femmes.
Je le dis aux féministes,
pas forcément facile,
parce que vous le savez,
il y a certaines féministes
qui me disent :
« Tu n'es pas féministe.
Au mieux, tu es un allié du féminisme.
Mais t'es pas féministe,
parce que le féminisme
c'est par et pour les femmes. »
Je vais vous dire,
en plus d'une programmation
que je voudrais plus mixte,
en plus d'un langage auquel je veille,
pour ne pas qu'il heurte,
j'ai un troisième défi,
c'est celui d'être féministe
et de le dire haut et fort.
C'est la raison pour laquelle
je suis signataire et ambassadeur
de la campagne #HeForShe
dont on a parlé tout à l'heure,
que vous connaissez parce
qu'elle a été fondée par l'ONU Femmes,
et portée par cette formidable
comédienne anglaise Emma Watson,
qui est une campagne
qui lutte contre les stéréotypes
mais surtout qui engage
les hommes et les garçons
à lutter contre ces stéréotypes.
C'est une campagne que j'aime,
que je signe et que je resignerai
parce qu'elle nous engage,
parce qu'elle nous invite à partager,
parce qu'elle est, à mon sens, centrale.
Et je vous invite du coup
à devenir signataire de #HeForShe
parce que vous êtes,
si vous êtes possiblement féministes,
vous avez le droit de le dire.
Et je suis étonné que mon troll
ne soit pas réapparu
parce que quand on dit :
« Je suis féministe », il réapparaît.
Tiens le voilà ! Il déteste qu'on dise...
Je ne peux plus le voir, en fait.
Je l'adore mais je ne peux
plus le voir parce que...
Ce que j'aimerais,
c'est qu'il se taise une fois,
qu'il disparaisse,
qu'il ne soit plus là,
qu'il s'en aille.
Une fois, ou alors qu'il me fasse
un compliment.
Pas qu'il sait que je suis féministe,
ça, je le sais, je n'ai pas besoin de lui.
Mais pour qu'il se dise
qu'il y a une infime possibilité
pour que la question ne se pose plus.
Merci.
(Applaudissements)
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hey
welcome to the outer banks
yeah so this is the real outer banks not
like the tv show outer banks that was
actually filmed in like south carolina
or something like that
this is the real outer banks off the
coast of north carolina
the outer banks are a 200 mile long thin
strip of barrier islands
these tiny islands are surrounded on one
side by the atlantic ocean
with a calmer lagoon or sound side on
the opposite side of the islands
right now we're practically in the
middle of a tropical storm here it
hasn't quite formed into a tropical
storm yet but there's some crazy rip
currents out there
and some crazy winds right now actually
you can see the beach patrol coming by
here right now
red flag out because we've got a
tropical storm that's about to form
there so
red flag out for dangerous rip currents
I'm pretty much standing in the middle
of tropical storm fay right now it's
like the eye of the storm
it's kind of crazy looking to be honest
now a barrier island like this
essentially just one giant sand dune
in the middle of the ocean now because
this whole thing is made up of just
sand it's very susceptible to changes
from the ocean tides
and those changes and shifting sand
structures gives this stretch of the
atlantic ocean the notorious name
the graveyard of the atlantic off the
coast of the outer banks is an area of
shifting sand shoals known as the
diamond shoals
which are formed at a geological high
point where the southern gulf stream
and the northern labrador ocean currents
converge
this area sees opposing wave forces that
move massive
undersea sand bars in unpredictable ways
since record keeping began back in 1526
there have been more than 5000
shipwrecks in these waters and
countless lives have been lost and this
is a problem that's not just
isolated to really old ships sure there
are shipwrecks from the 15
and 1600s there are also shipwrecks from
the civil war era
but there are also shipwrecks from just
a few months ago
like the ocean pursuit which ran aground
in
april of 2020. one kind of interesting
thing about the ocean pursuit is
actually because the sands shift so
easily it's not sinking in water but
it's actually sinking
in the sand i really wanted to
understand why this area of the atlantic
was so treacherous and so for that
i got in touch with keeper james this is
james charlet and locally he's known as
keeper james he's an authority on the
united states life-saving service which
eventually morphed into today's u.s
coast guard
and he's written a book called
shipwrecks of the outer banks dramatic
rescues and fantastic wrecks in the
graveyard of the atlantic it's really
pretty fascinating stuff i'm about
halfway through it on my kindle so if
you're into that history kind of stuff
there's a link
in the description below but in the book
he talks about the many reasons
why there were so many shipwrecks in
this area they're two major
currents and they meet right here at
cape hatteras and when i say they meet
they don't just meet
they explode they create uncharted sand
dunes underwater that you can't see
and they extend out for 20 miles
offshore
so you can be well out of sight of the
shore and you think you're in
in deep ocean water and it can be four
feet deep captains knew that this was a
dangerous area of shoals
so you could either go 20 miles outside
of that area or you could risk it and
try to cut
in close many decisions were made
poorly
and resulted in shipwrecks we call the
outer banks the barrier islands
that's exactly what they are they are
barriers it's actually 301 nautical
miles there is no port no safe port
anywhere along there
in a sailing ship that could take you
three or four days you could leave on a
very nice day and weather can change
very quickly
this is what keeper james calls the
treacherous choice
you see ship captains of the time knew
that this area was dangerous but the
pressure to risk it
and rush through was a real problem
whether that was rushing to get their
product to a certain destination faster
or trying to avoid storms in the area or
maybe they were trying to outrun some
german
u-boats although a lot of shipwrecks in
this area were due to natural causes
a lot of them were caused by humans you
see ships passing close to shore would
have very narrow passageways that they
could go
through the diamond shoals and german
u-boats in world war one and world war
ii knew that and they could just hang
out and wait
in fact the area right off of cape
hatteras was nicknamed
torpedo junction these narrow passages
that ships pass through though
could change at any time one of the
problems
is you can go through one day but the
next day the shoals have shifted and
changed so
you can't count on any of that this is
so crazy
and i really feel like we need to know
how
sand works so we need an expert for that
but
where do you find an expert on sand for
that i turn to tim
kana who's the president of coastal
science and engineering
he's got a phd in geology and he's been
doing coastal projects
for over 30 years
the capes the famous capes of the
carolina
hatteras cape lookout cape fear they're what
the
geologists refer to as cuspate forelands and
they tend to form in
areas where there's bi-directional winds
we have a plentiful sand supply
coming out of the chesapeake ridges
offshore and they're moving
south under those northeast waves
meanwhile when the waves are from the
southwest they're also
trying to push sand but they're pushing
sand in a northeasterly direction so
when they converge
that accumulates some sand in that area
i think it's important to note that
we're talking about
three different ocean water concepts
here
there's waves there's currents and
there's tides
waves are generally caused by winds
sometimes over huge distances or even by
storms that are far off in the distance
ocean currents can
get pretty complicated but that's
generally the direction you would travel
in a boat
if you shut off your engines or put down
your sails there are both surface level
currents
and deep water currents and sometimes
those are not the same
then there are tides which is the level
or the height of the water and that can
rise or fall
depending on the position of the moon
and the sun and then the other
big factor is the tidal range in the outer
banks
we have much lower tide range but the
waves are much bigger
and the waves are what really build the
barrier beaches
and they're actually like bulldozers
they're pushing sand
up the profile and if you put enough
sand in the system it will actually
build the beach
it will build the dunes up and so on so
as we've been out here for the week i've
kind of been tracking the tides high
tide and low tide particularly because
this week there has been a huge sandbar
out here that my kids who are pretty
small can go out and walk around
in the ocean surf it got me thinking
about how high tide and low tide work
because
as i'm tracking it i noticed there are
two high tides
now i've always known that the moon has
been responsible for a lot of the tides
i think most of us have heard that the
moon's gravity pulls on the water
and create some of the ocean movement
but that doesn't explain why there are
two high tides on most days because the
moon is only overhead once
so then what creates the second high
tide
so let's take a moment to review how
ocean tides work
the moon has its own gravity and the
side of the earth that's closest to the
moon
will be pulled upwards towards the moon
a little now
land masses they don't move so easily
but water
can so you would have high tide
essentially when the moon
is directly overhead and low tide would
be on the adjacent sides
but what about the opposite side of the
earth
this side feels the least amount of
gravitational pull from the moon but
this is where the other
high tide occurs and what's actually
happening here is that the earth itself
is being pulled towards the moon and
leaving the water behind
creating another high tide bulge now the
moon
is not the only factor at play though
because the sun and its gravity
also play a big part when the moon and
the sun
are lined up in either a full moon or a
new moon
orientation this can increase the tidal
variations
meaning that the peak to trough range
will be larger between high tide and low
tide
this is called a spring tide not spring
like the season but spring like the
action to spring up
alternatively when the moon is at a half
moon on either side
the sun's gravity will actually
counteract some of the moon's gravity
creating a smaller tidal range
known as neap tides for a place like the
outer banks tides and storms in general
can be super important to track
because they are barrier islands and
those sands are shifting all over the
place and with storms like this
happening you can get a sand bar that
forms overnight
now one really cool instance of this was
just down the beach here in
buxton near the cape hatteras lighthouse
and it was something called shelly
island which actually just recently
formed again here in 2020 but it formed
a couple years back
out in the ocean just off of cape point
down by the hatteras lighthouse that
was essentially the beginnings of a
whole brand new
island now this is something that could
grow in size or it could just as easily
be
washed away with another storm like the
one today
if the storm comes along it's going to
move the sand around
some of it's going to go offshore
without question but what we found in
nags head is
some also moved and actually built up
the beach at the toe of the
dune so the profile was just adjusting
this is a really cool concept which tim
calls the sandbox which describes how
the sand moves both
on shore and offshore now if you've ever
built a sand castle near the ocean
you've probably seen them destroyed the
next time high tide comes up and for me
i've always pictured the ocean
as less of a constructive force and more
of a destructive force
but that's not necessarily the case one
of the things that tim's company does
really well is plan out beach
nourishment projects which is where they
will dredge sand from really far
offshore
and bring it back into the sandbox
or the littoral zone to build up the
beaches
and the dunes you're basically measuring
a sandbox and if that quantity
stays constant over time you've got a
zero
erosion rate during storm conditions
sand is moving offshore
but importantly they haven't taken it
way out into deeper water and during
fair weather conditions
sand is coming back onshore, it forms bars
and then
those bars come ashore build the beach
back up and it just keeps going through
the cycle so throughout the year you'll
have opposing
changes in this area in the summertime
you'll typically have calmer weather
which would help build up the beaches
and transport that sand
onto the seashore but the wintertime is
storm season and that's when you can see
dramatic shifts in the shape
or the location of those sands and you
start mixing shifting sands with winter
storms
and that's just another recipe for
shipwrecks we have conflicting
winds as well so in the summertime we
have the southwest winds and in the
winter time we have the northeast winds
those are the winds that create the
the famous nor'easters which are
actually much more devastating than most
hurricanes and at some point no matter
what you do
you're going to have either conflicting
currents or conflicting wind
and unfortunately the graveyard of the
atlantic still exists today
and there's hardly a day that goes by
that i do not see a coast guard
helicopter or coast guard airplane
go over fortunately these days
shipwrecks aren't a frequent occurrence
modern technology gps systems and
tracking sand movement has all become
commonplace but we've still not
eliminated this threat completely
as for the islands themselves well as
tim says with enough sand in the system
they should stick around the beaches may
change they may even move closer to the
mainland entirely but
for the foreseeable future many visitors
will still be able to enjoy this
beautiful area
and observe the wildlife
hey buddy what's going on
hey there dude look at this guy that's
a ghost crab right here
look at this we're getting everything
ghost crab
coast guard
oh no the ghost crab is getting away where
are you going
oh there's another one two of them look
at this one there
one there all right let's leave them
alone
all right that's gonna do it for me i
will see you on the next video. goodbye/
goodbye
you
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Hello, and welcome. In this video, I'll be
talking about the cloud, and cloud storage. So
what is the cloud? We use that buzz word
a lot in IT, we hear a lot, whether it's
commercials for an iPhone, or Microsoft talking about their latest operating system. We
tend to hear this term, the cloud, all
over.
It becomes really mainstream, even people who don't really know what the cloud
means, and abusing the cloud. So the cloud just refers to remote servers that are
off site, and the software and services
that run on them. That's all it is, just as
simple as that.
So communication with these remote
servers and services is performed over
the internet, so since they're remote and
off site, of course the only way to
access those is, over the internet. So the
term, the cloud, has become an
increasingly popular buzzword in the
technology industry, along with cloud
storage and cloud processing. Many
applications that we utilize are labeled
as cloud-based, or they say they're
running in the cloud, or they're cloud
powered. Essentially, all of those
buzzwords, mean that those applications
are, in some way or another,
communicating with, or relying on, the
work of remote servers, via the cloud. So
why use the cloud? Well, one of the big
reasons is, that by leveraging servers
that are off site, applications are able
to perform more advanced tasks, and more
intensive tasks than could just be
performed on our own devices. So with
cell phones, accessing the internet more and more all the time, tablets, and smart watches, and even PC's,
the power of what can be done on a
server, is significantly increased over
what can be performed on a lot of these
handheld devices. So by taking advantage
of the cloud, we're able to kinda leverage
some of that
power that's stored off-site. So of course, the big catch with this, with the cloud in
general, and any of this cloud
functionality, is the fact that the
clouds require the internet,
without the internet, the cloud is
essentially useless to us. So speaking
specifically now to cloud storage, cloud
storage is a service model where data is
stored and maintained in the cloud. So
just as the cloud requires the Internet,
cloud storage also requires the internet,
since the data is being stored remotely.
So cloud storage is extremely popular,
I'm guessing that each of you have
probably, in one way or another, utilized
cloud storage whether you've realized it or not. There are hundreds of cloud storage
providers, some really popular ones are
Dropbox, One Drive, and Google Drive. There are a
lot of other services, as well, take
advantage of cloud storage. In addition
to these applications that are really
dedicated to cloud storage, that that's
what they're labeled as, as this is a cloud
storage application, there are a lot of
applications that aren't labeled as cloud
storage applications, but they're enhanced
by cloud storage. So I've listed some examples here, so one of those is, if you play on an
Xbox, for example. Xbox automatically
stores your game progress in the cloud,
so if you're on the latest Xbox
console, the Xbox One, you don't even get
prompted, you don't get asked, it just
automatically does it in the background.
So it takes your save progress, your
game progress, if I complete the
first level of a video game, on the Xbox
One, I can go over to a friend's house I
can log in on my friend's Xbox, and my
save data will automatically be synced using
cloud enhanced functionality.
Another one, Evernote, is a very popular
application for keeping track of notes,
Evernote stores your notes in the cloud.
Microsoft Office, built right into to
Word, Excel, etc.
Microsoft Office supports saving your
documents directly to the cloud. And
another really popular one, of course, is
Apple's iCloud service, which keeps
Apple's devices in sync, utilizing the
cloud, so if you have an iPhone, it'll sync
up with your iPad, which will sync with your MacBook,
et cetera, et cetera. So they were really
good infrastructure there as well.
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let us discuss one of the most important application
on archimedes principle that is apparent weight
of a body submerged in a liquid. to understand
it lets first consider a spring balance . through
which on the hook. we, hang a body of mass
m, say this is spring balance s-p. and through
its hook, a body , weight of mass m is suspended.
in this situation we know that , the spring
balance will have a tendency to read , the
tension in the connecting string in kilogram
force. so in this situation, the block will
be experiencing the weight mg. and the tension
in this situation for the iquilibrium we can
write t is equal to mg. so we can simply state
if, mass m. is hanging. through a spring balance
s-p. we can simply write, its reading will
be. reading is always given as tension divided
by g in kilogram force . and here tension
is mg so this will be m k g of that is the
tension , in the spring which is given as.
as its reading. now see what will happen if
the mass is submerged in a liquid. if i re-draw
the situation in such a way , that again the
spring balance is their. and through its hook
. the same mass is suspended. but, the difference
is . now in this situation the mass is submerged
in a container . which is filled with a liquid
of density ro l. in this situation i take
the density of liquid to be ro l. and let
us consider density of this mass should be
ro as this is the density of solid. now in
this situation, if we wish to find out. the
volume of, weight. which is suspended . this
volume can be written as mass by density of
solid . now in this situation, obviously when
it is submerged, a tension will be acting,
in the connecting string of spring balance.
as well as it’ll experience a buoyant force
in upward direction and its weight mg in downward
direction. so if we draw the free body diagram
of this mass, which is submerged in liquid
as well as hanging through the spring balance
s-p. so this can be written mg. in downward
direction, and in upward direction the forces
can be written as tension plus the buoyant
force. and buoyant force we know . buoyant
force . on block . can always be written as
this, v ro of liquid into g. and the volume
we can directly calculate like this. and for
the iquilibrium of object, we can also write
in this situation. for iquilibrium. of weight.
which is suspended. we can write in this situation
t + f b is equal to mg. or in this situation
tension will be mg minus f-b we can directly
state as buoyancy force is acting in upward
direction . tension will be less. and if tension
is less certainly the reading of weighing
balance will also be less. that’s why we
say , when an object is submerged in a fluid.
its apparent weight decreases. so in this
situation we can write it mg minus f-b f-b
can be written as v ro of liquid g and v can
be given as m by ro s. so it is mg multiplied
by ro l upon ro s this is the expression we
are getting . so here the value of tension
will be mg . one minus, ro l upon ro s. one
point you need to keep this in your mind as
this tension is written as. apparent weight
of object. and if we wish to find out the
reading. we know well that reading is just
t by g. as we have calculated the initial
reading to be m kilogram force, here t by
g when we calculate the reading will be m
multiplied by one minus ro l by ro s. in kilogram
force that is the reading of weighing balance.
so always remember whenever a body of mass
is submerged in a liquid. then within its
submerged state its apparent weight is written
as mg one minus ro l by ro s this is also
very useful relation will use in different
applications. numerical and different kind
of illustrations also.
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Hi this is Jason from best soccer tricks
dot com. I will be showing you an exercise for
wingers and fullbacks. So, basically this
drill you don't need to put any cones,
you just need your soccer ball. So, you
can start around the halfway line and
you'll just do a couple juggles, kick it
high and then take a good touch and
run along the line try to keep it you
know as shred as possible along the line
and imagine eventually that there's a an
adversary, a defenseman so cut inside, you
can do a small deke and take a shot on
goal. And if you're a fullback, you could
continue along the line and whip it
across pretend there's one of your teammates
there. So I'll do it in real life now.
[Soccer player doing an exercise]
[Winger doing a soccer exercise]
[Soccer player practicing on the field]
So, the variation I just did was for the
wingers, it's important you know to
visualize in your head, pretend that
there is a defender, you know do some moves
that you're going to do in a game, cut
inside sharp and when you can, if you get a good
angle, take a nice hard shot and
now I'm going to do an alternative for the
fullbacks, I'm going to start a bit closer to
the goal and I'm going to cross it and it's
basically like if the fullback is coming
for an overlap. So, you know you receive a
ball, take a touch down the line and a
bit before the back line, you put in
a good cross or even if you want to put
in an earlier cross, if you put an
earlier cross, do it with a lot of curve
so you curve it and it goes in the path
of your forwards. So, I'm going to show it now.
[Soccer player demonstrating an exercise for fullbacks]
I hope you enjoyed the video
of a nice drill for wingers and fullbacks.
Like I said, before you know, you have to
visualize the opponent, you have to
practice moves that you like to do in a
game because if you practice them here
often once come the game, you'll do it
naturally. Focus on the shot to get a
nice powerful shot, try to aim for either
post, because it's harder for the keeper
usually if you shoot it in the middle
obviously, it's easier for the goalkeeper
but practice your dribbling along the
line, so that the ball doesn't go out for
fullbacks, practice nice strong crosses.
Like I said, you can either go all the
way back to the line
or right before the box, get a nice
curved cross in and it also works on
your speed and your quick touches and
dribbling. So, I hope you enjoyed the video
drop a like and subscribe to
bestsoccertricks.com
[Best Soccer Tricks]
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Estonian:
Ütleme et meil on reaktsioon molekul A plus molekul B
dünaamilises tasakaalus molekulidega C plus D.
Mis tähendab, et reaktsioon kulgeb edasi sama kiirusega
kui tagasi, või siis
pöördreaktsioon.
On tasakaalukontsentratsioonid A, B, C ja
D-st ning me võime välja arvutada mis tasakaalu-
konstant on kui me tahame.
Ning ma ütlen uuesti
Nagu ma olen öelnud juba 4 korda
See, et reaktsioon kulgeb mõlemas suunas sama kiirelt,
ei tähenda et kõik ainete
konsentratsioonid on samad.
Kõikide molekulide kontsentratsioonid
võivad olla vägagi erinevad.
Need lihtsalt ei muutu, kuna reaktsioon toimub
mõlemat pidi sama kiiresti.
Nüüd siis, kui meil on tasakaal,
Mis juhtub kui ma lisan A-d süsteemi?
Tuletage meelde, see reaktsioon oli tasakaalus.
Konstentratsioonid olid konstantsed.
Portuguese:
Vamos supor que temos a reação entre a molécula A e a molécula B e ela está
em um equilíbrio dinâmico com as moléculas C e D
o que significa que a taxa da reação seguinte está
apresentando a mesma taxa que a reação anterior, ou a
reação inversa
Haverá algumas concentrações de equilíbrio de A, B, C, e
D, e nós podemos imaginar o que a constante
de equilíbrio é, se quisermos.
Vou dizer novamente.
I já disse isso umas 4 vezes ou mais.
O fato de que a taxa da reação seguinte é a mesma
da reação anterior não significa que todas as
concentrações são iguais.
As concentrações de cada uma das moléculas podem
ser muito diferentes.
Elas apenas não estão mais mudando porque as taxas da reação seguinte
e da anterior são as mesmas.
Agora, sabendo disto, e estando em equilíbrio
o que vai acontecer se eu adicionar mais A no sistema?
Então lembre-se, o sistema estava em equilíbrio
As concentrações eram constantes
Chinese:
假設我們有反應
A分子和B分子在動態平衡中
生成C分子和D分子
這表示正反應速率
等於逆反應速率
或者逆反應
這時就有了A,B,C和D的
平衡濃度
並且如果需要還可以算出
平衡常數
我會再提到它的
迄今爲止我好像已經說過4次了
正反應速率等於
逆反應速率
但並不表示所有的濃度是都一樣
每種分子自身的濃度
可以相差甚遠
它們只是不再改變了
因爲正逆反應速率是相等的
現在 這個反應處於平衡狀態
那如果我向係統中加更多A會怎麽樣？
記住 原來處於平衡狀態
濃度是一定的
Norwegian:
La oss si vi har reaksjonen
molekyl A pluss molekyl B i dynamisk likevekt
med molekylene C pluss D
Som bare betyr at hastigheten til reaksjonen
er lik hastigheten til motreaksjonen,
eller den omvendte reaksjonen.
Det vil være noen likevektkonsentrasjoner
av A, B, C og D,
og vi kan finne ut hva likevektkonstanten er
hvis vi vil.
Og jeg gjentar det igjen.
Jeg har sagt det fire ganger så langt.
Faktumet at reaksjonsfarten
er lik farten til motreaksjonen
betyr ikke at alle konsentrasjonene er lik.
Konsentrasjonene selv av hver av molekylene
kan være veldig forskjellig.
De forandrer seg bare ikke lenger
fordi reaksjonsfarten til de motsattrettede reaksjonen er lik.
Nå, gitt dette, gitt at vi er i likevekt nå,
hva kommer til å skje hvis jeg tilføyer mer A til systemet?
Så husk, det var i likevekt.
Konsentrasjonene var konstant.
French:
Considérons la réaction de la molécule A et la molécule B qui est
en équilibre dynamique avec la réaction des molécules C et D,
ce qui signifie que la vitesse de la réaction
de gauche à droite est la même que celle de droite à gauche; c'est-à-dire
la réaction inverse.
Il y aura une concentration à l'équilibre de A, B, C, et
D et si on veut,on peut calculer la
constante d'équilibre.
Je le re-dis,
et je l'ai déjà dit comme quatre fois jusqu'à présent:
Le fait que la vitesse de réaction vers la droite est la même que
la vitesse de réaction vers la gauche ne veut pas dire que les
concentrations sont les mêmes.
Les concentrations de chacune des molécules pourrait
être très différentes.
Elles ne changent plus puisque les vitesses de réaction vers la droite
et vers la gauche sont les mêmes.
Étant donné que le système est maintenant à l'équilibre,
que ce passe-t'il si on y ajoute plus de A?
Alors n'oubliez pas, c'était en équilibre.
Les concentrations étaient constantes.
Bulgarian:
Нека да имаме реакция между
молекулата А и молекулата В,
която е в динамично равновесие
с молекулите С и D.
Което означава просто, че
скоростта на правата реакция
е равна на скоростта на
обратната реакция.
Ще има някакво равновесие между
концентрациите на А, В, С и D
и можем да намерим
равновесната константа.
Пак ще повторя.
Мисля, че съм го казвал
поне четири пъти.
Фактът, че скоростта на
правата реакция е равна на
скоростта на обратната реакция
не означава, че концентрациите са равни.
Концентрациите на всяка от тези
молекули може да е много различна.
Те просто вече не се променят,
защото правата и обратната реакция
протичат с еднаква скорост.
Сега, като знаем че
сме в състояние на равновесие,
какво ще се случи, ако
добавя още А в системата?
Спомни си, че сме
в равновесно състояние.
Концентрациите
са постоянни.
Korean:
A와 B분자가 C와 D분자와
A와 B 분자가 C와 D 분자와
동적 평형상태에 있는 반응이 있다고 합시다.
이는 정반응의 속도가 반대쪽 반응,
즉, 역반응의 속도와 같다는 것을 말합니다.
즉, 역반응의 속도와 같다는 것을 말합니다.
이때, 분자 A, B, C, D의 평형농도가 있을 것이고
원한다면 우리는 평형 상수를 알아낼 수도 있습니다.
원한다면 우리는 평형 상수를 알아낼 수도 있습니다.
다시 한번 말하지요.
여태까지 대략 네 번 정도 말했는데
정반응의 속도가 역반응의 속도와 같다는 것은
모든 반응물과 생성물의 농도가 같다는 것을
의미하지 않습니다.
분자들의 농도는 각각 매우 다른 값을 가질 수도 있습니다.
분자들의 농도는 각각 매우 다른 값을 가질 수도 있습니다.
정반응과 역반응의 속도가 같기 때문에
농도가 더 이상 변하지 않을 뿐입니다.
이제, 반응이 평형상태에 있다고 할 때
제가 계에 A를 더 첨가하면 어떻게 될까요?
반응이 평형상태에 있었다는 것을 명심하세요.
농도는 일정했습니다.
English:
Let's say we had the reaction
molecule A plus molecule B is
in dynamic equilibrium with
molecules C plus D.
Which just means that the rate
of the forward reaction is
going at the same rate as the
backward reaction, or the
reverse reaction.
There will be some equilibrium
concentrations of A, B, C, and
D, and we can figure out
what the equilibrium
constant is if we want.
And I'll say it again.
I've said it like four
times so far.
The fact that the forward
reaction rate is the same as
the backward reaction rate
doesn't mean that all of the
concentrations are the same.
The concentrations themselves of
each of the molecules could
be very different.
They're just not changing
anymore because the forward
and backward rates
are the same.
Now, given this, given that
we're at equilibrium now,
what's going to happen if I
add more A to the system?
So remember, it was
in equilibrium.
The concentrations
were constant.
Thai:
สมมุติว่าเรามีปฏิกิริยา A บวก B
อยู่ในสมดุลพลวัตกับ C บวก D
ซึ่งหมายความว่าอัตราการเกิดปฏิกิริยาไปข้างหน้า
เท่ากับอัตราการเกิดปฏิกิริยาย้อนกลับ
เท่ากับอัตราการเกิดปฏิกิริยาย้อนกลับ
มีความเข้มข้นที่สมดุล ของ A, B, C
และ D และเราสามารถหาค่าคงที่สมดุล
ได้หากต้องการ
และผมจะพูดอีกคร้ังหนึ่ง
ผมได้พูดไปแล้วประมาณ 4 ครั้ง
การที่อัตราการเกิดปฏิกิริยาไปข้างหน้าเท่ากับ
อัตราการเกิดปฏิกิริยาย้อนกลับ ไม่ได้หมายความว่า
ความเข้มข้นของสารทุกตัวจะเท่ากัน
ความเข้มข้นของสารแต่ละตัวในปฏิกิริยา
อาจจะต่างกันมากก็ได้
เพียงแต่มันจะเปลี่ยนแปลงแล้ว เพราะอัตราการเกิดปฏิกิริยา
ไปข้างหน้าและย้อนกลับนั้นเท่ากัน
ตอนนี้ สมมุติว่าเราอยู่ที่ภาวะสมดุลแล้ว
จะเกิดอะไรขึ้น ถ้าผมเติม A เข้าไปในระบบ
จำไว้ว่า มันอยู่ในสมดุล
ความเข้มข้นของสารย่อมคงที่
Czech:
Řekněme, že máme reakci
molekuly A a molekuly B,
které jsou v dynamické rovnováze
s molekulami C a D.
Což znamená, že rychlost přímé reakce
je stejná jako rychlost zpětné reakce.
Máme tedy nějaké rovnovážné
koncentrace molekul A, B, C a D
a můžeme zjistit hodnotu
rovnovážné konstanty.
A řeknu to znovu.
A už jsem to řekl asi čtyřikrát.
Fakt, že rychlost přímé reakce je stejná
jako rychlost zpětné reakce, neznamená,
že všechny koncentrace jsou stejné.
Koncentrace jednotlivých molekul
se mohou značně lišit.
Jen se dále nemění, protože rychlosti
přímé a zpětné reakce jsou stejné.
A vzhledem k tomu,
že jsme teď v rovnováze,
co se stane, když do systému
přidám více látky A?
Pamatujte, měli jsme rovnováhu.
Koncentrace byly konstantní.
Malayalam:
A ennum B ennum namakaranam cheyappetta randu thanmathrakalude parthiparvathanam nadakkunnu ennu karuthuka
ava C ennum D ennum perulla randu thanmatharakale pradhanam cheyunnu ennum karuthuka . Ipplol nammude rasaprathipravarthanam equilibrium avasthayilanu ennu karuthuka
athayath pravarthanavum prathi pravartanavum thulya vegathayil nadakkunu
ee vasthayil A,B,C,D ennivaykku oru prthyeka alavu(concentration)
undakum
athil ninnum namukk equilibrium constantine manasilakkan sadhikkum
Orikkakkoodi,
pravrthana prathi pravarthanangalude thulya vegam
avayude concentration thulyamanennu arthamakkunilla
athayath oro rasavargathinteyum concentration
vyathyasthamayirikkum
pakshe avayil oru mattavum sambhavikkunilla
enthennal munpotum pin[ottum rasapravarthanam thulyathayil nadakkunnu
ippol nammal equilibriuthilanennu karuthuka
najan alppam A koodi ithilekkku cherthal enthu sambhavikkum
ormikkuka nammal equilibriuthilanu
concentrationukal mattamillathe thudarunnu
Spanish:
TÍTULO: Principio de Le Chatelier
Digamos que tenemos una reacción entre moléculas de A y moléculas de B
en equilibrio dinámico con moléculas de C mas D.
Lo cual significa que la velocidad de la reacción directa es
la misma velocidad con la que sucede
la reacción inversa
Habrá ciertas con concentraciones en el equilibrio para A, B, C y
D, y si queremos, podemos encontrar la
constante de equilibrio.
Y digo otra vez
Ya lo dije unas 4 veces
El hecho de que la reacción directa sea la misma que
la reacción inversa no significa que las
concentraciones sean iguales entre sí.
Las concentraciones de cada una de las sustancias puede
ser muy diferente.
Las concentraciones no varían por que las velocidades de reacción
directa e inversa sean iguales.
Ahora, dado que hemos llegado a un equilibrio,
¿que sucederá si agregamos mas A al sistema?
Recuerda, el sistema estaba en equilibrio.
Las concentraciones eran constantes
Chinese:
假设我们有反应
A分子和B分子在动态平衡中
生成C分子和D分子
这表示正反应速率
等于逆反应速率
或者逆反应
这时就有了A,B,C和D的
平衡浓度
并且如果需要还可以算出
平衡常数
我会再提到它的
迄今为止我好像已经说过4次了
正反应速率等于
逆反应速率
但并不表示所有的浓度是都一样
每种分子自身的浓度
可以相差甚远
它们只是不再改变了
因为正逆反应速率是相等的
现在 这个反应处于平衡状态
那如果我向系统中加更多A会怎么样？
记住 原来处于平衡状态
浓度是一定的
Swedish:
Låt oss säga att vi hade reaktionen molekylen A plus molekylen B är
i dynamisk jämvikt med molekylen C plus D.
Vilket bara betyder att takten i framåt reaktionen
går i samma takt som bakåt reaktionen
den omvända reaktionen.
Det kommer att finnas några jämviktskoncentrationer av A, B, C, och
D, och vi kan räkna ut vad jämvikts
konstanten är om vi vill.
Och jag kommer att säga det igen.
Jag har sagt det typ fyra gånger redan.
Det faktum att framåt reaktionshastigheten är densamma som
bakåt reaktionens takt måste inte betyda att alla
koncentrationerna är likadana.
Halterna i sig i varenda av molekylerna kan
vara mycket olika.
De förändras inte längre eftersom att framåt
och bakåt takterna är samma.
Nu, med tanke på detta, med tanke på att vi är vid jämvikt nu,
vad kommer att hända om jag lägger till mer A till systemet?
Så kom ihåg, det var i jämvikt.
Halterna var konstanta.
English:
Let's say we had the reaction
molecule A plus molecule B is in dynamic equilibrium
with molecules C plus D.
Which just means that the rate of the forward reaction
is going at the same rate as the backward reaction,
or the reverse reaction.
There will be some equilibrium concentrations
of A, B, C, and D,
and we can figure out what the equilibrium constant is
if we want.
And I'll say it again.
I've said it like four times so far.
The fact that the forward reaction rate
is the same as the backward reaction rate
doesn't mean that all of the concentrations are the same.
The concentrations themselves of each of the molecules
could be very different.
They're just not changing anymore
because the forward and backward rates are the same.
Now, given this, given that we're at equilibrium now,
what's going to happen if I add more A to the system?
So remember, it was in equilibrium.
The concentrations were constant.
Polish:
Powiedzmy, że mamy reakcję
cząsteczki A z cząsteczką B.
Układ jest w równowadze dynamicznej z cząsteczkami C i D.
To oznacza, że reakcja w prawo
biegnie z taką samą szybkością, co reakcja w lewo
(czyli reakcja odwrotna).
Są jakieś stężenia równowagowe substancji A, B, C i D.
Ponadto możemy określić,
jaka jest stała tej równowagi chemicznej.
Powiem to ponownie,
choć już mówiłem ze cztery razy...
To, że szybkości reakcji w obie strony są identycznie,
NIE oznacza, że stężenia reagentów
są takie same.
Stężenia poszczególnych reagentów
mogą się bardzo różnić.
Po ustaleniu się stanu równowagi te stężenia nie ulegają zmianie,
ponieważ szybkości reakcji w obie strony są jednakowe.
Mamy więc taki stan równowagi.
Co się stanie, jeśli dodam do układu więcej substancji A?
Pamiętaj, że to była równowaga.
Stężenia reagentów były stałe.
English:
But now all of a sudden, I'm
adding more A to the system.
So now, the odds of an A and a
B particle, even though I'm
not adding any more B molecule
to the system, the odds are
slightly higher that an A and
a B are going to collide in
just the right way, so the
forward reaction is going to
be more likely.
So if we add more A to the
system, you're going
to have more A's.
They're going to bump with
more B's, so the B's are
actually going to go down
a little bit, right?
Because more B's are going
to be consumed.
And even more important, the
C's and D's are going to
definitely be increased.
And the way it would really
happen, you would add more A.
Those A's would bump into some
more B's, and so this forward
reaction, all of a sudden, it's
rate would go faster than
this backward reaction.
So the reaction would go
in that direction.
Then you would have more C's
and D's and maybe some of
those are more likely to bump
and go back in this direction.
Eventually, you would reach
a new equilibrium.
But the bottom line is you'll be
left with more A, a little
Swedish:
Men nu helt plötsligt, lägger jag till mer A till systemet.
Så nu, oddsen för en A och en B-partikel, trots att jag
inte lägger några mer B molekyl till systemet, oddsen är
något högre att en A och en B kommer att kollidera i
precis rätt sätt, så att framåt reaktion kommer att
vara mer sannolik.
Så om vi lägger till fler A till systemet, du kommer
att ha mer A's.
De kommer att stöta med mer B's, så B's är
faktiskt kommer att gå ner lite, eller hur?
Eftersom fler B: s kommer att konsumeras.
Och ännu viktigare, är C: s och D: s kommer att
definitivt ökas.
Och hur det verkligen skulle hända, skulle du lägga till fler A.
Dessa A: s skulle stöta på några mer B: s, och så denna framåt
reaktion, plötsligt skulle det taxa gå fortare än
detta bakåt reaktion.
Så reaktionen skulle gå i den riktningen.
Då skulle du ha mer C's och D's och kanske några av
de är mer benägna att stöta och gå tillbaka i denna riktning.
Så småningom skulle du nå en ny jämvikt.
Men bottom line är att du kommer att bli kvar med mer A, lite
Czech:
Ale teď najednou přidávám
do systému více látky A.
Takže teď je šance,
že se částice A a B srazí,
třebaže nepřidávám
do systému více molekuly B,
šance, že se A a B příhodně srazí,
je mírně vyšší,
takže přímá reakce bude pravděpodobnější.
Takže, když přidáme do systému více A,
budeme mít více A,
budou se více narážet s B,
takže B budou vlastně lehce klesat.
Protože bude spotřebováváno více B.
A co je ještě podstatnější,
množství C a D budou rozhodně stoupat.
Stane se to tak, že přidáte více A,
a tyto A naráží na více B
a tato přímá reakce náhle probíhá rychleji
než zpětná reakce.
Takže reakce by probíhala v tomto směru.
Potom byste měli více C a D
a možná některé z nich
do sebe naráží častěji
a vrací se zpět v tomto směru.
Nakonec můžeme docílit nové rovnováhy.
Ale sečteno podtrženo zbyde více A
Bulgarian:
И изведнъж добавям
в системата още А.
Странното по отношение на
молекулите А и В, въпреки че
не добавям още молекули В
към системата,
се увеличава шанса молекули А и В
да се сблъскат по правилния начин
и така е по-вероятно да протече
правата реакция.
Като добавим вещество А в системата,
ще имаме повече молекули А.
Те ще се сблъскват по-често с В-та,
така че В-тата ще намалеят, нали?
Защото В ще се изконсумират.
И още по-важно, С-тата и D-тата
определено ще се увеличат.
И за да стане това,
трябва да се добави А.
Тези А-та ще се срещнат с повече
В-та и тази права реакция
изведнъж ще започне да протича
с по-голяма скорост от обратната.
Значи реакцията ще протича в
тази посока.
Тогава ще има повече С и D
и може би част от тях също
ще се сблъскат и ще
протече тази реакция.
В някакъв момент ще достигнем
ново равновесие.
Но основното е, че ще има повече А
и малко по-малко В,
Portuguese:
Mas agora, de repente, eu estou adicionando mais A no sistema.
Então agora, as chances de uma partícula A e uma B, mesma que eu
não adicione mais moléculas B no sistema, as chances são
ligeiramente mais altas de que uma A e uma B colidam de
maneira direta, desse modo a reação seguinte irá
ser mais provável.
Então se eu adicionar mais A no sistema, você terá
que ter mais A's
Elas vão colidir com mais B's, logo as B's vão
na verdade, declinar um pouco, certo?
Porque mais B's serão consumidos.
E até mais importante, os C's e D's irão
definitivamente aumentar
E a maneira como de fato vai acontecer, você vai adicionar mais A.
Esses A's vão colidir com mais B's, e assim a taxa
da reação seguinte vai ser mais rápida do que
a da reação anterior.
Então a reação vai ocorrer nessa direção.
A partir desse momento você terá mas C's e D's e talvez
algumas dessas moléculas colidam e voltem nessa direção.
Eventualmente, você atingirá um novo equilíbrio.
Mas o principal é que você terá mais A, um pouco
Polish:
Ale teraz niespodzianie dodaję nieco składnika A.
Teraz, skoro mam więcej substancji A,
nawet jeśli nie dodam składnika B,
jest większe prawdopodobieństwo, że A i B będą się zderzać
we właściwy sposób - dlatego reakcja w prawą stronę
staje się bardziej prawdopodobna niż reakcja odwrotna.
Skoro dodaję składnia A,
to mam więcej A w układzie.
Składnik A będzie teraz częściej zderzał się ze składnikiem B,
dlatego stężenie substancji B zmaleje.
Więcej reagenta B zostanie zużyte w reakcji.
Bardzo ważne jest też, że stężenia C i D
wzrosną.
Jak to się dzieje? Dodajemy A.
Więcej A bombarduje częściej B,
a to powoduje, że reakcja w prawo biegnie szybciej
niż reakcja w lewo.
Czyli reakcja biegnie raczej w tę stronę.
Po chwili zaczyna się zwiększać stężenie składników C i D,
więc możliwe, że one też będą się teraz częściej efektywnie zderzać i przyspieszy się reakcja w lewą stronę.
W końcu - zostanie osięgnięty nowy stan równowagi.
Ale tak koniec końców - będziemy mieć nieco więcej A
English:
But now all of a sudden, i'm adding more A to the system.
So now, the odds of an A and a B particle,
even though I'm not adding
any more B molecule to the system,
the odds are slightly higher
that an A and a B are going to collide
in just the right way,
so the forward reaction is going to be more likely.
So if we add more A to the system,
you're going to have more A's.
They're going to bump with more B's,
so the B's are actually going
to go down a little bit, right?
Because more B's are going to be consumed.
And even more important,
the C's and D's are going to definitely be increased.
And the way it would really happen,
you would add more A.
Those A's would bump into some more B's,
and so this forward reaction, all of a sudden,
it's rate would go faster than this backward reaction.
So the reaction would go in that direction.
Then you would have more C's and D's
and maybe some of those are more likely to bump
and go back in this direction.
Eventually, you would reach a new equilibrium.
But the bottom line is you'll be left with more A,
a little bit less B
Thai:
แต่ตอนนี้ จู่ๆ ผมเติม A เข้าไปในระบบ
ดังนั้น โอกาสที่ A และ B จะชนกันในทิศทางที่เหมาะสม
แม้ผมจะไม่ได้เติมโมเลกุล B เข้าไปในระบบก็ตาม
จะมีค่าสูงขึ้น
ดังนั้นอัตราการเกิดปฏิกิริยาไปข้างหน้า
จึงเพิ่มขึ้น
ดังนั้นหากเราเพิ่ม A ในระบบ เราก็จะ
มี A มากขึ้น
และมันก็จะชนกับ B มากขึ้น จึงทำให้ B
ลดลงไปเล็กน้อย
เพราะว่าจะมี B ส่วนหนึ่งถูกใช้ไป
และที่สำคัญ มันจะทำให้ปริมาณ C และ D
นั้นเพิ่มขึ้น
และทางหนึ่งที่มันจะเกิดขึ้น คือ คุณเติม A ลงไป
A มันจะชนกับ B มากขึ้น
ทำให้อัตราการเกิดปฏิกิริยาไปข้างหน้า สูงกว่า
อัตราการเกิดปฏิกิริยาย้อนกลับ
ทำให้ปฏิกิริยาเกิดในทิศนั้น
แล้วคุณก็จะมี C และ D และ
พวกนี้ก็อาจจะชนกันและย้อนกลับในทิศ?างนี้
ซึ่งสุดท้ายจะทำให้เราเข้าสู่ภาวะสมดุลใหม่
แต่ประเด็นคือ คุณจะเหลือ A มากขึ้นนิดหน่อย
Norwegian:
Men nå plutselig føyer jeg til mer A til systemet.
Så nå er sjansene for at et A og et B partikkel,
selv om jeg ikke føyer til
flere B molekyler til systemet,
sjansene er litt høyere
at en A og en B kræsjer med hverandre
på akkurat rett måte,
så den ene reaksjonen kommer til å være mer sannsynlig.
Så hvis vi føyer til mer A til systemet,
kommer du til ha flere A'er.
De kommer til å kræsje med flere B'er,
så B'ene kommer faktisk til å
minke litt, ikke sant?
Fordi flere B'er brukes opp.
Og ennå viktigere,
C'ene og D'ene kommer definitivt til å øke.
Og måten dette virkelig ville skje på,
du ville føyet til mer A.
Disse A'ene kræsjer med noen flere B'er,
og så ville denne reaksjonen, plutselig,
gå fortere enn denne motreaksjonen.
Så reaksjonen ville gått i den retningen.
Så ville du hatt flere C'er og D'er
og kanskje noen av disse er mer sannsynlig å kræsje
og gå tilbake i den retningen.
Til slutt ville du nått et nytt likevekt.
Men poenget er at du kommer til å ha mer A,
litt mindre B
Spanish:
Pero ahora, de repente, estoy agregando mas A al sistema
Ahora, la probabilidad de una partícula de A y de B, aún mas
sin agregar mas moléculas de B al sistema, las probabilidades
son algo mayores de que una A y una B vayan a colisionar
adecuadamente, entonces se verá favorecida
la reacción directa
Entonces, si agregamos mas A al sistema,
habrá mas moléculas A
Que van a chocar con mas moléculas B, que, por lo tanto
van a disminuir en cantidad
Por que mas B va a ser consumida
Y todavía mas importante, las moléculas C y D
definitivamente van a aumentar
Y la manera en la que sucederá, si agregaras mas A,
Esas A chocarían con mas B, y la reacción
directa, de repente, aumentaría su velocidad
con respecto a la reacción inversa
Por lo tanto la reacción iría en esta dirección
Entonces tendrías mas C y D y tal vez algo de
estos, probablemente chocarán y reaccionarán en esta dirección
Eventualmente, alcanzarías un nuevo equilibrio.
Pero la base es que quedará algo mas de A,
Malayalam:
pakshe pettannu njan kooduthal A koodi sstethilekku cherthirikkunnu
athayath A yum B yum thamil kootiyidikkan ulla sadhyathakal
kooduthal B cherkkathe thanne koodunnu
athinal reaction munpottu kooduthal nadakkunnu
Chinese:
但是突然地 我向係統中加了些A
所以現在 粒子A和B的含量
盡管我沒有向係統中
加入B分子
但含量還是稍微高了
A和B有效碰撞的機率提高了
A和B有效碰撞的機率提高了
所以正反應的可能性更大
所以如果向係統中加入更多A
你將有更多A分子
它們將與更多B分子碰撞
所以B的量會
減少一點點 對嗎？
因爲這會消耗掉一些B分子
而更重要的是
C和D的量一定會增加
你加入A後
這會真的發生
那些A會與B碰撞
所以正反應速率 在這瞬間
會比逆反應速率大
所以反應會向導通方向進行
然後生成更多C和D
而其中一些很可能發生碰撞
而向逆向反應
最終 會到達一個新的平衡
但前提是會剩下的A會變多
B會變少
Chinese:
但是突然地 我向系统中加了些A
所以现在 粒子A和B的含量
尽管我没有向系统中
加入B分子
但含量还是稍微高了
A和B有效碰撞的机率提高了
A和B有效碰撞的机率提高了
所以正反应的可能性更大
所以如果向系统中加入更多A
你将有更多A分子
它们将与更多B分子碰撞
所以B的量会
减少一点点 对吗？
因为这会消耗掉一些B分子
而更重要的是
C和D的量一定会增加
你加入A后
这会真的发生
那些A会与B碰撞
所以正反应速率 在这瞬间
会比逆反应速率大
所以反应会向正向进行
然后生成更多C和D
而其中一些很可能发生碰撞
而向逆向反应
最终 会到达一个新的平衡
但前提是会剩下的A会变多
B会变少
French:
Mais tout à coup, on ajoute plus de A au système.
Donc, maintenant, les chances d'une collision entre une particule A et une particule B, même si on
n'a pas ajouté de molécules B au système, les chances sont
un peu plus élevées qu'il y aura une collision entre A et B de
la bonne façon, donc la réaction vers la droite va
être plus probable.
Donc si on ajoute plus de A au système, on obtiendra
plus de A.
Ils vont entrer en contacte avec plus de B, donc on se retrouvera
avec un peu moins de B, c'est-ce pas?
Parce que plus de B vont réagir.
Et de plus, il y aura définitivement une
augmentation de C et de D.
En réalité, en ajoutant plus de A,
ces A entreront en contacte avec des B, et la vitesse de réaction vers la droite,
tout à coup, sera plus grande que
celle de la réaction inverse.
Donc la réaction ira vers la droite.
Il y aurait alors plus de C et de D, et éventuellement
ceux-ci serait plus susceptible d'entrer en contacte, et la réaction inverse se produirait plus.
Eventuellement, un nouvel équilibre serait atteint.
Enfin, il y aura tout de même un peu plus de A qu'auparavant,
Estonian:
Kuid nüüd äkitselt ma lisan A-d süsteemi juurde.
Nüüd, on suurem võimalus A ja B osakestel, kuigi ma ei
lisa B molekuli süsteemi, võimalus on
veidike suurem, et A ja B molekul ühinevad just
õigel viisil, nii et tasakaalu nihkumine paremale
on tõenäolisem.
Kui me lisame süsteemi rohkem A-d, on ka
rohkem A-sid.
Nad põrkuvad rohkemate B-dega, nii et B-de kogus
langeb veidike, eks?
Sest et rohkem b-sid kasutatakse ära.
Ning veelgi tähtsam on see, et C-de ja D-de kogus
kindlasti tõuseb.
Ja see juhtub nii, et lisades rohkem A-d.
Need A-d põrkuvad rohkemate B-dega ja nii see
nihkub tasakaal paremale.
Nii et reaktsioon läheks selles suunas.
Siis oleks sul rohkem C-sid ja D-sid ning võibolla mõned
neist saavad tõenäolisemalt kokku ja lähevad selles suunas.
Lõpuks, saavutataks uus tasakaal.
Aga alles jääb ikkagi rohkem A-d, natuke
Korean:
그런데, 갑자기 제가 계에 A를 첨가했습니다.
그래서 이제, 제가 B를 더 첨가한 것은 아니지만
A와 B가 제대로 된 방향으로
충돌할 확률이 조금 더 커져서
정반응이 조금 더 잘 일어날수 있게 되었습니다.
정반응이 조금 더 잘 일어날수 있게 되었습니다.
그래서 우리가 계에 A를 더 첨가하면 A가
더 많아질 것이고
그들은 B와 더 많이 충돌하게 되어 B는 실제로는
조금 줄어들 것입니다, 그렇죠?
왜냐하면 B가 더 많이 소모될 것이 때문입니다.
그리고 더 중요한 것은 C와 D는
분명히 증가한다는 것입니다.
그리고 실제로 이것이 일어나는 이유는
A를 더 첨가하면
그 A가 B와 더 충돌하게 되어
정반응의 속도가
갑자기 역반응의 속도보다
빨라지게 되는 것입니다.
그래서 반응은 그쪽 (정반응 쪽)으로 진행됩니다.
그러면 C와 D가 증가하게 되어 그 중 일부는
서로와 충돌하여 반대쪽 방향으로
갈 확률이 높아질 것입니다.
그 결과 반응은 결국 새로운 평형에
도달하게 됩니다.
하지만 중요한 것은 B는 첨가하지 않았기 때문에
이전 평형에 비해 새로운 평형에서
Thai:
B น้อยลงเพราะเราไม่ได้เติม B
B ถูกใช้ไปกับ
A ที่เราเติมไป
ซึ่งจะทำให้เราผลิต C และ D มากขึ้นจนถึง
ภาวะสมดุล
และคุณอาจจะลองคิด ถ้าเราเติม A และะ B
สมมุติว่าเราเติม B ลงไปด้วยเหมือนกัน มันจะทำให้ปฏิกิริยา
ไปข้างหน้าเร็วยิ่งขึ้น
ผมว่ามันก็ไม่ได้น่าแปลกใจขนาดนั้น
ผมคิดว่านี่มันชัดเจนว่าถ้าคุณ
รบกวนปฏิกิริยาโดยเติมโมเลกุลทางฝั่งนี้ โดยธรรมชาติ
มันก็ต้องปรับตัวไปในทิศทางที่
ลดการรบกวนดังกล่าว
ถ้าคุณเติม A คุณก็จะมี A มากขึ้นที่สามารถ
ชนกับ B ได้ และไปในทิศทางดังกล่าว และ B
จะถูกใช้ไปอีกนิดหน่อย
ถ้าคุณเติมทั้งคู่ ปฏิกิริยาก็จะยิ่ง
ไปในทิศนั้น
เช่นเดียวกัน -- ขอผมเขียนปฏิกิริยาอีกรอบ
ผมจะใช้อีกสี
A บวก B เกิดสมดุลพลวัตกับ C บวก D
Swedish:
lite mindre B för att du inte lägger till fler B.
Så mer B kommer att användas för att konsumera med de extra
A: s du just lagt till.
Och sedan de kommer att producera mer C's och D's i
jämvikt.
Och du kan tänka dig, om du lagt till fler A-och B mer, låt oss
säga om du lagt till fler B också, då reaktionen är
kommer att gå i riktning framåt ännu mer.
Jag tror inte att det är en fantastisk inblick i världen.
Jag tror att det är typen av uppenbar, att om du stress
denna reaktion genom att lägga mer på denna sidan, som naturligtvis
det kommer att gå i den riktning som
lindrar stress.
Så om du lägger till fler A, du kommer att ha mer A: s stöta
med B: s och gå i den riktningen och kanske konsumerar en
lite mer B's.
Om du lägger till mer av båda, det hela kommer att gå i
den riktningen.
Likaså - låt mig skriva om reaktionen.
Jag gör det i en annan färg.
A plus B, dynamisk jämvikt, C plus D.
English:
because you didn't add more B.
So more B's going to be used to consume
with those extra A's you just added.
And then those are going to produce more C's and D's
in equilibrium.
And you can imagine, if you added more A and more B,
let's say if you added more B as well,
then the reaction is going
to go in the forward direction even more.
I don't think this is an amazing insight of the world.
I think this is kind of obvious,
that if you stress this reaction
by adding more on this side,
that naturally it's going to move in the direction
that relieves the stress.
So if you add more A,
you're going to have more A's bumping with B's
and go in that direction
and maybe consume a little bit more B's.
If you add more of both,
the whole thing's going to go in that direction. Likewise
-- let me rewrite the reaction.
I'll do it in a different color.
A plus B, dynamic equilibrium, C plus D.
Chinese:
因爲你沒有增加B的量
所以B會和加進來的A反應
而消耗掉
然後在新平衡中得到更多的
C和D
你可以想象一下 如果同時增加A和B
假設我們也增加了B
那麽反應會
更劇烈地導通方向進行
我認爲這不是世界的一個驚人之處
我認爲這是顯而易見的
如果你通過增加這邊的量
來推動反應
自然地平衡會向減弱變化的
方向移動
所以如果你加入A
就有更多A和B碰撞
然後向導通方向進行
或許這會消耗一點B
如果你增加這兩個的量
整個平衡將向導通方向移動 同樣地…
我重新寫一下這個反應吧
我會換個顏色
A和B在動態平衡中生成C和D
Czech:
a trochu méně B,
protože jste nepřidali více B.
Takže se spotřebuje více molekul B
těmito extra A, které jste přidali.
A potom tyto budou produkovat
v rovnováze více C a D.
Pokud byste přidali více A a více B,
pokud jste přidali také více B,
potom reakce poběží
v přímém směru ještě více.
Nemyslím si,
že toto je nějaký světový objev.
Myslím si, že je celkem jasné,
že když narušíte rovnováhu reakce
přidáním více na jednu stranu,
bude se přirozeně pohybovat ve směru,
který uvolní toto napětí.
Takže když přidáte více A,
budete mít více srážek A s B,
reakce poběží tímto směrem
a spotřebuje se více B.
Pokud přidáte více obou,
celá věc poběží v tom směru.
Podobně, přepíšu celou reakci.
A plus B, dynamická rovnováha, C plus D.
Polish:
i troszkę mniej B (bo nie dodaliśmy B).
Mniej B, bo B zostało zużyte
przez dodane A.
A i B wyprodukują więcej C i D
i reakcje dojdą do nowego stanu równowagi.
Teraz spróbuj sobie wyobrazić, że dodajesz zarówno A, jak i B.
Jeśli dodasz też B,
reakcja w prawo będzie jeszcze bardziej prawdopodobna.
Nie wydaje mi się, żeby to było coś wyjątkowego.
To raczej oczywiste, że jeśli nasilasz tę reakcję
(poprzez dodawanie składników),
to naturalnie reakcja zachodzi w takim kierunku,
który pozwala na rozładowanie tego napięcia.
Jeszcze raz - jeśli dodajesz A, masz więcej cząstek A
zderzających się efektywnie z cząstkami B, co napędza reakcję z prawą stronę
oraz powoduje ubytek substancji B.
Jeśli dodasz zarówno A, jak i B, tym bardziej reakcja
będzie biegła w prawą stronę.
Przepiszę teraz tę reakcję...
Zrobię to innym kolorem.
A plus B jest w równowadze dynamicznej z C plus D.
Chinese:
因为你没有增加B的量
所以B会和加进来的A反应
而消耗掉
然后在新平衡中得到更多的
C和D
你可以想象一下 如果同时增加A和B
假设我们也增加了B
那么反应会
更剧烈地正向进行
我认为这不是世界的一个惊人之处
我认为这是显而易见的
如果你通过增加这边的量
来推动反应
自然地平衡会向减弱变化的
方向移动
所以如果你加入A
就有更多A和B碰撞
然后向正向进行
或许这会消耗一点B
如果你增加这两个的量
整个平衡将向正向移动 同样地…
我重新写一下这个反应吧
我会换个颜色
A和B在动态平衡中生成C和D
Spanish:
un poco menos de B, por que no agregaste B
Entonces mas B será usado para consumir
el extra de A que agregaste.
Y la reacción directa va a producir mas C y D
en el equilibrio.
Y te puedes imaginar, si agregas mas A y mas B,
digamos, si agregas mas B también, la reacción
va a ir en el sentido directo todavía mas.
No pienso que sea un gran descubrimiento
Me parece que es bastante obvio, que si tu estresas
esta reacción agregando mas de este lado, naturalmente
se va a mover en la dirección que
alivie el estrés
Si agregas mas A, vas a tener mas A chocando
con B y, en esa dirección y consumiendo
algo mas de B
Y si agregas mas de ambas, todo el proceso va a ir
en esa dirección
Igulamente, déjame re escribir la reacción
En un color diferente
A mas B, equlibrio dinámico, C mas D.
Korean:
A는 증가하고 B는 감소한다는 것입니다.
즉, 첨가된 여분의 A와 반응하기 위해
더 많은 B가 소모되는 것입니다
즉, 첨가된 여분의 A와 반응하기 위해
더 많은 B가 소모되는 것입니다
그리고 그 결과 C과 D가 생성되어
새로 도달한 평형에서는 C와 D가 증가하게 됩니다.
그리고 그 결과 C과 D가 생성되어
새로 도달한 평형에서는 C와 D가 증가하게 됩니다.
또, 만약에 A와 B를 더 첨가했다고 하면
반응은 A만 첨가했을 때 보다
더 정반응쪽으로 갈 것이라고 예측할 수 있습니다.
이것은 그리 놀라운 것이 아니라고 생각합니다.
우리가 이 반응에 반응물을
첨가하는 방식으로 자극(스트레스)을 주면
반응이 자연스럽게 자극을
없애는 방향으로 진행되는 것은
당연하다고 생각됩니다.
당연하다고 생각됩니다.
따라서 A를 더 첨가하면 더 많은 A가
B와 충돌하여 B가 조금 더 소모되는 방향으로
반응이 진행됩니다.
A와 B를 둘 다 첨가하면 전부 그런 방향으로
진행될 것입니다.
이와 같이 – 이 반응을 다시 써보도록 하죠.
다른 색을 쓰도록 하죠.
A + B ⇄ C + D
French:
et un peu moins de B, puisqu'on en a pas ajouté.
Un nombre de B réagiront avec les
A que l'on vient d'ajouter.
Ceux-ci produiront donc plus de C et de D en
équilibre.
Et si on ajoute plus de A et plus de B,
la réaction ira
encore plus vers la droite.
Ce n'est exactement une ideé extraordinaire,
C'est plutôt évident que si on perturbe
cette réaction en ajoutant plus d'un côté, naturellement
la réaction procédera dans la direction
qui rétablie l'équilibre.
Donc si on ajoute plus de A, il y aura plus de A entrant en contacte
avec les B, et la réaction vers la droite aura comme résultat
un peu moins de B.
Si on en ajoute de deux, la réaction ira
vers la droite.
Je réécris la réaction.
Je vais le faire d'une couleur différente.
A plus B en équilibre dynamique avec C et D.
Bulgarian:
защото не сме добавили В.
Така че повече В ще се изконсумира
след добавяне на А.
И ще се получи повече С и D
при равновесие.
Можеш да си представиш, че ако
добавиш А и В,
ако сме добавили и В,
тогава реакцията ще протече
още по-силно в права посока.
Не мисля, че това е някаква
велика тайна за устройството на света.
Мисля, че това е просто очевидно,
че ако се намесиш в реакцията
като добавиш повече
от едната страна,
тя ще се придвижи в посока,
която компенсира въздействието.
Така че, ако добавиш още А,
ще имаш повече А, които се сблъскват
с В и реакцията тръгва насам
и се консумира малко повече В.
Ако добавиш и от двете,
цялата система се измества насам.
Подобно...
нека да препиша реакцията.
Ще го направя в друг цвят.
А + В, динамично равносие, С + D.
Norwegian:
fordi du ikke la til mer B.
Så flere B'er kommer til å brukes for å bruke
de ekstra A'ene du la til.
Og så kommer disse til å produsere flere C'er og D'er
i likevekt.
Og du kan forestille deg, hvis du la til mer A og mer B,
la oss si du la til mer B også,
kommer reaksjonen til å gå
fremover ennå mer.
Jeg tror ikke dette er en fantastisk realisasjon om verdenen.
Jeg tror dette er ganske åpenbart,
at hvis du stresser denne reaksjonen
ved å legge til mer på denne siden,
at naturligvis kommer det til å gå i retningen
som fjerner stresset.
Så hvis du legger til mer A,
kommer du til å ha flere A'er kræsjende med B'er
og gå i den retningen
og kanskje bruke litt flere B'er.
Hvis du legger til flere av begge,
kommer hele greia til å gå i den retningen. På lik måte
-- la meg skrive den reaksjonen på nytt.
Jeg skal gjøre den i en annen farge.
A pluss B, dynamisk likevekt, C pluss D.
Portuguese:
menos de B porque você não adicionou B.
Então mais B's serão consumidos com esses A's extras
que você adicionou.
Eles vão produzir mais C's e D's em
equilíbrio
E você pode imaginar, se você adicionar mais A e mais B, vamos
dizer que você adicionou mais B também, então a reação
ocorrerá no sentido seguinte ainda mais.
Eu não acho que isso seja uma visão incrível do mundo.
Eu acho que isso é um tanto óbvio, que se você estressar
a reação adicionando mais de um lado, naturalmente
ela ocorrerá na direção que
alivia o estresse.
English:
bit less B because you
didn't add more B.
So more B's going to be used
to consume with those extra
A's you just added.
And then those are going to
produce more C's and D's in
equilibrium.
And you can imagine, if you
added more A and more B, let's
say if you added more B as well,
then the reaction is
going to go in the forward
direction even more.
I don't think this is an amazing
insight of the world.
I think this is kind of obvious,
that if you stress
this reaction by adding more on
this side, that naturally
it's going to move in
the direction that
relieves the stress.
So if you add more A, you're
going to have more A's bumping
with B's and go in that
direction and maybe consume a
little bit more B's.
If you add more of both, the
whole thing's going to go in
that direction.
Likewise-- let me rewrite
the reaction.
I'll do it in a different
color.
A plus B, dynamic equilibrium,
C plus D.
Estonian:
vähem B-d, sest B-d ei lisatud.
Rohkem B-d kasutatakse nende A-de kasutamiseks,
mis just lisati.
Ning need toodavad rohkem C-sid ja D-sid
tasakaalus.
Kujutagem, kui lisada rohkem A-d ja B-d, ütleme
et lisatakse rohkem B-d ka, siis reaktsiooni tasakaal
nihkub paremale veelgi rohkem.
Ma ei arva, et see on hämmastav ülevaade maailmast.
Ma arvan, et see on üsnagi ilmselge, et kui avaldada
survet sellele reaktsioonile lisade rohkem siia poolele, on ju loomulik, et
see läheb sellesl suunas,
mis vähendab stressi.
Nii et lisades rohkem A-d, on rohkem A-sid põrkumas
B-dega minnes sinnapoole, ning võttes
veidi rohkem B-sid.
Kui lisada mõlemat, terve reaktsiooni tasakaal nihkub
paremale.
Nagu ka nii, las ma kirjutan reaktsiooni uuesti.
Teen seda teise värviga.
A plus B, dünaamilises tasakaalis, C plus D.
Swedish:
Om jag lägger till fler C - Jag tror du fattar poängen här - vad är
kommer att hända?
Ja, det kommer att enhet A och B upp, och det är kanske gå
att konsumera lite extra D.
Och sedan om du lagt till fler C och D, då, naturligtvis, det är
kommer att producera mycket mer A och B.
Och denna idé verkar det ganska sunt förnuft, men det finns en
fantasinamn för den, och det heter Le - låt mig uttrycka en
kapital L - Chateliers princip.
Om du har tittat nog av dessa filmer, du vet jag har
att vara försiktig med min stavning.
Och allt den säger är att när du stress en reaktion som är
i jämvikt, kommer reaktionen gynna sidan eller en
sidan av reaktionen att lindra den stress.
När de säger stress reaktionen, det är som att lägga
mer A, så reaktionen kommer att röra sig mot
Spanish:
Si agrego mas C, -supongo que entendiste-
que sucederá?
Bien, eso aumentará A y B, y va a
consumir un poco de D
Todavía mas, si agregas mas C y D, entoncse, por cierto
se va a producir mucho mas A y B.
Y esa idea, que parece puro sentido común, pero tiene
un nombre, se llama, déjame poner L mayúscula,
Principio de Le Chatelier
Si has visto suficiente de estos videos, sabes que
debo ser cuidadoso con mi ortografía
Y todo se resume en que cuando estresas una reacción que está
en equlibrio, la reacción favorecerá el lado o
un lado de la reacción que alivie ese estrés
Decimos estresar la reacción, como agregar
mas A, entonces la reacción se moverá hacia
Korean:
여기에 C를 더 첨가하면
어떤 일이 일어날까요?
흠... C를 첨가하면 A와 B는 증가할 것이고
D는 소모되어 조금 감소할 것입니다.
그리고 만약 C와 D를 모두 첨가한다면
그리고 만약 C와 D를 모두 첨가한다면
그리고 이 아이디어는 매우 상식처럼 보이지만
멋진 이름이 있습니다.
바로 Le... 대문자 L로 적도록 하죠
바로 르 샤틀리에 원리 (Le Chatelier’s Principle)입니다.
-
만약 여러분이 이 비디오를 많이 봐왔다면
제가 스펠링을 많이 틀린다는 것을
알고 있으시겠죠.
아무튼, 이 원리가 말하는 것은
평형에 있는 어떤 반응에 자극을 주면
그 반응은 자극을 없애는
방향 쪽으로 가는 것을
선호한다는 것입니다.
반응에 자극을 준다는 것은
A를 더 첨가하는 것과 같아
반응이 정반응 쪽으로 진행함으로써
Estonian:
Kui lisada rohkem C-d -- ma arvan et saate mõttest aru-- mis
juhtub?
See tõstaks A ja B kogust ning see
võtaks veidi rohkem D-sid.
Ning kui lisade rohkem C-d ja D-d, siis, muidugi
toodetakse kõvasti rohkem A-sid ja B-sid.
Ja see idee, tundub üsnagi arusaadav, aga selle jaoks on
üsna uhke nimi ning seda kutsutakse Le -- las ma panen suure
tähe -- Le Chatelier'i printsiibiks.
Kui oled neid videosid piisavalt vaadanud, tead, et ma pean
olema grammatikaga ettevaatlik.
Ning kõik mida see ütleb, on et kui avaldada survet reaktsioonile, mis on
tasakaalus, reaktsiooni tasakaal nihkub sinnapoole,
kus on võimalik seda pinget vähendada.
Ning nad ütlevad, survet avaldada reaktsioonile, see on nagu
A lisamine, nii et reaktsiooni tasakaal nihkub
Czech:
Když přidám více C,
asi je vám to už jasné, co se stane?
Dobře, zvýší to A a B
a možná spotřebuje trochu D navíc.
A když jste přidali více C a D,
samozřejmě se bude tvořit mnohem víc A a B.
Tato myšlenka celkem dává smysl
a má také fešácký název.
Nazývá se Le Chatelierův princip.
Pokud jste viděli už více těchto videí,
víte, že hláskování není
moje silná stránka.
Říká nám, že jestliže
narušujete rovnováhu reakce,
reakce bude upřednostňovat ten směr,
který uvolní to napětí.
Když řekneme napětí reakce,
znaméná to přidat více A,
Polish:
Jeśli dodam do tego układu więcej substancji C, co się stanie?
Pewnie już widzisz analogię...
Dodatek C spowoduje wzrost stężeń A i B
oraz nieco obniży stężenie D.
A jeśli dodamy więcej C i D, wtedy oczywiście
jeszcze bardziej prawdopodobny jest wzrost stężeń A i B.
Ta idea jest w miarę oczywista, nic nadzwyczajnego.
Ma jednak swoją nazwę - zapiszę ją.
Reguła Le Chateliera.
Reguła Le Chateliera.
Jeśli oglądasz dużo moich filmów, wiesz,
że muszę bardzo uważać na pisownię...
Ta reguła mówi, że kiedy wyburzasz układ ze stanu równowagi,
układ (reakcja) zachowa się tak,
żeby zapobiec temu wyburzeniu.
Tym wyburzeniem może być np.
dodanie reagenta A - wtedy reakcja biegnie
Chinese:
如果我加入更多C
我想你懂的
將會發生什麽？
嗯 A和B會增加
而且將額外消耗一點D
如果你同時加入C和D
那麽當然 也會得到更多A和B
這種變化 不用想也知道
但是它有一個特別的名字 叫作…
我應用大寫字母L
勒夏特列原理
如果你已經看過很多集
你應該知道我對拼寫很小心
而它所闡述的就是
當你改變影響平衡的一個因素
反應將朝著
減弱這種改變的方向移動
當說起改變反應
就像加入更多A
那麽反應將朝著
Bulgarian:
Ако добавя още С...
мисля, че разбра идеята...
какво ще се случи?
Това ще повиши концентрацията
на А и В, и вероятно
ще се изконсумира малко
повече от D.
Ако добавя още С и D,
тогава, естествено,
ще се получат много
повече А и В.
Тази идея изглежда
съвсем логична, но
тя си има много засукано име,
нарича се принцип на...
нека е с главна буква...
принцип на Льо Шателие-Браун.
Ако си гледал/а достатъчно
видеа, знаеш, че
трябва да внимавам
със спелинга.
И всичко, което този принцип казва, е, че ако се въздейства на реакция,
която е в равновесие, реакцията
ще се измести в едната
посока, за да компенсира този
стрес или това въздействие.
Когато казват стрес върху реакцията,
това означава добавяне на А,
така че реакцията ще се измести
French:
Si j'ajoute plus de C--je pense que vous comprenez bien-- que se
passera-t'il?
Eh bien, cela augmentera la quantité de A et B, et peut-être que ça
va réduire un peu la quatité de D.
Et puis si on ajoute plus de C et de D, alors, bien entendu,
plus de A et B seront produit.
Et cette idée, bien qu'elle semble évidente,
se nomme,
avec un L majuscule, le principe de Le Chatelier.
Si vous avez regardé assez de ces vidéos, vous savez que je dois
être prudent avec mon orthographe.
Le principe indique que lorsqu'on perturbe un système qui est
en équilibre, la réaction qui réduit cette perturbation
sera favorisée.
Une perturbation, par exemple, serait l'ajout de
plus de A, donc la réaction vers la droite
Thai:
ถ้าผมเติม C -- ผมว่าคุณน่าจะพอเดาออกว่า
จะเกิดอะไรขึ้น
โอเค นั่นจะเพิ่มปริมาณของ A และ B และมันก็จะ
ทำให้ D ถูกใช้ไปนิดหน่อย
และถ้าคุณเติมทั้ง C และ D แน่นอนว่า
มันก็จะทำให้ได้ A และ B เพิ่มขึ้นไปอีก
แม้แนวคิดนี้จะสมเหตุสมผลไม่ซับซ้อน แต่มันก็
มีชื่อของมันอยู่ และเราเรียกว่า
หลักของเลอชาเตเลียร์
ถ้าคุณดูวิดีโอไปมาก คุณจะรู้ว่าผมต้อง
ระมัดระวังเกี่ยวกับการสะกด
และหลักนี้บอกเราว่า ถ้าคุณรบกวนปฏิกิริยาที่
อยู่ในภาวะสมดุล แล้วปฏิกิริยาจะปรับตัว
ไปในทิศทางที่ลดการรบกวนนั้น
ในที่นี้ คำว่า รบกวนระบบ ก็หมายถึง
เช่น การเติม A ซึ่งจะทำให้ปฏิกิริยาปรับตัวไป
English:
If I add more C-- I think you
get the point here-- what's
going to happen?
Well, that's going to drive A
and B up, and it's maybe going
to consume a little
bit extra D.
And then if you added more C and
D, then, of course, it's
going to produce a
lot more A and B.
And this idea, it seems pretty
common sense, but there's a
fancy name for it, and it's
called Le-- let me put a
capital L-- Chatelier's
principle.
If you've watched enough of
these videos, you know I have
to be careful with
my spelling.
And all it says is that when you
stress a reaction that's
in equilibrium, the reaction
will favor the side or one
side of the reaction to
relieve that stress.
When they say stress the
reaction, that's like adding
more A, so the reaction's going
to move towards the
Chinese:
如果我加入更多C
我想你懂的
将会发生什么？
嗯 A和B会增加
而且将额外消耗一点D
如果你同时加入C和D
那么当然 也会得到更多A和B
这种变化 不用想也知道
但是它有一个特别的名字 叫作…
我应用大写字母L
勒夏特列原理
如果你已经看过很多集
你应该知道我对拼写很小心
而它所阐述的就是
当你改变影响平衡的一个因素
反应将朝着
减弱这种改变的方向移动
当说起改变反应
就像加入更多A
那么反应将朝着
English:
If I add more C
-- I think you get the point here--
what's going to happen?
Well, that's going to drive A and B up,
and it's maybe going to consume a little bit extra D.
And then if you added more C and D,
then, of course, it's going to produce a lot more A and B.
And this idea, it seems pretty common sense,
but there's a fancy name for it, and it's called Le
-- let me put a capital L-- Chatelier's principle.
Chatelier's principle.
If you've watched enough of these videos,
you know I have to be careful with my spelling.
And all it says is that
when you stress a reaction that's in equilibrium,
the reaction will favor the side
or one side of the reaction to relieve that stress.
When they say stress the reaction,
that's like adding more A,
so the reaction's going to move towards
Norwegian:
Hvis jeg legger til mer C
-- jeg tror du tar poenget her--
hva kommer til å skje?
Vel, det kommer til å kjøre A og B oppover,
og det kommer kanskje til å bruke litt ekstra D.
Og så, hvis du legger til mer C og D,
så, selvfølgelig, kommer det til å produsere mye mer A og B.
Og denne ideen, det virker ganske logisk,
men det er et stilig navn på det, og det kalles Le
-- la meg skrive det med stor L-- Chatelier's prinsipp.
Chatelier's prinsipp.
Hvis du har sett nok av disse videoene,
vet du at jeg må være forsiktig med min rettskrivning.
Og alt det tilsier er at
når du stresser en reaksjon i likevekt,
vil reaksjonen foretrekke siden
eller en side av reaksjonen for å kvitte seg med det stresset.
Når de sier stresser reaksjonen,
er det som å legge til mer A,
så reaksjonen kommer til å bevege seg
Estonian:
vasakule, et survet vähendada
"survet" mida see rohkem A põhjustab.
Ma ei mõtle survet selle traditsioonilises mõttes,
aga see on kindlat tüüpi surve.
Aga sa muutud selle tõttu
Oli kena ja mugav, ilusas kenas
keskkonnas.
Olgu antud siis Le Chatelier'i printsiip, mõtleme
teistele olukordadele ka.
Ütleme, et kui kmul oleks A plus B plus veidi soojust ning see
toodav C plus D.
Ning võib-olla toodetakse ka veidi E-d.
Ning kui ma lisaksin sellele süsteemile
soojust, mis juhtub?
Et reaktsiooni tasakaal nihkuks paremale,
on vaja soojust.
Mida rohkem soojust on, seda suurem on tõenäosus et tasakaal
nihkub paremale.
Le Chatelier'i printsiip ütleb, et me avaldame survet
Polish:
w prawą stronę, żeby zużyć ten nadmiar
składnika A.
Wyburzenie (czy wyprowadzenie) z równowagi
nie jest taką codzienną utratą równowagi czy spokoju :)
Choć w pewnym sensie to to samo.
Jest miło i wygodnie, aż tu nagle
przychodzi jakaś zmiana.
Teraz, kiedy już znasz regułę Le Chateliera,
przyjrzymy się innym przykładom.
Powiedzmy, że mamy A plus B plus jakieś ciepło,
a po drugiej stronie mamy C plus D.
A może nawet produkowane jest też E.
Co się stanie, jeśli do tego układu dodam
trochę ciepła?
Dodaję ciepło.
Żeby ta reakcja mogła zachodzić w prawą stronę,
potrzebujemy ciepła.
Im więcej masz ciepła, tym bardziej prawdopodobne,
że reakcja w prawą stronę będzie zachodzić.
Reguła Le Chateliera mówi, że jeśli wyburzamy ten układ
Norwegian:
fremover for å kvitte seg med stresset
--stress i anførselstegn--
fremkalt av mer A.
Jeg mener, det er ikke stress på den tradisjonelle måten
å tenke stress,
men det er en slags stress.
Du forandrer det relativt til det på en måte.
Det var fint og komfortabelt
før i et fint og stabilt miljø.
Så gitt Le Chatelier's prinsipp,
la oss tenke på noen andre situasjoner.
La oss si at hvis jeg hadde A pluss B pluss litt varme,
og det produserer noe C pluss D.
Og kanskje det produserer litt E i tillegg.
Så hvis jeg skulle lagt til varme til dette systemet,
hva ville skjedd?
Så for reaksjonen å bevege seg
fremover, trenger du varme.
Jo mer varme du har,
jo mer sannsynligvis kommer du
til å fortsette fremover.
Så Le Chatelier's prinsipp vil si
Chinese:
減弱這種改變的導通方向移動
雙引號 “改變”
減弱A的增加
我的意思是 這改變不是傳統意義上的
壓力
而是一種推動
是你用某種相關方法影響它
那是很溫和的
在一個溫和穩定的環境中
那麽已知勒夏特列原理
我們來看一些其它例子
假設A和B再加上一些熱量
生成C和D
或許也生成一些E
那麽如果我給係統提供熱量
會怎麽樣呢？
那麽爲了使反應
向導通方向進行 你需要熱能
你提供的熱能越多
反應越可能
向導通方向進行
所以勒夏特列原理解釋道
Spanish:
el sentido directo para aliviar el estrés, -entre comillas
"estrés"- de ese aumento de A
Me refiero, no estrés en su significado tradicional
de pensar acerca del estrés, pero ese es un tipo de estrés.
Estás, de alguna manera, cambiando un factor.
a algo que estaba estable y cómodo, antes, en un entorno
agradable y estable
Dado el principio de Le Chatelier, pensemos en
algunas otras situaciones.
Digamos que tengo A mas B mas calor, y eso
produce un poco de C mas D.
y acaso produce algo de E tambien,
Entonces, si agregara calor a este
sistema, que pasaría?
Para que la reacción progrese en el sentido
directo, necesistas calor.
A mas calor agregues, mas probablemente la
reacción progresará en el sentido directo
Entonces, el Principio de Le Chatelier, dirá que estamos estresando
Swedish:
framåt för att lindra stress - citatet
citat stress - av att fler A.
Jag menar, det inte är stress i sitt traditionella sätt att
tänker på stress, men det är en form av stress.
Du är på något sätt ändra det i förhållande till det.
Det var trevligt och bekvämt före i en fin, stabil
miljö.
Så visst Le Chateliers princip, låt oss komma på några
andra situationer.
Låt oss säga att om jag hade A plus B plus lite värme, och att
tillverkar cirka C plus D.
Och kanske det ger några E också.
Så om jag skulle lägga värme till detta
system, vad skulle hända?
Så för att reaktionen framsteg i den främre
riktning, du behöver värme.
Ju mer värme du har, desto mer sannolikt att du kommer att
framsteg i riktning framåt.
Så Le Chateliers princip kommer att säga att vi betonar detta
Czech:
takže reakce se posune více
ve směru uvolnění napětí z přidání A.
Není to napětí v klasickém pojetí,
je to určité narušení rovnováhy.
Je to změna.
Před tím to bylo hezky pohodlně
v hezkém a stabilním prostředí.
Definovali jsme Le Chatelierův princip,
podívejme se na další situace.
Mám A plus B plus nějaké teplo
a ty vytváří C a D.
A možná vytváří také nějaké E.
Takže, když bych přidal teplo
do tohoto systému, co by se stalo?
Aby reakce probíhala ve směru přímé reakce,
potřebujete teplo.
Čím více tepla máte, tím pravděpodobněji
bude reakce probíhat v přímém směru.
English:
forward direction to relieve
the stress-- the quote,
unquote stress--
of that more A.
I mean, that's not stress in
its traditional way of
thinking about stress, but
that is a kind of stress.
You're somehow changing
it relative to it.
It was nice and comfortable
before in a nice, stable
environment.
So given Le Chatelier's
principle, let's think of some
other situations.
Let's say if I had A plus B
plus some heat, and that
produces some C plus D.
And maybe it produces
some E as well.
So if I were to add
heat to this
system, what would happen?
So in order for the reaction
to progress in the forward
direction, you need heat.
The more heat you have, the more
likely you're going to
progress in the forward
direction.
So Le Chatelier's principle will
say we're stressing this
French:
aura lieu pour contrer la perturbation, s'agissant ici
de l'ajout de plus de A.
.
.
La perturbation apporte un changement.
Le système était en équilibre, dans un
environnement stable.
Compte tenu du principe de Le Chatelier, nous allons considérer
d'autres situations.
Disons que la réaction de A et B en présence de chaleur
donne comme produits C, D,
et E.
Si on ajoute de la chaleur au
système, que se passera-t'il ?
Donc pour que la réaction vers la droite soit favorisée,
il doit y avoir de la chaleur.
Plus qu'il y a de chaleur, plus
que la réaction vers la droite est favorisée.
En accordance avec le principe de Le Chatelier, nous perturbons
English:
the forward direction to relieve the stress
-- the quote, unquote stress--
of that more A.
I mean, that's not stress in its traditional way
of thinking about stress,
but that is a kind of stress.
You're somehow changing it relative to it.
It was nice and comfortable
before in a nice, stable environment.
So given Le Chatelier's principle,
let's think of some other situations.
Let's say if I had A plus B plus some heat,
and that produces some C plus D.
And maybe it produces some E as well.
So if I were to add heat to this system,
what would happen?
So in order for the reaction to progress
in the forward direction, you need heat.
The more heat you have,
the more likely you're going
to progress in the forward direction.
So Le Chatelier's principle will say
Chinese:
减弱这种改变的正向移动
双引号 “改变”
减弱A的增加
我的意思是 这改变不是传统意义上的
压力
而是一种推动
是你用某种相关方法影响它
那是很温和的
在一个温和稳定的环境中
那么已知勒夏特列原理
我们来看一些其它例子
假设A和B再加上一些热量
生成C和D
或许也生成一些E
那么如果我给系统提供热量
会怎么样呢？
那么为了使反应
向正向进行 你需要热能
你提供的热能越多
反应越可能
向正向进行
所以勒夏特列原理解释道
Thai:
ในทิศที่ลดการรบกวน
ก็คือลด A ที่เติมไป
ผมหมายถึง มันไม่ใช่การรบกวน
แบบรบกวนในชีวิตประจำวัน แต่หมายถึง
การเปลี่ยนแปลง
เดิมที่ระบบอยู่ในสภาพที่ดีและสบาย
มีเสถียรภาพ
โอเค จากหลักของเลอชาเตเลียร์ เราลองมาพิจารณา
สถานการณ์อื่น
สมมุติว่าเรามี A บวก B บวกความร้อน
เกิดเป็น C บวก D
แล้วก็ E ด้วย
ถ้าผมเติมความร้อนเข้าไปในระบบ
จะเกิดอะไรขึ้น
ปฏิกิริยาจะไปข้างหน้าได้ก็ต่อเมื่อ
เรามีความร้อน
ยิ่งมีความร้อนมากเท่าไหร่ ปฏิกิริยา
ก็จะยิ่งไปข้างหน้าได้มากขึ้น
หลักของเลอชาเตเลียร์บอกว่า เราได้รบกวนระบบ
Bulgarian:
в права посока, за да компенсира
стреса...
добавянето на това А.
Имам предвид, че това не е
стрес в класическия смисъл,
но все пак е стрес.
По някакъв начин
променяш условията.
Преди процесът се е чувствал
комфортно в една стабилна среда.
Сега, като знаем принципа на
Льо Шателие-Браун, да видим и други случаи.
Да кажем, че А плюс В плюс
някаква топлина
образуват С плюс D.
Може да образуват и някакво Е.
Ако добавим топлина в тази система,
какво ще стане?
За да протича реакцията
в права посока, е нужна топлина.
Колкото повече топлина има,
толкова по-вероятно е
да протича правата реакция.
Принципът на Льо Шателие-Браун
казва, че ние въздействаме на
Korean:
첨가된 A라는 “자극”을 없애는 것입니다.
첨가된 A라는 “자극”을 없애는 것입니다.
즉, 여기에서 자극이라고 하면
통상적으로 여겨지는 스트레스가 아닙니다.
반응에 관계된 무엇인가를 바꾸는 것을 의미합니다.
스트레스를 주기 전에 반응은
편안하고 안정된 환경에 있었습니다.
스트레스를 주기 전에 반응은
편안하고 안정된 환경에 있었습니다.
이렇게 르 샤틀리에의 원리를 가지고
다른 상황에 대해서도 생각해봅시다.
예를 들어 A와 B, 그리고 열이 더해져서
C, D 그리고 E라는 물질이만들어지는 반응이 있다고 합시다.
C, D 그리고 E라는 물질이만들어지는 반응이 있다고 합시다.
이때, 이 계에 열을 더한다면 어떤 일이 일어날까요?
이때, 이 계에 열을 더한다면 어떤 일이 일어날까요?
-
이 반응이 정반응으로 진행하기 위해서는
열이 필요합니다.
즉, 더 많은 열이 있을수록 반응은
정반응 쪽으로 더 잘 진행됩니다.
르 샤틀리에 원리에 따르면 우리는 열을 가함으로써
English:
we're stressing this reaction by adding heat,
so the reaction will favor the direction
that relieves that stressor.
And so to relieve that stressor,
you have more of this input,
so you're going to consume more A.
So the stable concentration of A
once we reach equilibrium will go down.
B will go down because they're going to be consumed more.
The forward reaction is happening more.
And then C, D, and E would go up.
Now, if you did the opposite.
Let me erase what I just did.
Let's say instead of adding heat,
you were to take away heat.
So let's say you were to take away heat.
Let me make sure my cursor's right.
So if you took heat away from the reaction,
what will be favored?
Well, then you're going to be favoring it
in the other direction
because there'll be less heat here.
I mean, all of this is together.
There'll be less heat for this reaction to occur,
Chinese:
通过加热改变反应
反应将会朝着
减弱这种改变的方向进行
而你输入更多了这些
为了减弱这种改变
那么就会消耗更多A
所以一旦达到平衡
A的浓度就会下降
B也会减少 因为它们更多的是被消耗
正向反应强于逆向反应
然后C、D和E会增加
现在 如果做相反的事
让我擦掉刚刚写的
假设不是提供热量
而是带走热量
那我们假设带走热量
让我确认一下光标的方向是对的
那么如果你减少系统的热量
反应会怎么变化？
那反应将朝着
另一个方向进行
因为热量减少了
我想说 这是个整体
反应呈现的热量少了
Estonian:
reaktsioonile lisades soojust, nii et reaktsiooni tasakaal nihkub sinna suunas,
mis vähendab survet.
Ning et survet vähendada, on meil rohkem soojust,
kasutatakse rohkem A-d.
Nii et A kontsentratsioon väheneb, hetkel kui tasakaal saavutatakse.
B kogus kindlasti väheneb, sest neid kasutatakse rohkem.
Reaktsioon toimub edaspidi suunas rohkem.
Siis suureneks C, D ja E kogused.
Kui tehes vastupidist
Las ma kustutan ära mis ma just tegin.
Ütleme et soojuse lisamise asemel,
võtame me soojust ära.
Ütleme et võtame soojust ära.
Kontrollin, kas mu hiir on õige.
Võttes süsteemist soojust ära,
millist poolt eelistatakse?
Siis toimuks reaktsioon pigem teises suunas,
sest on vähem soojust siin.
Ma mõtlen kogu see siin.
On vähem soojust, et see reaktsioon toimuks, nii
English:
reaction by adding heat, so the
reaction will favor the
direction that relieves
that stressor.
And so to relieve that stressor,
you have more of
this input, so you're going
to consume more A.
So the stable concentration of
A once we reach equilibrium
will go down.
B will go down because they're
going to be consumed more.
The forward reaction
is happening more.
And then C, D, and
E would go up.
Now, if you did the opposite.
Let me erase what I just did.
Let's say instead of adding
heat, you were
to take away heat.
So let's say you were
to take away heat.
Let me make sure my
cursor's right.
So if you took heat away
from the reaction,
what will be favored?
Well, then you're going to be
favoring it in the other
direction because there'll
be less heat here.
I mean, all of this
is together.
There'll be less heat for this
reaction to occur, so this
Chinese:
通過加熱改變反應
反應將會朝著
減弱這種改變的方向進行
而你輸入更多了這些
爲了減弱這種改變
那麽就會消耗更多A
所以一旦達到平衡
A的濃度就會下降
B也會減少 因爲它們更多的是被消耗
正反應強於逆向反應
然後C、D和E會增加
現在 如果做相反的事
讓我擦掉剛剛寫的
假設不是提供熱量
而是帶走熱量
那我們假設帶走熱量
讓我確認一下光標的方向是對的
那麽如果你減少係統的熱量
反應會怎麽變化？
那反應將朝著
另一個方向進行
因爲熱量減少了
我想說 這是個整體
反應呈現的熱量少了
Czech:
Takže Le Chatelierův princip říká,
že stresujeme-li reakci přidáním tepla,
bude reakce upřednostňovat směr,
který uvolní stresor.
A jak uvolnit stresor?
Máte více reaktantu,
takže budete spotřebovávat více A.
Takže stabilní koncetrace A,
když dosáhneme rovnováhy, bude klesat.
B bude klesat,
protože bude více spotřebováváno.
Přímá reakce se děje více.
A potom C, D a E budou vzrůstat.
Co se stane, pokud uděláte opak?
Řekněme, že namísto přidání tepla,
teplo odebereme.
Takže řekněme, že jsme odebrali teplo.
Takže, když odebereme z reakce teplo,
který směr bude preferovat?
Bude zvýhodněn druhý směr,
protože tady bude méně tepla.
Bude méně tepla
pro uskutečnění této reakce,
French:
le système en ajoutant de la chaleur, donc la direction de réaction qui réduit cette perturbation
sera favorisée.
Et donc, pour réduire cette perturbation, puisqu'on a plus d'un des agents du côté gauche,
la réaction qui utilise les A aura lieu.
La concentration de A, une fois que l'équilibre sera rétablie,
sera réduite.
La concentration de B diminuera aussi.
La réaction vers la droite est favorisée.
Et donc, la concentration de C, D et E va augmenter.
Si on faisait le contraire,
(un instant, j'efface)
Disons plutôt qu'au lieu d'ajouter de la chaleur,
on en enlève.
On refroidit le système.
(j'ajuste mon curseur)
Donc, si on enlève de la chaleur, quelle réaction
sera favorisée?
Ce sera la réaction opposée,
puisqu'il y a moins de chaleur.
Donc dans le système entier
il y aura moins de chaleur disponible pour que la réaction vers la droite se produise, donc
Polish:
ze stanu równowagi poprzez dodanie ciepła, uprzywilejowana jest ta reakcja,
która zapobiega wyburzeniu.
Żeby złagodzić to zachwianie (masz teraz nadmiar ciepła),
skonsumujesz więcej reagenta A.
Równowagowe stężenie reagenta A
obniży się.
Stężenie B też zmaleje, ponieważ B zużywa się w tej reakcji tak samo jak A.
Czyli reakcja w prawą stronę zacznie zachodzić intensywniej.
Za tym idzie wzrost stężeń C, D i E.
To teraz odwrotnie.
Wymażę to, co zrobiłem wcześniej.
Zamiast dodawania ciepła,
usuniemy je.
Czyli zabieramy ciepło z układu.
Upewnię się, czy mój kursor dobrze działa.
Jeśli zabieramy ciepło z układu,
która reakcja jest uprzywilejowana?
Skoro mamy mniej ciepła,
uprzywilejowana będzie reakcja w lewą stronę.
Ten układ jest całością.
Jest mniej ciepła, więc reakcja w prawą stronę nie chce zachodzić.
Korean:
이 반응에 자극을 주고 있고 반응은
이 자극을 없애는 방향을
선호할 것입니다.
그리고 이 때는 투입량이 더 많은 상황이기 때문에
그 자극을 없애기 위해서는 A를 더 소모해야 할 것입니다.
따라서 새로운 평형에 도달 했을 때
A의 농도는 감소해있을 것입니다.
따라서 새로운 평형에 도달 했을 때
A의 농도는 감소해있을 것입니다.
B 또한 더 소모될 것이므로 감소할 것입니다.
또, 정반응이 더 우세하기 때문에
C, D 그리고 E는 증가할 것입니다.
이제, 그 반대를 해보면…
방금 쓴 것을 지우도록 하죠.
계에 열을 더하는 대신 계로부터
열을 가져가는 경우를 생각해 봅시다.
계로부터 열을 뺏는 경우를 생각해 봅시다.
제 커서가 제대로 됐는지 확인 해볼게요
그러니까 반응에서 열을 뺏는다면
반응은 어떤 방향을 선호할까요?
이 경우 이 쪽에 열이 더 적어지게 되므로
아까와는 반대의 방향이 선호될 것입니다.
제 말은, 이 모든 것은 동시에
일어난다는 것입니다.
여기에는 반응이 일어나기 위한 열의 양이 줄어들어서
Bulgarian:
реакцията, когато добавяме топлина,
реакцията ще се измести
в такава посока, че да
компенсира въздействието.
За да компенсира въздействието,
имаме повече топлина,
така че ще се консумира
повече А.
Така че стабилната равновесна
концентрация на А ще се понижи.
В също ще намалее, защото
ще се консумира повече.
Правата реакция се
извършва в по-голяма степен.
Тогава ще се увеличат С, D и Е.
А ако направиш обратното?
Нека да изтрия това.
Ако вместо да добавяш топлина,
ти я отнемаш?
Нека да кажем, че
отнемаш от топлината.
Само да се уверя, че
курсора ми работи.
Когато отнемаш топлина, какво
се благоприятства?
Тогава се благоприятства
в обратната посока,
защото тук ще има
по-малко топлина.
Имам предвид, че
всичко това е заедно.
Ще има по-малко топлина за
тази реакция, така че
Swedish:
reaktionen genom att tillsätta värme, så reaktionen kommer att främja
riktning som minskar den stressfaktor.
Och så för att lindra att stressfaktor, har du mer av
denna ingång, så att du kommer att konsumera mer A.
Så stabil koncentration av en när vi når jämvikt
kommer att gå ner.
B kommer att gå ner eftersom de kommer att konsumeras mer.
Den främre reaktionen sker mer.
Och sedan C, D och E skulle gå upp.
Nu, om du gjorde det motsatta.
Låt mig ta bort det jag just gjorde.
Låt oss säga att istället för att lägga till värme, du var
att ta bort värme.
Så låt oss säga att du skulle ta bort värme.
Låt mig se till att min markör har rätt.
Så om du tog bort värmen från reaktionen,
vad som kommer att gynnas?
Tja, då du kommer att vara att gynna den i andra
riktning eftersom det blir mindre värme här.
Jag menar, allt detta är tillsammans.
Det blir mindre värme för denna reaktion att inträffa, så detta
Norwegian:
at vi stresser denne reaksjonen ved å tilføye varme,
så reaksjonen kommer til å foretrekke retningen
som fjerner den stresseren.
Og så for å lette den stresseren,
må du ha mer av dette innspillet,
så du kommer til å bruke opp mer A.
Så den stabile konsentrasjonen av A
når vi når likevekt vil minke.
B vil minke fordi de kommer til å brukes mer.
Fremover-reaksjonen skjer mer.
Og så ville C, D, og E gå opp.
Nå, hvis du gjorde det motsatte.
La meg hviske bort det jeg nettopp gjorde.
La oss si at i stedet for å legge til varme,
skulle du fjernet varme.
Så la oss si du fjerner varme.
La meg forsikre meg at musepekeren min er rett.
Så hvis du fjernet varme fra reaksjonen,
hva vil være favorisert?
Vel, du kommer til å favorisere det
i den andre retningen
fordi det kommer til å være mindre varme her.
Jeg mener, alt dette er sammen.
Det vil være mindre varme for at denne reaksjonen skal skje,
Spanish:
esta reacción aportando calor, entonces, la reacción favorecerá
la dirección que alivie ese estress
Y para aliviar ese estrés, teniendo mas de
ese "reactivo", vas a consumir mas A
Y para establecer el equilibrio, la concentración
de A disminuirá.
B tambien disminuirá por que se consumirá mas
La reacción en sentido directo sucederá mas
Y entonces C, D y E aumentarían
Ahora, si hicieras lo opuesto
Déjame borrar lo que acabo de hacer
Digamos que en vez de aportar calor,
quitaras calor
Digamos que fueras a quitar calor
Déjame cambiar mi cursor
Si quitas calor de la reacción
que sentido será favorecido
Bien, vas a favorecer el sentido inverso
por que habrá menos calor aquí
Digo, de todo esto junto
Habrá menos calor para que ocurra esta reacción, entonces
Thai:
โดยการเติมความร้อน ดังนั้นปฏิกิริยาจะปรับตัว
ไปในทิศทางที่ลดการรบกวน
และในการลดการรบกวน เรามีสิ่งนี้มาก
ดังนั้นเราจึงต้องใช้ A
และความเข้มข้นที่สมดุลของ A
จึงลดลง
B ก็ลดลงเช่นกันเพราะมันจะถูกใช้ไป
ปฏิกิริยาไปข้างหน้าเกิดได้มากขึ้น
และทำให้ C, D และ E เพิ่มขึ้น
ทีนี้ ถ้าคุณทำในทางกลับกัน
ขอผมลบสิ่งที่เพิ่งเขียนไป
สมมุติว่า แทนที่จะเพิ่มความร้อน คุณ
นำความร้อนออก
สมมตุิว่าคุณนำความร้อนออก
ขอผมเลื่อนเคอร์เซอร์มาทางนี้
ถ้าคุณนำความร้อนออกจากระบบ
จะเกิดปฏิกิริยาไหนดีกว่ากัน
คุณจะเห็นว่าปฏิกิริยาในอีกทิศทางหนึ่ง
เกิดได้ดีกว่าเพราะมันมีความร้อนน้อยกว่า
ผมหมายถึงความร้อนทั้งระบบ
ความร้อนที่ทำให้ปฏิกิริยานี้เกิดได้นั้นน้อยลง
English:
so this rate will start dominating this rate over here,
right? If you take away heat,
the rate of this reaction will slow down,
this one will be bigger,
and so you'll have more movement of concentration
in that direction,
or the reverse reaction will be favored.
Now, let's think of another stressor
-- pressure.
Now, imagine that we had--
we mentioned the Haber process before,
and this is the reaction for the Haber process.
Nitrogen gas plus 3 moles of hydrogen gas
in equilibrium with 2 moles of ammonia gas.
Now, what's going to happen
if I apply pressure to this system?
I'm going to apply pressure.
So if you think about what happens with pressure,
everything all of a sudden is getting squeezed,
although the volume isn't necessarily decreasing,
but something is somehow
making all the molecules want to be
or forcing them to be closer together.
Estonian:
et see pool domineeriks selle poole üle.
Soojust süsteemist eemaldades, selle reaktsiooni kiirus
väheneb, selle oma on suurem, ning oleks
tasakaalu nihkumine vasakule,
pöördreaktsioon oleks eelistatud.
Nüüd, mõtleme teisele surveavaldajale -- rõhk.
Kujutagem, et meil oleks -- me mainisime Haberi protsessi enne--
ning see on reaktsioon
Haberi protsessiks.
Lämmastiku gaas, plus 3 mooli vesiniku gaasi tasakaalus
kahe mooli ammooniumi gaasiga.
Nii, mis juhtub, kui ma lisan rõhku
sellesse süsteemi?
Lisan rõhku.
Mõeldes, et mis juhtuks rõhuga,
kõik surutakse kokku, kuigi
ruumala tingimata ei vähene, aga miskipärast
kõik molekulid tahavad olla üksteisele lähemal
Norwegian:
så denne reaksjonsfarten kommer til å dominere reaksjonsfarten her borte,
ikke sant? Hvis du fjerner varmen,
vil reaksjonsfarten til denne reaksjonen minke,
denne vil øke,
og så kommer du til ha mer bevegelse av konsentrasjon
i den retningen,
eller den motsatte reaksjonen vil være favorisert.
Nå, la oss tenke av en annen stressfaktor
-- trykk.
Nå, forestill deg at vi hadde--
vi nevnte Haber-Bosch-prosessen før,
og dette er reaksjonen for Haber-Bosch-prosessen.
Nitrogengass pluss 3 mol hydrogengass
i likevekt med 2 mol ammoniakkgass.
Nå, hva kommer til å skje
hvis jeg føyer til trykk til systemet?
Jeg kommer til å føye til trykk.
Så hvis du tenker på hva som skjer med trykk,
alt kommer plutselig til å presses sammen,
selv om volumet ikke nødvendigvis minsker,
men noe får på en eller annen måte
alle molekylene til å ville
eller tvinge de til å være nærmere hverandre.
Czech:
takže rychlost zpětné reakce
bude větší než rychlost dopředné reakce.
Pokud odeberete teplo,
rychlost dopředné reakce se zpomalí,
rychlost zpětné bude vyšší
a koncentrace bude narůstat v tomto směru,
neboli bude upřednostňovaná zpětná reakce.
Pojďme teď popřemýšlet
o dalším stresoru, o tlaku.
Teď si představme, že jsme měli...
již jsme zmínili Haberův proces,
a toto je reakce pro Haberův proces.
Dusík plus 3 moly vodíku v rovnováze
se 2 moly plynného amoniaku.
Co se teď stane, pokud budu působit
tlakem na tento systém?
Použiji tlak.
Přemýšlejme, co se stane s tlakem,
vše se najednou stlačí,
ačkoliv objem nemusí nutně klesnout,
Chinese:
所以逆速率就开始比正速率大
对吗？ 如果减少热能
正反应速率将下降
逆反应速率将增大
所以逆向浓度增大了
所以逆向浓度增大了
或者促进了逆反应
现在 我们来看另一个影响平衡的因素
压强
现在 想象一下我们已经…
之前我们提到过哈伯制氨法
而这就是哈伯制氨法的反应
氮气(N2)加3mol氢气(H2)
在动态平衡中生成2mol氨气(NH3)
现在 如果给系统加压
会发生什么？
我增大压强
想象一下压强的改变
突然所有东西都被压缩了
尽管体积并没有减小
但有些东西
让所有分子都想要
或者说强迫它们彼此靠近
English:
rate will start dominating this
rate over here, right?
If you take away heat, the rate
of this reaction will
slow down, this one will be
bigger, and so you'll have
more movement of concentration
in that direction, or the
reverse reaction will
be favored.
Now, let's think of another
stressor-- pressure.
Now, imagine that we had-- we
mentioned the Haber process
before, and this
is the reaction
for the Haber process.
Nitrogen gas plus 3 moles of
hydrogen gas in equilibrium
with 2 moles of ammonia gas.
Now, what's going to
happen if I apply
pressure to this system?
I'm going to apply pressure.
So if you think about what
happens with pressure,
everything all of a sudden is
getting squeezed, although the
volume isn't necessarily
decreasing, but something is
somehow making all the molecules
want to be or
Bulgarian:
обратната ще започне да
доминира, нали?
Ако отнемеш топлина,
скоростта на тази реакция
ще се забави, а тази ще се увеличи,
така че ще има
движение в тази посока,
или обратната реакция
ще се благоприятства.
Сега да помислим за друго
въздействие - налягането.
Представи си, че имаме...
разглеждахме процеса на Хабер-Бош,
и това е реакцията на
процеса на Хабер-Бош.
Азот газ плюс 3 мола водород газ
са в равновесие с 2 мола амоняк газ.
Какво ще се случи, ако
приложа налягане на системата?
Ще приложа налягане.
И ако се замислиш какво ще се случи
при това повишено налягане,
когато то изведнъж е свито,
въпреки, че
обемът не е задължително да
намалее, но някак
Chinese:
所以逆速率就開始比正速率大
對嗎？ 如果減少熱能
正反應速率將下降
逆反應速率將增大
所以逆向濃度增大了
所以逆向濃度增大了
或者促進了逆反應
現在 我們來看另一個影響平衡的因素
壓力
現在 想象一下我們已經…
之前我們提到過哈柏制氨法
而這就是哈柏制氨法的反應
氮氣(N2)加3mol氫氣(H2)
在動態平衡中生成2mol氨氣(NH3)
現在 如果給係統加壓
會發生什麽？
我增大壓力
想象一下壓力的改變
突然所有東西都被壓縮了
盡管體積並沒有減小
但有些東西
讓所有分子都想要
或者說強迫它們彼此靠近
Korean:
이 반응 속도(역반응의 반응속도)가 여기 있는
이 속도(정반응의 반응속도)를 넘어서게 됩니다. 그렇죠?
즉, 열을 뺏어가면 반응의 속도는 줄어들 것이고
이 속도가 다른 것보다 커지게 되어서
우리는 이쪽 방향으로 더 많은
농도 이동을 얻게되고,
즉 역반응이 선호될 것입니다.
이제, 또 다른 평형 이동 요인인 압력을 생각해봅시다
앞서 하버 보슈법(Harbor process) 에 대해 언급했죠.
그리고 이 반응은 하버 보슈법에서의 반응이고요.
그리고 이 반응은 하버 보슈법에서의 반응이고요.
N2(g)와 3H2(g)가 반응하여 2NH3(g)가 되는 반응이
평형 상태에 있습니다.
이때 이 계에 압력을 가하면 어떻게 될까요?
이때 이 계에 압력을 가하면 어떻게 될까요?
압력을 가해 보겠습니다.
-
압력을 가했을 때 어떤 일이 일어나는지 생각해보록 하죠.
갑자기 모든 것이 압축되는 것이라고 할 수 있습니다.
이때 반드시 부피가 감소하는 것은 아니지만
무엇인가에 의해 모든 분자가 서로와 가까워지게 됩니다.
French:
la réaction vers la gauche sera favorisée.
Si on enleve de la chaleur, la vitesse de réaction vers la droite
sera réduite, celle vers la gauche sera relativement plus élevée,
donc la réaction
vers la gauche sera favorisée.
Nous allons maintenant considérer une autre perturbation: la pression.
Nous avons déjà mentionné le procédé Haber
et voici la réaction
pour le procédé Haber.
Diazote à l'état gazeux ainsi que 3 moles de dihydrogène à l'état gazeux en équilibre
avec 2 moles d'ammoniac à l'état gazeux.
Que se passera-t'il si on augmente
la pression de ce système ?
On augmente la pression.
Donc si on pense à ce qui se passe avec une augmentation de pression,
tout devient plus serré, bien que le
volume n'est pas nécessairement décroissant, mais pour une raison ou
une autre, toutes les molécules sont
Polish:
Szybkość reakcji w lewą stronę będzie większa niż szybkość reakcji w stronę prawą.
Jeśli zabierasz ciepło, szybkość tej reakcji maleje,
a tej reakcji - rośnie.
Czyli zaobserwujemy wzrost stężenia reagentów po tej stronie
równania reakcji.
Przeanalizujmy teraz inny aspekt - ciśnienie.
Wspominałem już kiedyś
o procesie Habera.
To jest reakcja Habera.
Jeden mol gazowego azotu plus trzy mole gazowego wodoru
są w równowadze z dwoma molami gazowego amoniaku.
Co się stanie,
jeśli zwiększę ciśnienie w tym układzie?
Zwiększam ciśnienie.
Zwiększam ciśnienie.
Pomyśl tylko, zwiększamy ciśnienie,
wszystko nagle robi się ściśnięte,
chociaż objętość niekoniecznie maleje.
W jakiś sposób wszystkie cząsteczki
Swedish:
räntan kommer att börja dominerar denna kurs här borta, eller hur?
Om man tar bort värmen, graden av denna reaktion kommer att
sakta ner, kommer detta att en vara större, och så du har
mer rörelse av koncentration i den riktningen, eller
omvända reaktionen kommer att gynnas.
Nu ska vi tänka på en annan stressfaktor - tryck.
Tänk dig nu att vi hade - vi nämnt Haber-processen
innan, och detta är reaktionen
för Haber-processen.
Kvävgas plus 3 mol vätgas i jämvikt
med 2 mol ammoniakgas.
Nu, vad kommer att hända om jag ansöker
tryck till detta system?
Jag kommer att utöva påtryckningar.
Så om man tänker på vad som händer med tryck,
allting helt plötsligt blir pressade, även om
Volymen är inte nödvändigtvis minskar, men något är
på något sätt att göra alla molekyler vill vara eller
Spanish:
esta velocidad empezará a dominar sobre esta velocidad, cierto?
Si quitas calor, la velocidad de esta reacción se
frenará, esta otra será mayor, entonces, vas a tener
mas movimiento de concentración en esta dirección, o
la reacción inversa será favorecida.
Ahora, pensemos en otro estresante -- presión.
Ahora, imagina que tenemos -- hemos mencionado el proceso Haber
antes, y esta es la reacción
para el proceso Haber
Nitrógeno gaseoso mas 3 moles de hidrógeno gaseoso en equilibrio
con 2 moles de amoníaco gaseoso.
Ahora, que va a suceder si aplicamos
presión al sistema?
Voy a aplicar presión.
Entontces, si piensas que va a pasar al aumentar la presión
todo será "aplastado" aunque el volúmen
no necesariamente se reducirá, pero algo está
haciendo que todas las moléculas tiendan a
Thai:
ดังนั้นอัตราการเกิดปฏิกิริยานี้จะสูงกว่าปฏิกิริยานี้
ถ้าคุณนำความร้อนออกไป อัตราการเกิดปฏิกิริยานี้
จะลดลง และอีกปฏิกิริยาจะมากขึ้น คุณจึงมี
การเปลี่ยนแปลงความเข้มข้นในทิศนั้น
เกิดปฏิกิริยาย้อนกลับได้ดีขึ้น
ต่อมา เรามาพิจารณาการรบกวนระบบอีกวิธี คือความดัน
ลองคิดดูว่า เราได้ใช้กระบวนการฮาเบอร์
ในคลิปก่อนหน้า และนี่คือปฏิกิริยา
ในกระบวนการฮาเบอร์
แก๊สไนโตรเจน บวก 3 โมลของแก๊สไฮโดรเจน เกิดสมดุลกับ
2 โมลของแก๊สแอมโมเนีย
จะเกิดอะไรขึ้นหากผม
ให้ความดันแก่ระบบ
ผมกำลังจะให้ความดัน
ถ้าคุณลองคิดว่าเกิดอะไรขึ้นเมื่อให้ความดัน
ทุกอย่างในระบบจะถูกบีบอัดเข้าหากัน แม้เราจะ
ไม่ได้บีบอัดปริมาตรให้เล็กลงก็ตาม แต่มันจะมี
บางอย่างที่ทำให้โมเลกุล
Czech:
něco ale nějak nutí všechny molekuly
být blíže u sebe.
Teď, když se věci přibližují,
stres způsobený tlakem může být uvolněn,
pokud se zbavíme několika molekul.
Přemýšlejme o tom takto.
pV se rovná nRT.
To už jsme se učili několikrát, že?
A řekněme, že bychom mohli napsat
p se rovná nRT/V.
Teď, pokud zvýšíme tlak,
jak se ho můžeme zase zbavit?
Vzpomeňte si,
Le Chatelierův princip říká,
že cokoliv se stane,
způsobí uvolnění stresu.
Reakce poběží ve směru,
který uvolní stresor.
Pokud snížíme počet molekul,
potom uvolníme tlak.
Budeme mít méně věcí,
které do sebe budou narážet.
Takže pokud snížíme počet
molekul…
Asi bych to neměl psát tímto způsobem,
protože to není rovnice,
Chinese:
现在 它们都挤在一起
如果分子数减少
压强的增大就会被减弱
以这种方式思考一下
PV等于nRT
我们学过这个式子几次了 对吗？
然后可以写出P=nRT/V
现在 如果我增大压强
我们怎样才能减弱这变化呢？
记住 勒夏特列原理解释道
反应会移动
来减弱这种改变
反应将朝着减弱这种改变的
方向进行
那么 如果减少分子的数目
压强就会降低 对吗？
那么就会有少一些东西相互阻碍跳动
所以如果分子数变少
也可以看成
嗯… 我不应该这样写
因为这两者不等同
English:
Now, when things are getting closer together,
the stress of the pressure could be relieved
if we end up with fewer molecules.
Think about it this way.
PV is equal to nRT.
We learned this multiple times, right?
And let's say we could write P is equal to nRT/V.
Now, if we increase the pressure,
how can we relieve that?
Remember, Le Chatelier's principle says that
whatever's going to happen
is going to relieve the stressor.
The reaction is going to go in the direction
that it relieves it.
Well, if we lower the number of molecules,
then that will relieve the pressure, right?
You'll have fewer things bouncing against each other.
So if we lower the number of molecules
where you can kind of view it
-- I mean, I shouldn't have written it this way,
because it's not quite an equation,
Bulgarian:
или нещо принуждава молекулите
да са по-близо една до друга?
Сега, когато нещата
се приближават, въздействието
от повишеното налягане може
да се намали с по-малко молекули.
Разглеждай го така.
PV = nRT.
Това го учихме много пъти, нали?
И нека да запиша P = nRT/V.
Ако увеличим налягането,
как това ще се компенсира?
Спомни си, че принципът на Льо Шателие-Браун казва, че каквото
и въздействие да има, то ще бъде
компенсирано.
Реакцията ще протече в тази
посока, която го компенсира.
Ако намалим броя на молекулите
това ще компенсира налягането, нали?
Ще има по-малко неща,
които се удрят едно в друго.
Така че ако намалиш броя на молекулите,
ако можеш да си го представиш...
не трябваше да го напиша точно така,
но
Spanish:
o sean forzadas a estar mas amontonadas
Ahora, con cuando estén mas cerca, el estrés debido a
la presión podría aliviarse si terminamos
con menos moléculas
Piénsalo de esta manera
PV es igual a nRT
Ya vimos esto varias veces, cierto?
y digamos que podríamos escribir P es igual a nRT/V
Ahora, si aumentamos la presión, cómo
podemos aliviarla?
Recuerda, el Principio de Le Chatelier dice que lo que sucediera
iría en el sentido de aliviar el estrés
La reacción va a ir en la dirección
de aliviarlo
Bien, si reducimo el número de moléculas, entonces eso
aliviará la presión, cierto?
Vas a tener menos cosas rebotando unas contra otras
Entonces, si reducimos el número de moléculas donde
puedes ver-- Digo no debí haberlo escrito de esta
Estonian:
või miski sunnib neid nii olema.
Kui kõike surutakse kokku,
seda survet saaks vähendada kui meil
oleks lõpuks vähem molekule.
Mõtle sellele niipidi.
PV = nRT
Me oleme seda korduvalt õppinud, eks?
Ütleme et me saame kirjutada, et P = nRT/V
Nüüd kui me tõstame rõhku, kuidas me
saaks seda survet eemaldada?
Tuletage meeöde, Le Chatelier'i printsiip ütleb et misiganes
juhtub, vähendab survet.
Reaktsiooni tasakaal nihkub sinnapoole,
mis vähendab survet.
Kui me vähendame molekulide arvu, siis see
eemaldaks survet ,eks?
Siis oleks vähem asju, mis põrkuvad üksteise vastu.
Kui me vähendame molekulide arvu, kus saab seda vaadelda,
ma poleks pidanud seda niimoodi kirjutama,
Swedish:
tvingar dem att vara närmare varandra.
Nu, när saker blir närmare varandra, den stress
trycket kunde lindras om vi slut
upp med färre molekyler.
Tänk på det här sättet.
PV är lika med NRT.
Vi lärde oss detta flera gånger, eller hur?
Och låt oss säga att vi skulle kunna skriva P är lika med nRT / V.
Om vi nu ökar trycket, hur
kan vi lindra det?
Kom ihåg, säger Le Chateliers principen att allt som är
kommer att hända kommer att lindra stressfaktor.
Reaktionen kommer att gå i den riktning
att det befriar det.
Tja, om vi sänker antalet molekyler, så kommer
lätta på trycket, eller hur?
Du har färre saker studsar mot varandra.
Så om vi sänker antalet molekyler där du kan typ
av att visa det - jag menar, skulle jag inte ha skrivit det här
English:
forcing them to be
closer together.
Now, when things are getting
closer together, the stress of
the pressure could be
relieved if we end
up with fewer molecules.
Think about it this way.
PV is equal to nRT.
We learned this multiple
times, right?
And let's say we could write
P is equal to nRT/V.
Now, if we increase
the pressure, how
can we relieve that?
Remember, Le Chatelier's
principle says that whatever's
going to happen is going to
relieve the stressor.
The reaction is going to
go in the direction
that it relieves it.
Well, if we lower the number of
molecules, then that will
relieve the pressure, right?
You'll have fewer things
bouncing against each other.
So if we lower the number of
molecules where you can kind
of view it-- I mean, I shouldn't
have written it this
French:
forcées à se rapprocher.
Quand toutes les molécules se rapproche, la perturbation de
pression pourrait être contrée si on
avait moins de molécules.
On peut y penser de cette façon:
PV est égale à nRT.
Nous avons déjà appris ceci, n'est-ce pas?
Et disons qu'on peut écrire que P est égal à nRT/V.
Si on augmente la pression, comment
peut-on la soulager?
N'oubliez pas: le principe de Le Chatelier affirme que
le système tachera de réduire toute perturbation.
La réaction favorisée sera dans la direction qui donne
une réduction de perturbation.
Eh bien, si on réduit le nombre de molécules, ceci
diminuera la pression, n'est-ce pas?
Il y aura moins de particules se poussant les unes les autres.
Donc, si on réduit le nombre de molécules,
(je n'aurais pas du l'écrire comme ça,
Chinese:
現在 它們都擠在一起
如果分子數減少
壓力的增大就會被減弱
以這種方式思考一下
PV等於nRT
我們學過這個式子幾次了 對嗎？
然後可以寫出P=nRT/V
現在 如果我增大壓力
我們怎樣才能減弱這變化呢？
記住 勒夏特列原理解釋道
反應會移動
來減弱這種改變
反應將朝著減弱這種改變的
方向進行
那麽 如果減少分子的數目
壓力就會降低 對嗎？
那麽就會有少一些東西相互障礙跳動
所以如果分子數變少
也可以看成
嗯… 我不應該這樣寫
因爲這兩者不等同
Norwegian:
Nå, når ting kommer nærmere hverandre,
kan stresset utløst av trykket lettes
hvis vi får færre molekyler.
Tenk på denne måten.
PV = nRT.
Vi har lært dette flere ganger, ikke sant?
Og la oss si at vi kan skrive P = nRT/V.
Nå, hvis vi øker trykket,
hvordan kan vi lette det stresset?
Husk, Le Chatelier's prinsipp sier at
uansett hva som kommer til å skje
kommer det til å lette stresset.
Reaksjonen kommer til å gå i retningen
som letter det.
Vel, hvis vi minsker antall molekyler,
så letter vi det trykket, ikke sant?
Du kommer til å ha færre ting som kræsjer med hverandre.
Så hvis vi minsker antall molekyler
hvor du kan på en måte se det
-- Jeg mener, jeg skulle ikke ha skrevet det på denne måten,
fordi det ikke er en likning,
Polish:
są zmuszone do bycia ze sobą bardzo blisko.
Teraz, kiedy wszystkie reagenty są bardzo blisko siebie,
można zapobiec wzrostowi ciśnienia
poprzez zmniejszenie ilości cząsteczek w układzie.
Pomyśl o tym w ten sposób.
Pomyśl o tym w ten sposób.
pV = nRT
Uczyliśmy się tego wielokrotnie.
Możemy też napisać, że p = nRT / V.
Zwiększamy ciśnienie.
W jaki sposób możemy zapobiec wzrostowi ciśnienia?
Reguła Le Chateliera mówi, że cokolwiek się dzieje,
układ zawsze dąży do zachowania stanu równowagi.
Reakcja zajdzie w takim kierunku,
który zapobiegnie wzrostowi ciśnienia.
Jeśli zmniejszymy liczbę cząsteczek gazów w układzie,
ciśnienie powinno się zmniejszyć.
Będzie wtedy mniej cząstek odbijających się od siebie nawzajem.
Czyli obniżamy liczbę cząsteczek....
Nie powinienem tego pisać w ten sposób,
Thai:
ถูกบังคับให้อยู่ชิดกันมากขึ้น
ทีนี้ เมื่อมันมาอยู่ใกล้กันมากขึ้น เราจะสามารถ
ลดผลการรบกวนจากความดันได้
หากเราทำให้มีจำนวนโมเลกุลน้อยลง
ลองคิดแบบนี้
PV = nRT
เราเห็นสมกานี้หลายรอบแล้วใช่มั้ย
และเราอาจเขียนว่า P = nRT/V
เมื่อเราเพิ่มความดันของระบบ
เราจะลดผลจากมันได้อย่างไร
จำไว้ว่า หลักของเลอชาเตเลียร์บอกว่า มันจะเปลี่ยนแปลง
ไปในทิศที่ลดการรบกวน
ปฏิกิริยาก็จะปรับตัวไปในทิศนั้น
เพื่อลดผลการรบกวน
ดังนั้น ถ้าเราลดจำนวนโมเลกุล มันก็จะ
ลดการรบกวนจากความดัน
คุณจะมีสิ่งของที่จะเคลื่อนชนกันน้อยลง
ถ้าเราลดจำนวนโมเลกุล คุณอาจ
มองเห็นภาพ -- ผมหมายถึง ผมไม่ควรจะเขียนแบบนี้
Korean:
무엇인가에 의해 모든 분자가 서로와 가까워지게 됩니다.
이렇게 분자가 서로 가까워진 상태에서는
분자의 개수가 감소할 때 압력에 의한
자극이 완화될 수 있습니다
분자의 개수가 감소할 때 압력에 의한
자극이 완화될 수 있습니다
이렇게 생각해 보도록 하죠.
-
PV=nRT(이상기체 상태방정식)입니다.
우리 모두 이 내용을 여러번 배워왔습니다.
그러면, 이제 P에 대해서 P=nRT/V라고 할 수 있습니다.
자 이제, 압력을 증가시킨다면,
어떻게 이를 완화시키는 방향으로 진행할 수 있을까요?
계속 말해왔듯이 르샤틀리에 법칙은 어떤 화학 현상의 진행
방향을 완화시키는 방향으로 일어납니다.
그러니까, 반응이 변화된 화학 현상의 요소들을
완화하는 방향으로 평형 이동한다는 말이죠.
분자의 수가 줄어들게 되면,
분명 압력은 감소할겁니다. 그렇죠?
서로에게 충돌하며 영향을 미치는 분자가 줄어듭니다.
따라서, 분자의 수가 줄어들면 (n이 감소하면)
아 이렇게 설명하는게 좋지 않네요..
Korean:
이건 수식과는 꽤 동떨어져 있으니
이렇게 생각해봅시다.
아.. 잠시만요, 이걸 지워야 겠습니다.
아마, 좋지 못한 설명이였던거 같네요.
-
이런 용기가 있다면.. 다시 그려야 겠습니다.
-
자 다시...
왼쪽 용기에는 2개의 분자가 있다고 하고....
아 4개라고 합시다.
오른쪽 용기에는 2개의 분자가 있다고 합시다.
왼편의 용기의 기체 분자가 반응해서 2 분자가 됩니다.
상자 안의 기체 분자가 반응에 참여해서
오른쪽의 2몰의 분자를 만들게 됩니다.
이 위의 반응식에서 봅시다.
이 파란 분자가 위의 질소분자라고 합시다.
이 파란 분자가 위의 질소분자라고 합시다.
좀 다른 색으로 색칠하도록 하겠습니다.
이 갈색의 질소 분자가 3몰의 수소 분자와 반응합니다.
이게 2몰의 암모니아를 생성시킵니다.
Bulgarian:
защото това не е точно уравнение,
но искам да го разгледаш по този начин.
Ще изтрия това.
Това не е най-добрият начин.
Ако имам някакъв съд...
не, твърде е...
Ако аз...
не, също не става.
Ако имам контейнер и
приложа налягане към него,
и в единия случай имам две молекули,
нека да кажем, че имам
четири молекули в някакъв обем.
А в другия случай те са се слели
и имам само две молекули.
И в двете може да
протече реакция,
тези четири може да се слеят
и да образуват две молекули.
Всъщност нека използвам
горния пример.
Нека азотните молекули
са тези сините.
Ще използвам
различен цвят.
Тази кафявата тук, може да се
слее с три водорода.
И може да се получи това.
Swedish:
sätt, för det är inte riktigt en ekvation, men jag vill att du
tänker på det så.
Låt mig ta bort denna.
Detta var nog inte den bästa intuition.
Om jag har en container - Nej, alltför chockerande.
Om jag - Nej, samma sak.
Om jag har en behållare och jag är ett tryck på den, och
i ett alternativ jag kunde ha två molekyler - låt oss säga att jag kunde
har 4 molekyler i viss volym.
Och i en annan situation, låt oss säga de får ihop och
Jag har bara 2 molekyler, eller hur?
I båda dessa kan reaktionen gå mellan dessa,
dessa 4 kunde gå samman för att göra 2 molekyler.
Egentligen, låt mig använda det här exemplet här uppe.
Låt oss säga detta kväve molekylen är
denna blå här.
Egentligen vill jag göra det på ett mer annorlunda färg.
Denna bruna här kan det gå samman med 3 väte.
Det skulle kunna tillverka denna.
Estonian:
sest see pole võrrand aga ma tahan et te mõtleks
sellele nii.
Kustutan selle.
See ei olnud tõenäoliselt kõige parem mõte.
Kui mul oleks konteiner -- ei, liiga šokeeriv.
Kui -- ei, sama asi.
Kui mul on konteiner, ja ma lisan sellele rõhku,
ja ühes oleks 2 molekuli -- ütleme et mul on 4
molekuli mingi ruumalaga.
Ning teisel juhul ütleme et nad ühinesid ja
mul on ainult 2 molekuli.
Kummalgi juhul, reaktsioon võib toimuda:
need 4 võivad ühineda et moodustada 2 molekuli.
Tegelikult las ma kasutan seda näidet siin.
Ütleme et see lämmastiku molekul on
see sinine.
Tegelikult , ma kasutan teist värvi
See pruun, võib ühineda kolme vesinikuga.
Võib moodustuda see.
Thai:
เพราะมันไม่ใช่สมการ แต่ผมแค่อยากให้คุณ
คิดแบบนั้น
ขอผมลบตรงนี้
นี่อาจไม่ใช่วิธีการคิดทีดีที่สุด
สมมุติว่าผมมีภาชนะ - - ไม่น่าจะใส่สีนะ
ถ้าผม -- ไม่ ยังเหมือนเดิมอยู่
ถ้าผมมีภาชนะและผมให้ความดันแก่มัน และ
ในภาชนะแรกผมมี 2 โมเลกุล
เอาเป็น 4 โมเลกุลละกัน ใน ปริมาตรนึง
และถ้าอีกสถานการณ์หนึง มันมี
เรามีแค่ 2 โมเลกุล
ปฏิกิริยาสามารถเกิดระหว่างสองสถานการณ์นี้
4 โมเลกุลนี้อาจรวมกันเป็น 2 โมเลกุล
จริงๆ แล้วขอผมใช้ตัวอย่างตรงนี้ดีกว่า
สมมุติให้โมเลกุลไนโตรเจนมี
สีน้ำเงินตรงนี้
จริงๆ แล้วขอผมใช้สีที่ต่างไป
สีน้ำตาลตรงนี้ มันรวมกับไฮโดรเจน 3 โมเลกุล
ได้เป็นอันนี้
English:
but I want you to think of it that way.
Let me erase this.
This probably wasn't the best intuition.
If I have a container
-- nope, too shocking.
If I-- nope, same thing.
If I have a container
and I'm applying pressure to it,
and in one option I could have 2 molecules--
let's say I could have 4 molecules in some volume.
And in another situation, let's say they get merged
and I only have 2 molecules, right?
In either of these, the reaction can go between these,
these 4 could merge to make 2 molecules.
Actually, let me use this example up here.
Let's say this nitrogen molecule
is this blue one here.
Actually, let me do it in a more different color.
This brown one right here,
it can merge with 3 hydrogen. It could produce this.
Chinese:
但是我想讓你建立這種思維
讓我把這些擦掉
這可能不是最好的直觀認識
如果這有一個容器
啊 太雷人了
如果… 唉 還是一樣
如果有一個容器
然後我給它加壓
在一個裏有2mol的…
假設在這容器裏有4mol分子
假設是混合分子 而在另一個裏
只有2mol分子 對嗎？
反應就是這兩者間的轉化
這4mol混合分子生成這2mol分子
其實 我用上面這個例子吧
假設氮氣分子
是藍色這個
嗯 我換個顏色好了
用褐色來畫
它和3mol氫氣混合 然後生成這個
French:
ce n'ai pas vraiment une équation, mais on peut y penser
de cette façon.)
J'efface,
Ce n'était probablement pas une façon intuitive d'y penser.
Si on a un contenant--non, trop vif.
Si on--non, même chose.
Si on a un contenant et on augmente la pression, et
dans le premier contenant on a 4 molécules,
dans un certain volume.
Et dans une autre situation, disons qu'ils se fusionnent et que
maintenant il n'y a que 2 molécules.
La réaction peut aller vers la droite ou vers la gauche.
Ces 4 molécules pourraient se fusionner pour donner 2 molécules.
En fait, utilisons l'exemple ci-haut.
Disons que cette molécule de diazote est
celle en bleu.
Je change la couleur pour un plus grand contraste.
La molécule brune ici peut se fusionner avec les 3 dihydrogènes,
Pour produire ceci.
Spanish:
forma, por que no es una ecuación, pero yo quiero que
lo pienses de esa manera.
Déjame borrar esto
Probablemente no ha sido muy intuitivo
Si yo tengo un recipiente, -- no, demasiado shockeante-
Si yo -- nop, lo mismo.
Si yo tengo un recipiente y voy a aplicarle presión, y
en una opción podría tener 2 moléculas, digamos podría
tener 4 moléculas en un volúmen
Y en otra situación, digamos que se fusionan
y solo tengo 2 molécuas, cierto?
en cada uno, la reacción será entre esas
esas 4 pueden fundirse para dar 2 moléculas
Déjame usar este ejemplo de aquí
Digamos que las moléculas de nitrógeno
son estas azules
Déjame hacerlas en otro color diferente
Esta marrón, una aquí, puede fundirse con 3 hidrógenos
y puede producir esto
English:
way, because it's not quite an
equation, but I want you to
think of it that way.
Let me erase this.
This probably wasn't
the best intuition.
If I have a container--
nope, too shocking.
If I-- nope, same thing.
If I have a container and I'm
applying pressure to it, and
in one option I could have 2
molecules-- let's say I could
have 4 molecules
in some volume.
And in another situation, let's
say they get merged and
I only have 2 molecules,
right?
In either of these, the reaction
can go between these,
these 4 could merge to
make 2 molecules.
Actually, let me use this
example up here.
Let's say this nitrogen
molecule is
this blue one here.
Actually, let me do it in
a more different color.
This brown one right here, it
can merge with 3 hydrogen.
It could produce this.
Norwegian:
men jeg vil at du skal se på det på den måten.
La meg hviske bort dette.
Dette var sannsynligvis ikke den beste intuisjonen.
Hvis jeg har en beholder
-- nei, for sjokkerende.
Hvis jeg-- nei, samme tingen.
Hvis jeg har en beholder
og jeg føyer til trykk,
og i et alternativ kunne jeg hatt 2 molekyler--
la oss si jeg kunne hatt 4 molekyler i ett eller annet volum.
Og i en annen situasjon, la oss si de blir føyd sammen
og jeg bare har 2 molekyler, ikke sant?
I uansett av disse, kan reaksjonen gå mellom disse,
disse 4 kunne legges sammen for å lage 2 molekyler.
Faktisk, la meg bruke eksempelet her oppe.
La oss si at dette nitrogenmolekylet
er denne blåe her borte.
Faktisk, la meg gjøre det i en mer annerledes farge.
Denne brune akkurat her,
den kan føyes sammen med 3 hydrogener. Det kunne produsert dette.
Chinese:
但是我想让你建立这种思维
让我把这些擦掉
这可能不是最好的直观认识
如果这有一个容器
啊 太雷人了
如果… 唉 还是一样
如果有一个容器
然后我给它加压
在一个里有2mol的…
假设在这容器里有4mol分子
假设是混合分子 而在另一个里
只有2mol分子 对吗？
反应就是这两者间的转化
这4mol混合分子生成这2mol分子
其实 我用上面这个例子吧
假设氮气分子
是蓝色这个
嗯 我换个颜色好了
用褐色来画
它和3mol氢气混合 然后生成这个
Polish:
bo to już nie jest równanie,
ale chcę, żebyś myślał o tym właśnie w taki sposób.
Usunę to.
To nie była najlepsza podpowiedź.
To nie była najlepsza podpowiedź.
Załóżmy, że mam zbiornik.
Nie, ten kolor jest zbyt uderzający... Ten też.
Mam zbiornik i zwiększam w nim ciśnienie.
W pierwszym przypadku mam 2 cząsteczki -
albo lepiej 4 cząsteczki - w jakiejś objętości.
A w drugim przypadku
mam dwie cząsteczki.
W tym przypadku reakcja zachodzi
pomiędzy czterema cząsteczkami i powstają dwie cząsteczki.
Właściwie powinienem użyć tego przykładu.
Cząsteczka azotu będzie
niebieska....
Albo inaczej - cząsteczka azotu będzie
brązowa. A cząsteczki wodoru - niebieskie.
Azot i wodór mogą wyprodukować to.
Czech:
ale chci, abyste o tom takto přemýšleli.
Raději to vymažu,
nebyl to zrovna nejlepší příklad.
Jestliže mám nádobu...
Jestliže mám nádobu a působím na ni tlakem
a v jednom případě mám 2 molekuly...
Řekněme raději 4 molekuly
v nějakém objemu.
A v další situaci se molekuly sloučily
a mám jen 2 molekuly.
V každé z těchto situací se mohou
4 molekuly sloučit a vytvořit 2.
Vlastně, použiju tady ten příklad nahoře.
Řekněme, že molekula dusíku
je tato modrá.
Zvolím odlišnější barvu.
Tato hnědá se může sloučit
se 3 molekulami vodíku.
A mohou vytvořit toto.
Swedish:
Så detta är ett annat sätt att skriva denna reaktion, kanske
på ett mer visuellt sätt.
Nu, om jag påtryckningar, om jag utövar påtryckningar för att
detta system, så tryck jag bara föreställa mig är typ av mer
kraft per område från alla håll, vilka av dessa
situationer är mer sannolikt att underlätta situationen?
Tja, den situation där vi har färre molekyler stöta
runt eftersom det är lättare att sorts tillämpa eller antar jag
pressa ihop dem än när du har mer molekyler
skumpande runt.
Jag gör detta mycket hand vågig, men jag tror det
ger dig intuition.
Så om du pressa på systemet, om trycket går
upp, du ansöker - det betyder inte att de
tryck går ner.
Detta innebär att trycket är som gäller för systemet.
Men trycket är på väg upp, vilken sida av reaktion är
kommer att gynnas?
Reaktionen kommer att bli gynnar sida som har
färre molekyler.
Och denna sida har 2 molekyler, men de blir större
molekyler uppenbarligen, eftersom det är inte som vi förlorar
massan i en riktning eller det andra, i motsats till detta
situation där vi har 4 molekyler, eller hur?
Czech:
Takže toto je názornější způsob,
jak napsat tuto rovnici.
Pokud působím tlakem,
pokud působím tlakem na tento systém,
tlak, který mám teď na mysli,
je něco na způsob působení větší síly
z každého směru.
Která z těchto situací
pravděpodobněji ten tlak zmírní?
Ta, kde máme méně narážejících molekul,
protože je snadnější je stlačit k sobě,
než když jich máte kolem sebe víc.
Dělám to od ruky, ale myslím,
že vám to dá určitou představu.
Takže, pokud působíte tlakem na systém,
pokud se tlak zvýší…
Tohle neznamená, že se tlak sníží.
To znamená, že tlak působí na systém.
Když se tlak zvyšuje,
která strana reakce bude upřednostňována?
Reakce bude upřednostňovat stranu,
kde je méně molekul.
A tato strana má 2 molekuly,
ačkoli budou očividně větší,
protože neztrácíme hmotu
ani na jedné straně,
na rozdíl od situace, kde máme 4 molekuly.
Bulgarian:
Това е друг начин на представяне
на реакцията, по-илюстративен.
И сега увеличавам налягането
на системата,
а налягането може да си го
представим като
прилагане на сила върху площ от всички посоки,
кой от тези случаи изглежда,
че ще компенсира налягането?
Тук имаме по-малко молекули,
които се блъскат наоколо,
и някак е по-лесно, предполагам,
да ги свием, отколкото
когато има повече молекули,
които се блъскат наоколо.
Това е много дилетантско, но мисля,
че ти показва логиката.
Така че ако приложа налягане
върху системата, ако налягането
се повиши... това не означава, че
налягането трябва да се понижи.
Това означава, че прилагаме
налягане върху системата.
Когато налягането се повиши,
накъде ще се измести реакцията?
Ще се измести в тази посока,
в която имаме по-малко молекули.
От тази страна имаме две молекули,
въпреки, че те очевидно са по-големи,
защото не губим маса
в тази посока или в другата,
където имаме четири
молекули, нали?
English:
So this is another way of writing this reaction,
maybe in a more visual way.
Now, if I'm applying pressure,
if I'm applying pressure to this system,
so pressure I just imagine is
kind of more force per area from every direction,
which of these situations is more likely
to relieve the situation?
Well, the situation
where we have fewer molecules bumping around
because it's easier to kind of apply
or I guess squeeze them together than
when you have more molecules bumping around.
I'm doing this very hand wavy,
but I think it gives you the intuition.
So if you apply pressure to the system,
if pressure goes up, you're applying--
this doesn't mean the pressure goes down.
This means pressure is applying to the system.
But the pressure is going up,
what side of the reaction is going to be favored?
The reaction's going to
be favoring the side of that has fewer molecules.
And this side has 2 molecules,
although they'll be bigger molecules obviously,
because it's not like we're losing mass
in one direction or the other,
as opposed to this situation
French:
Donc c'est une autre façon d'écrire cette réaction, peut-être
de manière plus visuelle.
Maintenant, si on augmente la pression de
ce système, donc on peut imaginer que la pression est
une force exercée sur chaque surface, laquelle de ces
deux situations est plus susceptible de réduire la perturbation?
Eh bien, ce sera l'option où nous avons moins de molécules entrant en collision,
puisqu'il y aura plus
d'espace avec moins de molécules.
.
Cette démonstration n'est pas rigoureuse, mais ça donne
une bonne idée du processus.
Donc, si on augmente la pression du système,
(a flèche vers le bas ne signifie pas que la
pression diminue
Cela signifie qu'il y a un 'ajout' de pression au système)
Mais si on augmente la pression, on favorisera la réaction
dans quelle direction?
Ce sera la réaction dans la direction qui donnera le
moins de molécules.
Et ce côté a 2 molécules, bien qu'elles seront plus grosse
puisque la masse est conservée
dans les deux directions de la réaction, et de l'autre coté
il y a 4 molécules.
Estonian:
See on viis selle reaktsiooni kirjutamiseks, vast
rohkem visuaalsel viisil.
Nüüd, kui ma tõstan rõhku, kui ma avaldan rõhku
sellele süsteemile, rõhk ma kujutan ette,
on rohkem jõudu igast suunast,
milline neist situatsioonidest on tõenäolisem surve vähendamiseks?
Noh, situatsioon, kus meil on vähem molekule ringi põrklemas
sest on kergem avaldada või ma arvan et pigistada
neid rohkem kokku, kui siis, kui oleks rohkem molekule
ringi põrkamas.
Ma teen seda üsna lohakalt
aga ma arvan, et te saate mõttest aru.
Avaldades süsteemile rõhku, kui rõhku tõsta,
siis -- see ei tähenda
et rõhk langeb.
See tähendab, et rõhku avaldatakse süsteemile.
Aga kui rõhku tõsta, kuhupoole
liigub tasakaal?
Reaktsiooni tasakaal liigub sinnapoole,
kus on vähem molekule.
Sellel poolel on 2 molekuli, kuigi nad on suuremad,
sest me ei kaota
massi ühes suunas või tesis, vastandlikult
sellele situatsioonile, kus meil on 4 molekuli.
Chinese:
所以這是這個反應的另一種表達
或許是更直觀的的方式
現在 如果加壓
如果給係統加壓
那麽可以想象壓力
就像是從四面八方壓榨每寸地方
這時什麽情況更可能
減弱這個改變呢？
嗯… 答案是
到處蹦跳的分子數目減少
因爲這樣更容易適應
或者把它們壓縮在一起
比有更多到處蹦跳的分子更好
我講得不是很清晰
但我想你有了直觀認識
所以如果給係統加壓
如果壓力增大 你用…
這並不意味著壓力下降了
而意味著壓力加進了係統
而壓力增大
哪個方向的反應會被促進呢？
這將會促進
分子減少的方向的反應
這邊有2mol氣體
盡管明顯這分子更大一些
因爲質量沒有減少
正逆方向中
相對於
Korean:
이렇게 시각적으로도 하버 보슈법을
나타낼 수 있습니다.
이제 압력을 가합니다. 이 계에 압력을 가하고,
압력의 증가는 정의에 따라
모든 방향에 대한 면적당 힘을 증가시킵니다.
정반응과 역반응 중 어떤 반응이 압력의 증가를 완화시킬 수 있을까요?
분자간의 충돌이 줄어든 상황을 고려할때,
다음과 같이 분자의 충돌로써 압력을
기술하는 것이
바람직하다고 생각됩니다.
이렇게 설명하는 것이 쉽지는 않지만,
좋은 학습경험을 제공한다고 생각합니다.
그래서, 계에 압력을 가하면, 즉 압력이 증가하면,
완화시킨다는 것이 이때의 압력이 감소하는게 아닙니다.
완화시킨다는 것이 이때의 압력이 감소하는게 아닙니다.
계에는 압력이 증가합니다.
그렇지만, 계의 압력이 증가하고 나서는
어떤 방향으로 평형이 이동할까요?
당연히 반응은 분자 수가 줄어드는 쪽으로
(압력이 줄어드는 쪽으로) 진행 할 것 입니다.
오른쪽에는 2몰의 분자가 있고요,
물론 분자의 크기는 더 클 겁니다.
질량 보존법칙에 의해서, 질량의 변화는 없으니까요.
반대편의 경우에는 4몰 입니다. 그렇죠?
Norwegian:
Så dette er en annen måte å skrive denne reaksjonen på,
kanskje en mer visuell måte.
Nå, hvis jeg føyer til trykk,
hvis jeg føyer til trykk til dette systemet,
så trykk forestiller jeg meg er
på en måte mer press per område fra hver retning,
hvilken av disse situasjonen er mer sannsynlig
for å lette denne situasjonen?
Vel, situasjonen
hvor vi har færre molekyler som kræsjer rundt
fordi det er lettere å på en måte tilføye
eller, trykke dem sammen enn, antar jeg enn
når du har flere molekyler som kræsjer rundt.
Jeg gjør dette for fri hånd,
men jeg trur det gir deg intuisjonen.
Så hvis du føyer til trykk til systemet,
hvis trykket går opp, føyer du til--
dette betyr ikke at trykket går ned.
Dette betyr at trykket brukes på systemet.
Men trykket går opp,
hvilken side av reaksjon kommer til å foretrekkes?
Reaksjonen kommer til å
foretrekke siden som har færre molekyler.
Og denne siden har 2 molekyler,
selv om de selvfølgelig er større molekyler,
fordi det ikke er som om vi mister masse
i en retning eller den andre,
i motsetning til denne situasjonen
Polish:
To jest inny sposób zapisania tej reakcji,
może będzie łatwiejszy.
Teraz zwiększam ciśnienie
w układzie. Ciśnienie to
siła działająca na powien obszar.
Która z tych sytuacji lepiej sobie poradzi ze wzrostem ciśnienia?
Ta, gdzie jest mniej cząsteczek,
ponieważ łatwiej jest je ścisnąć
niż kiedy masz więcej cząsteczek
krążących po zbiorniku.
Robię to odręcznie,
ale mam nadzieję, że to nieco wyjaśnia.
Czyli jeśli zwiększasz ciśnienia w układzie,
ciśnienie rośnie (ta strzałka nie oznacza,
że ciśnienie maleje;
ona oznacza, że ciśnienie jest "dodawane" do układu).
Jeśii ciśnienie rośnie,
która reakcja jest uprzywilejowana?
Lepsza jest reakcja, w której powstaje
mniej cząsteczek.
Ta strona ma dwie cząsteczki,
chociaż te cząsteczki są większe
(nie tracimy tutaj masy, ona zostaje taka sama, jak po drugiej stronie równania).
Przeciwieństwem jest ta strona równania - powstają w niej cztery cząsteczki.
Thai:
ดังนั้นนี่จึงเป็นอีกวิธีในการเขียนปฏิกิริยานี้
เพื่อให้เห็นภาพ
ทีนี้ ถ้าผมให้ความดันแก่ระบบ
ความดันที่พบให้ไปนั้น ก็คือ
แรงต่อพื้นที่ตั้งฉากจากทุกทิศทาง ถามว่า
สถานการณ์ไหนที่ลดการรบกวนที่ให้ไปได้ดีกว่ากัน
คำตอบคือ สถานการณ์ที่เรามีจำนวนโมเลกุลน้อยกว่า
ชนกันอยู่ เพราะเราสามารถให้ความดัน
เพื่อบีบให้มันเข้าใกล้กันได้ดีกว่าเมื่อคุณมีโมเลกุลมากขึ้น
ชนกันอยู่
ผมพิจารณาค่อนข้างเปลี่ยนไปมา แต่คิดว่า
มันน่าจะทำให้คุณเห็นภาพได้
ถ้าคุณให้ความดันแก่ระบบ
ถ้าเราเพิ่มความดัน -- มันไม่ได้หมายความว่า
ความดันลดลง
มันหมายความว่าให้ความดันแก่ระบบ
แต่ความดันเพิ่มขึ้น ฝั่งไหนของปฏิกิริยา
ที่จะเกิดได้มากกว่ากัน
คำตอบคือปฏิกิริยาจะเกิดไปในทิศทางที่
มีโมเลกุลน้อยกว่า
และฝั่งนี้มี 2 โมเลกุล แม้มันจะมีขนาดใหญ่กว่า
แต่ในการชนมันไม่ได้ทำให้
เราสูญเสียมวลในทิศทางหนึ่ง ตรงกันข้ามกับ
สถานการณ์ที่คุณมี 4 โมเลกุล
Chinese:
所以这是这个反应的另一种表达
或许是更直观的的方式
现在 如果加压
如果给系统加压
那么可以想象压强
就像是从四面八方压榨每寸地方
这时什么情况更可能
减弱这个改变呢？
嗯… 答案是
到处蹦跳的分子数目减少
因为这样更容易适应
或者把它们压缩在一起
比有更多到处蹦跳的分子更好
我讲得不是很清晰
但我想你有了直观认识
所以如果给系统加压
如果压强增大 你用…
这并不意味着压强下降了
而意味着压强加进了系统
而压强增大
哪个方向的反应会被促进呢？
这将会促进
分子减少的方向的反应
这边有2mol气体
尽管明显这分子更大一些
因为质量没有减少
正逆方向中
相对于
English:
So this is another way of
writing this reaction, maybe
in a more visual way.
Now, if I'm applying pressure,
if I'm applying pressure to
this system, so pressure I just
imagine is kind of more
force per area from every
direction, which of these
situations is more likely to
relieve the situation?
Well, the situation where we
have fewer molecules bumping
around because it's easier to
kind of apply or I guess
squeeze them together than when
you have more molecules
bumping around.
I'm doing this very hand
wavy, but I think it
gives you the intuition.
So if you apply pressure to the
system, if pressure goes
up, you're applying-- this
doesn't mean the
pressure goes down.
This means pressure is applying
to the system.
But the pressure is going up,
what side of the reaction is
going to be favored?
The reaction's going to be
favoring the side of that has
fewer molecules.
And this side has 2 molecules,
although they'll be bigger
molecules obviously, because
it's not like we're losing
mass in one direction or the
other, as opposed to this
situation where we have
4 molecules, right?
Spanish:
Es otra manera de escribir esta reacción puede
que sea mas visual
Ahora, si aplico presión, y estoy aplicando presión
al este sistema, al aportar presión yo imagino que es
mas fuerza por área desde todas las direcciones, cuál de estas
situaciones es mas probable que alivie el estress?
Bien, la situación donde tengamos menos moléculas rebotando
por que es mas fácil aplastarlas o, me imagino,
apretarlas, que cuando tienes mas moléculas
rebotando
Estoy haciendo esto muy improvisado, pero pienso
que resultará bastante intuitivo
Si aplicas presión al sistema, si la presión
aumenta, estás aplicando --eso no significa que la
presión disminuya.
Eso significa que la presión es aplicada al sistema
Preo la presión aumenta, ¿cuál lado de la reacción
será favorecido?
El lado de la reacción que se verá favorecido
es el de menos moléculas.
Y este lado tiene 2 moléculas, sin embargo, serán moléculas de
mayor masa obviamente, no significa que estemos perdiendo
masa en una dirección o en otra, en oposición a
la situación donde tenemos 4 moléculas, cierto?
Estonian:
1 mool lämmastikku gaasi ja 3 mooli vesinikku.
Ning meelde tuletades ideed, mida me
nägime enne kineetilise tasakaalu puhul, kujutame
ette sellist reaktsiooni.
Ning et näidata et see toimib ka Le Chatelier'i printsiibi puhul,
on püsiv kõigega mida me oleme õppinud
seoses tasakaalu konstantidega.
Ütleme, et meil reaktsioonis on 2 mooli, või
kordaja 2, 2 A-d gaasina plus B
gaasina on tasakaalus C-ga gaasina.
Ütleme et algatuseks tasakaaluks, meie
A konsentratsioon on 2 mooli, või meie moolide kogus on 2
meie B konsentratsioon on 6 mooli, ning
Chinese:
有4mol氣體的這邊 對嗎？
1mol氮氣和3mol氫氣
回到原來我們以前
處理動態平衡問題的思維
想象一個類似這樣的反應
爲了說明勒夏特列原理的例子
和學平衡常數的例子
是一樣的
那麽假設有2mol
或化學計量數爲2
2mol氣態A和氣態B
生成氣態C並達到平衡
假設這是最初的平衡狀態
A的濃度是2molar
或物質的量濃度是2
B的濃度是6molar
而C的濃度是8molar
English:
where we have 4 molecules, right?
1 mole of nitrogen gas and 3 moles of hydrogen.
And just to bring this all back to the whole idea
that we saw earlier with the kinetic equilibrium,
let's just imagine a reaction like this.
And to show that it works with Le Chatelier's principle
is consistent with everything
we've learned with equilibrium constants.
So let's say we had the reaction 2 moles,
or the coefficient of two,
2 A's in the gaseous form plus B in the gaseous form
is in equilibrium with C in the gaseous form.
And let's say initially where our first equilibrium,
our concentration of A is 2 molar,
or our molarity is 2,
our concentration of B is 6 molar concentration,
and then our concentration of C is 8 molar.
Polish:
Jeden mol cząsteczek azotu i trzy mole cząsteczek wodoru.
Połączmy teraz te informacje z całą ideą
równowagi kinetycznej.
Wyobraźmy sobie taką reakcję.
Spróbuję pokazać, że reguła Le Chateliera
jest spójna ze wszystkim,
czego uczyliśmy się na temat równowag.
Dwa mole substancji A (albo lepiej mówmy, że współczynnik stechiometryczny będzie równy 2)
w stanie gazowym plus jeden B
w stanie gazowym dają C (też w stanie gazowym) i wszystko jest w równowadze dynamicznej.
I powiedzmy, że pierwsze równowagowe stężenie A
wynosi 2 [mol/dm3],
stężenie molowe substancji B wynosi 6 [mol/dm3],
French:
1 mole de diazote à l'état gazeux et 3 moles de dihydrogène.
Et pour ramener tout ceci à l'idée que nous avons
vu précédemment avec l'équilibre dynamique,
Imaginons la réaction suivante.
Et pour montrer que ça fonctionne avec le principe de Le Chatelier,
et que c'est compatible avec tout ce que nous avons appris
par rapport à la constante d'équilibre.
Considérons la réaction de 2 moles, ou plutôt un coefficient
de 2, donc 2 A à l'état gazeux avec B à l'état gazeux
est en équilibre avec C à l'état gazeux.
Et disons qu'initialement à l'équilibre, la
concentration de A est de 2 molaire (M), ou sa molarité est de 2,
la concentration de B est 6 M, puis la
Bulgarian:
1 мол азот газ и 3 мола водород.
И да се върнем към общия принцип,
който видяхме по-рано с
кинетичното равновесие,
нека просто си представим
така реакцията.
И да видим, че принципът на
Льо Шателие-Браун
съответства на всичко, което
научихме за равновесните константи.
Нека да реагират два мола,
имаме 2 А-та
в газообразно състояние, плюс В
в газообразно състояние, които са
в равновесие с С в газообразно състояние.
И нека в първоначалното
състояние на равновесие,
концентрацията на А да е 2 мол/л,
концентрацията на В е
6 мол/л и
Norwegian:
hvor vi har 4 molekyler, ikke sant?
Ett mol nitrogengass og tre mol hydrogen.
Og bare for å føre alt dette tilbake til hele den ideen
som vi så tidligere med kinetisk likevekt,
la oss bare forestille en reaksjon som dette.
Og for å vise at dette fungerer med Le Chatelier's prinsipp
er konsistent med alt
vi har lært om likevektskonstanter.
Så la oss si vi har reaksjonen 2 mol,
eller koeffisienten av to,
2 A's i gassform pluss B i gassform
er i likevekt med C i gassform.
Og la oss si at i utgangspunktet hvor vår første likevekt,
vår konsentrasjon av A er 2 molar,
eller vår molaritet er 2,
vår konsentrasjon av B er 6 molar konsentrasjon,
og vår konsentrasjon av C er 8 molar.
Chinese:
有4mol气体的这边 对吗？
1mol氮气和3mol氢气
回到原来我们以前
处理动态平衡问题的思维
想象一个类似这样的反应
为了说明勒夏特列原理的例子
和学平衡常数的例子
是一样的
那么假设有2mol
或化学计量数为2
2mol气态A和气态B
生成气态C并达到平衡
假设这是最初的平衡状态
A的浓度是2molar
或物质的量浓度是2
B的浓度是6molar
而C的浓度是8molar
Thai:
1 โมลของแก๊สไนโตรเจนและ 3 โมลของแก๊สไฮโดรเจน
และผมต้องการดึงกลับมาที่แนวคิดที่เราได้เห็นไปแล้ว
ในวิดีโอก่อนหน้าเกี่ยวกับสมดุลจากจลนศาสตร์
ลองจินตนาการปฏิกิริยาแบบนี้
และเพื่อแสดงว่าเราสามารถใช้หลักของเลอชาเตเลียร์ได้
กับทุกอย่างที่เราได้เรียนไป
เกี่ยวกับค่าคงที่สมดุล
สมมุติว่าเรามีปฏิกิริยาระหว่าง 2 โมลของ
2 A ในสถานะแก๊ส บวก B
ในสถานะแก๊ส เกิดสมดุลกับ C ในสถานะแก๊ส
และสมมุติให้เมื่อเริ่มต้น ระบบอยู่ในภาวะสมดุล ซึ่งมี
ความเข้มข้นของ A 2 โมลาร์
ความเข้มข้นของ B 6 โมลาร์
English:
1 mole of nitrogen gas and
3 moles of hydrogen.
And just to bring this all back
to the whole idea that we
saw earlier with the kinetic
equilibrium, let's just
imagine a reaction like this.
And to show that it works with
Le Chatelier's principle is
consistent with everything
we've learned
with equilibrium constants.
So let's say we had the reaction
2 moles, or the
coefficient of two, 2 A's in the
gaseous form plus B in the
gaseous form is in equilibrium
with C in the gaseous form.
And let's say initially where
our first equilibrium, our
concentration of A is 2 molar,
or our molarity is 2, our
concentration of B is 6 molar
concentration, and then our
Czech:
Jeden mol dusíku a 3 moly vodíku.
A abychom se vrátili zpátky k myšlence
o kinetické rovnováze u dřívějška,
představme si takovouto reakci.
Ukážme si, že to funguje
s Le Chatelierovým principem,
že je to konzistentní se vším, co jsme se
naučili o rovnovážných konstantách.
Řekněme, že máme reakci, kde 2 moly,
tedy stechiometrický koeficient 2,
2 A v plynné formě plus B v plynné formě
jsou v rovnováze s C v plynné formě.
A řekněme, že z počátku
je naše první rovnováha,
koncentrace A je 2 moly na litr
neboli molarita je 2,
Spanish:
1 mol de nitrógeno gaseoso y 3 moles de hidrógeno
Y solo para volver a la idea central
que vimos antes con el equilibrio cinético, déjame
imaginar una reacción como esta.
Y para mostrar que funciona con el Principio de Le Chatelier,
que es consistente con lo que hemos aprendido con
las constantes de equilibrio
Digamos que tenemos la reacción de 2 moles, o
coeficiente 2. 2 A en el estado gaseoso, mas B
en estado gaseoso está en equilibrio con C en estado gaseoso
Y digamos, inicialmente , en nuestro primer equilibrio
la concentración de A es 2 molar, o nuestra molaridad es 2,
la concentración de B es 6 molar y nuestra
Swedish:
1 mol kvävgas och 3 mol av väte.
Och bara för att få allt detta till hela idén om att vi
såg tidigare den rörelseenergi som balans, låt oss bara
föreställa sig en sådan reaktion.
Och för att visa att den fungerar med Le Chateliers princip är
förenligt med allt vi har lärt
med jämviktskonstanter.
Så låt oss säga att vi hade reaktionen 2 mol, eller
koefficienten två, 2 A är i gasform plus B i
gasform är i jämvikt med C i gasform.
Och låt oss säga från början var vår första jämvikt, vår
Koncentrationen av A är 2 molar, eller vår molaritet är 2, vår
koncentrationen av B är 6 molär koncentration, och sedan våra
Korean:
1몰의 질소, 3몰의 수소 분자로 이뤄져있죠.
그리고, 아까 전에 공부했던 동적 평형의 개념을
상기시켜 보면,
다음과 같은 반응을 생각해 봅시다.
르샤틀리에 법칙을 적용시키는 와중에도
평형 상수는 일정한 값을 유지 합니다.
평형 상수는 일정한 값을 유지 합니다.
2몰의 분자가 있고,
기체 상태의 분자 A 2몰과 동일한 상태의 B가
기체상태인 생성물 C와 평형에 놓여 있습니다.
초기의 평형 상태를 생각해보면,
2 몰농도의 A와,
French:
concentration de C est 8 M.
Alors, quelle est la constante d'équilibre?
La constante d'équilibre est le produit de la concentration
de C, donc 8, divisé par 2 au carré (à cause du coefficient de A)
fois 6.
Ce qui est égale à 8/24, qui est égal à 1/3.
Maintenant, on ajoute plus de A, et je ne préciserai pas
exactement quelle quantité.
Le calcul pourrait devenir assez compliqué,
donc nous considérerons seulement la
nouvelle concentration.
Supposons que la nouvelle concentration de A est 3 M.
On serait tenté de croire que c'est le résultat de l'ajout de 1 M,
mais non.
Ceci est probablement le résultat de l'ajout de plus de 1 M.
Lorsqu'on ajoute à un côté, ceci favorise la réaction vers
l'autre côté, ou
vers la droite, et donc la quantité ajoutée diminuera,
et il en restera un peu plus qu'avant.
Thai:
และความเข้มข้นของ C 8 โมลาร์
ค่าคงที่สมดุลจะเป็นเท่าไหร่
ค่าคงที่สมดุลของปฏิกิริยานี้คือ ผลคูณของ
ความเข้มข้นของ C คือ 8 โมลาร์ หารด้วย 2 โมลาร์ยกกำลังสอง
เพราะตรงนี้คือ 2 คูณกับ 6
ได้ 8/24 ซึ่งก็คือ 1/3
หากเราเพิ่ม A และผมไม่ได้บอกว่า
จะเพิ่มไปเท่าไหร่
เราจะต้องใช้คณิตศาสตร์ที่
ค่อนข้างซับซ้อน แต่สมมุติว่าเราเติม A ละกัน
แล้วทำให้เกิดความเข้มข้นใหม่
สมมุติว่าความเข้มข้นใหม่ที่สมดุลของ A คือ 3 โมลาร์
คุณอาจบอกว่า อ่าว ซาล คุณเติมไป 1 โมลาร์ไม่ใช่เหรอ
ไม่ใช่
จริงๆ แล้วผมอาจจะเติมไปมากกว่า 1 โมลาร์
เพราะสิ่งที่เกิดขึ้น คือ ไม่ว่าผมจะเติมไปอย่างไร มันจะผลักสมดุล
ให้ไปในทิศทางไปข้างหน้า หรือ
ไปทางขวา ดังนั้นสิ่งที่เติมไปบางส่วนจะถูกใช้ไป
และไปในทิศดังกล่าว แต่สิ่งที่เหลือก็คือตรงนี้
Chinese:
那平衡常數是多少呢？
平衡常數是生成物
C的濃度
8molar除以2molar的平方
因爲這個計量數 2的平方乘以6
那就等於8/24 也就是1/3
現在 假設加入更多A
而我不想精確說有多少
這樣算起來會很複雜
這樣算起來會很複雜
但是假設加入A以後
將有一個新濃度
現在 假設A的濃度是3molar
你可能說 難道你加入了1molar？
錯
事實上我加入的要多於1molar
實際上啊 無論我加多少
都會使反應向右進行
或者說導通方向移動
所以它會被消耗一點
在正反應裏
但是無論如何都會剩余
Norwegian:
Så hva er likevektskonstanten her?
Likevektskonstanten her er produktet,
konsentrasjonen av C,
det er 8 moler delt på 2 molar opphøyd i 2,
på grunn av dette, 2 opphøyd i 6.
Hvilket er likt 8/24, noe som er likt 1/3.
Nå, la oss si at vi skulle legge til mer A,
og jeg kommer ikke til å si nøyaktig hvor mye.
Vi kunne faktisk blitt ganske komplisert
med matematikken,
men la oss si at etter vi legger til mer A,
har vi en ny konsentrasjon.
Nå, la oss si at vår konsentrasjon av A er 3 molar.
Du kunne kanskje sagt, hey, Sal, la ikke du til 1 molar?
Nei.
Jeg la faktisk sannsynligvis mer til enn 1 molar.
Det som skjer er, uansett hva jeg legger til,
vil det skyve reaksjonen mot den rette retningen,
eller fremover,
og så vil noe av det brukes opp
og gå i den retningen,
men uansett hva som er igjen er her.
Korean:
6 몰농도의 B와 8 몰 농도의 C가 평형을 이룹니다.
6 몰농도의 B와 8 몰 농도의 C가 평형을 이룹니다.
이때의 평형 상수는 어떻게 될까요?
여기 생성물 C의 계수 8이 있고요,
그걸 ( 2M)^2로 나누고,
이와 같이 (6M)^2로 나눠 계산하면 8/24, 약분하면 1/3이 됩니다.
정확히 양을 말하지는 않겠지만, A를 추가한다고 합시다.
정확히 양을 말하지는 않겠지만, A를 추가한다고 합시다.
정량적으로 분석할 수 도 있겠지만,
새로운 평형이 이뤄지는 것을 살펴봅시다.
새로운 평형이 이뤄지는 것을 살펴봅시다.
자, 이제 A는 3M (몰농도)의 농도에서 평형을 이룹니다.
1M을 추가한 것 아니였냐고 말할 수 있겠지만, 그렇지 않습니다.
실제로, 이 보다는 더 많은 양을 추가한 것이죠.
실제로, 이 보다는 더 많은 양을 추가한 것이죠.
어떻게 된 거냐면, 반응물을 더 투입하게 되면
이는 평형이동을 오른쪽으로 일으킬 것 입니다.
다르게 말하면, 정반응쪽이고, 이때 일부가 소모됩니다.
다르게 말하면, 정반응쪽이고, 이때 일부가 소모됩니다.
Spanish:
concentración de C es 8 molar
entonces ¿cuál será la constante de equilibrio aquí?
La constante de equilibrio aquí es el producto, concentración
de C, que es 8 molar, dividido por 2 molar al cuadrado, por
este, 2 al cuadrado por 6.
Lo que es igual a 8/24, lo cual es igual a 1/3
Ahora, digamos que vamos a agregar mas A, y no voy a
decir exactamente cuánto
Podríamos complicarlo con la matemática
pero digamos que después de agregar mas A, tenemos
nuevas concentraciones.
Ahora, digamos que nuestra concentración de A es 3 molar
Podrías decir "hey, Sal, no has agregado 1 molar?
No.
En realidad agregué mas de 1 molar
Lo que pasa es que, lo que sea que agregue, empujará la
reacción hacia el sentido derecho, o hacia
la el sentido directo, y entonces un poco de esto será consumido
e irá en esa dirección, pero lo que resulte aquí será lo que quede
Swedish:
Koncentrationen av C är 8 molar.
Så vad är jämviktskonstanten här?
Jämviktskonstanten här är produkten, koncentration
av C, vilket motsvarar 8 molar delat med 2 molar kvadrat, på grund av
detta, 2 kvadrat gånger 6.
Vilket är lika med 8 / 24, vilket är lika med 1 / 3.
Låt oss nu säga att vi skulle lägga till fler A, och jag tänker inte
säga exakt hur mycket.
Vi kunde faktiskt få ganska komplicerat med
matematik, men låt oss säga efter att lägga till fler A, vi har en
nya koncentrationen.
Nu, låt oss säga vår koncentration av A är 3 molar.
Man kan säga, hej, Sal, inte du lägga en molar?
Nej
Jag la faktiskt nog mer än 1 molar.
Vad som händer är, vad jag la, kommer att trycka på
reaktion i rätt riktning, eller mot
framåt, och så en del av den kommer att få förbrukas och gå
i den riktningen, men vad som blir över går här.
Bulgarian:
концентрацията на С е 8 мол/л.
Каква е равновесната константа?
Равновесната константа е
произведението на концентрацията на С,
това е 8, делено на 2 мол/л,
на квадрат,
заради това, 2 на квадрат по 6.
Което е 8/24, което е 1/3.
Ако добавим повече А,
няма значение колко точно.
Може да стане много сложно с
математиката,
но ако добавим А, ще имаме
нова концентрация.
Нека концентрацията
на А да е 3 мол/л.
Ще попиташ: Сал, не добави
ли 1 мол/л?
Не.
Може би добавих повече
от 1 мол/л.
Независимо какво добавя, това
ще измести реакцията
в правата посока, или в
посока напред,
и така ще се изконсумира
част от това, и отиваме
в тази посока, но каквото остава,
е тук.
Czech:
koncentrace B je 6 molů na litr
a koncentrace C je 8 molů na litr.
Takže jaká je zde rovnovážná konstanta?
Rovnovážná konstanta zde je rovna
produkt, koncentrace C, která je 8, děleno
2 na druhou, na druhou kvůli koeficientu,
krát šest, což je rovno 8/24,
což je rovno 1/3.
Teď přidejme více A
a neřeknu přesně kolik.
Teď bychom se mohli
trochu zamotat v matematice,
ale řekněme, že po přidání více A
máme novou koncentraci.
Řekněme, že naše nová koncentrace A
jsou 3 moly na litr.
Možná řeknete, hej Sale,
nepřidal jsi 1 mol?
Ne.
Asi jsem přidal více než 1 mol.
Co se stane je to, že cokoliv jsem přidal,
tak to posune reakci do prava,
neboli ve směru přímé reakce,
a část toho bude spotřebována
v té přímé reakci,
ale vše, co zbyde, bude tady.
Estonian:
meie C konsentratsioon on 8 mooli.
Mis on siis tasakaalu konstant siin?
Tasakaalu konstant siin on saadus
C konsentratsioon, see on siis 8 mooli, jagatud kahe mooliga ruudus, sellepärast,
2 ruudus korda 6.
Mis võrdub siis 8/24, mis on 1/3.
Nii, ütleme, et me lisame A-d juurde, ja ma ei ütle
kui palju.
Siis läheks matemaatika üsnagi keeruliseks,
aga ütleme et me lisame A-d juurde, me
saame uue konsentratsiooni.
Ütleme, et meie a konsentratsioon on 3 mooli.
Võite öelda, et hey, Sal, kas sa mitte ei lisanud ühe mooli?
Ei.
Tegelikult ma lisasin tõenäoliselt rohkem kui 1 mool.
Mis juhtub, on see, et ükskõik kui palju ma lisasin, see põhjustab reaktsiooni
tasakaali nihkumise paremale, või siis
edasi suunas ning osa sellest kasutatakse ära ning läheb
sinna suunda, aga misiganes alles jääb, on siin.
English:
So what's the equilibrium constant here?
The equilibrium constant here is the product,
concentration of C,
that's 8 molar divided by 2 molar squared,
because of this, 2 squared times 6.
Which is equal to 8/24, which is equal to 1/3.
Now, let's say we were to add more A,
and I'm not going to say exactly how much.
We could actually get quite complicated
with the mathematics,
but let's say after adding more A,
we have a new concentration.
Now, let's say our concentration of A is 3 molar.
You might say, hey, Sal, didn't you add 1 molar?
No.
I actually added probably more than 1 molar.
What happens is, whatever I added,
that'll push the reaction towards the right direction,
or towards the forward direction,
and so some of it will get consumed
and go in that direction,
but whatever's left over is here.
Polish:
a stężenie C wynosi 8 [mol/dm3].
Jaka jest stała równowagi tej reakcji?
Stała równowagi to stężenie produktu
(czyli 8) podzielić na 2 ^2 (ze względu na ten współczynnik)
i jeszcze na 6.
Czyli 8/24 = 1/3.
Powiedzmy, że dodaliśmy nieco substancji A,
nie wiem, ile dokładnie.
To skomplikowane matematycznie,
ale powiedzmy, że dodaliśmy trochę A,
mamy nowe stężenie.
Teraz, w nowym stanie równowagi, stężenie A wynosi 3.
Pewnie zapytasz, czy to oznacza, że dodałem po prostu 1 mol A.
Nie.
Prawdopodobnie dodałem więcej niż 1.
Ilekolwiek bym jednak dodał, zawsze to spowoduje
przyspieszenie reakcji w prawą stronę,
a to sprawi, że część A zostanie zużyte,
a to co zostanie - wynosi 3.
Chinese:
那平衡常数是多少呢？
平衡常数是生成物
C的浓度
8molar除以2molar的平方
因为这个计量数 2的平方乘以6
那就等于8/24 也就是1/3
现在 假设加入更多A
而我不想精确说有多少
这样算起来会很复杂
这样算起来会很复杂
但是假设加入A以后
将有一个新浓度
现在 假设A的浓度是3molar
你可能说 难道你加入了1molar？
错
事实上我加入的要多于1molar
实际上啊 无论我加多少
都会使反应向右进行
或者说正向移动
所以它会被消耗一点
在正向反应里
但是无论如何都会剩余
English:
concentration of C is 8 molar.
So what's the equilibrium
constant here?
The equilibrium constant here is
the product, concentration
of C, that's 8 molar divided by
2 molar squared, because of
this, 2 squared times 6.
Which is equal to 8/24,
which is equal to 1/3.
Now, let's say we were to add
more A, and I'm not going to
say exactly how much.
We could actually get quite
complicated with the
mathematics, but let's say after
adding more A, we have a
new concentration.
Now, let's say our concentration
of A is 3 molar.
You might say, hey, Sal,
didn't you add 1 molar?
No.
I actually added probably
more than 1 molar.
What happens is, whatever I
added, that'll push the
reaction towards the right
direction, or towards the
forward direction, and so some
of it will get consumed and go
in that direction, but
whatever's left over is here.
Polish:
Mogłem więc dodać więcej niż 1 [mol/dm3]
substancji A.
Niezależnie, ile dodałem A, część została zużyta
i zostało mi nowe równowagowe stężenie
równe 3 [mol/dm3].
Czyli niekoniecznie dodałem 1.
Mogłem dodać więcej niż 1.
Spójrzmy, że teraz nowe stężenie równowagowe C wynosi 12 [mol/dm3],
co jest zgodne z tym, o czym mówiliśmy.
Skoro dodaliśmy A,
stężenie C powinno wzrosnąć,
natomiast stężenie B powinno zmaleć.
Nieco więcej B zostanie zużyte w reakcji,
ponieważ przy większej liczbie cząstek A
zderzenia A z B są bardziej prawdopodobne.
Sprawdźmy, jakie jest nowe stężenie B.
Pamiętaj, że stała równowagi pozostaje taka sama.
Teraz nasza stała równowagi
będzie równa: stężenie C
(to jest nadal ta reakcja)
Chinese:
所以向係統中加入的應該
比1molar多
但是比1多的那部分被消耗了
而平衡濃度就是3了
所以我未必加入了1molar
增加的應該更多
那假設C的新平衡濃度是12molar
這與我們所說的一致
應該生成…
如果增加了A
那C的濃度應該增大
然後直覺是
B的濃度應該降低一點點
因爲B要被消耗
因爲它會發生碰撞
或者說更可能與A分子
發生碰撞
那我們看看B的新濃度是多少
要記住 平衡常數保持不變
所以現在平衡常數
等於C的濃度 對嗎？
反應是這個
也就是12molar
Chinese:
所以向系统中加入的应该
比1molar多
但是比1多的那部分被消耗了
而平衡浓度就是3了
所以我未必加入了1molar
增加的应该更多
那假设C的新平衡浓度是12molar
这与我们所说的一致
应该生成…
如果增加了A
那C的浓度应该增大
然后直觉是
B的浓度应该降低一点点
因为B要被消耗
因为它会发生碰撞
或者说更可能与A分子
发生碰撞
那我们看看B的新浓度是多少
要记住 平衡常数保持不变
所以现在平衡常数
等于C的浓度 对吗？
反应是这个
也就是12molar
Swedish:
Så jag kunde ha lagt mer än 1 molar koncentration till
detta system.
Men oavsett var extra efter den 1 konsumerades, och jag
bara vänster med denna jämvikt
Koncentrationen av 3.
Så jag inte nödvändigtvis lägga 1.
Jag kunde ha lagt mer än så.
Och låt oss säga att vår nya jämvikt för C är 12 molar,
vilket överensstämmer med vad vi säger.
Vi bör producera - om vi lägger till några A, då vår
Koncentrationen av C ska gå upp, och intuition är att
koncentrationen av B skulle gå ner lite, eftersom
lite mer B kommer att konsumeras, eftersom det är
kommer att kollidera med - eller det är mer troligt att kollidera
med - mer En partiklar eller A molekyler.
Så låt oss se vad B: s nya koncentrationen.
Så kom ihåg, det jämviktskonstant förblir konstant.
Så vår jämviktskonstanten kommer nu att vara lika med
Koncentrationen av C, eller hur?
Det var reaktionen.
Czech:
Takže možná jsem do systému
přidal více než jeden mol.
Ale cokoliv bylo navíc než 1,
bylo spotřebováno
a zbyla mi tato rovnovážná koncentrace 3.
Takže jsem nepřidal nezbytně 1.
Mohl jsem přidat více.
A řekněme, že naše nová rovnováha
pro C je 12 molů na litr, což nám souhlasí.
Pokud přidáme trochu A,
pak by měla naše koncentrace C vzrůstat
a koncentrace B by se měla trochu snížit,
protože bude spotřebováno trochu více B,
protože pravděpodobnějí srazí
s více A částicemi nebo A molekulami.
Takže se podívejme,
jaká je nová koncentrace B.
Pamatujte, rovnovážná konstanta
zůstává stejná.
Naše rovnovážná konstanta
se teď bude rovnat koncentraci C.
Vycházíme z této reakce.
Estonian:
Nii et ma võisin lisada rohkem kui ühe mooli
siia süsteemi.
Aga ükskõik mis oli lisaks ühele moolile, kasutati ära ning
alles jääb see tasakaal
kolme mooliga.
Nii et ma ei lisanud tingimata ühe mooli.
Ma oleks võinud ka rohkem lisada.
Ütleme, et uus tasakaal C jaoks on 12 mooli.
Mis on seotud ka sellega mis ma räägin.
Peaks tekkima -- kui me lisame A-d siis meie
C konsentratsioon peaks tõusma ja kõhutunne ütleb, et
B konsentratsioon peaks veidi langema, sest
veidi rohkem B-d kasutatakse, sest see
põrkub -- või on tõenäoline et põrkub
rohkemate A osakeste või A molekulidega.
Vaatame, mis meie uus B konsentratsioon on.
Pidage meeles, tasakaalu konstant jääb samaks.
Nii et meie tasakaalu konstant on võrdne
C konsentratsiooniga.
See oli reaktsioon.
English:
So I might have added more than 1 molar concentration
to this system.
But whatever was extra beyond the 1 was consumed,
and I'm just left with this equilibrium concentration of 3.
So I didn't necessarily add 1.
I could've added more than that.
And let's say that our new equilibrium for C is 12 molar,
which is consistent with what we say.
We should be producing
-- if we add some A,
then our concentration of C should go up,
and the intuition is that
the concentration of B should go down a little bit,
because a little bit more B is going to be consumed,
because it's going to be colliding with
-- or it's more likely to collide with--
more A particles or A molecules.
So let's see what B's new concentration is.
So remember, the equilibrium constant stays constant.
So our equilibrium constant is now going to
be equal to the concentration of C, right?
That was the reaction.
So it's 12 molar
Norwegian:
Så jeg kunne kanskje lagt til mer enn 1 molar konsentrasjon
til systemet.
Men uansett hva som var ekstra utover den ene som ble brukt opp,
og jeg har igjen denne likevektskonsentrasjonen av 3.
Så jeg la ikke nødvendigvis til 1.
Jeg kunne lagt til mer enn det.
Og la oss si at vår nye likevekt for C er 12 molar,
som er overensstemmende med det vi sier.
Vi burde produsere
-- hvis vi legger til noe A,
så burde vår konsentrasjon av C gå opp,
og intuisjonen er at
konsentrasjonen av B burde gå ned litt,
fordi litt mer B brukes opp,
fordi det kommer til å kræsje med
-- eller er mer sannsynlig å kræsje med--
flere A-partikler eller A-molekyler.
Så la oss se hva den nye konsentrasjonen til B er.
Så husk, likevektskonstanten forblir konstant.
Så vår likevektskonstant kommer nå
til å være lik konsentrasjonen av C, ikke sant?
Dette var reaksjonen.
Så den er 12 molar
Bulgarian:
Така че може да съм добавил
повече от 1 мол/л в системата.
Но каквото е над 1, е изконсумирано, и аз оставам
с тази равновесна
концентрация от 3.
Не съм добавил задължително 1.
Може да съм добавил
повече от това.
И нека новото равновесие за С
да е 12 мола,
което съответства на това,
което виждаме.
Получаваме...
ако добавим А, тогава
концентрацията на С трябва
да се повиши, и е логично,
че концентрацията на В
ще се понижи малко,
защото ще се консумира
повече В,
защото то се сблъсква с...
или е по-вероятно да се сблъска с...
повече частици или молекули на А.
Да видим колко е новата
концентрация на В.
Спомни си, че равновесната
константа си остава същата.
Значи сега нашата равновесна константа
ще е равна на концентрацията на С, нали?
Това е реакцията.
Korean:
그래서 실질적으로는 1M이상을 투입한 것이죠.
그래서 실질적으로는 1M이상을 투입한 것이죠.
어찌되었든, 평형농도는 3M입니다.
어찌되었든, 평형농도는 3M입니다.
어찌되었든, 평형농도는 3M입니다.
그래서 1M보다 더 많은 양을 넣을 수 도 있었습니다.
그래서 1M보다 더 많은 양을 넣을 수 도 있었습니다.
새로운 평형에서 C가 12M 이고요,
이때까지 그렇게 해왔으니 계속 그러겠습니다.
평형이동에 의해서 A를 투입하면 C의 몰농도가 높아져야 하고,
이때 B는 반대로 조금 낮아지게 됩니다.
이때 B는 반대로 조금 낮아지게 됩니다.
B가 조금 더 소모되게 될 것이고요
B가 조금 더 소모되게 될 것이고요
왜냐하면 A 분자와 충돌할 확률이 높아지기 때문입니다.
이제, B의 몰농도를 살펴봅시다
이제, B의 몰농도를 살펴봅시다.
언제나 기억해야 할 것은 평형상수는 항상 일정하다는 것입니다.
그래서, 결국 평형상수 값은
C의 몰농도와 같게 되는 것입니다.
French:
Donc, il y aura eu plus que 1 M d'ajouté à
ce système.
Mais tout ce qui était au-delà de 1 M a fait parti de la réaction vers la droite,
et le système est de nouveau à l'équilibre,
et la concentration de A est 3 M.
Il n'y a donc pas nécessairement eu un ajout de 1 M,
Il y aurait pu avoir une plus grande quantité ajoutée.
Et disons que le nouvel équilibre de C est 12 M,
ce qui est compatible avec ce que nous avons dit.
Si on ajoute une certaine quantité de A
la concentration de C augmentera, et on peut deviner que
la concentration de B diminuera, puisque
B aura réagit avec A
étant donné qu'il est plus probable que A et B entre en contacte
en présence d'un plus grand nombre de A.
On peut calculer la nouvelle concentration de B.
Rappelons-nous que la constante d'équilibre est constante.
Donc la constante d'équilibre va maintenant être égale à la
concentration de C,
revoici la réaction,
English:
So I might have added more than
1 molar concentration to
this system.
But whatever was extra beyond
the 1 was consumed, and I'm
just left with this equilibrium
concentration of 3.
So I didn't necessarily add 1.
I could've added
more than that.
And let's say that our new
equilibrium for C is 12 molar,
which is consistent
with what we say.
We should be producing-- if
we add some A, then our
concentration of C should go up,
and the intuition is that
the concentration of B should go
down a little bit, because
a little bit more B is going to
be consumed, because it's
going to be colliding with-- or
it's more likely to collide
with-- more A particles
or A molecules.
So let's see what B's new
concentration is.
So remember, the equilibrium
constant stays constant.
So our equilibrium constant is
now going to be equal to the
concentration of C, right?
That was the reaction.
Thai:
ดังนั้นจริงๆ แล้วผมอาจเติมไปมากกว่า 1 โมลาร์
ในระบบ
แต่ไม่ว่าผมจะเติมไปเกิน 1 ไปเท่าไหร่ ผม
ก็จะได้สมดุลนี้
ที่มีความเข้มข้นเท่ากับ 3
นั่นคือผมไม่จำเป็นต้องเติมไปแค่ 1
ผมอาจเติมไปมากกว่านั้น
และสมมุติว่าความเข้มข้นที่สมดุลใหม่ของ C เท่ากับ 12 โมลาร์
ซึ่งก็สัมพันธ์กับสิ่งที่เราได้กล่าวไป
ว่าเราควรจะได้ผลิตภัณ์ - - ถ้าเราเติม A เข้าไปในระบบ
ความเข้มข้นของ C ควรจะเพิ่มขึ้น และเราควรจะทราบว่า
ความเข้มข้นของ B ก็จะลดลงไปเล็กน้อย เพราะ
B จำนวนหนึ่งต้องถูกใช้ไปในปฏิกิริยา มันจะ
ชนกับ หรือน่าจะชนกับ
อนุภาคหรือโมเลกุลของ A
เรามาดูกันว่าความเข้มข้นใหม่ของ B จะเป็นเท่าไหร่
จำไว้ว่าค่าคงที่สมดุลมีค่าคงที่เสมอ
ค่าคงที่สมดุลของเราจึงจะเท่ากับ
ความเข้มข้นของ C
นี่คือปฏิกิริยา
Spanish:
Seguramente agregué mas de 1 molar en concentración
a este sistema
Pero cual fuera la cantidad agregada por encima de 1, fue consumida
dando lugar a esta concentración
en el equilibrio igual a 3
Entonces, no necesariamente agregué 1
Pude haber agregado mas que 1
y, digamos que nuestro nuevo equilibrio para C es 12 molar
lo cual es consistente con lo que estábamos diciendo
Debemos producir --si agregamos A, entonces nuestra
concentración de C debería aumentar, e intuitivamente,
la concentración de B debería bajar un poco, por que
un poco mas de B va a consumirse, por que
van a colisionar con-- o es mas probable que colisionen
con-- mas partículas de A o moléculas de A
Entonces, veamos que sucede con la nueva concentración de B
Recuerda, la constante de equilibrio sigue siendo la misma
Nuestra constante de equilibrio ahora va a ser igual a
la concentración de C, verdad?
Esa era la reacción.
Thai:
มันคือ 12 โมลาร์ - - ผมไม่ต้องเขียนหน่วยตรงนี้
หารด้วยความเข้มข้นใหม่ของ A คือ 3
แต่อย่าลืมว่าในปฏิกิริยา
สัมประสิทธิ์ของ A คือ 2
ดังนั้นจะได้ 3 ยกกำลังสอง
คูณกับความเข้มข้นของ B
มันไม่มีสัมประสิทธิ์ เราจึงไม่ต้องกังวล
เลขชี้กำลังใดๆ
จากนั้นเราก็แก้หา [B]
เราทราบว่า 1/3 เท่ากับ 12 หาร 9B
ถ้าเราคูณไขว้ เราจะได้ 9 คูณ
ความเข้มข้นของ B เท่ากับ 3 คูณ 12 ซึ่งได้ 36
แล้วหารทั้งสองข้างด้วย 9
ดังนั้นความเข้มข้นใหม่ของ B คือ 4 หรือ 4 โมลสาร์
B เท่ากับ 4 โมลาร์
ซึ่งสมเหตุสมผล
Spanish:
Entonces, es 12 molar --ups-- no tengo que escribir las unidades
aquí-- dividido por nuestra nueva concentración de A, que es 3
Pero recuerda la reacción
El coeficiente de A es 2
Entonces, es 3 al cuadrado por la nueva
concentración de B, cierto?
No hay coeficiente aquí, entonces no debemos preocuparnos por
ningún exponente
Y resolvamos esto
Entonces resulta 1/3 igual a 12 sobre 9 B
Entonces, multiplicamos cruzado, tenemos 9 por
la concentración de B es igua a 3 por 12, que dá 36
Y dividimos ambos lados por 9
La nueva concentración de B es 4, o 4 molar
Entonces B es igual a 4 molar
Eso tiene sentido
Chinese:
哎呦
在這不必寫單位
除A的新濃度 也就是3
但是記住這個反應
A的化學計量數是2
所以3的平方
乘以B的新濃度 對嗎？
這計量數是1
所以我不必擔心指數
然後我們來解這式子吧
所以1/3等於12除以9B
那如果我們交叉相乘
9乘以B的濃度
等於3乘以12 就是36
然後兩邊除9
B的新濃度是4 或4molar
所以B等於4molar
所以那是說得通的
Bulgarian:
Това са 12 мол/л...
опа, тук не трябва да пиша единици...
делено на новата концентрация
на А, която е 3.
Но спомни си реакцията.
А има коефициент 2.
Значи 3 на квадрат по
новата концентрация на В, нали?
Тук няма коефициент, така че
няма да имам никакви степени.
Хайде да решим това.
Имаме 1/3 е равно на
12 върху 9В.
Ако умножим на кръст,
получаваме 9 по
концентрацията на В е равно
на 3 по 12, което е 36.
Делим двете страни на 9.
Новата концентрация на В е 4,
или 4 мола/л.
Значи В е 4 мол/л.
В това има логика.
Norwegian:
-- ups --
Jeg trenger ikke skrive enheter her
-- delt på vår nye konsentrasjon av A, det er 3.
Men husk denne reaksjonen.
Koeffisienten på A er 2.
Så det er 3 opphøyd i to
ganger den nye konsentrasjonen av B, ikke sant?
Det er ingen koeffisient her
så jeg trenger ikke bekymre meg for noen eksponenter.
Og la oss bare løse dette.
Så du får 1/3 er lik 12 over 9B.
Så hvis vi bare kryssmultipliserer,
får vi 9 ganger konsentrasjonen av B
er lik 3 ganger 12, som er 36.
Og så deler vi begge sidene på 9.
Den nye konsentrasjonen til B er 4, eller 4 molar.
Så B er likt 4 molar.
Så det gir mening.
English:
-- whoops--
I don't have to write the units here
-- divided by our new concentration of A, that's 3.
But remember the reaction.
The coefficient on A is 2.
So it's 3 squared
times the new concentration for B, right?
There's no coefficient here
so I don't have to worry about any exponents.
And let's just solve this.
So you get 1/3 is equal to 12 over 9B.
So if we just cross-multiply,
we get 9 times the concentration of B
is equal to 3 times 12, which is 36.
And so divide both sides by 9.
The new concentration of B is 4, or 4 molar.
So B is equal to 4 molar.
So that makes sense.
Czech:
Takže je 12 molů na litr,
nemusím sem psát ty jednotky...
děleno naší novou koncentrací A,
která je 3.
Ale pamatujeme si tuto reakci.
Koeficient u A je 2.
Je to 3 na druhou krát nová koncentrace B.
Tady není žádný koeficient,
nemusím se zabývat žádnými exponenty.
Pojďme to vyřešit.
Takže máme 1/3 je rovno
12 děleno 9 krát B.
Takže pokud budeme násobit do kříže,
dostaneme 9 krát koncentrace B
se rovná 3 krát 12, což je 36.
Obě strany vydělíme 9.
Nová koncentrace B je 4,
neboli 4 moly na litr.
Takže B je rovno 4 moly na litr.
Korean:
여기까지가 반응이 일어난 과정입니다.
그래서 12몰농.. 아니, 단위를 적을 필요가 없죠.
평형상태에서의 A의 몰농도 3으로 나눕니다.
그런데, A의 반응계수는 2이여서
3^2으로 나타내야 합니다 그렇죠?
3^2으로 나타내야 합니다 그렇죠?
여기서는 반응계수가 1이여서
지수에 대해서는 생각하지 않아도 되고요.
이걸 계산하게 되면
(다음식)
우변의 분모는 36이여야 하고
우변의 분모는 36이여야 하고
이제, 수학적인 계산을 통하여
B의 몰농도를 얻습니다.
새로운 평형에서 B는 4M,
4M입니다.
Estonian:
See on siis 12 mooli -- oih -- ma ei pea ühikuid kirjutama
siia -- jagatud uue A konsentratsiooniga, see on 3.
aga pidage seda reaktsiooni meeles.
A kordaja on 2.
Nii e see on 3 ruudus korda
B uus konsentratsioon, eks?
Siin pole kordajat, nii et ma ei pea
astete pärast muretsema.
Ning lahendame selle.
Tuleb siis 1/3 on võrdne 12/9B.
Tehes ristkorrutise, saame 9 korda
B kosentratsioon mis on võrdne 3 korda 12, mis on 36
Jagame mõlemad pooled 9-ga.
Uus B konsentratsioon on 4, või siis 4 mooli.
B võrdub nelja mooliga.
Arusaadav.
English:
So it's 12 molar-- whoops-- I
don't have to write the units
here-- divided by our new
concentration of A, that's 3.
But remember the reaction.
The coefficient on A is 2.
So it's 3 squared times the new
concentration for B, right?
There's no coefficient here so
I don't have to worry about
any exponents.
And let's just solve this.
So you get 1/3 is equal
to 12 over 9B.
So if we just cross-multiply,
we get 9 times the
concentration of B is equal to
3 times 12, which is 36.
And so divide both sides by 9.
The new concentration of
B is 4, or 4 molar.
So B is equal to 4 molar.
So that makes sense.
Chinese:
哎呦
在这不必写单位
除A的新浓度 也就是3
但是记住这个反应
A的化学计量数是2
所以3的平方
乘以B的新浓度 对吗？
这计量数是1
所以我不必担心指数
然后我们来解这式子吧
所以1/3等于12除以9B
那如果我们交叉相乘
9乘以B的浓度
等于3乘以12 就是36
然后两边除9
B的新浓度是4 或4molar
所以B等于4molar
所以那是说得通的
Polish:
równe 12
podzielone przez nowe stężenie A, czyli 3.
Ale pamiętaj o reakcji!
Współczynnik stechiometryczny przy A wynosi 2.
Czyli 3^2.
I jeszcze całość podzielona przez stężenie B.
Przy B współczynnik wynosi 1,
nie trzeba się więc martwić potęgami.
Rozwiążmy to równanie.
1/3 = 12/9B
Rozwiązujemy równanie: 9 x B
równa się 3 x 12, czyli 36.
Dzielimy stronami przez 9.
Nowe stężenie B wynosi więc 4 [mol/dm3].
Stężenie molowe B równa się 4 [mol/dm3].
Zgadza się?
Swedish:
Så det är 12 molar - hoppsan - Jag behöver inte skriva enheterna
här - dividerat med vår nya koncentration av ett, det är 3.
Men kom ihåg reaktionen.
Koefficienten för A är 2.
Så det är 3 kvadrat gånger den nya
koncentration för B, eller hur?
Det finns ingen koefficient här så jag inte behöver oroa sig för
någon exponenter.
Och låt oss lösa det här.
Så du får 1 / 3 är lika med 12 över 9B.
Så om vi bara över multiplicera, får vi 9 gånger
koncentrationen av B är lika med 3 gånger 12, som är 36.
Och så dela båda sidor med 9.
Den nya koncentrationen av B är 4, eller 4 molar.
Så B är lika med 4 molar.
Så det är vettigt.
French:
Donc c'est 12 molaire--je n'ai pas besoin d'écrire les unités
ici--divisé par notre nouvelle concentration de A, qui est 3.
Mais n'oubliez pas la réaction.
Le coefficient de A est 2.
C'est donc 3 au carré, multiplié par la nouvelle
concentration de B, n'est-ce pas?
Il n'y a aucun coefficient ici, donc on n'a pas à se soucier
des exposants.
Et on peut résoudre ceci.
Donc 1/3 est égale à 12 sur 9 fois la concentration de B.
On multiplie les deux côtés par 9 fois la concentration de B, ainsi que par 3, on obtient
9 fois la concentration de B est égale à 3 fois 12, ce qui donne 36.
Et on divise les deux côtés par 9.
La nouvelle concentration de B est 4, ou 4 M.
B est donc égale à 4 M.
Ça suit bien ce que nous avions prédit.
English:
We added some more A
to the reaction.
So we started with 2 molar of A,
6 molar of B, 8 molar of C.
When we added more A, at the
end, we added a bunch.
It went in that direction, maybe
it went back and forth a
little bit, but it stabilized
at 3 molar of A, 12 molar of
C, so C went up, so that
definitely went up.
And notice, our stable
equilibrium concentration of B
actually went down, and this
is consistent with what we
were saying, that the reaction
moves in that direction, more
C gets produced, a little
bit of B gets consumed.
So anyway, hopefully you're
fairly comfortable now with
the whole notion of stressing
a reaction and
Le Chatelier's principle.
Spanish:
Agregamos un poco mas de A a la reacción
Nosotros empezamos con 2 molar de A, 6 molar de B, 8 molar de C
cuando agregamos mas A, al final, agregamos bastante
Esto fué en esa dirección, a lo mejor fue y volvió
un poco, pero se estabilizó en 3 molar de A, 12 molar de C,
C aumentó, definitivamente aumentó
Y fíjate, nuestra concentración estable, en el equilibrio, para B
se redujo, y eso es consistente con lo que
veníamos diciendo, que la reacción se mueve en esa dirección,
se produjo C, un poco de B ha sido consumido
De todas maneras, espero que te sientas cómodo ahora con
la noción de estresado de una reacción y
el Principio de Le Chatelier.
Norwegian:
Vi legger til mer A til reaksjonen.
Så vi begynner med 2 molar med A,
6 molar med B, 8 molar med C.
Når vi la til mer A, til slutt, la vi til en haug.
Det gikk i den retningen,
kanskje det gikk frem og tilbake litt,
men det stabilliseres ved 3 molar av A, 12 molar av C,
så C gikk opp, det gikk definitivt opp.
Og legg merke til, vår stabile likevektskonsentrasjon med B
gikk faktisk ned,
og dette er konsistent med det vi sa,
at reaksjonen flytter seg i den retningen,
mer C produseres,
litt B brukes opp.
Så uansett, forhåpentligvis er du nokså komfortabel nå
med hele ideen av å stresse en reaksjon
og Le Chatelier's prinsipp.
Chinese:
我们向反应中加入了一些A
开始时是2molar A
B是6molar C是8molar
当我们增加A 而且增加了许多
平衡向正向移动
或许它来回移动了一点
但是最后稳定在3molar A 12molar C
C增加了 那是必然的
注意 B的稳定浓度
减少了
而这与我们之前的想法的是一致的
反应向正向移动了
生成了更多C
同时也消耗了B
所以无论如何 希望现在你对
平衡移动和勒夏特列原理
有一些认识
Chinese:
我們向反應中加入了一些A
開始時是2molar A
B是6molar C是8molar
當我們增加A 而且增加了許多
平衡向導通方向移動
或許它來回移動了一點
但是最後穩定在3molar A 12molar C
C增加了 那是必然的
注意 B的穩定濃度
減少了
而這與我們之前的想法的是一致的
反應向導通方向移動了
生成了更多C
同時也消耗了B
所以無論如何 希望現在你對
平衡移動和勒夏特列原理
有一些認識
Estonian:
Me lisasime reaktsiooni veidi A-d.
Alustasime kahe mooli A-ga, 6 mooli B-ga, 8 mooli C-ga.
Lisades rohkem A-d, lõpus, me lisasime koguse.
See läks sinnapoole, võibolla see läks edasi
tagasi veidi, aga see stabiliseerus kolme mooli A juures,
12 mooli C juures, nii et C kogus tõusis, see kindlasti tõusis.
Ning pange tähele, meie stabiilse tasakaali B moolide kogus
vähenes, ning see on kooskõlas sellega,
mida me räägima,, et reaktsiooni tasakaal nihkub sinna poole,
rohkem C-d toodetakse, veidi vähem B-d kasutatakse.
Igastahes, loodetavasti olete piisavalt tuttavad
reaktsioonile välistegurite poolt surve avaldamisega
ja Le Chatelier'i printsiibiga
Korean:
제대로 성립하네요.
A를 반응계에 투입시킵시다.
2M의 A, 6M의 B, 8M의 C의 초기조건에서
A를 투입하게 된다면,
평형이동이 일어나게 되며 3M의 A, 12M의 C가 얻어집니다.
평형이동이 일어나게 되며 3M의 A, 12M의 C가 얻어집니다.
정말로 C의 몰농도가 높아진 것을 볼 수 입습니다.
반대로, B의 몰농도는 낮아지게 되어서
이때까지 말해온 것과 같이 생성물의 양이 증가함과 함께
반응물의 양은 감소하게 되는 원리를 나타냅니다.
어쨌거나, 여러분이 평형이동과
르샤틀리에 원리에 대한 전반적인 내용을 이해하는 데
도움이 되었으면 좋겠습니다.
-
Czech:
Což dává smysl.
Přidali jsme do reakce trochu A .
Začali jsme se 2 molárním A,
6 molárním B a 8 molárním C.
Když jsme přidali více A,
reakce šla oběma směry, tam a zpět,
ale stabilizovala se na 3 molárním A,
12 molárním C, takže C se zvýšilo.
A všimněte si, že se naše stabilní
rovnovážná koncentrace B snížila,
což souhlasí s tím, co jsme říkali.
Reakce se pohybuje v dopředném směru,
bylo vytvořeno více C
a trochu více B spotřebováno.
Doufám, že jste teď více obeznámeni
s myšlenkou narušení rovnováhy reakce
a s Le Chatelierovým principem.
Swedish:
Vi lade till några fler A till reaktion.
Så vi började med 2 molar i A, 6 molar i B, 8 molar av C.
När vi lagt till fler A, i slutet, la vi ett gäng.
Det gick i den riktningen, det kanske gick fram och tillbaka ett
lite, men det stabiliseras på 3 molar i A, 12 molar av
C, så C gick upp, så att definitivt gick upp.
Och varsel, vår stabilt jämviktsläge koncentrationen av B
faktiskt gick ner, och detta är förenligt med vad vi
sade, att reaktionen går i den riktningen, mer
C får produceras, lite B slukas.
Så i alla fall, förhoppningsvis är du ganska bekväm nu med
hela idén om att betona en reaktion, och
Le Chateliers princip.
English:
We added some more A to the reaction.
So we started with 2 molar of A,
6 molar of B, 8 molar of C.
When we added more A, at the end, we added a bunch.
It went in that direction,
maybe it went back and forth a little bit,
but it stabilized at 3 molar of A, 12 molar of C,
so C went up, so that definitely went up.
And notice, our stable equilibrium concentration of B
actually went down,
and this is consistent with what we were saying,
that the reaction moves in that direction,
more C gets produced,
a little bit of B gets consumed.
So anyway, hopefully you're fairly comfortable now
with the whole notion of stressing a reaction
and Le Chatelier's principle.
Thai:
เราได้เติม A เพิ่มในปฏิกิริยา
เราเริ่มต้นด้วย A 2 โมลาร์, B 6 โมลาร์ และ C 8 โมลาร์
เมื่อเราเติม A เพิ่ม ในตอนท้าย
ปฏิกิริยาจะไปข้างหน้า จริงๆ แล้วมันอาจไปทั้งสองทิศทาง
แต่สุดท้ายแล้วเราจะได้ A 3 โมลาร์ และ C 12 โมลาร์
จะเห็นว่า C เพิ่มขึ้น
และสังเกตว่าความเข้มข้นที่สมดุลของ B
นั้นลดลง ซึ่งสอดคล้องกับสิ่งที่เรากล่าวไว้
ว่าปฏิกิริยาจะไปในทิศที่ทำให้เกิด
C มากขึ้น B จึงถูกใช้ไปเล็กน้อย
อย่างไรก็ตาม หวังว่าตอนนี้คุณจะเข้าใจ
การรบกวนสมดุล และ
หลักของเลอชาเตเลียร์
Bulgarian:
Добавихме малко А в системата.
Започнахме с 2 мола/л А, 6 мола/л В
и 8 мола/л С.
Добавихме А.
Реакцията се измести в тази посока,
но може би малко и в обратната,
и се стабилизира при
3 мол/л от А, 12 мол/л от С,
т.е. С се повиши,
определено се повиши.
И забележи, че стабилната
равновесна концентрация на В
всъщност се понижи,
което съответства на това,
което казахме, че реакцията
се измества в тази посока,
получихме повече С, а известно
количество от В се изконсумира.
Надявам се, че сега
ти стана доста ясно
какво означава въздействие
върху химичната реакция
и принципа на Льо Шателие-Браун.
Polish:
Dodaliśmy A do układu.
Zaczynaliśmy od stężeń: [A] = 2 [mol/dm3], [B] = 6 [mol/dm3], [C] = 12 [mol/dm3].
Następnie dodaliśmy A.
Reakcja w prawą stronę nabrała tempa. Możliwe, że ze zachodziła w tę i z powrotem,
ale ustalibilizowała się, gdy stężenie A wynosiło 3,
a stężenie C - 12. Stężenie C wzrosło.
Natomiast stężenie równowagowe B zmalało!
Jest to zgodne z naszymi wcześniejszymi rozważaniami.
Mówiliśmy, że po dodaniu A, wzrośnie stężenie C,
ale substancja B zostanie nieco zużyta.
Mam nadzieję, że teraz będziesz miał lepsze rozeznanie
w wyburzaniu układu ze stanu równowagi
i regule Le Chateliera.
i regule Le Chateliera.
French:
On a ajouté A au système,
On avait 2 M de A, 6 M de B, et 8 M de C.
On a ajouté plus de A,
ceci a favorisé la réaction vers la droite, bien que la réaction vers la gauche se produisait quand même,
un nouvel équilibre s'est établi, et a eu comme résultat une concentration de 3 M pour A, et
12 M pour C, il y a donc eut une augmentation marquée de la concentration de C.
Remarquez, la concentration d'équilibre de B
a diminué, ce qui est compatible avec ce que nous
avions prédit: que la réaction vers la droite est favorisée,
on obtient plus de C, et il reste moins de B.
Nous espérons que vous êtes maintenant assez confortable avec
la notion de perturbation d'un système et
le principe de Le Chatelier.
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Welcome to Factception.com and we are wising
you up with the list of ‘5 Youtubers That
Did Not Do A Face Reveal’
5. I Hate Everything
IHE is a very unique and popular youtube channel
run by Alex Bolton and has well over 800K
subscribers. As the name suggests, Alex rants
about anything that doesn’t please him.
He talks about everything from movies, games,
memes and the internet.
Raised in the UK and born in New Zealand, Alex also runs a second channel called JAR Media along
with his friends, James & Ruben and his brother,
Jamie.
The closest you can see to his face is an
animated character, which he claims to represent him.
4. AskaGangsta
AskAGangsta is Youtube comedian who joined
Youtube back in 2011 and has just over 800K
subscribers as off mid 2016. He’s known
for parody and trolling videos, however his rise to
fame is credited to the hundreds of Omegle pranks that he records and posts on his channel.
Born in Mississippi and currently
residing in Germany, the closest AskaGangsta
has come to a face reveal was an eyes reveal
video at half a million subscribers followed
by a hair reveal video upon reaching 600K subscribers.
Approaching a million subscribers, I wonder what he's going to expose next?
3. Pyrocynical
Yeah yeah, I’m completely aware of the recent
developments about Pyrocynical and Keemstar
from Dramaalert, where Keemstar tweeted personal
pictures of Pyrocynical’s face. But you
know what? pyro did not wish his face reveal and contributing to someone’s invasion of privacy
is not something I’m going to do.
Having recently surpassed a million subscribers,
Pyrocynical is a 19 year old Youtuber and
his real name is known to be Naill. Pyrocynical
gives satirical commentary accompanied by
a video game footage, though he had initially
started off with Montage Parodies.
2. Ownage Pranks
Ownage Pranks is a Youtube prank caller with
close to 4 million subscribers and he usually
calls businesses and companies, and even pranks
people on Omegle where he dresses up as one
from his channel. Ownage Pranks chooses to remain anonymous claiming
in one of his vlogs that his face
reveal would ruin the mystery surrounding his channel.
Here’s a small glimpse of the hilarious stuff that his channel has to offer.
1. H2O Delirious
H2O Delirious, who’s name in
real life is Jonathan, is an enormously popular
Youtube personality with over 7 million subs.
Belonging to a large group of elite youtube
gamers, such as VanossGaming and I am wildcat,
H2O Delirious remains amongst the few gaming
personalities amongst the lot, who has managed
to keep his identity anonymous. He frequently
plays Grand Theft Auto, Garry’s Mod and
Black Ops, and is well known for contagious and unique laugh.
On April 1 of 2015, Jonathan uploaded
a face reveal video which unsurprisingly was
just an April Fools Prank.
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Tonight, would be an exciting night
for me as I've got an invitation to
dinner prepared by Chef Darren
and his friend from Paris, Chef Hurbert. Darren
has recently won the ninth
Delifrance Sunridge Gold Cup 2012,
World's Best Sandwhich title in Paris and
guess what,
he will be serving it tonight.
I wonder how it taste, exciting!
You know on TV, you always hear
commentators say
"Wow, this dish is really delicious, it's
got the correct balance of taste and
flavor",
I always wonder what it meant! Now, I
finally understood.
For the entrée, I was served three
little green ? ?,
bite of mushroom stuffing and a
bite of roasted leaks.
This was such a stomach teaser, it tasted
so yummy,
I needed more! Now, back in the kitchen
Chef Darren prepares the consummate of
fish with grated
abalone. The soup was so deliciously
sweet. You see the foam that Chef Darren is
putting on the plate,
it is passion fruit vinaigrette. He gave me
a taste of it,
it tasted so.. "Wow!".
Felt like my taste buds just lighted up
like a Christmas tree.
The taste was so fresh and sweet,
and sour at the same time.
The lamb was cooked to perfection
and it just melts in your mouth.
Apparently, it is quite normal
in French cuisines to have two desserts
but you know what, I think we're getting
three tonight.
The first thing that came to mind when I
saw this was
"Oh my goodness, this is huge! How am I gonna
finish it?",
but I can tell you it's so tasty that
you
wouldn't want to finish it. Lastly, coffee with
chocolate truffles.
What a nice way to end the night.
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Spanish:
Probablemente una de las palabras que más hemos escuchado en lo que va de año sea "coronavirus".
Y no es de extrañar, esta enfermedad es portada
en los medios de todo el mundo.
Pero, ¿dónde se originó y cómo está afectando a la población?
Se trata de una familia de virus que normalmente
ataca a animales, pero a veces puede mutar
y saltar a los seres humanos. Y esto fue lo
que sucedió en diciembre de 2019 en el mercado
de Wuhan, en China, ciudad de más de once
millones de habitantes. Una semana más tarde
se confirmó una nueva cepa de esta enfermedad,
llamada provisionalmente 2019-nCoV.
Comenzó como una gripe más. De hecho, los
síntomas son muy similares a los de otras
enfermedades: secreción nasal, tos o dolor
de garganta.
Es tan parecida a una enfermedad respiratoria común que sin un análisis
es prácticamente imposible distinguirla de un resfriado.
English:
Probably one of the most listened to words during this year, is "coronavirus"
And it's not strange, this disease is title on the media from all the world.
But, where is it from and how is it affecting the population?
It is a virus family that normally attach animals, but sometimes it can mutate
and go to the humans. And that's what happened in December of 2019 on the Wuhan's market
in China, a city with more than eleven million population. A week later
it confirmed a new strain of this disease, named provisionally 2019-nCoV
It started like other flu. In fact, the symptoms are very similar to other
diseases: runny nose, cough or sore throat.
It is really similar to a common respiratory disease, that without an analysis
it's practically impossible to distinguish a cold.
Galician:
Probablemente unha das palabras que máis escoitamos no que vai de ano sexa coronavirus
E non é de estrañar, esta enfermidade está cuberta
nos medios de comunicación de todo o mundo.
Pero de onde se orixinou e como afecta a poboación?
É unha familia de virus que normalmente
ataca a animais, pero ás veces pode mutar
e salta aos humanos. E isto foi o que
o que pasou en decembro de 2019 no mercado
de Wuhan, en China, cidade de máis de once anos
millóns de habitantes Unha semana despois
confirmouse unha nova cepa desta enfermidade,
Provisionalmente chamado 2019-nCoV.
Comezou como unha gripe máis. De feito, o
os síntomas son moi similares aos doutros
enfermidades: nariz corriente, tose ou dor
gorxa
É semellante a unha enfermidade respiratoria común que sen unha análise
é practicamente imposible distinguilo dun frío.
Galician:
Ata que comezou a desenvolverse o infectado
febre e problemas respiratorios, como sucedeu
pneumonía Despois do seguimento da orixe, o
as autoridades concluíron que se trataba
unha nova enfermidade, que secuenciaron e publicaron
9 de xaneiro Ao parecer, moito menos
letal que outras variantes anteriores, como por exemplo
Síndrome respiratorio agudo grave
Síndrome respiratorio de Oriente Medio
Dous días despois certificouse o primeiro
morte de coronavirus, engadindo
41 novas infeccións e foron contempladas ata
700 casos posibles. Isto confirmou que
a enfermidade transmitiuse de humanos en humanos
facilmente polo aire, como
en gotas de tos ou estornudos. Contaxios
comezaron a multiplicarse e o coronavirus
comezou a ser tratado como unha emerxencia
Internacional
Pasaron uns días ata que se detectaron os primeiros
casos noutros países, como Xapón, Estados
Unidos ou Francia. De feito, non se descartan
noutros lugares, pola facilidade de contaxio
Spanish:
Hasta que los infectados comenzaron a desarrollar
fiebre y problemas respiratorios, como en
una neumonía. Tras rastrear el origen, las
autoridades concluyeron que se trataba de
una nueva enfermedad, que secuenciaron y publicaron
el 9 de enero. Aparentemente, mucho menos
letal que otras variantes anteriores, como
el Síndrome Respiratorio Agudo Severo o el
Síndrome Respiratorio de Oriente Medio.
Dos días después se certificó la primera
muerte por coronavirus, a la vez que se sumaban
41 nuevos contagios y se contemplaban hasta
700 posibles casos. Esto confirmó que la
enfermedad se transmitía de humano a humano
de forma sencilla a través del aire, como
en gotas de tos o estornudos. Los contagios
empezaron a multiplicarse, y el coronavirus
comenzó a ser tratado como una emergencia
internacional.
Pocos días pasaron hasta detectar los primeros
casos en otros países, como Japón, Estados
Unidos o Francia. De hecho, no se descartan
en otros lugares, por la facilidad de contagio
English:
Until the infected started to develop a fever and respiratory issues, as
pneumonia. After tracking the origin, the authorities concluded that it was about
a new disease, that sequenced and published the 9th of January. Apparently, less
lethal than other variants, as the Severe Acute Respiratory Syndrome or the
Respiratory Syndrome from the middle East.
Two days later, it certified the first death because of coronavirus, at the same time that added
41 new contagions and they contemplated until 700 possible cases. That confirmed that the
the disease was transmitted human by human in a simple way through the air,
on cough drops or sneeze. The contagions started to multiply, and the coronavirus
started being treated as an international emergency.
Fewer days passed until detected the first cases in other countries, like Japan, the USA,
or France. In fact, they are not discarded in other places, for the easy contagion
Galician:
debido ao tráfico de pasaxeiros. Entón:
Debemos preocuparnos? A resposta é
Por suposto! Despois é unha enfermidade,
pero tampouco debemos caer en alarma.
A verdade é que a letalidade desta nova
o virus sitúase arredor do 3%, non é tan preocupante
se o comparamos con algunhas cepas da gripe
común. Ademais, gran parte das mortes
ata agora producíronse en pacientes
Xa tiñan outros problemas de saúde.
Pero podemos seguir algúns dos consellos
da Organización Mundial da Saúde: evitar
achegándose demasiado a outras persoas sospeitosas
de contaxio, taparnos o nariz e a boca
cando estornuda ou tose e lave con frecuencia
as mans Algúns optan por usar máscaras.
Coronavirus é un verdadeiro problema e seguro
que todos nos preocupamos aínda que
Un pouco despois de ver a noticia. Pero
debemos recordar que todas as medidas que
tomáronse son as habituais desde entón
É unha enfermidade descoñecida. Confiemos
Spanish:
debido al tránsito de pasajeros. Entonces:
¿debemos preocuparnos? La respuesta es
¡por supuesto! Al fin y al cabo se trata de una enfermedad,
pero tampoco debemos caer en el alarmismo.
Lo cierto es que la letalidad de este nuevo
virus se sitúa en torno al 3%, no tan preocupante
si lo comparamos con algunas cepas de la gripe
común. Además, gran parte de las muertes
hasta el momento se han dado en pacientes
que ya tenían otros problemas de salud.
Pero sí podemos seguir algunos de los consejos
de la Organización Mundial de la Salud: evitar
acercarnos demasiado a otras personas sospechosas
de contagio, cubrirnos la nariz y la boca
al estornudar o toser y lavarnos frecuentemente
las manos. Algunos optan por utilizar mascarillas.
El coronavirus es un problema real, y seguro
que todos nos hemos preocupado aunque sea
un poco después de ver las noticias. Pero
debemos recordar que todas las medidas que
se han tomado son las habituales, ya que se
trata de una enfermedad desconocida. Confiemos
English:
due to passenger transit. So, would we get worried? The answer is
Of course! In the end, it is a disease
But we don't have to fall on the alarmism.
The truth is that the lethality of this new virus is around 3%, not so worried
if we compared it with other strains of common flu. Also, almost all the deaths
until now, were on patients with other health problems.
But we can follow some advice from the World Health Association: avoid
get very close to other people suspected f contagion, cover our nose and mouth
when we sneeze or cough and wash our hands frequently. Others choose using masks.
The coronavirus is a real problem, and obviously we have worried even a little
after watching the news. But we have to remember that all the measures
are habitual, due to it is an unknown disease. Trust
Spanish:
en nuestros médicos y autoridades, que están
velando por nuestra seguridad. Y ayudémonos
entre nosotros tomando las precauciones que
estén en nuestras manos!
English:
on our doctors and authorities, they are watching for our security. And let's help
each other, taking the warnings between our hands!
Don't forget to smash the like botton if you like it
Also you can follow us on our social media: Facebook, Twitter and Instagram
Until the next video
Galician:
nos nosos médicos e autoridades, que o son
Asegurando a nosa seguridade. E axudámonos
entre nós tomando as precaucións que
estar nas nosas mans!
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English:
I have garlic that we've harvested from
our own garden and honey that's come
from our family's apiary and no idea
what to expect so one year maybe 10
years ago we decided that we would start
growing garlic in our garden and and we
planted a few bulbs and sort of let it
go and over time it just sort of took
over and it started to grow wild in our
front garden and then it started showing
up in our back yard in our side yard so
we now have garlic everywhere and we
don't really do much to tend it it just
sort of grows wild on its own and we
have we have four or five family members
that all raise bees honeybees and so we
English:
I have garlic that we've harvested from
our own garden and honey that's come
from our family's apiary and no idea
what to expect so one year maybe 10
years ago we decided that we would start
growing garlic in our garden and and we
planted a few bulbs and sort of let it
go and over time it just sort of took
over and it started to grow wild in our
front garden and then it started showing
up in our back yard in our side yard so
we now have garlic everywhere and we
don't really do much to tend it it just
sort of grows wild on its own and we
have we have four or five family members
that all raise bees honeybees and so we
English:
get lots of honey and one of my cousins
said to me hey man are you uh are you
fermenting any of your garlic in honey
it's amazing apparently so thought why
not we'll give garlic fermented in honey a try
first things first always start with the
best produce that you can get and I know
that that's easy to say while I'm
standing here peeling garlic that I've
grown myself and honey that I've gotten
from a family member but you really do
want to get the best you can get
and for honey you really need to get
honey that is unpasteurized if you can
get honey at a farmers market or someone
that you know has someone that they know
who has some some bees then get that
really doesn't make a difference and and
as much as you know I you said didn't
like garlic I really do like the garlic
that we grow there's there's a couple of
different kinds that are out there and
one of the kinds I don't like and one of
the kinds I do like so there is
differences and it's the same with this
honey you'll notice that there's two
English:
get lots of honey and one of my cousins
said to me hey man are you uh are you
fermenting any of your garlic in honey
it's amazing apparently so thought why
not we'll give garlic fermented in honey a try
first things first always start with the
best produce that you can get and I know
that that's easy to say while I'm
standing here peeling garlic that I've
grown myself and honey that I've gotten
from a family member but you really do
want to get the best you can get
and for honey you really need to get
honey that is unpasteurized if you can
get honey at a farmers market or someone
that you know has someone that they know
who has some some bees then get that
really doesn't make a difference and and
as much as you know I you said didn't
like garlic I really do like the garlic
that we grow there's there's a couple of
different kinds that are out there and
one of the kinds I don't like and one of
the kinds I do like so there is
differences and it's the same with this
honey you'll notice that there's two
English:
different colors and this one the
lighter colored one is a clover honey or
mostly clover honey and the darker one
is buckwheat honey totally different
tastes so I'm interested to see what the
differences are
so my understanding is essentially you
just
peel all the garlic I prefer magic so
now you just want to bruise them you
don't actually want to crush them too
much you just sort of want to give them
a little bit of a bruise well maybe that
was too much there you want them to
start releasing the moisture inside one
of the reasons that honey is shelf
stable or counter stable or doesn't need
any sort of preservative is that it has
a natural preservative but it also has a
very low moisture content and that low
moisture content helps it helps it stay
preserved so the little bit of moisture
English:
different colors and this one the
lighter colored one is a clover honey or
mostly clover honey and the darker one
is buckwheat honey totally different
tastes so I'm interested to see what the
differences are
so my understanding is essentially you
just
peel all the garlic I prefer magic so
now you just want to bruise them you
don't actually want to crush them too
much you just sort of want to give them
a little bit of a bruise well maybe that
was too much there you want them to
start releasing the moisture inside one
of the reasons that honey is shelf
stable or counter stable or doesn't need
any sort of preservative is that it has
a natural preservative but it also has a
very low moisture content and that low
moisture content helps it helps it stay
preserved so the little bit of moisture
English:
from each of these garlic cloves will be
enough to start the fermentation process
and I'm just doing a few because I don't
know whether I'm gonna like it or not
pretty much you put the garlic into a
jar and then you pour as much honey over
top of the garlic as it takes to cover
them and then a little bit because you
want to make sure that the garlic is
fully submerged I'm just gonna divide
this up put them in mix it together and
see what happens so roughly half in that
one and half in the other push it down
so it's submerged I probably could have
done twice as much twice as much garlic
like I said I'm a little bit scared so
English:
from each of these garlic cloves will be
enough to start the fermentation process
and I'm just doing a few because I don't
know whether I'm gonna like it or not
pretty much you put the garlic into a
jar and then you pour as much honey over
top of the garlic as it takes to cover
them and then a little bit because you
want to make sure that the garlic is
fully submerged I'm just gonna divide
this up put them in mix it together and
see what happens so roughly half in that
one and half in the other push it down
so it's submerged I probably could have
done twice as much twice as much garlic
like I said I'm a little bit scared so
English:
there we go submerged submerged and I've
just got these plastic storage Lintz
this will give off some co2 gas as it as
it starts to work so the lead is just
screwed on a little bit not tight it
still has room to move any co2 that's
produced will be able to escape and over
the next four or five days we'll just
keep checking in and see what happens
weeks not not weeks it feels like months
it feels like once uh it has been once I
got sidetracked fermenting on the back
counter for four months I'm afraid well
I am too I mean it what were you hoping
to create you don't understand what
people do to me I don't understand so
people tell me that this tastes amazing
this is supposed to be incredible
English:
there we go submerged submerged and I've
just got these plastic storage Lintz
this will give off some co2 gas as it as
it starts to work so the lead is just
screwed on a little bit not tight it
still has room to move any co2 that's
produced will be able to escape and over
the next four or five days we'll just
keep checking in and see what happens
weeks not not weeks it feels like months
it feels like once uh it has been once I
got sidetracked fermenting on the back
counter for four months I'm afraid well
I am too I mean it what were you hoping
to create you don't understand what
people do to me I don't understand so
people tell me that this tastes amazing
this is supposed to be incredible
English:
it smells garlicky its fermented you can
see that the well is so that here's your
your Nona that's honey I didn't add
enough garlic for all of the honey
differences so this is honey that didn't
ferment the honey at the top fermented
and that's why it's so loose so the
honey at the bottom just didn't do
anything so I need to add more garlic
next time okay this Sweden buckwheat and
clover okay so well let's just try the
honey first okay before we get into the
garlic clove
mmm no I can see that it's got a really
smooth garlicky calm we're just very
smooth isn't it very smooth garlic
flavor to it so would be really it would
be really good in like a dressing or a
lot of other things as well okay you
want that garlicky flavor that would be
amazing a salad recipe yeah just yeah
English:
it smells garlicky its fermented you can
see that the well is so that here's your
your Nona that's honey I didn't add
enough garlic for all of the honey
differences so this is honey that didn't
ferment the honey at the top fermented
and that's why it's so loose so the
honey at the bottom just didn't do
anything so I need to add more garlic
next time okay this Sweden buckwheat and
clover okay so well let's just try the
honey first okay before we get into the
garlic clove
mmm no I can see that it's got a really
smooth garlicky calm we're just very
smooth isn't it very smooth garlic
flavor to it so would be really it would
be really good in like a dressing or a
lot of other things as well okay you
want that garlicky flavor that would be
amazing a salad recipe yeah just yeah
English:
nice bass note doesn't it
okay buckwheat a lot of people can't get
buckwheat honey yeah all right if you if
you've never had buckwheat honey go out
and find it it is a good one
there's lots of other great honey's but
you know my for my personal favorite I'm
sure I could take it up sure I can tell
the difference between the two so no um
buckwheat not really has a really strong
flavor but it's it's mellowed with the
garlic okay so so then what about the
garlic that I'm I supposed to eat the
garlic apparently apparently we can eat
the garlic let's see
no experimenting does not smoosh I
English:
nice bass note doesn't it
okay buckwheat a lot of people can't get
buckwheat honey yeah all right if you if
you've never had buckwheat honey go out
and find it it is a good one
there's lots of other great honey's but
you know my for my personal favorite I'm
sure I could take it up sure I can tell
the difference between the two so no um
buckwheat not really has a really strong
flavor but it's it's mellowed with the
garlic okay so so then what about the
garlic that I'm I supposed to eat the
garlic apparently apparently we can eat
the garlic let's see
no experimenting does not smoosh I
English:
thought it would be softer well I just
kind of saw but not in the way that I
had assumed it would wish as well you
know yeah why
all right there we go probably not but I
just thought the tractor would be a
delivery game mmm
distinct crunch to it mm-hmm
it's pretty mellow though it's
interesting yeah cuz that garlic has
mellowed it um I guess all the flavors
in the honey now or some of the flavor
it's still garlicky but not mm-hmm so
where would you use the garlic what were
you thinking
Pizza mmm yeah I can see that I can see
that Pizza bruschetta any great on
bruschetta just on um even is garlic
bread or garlic toast cuz I really any
way you would use raw garlic
don't worry you would use raw garlic but
English:
thought it would be softer well I just
kind of saw but not in the way that I
had assumed it would wish as well you
know yeah why
all right there we go probably not but I
just thought the tractor would be a
delivery game mmm
distinct crunch to it mm-hmm
it's pretty mellow though it's
interesting yeah cuz that garlic has
mellowed it um I guess all the flavors
in the honey now or some of the flavor
it's still garlicky but not mm-hmm so
where would you use the garlic what were
you thinking
Pizza mmm yeah I can see that I can see
that Pizza bruschetta any great on
bruschetta just on um even is garlic
bread or garlic toast cuz I really any
way you would use raw garlic
don't worry you would use raw garlic but
English:
you want a little bit more of a mellow
flavor okay back onto the counter until
we find do we find that next use okay
there we go
that worked you're surprised it was a
little worrisome there got a while on
the counter I was looking sir Oh
English:
you want a little bit more of a mellow
flavor okay back onto the counter until
we find do we find that next use okay
there we go
that worked you're surprised it was a
little worrisome there got a while on
the counter I was looking sir Oh
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Welcome to the 7th in this
series of evolution lectures.
I'm Mike Cusanovich, director of
Arizona Research Laboratories.
And I'm standing in for our
Dean of Science, Joaquin Ruiz,
tonight.
He's at another event.
And it's a real pleasure for me
to introduce tonight's speaker,
Dr. Michael Hammer.
Mike is a small college guy
from Lake Forest College.
Did his PhD At the University
of California, Berkeley,
went on to post-doc
at Princeton,
and another post-doc at
Harvard, and then, fortunately,
came to Arizona,
in 1991, to work
in Arizona Research Laboratories
as a research scientist.
During his stay here,
he's evolved his research
to the point that he's now one
of the world's leading experts
on human origins,
traced with DNA,
and has made tremendous
contributions.
One way to look at this,
he has appointments
in Arizona Research Laboratories
in ecology and evolutionary
biology.
But he also-- and I
don't know why it's not
on this slide-- has an
appointment in the Department
of Anthropology.
And that ties together his work,
and the impact of his work,
very nicely.
I won't read you the title.
You can read it.
And ask Dr. Hammer to step
up, here, and give his talk.
Thank you.
Well, it's really a
pleasure to be here,
and to have the
opportunity to address
our campus, and our community,
on this topic of human origins,
using DNA to trace our origins.
I've chosen to highlight
three different themes
in my talk, tonight.
The first one is
our place in nature,
and the second one
is the evolution
of the traits that
make us human--
trying to track both of
those, not only genealogically
but in history, as well.
These are issues that
Darwin addressed directly.
And then, the
third theme will be
something that's related but
something that Darwin didn't
address, because
this is something
that has been debated most
intensely in the last couple
of decades.
It's a topic that deals
with the origin, how
our species originated--
the modern human species.
In order to do the work that I
do, and to address this issue,
in general, genetics
isn't enough.
It can't stand up on its own.
We need many
different disciplines
to work on this together,
to give us the full picture.
Paleontologists are involved
in this topic as well.
They study fossils to infer
the morphological changes that
have occurred over
evolutionary time.
Archaeologists who study
material culture-- stones,
stone tool kits-- to trace
the history of our species,
to infer the
behavioral changes that
have occurred through time.
And then, of course,
genetics-- the area
that I'm involved in-- using
both protein work and DNA
work to tune infer our
genealogical history.
And one of the points I'm going
to make in the talk tonight
is that the genealogical
history for different parts
of our genome can tell
us different things
about our history.
And that's one of the
challenges that we
face in trying to put
together a story--
a full story--
about our history.
The history of the
field of genetics,
as applied to
anthropology, goes back
to the early 1900s in work that
was done at the protein level,
and up through the 1960s.
And I'll talk a little bit
about some of the work that's
been done with protein.
And then, the transition
into DNA work, in the 70s
through the 90s, and
studying individual genes
and the sequences
of those genes.
And then, in the last few
years, having entire genome
sequenced that we
have at our disposal
to make inferences about.
Now, I'm going to try and
limit the technical information
as much as possible, which
is a challenge in itself.
But I will probably convey
a lot of the ideas to you
through this drawing--
these tree drawings.
So on the left,
you can see a tree
that may be a tree
that was developed
by anatomists, comparing
the anatomy of humans
and great apes and
inferring the relationships.
That's the species tree.
In the middle, I'm
trying to convey to you
this timeline of
fossils as they've
been discovered and dated.
Paleontologists will
infer the taxonomic status
of a particular
fossil by comparing it
with other fossils, its time
depth in the fossil record,
and make inferences that
almost look like a tree.
You can see these
branches that I've
shattered underneath these
timelines of fossils.
And then, on the right, is
a tree that is a gene tree.
It's not a species
tree, but it's
a tree that reflects
the genealogical history
of a particular
region of the genome.
And the time frame for
that genealogical history
can come from the
number of mutations
that we see in the DNA, using
some kind of a molecular clock
approach to infer the
time depth of the tree.
Now, let's turn to what Darwin
said about human evolution.
We can summarize
it in one sentence.
In his Origin of
Species, from 1859,
"Light will be thrown on the
origin of man and his history."
That's all he said in
The Origin of Species.
And if we look a little
further in the literature,
we find that he wrote to
his friend Alfred Russell
Wallace, a couple of
years before he published
The Origin of Species,
in 1857, when asked,
would he address this
issue of human evolution?
And what he said was, "I think
I shall avoid the whole subject,
as so surrounded
with prejudices,
though I fully admit that
it is the highest and most
interesting problem
for the naturalist."
But his ally and bulldog, Thomas
H. Huxley, just four years
after the publication of
The Origin of Species,
published his own book called
evidence as to man's place
in nature.
And he wasn't shy about tackling
this issue about human origins
and applying evolutionary
theory to human origins.
What he did was, he did an
extensive comparative analysis
of human and ape
anatomy, embryology,
and ethology--
behavior-- as well as
looked at the very,
very few fossils that
were known at the
time, and concluded
that humans have a close
evolutionary relationship
with the great apes, in
particular the African apes.
So this was striking
for many reasons.
At the time, there
were many out there
who didn't believe that humans
had any relationship at all
to the rest of the
biological world, number one.
But then, to claim that humans
were related to African apes,
as opposed to the
orangutan Asian ape,
was quite a striking
statement, a bold statement.
But perhaps the
biggest impact would
be in a philosophical sense.
Humans now were seen as
part of nature and not apart
from nature.
In fact, the
Darwinian revolution
followed, by a
couple of centuries,
another revolution
in Western philosophy
stirred up by
Copernicus, who gave us
the heliocentric
universe, disposing
of the geocentric
universe where everything
circled around the earth.
Earth now circled
around the sun,
and was just one planet
of many in the universe.
It was no longer the
center of universe.
And similarly,
Darwinian revolution
took man up from
position out of nature
into a position in nature,
and made the naturalistic view
of man.
But still, , the
human, in either case,
still remained at the
pinnacle of God's works.
And so, these revolutions
are in the context
of these other kinds
of thought processes
of natural philosophers
at the time.
Still, Huxley made
a statement that
gives us a picture of
the kind of tension
that existed between the
continuity of placing
man in nature and the
discontinuity of man
from the rest of nature.
In this quote, "No one is
more strongly convinced
than I am of the vastness
of the gulf between man
and the brutes, for he alone
possesses the marvelous
endowment of intelligible
and rational speech,
and stands raised upon
it as on a mountain top,
far above the level
of his humble fellows,
and transfigured from
his grosser nature
by reflecting, here
in there, a ray
from the infinite
source of truth."
So what I'd like to
talk about tonight
is a bit about the tension
that's shown in the statement.
What is the
relationship between man
and the rest of the
biological reality,
and follow the history
of that, and see
what DNA and
molecular approaches
have done to help us
understand that relationship.
And in the first two themes
that I'm going to be developing,
the first is what
is the relationship
of man to the great apes?
And I use the word "man" in the
18th- and 19th-century sense.
Another way of
putting that question
is, how far back in time
did humans and great apes
share a common ancestor?
That's them number one.
Theme number two is also
something that has been debated
greatly in the last century,
and that is the question
of "human-ness."
The traits that
make us so special,
and so different from the animal
world, when did those evolve?
And when we answer
that kind of question,
we think about all
the changes that
occurred on the lineage
leading specifically
to modern humans--
this lineage, here.
And I've shown some
fossils that represent
extinct forms of
humans, or pre-humans,
on the lineage leading
to modern forms.
And I will refer to
all of the creatures
on this branch as hominins.
Now, these two
themes, in practice,
are deeply intertwined.
Because, in order determine
what makes us special,
we need to know who to
compare ourselves with.
So what is the
history of this idea
of establishing the link between
humans and the great apes?
As I just mentioned,
Darwin and Huxley
both, through their
analysis, reasoned
that humans were closely
related to the African apes.
Whereas the view seemed to
shift, after 1920 or so,
up until 1960.
The view shifted
back to one where
humans were much more distantly
related to the great apes.
In fact, it was seen that
great apes-- the African apes
and the orangutan-- were closely
related, and either of those
being more related to each
other than any to humans--
humans being very distinct.
And one version of
that, this is work
that was written in the
1920s, as representative
of the kind of things
that were being
said in those days--
worked by Sir Arthur Keith.
He showed this family tree,
here, of the great ape lineage,
here, the human
lineage, and seeing
how far back in time
they coalesced back
to a common ancestor
in the Oligocene--
which, today, we know to be
about 30 million years back
in time.
Along with this view of the
ancient split between humans
and the great apes, was the
view that human populations,
themselves, traced
back very far in time,
so that the different
racial groups were very old.
And these were very consistent
with the racial views
of the time-- that
the white race
had reached ascendancy more
recently than these other races
around the world.
This was a common
view at the time.
So perhaps the most
important fossil support
for this ancient
divergent hypothesis
was not that old in time.
It was a fossil
called Ramapithecus,
that had been
discovered in the 1920s,
and rediscovered
by Elwyn Simons.
Ramapithecus is an
ape-like creature
that lived in Eurasia
about 15 million years ago,
and appeared to be anatomically
related to the hominid lineage,
according to Simons.
And based on these
similarities, he
suggested that this lineage had
the Ramapithecus, right here,
on the lineage,
which would support
this very ancient
divergence between humans
and the great apes.
Well, let's now look at
what the molecular field has
done for us in 1962 the
term molecular anthropology
was termed coined by Emile
Zuckerkandl and Linus
Pauling, who were
the first to suggest
that one could use molecular
approaches to infer
evolutionary history.
By comparing the sequences
of proteins extracted
from different
organisms, one could then
infer the evolutionary
relationships
of those organisms.
This launched a new field called
molecular anthropology, which
was really christened by
Morris Goodman in 1963,
and then Sarich and
Wilson, in 1967, who
made immunological
comparisons among the proteins
of African apes,
orangutans, and humans,
and showed that, yes, humans
were more like African apes
than either was to orangutans.
Goodman's analysis
was qualitative.
Sarich and Wilson's
analysis was quantitative.
And this shows you the
result. Darwin was right.
Huxley was right.
According to the
molecular approach,
humans share a relationship
with African apes that
only goes back 5 million years.
And this was the
Sarich and Wilson
result-- the quantitative
result-- suggesting
an incredibly recent
divergence between humans
and the great apes.
In fact, this
conclusion was heretical
for a number of years,
and wasn't fully
accepted by the
anthropological community,
until additional
fossils had been found,
which gave us a better view
of where Ramapithecus fit
onto the tree of the hominoids.
In fact, Ramapithecus now is
classified as a fossil ancestor
of the orangutan.
And so, all of the
picture makes sense.
And in this case,
the molecular studies
led the way in seeing
the right answer,
if we ignore what had been
said by Huxley and Darwin 100
some years before that.
But notice, on this
tree on the right,
that we have basically
a three-way split,
or a trichotomy.
How can we resolve
this trichotomy?
There are a number of possible
ways it could be resolved.
It could be a true trichotomy.
It could be that these
three species actually
diverged so close in time
that, essentially, they are all
equally related to one another.
Or you could have any of these
other permutations, where
gorillas and chimps are more
closely related to each other,
or one of them related
to humans more so.
In order to resolve
this, a great deal
of genetic information
was necessary.
Because it is, actually, a very
small period of time in which
these three species
separated from one another.
And in order to
solve this problem,
we require the new
technology of DNA.
And there were two early
pioneers in this regard.
Sibley and Ahlquist, who
explored DNA kinetics
and how, by hybridizing the
genomes of different species,
one could determine
their relationships.
And then, there was the
work by Morris Goodman,
by looking directly at
the DNA sequence level.
Looking at enough genes,
enough sequence, lined up
from chimps,
gorillas, and humans,
one could infer who was more
closely related to the other.
In fact, when this
work was applied,
the answer came out in
both cases-- for Goodman
and for Sibley and
Ahlquist-- to show
that humans were more closely
related to chimpanzees
than either was to gorilla.
In fact, these studies
were right on the mark
in showing that humans and
chimps share about 98.8%
percent of their DNA sequences.
So that's fairly striking.
So if we kind of, now,
look back at the history
of the idea of man's
place in nature,
we can see that it's
really characterized
by a series of
demotions, starting
with humans beings having
a special creation,
to humans having a special
branch on the tree of primates,
to humans being one
of many branches
on the tree of primates,
to humans and chimps being
part of the same genus, almost.
So this is striking
information, and had
striking consequences
for how we view ourselves
and our place in nature.
In fact, because now we
can look in the genome
to see what makes us special,
we have a special trick
we can use.
We can look at the
chimp genome to see
where the differences are,
and what differences may have
arisen that do make us special.
Now, if we move to
theme number two,
trying to track how
far back in time
these special traits may have
evolved that make us human.
Darwin had a view
about this as well.
Basically, Darwin figured
the first steps on the way
to the human lineage,
when apes first budded off
into this group that
eventually became humans,
that brains led the way.
He reasoned that
a smarter ape was
the thing that would eventually
get us to being humans.
The other view was that
walking led the way--
that standing upright
would be the first step
in the early process
of becoming human.
In fact, Darwin had a good
reason to put forward his idea.
He reasoned that, in The Descent
of Man, those characters that
make us human he identified as
intelligence, manual dexterity,
technology, and uprightness.
And he argued that
an ape endowed
with minor amounts
of intelligence,
or any of these other
characteristics,
would surely give that ape
an advantage over other apes.
And a forebear endowed
with these qualities, then,
would just inevitably
become human
through the power of
natural selection.
In other words Darwin
thought that hominin origins
equaled human origins.
For those of you
who don't recognize,
this is the monolith in 2001.
Well, Darwin didn't have
fossils at his disposal
to test his hypothesis.
So it wasn't until
many years later,
in the 1940s, '50s,
and '60s, when
we had a huge number of
fossil discoveries, that
allowed us to piece together
the history of the origin
of these different forms
that eventually became
modern humans.
And so, this slide
shows you a summary
of the current view from
the fossil evidence,
with some of the key
players on the side.
You have Homo erectus, Homo
ergaster, and Homo habilis,
shown here.
These are all part of the genus
Homo, which is shown in blue.
And then you have
Paranthropus boisei, robustus,
and aethiopicus, which
are shown over here.
They're later bipedal apes.
And the reason I contrast
them is because, you can see,
they lived, actually,
at the same time.
Darwin also had the
idea that humans
evolved along a single lineage.
Well, with this number of
new fossil discoveries,
it became apparent that there
were multiple species that
co-existed at the same time.
And you can see
that, boisei, here,
with the large sagittal ridge
on his head, and you can see,
over here, erectus, could
not be characterized
as the same species.
But more importantly,
what we can
see from this ordering
of characteristics
is that the earliest
hominids, leading up
to the australopithecines--
Lucy is the most famous
of the australopithecines--
essentially,
were small-brained
creatures with large teeth,
and clearly proved
Darwin to be wrong.
These earliest members
of the hominid lineage,
in fact, could be seen
as bipedal "apes"--
with the quotation
marks around "apes,"
since we're talking about
the hominid lineage,
we're no longer apes.
But they looked a lot like apes,
but they were able to walk.
These early bipedal
apes eventually
gave rise to more
robust forms, called
Paranthropus, and more
gracile forms, the genus Homo.
Eventually, the genus
Homo led to Homo sapiens,
here at the top.
And you can see how recent in
time our species, Homo sapiens,
emerges in the scheme
of hominid evolution.
So we can say, by looking
at the fossil record,
that we no longer
would consider Darwin
to be right in this count.
Hominid origins are not
equivalent to human origins.
And we must think, now,
of the early evolution
of our specialness being one of
being upright, where the larger
brains came later.
Most of us, I think,
would say that part
of what makes us special are
the cognitive abilities that
must relate somehow
to our larger brains.
But we're not quite there
yet, because this slide
is showing you the
encephalization quotient, which
is a way of giving
you the relative brain
size to body weight
on the y-axis,
and the time scale
on the x-axis.
You can see that, if we
compare ourselves to chimps,
we have a larger brain relative
to body weight, at the top,
and then, the various
fossil species
that I talked about
earlier in the middle.
And you can see that the
so-called bipedal apes have
a slight increased brain
size over that in chimps,
intelligent omnivores.
Those early members
of the genus Homo
had a slightly larger
brain size, again.
But neither reaches the brain
sizes that we have at the top.
So in order to get to the
characteristics that really
make us human, we have to go on
to the next stage of evolution
and talk about the transition
to anatomically modern forms.
Also the tool kits of
the various species
that I'm talking about.
It turns out that all of
the species I've discussed
have been using basically
the same set of tools.
About 2.5 million years
ago, the first stone tools
are found in the archaeological
record, known as Oldowan tools,
which eventually, about
1.7 million years ago,
become a slightly more
complex grade of tools
called Acheulean tools.
Here you have
Acheulean tool kits.
And you can see, basically,
what they look like.
It's hard to tell a hammer
from a crescent wrench.
So we're not there
yet, archaeologically,
which is a reflection of
where we are cognitively,
at some level.
So in order to get into
that, and understand
how we made the final
transition to the Homo
sapiens-- the species
that we are-- I
would like to bring up through
theme three of my talk tonight.
How did we make the
transition to modern form?
Homo sapien showing up
again, on the upper left.
And now, it got some
different players, here,
all in the genus Homo.
And you can see, Homo
sapiens, or anatomically
modern humans, shown
in the upper left,
has a much larger
cranial capacity.
It's pretty obvious when you
compare the relative sizes
of the cranium versus the upper
and lower part of the cranium.
I also want to point
out, again, that there
are multiple species,
or taxonomic groups,
living before Homo sapiens.
And even after Homo
sapiens emerges,
there are others that
coexist with Homo sapiens.
Homo neanderthalensis,
which lived in Europe.
Homo heidelbergensis, which
also lived in Africa and Europe.
Homo erectus, which
lived in Asia.
Homo erectus is thought
to have originated
in Africa from a precursor that
may have been very similar.
There's debate as to whether
there is Homo erectus
in Africa, or Homo ergaster.
I'm going to go with the
terminology of Homo ergaster
giving rise to Homo
erectus in Asia.
And then, this new find,
here, Homo floresiensis, which
I'll point out in a minute.
Now, this slide is
supposed to represent
the very recent origin
of Homo sapiens,
showing you the
geographical context.
Notice, after Homo
sapiens originated,
Homo sapiens rapidly
colonized the globe
in the last 100,000 years.
But Homo sapiens was
not the first species
to migrate out of Africa.
You can see that Homo erectus,
shortly after it emerged
in Africa, migrated out and
colonized parts of Southeast
Asia and East Asia.
Now, this map shows
you the distribution
of some of these fossil finds,
for Homo erectus in green,
and the Neanderthal
range in blue.
And what I wanted
to point out is,
you have some of the earliest
Homo erectus or ergaster
fossils in Africa, about
1.8 million years ago.
And then, out here
in China, 1.2.
Dmanisi, Georgia, 1.7
million years ago.
And here, in Java,
1.7 million years ago.
So shortly after the first
Homo erectus is known to exist,
we find fossils widely dispersed
across the globe, at least
the old world.
And I also wanted to point
out that Neanderthals
may have been around until
about 28,000 years ago,
certainly coexisting with
modern humans in Europe.
And in Asia, we have
erectus existing
on Java till 25,000 years ago,
again, coexisting with moderns.
And then this find of the
island of Flores in Indonesia,
is quite interesting.
These are people who
were no more than 3 feet
tall, sometimes called
hobbits, that were probably
related to Homo erectus--
descended from Homo erectus,
and then underwent what
we call island dwarfism.
And they look like
they have lived up
until as recently
as 13,000 years ago.
So one of the questions that's
so staring us in the face
is, we are alone
as a species today,
and yet, just as recently
as 10,000, 20,000,
30,000 years ago,
we shared the planet
with other forms of humans.
Why did this happen?
Why are we alone today?
That's an open
question, and a mystery,
that I will try and
address, a little bit,
through the rest of the talk.
Now, I want to talk about a
couple of different models
for the formation
of our species.
There are two models that
have been hotly debated
in the literature for
the last 20 years,
both of them based strictly
on fossil evidence.
The one here, on
the left, that is
called multiregional
evolution suggests
that, when Homo erectus
dispersed out of Africa,
colonized Asia, from that
population, which remained
fairly continuous across
that geographic space,
gave rise to Homo sapiens
pretty much everywhere
that it occurred.
In this model,
there's no speciation.
There's some local
differentiation
among Homo erectus populations,
but when a novelty would arise,
such as a gene that might
encode a larger brain,
this gene would then
be free to migrate
from one population
to the other,
and perhaps with the advantage
of natural selection,
spread throughout the
range of Homo erectus,
so that Homo erectus made this
transition to the modern form,
in concert, across the globe.
This idea has its roots
going back to Darwin,
in a sense, who believed
in gradual evolution
of a single lineage.
This model sees
Homo as one species.
It makes the
predictions-- well, I'll
talk about the
predictions in a minute.
The other model is the
recent African origin model,
which says that modern
humans originated
in a single place in the
world, very recently-- Africa--
and from that African
place, came out of Africa,
replacing all the other
non-modern forms that
existed in Europe and in Asia.
This model suggests that all
the genes that make us modern
evolved in one geographic
location, somewhere in Africa.
The model also specifies
the population was
relatively small and isolated.
And this model has its roots
in a different philosophy
in evolutionary
genetics, that of one
where you have
lots of speciation,
the boundaries between
populations are hardening up,
so to speak, genes are not as
permeable across populations
because they're
beginning to speciate.
It's a model of cladogenesis.
Now, what are the predictions
these different models
might make that
we could actually
test using genetic data?
Well, the multiregional
model, as I said,
makes two predictions-- one
about place, one about time.
I'm going to try and keep
it as simple as I can.
In this model, you can see
multiregional evolution.
These lineages all descend
back to Homo erectus time,
and the transition
to modern is shown
by this change from red
lineages to yellow lineages.
But if you look at
the lineages today,
we should be able to trace
them back very far in the past,
and they should be able to trace
deep in Europe, deep in Africa,
and deep in Asia.
So we might say,
the lineage will
trace many parts of the world.
That's the place.
The time-- they could be
going back, many of them,
over 2 million years.
For the recent African
replacement model,
we have an African
population that
contains all the
genetic variation
of subsequent
descended populations.
So all of the
lineages that we're
going to trace that are
yellow, the modern lineages,
are going to really trace
back to one place-- Africa.
And they're going to trace back
to Africa much more recently
than the lineages
would trace back
to a common ancestor in the
multiregional evolution model.
So we'd say, the
lineages trace to Africa
in the more recent past.
So now, I want to use these
predictions, time and place,
the geological depth at
different parts of the genome,
and ask, do the lineages
of different parts
of the genome trace to one
place, and how far back in time
do they trace, to see if we can
answer this question about how
we emerged as our species.
In order to do so, I
just need to tell you
a couple of things
about the genome
that we're going
to be looking at.
There are essentially two
genomes in every cell.
In almost every cell-- blood
cells don't have a nucleus.
But most cells have a
nucleus and a cytoplasm.
Inside the cytoplasm
of a cell, there's
an organelle called
the mitochondria,
which has to do with
producing energy for the cell.
And it contains its own,
small circular genome.
It's only 16,569 bases long.
It's just over 16 kb in length.
And it's inherited strictly
from mother to children.
In the nucleus is the
rest of our genome.
It's 3 billion base pairs.
There's 23 different
pairs of chromosomes.
The first 22 are
called autosomes.
We get one autosome
from mom, one from dad.
And then, the 23rd pair
is called sex chromosomes.
You have an X chromosome and a
Y chromosome, if you're a male.
And you have two X chromosomes
if you're a female.
Now, this slide's a
bit tricky to see,
but I've got four generations--
great-grandparents,
grandparents, father and
mother, and a son at the bottom.
And what I've shown here
is his mitochondrial DNA,
this small, circular molecule,
here, his Y chromosome.
And you can see that his Y
chromosome traces back to one
male each generation-- to his
father, to this grandfather,
and to this great-grandfather,
where his mitochondrial DNA
traces back to his mother,
to this grandmother,
and to this particular
great-grandmother.
So none of the other
great-grandparents
in this generation have
contributed their Y chromosome,
or their mitochondrial
DNA, to this boy, here.
However, if you look at an
autosomal pair-- I've just
chosen a single pair for
the sake of simplicity--
you can see that this
patchwork of different colors
and patterns represents
pieces of all autosomes that
came from different
ancestors in the past.
So you can see that this
piece of his autosome traces
back to this grandmother, and
this piece to this grandfather,
and so on.
So what I'm trying
to say here is,
because of the process
of recombination,
pieces of the genome are
shuffled between chromosomes
that are inherited
from father and mother.
Each piece of the
autosome may trace back
to a different ancestor, whereas
the Y traces back to one,
the mitochondrial traces
back to one female ancestor
in the past, all the way back
to a single common female
ancestor-- that is,
the lucky mother of all
of our mitochondrial
DNA, or the lucky father
of all of our Y chromosomes.
The same is not true
for the autosomes.
And that's a point that
I can't emphasize enough,
and I will try
and bring up again
to tell you what this means
for our evolutionary past.
So for technical reasons,
the first part of our genome
that was studied, and
addressed the question
of human evolution, was
the mitochondrial DNA,
because it was isolated, it was
small, it was in the cytoplasm,
we could isolate it
experimentally, and study it,
back in the 1980s.
And we were able to get
DNA sequence information.
There was a landmark
study by Rebecca Cann
and Alan Wilson at
Berkeley, in 1987,
where they surveyed
mitochondrial DNA variation
in many people from
Africa, Asia, and Europe.
And what they inferred was
that all the mitochondrial DNA
in these people they
looked at today traced back
to a single woman
who lived in Africa.
And I think it was the press,
and not the scientists,
who dubbed that person
mitochondrial Eve.
It gives us that strong
metaphor of tracing back
to a single woman, in the
Garden of Eden-- which
is a rather unfortunate
metaphor, in some regards,
because the work did
not imply that there
was only a single woman
living at the time.
But there was just
one woman who was
the ancestor of all
mitochondrial DNAs today.
This work was
reproduced, in a sense,
in the year 2000
by Ulf Gyllensten
and Max Ingman in
Sweden, and colleagues.
They looked at the entire
mitochondrial DNA genome.
They sequenced the entire genome
in 53 different individuals,
also from Africa,
Asia, and Europe.
And I'm showing the
tree that they were
able to infer from the data.
And what you can see,
here, is that you
have African lineages
on the bottom,
and Eurasian
lineages on the top.
And you can see that the
African lineages on the bottom
are longer, deeper.
And so, this reflects
part of the inference
that they made that the
ancestor was in Africa.
They found greater
African diversity,
they found that the place
of the ancestor was Africa,
and that they found the
time of the ancestor
was recent-- only going
back about 170,000 years.
So those are the
predictions of which model?
The recent Africa
replacement model.
Another very intriguing
piece of evidence
comes from Svante Paabo
and his collaborators,
their work on ancient DNA.
They were able to
isolate a small amount
of mitochondrial DNA
from Neanderthal fossils.
And as you can imagine,
this is a tricky enterprise.
Not only does the DNA
degrade over time,
but all the people
who've handled the bones,
or all the DNA that's floating
around in the laboratory,
is just as easily studied
as this tiny, tiny amount
of Neanderthal DNA,
unless you're very
careful not to contaminate it.
But they we're able
to show, conclusively,
that the mitochondrial
DNA from their extractions
of this Neanderthal bone were,
in fact, Neanderthal DNA.
They did the experiment
multiple times,
for multiple
Neanderthal individuals.
And they showed in
this tree, over here,
that the Neanderthals were
all very closely related
to each other, and yet very
different from the huge number
of sequences that had
been examined in humans
at that point,
suggesting that there
was no Neanderthal mitochondrial
contribution to the human gene
pool.
Again, this is a prediction of
the recent African replacement
model, whereby African
ancestors make the transition
to modern form, and then
spread out, replacing
all the archaic forms.
This is what I'm calling
the mitochondrial paradigm,
because this work
was so powerful.
It came at a time
before we had studied
much the rest of the genome.
It came at a time
when archaeologists
and paleontologists were
making these debates based
on fossil evidence, and they
weren't getting anywhere
with their arguments.
And this seemed to be the
first genetic evidence that
came down, very
strongly, on the side
of the recent African
replacement model.
This is an image from the
cover of Newsweek, in 1988.
They're flirting with this
idea, again, of African Eve--
mitochondrial Eve-- and the
search for Y chromosome Adam.
And this diagram, on the
left, shows you, also taken
from nature magazine, a
summary of the results
that were published
by Cann et al in 1987.
Now, it was clear to
many of us working
in the field of genetics that
mitochondrial DNA is just
one little tiny
part of the genome,
and that we really
need to investigate
many other parts of
the genome to see if we
would find similar patterns.
The most obvious next place
to look was the Y chromosome.
And this reflects work
that my lab has done,
and another lab at Stanford,
over the last decade
or so, where we were pioneers in
looking for variation on the Y
chromosome and
tracing variation,
creating these genealogical
trees to see what it told us
about human evolution.
And what I'm going
to say is-- it's
very simple-- the
pattern is almost
identical to what had been
found for mitochondrial DNA.
Number one, you can
see the tree has
the African lineages
that are longer
than the non-African lineages.
You can see that African
diversity is greater.
The place of origin is Africa.
And the time to the most recent
common ancestor, for the Y,
is even more recent than
for the mitochondrial DNA--
only going back, roughly,
about 100,000 years.
Remember, the mitochondrial DNA
trace back about 170,000 years.
So both systems are telling
us pretty much the same thing.
But the fact that they traced
back to different times
is quite interesting.
It just highlights that each
part of the genome traces
back to a different
ancestor, and that ancestor
may have lived at a different
time or a different place.
In this case, the place happens
to be the same-- Africa.
And what we want to
know is, if we looked
at many parts of the
genome, would they all
trace back to ancestors
that live in Africa,
consistent with this recent
African replacement model?
Well, that work was done in the
middle '90s and the late '90s.
And by this time,
new technology had
emerged that allowed us to
examine greater portions
of the genome more efficiently.
And we started to
build up a lot of data
on the autosomes and
the X chromosome.
So the rest of the talk-- the
rest next section of the talk--
will be telling you something
about this huge body of work.
So I'm going to try and
summarize it very briefly.
First of all, if we look
at genetic diversity
on the X and the
autosomes, compare
that the level of diversity
between Africans non-Africans,
you can see something
that's familiar to you.
There's greater diversity
in African populations
than in non-African
populations, for both autosomal
and X-chromosomal data.
There's about a 30%
or 40% reduction
in non-African
diversity, perhaps
hinting, again, at this
older population in Africa.
Maybe our autosomal
and X diversity
is reinforcing this
idea an African origin.
Then there was a fellow
named Naoyuki Takahata,
a Japanese fellow,
who wanted to do
his own analysis of the nuclear
genome, which is much more
difficult to do because of
the recombination obscuring
the history of these
lineages over time.
But what he was
able to do was find
a number of studies
of the autosomes
and the X chromosome--
independent regions,
different gene
regions, that are shown
in the column on the left.
In the top two columns are
the Y and the mitochondria.
It's just review for you to see
that they also trace to Africa.
But many of the regions
on the X and the autosomes
also traced to Africa.
But notice that
not all of them do.
Here is a region that
seems to trace back
to an African ancestor.
Here's another
region that traces
back to an Asian ancestor.
Here's one of the traces
to a European ancestor.
I'm sorry.
There are two
tracing back to Asia,
and the rest are
tracing back to Africa.
And there's one tracing
to Europe or Africa.
So the general pattern is,
yes, a lot of variation
in the nuclear genome
is tracing to Africa,
but there are exceptions.
And I don't want those
exceptions to get lost.
I will talk about them,
explicitly, in a minute.
But let me talk a little
bit now about some
of the differences between
the mitochondrial and the Y
chromosome results, and the
autosome and the X chromosome
results.
I've shown, again, this fossil
timeline of our ancestry,
on the right.
And on this side,
I'm showing you
the time at which these
different parts of the genome
traced to an ancestor.
So I've already mentioned that
the Y and the mitochondria
trace back to an
ancestor very recently,
within the last 200,000 years.
And I'm showing that here.
Notice, for the X and
for the autosomes,
the mean time for
many different studies
traces these parts of the genome
back almost 1 million years
or more.
Sorry.
Lost the slide for a second.
So this is the average time
back to an ancestor on the X
and the autosome--
almost a million years.
And the bar-- the
vertical bar-- shows
some of the range of estimates,
back to the ancestor, some
of them going back to
almost 3 million years ago
on the autosomes.
So this is going back to time
when australopithecines were
still walking around in Africa.
But even the means are telling
us something much deeper
in time than these
haploid-- or Y
chromosome in mitochondrial--
regions are telling us.
Just to highlight what some
of these patterns look like,
this is works that's
been done in my lab
in the last few
years, where we looked
at a bunch of different
regions on the X chromosome.
I'm showing the X chromosome
lying on its side,
down here on the x-axis-- 16
different regions of the X
chromosome.
And I want to emphasize
that these regions are
unrelated to each other.
They are
independently-evolving regions
because the process
of recombination.
And so, when we
looked and estimated
the time of the ancestor for
these 16 independent regions,
and plotted them out
along chromosome,
you could see they
varied quite a bit,
from pieces of the
DNA that traced back
to an ancestor
400,000 years ago,
to some that traced as far
back as 2 million years ago.
There's no particular
pattern when
we look at them, as spread
out on the X chromosome
as they are, but you
see this variability.
If we plot those times, now,
not plotting them against the X
chromosome, and plotting them
against just an axis of time--
going from 200,000 years
back to three million years--
you can see that the observed
values, that I just showed you
on the previous slide, give you
a bimodal distribution of times
back to the ancestor.
This group here, and
this outlier group here.
And these are the observed
times the common ancestor
that I just described.
This curve, here, represents
the expected time back
to the common ancestor under
a recent African replacement
model.
So if we were able to simulate
a recent African replacement
model, and you do this from
many different regions of the X
chromosome, we'd expect most of
the regions on the X chromosome
to trace back to an ancestor
about 600,000 years ago.
But then, there's
this tail where
we might expect some
to trace back further
in time, under the same model.
But if you notice, here,
this second little group
in this bimodal distribution,
on the tail of this expected
curve, they're outliers.
And they're not fitting
the model, exactly.
So if we were to summarize
what this data were telling us,
would be that, most
of the data are
consistent with
this expected curve,
the model of the recent
Africa replacement.
But the recent African
replacement model
can't explain all of the data.
There are some outliers.
And so, we wanted know
what these outliers were--
what was going on with them.
And so, one of them--
I'm going to tell you
one of the stories of
one of these outliers.
This is a region on
the X chromosome,
way out near the tip.
It's a region of DNA that has no
particular function right now.
It's a pseudogene.
It once functioned as a
gene, but it experienced
some knockout mutations.
It no longer functions.
So it's evolving in
a very neutral way.
We don't expect it to be
affected by natural selection.
And Dan Garrigan, in my lab,
was heading up this study.
And here's Dan.
I couldn't find another picture
of him other than the one
riding his dog.
But the pattern we saw,
on this particular region
of the genome, was completely
different than what
I was showing you for the
mitochondrial DNA and the Y
chromosome.
If you noticed,
before, there were
Africans on one side of
the root of the tree,
and everybody else on the right.
Here, you see Asians on one
side, and Asians and everybody
on the other side.
There was greater diversity
in Asia, as opposed to Africa.
The place of origin is Asia.
And the time of the ancestor
is almost 2 million years ago.
So we wanted to know
what this meant.
Here's a way of portraying
that genealogy for that gene,
right here, on the right,
against the fossil record
again.
And you can see that
time of the ancestor,
back here at the
root of this tree,
corresponds very
nicely to the time when
Asian erectus and African
ergaster were splitting,
diverging.
And so, we think that
part of the genealogy
of this particular
locus in the genome
is reflecting erectus ancestry.
So how would we have some
erectus ancestry in our genome?
Well, this is a slide I've taken
from a paper first reporting
the floresiensis finds.
I thought it was very fitting,
because what they did was
they showed how the finger
leading from Homo erectus
to floresiensis,
bringing it right up,
overlapping in time
with Homo sapiens.
If we just imagine that as a
potential for interbreeding,
then we could imagine
a scenario where,
as modern humans
came out of Africa
and colonized Asia-- Southeast
Asia-- found themselves face
to face with these
archaic forms,
there may have been
some interbreeding.
And this, depending on
what level this occurred,
could have allowed
certain of erectus genes
to filter into the
human gene pool.
So this was probably
the first evidence
we had of something like this.
There's more evidence
accruing as we speak.
There are other studies
shown in the literature where
we have these ancient
diverged lineages that
don't fit the recent
Africa replacement model.
They certainly don't
outnumber the number
of loci that do fit the
model, but they are certainly
something we need to pay
attention to in understanding
what's going on.
So because we have these
different patterns,
and each region of the genome is
telling us a slightly different
story, I like to think of
the genome as a mosaic--
as an evolutionary mosaic.
If you look at one
region of the chromosome,
it'll have a certain
genealogical pattern.
Maybe it's tracing,
deep in time,
to a certain part of the world.
If you look at another region it
may have a completely different
pattern.
It may be tracing,
more recently,
to a different
part of the world.
Or it may be that that
particular region has undergone
adaptive change-- it's
reflecting the process
of natural selection.
In any case, we can't
think of the genome
strictly in terms of tracing
back to a single ancestor.
We have to think of it
in this more complex way.
It makes our analyses
more difficult,
but I think it's
shedding some light
on some very complex processes
that were going on at the time
that Homo sapiens emerged.
So how would I go
back, and say, what's
the best model to explain what
we've observed with the data?
I would say that neither of
the extreme models I presented
can explain all of the data.
But if we come up with some
kind of intermediate model,
borrowing aspects of
those two extreme models,
we might very well be able to
explain the patterns we see.
So if we borrow the part of
the recent African replacement
model, where populations
are isolated and tending
to speciate, tending
to be different enough
so they no longer
interbreed, but able
to exchange some
genetic material-- gene
flow between populations,
which we borrow
from the multiregional
model-- we could explain,
perhaps, the bulk of our
genome coming from one
place-- Africa-- more
recently, with some leakage
of these more divergent lineages
penetrating into our genome.
And so, that is the
current view that, I think,
explains all of the data best.
So what it means is that for
the bulk of our genome tracing
to Africa, recently,
we're mostly
modern Africans,
wherever you live--
whether you live in Africa now,
or whether you've been in exile
from Africa for a while.
We are essentially modern
Africans, all of us.
Except, there is some
part of our genome
that may reflect something else.
And I don't know
exactly what that is,
but if it's a problem for
you, there's a solution.
Maybe that's not so
surprising to some
of the women in the
room who wondered
why their husbands
were the way they were.
And just to summarize,
we started out asking,
how far back in time
did our special features
as human evolve on the lineage?
It's clear that
we've experienced
a stepwise evolution
of our specialness.
We started out as bipedal apes.
We eventually got bigger brains.
And we eventually became
modern, got bigger brains yet,
and acquired the cognitive
abilities that we have.
We don't see the appearance
of things like cave art
until 35,000, 40,000 years ago.
But we do see, in Africa,
the very early underpinnings
of art, of culture, in
the archaeological record.
And this is not a
very pretty slide.
I just grabbed it off the
internet about two hours ago.
I didn't have a chance
to make it look pretty.
But we're tracing
some of the earliest,
through the
archaeological record,
things that you might qualify
as art-- painted beads,
and things like that, that
trace back, in Africa, further
than they trace back anywhere
else on any other continent.
So just like the
genome-- the bulk
of our genome--
tracing to Africa,
it seems that the majority
of our cultural heritage
also traces back to
Africa, but only going back
on the order of 100,000
or 200,000 years.
So the qualities
that make us special
are very new in evolution.
And I think we can
meditate on that,
and I'll thank you,
take questions.
Thank you, Dr. Hammer.
In a book I recently read,
called The Journey of Man,
the author uses what
are called DNA markers
to trace the geographical
migration of man.
Can you explain to me,
please, what a marker is?
Sorry.
I'm losing your question.
The Journey of Man.
Using DNA markers to
trace the journey of man.
Can you explain that?
Can I explain that?
The journey of man,
and the markers
that are used to study
that, essentially,
are the Y chromosome and
the mitochondrial DNA--
those two markers
that I told you
about first, that trace back
about 170,000 years ago,
or 100,000 years
ago-- and reflect,
very nicely, the colonization
of the world that
occurred after modern
Homo sapiens emerged,
about 200,000 years ago.
So that part of our
journey is something only
going back 100,000 years or so.
And the mitochondrial
DNA and the Y chromosome
are very well suited for
tracing that journey.
But for tracing the journey
that was before that preceded
that-- this entire
history that lies below
that-- we must look
to the nuclear genome.
Because that's the
only place we where not
have the genealogical
depth to make inferences
about ancient history.
Doctor, I read a review
recently of a book
called Demonic Males by
a professor at Berkeley.
And he was highly
dismissive of the idea
that we share 98% of our
genes with chimpanzees.
Was he just being
a crank, or what?
Demonic Males?
Was that the title of the book?
I highly recommend the book.
I'm sorry.
So the question was that
there's a book written
called Demonic Males.
Yes, but I'm concerned--
The author questioned the
relationship with chimpanzees?
Yes.
And he's a professor
at Berkeley.
Well.
He says that Sibley and
Ahlquist got it wrong.
Well, I think that there's
too much evidence, now,
from the whole genome.
We've now sequenced the
entire chimpanzee genome,
the entire human genome.
So if he had any
problems with Sibley
and Ahlquist's
experiments in 1984,
or whatever, I think
that everything that's
happened since then it has
verified their results.
And I personally can speak
to aligning sequences
from humans and chimps, and
counting the differences
myself.
So the data from
my lab don't lie.
I don't know about
anybody else's.
[INAUDIBLE]
Back on the slide
that had the map,
and where each of
the fossils are from,
and it said that,
over in Indonesia,
there were species
that might have existed
as recently as
13,000 years ago, it
showed in green and purple
the different locations
of the fossils.
And there was a
little bit of green up
on the bottom of
the British Isles.
What is that representative of?
Yeah.
Well, I don't know.
What's that green doing
in the British Isles?
There is some speculation
that Homo erectus got back
into Africa and up into
Europe, and made it
up as far as the British Isles.
But there are also
other fossils that I
haven't put on here--
Boxgrove, Homo antecessor, Homo
heidelbergensis-- that
found their way into Spain
and Western Europe.
And they were transitional.
They weren't modern.
So I think maybe that
little patch of green
might be the Brit's
version of archaic.
[INAUDIBLE]
We shouldn't debate
how far that green goes
up the British Isles, though.
I have a couple of
questions about taxonomy.
When you say we're
modern Africans,
no matter where we live, and no
matter the color of our skin,
on the one hand.
And yet, on the other hand, when
you are tracing the development
from apes down to our line, you
had apes in quotation marks.
And Sibley and Ahlquist didn't
just compare humans and chimps,
but they compared
humans and gorillas,
and gorillas and chimps.
And of all the relationships,
the humans and chimps
were the closest-- closer
than gorillas and chimps,
or any other great apes--
which puts us squarely
in the great ape group.
So I'm curious why you
have the quotation marks.
I didn't want to imply
that the hominid lineage
itself was still an ape.
We come from an ape stock.
Well, but we still have 98%
plus agreement in the DNA.
The taxonomic debate about
how you classify humans,
now that we know that
we're so close to chimps,
is not resolved.
There are some
authors who would say
that chimps should
be Homo troglodytes,
or we should be Pan sapiens.
And this was suggested by Jared
Diamond in his book called
The Third Chimpanzee.
That was my second question.
Yeah.
So I don't mean to be able to
resolve the taxonomic debate.
I think the problem
is when you start
looking at these different
regions of the genome,
and each of them is telling us
something slightly different.
I mean, on average, yes, we're
98.8% identical to chimp.
So we should take that
for what it's worth,
and the taxonomy will
eventually be sorted out.
But it's not completely
sorted out right now.
But you said that we're almost
in the same genus as chimps.
Again, a taxonomic problem
that is complicated.
I have a basic question
about the-- is the DNA
that you're tracing coming
all from modern people?
That's a very good question.
Is the DNA that we're tracing
all from modern people?
All of the work that I
reported to you tonight
comes from
contemporary sampling,
except the Neanderthal
bone mitochondrial DNA.
There's very little
hope for us to be
able to recover autosomal,
X chromosomal, Y chromosomal
DNA from specimens that are
20,000 or 30,000 years old.
So we're really
probably going to have
to live with looking at
contemporary variation
and tracing it back, rather than
looking directly at the past.
For that, we've
got paleontologists
and archaeologists who
look directly at the past.
Their challenge is to know
who left descendants and who
didn't.
OK.
Well then, going back in
time to the common ancestor,
and looking forward,
what happened
to all of the other DNA
that was in other people
at that point in time?
Well, that's an excellent
question as well.
What happened to
the DNA lineages
of all of the other ancestors?
Well, you can think
of it like this.
If we're tracking a
surname, for example,
and there are 10
different people with 10
different surnames, and
they have children--
they have just two
children each--
they have a certain probability
of not having a son.
And in those families
that don't have
a son, one quarter
of the time they
won't have a son, if
they're having two children.
They will not have
their surname passed
on to the next generation.
And so, that surname
goes extinct.
So it's a process of
extinction through a random
who manages to get
their offspring
in the next generation.
For unilineal markers.
Like the Y and the
mitochondria, it's
a pretty simple story
of lineage extinction
due to the lack of sons
or lack of daughters.
The same thing can
be applied to others,
it just takes a lot
longer when the lineages
are jumping between different
ancestors in the past.
Over here.
Oh, hi.
From your long look at
the journey up to now--
which, by the way, I thought
was very well summarized.
Do you have any
speculative thoughts
about the future evolution
of humans, generally?
In brief, I understand.
And specifically, I'm
interested in whether you
see any indication
of, I don't know
if you'd call it
sub-speciation the possibility
of modern humans separating into
two or more different species.
Well, that's a very
tempting question to answer.
I sometimes look
around and wonder
if we aren't already speciated.
We say we should
learn from our past
so we don't make the
same mistakes again.
All we can do is try
and understand the past.
And I don't know how predictive
that is in the future.
There are a couple of
things that come to mind.
One is that humans
are still evolving.
There is some work
that's just been reported
showing that effects of
natural selection on the genome
are ongoing.
So you might hear that, because
of medicine and other things,
we've reduced the selective
pressure on humans
that we're no longer evolving.
But we are.
And there are
enough changes that
have gone on in the last
10,000 years that show
that we are still evolving.
I guess the other
thing to think about
would be how humans
have become somewhat
decoupled from our environment
because of our technology.
[? I was ?] trying to trace the
origin, the ancientness, or how
recent our specialness evolved.
And I think one of the
things that makes us special
is our technology.
And for probably a fairly
long period of time,
going back a few hundred
years, anyway-- a short time
in evolutionary
sense, but-- we've
develop technology
that essentially
decouples our evolution
from our environment.
However, I think with
next year's lecture series
on climate change, we're going
to find out that we've probably
created a new environment that
we may not be able to decouple
ourselves from.
So I think that's probably
something to think more about.
How about round of
applause to Mike
for an extraordinary lecture?
Before you all leave, just
quickly, that next Tuesday,
which will be the final lecture
of the lecture series, which
will be on evolution of
disease, the HIV example,
that lecture will be
at Centennial Hall.
And all the lecturers
from the series
will be there at the
end for a small panel
discussion of the whole series.
Thank you for coming.
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add some oil
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ginger-garlic paste
Now we'll add onion .
now we'll add around 1/2 cup green peas
1 small carrot finely chopped
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we are going to add around 3 tablespoon
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ANNOUNCER: TRISTAN, YOU MOTOR
BOATING SON OF A BITCH YOU.
YEAH, THAT GIRL GETTING A
HANDFUL OF TRISTAN THOMPSON IS
NOT KHLOE KARDASHIAN AND THE
GIRL HE'S KISSING, YES, LET'S
TAKE A CLOSER LOOK, NOT KHLOE
KARDASHIAN.
WE GOT SURVEILLANCE FOOTAGE
FROM A HOOKAH LOUNGE OUTSIDE OF
D.C.
ANNOUNCER: WHEN THE CAVS WERE
OUT TO PLAY THE WIZARDS IN
OCTOBER.
SO HE'S A CHEATING BASTARD
WHO WAS CAUGHT ON VIDEO.
IT'S ONLY CHEATING IF KHLOE
IS NOT SUPPORTIVE OF IT, RIGHT?
IT MIGHT BE AN OPEN
RELATIONSHIP.
HARVEY: IT'S NOT.
BUT EVEN IF THEY WERE, THE
IDEA HE DID IT SO PUBLICLY --
HARVEY: I FEEL TERRIBLE FOR HER.
ANNOUNCER: MAYBE IT'S A ONE-TIME
THING.
OOH, NOT SO MUCH.
BECAUSE THERE'S THIS VIDEO.
FROM THIS WEEKEND OF HIM
GOING TO A HOTEL ROOM WITH A
WHOLE DIFFERENT GIRL.
THIS IS A CRY FOR HELP.
HARVEY: A CRY FOR HELP?
THIS IS HIM TRYING TO ESCAPE.
IT DOES SEEM THAT WAY, RIGHT?
SUICIDE BY COP.
OH, 100%.
HOW DO YOU THINK TRISTAN'S
GOING TO PLAY AT THE PLAYOFFS?
HARVEY: DIDN'T TIGER WOODS DO
EXTREMELY WELL IN THE MIDDLE OF
THE SCANDAL?
THE LAST TIME TRISTAN GOT
CAUGHT UP LIKE THIS, THEY WON A
CHAMPIONSHIP.
OH!
HARVEY: COULD HE GO TO KHLOE AND
SAY LOOK, I DIDN'T WANT TO DO
THIS?
ANNOUNCER: BUT THE TEAM NEEDED
ME!
WHICH IS KIND OF HEROIC WHEN YOU
THINK ABOUT IT.
STILL, IT'S A BAD LOOK WHEN YOUR
BABY MAMA IS ABOUT TO MOMMA YOUR
BABY, WHICH COULD BE SOON
BECAUSE KHLOE'S HAVING EARLY
CONTRACTIONS AND THE WHOLE
FAMILY IS FLYING TO CLEVELAND TO
BE WITH HER.
CAN TRISTAN STILL COME TO THE
BIRTH OF KID?
YEAH.
I DON'T KNOW.
MAYBE HE BRINGS HIS NEW
GIRLFRIEND, CONGRATULATIONS.
ANNOUNCER: MAKE YOUR FUNNY JOKES
BUT WHAT ABOUT KHLOE, SHE MUST
BE SHOCKED, SHOCKED WE SAY AT
THESE SHOCKING DEVELOPMENTS.
YOU CAN'T BE SHOCKED, IT'S
IMPOSSIBLE.
HE DID IT TO THE FIRST BABY
MAMMA.
THE SAME WAY YOU GET HIM IS THE
SAME WAY YOU LOSE HIM.
[APPLAUSE]
ANNOUNCER: WOW, COLD GLASS OF
REALITY RIGHT THERE.
CONGRATS ON THE BABY.
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Hi guys, it's me Pallavi, back at the Glamrs studio.
It' been a very long time and
I have the opportunity to shoot with
one of my favourite colleagues Shruti.
She's a dark skin girl as you can see and
a lot of people wonder how you can do just do something quickly
on the go with the products that you have.
It so happens that Shruti actually uses
a very very small number of products.
Just a bare minimum.
It's a Studio Fix M.A.C and a Studio Fix Fluid.
And they do have long lasting properties
and they do set to matte finishes.
But again, I think getting familiar with your own products
is one of the first things you should do
instead of trying too many products
or accumulating too many products.
I think, over a long period of time, she's found
these two work for her.
And this is where the question arises,
does she need a corrector?
Well I think all of us do need correctors and concealers.
But the thing is, if you can make do with what you have in your kit
and get the finish that you want,
of course it will never match a professional finish
but you can do amazing things with the colours
if you've chosen them right.
In her case, she's chosen a product that's really nice
and close to her skin and if you notice
there is a warmth in the colour.
There is a bit of orange and that itself helps
create a smooth finish
and knocks off all the darkness and dullness around her eyes.
And I just want to show you,
especially the darker skin girls out there that
it is quite easy, so don't think of it as a challenge.
Think of it as something that you're learning
and then slowly build your product line
to be able to achieve a professional finish.
I'm going to show you how simple it is
just with these 2 products.
I have moisturised her face and I have used a primer.
I've spoken in several videos about the benefits of the both.
So I'm not going to go in there again.
The reason I used a primer on her is because
she's going to stay in the studio, we're shooting all day
and I'm not going to change the base around too much.
So I want to basically demonstrate to you
how the base stays put, if you're careful with your eye makeup
and you want to change it through the day.
But the base kind of stays put and it doesn't matter
what product you have in your kit,
your skin care is actually quite crucial.
I'm using a tiny amount of the foundation.
So mainly, she has great skin too, its very even skin,
doesn't have many blemishes at all.
I'm just going to brighten
the under eyes immediately.
You can use any tool you like
I like using brushes because I just find them more hygienic to use.
You can use sponges if that's what you're more comfortable with.
I would never advise using your hands only
as the only tools because you don't get the same effect
in terms of blending.
So use brushes or sponges,
whatever works for you.
And also remember, you don't need to use a lot of product
Makeup doesn't have to look cakey or heavy
for it to have any great effect.
Make sure everything is well blended.
Now using
a rounder brush, I'm just taking
the remainder of the product and blending it into her face.
I don't advocate heavy makeup in general.
I like
skin to look like skin and
it is really the trend right now.
So you want to be careful with the amount you put on your face.
It's not as if you put more, it lasts longer.
It's just not how it works.
Another thing about foundations is
there's something called buildability.
So you can use it
for very sheer finishes like this
where you can see her skin through.
and you can even build it upto a full coverage.
So don't think that you need to buy about 6 products
to get 6 different finishes.
That's not how foundation works.
Ok, here's the other thing.
So Shruti likes to use a Studio Fix Powder
over her foundation to keep it set and
looking matte through the day.
There are a few things, I think some of you may not know
about Studio Fix foundations or
Compact Powder foundations.
I have mentioned this before,
so compact powders which are foundations
are actually foundations, there not only powders.
So they serve the dual purpose
One is that you can use them individually as a foundation.
So if Shruti didn't use the liquid, that was ok.
She could have used this as a foundation
and as a powder.
Now, if you're using it as a powder,
just use it with a looser brush,
so it has the effect of a powder and not a foundation.
So it's important to understand what compact powder foundations are.
Just because they come in a compact
doesn't mean they're only powders.
Again, they have buildability like a foundation.
You can use it sheer like a powder
or you can use it heavy like a foundation.
So I'm going to just even out her skin with this
Studio Fix foundation powder.
I'm using it very lightly, therefore with a rounded brush.
I'm using it only to set
her already primed face.
So I'm not packing this on to have
the effect of a foundation.
Instead I'm just lightly dusting it on
to have the effect of a powder.
So it's as easy as that.
Again, the point of this video was to say that
you don't have to accumulate too many products.
You do normally tend to pick up things that are quite close to your skin
if you've been well advised.
So stick to those products, find a way for them to work
unless they're way off the key and you need advice.
I think, after a few years of use,
you know that your tone is a certain tone
and you know what products you're buying.
So don't accumulate more products than you need.
First give them all a good try and if doesn't work for you
seek help and buy new products.
So that's the point of this video.
Hope you enjoyed it.
Stay tuned and stay Glamrs!
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Spanish:
Kyle Hebert: En el último capítulo de Nostalgia Critic Z
El Crítico estaba confrontando a la peor adaptación de Anime de todos los tiempos.
No, la otra.
Eso es.
NC: A ver, película de mierda, ¿Crees que puedes enojar a una legión de fanáticos con tu malentendido del material original?
¡Tu silencio solo te hace más culpable! ¡Ahora te mostraré el significado del dolor!
Korean:
「노스탤지어크리틱 Z, 지난 이야기!
역대 최악의 영화판을 마주하게 된 크리틱.
아니 이거 말고.
그래 이거. 」
크리틱 『거지같은 영화! 네놈 따위의 원작파괴로
우리 팬들의 마음을 개발살 낼 수 있을거라 생각했나?!』
크리틱 『침묵은 죄를 인정할 뿐,
고통의 참맛을 알려주지! 』
English:
Kyle Hebert: Last time on Nostalgia Critic Z...
Critic was confronting the worst anime adaptation of all time.
No, the other one.
There ya go.
NC: So, shitty movie, you think you can piss off a legion of fans with your misunderstanding of source material?
Your silence only enables your guiltiness! Now I will show you the meaning of pain!
Portuguese:
Kyle Hebert: No último episódio de Nostalgia Critic Z...
Critic estava enfrentando a pior adaptação de um anime da história.
Não, a outra.
Bem melhor.
NC: Então, filme de merda, acha que pode simplesmente irritar uma legião de fãs com sua má compreensão do material original?
Quem cala consente! Agora eu lhe mostrarei o significado da dor!
Korean:
??? 『그 악마랑 싸우는 건 너 혼자가 아니야! 』
(지격음)
(폭발음)
「'팀 포스타'의 '마사코X'가 크리틱과 같이 싸우러 왔다.」
크리틱 『'팀 포스타'의 마사코X잖아! 같이 싸우러 온 겐가?』
「분명 내가 말했는데...」
마사코X 『진정한 드래곤볼 팬이 있어야 영화에 대한 분노를 알 수 있어! 』
크리틱 『난 본 적이 없는 드래곤볼에 대해 아는 거 있어?』
마사코X 『가령! 엄청 기나긴 장면을 찍어서 입술 작화 수고를 더는 방법이라든지
네가 분노하는 모습은 줌아웃으로 보여주고
눈은 부르르 떨고 이 갈고 으르렁 거리는 연출 방법이라든지! 』
크리틱 『으르렁 으르렁 』
마사코X 『그 다음 나올 전투 장면은 똑같은 동작 떡칠에,
똑같은 회피 떡칠이 이어진다! 』
(흡 흡 허 흡 흡 허 흡 흡 허)
??? 『진짜 상대가 누구인지 까먹었느냐 이
놈들!』
(지격음)
(폭발음)
「서로 싸우는 주인공들을 진정시키기 위해 '리틀크리보'가 왔다. 」
마사코X 『리틀크리보! 우리들 서로 싸우는 거 보고 진정시키러 왔구나? 』
「아 그냥 때려칠까...」
크리틱 『당장 나가 유흥왕! 너네 애니메이션은 두블록 아래야! 』
리틀크리보 『그건 됐고, 너희 둘 싸우고 있을 동안
진짜 상대가 기를 모으고 있단 말이다!』
English:
???: You can't fight this evil alone!
Kyle Hebert: MasakoX from TeamFourStar joins Nostalgia Critic's fight.
NC: MasakoX from TeamFourStar! You've come to join my fight?
Kyle Hebert: I totally just said that.
MasakoX: You need a true Dragon Ball fan to understand this outrage!
NC: What do you know about Dragon Ball that I don't?
MasakoX: Plenty, like how we cut to the extreme wide shots to save on lip animation,
and your anger over this will be represented by zoom-out, combined with grunting and clenching your teeth with your eye twitching.
NC: Grunt! Grunt!
MasakoX: Now I will fight you by doing the same move repeatedly and you doing the same dodge repeatedly!
???: You fools are missing the real enemy!
Kyle Hebert: LittleKuriboh comes to talk sense into the feuding heroes.
MasakoX: So, LittleKuriboh, you've come to talk sense to us, the feuding heroes?
Kyle Hebert: Am I just not here, or-
NC: Get out of here, Yu-Gi-Blow! You're not even from the right anime!
LittleKuriboh: Maybe, but I'm smart enough to know that while you two were bitching like pansies, your opponent is building his power!
Portuguese:
???: Você não pode enfrentar esse mal sozinho!
Kyle Hebert: MasakoX do TeamFourStar junta-se à luta do Nostalgia Critic.
NC: MasakoX do TeamFourStar! Você veio se juntar à minha luta?
Kyle Hebert: Eu acabei de dizer isso.
MasakoX: Você precisa de um verdadeiro fã de Dragon Ball para compreender essa abominação!
NC: O que você sabe de Dragon Ball que eu não saiba?
MasakoX: Bastante, como como nós cortamos para a paisagem para evitarmos termos que animar bocas,
E sua ira sobre isso será representada com um zoom, combinado com grunhido e ranger de dentes com tique no olho.
NC: Grunhe! Grunhe!
MasakoX: Agora eu lutarei com você usando o mesmo golpe repetidamente e você usando a mesma esquiva repetidamente!
???: Os tolos aqui estão ignorando o verdadeiro inimigo!
Kyle Hebert: LittleKuriboh veio para botar juízo nos heróis em conflito.
MasakoX: Então, LittleKuriboh, você veio para botar juízo em nós, os heróis em conflito?
Kyle Hebert: Eu sou invsível e mudo, ou---
NC: Vaza daqui, Yu-Gi-Chato! Sua área nem é desse anime!
LittleKuriboh: Talvez, mas sou esperto o bastante para saber que enquanto vocês estavam brigando feito crianças, seu oponente estava aumentando seu poder!
Spanish:
???: ¡No puedes luchar contra este mal solo!
Kyle Hebert: MasakoX de TeamFourStar se une a la pelea de Nostalgia Critic.
NC: ¡MasakoX de TeamFourStar! ¿Has venido a unirte a mi pelea?
Kyle Hebert: Acabo de decir eso.
MasakoX: ¡Necesitas un verdadero fanático de Dragon Ball para entender este ultraje!
NC: ¿Qué sabes sobre Dragon Ball que yo no?
MasakoX: Mucho, como cómo cortamos a planos generales para ahorrar en la animación de labios
y tu enojo por esto será representado por un alejamiento en Zoom Out, combinado con gruñidos y apretado de dientes con tus ojos crispados.
NC: ¡Gruñido! ¡Gruñido!
MasakoX: ¡Ahora lucharé contra ti haciendo el mismo movimiento repetidamente y tu harás el mismo esquivado repetidamente!
???: ¡INSECTOS!, ¡Se están olvidando del verdadero enemigo!
Kyle Hebert: Little Kuriboh viene a hacer entrar en razón a los héroes enemistados.
MasakoX: Entonces, LittleKuriboh, ¿Has venido a hacer entrar en razón a nosotros, los héroes enemistados?
Kyle Hebert: ¿Acaso no estoy aquí, o-
NC: ¡Fuera de aquí, Yu-Gi-Orate! ¡Ni siquiera eres del anime correcto!
Little Kuriboh: Tal vez, pero soy lo suficientemente inteligente como para saber que mientras ustedes dos se estaban quejando como maricas, ¡Su oponente está consolidando su poder!
Korean:
(기폭음)
크리틱 『맙소사! 호구 사이어인으로 변신하나봐!』
마사코X 『괜찮아. 저거 10분밖에 안 가거든.
싸움 나오는 분량은 고작 좁쌀 수준일거야.
태반이 화면 밖에서 돌 날리는 싸움이거든. 』
리틀크리보 『호구 파워로 호구들을 많이 낚아 자기를 좋은 영화로 착각시키는데도?』
마사코X 『뭣이? 』
크리틱 『말도 안돼애애애애애애』
리틀크리보 『한번 평점을 보자!
평점이 오버 9퍼세에에에에에엔트! 』
크리틱 『뭐? 9퍼센트?
분명 그럴 리가 없어어어어어어어! 』
리틀크리보 『원작도 모르는 인간들이 좋은 영화라고 지껄이고 있어! 』
마사코X 『그렇게 놔둘 수는 없어! 』
리틀크리보 『동감!
이번 한번만 우리 앙숙끼리 힘을 합치자! 』
마사코X 『"이번 한번만"은 "다음에도"라는 뜻이지! 』
크리틱 『공겨어어어어어어어어억---』
(폭발小)
(폭발大)
크리틱 「역대 병슨같은 애니메이션 실사판 중에서도
가장 악명높은 놈은 '드래곤볼 에볼루션'이라 하겠습니다.
몇년 전부터 누리꾼들이 이 골때리는 영화를 논해달라고 청해줬습니다만
아쉽게도, 제가 애니메이션을 좋아했지만서도
Spanish:
NC: ¡Dios mío, se convertirá en un "Sayaestupidín"!
MasakoX: Está bien, esto generalmente dura 10 minutos.
Hay sorprendentemente muy poca pelea en la serie. La mayoría del tiempo somos nosotros gritando mientras se levantan las rocas.
Little Kuriboh: ¡Pero está usando su poder de Sayaestupidín para hacer que la gente estúpida diga que su película es buena!
MasakoX: ¿Qué?
NC: ¡IMPOSIBLE!
Little Kuriboh: ¡Solo revisen su puntuación de la crítica!
¡ES MÁS DEL 8 POR CIENTO!
NC: ¿Qué? ¿8 por ciento? No hay forma de que pueda ser así, ¿O SÍ?
Little Kuriboh: ¡Las personas que no conocen la serie están siendo engañadas al hacerles pensar que ésto es bueno!
MasakoX: ¡No podemos dejar que se salga con la suya!
LittleKuriboh: ¡De acuerdo! ¡Unamos fuerzas sólo por ésta vez!
MasakoX: ¡Y por ésta vez, nos referimos a muchas veces!
NC: ¡ATAQUEN!
NC: ¡ATAQUEN!
MasakoX: ¡AAAHHH!
NC: ¡ATAQUEN!
MasakoX: ¡AAAHHH!
LittleKuriboh: ¡AAAHHH!
NC: En una larga lista de horrendas adaptaciones de anime a acción real, Dragonball Evolution es posiblemente la más infame.
Durante años, he recibido solicitudes de fans para hablar sobre este gran desastre cinematográfico,
pero, por desgracia, aunque soy fanático de algunas series y películas de anime,
English:
NC: My God, he's going Stupid Saiyan!
MasakoX: It's OK, this usually lasts 10 minutes.
There's surprisingly little fighting in the show. It's mostly us screaming while rocks rise up.
LittleKuriboh: But he's using his Stupid Saiyan power to make stupid people say his movie is good!
MasakoX: What?
NC: IMPOSSIBLE!
LittleKuriboh: Just check out its critical score!
IT'S OVER 9%!
NC: What? 9%? There's no way that can be right, CAN IT?
LittleKuriboh: People who don't know the show are being duped into thinking it's good!
MasakoX: We can't let it get away with that!
LittleKuriboh: Agreed! Let dueling sides join forces just this once!
MasakoX: And by once, we mean probably many times!
NC: ATTACK!
NC: ATTACK!
MasakoX: AAAHHH!
NC: ATTACK!
MasakoX: AAAHHH!
LittleKuriboh: AAAHHH!
NC: In a long line of botched live action anime adaptations, Dragonball Evolution is arguably the most infamous.
For years, I've gotten fan requests to talk about this cinematic ballbuster,
but sadly, even though I'm a fan of some anime shows and films,
Portuguese:
NC: Meu Kami-Sama, ele virou Super Estúpidojin!
MasakoX: Não tem problema, isso normalmente dura 10 minutos.
Surpreendentemente tem pouquíssima luta no show. É mais nós gitando enquanto pedras se elevam.
LittleKuriboh: Mas ele está usando o poder do Super Estúpidojin para fazer gente estúpida dizer que o filme é bom!
MasakoX: O quê?
NC: IMPOSSÍVEEEEEEL!
LittleKuriboh: É só ver a pontuação da crítica!
É DE MAIS DE 8%!
NC: O quê? 8%? Isso deve ser um engano, TEM QUE SER!
LittleKuriboh: Pessoas que não conhecem o show estão sendo ludibriadas a pensar que o filme é bom!
MasakoX: Não podemos deixar ele se safar dessa!
LittleKuriboh: Concordo! Que lados opostos juntem forças só dessa vez!
MasakoX: E por "dessa vez", provavelmente quer dizer "várias vezes"!
NC: ATACAAAAAR!
NC: ATACAAAAAR!
MasakoX: AAAHHH!
NC: ATACAAAAAR!
MasakoX: AAAHHH!
LittleKuriboh: AAAHHH!
NC: Em uma longa linha de adaptaçãoes de animes odiadas, Dragon Ball Evolution é sem dúvidas a mais infame.
Por anos, fãs me pediram para falar desse show de horror cinematográfico.
Mas infelizmente, mesmo eu sendo um fã de alguns shows e filmes de animes,
Spanish:
Dragon Ball no es una de la que yo sepa mucho.
MasakoX y LittleKuriboh: ¡Ahí es donde entramos!
MasakoX: MasakoX de "Dragon Ball Z: Abridged" ...
LittleKuriboh: ¡Y Little Kuriboh de "Yu-Gi-Oh !: Abridged."
NC: Así es, un anime japonés doblado por estadounidenses ahora analizado por dos británicos.
LittleKuriboh: Tiene más sentido que cualquier otra cosa de esta película.
MaskaoX: la franquicia de Dragon Ball es uno de los animes más populares que se haya hecho.
Teniendo lugar en una dimensión paralela, sigue las aventuras de Goku y sus amigos que defienden la Tierra contra alienígenas intergalácticos, androides y otros enemigos diversos a los que realmente les gusta gritar.
LittleKuriboh: con spin-offs que incluyen Dragon Ball Z, Dragon Ball Z Kai, Dragon Ball GT y Dragon Ball Super,
son más de 700 episodios de esta franquicia y todavía continúa.
Así que naturalmente, tenía sentido que Hollywood tratara de capitalizarlo y hacer una película para los estadounidenses.
¿Como le fue?
NC: ¿Le fue mal a "Ghost in the Shell: Vigilante del Futuro"?
LittleKuriboh: Sí.
NC: Entonces a ésta le fue realmente mal.
MasakoX: Fanáticos de la serie y recién llegados odiaron esta adaptación,
afirmando que no solo se olvidaron de lo que se trata Dragon Ball, sino que la hicieron tan tonta que ningún cinéfilo promedio podría disfrutarla.
English:
Dragon Ball is not one I know a great deal about.
MasakoX and LittleKuriboh: That's where we come in!
MasakoX: MasakoX from Dragon Ball Z: Abridged...
LittleKuriboh: And LittleKuriboh from Yu-Gi-Oh!: Abridged.
NC: That's right, a Japanese anime dubbed by Americans now analyzed by two Brits.
LittleKuriboh: It makes as much sense as anything else in this movie.
MaskaoX: The Dragon Ball franchise is one of the most popular animes ever made.
Taking place in a parallel dimension, it follows the adventures of Goku and his friends defending Earth against intergalactic aliens, androids, and other various evils who really like to yell.
LittleKuriboh: With spinoffs including Dragon Ball Z, Dragon Ball Z Kai, Dragon Ball GT, and Dragon Ball Super,
there's over 700 episodes of this franchise and it's still going.
So naturally, it made sense for Hollywood to try and capitalize on it and make a movie for Americans.
How did it go?
NC: Did Ghost in the Shell do bad?
LittleKuriboh: Yes.
NC: Then this did really bad.
MasakoX: Fans of the show and newcomers hated this adaptation,
claiming it not only missed what Dragon Ball is about, but dumbed it down so much that no average moviegoer would be able to enjoy it.
Portuguese:
Dragon Ball é um do qual eu não sei muito a respeito.
MasakoX e LittleKuriboh: É aí que nós entramos!
MasakoX: MasakoX do Dragon Ball Z: Abridged...
LittleKuriboh: E LittleKuriboh do Yu-Gi-Oh!: Abridged.
NC: Isso mesmo, um anime japonês dublado por americanos, agora analisado por dois britânicos.
LittleKuriboh: Faz tanto sentido quanto qualquer coisa nesse filme.
MasakoX: A franquia Dragon Ball é um dos animes mais populares já feitos.
Se passando em uma dimensão paralela, ela segue as aventuras de Goku e seus amigos para defender a Terra de aliens, androides, e outros seres MALÉGNOS que adoram gritar.
LittleKuriboh: Com títulos como Dragon Ball Z, Dragon Ball Z Kai, Dragon Ball GT, e Dragon Ball Super,
Tem mais de 700 episódios dessa franquia, que continua até hoje.
Então naturalmente, faria sentido para Hollywood tentar capitalizar nisso e fazer um filme para americanos.
E como se saiu?
NC: Nível Ghost In the Shell de sair mal?
LittleKuriboh: Sim.
NC: Então se saiu mal MESMO!
MasakoX: Fãs do show e novatos odiaram essa adaptação.
Afirmando que não só perdeu a essência de Dragon Ball, mas a emburreceram tanto que nenhum membro de audiência comum iria conseguir gostar.
Korean:
드래곤볼에 대해 제대로 아는 게 없었거든요. 」
「그래서 우리가 왔답니다! 」
마사코X 「'드래곤볼Z 요약시리즈'의 마사코X이구요. 」
리틀크리보 「'유희왕 요약시리즈'의 리틀크리보예요. 」
크리틱 「그래요. 미국인 떡칠 일본 애니를 맛보셨으니, 영국맛 두명의 리뷰로 맛보실 차례! 」
리틀크리보 「딱 이 영화 수준으로 맞는 말이죠? 」
마사코X 「드래곤볼 시리즈는 최고의 애니메이션 중 하나예요.
평행우주로 진행되는 이야기로, 오공과 친구들이
외계인과 인조인간과 빼액빼액거리는 여러 괴물들에 맞서 지구를 지키는 이야기입니다. 」
리틀크리보 「드래곤볼Z, 드래곤볼Z 改, 드래곤볼 GT, 드래곤볼 超만 합쳐도
무려 700화가 넘는데, 아직도 나오고 있어요.
그리하여 할리우드가 이걸 가져다 돈 벌 생각 하게되는 것은 명약관화.
미국판 실사영화를 만들었으니, 어찌 됐을까요? 」
크리틱 「'고스트 인 더 쉘' 처럼 됐나? 」
리틀크리보 「정답. 」
크리틱 「그럼 쪽박이겠군! 」
마사코X 「원작팬이든 처음 보는 사람이든 다 싫어했어요.
드래곤볼 비스무리하지 않을 뿐 더러, 영화 자체도 너무 허접해서
보통 사람들도 재밌게 볼 수가 없다고 말할 정도예요. 」
Portuguese:
LittleKuriboh: É dito por muitos como a pior adatação de anime de todos os tempos.
Não acredita em mim?
Quantas pessoas acharam a nossa paródia de baixo orçamento mais fiel?
NC: Foi o que eu pensei.
MasakoX: Então continuemos sem mais delongas.
NC: Vamos sentir a fúria do dragão com Dragon Ball Evolution.
MasakoX: Espero que esteja pronto para um introdução lotada de merda.
NC: Acho que estou.
MasakoX: Não, não está.
Gohan: O Senhor da Guerra chamado Piccolo veio de muito além das estrelas.
Um grupo de guerreiros corajosos criaram o Ma Fu Ba, um encantamento poderoso que-
NC: Nossa eu tô tão perdido quanto entediado.
MasakoX e LittleKuriboh: Vai se acostumando.
Gohan: Ao lado de Oozaru, seu discípulo, a dupla (dinâmica) malígna levou a humanidade à beira da extinção.
NC: Ok, deixa eu adivinhar. Um grande mal tentou dominar o mundo, foi derrotado, e agora está tentando voltar.
MasakoX; Uau, é quase como se você tivesse visto um filme em algum momento de sua vida.
NC: O bastante para saber quando pular.
[QUEM LIGA PRA ESSA MERDA?!]
Nós vemos nosso protagonista, interpretado pelo Justin Chatwin, chamado...
Goku?
Erm...
Eu não sei muito sobre o anime, mas isso não me parece exatamente como um Goku.
LittleKuriboh: Bem, como um homem banco, eu estou ofendido!
NC: Está?
Korean:
리틀크리보 「역대 최악의 애니메이션 실사화라고 말하는 사람들도 많아요.
아닐 거 같아요?
우리가 만들었던 저예산 영상이 더 정성스럽다고 느끼는 사람 거수. 」
크리틱 「불 보듯 뻔하네. 」
마사코X 「더 길게 끌지 않아도 되겠네. 」
크리틱 「드래곤볼을 개망친 영화, 드래곤볼 에볼루션을 보시겠습니다. 」
리틀크리보 「저 거지같은 웅장한 인트로에 겁먹지 않게 조심해! 」
크리틱 「안 먹었는데? 」
리틀크리보 「먹었을걸? 」
「피콜로란 이름의 파괴자가 은하계 너머에서 지구를 찾아왔다.
그러나 용감한 전사들이 마봉파를 만들어냈다. 마봉파의 강력한 저주로...」
크리틱 「와, 벌써 지루한데. 」
양쪽 「익숙해져. 」
「그의 부하 오자루와 협력하여
두 악당은 인류를 멸망 직전까지 몰고갔다. 」
크리틱 「한번 때려맞춰 볼께요.
주요 악역이 세계정복하려다 패배하고 다시 돌아온다. 」
마사코X 「이야, 예전에 이미 본 사람처럼 말하네?」
크리틱 「그렇다면 빨리감기 시간! 」
(빨리감기)
크리틱 「저스틴 채트윈 분 주인공 등장. 이름은...
손오공?
음-- 애니메이션으로 많이 보진 않았는데
전혀 '오공'이 처럼 안 보이거든? 」
리틀크리보 「백인으로서 듣기 불쾌합니다만! 」
Spanish:
LittleKuriboh: Muchos dicen que es la peor adaptación de anime de todos los tiempos.
¿No me creen?
¿Cuántas personas pensaron que el sketch de bajo presupuesto que acabamos de hacer era más fiel?
NC: Eso suena bien.
MasakoX: Así que no lo pospongamos más.
NC: Echemos un vistazo a ésta "Dragon Boludez" con Dragonball Evolution.
MasakoX: Espero que estés listo para una introducción que está como la mierda.
NC: Creo que sí.
MasakoX: No, no lo estás
Gohan: Un señor de la guerra llamado Piccolo vino más allá de las estrellas.
Un grupo de guerreros valientes crearon el Ma Fu Ba, un poderoso hechizo que-
NC: Guau, ya me perdí y me aburrí.
MasakoX y LittleKuriboh: Acostúmbrate.
Gohan: ayudado por su discípulo Oozaru, la pareja malvada llevó a la raza humana al borde de la aniquilación.
NC: OK, paren ahí. Un gran mal trató de hacerse cargo, es derrotado, y ahora está tratando de regresar.
MasakoX: Wow, es casi como si hubieras visto una película en algún momento de tu vida.
NC: suficiente para saber cuándo adelantar.
[¿A quién le importa esta mierda?!]
Vemos a nuestro personaje principal interpretado por Justin Chatwin llamado ...
¿Gokú?
Ésto...
No sé mucho sobre el anime, pero realmente no se parece a un Gokú.
LittleKuriboh: ¡Bueno, como un hombre blanco, estoy ofendido!
NC: ¿Lo eres?
English:
LittleKuriboh: It's said by many to be the worst anime adaptation of all time.
Don't believe me?
How many people thought the low-budget sketch that we just did was more faithful?
NC: That sounds about right.
MasakoX: So let's not put it off any longer.
NC: Let's take a look at this Dragon Ball suck with Dragonball Evolution.
MasakoX: I hope you're ready for an intro that's frontloaded as shit.
NC: I think I am.
MasakoX: No, you're not.
Gohan: A warlord named Piccolo came from beyond the stars.
A group of brave warriors created the Ma Fu Ba, a powerful enchantment that-
NC: Wow, I'm both lost and bored.
MasakoX and LittleKuriboh: Get used to that.
Gohan: Aided by his disciple Oozaru, the evil pair brought the human race to the brink of annihilation.
NC: OK, shot in the dark. A great evil tried to take over, is defeated, and now he's trying to come back.
MasakoX: Wow, it's almost like you've seen a movie at some point in your life.
NC: Enough to know when to fast-forward.
[Who gives a shit?!]
We see our main character played by Justin Chatwin named...
Goku?
Um...
I don't know a ton about the anime, but that really doesn't look like a Goku.
LittleKuriboh: Well, as a white man, I'm offended!
NC: You are?
Korean:
크리틱 「정말로? 」
리틀크리보 「그래! 그딴 고정관념! 」
마사코X 「내 경우엔 그 어떤 문화적으로 다양한 이름이라도
전혀 문제나 논란이 없을 쪽으로 포용한다고. 」
크리틱 「와, 너네들이 그런 각도로 바라볼 수 있을 줄은 몰랐네. 」
리틀크리보 「당연하지. 」
리틀크리보 「존 샤프트의 이름이 '아키오 하시모토'였다면 더욱 멋지겠지. 」
마사코X 「제임스 본드의 이름이 '버바 그레이디'였다면 문화적으로 민감했겠지. 」
리틀크리보 「'인어공주'에 나오는 애리얼은 자기 영광이 온 세계에 유방백세 했겠지
자기 이름이 '밥'이였다면! 」
크리틱 「무슨 말인지 알겠어.
누가 '장미'를 이름으로 쓰면 그 모습도 향기로울 거다? 」
마사코X 「하지만 장미 이름을 '빵꾸똥꾸똥꾸'로 짓는다면... 」
리틀크리보 「뭔가 바꾸고 싶어해질 거란 말씀. 」
크리틱 「오공이 최선을 다해 콧등에 땀을 흘리는 모습입니다. 」
마사코X 「무얼 슬로우모션으로 찍어야 하는지 퍽이나 잘 아는구나. 」
크리틱 「그리고 지금 실사화를 단 한마디로 요약하는 할아버지의 말씀. 」
손오반 『첫번째 규칙은... 규칙이 없다는 것이다. 』
리틀크리보 「그래요, 이것들은 따르지 않아도 되네요. 」
(총살)
손오반 『땅에 먼저 떨어지는 사람이 지는거야. 』
Spanish:
LittleKuriboh: ¡Sí, con estereotipos así!
MasakoX: Yo, por mi parte, abrazo nombres culturalmente diversos que de ninguna manera plantean preguntas o parezcan distractivos.
NC: Wow, realmente no pensé que este era el ángulo en el que ustedes se apoyarían.
LittleKuriboh: ¡Por supuesto!
John Shaft sería mucho mejor si lo llamaran ...
MasakoX: James Bond sería más sensible culturalmente si fuera nombrado ...
Little Kuriboh: Y Ariel de "La Sirenita" estaría a años luz de su tiempo si la llamaran ...
NC: Oh, veo lo que están diciendo. Una rosa con cualquier otro nombre olería igual de dulce.
MasakoX: Pero, si nombras a esa rosa ...
MIERDOSA-ORINOSA-OLOROSA
LittleKuriboh: Quizás quieras cambiar algo.
NC: Gokú está haciendo todo lo posible para dominar su épico sudor nasal.
MasakoX: Ésta película entiende claramente qué filmar en cámara lenta.
NC: Como su abuelo afirma lo que sabemos, esta adaptación se tomó muy en serio.
Gohan: La primera regla es ...
que no hay reglas.
LittleKuriboh: Bueno, nos han dado una excusa para no seguir esto.
Gohan: El primero en tocar el suelo pierde.
English:
LittleKuriboh: Yes, stereotyping like that!
MasakoX: I, for one, embrace culturally diverse names that in no way raise any questions or seem distracting.
NC: Wow, I really didn't think this was the angle you guys would lean.
LittleKuriboh: Of course!
John Shaft would be so much better if he was called...
MasakoX: James Bond would be more culturally sensitive if he was named...
LittleKuriboh: And Ariel from The Little Mermaid would be lightyears ahead of her time if she was called...
NC: Oh, I see what you're saying. A rose by any other name would smell as sweet.
MasakoX: But, if you name that rose...
LittleKuriboh: You might wanna change something.
NC: Goku is trying his hardest to master his epic nose sweat.
MasakoX: This movie clearly understands what to shoot in slow-mo.
NC: As his grandpa states what we know this adaptation took to heart.
Gohan: The first rule is...
there are no rules.
LittleKuriboh: Well, we've given an excuse not to follow these.
Gohan: First one to touch the ground loses.
Portuguese:
LittleKuriboh: Estou, estereotipando desse jeito!
MasakoX: Eu, por exemplo, abraço nomes culturalmente diversos que não levantam perguntas ou distraia o público.
NC: Uau, eu não imaginava que seria essa a perspectiva de vocês.
LittleKuriboh: É claro!
John Shaft seria bem melhor se ele se chamasse...
MasakoX: James Bond seria bem mais sensível culturalmente se ele se chamasse...
LittleKuriboh: E Ariel d'A Pequena Sereia estaria anos-luz à frente de seu tempo se ela se chamasse...
NC: Ah, entendi o que vocês querem dizer. Se a rosa tivesse outro nome, ainda assim teria o mesmo perfume.
MasakoX: Mas se você der à rosa o nome...
Merda-merda-bunda-mijo
LittleKuriboh: Talvez você deva mudar algo nela.
NC: Goku dá o seu melhor em masterizar a arte de suar pelo nariz de forma épica.
MasakoX: Esse filme claramente sabe o que filmar em câmera lenta.
NC: Enquanto seu avô ensina o que nós sabemos que essa adaptação seguiu à risca.
Gohan: A primeira regra é...
Não há regras.
LittleKuriboh: Bem, já demos uma desculpa para não seguir o material.
Gohan: Perde o primeiro que tocar o chão.
Portuguese:
NC: Sendo a segunda regra dita após a primeira de não haver regras.
MasakoX: O Tigre e a Tela Verde Tosca.
LittleKuriboh: E agora, uma representação breve da reação da audiência após os primeiros 2 minutos de filme.
NC: Esse filme sabe a diferença entre um anime e um episódio do Pato Donald, sabe?
Viscoso, mas fervendo de raiva e decepção calorosa!
(Pleonasmo intencional meu)
MasakoX: Depois vamos lutar sem as cordas.
Kyle: No próximo episódio de...
Dragon Ball Marionetes!
LittleKuriboh: Então, no mangá/anime, Goku era um lutador jovem e ingênuo, obcecado em aperfeiçoar seus dons e honrar a arte do combate, lutando só quando necessário.
Aqui, ele é um aborrescente chorão que só quer ser descolado e transar.
Goku: Todo mundo na escola me trata como se eu fosse um ninguém, avô.
Me ensine a como chegar numa garota.
Korean:
크리틱 「"규칙은 없다" 뒤에 이어지는 두번째 규칙이란다! 」
(대련)
마사코X 「와호장룡... 티나는 그린 스크린... 」
(웃음소리)
리틀크리보 「초반 2분을 보고난 뒤의 관객 반응을 표현하자면. 」
(파리 소리)
(흡입)
크리틱 「감독양반은 일본 애니랑 도널드덕 만화의 차이를 알고있는 거 맞지? 」
크리틱 「불쾌 짜증 분노로 가득찬 실망감이로다! 」
(기찰)
(지면충돌)
마사코 「다음엔 와이어 없이 대련하자꾸나. 」
「'드래곤볼 인형극' 다음 이야기...」
리틀크리보 「원작에 나오는 손오공은 젊고 순수하고 자기 재능을 완성하고 싶은 격투가이며
필요할 때 나서서 격투 무술의 미학을 뽐내는 캐릭터였는데
여기엔 웬 주색잡기가 취미인 호구새끼가 나오네요. 」
손오공 『학교에서는 절 없는 사람 취급해요.
여자 사귀는거 가르쳐줘요. 』
Spanish:
NC: Esa es la segunda regla después de la primera regla de no haber reglas.
MasakoX: "El Tigre y la Pantalla verde no tan oculta"
LittleKuriboh: Y ahora, una breve recreación de la reacción de la audiencia a estos primeros 2 minutos.
NC: Esta película sabe la diferencia entre un anime y un dibujo animado del Pato Donald, ¿Verdad?
¡Viscosos, pero de decepción e ira rellenosos!
MasakoX: A continuación, lucharemos sin cables.
Kyle Hebert: En el próximo:
"Dragon Ball Marioneta"
LittleKuriboh: Mientras en la serie original, Gokú era un luchador joven e ingenuo obsesionado con perfeccionar su don y honrar el arte del combate, peleando cuando fuese necesario.
Aquí, él es un pequeño fanfarrón que solo quiere ser genial y tener sexo.
Gokú: Todos en la escuela me tratan como si no fuera nada, abuelo.
Enséñame cómo conseguir a la chica.
English:
NC: That's the second rule after the first rule of there being no rules.
MasakoX: Crouching Tiger, not-so-hidden greenscreen.
LittleKuriboh: And now, a brief recreation of the audience reaction to this first 2 minutes.
NC: This movie does know the difference between an anime and a Donald Duck cartoon, right?
Slimy, yet seething with anger-filled disappointment!
MasakoX: Next, we'll fight without the wires.
Kyle Hebert: Next time on...
LittleKuriboh: So in the original show, Goku was a young, naive fighter obsessed with perfecting his gift and honoring the art of combat, fighting when he needs to.
Here, he's a whiny little pissant who just wants to be cool and get laid.
Goku: Everybody at school treats me like I'm nothing, Grandpa.
Teach me how to get the girl.
Portuguese:
NC: Pra ser justo, tem muitos episódios na vida de um personagem que devem caber na duração de um filme.
MasakoX: Não se preocupe, é por isso que temos a Fada Preguiçosa.
NC: A quem?
LittleKuriboh: A Fada Preguiçosa.
Ela magicamente nos proporciona falas genéricas quando você não quer se esforçar ao criar um personagem.
Fada Preguiçosa: Que foi?
MasakoX: Não queremos colocar esforço nenhum em um dos personagens mais amados do Japão.
(E do mundo, talvez)
LittleKuriboh: Mas ainda queremos ganhar dinheiro em cima dele.
MasakoX: Poderia nos dar uma pouco de angústia ultrapassada?
Fada Preguiçosa: Tá, toma.
NC: Ooh, tá aqui um clássico saturado!
"Eu sou diferente."
Goku: Eu sou diferente.
LittleKuriboh: Olha um que não exige esforço. "Eu quero explodir".
Goku: Eu quero explodir.
MasakoX: E quem poderia esquecer o popular "Me ensine a ser normal."?
Goku: Me ensine a ser normal.
NC: Ooh, e não esqueçam do "Que amigos?".
Hoku: Que amigos?
NC: Conseguimos! Nós reduzimos alguém tão especial para tanta gente em alguém nada especial já visto milhares de vezes!
Fada Preguiçosa: Tá, só não esqueçam que vocês ganham falas genéricas de conselhos paternais sem custo adicional.
NC: Ooh, tem razão!
Incluindo, "Você é especial.".
Gohan: Você é especial.
LittleKuriboh: "Normal é superestimado".
Gohan: Normal é superestimado.
English:
NC: To be fair, though, that is a lot of episodes of a character's life to fit into one movie.
MasakoX: Don't worry, that's why there is the Slumming It Fairy.
NC: The what?
LittleKuriboh: The Slumming It Fairy.
She magically provides stock lines when you don't want to put real work into a character.
Slumming It Fairy: Yeah, what?
MasakoX: Well, we don't want to put any effort in one of Japan's most beloved characters.
LittleKuriboh: But we still want a paycheck for it.
MasakoX: Can you supply us with some dated angst?
Slumming It Fairy: Yeah, sure.
NC: Ooh, here's a tired classic!
"I'm different."
Goku: I'm different.
LittleKuriboh: Here's one with no effort. "I wanna explode."
Goku: I wanna explode.
MasakoX: And who can forget the popular "Teach me to be normal."?
Goku: Teach me to be normal.
NC: Ooh, and don't forget "What friends?"
Goku: What friends?
NC: We did it! We reduced someone so special to so many to someone not the least bit special in any way!
Slumming It Fairy: Yeah, don't forget, you get stock parental advice for no additional charge.
NC: Ooh, she's right!
Including, "You're special."
Gohan: You're special.
LittleKuriboh: "Normal is overrated."
Gohan: Normal is overrated.
Spanish:
NC: Para ser justos, son muchos los episodios de la vida de un personaje para encajar en una película.
MasakoX: No te preocupes, para eso está el Hada Perezosa
NC: ¿El qué?
LittleKuriboh: El Hada Perezosa
Ella mágicamente proporciona frases genéricas cuando no te quieres esforzar en crear un personaje.
Hada Perezosa: ¿Sí, qué?
MasakoX: Bueno, no queremos poner ningún esfuerzo en uno de los personajes más queridos de Japón.
Little Kuriboh: Pero todavía queremos que nos paguen por ello.
MasakoX: ¿Puedes darnos algo de angustia cliché?
Hada Perezosa: Sí, claro.
NC: ¡Oh, aquí hay muchas sobreusadas!
"Soy Diferente"
Gokú: Soy diferente.
Little Kuriboh: Aquí hay una sin ningún esfuerzo. "Quiero explotar".
Gokú: Quiero explotar
MasakoX: ¿Y quién puede olvidar la popular "Enséñame a ser normal"?
Gokú: Enséñame a ser normal
NC: Ooh, y no olviden la de "¿Qué amigos?"
Gokú: ¿Qué amigos?
NC: ¡Lo logramos! ¡Redujimos a alguien tan especial para muchos como algo nada especial!
Hada Perezosa: Sí, no olviden que también tienen consejos parentales genéricos sin cargo adicional.
NC: Ooh, ¡Tiene razón!
Incluyendo, "Eres especial".
Gohan: Eres especial.
LittleKuriboh: "Lo Normal está sobrevalorado".
Gohan: Lo normal está sobrevalorado.
Korean:
크리틱 「솔직히 말해서 영화 하나에 담을 캐릭터 본인의 에피소드가 너무 많은데. 」
마사코X 「걱정마쇼. 이럴 때 '저퀄리티 요정'을 부르면 되니까. 」
크리틱 「뭐?」
리틀크리보 「저퀄리티 요정.
매출은 내야 하는데 원작 캐릭터를 집어넣기 싫을 때 도와주는 요정. 」
(종소리)
요정 「왜 불러?」
마사코X 「일본 최고 인기 캐릭터에 노력을 투자하기 싫거든요. 」
리틀크리보 「그래도 월급은 받고 싶은데 」
마사코 「철지난 구닥다리 몇개 있나요? 」
요정 「오냐. 」
(소환)
[싸구려]
크리틱 「어머! 지겨운 대사가 요기잉네?
"전 이상한 놈이예요." 」
손오공 『전 이상한 놈이예요. 』
리틀크리보 「정성없는 대사 하나, "분노를 쏟아내고 싶어요." 」
손오공 『분노를 쏟아내고 싶어요. 』
마사코X 「개나 소나 아는 대사, "평범하게 되는 법을 가르쳐줘요."」
손오공 『평범하게 되는 법을 가르쳐줘요. 』
크리틱 「이것도 빠지면 안 되지, "무슨 친구들요?" 」
손오공 『무슨 친구들요? 』
크리틱 「해냈어! 특별하게 여겨질 어떤 캐릭터를 특별하지 않을 모습으로 칼질해냈어! 」
요정 「그래, 보너스로 할아버지의 조언까지 넣어준 거 잊지마. 」
크리틱 「아 그러네! 이번에는 "너는 특별하단다." 」
손오반 『넌 특별하단다. 』
리틀크리보 「"평범함도 보통 일이 아냐." 」
손오반 『평범함도 보통 일이 아냐. 』
English:
MasakoX: And "Have faith in who you are."
Gohan: Have faith in who you are.
NC: Thanks, Slumming It Fairy. You took from other source material even though we have plenty of source material to already take from.
Slumming It Fairy: Whatever. Can I get high on your couch?
NC: Sure.
Slumming It Fairy: Sick.
NC: This is only gonna get worse, isn't it?
LittleKuriboh: Yes, it is.
NC: Save some room on that couch.
MasakoX: Goku's grandpa gives him a present for his birthday: a Dragon Ball, which when combined with the other six will grant a perfect wish.
NC: Well we know they're never found because this film is still here.
Gohan: In all the world there are only six others. Susinchu means "four stars."
LittleKuriboh: You know, something this film will never see.
Goku: Thanks, Grandpa.
MasakoX: So the Dragon Ball universe that seemed to magically take place in the past, present, AND future, expanding the world-building possibilities of the imagination...
...is now just the future.
NC: Apocalyptic? Utopian? Techno?
MasakoX: Bland.
NC: Oh...
Again, having not seen much of the anime, I can still pick up that the movie's environment looks practically nothing like the show's environment.
Korean:
마사코X 「"네 자신에 대한 신념을 가져야 한단다." 」
손오반 『네 자신에 대한 신념을 가져야 한단다. 』
크리틱 「고마워요 저퀄요정! 이미 다른 작품에서 베껴온 것도 많은데
다른 작품에서 또 베껴와 주셨네요! 」
요정 「별말씀. 네 안방에서 눈 붙여도 되냐? 」
크리틱 「물론요. 」
크리틱 「지금보다 더 나빠지겠지? 」
리틀크리보 「맞아. 」
크리틱 「안방 자리 좀 아껴주세요. 」
마사코X 「할아버지가 손오공에게 생일선물로 드래곤볼을 하나 주는데
다른 드래곤볼 여섯 개를 모으면 커다란 소원 하나를 들어준대요. 」
크리틱 「아직 영화 진행이 안됬으니까 전혀 찾지 못했다는 거군. 」
손오반 「그것 말고 온 세상엔 6개가 있지.
'사성구'는 "별 4개"란다. 」
리틀크리보 「"영화 내내 안 나올 어떤 거 말이지." 」
손오공 『고마워요 할아버지. 』
마사코X 「이제 눈 앞에 펼쳐질 드래곤볼 특유의 과거 · 현재 · 미래 모습으로
상상의 나래를 펴드릴 꿈과 희망의 세계!
...는 그냥 미래네요. 」
크리틱 「폐허, 유토피아, 첨단도시는? 」
마사코X 「잡탕. 」
크리틱 「한번 더, 애니로 본 적은 거의 없었으나
여전히 이 동네 주변환경은 원작 모습이랑 전혀 딴판입니다. 」
Portuguese:
MasakoX: E "Tenha fé em quem você é".
Gohan: Tenha fé em quem você é.
NC: Obrigado, Fada Preguiçosa. Você deu de outros materiais de origem, sendo que nós já tínhamos bastante material de origem para nos inspirarmos.
Fada Preguiçosa: Tanto faz. Posso ficar loucona no teu sofá?
NC: Claro.
Fada Preguiçosa: Legal.
NC: Só vai piorar, não vai?
LittleKuriboh: Vai, sim senhor.
NC: Deixa espaço pra gente aí.
MasakoX: O avô do Goku dá a ele seu presente de aniversário: Uma Esfera do Dragão, que junto de outras seis concede a quem as achou um desejo perfeito.
NC: Bem, sbemos que eles nunca as encontraram, já que o esse filme ainda existe.
Gohan: No mundo inteiro, só há outras seis. Susinchu significa "Quatro Estrelas".
LittleKuriboh: Tipo, a pontuação que esse filme jamais verá.
Goku: Obrigado, vovô.
MasakoX: O universo Dragon Ball parece existir magicamente no passado, presente E futuro, dando espaço para construção de mundo infinitas...
... Agora é só no futuro.
NC: Apocalíptico? Utópico? Tecnológico?
MasakoX: Genérico.
NC: Oh...
Ratificando, embora eu não conheça muito do anime, ainda assim posso perceber que o ambiente do filme não lembra praticamente nada do show.
Spanish:
MasakoX: Y "Ten fe en quién eres".
Gohan: Ten fe en quién eres
NC: Gracias, Hada Perezosa. Tomaste de otras fuentes de material a pesar de que tenemos un montón de material de origen para inspirarnos.
Hada Perezosa: Como sea. ¿Puedo ir a drogarme en tu sofá?
NC: Seguro.
Hada Perezosa: Bueno.
NC: Esto solo va a empeorar, ¿No?
LittleKuriboh: Sí, señor.
NC: Haznos espacio en ese sofá.
MasakoX: El abuelo de Gokú le da un regalo por su cumpleaños: una Esfera del Dragón, que cuando se combina con las otras seis otorgará un deseo perfecto.
NC: Bueno, sabemos que no las han encontrado porque esta película todavía existe.
Gohan: En todo el mundo solo hay otras seis. Susinchu significa "Cuatro Estrellas".
LittleKuriboh: Ya saben, una calificación que esta película nunca tendrá.
Gokú: Gracias, Abuelo.
MasakoX: Entonces, el universo de Dragon Ball que parecía tener lugar mágicamente en el pasado, presente Y futuro, expandiendo las posibilidades de la imaginación ...
... ahora es solo el futuro.
NC: ¿Apocalíptico? ¿Utópico? ¿Tecnológico?
MasakoX: Soso.
NC: Oh...
De nuevo, después de no haber visto mucho del anime, aún puedo entender que el entorno de la película no se parece en nada al entorno de la serie.
Portuguese:
LittleKuriboh: E até mesmo o ambiente do filme não é bem definido. Iria levar um tempão para sequer percebermos que ESTAMOS no futuro, a menos que nos falassem.
O ambiente poderia ser de qualquer filme aleatório, enquanto no show, só uma imagem já lhe faria saber imediatamente que estamos me Dragon Ball.
NC: Sim, mas ao menos os valentões do filme...
Valentão: Me faça... Pagar, nerdão.
NC: ...São igualmente genéricos.
Genérico: Vamos, nerdão. Me mostra do que é capaz.
[Valentões genéricos riem]
MasakoX: Sim, logo vocês perceberão que as expressões faciais do Goku vão de "Peido Violento" para "Peido que tenta lhe transformar em foguete".
NC: As pessoas já não costumam fazer piadas de peido quando falam desse filme?
LittleKuriboh: Lembra da primeira regra? Não há regras!
[Peido]
[Pum]
[Flatulência]
[Saiu molhado]
[Silêncioso]
(SQN)
[Ao infinito e além com o poder do peido]
[Peidorrento]
Kyle Hebert: No próximo episódio de...
Dragon Ball Metamucil
NC: Oh, erm...
English:
LittleKuriboh: Even the environment in the film is not very well-defined. It would take a while to even realize we were IN the future unless we were told.
This could be the set to any random film, where with the show, just one image could tell you immediately you're watching Dragon Ball!
NC: Yeah, but at least the film's bullies...
Bully: Make...me pay, Geeko.
NC: ...are generic too.
Bully: C'mon, Geeko. Show me what you got.
[Bully laughter]
MasakoX: Yes, you'll realize very quickly that the facial expressions that Goku has range from "violent farting" to "trying-to-project-himself-off-the-ground farting."
NC: Don't a lot of people do fart jokes when talking about this movie?
LittleKuriboh: Didn't you hear rule number one? There are no rules!
[Fart]
[Fart]
[Fart]
[Fart]
[Fart]
[Lifting himself off the ground with the power of Fart]
[Fart]
Kyle Hebert: Next time on...
NC: Oh, um...
Korean:
리틀크리보 「물론 극 중에서 주변환경 묘사를 잘 안해준다만
말 조차 안해주면 여기가 미래인지 아닌지도 잘 모른다 이겁니다.
여기 보이는 모습은 여느 평범한 영화처럼 보이는 반면에
원작은 그림 한 장만 따와도 "내가 드래곤볼 보고있구나" 할 수 있단 말입니다. 」
크리틱 「그래도... 여기 나오는 불량배 만큼은...」
불량배 『수리비 내놔 멍청아. 』
크리틱 「...흔해빠진 놈들. 」
불량배 『자 어서.
까볼테면 까봐. 』
(웃음소리)
마사코X 「그래. 손오공이 똥방귀에서 실방귀까지 달고 다니고 있다고
말해주는 저 표정을 너네도 느꼈긴 하나보네. 」
크리틱 「보통 세간에도 이 영화 논할 때 방귀 개그를 치든가?」
리틀크리보 「제 1 규칙 못들으셨수? "규칙이란 없다." 」
(손뼉)
(방귀)
(방귀2)
(방귀3)
(방귀4)
(방귀5)
(방귀6)
Over 9000
(방귀6)
(방귀7)
「'드래곤볼 메타무실' 다음 이야기... 」
Spanish:
LittleKuriboh: Incluso el ambiente en la película no está muy bien definido. Llevaría un tiempo darnos cuenta de que estábamos EN el futuro a menos que nos lo dijeran.
Esta podría ser la locación de una película cualquiera, mientras con la serie, ¡Sólo una imagen bastaba para saber de inmediato que estás viendo Dragon Ball!
NC: Sí, pero al menos los bravucones de la película ...
Bravucón: Vas a pagar, Nerdo.
NC:... son también genéricos.
Bravucón: Vamos, Nerdo. Muéstrame lo que tienes.
[Bravucones ríen]
MasakoX: Sí, te darás cuenta rápidamente de que las expresiones faciales que tiene Gokú van desde "pedos violentos" hasta "pedo tratando de proyectarse fuera de la tierra".
NC: ¿Mucha gente no hace chistes de pedos cuando habla de esta película?
LittleKuriboh: ¿No escuchaste la regla número uno? ¡No hay reglas!
[Pedo]
[Pedo]
[Pedo]
[Pedo Mojado]
[Pedo Silencioso]
[Levantándose del suelo con el poder del pedo]
[Pedo]
Kyle Hebert: En el próximo:
"Dragon Ball Metamucil"
NC: Oh, ah...
Spanish:
Mientras tanto, en la Nave de Bowser, un villano llamado Piccolo se pregunta por qué estando a cientos de metros en el aire tiene muy poca y sorprendente resistencia al viento.
MasakoX: En la serie, Piccolo es complejo y tenía razones interesantes de por qué quería el máximo poder.
Era tan interesante que incluso su hijo eventualmente se haría amigo de nuestro héroe principal.
NC: ¿Y aquí?
MasakoX: Sólo un idiota colosal.
NC: Cierto.
LittleKuriboh: Él quiere apoderarse del mundo porque, ya sabes, Maldad y esas cosas. Y envía a sus secuaces para encontrar las Esferas del Dragón para lograr su objetivo.
NC: "¿Te gusta mi uniforme de asesina? Se asegura de que sepas que tengo senos".
MasakoX: Suficiente de esa mierda. Tenemos que cambiar a "Gokú Calenturiento".
LittleKuriboh: Para ser justos, Goku en la serie también estaba extrañamente travieso
MasakoX: Sí, pero nunca había visto a una chica antes, así que no sabía que estaba cachondo.
LittleKuriboh: ¿Eso lo hace mejor?
English:
Meanwhile on Bowser's Airship, a villain named Piccolo is wondering why being hundreds of feet in the air gets him surprisingly little wind resistance.
MasakoX: In the show, Piccolo is complex and had interesting reasons for why he wanted ultimate power.
He was so interesting that even his offspring would eventually become friends with our main hero.
NC: Here?
MasakoX: Just a colossal twat.
NC: Right.
LittleKuriboh: He wants to take over the world because, you know, evil and stuff. And sends out his minions to find the Dragon Balls to achieve his goal.
NC: "Do you like my assassin uniform? It makes sure you know that I have breasts."
MasakoX: Enough of that shit. We gotta cut to horny Goku.
LittleKuriboh: To be fair, Goku in the show was awkwardly horny too.
MasakoX: Yeah, but he'd never seen a girl before, so he didn't know he was horny.
LittleKuriboh: Does that make it better?
Korean:
크리틱 「어... 한편... 쿠파의 비행선에선
수십 미터 상공인데 왜 자기 몸에 공기저항 하나 없을까 궁금한
피콜로라는 악당이 서있습니다. 」
마사코X 「원작 피콜로는 복잡한 캐릭터이고
자기가 궁극의 힘을 가지고 싶어했던 흥미로운 이유도 있습니다.
이렇게 흥미로운 캐릭터였기에 피콜로 2세마저
주인공 동료가 되는 기염을 토합니다. 」
크리틱 「얘는? 」
마사코X 「그냥 초 똥덩어리. 」
크리틱 「그래. 」
마사코X 「이 작자가 세계정복을 꿈꾸는 이유는... 그냥... 악당이니까.
자기 목적을 위해 자객들을 보내어 드래곤볼을 찾게 합니다. 」
크리틱 「내 자객 복장 갖고싶지? 가슴이 대놓고 보여. 」
마사코X 「오케이 거기까지. 발정난 손오공을 보실 차례. 」
(로맨스 음악)
리틀크리보 「사실, 원작 손오공도 놀랍게스리 발정난 애이기도 했어. 」
마사코X 「그래도 걘 여자를 본 적이 없었을 때라 발정났다고 할 순 없지. 」
Portuguese:
Enquanto isso, no aerobarco do Bowser, um vilão chamado Piccolo está se perguntando como estar a centenas de metros do chão proporciona quantidades incrivelmente pequenas de resistência do vento.
MasakoX: No show, Piccolo era complexo e tinha razões interessantes do porquê queria poder supremo.
Ele era tão interessante que até mesmo seu filho iria eventualmente se tornar amigos do protagonista.
NC: E aqui?
MasakoX: Só um babaca colossal.
NC: Certo.
LittleKuruboh: Aqui ele quer dominar o mundo porque, sabe como é, ele DUMAU e tal. E manda seus servos para recuperar as Esferas do Dragão e alcançar seu objetivo.
NC: "Você gosta do meu uniforme de assassina? Ele se certifica que você saiba que eu tenho peitos".
MasakoX: Chega dessa merda. Vamos cortar para o Goku com tesão.
(Ah, não!)
(NÃÃÃÃÃÃÃÃÃO!)
(É nisso que adolescentes fantasiavam em 2009?)
LittleKuriboh: Pra ser justo, o Goku no show também tinha um tesão vergonhoso.
MasakoX: É, mas ele nunca tinha visto uma garota, então ele nem sabia que estava com tesão.
LittleKuriboh: E isso lá é melhor?
English:
NC: Better than this.
MasakoX: I'll agree to that.
LittleKuriboh: Yeah.
Teacher: What might our ancestors say about the upcoming solar eclipse?
Goku: Well, my grandfather would say beware of the Nameks.
Teacher: Nameks?
Goku: Yeah, they're an alien race that nearly destroyed Earth over 2000 years ago.
NC: Well we have no idea how this future works, so we have no idea how crazy this is supposed to sound.
Teacher: Well... Let's hope it doesn't happen again, hm?
[Class laughter]
MasakoX: "Keep it in Scientology."
NC: But it looks like Goku's help with the lockers might have earned him some tail.
Not actual tail. That'd be like the show.
Chi-Chi: Hey! Goku, right?
NC: Pfft, like anyone would cast me as a Goku-- oh-uh-I mean, uh, yes! That's my character.
Chi-Chi: You used your ki.
Goku: Wait, you know about ki?
Chi-Chi: Just because my name is Chi-Chi doesn't make me a complete idiot.
Goku: Right...
NC, MasakoX, and LittleKuriboh: Yeah.
What?
Chi-Chi: I'm having a party tonight at my house.
Goku: I'll be there.
LittleKuriboh: Oh, that's a pretty shot.
Well, back to shit.
Goku: Beauty... awaits.
Korean:
리틀크리보 「그런다고 나아지나? 」
크리틱 「이것보단 낫지. 」
크리틱 「이것보단 낫지. 」
마사코X 「동감. 」
크리틱 「이것보단 낫지. 」
마사코X 「동감. 」
리틀크리보 「그래. 」
선생님 『우리 조상님들은 일식이 다가오는 것에 대해 뭐라고 했을까? 』
손오공 『제 할아버지는 나메크인을 조심하라 그러셨죠. 』
선생님 『나메크? 』
손오공 『지구를 거의 파괴했던 외계종족들이에요...
2000년쯤 전에... 』
크리틱 「그쪽 미래가 어찌 생겨먹었는지 이해를 못하니
솔직히 뭔 개소린지 이해할 자신이 없어요. 」
선생님 『그래... 다시는 그런 일이 발생하지 않도록 빌자고. 응? 』
(웃음소리)
리틀크리보 「"사이언톨로지교에 부쳐두자꾸나." 」
크리틱 「그래도 사물함 덕에 오공이가 여자에게 꼬리쳐볼 기회를 얻었네요.
진짜 "꼬리" 말고... 그건 원작이나 보셔들. 」
치치 『얘! 오공이 맞지? 』
크리틱 「"푸흐... 어떤 놈이 날 손오공으로 캐스팅했을...
아아 그러니까- 내 이름이였지 참. 」
치치 『"기"를 썼구나? 』
손오공 『"기"를 알아? 』
치치 『'치치'라는 이름 때문에 내가 바보라고 생각지는 말아. 』
손오공 『그래-- 』
모두 「그래 하하.
뭐? 」
치치 『오늘 저녁에 우리집에서 파티를 해. 』
손오공 『갈께. 』
리틀크리보 「이야, 아름다운 거 찍네. 」
마사코X 「다시 이딴 장면으로... 」
손오공 『예쁜이가 기다린다. 』
(깔짝)
Portuguese:
NC: Melhor que isso.
MasakoX: Devo concordar.
LittleKuriboh: Também.
Professor: O que nossos ancestrais diriam sobre o eclipse solar que acontecerá em breve?
Goku? Bem, meu avô diria "Cuidado com os Namekuseijins".
Professor: Namekuseijins?
Goku: Sim, são uma raça alienígena que quase destruíram a Terra a 2000 anos.
(TEMAM O DENDE-SAMA! E O GRANDE PATRIARCA!)
NC: Bem, não fazemos ideia de como esse futuro funciona, então não fazemos ideia do quão louco isso deve soar.
Professor: Bem... Vamos torcer para que não aconteça de novo, não?
[Risos]
MasakoX: "Continue em Cientologia".
NC: Mas parece que o Goku ajudando com os armários finalmente lhe renderá um belo rabo.
Não um rabo literal. Senão seria fiel ao show.
Chichi: Ei! Goku, não é?
NC: Pfft, como se alguém fosse me contratar como um Goku--- Oh, uh, sim! Esse é o meu personagem.
Chichi: Você usou seu ki.
Goku: Espera, você sabe sobre ki?
Chichi: Só porque eu me chamo Chichi não quer dizer que eu sou uma completa idiota.
(Quê?)
Goku: É...
Todos: É.
Quê?
(Exatamente!)
(Nota: Chichi significa algo como leite materno e peitos, e mesmo assim não faz sentido)
Chichi: Eu vou dar uma festa na minha casa hoje à noite.
Goku: Eu vou estar lá.
LittleKuriboh: Nossa, que bela imagem.
Bem, de volta à merda.
Goku: A Bela... Me aguarda.
Spanish:
NC: Mejor que esto.
MasakoX: Estoy de acuerdo con eso.
LittleKuriboh: Sí.
Maestro: ¿Qué podrían decir nuestros antepasados sobre el próximo eclipse solar?
Gokú: Bueno, mi abuelo diría que ten cuidado con los Namekuseijines.
Maestro: ¿Namekuseijines?
Gokú: Sí, son una raza alienígena que casi destruyó la Tierra hace más de 2000 años.
NC: Bueno, no tenemos idea de cómo funciona este futuro, así que no tenemos idea de lo loco que se supone que suena.
Maestro: Bueno ... Esperemos que no vuelva a suceder, ¿eh?
[Risas de la Clase]
MasakoX: "Déjalo para Cientología".
NC: Pero parece que la ayuda de Goku con los casilleros podría haberse ganado algo de cola.
No una cola real. Sería como la de la serie.
Chi-Chi: ¡Oye! Gokú, ¿verdad?
NC: Pfft, como si alguien me escogiera como Gokú-- oh-uh-quiero decir, ¡Sí! Ese es mi personaje.
Chi-Chi: Usaste tu ki.
Goku: Espera, ¿Sabes sobre el ki?
Chi-Chi: Solo porque mi nombre es Chi-Chi no me convierte en una completa idiota.
Gokú: Correcto ...
NC, MasakoX, y LittleKuriboh: Sí.
¿Qué?
Chi-Chi: voy a tener una fiesta esta noche en mi casa.
Gokú: Allí estaré.
LittleKuriboh: Oh, es una bonita toma.
Bueno, volviendo a la mierda.
Gokú: La Bella ... me espera.
Portuguese:
NC: Tem um vídeo do Film Theory que ele é o mesmo pau no cu que ele interpretou em Guera dos Mundos, anos após a invasão dos aliens?
MasakoX: Ninguém gastou tempo com teorias sobre esse filme.
(Desafio lançado MatPat!)
Goku vai escondido para a festa da Chichi, onde valentões que literalmente não têm motivos para debochar dele, debocham dele.
Goku: Eu fui convidado. Não estou procurando encrenca.
Genérico #2: A encrenca te achou, aberração. Então ouça, por que você mão dá meia volta, vai embora, e ninguém vai dar pela sua falta.
LittleKuriboh: É, sua aberração, com sua boa aparência, e seu-seu cabelo legal e roupas descoladas, e---
O que estamos fazendo?
NC: [Sussurrando] Sei lá.
Goku: Cansei de fazer isso.
Todos: [Cantando] Os bobocas vão cair, essa noite.
NC: Graças a Deus nós todos sabemos lutar um péssimo Kung Fu!
LittleKuriboh: Especialmente este cara! O quão longe passou esse soco?
NC: Eu fui Snyderizado!
LittleKuriboh: Ele acabou de deslizar pelo carro com a cabeça?
Spanish:
NC: ¿Hay un video de Film Theory [Canal de MatPat en YouTube] acerca de que éste es el remedo del papel que interpretó en "La Guerra de Los Mundos" después de que los alienígenas invadieron?
MasakoX: Nadie desperdiciaría ninguna teoría sobre esta película.
Gokú se escapa de su casa para ir a la fiesta de Chi-Chi donde los matones que literalmente no tienen motivos para burlarse de él se burlan de él.
Gokú: Fui invitado. No estoy buscando ningún problema.
Bravucón: El problema te encontró, fenómeno. Así que escucha, ¿Por qué no te das la vuelta, te alejas, y nadie sabrá que estuviste aquí?
LittleKuriboh: Sí, fenómeno, con tu buena apariencia y tu ... tu lindo cabello y tu elegante ropa, y--
¿Que estamos haciendo?
NC: [Susurrando] No lo sé.
Gokú: No voy a hacer eso nunca más.
NC, MasakoX y LittleKuriboh: [Cantando] Los tontos van a retumbar, esta noche.
NC: ¡Gracias a Dios que todos sabemos muy mal kung fu!
LittleKuriboh: ¡Especialmente este tipo! ¿A dónde iba ese golpe?
NC: ¡He sido Snyderizado!
LittleKuriboh: ¿Se deslizó por el auto con su cabeza?
English:
NC: Is there a Film Theory that he's just the pain in the ass he played in War of the Worlds after the aliens invaded?
MasakoX: Nobody wasted any theories on this film.
Goku sneaks out of his house to go to Chi-Chi's party where the bullies who literally have no reason to mock him mock him.
Goku: I was invited. I'm not looking for any trouble.
Bully: Trouble found you, freak. So listen, why don't you turn around, walk away, and no one will even know you were here.
LittleKuriboh: Yeah, you freak, with your good looks and your-your nice hair and your fancy clothes, and--
What are we doing?
NC: [Whispering] I dunno.
Goku: I'm not doing that anymore.
NC, MasakoX, and LittleKuriboh: [Singsong] The dorks are gonna rumble, tonight.
NC: Thank God we all know really bad kung fu!
LittleKuriboh: Especially this guy! How far away was that punch?
NC: I've been Snydered!
LittleKuriboh: Did he just slide across the car with his head?
Korean:
크리틱 「이 인간은 짜증나는 놈으로 연기한다는 영화 이론이라도 있나.
'우주전쟁'에서 외계인 침공 이후의 모습 말야. 」
마사코X 「아무도 이런 영화에 이론을 낭비하지 않아. 」
마사코X 「오공이는 집에서 몰래 나와 치치네 파티에 가는데
전혀 오공이를 건들 이유가 없는 건달들이 건드네요. 」
손오공 『초대 받았거든. 문제 일으키고 싶지 않아. 』
불량배 『문제 있거든 겁쟁아? 지금 뒤로 돌아서
곧장 걸어서 나가. 아무도 네가 왔는지 모를거야. 』
리틀크리보 「"마 짜샤 얼굴봐라 머리봐라 마... 복장 이쁘장한거 봐라..."
"우리 왜이러고 있지?" 」
손오공 『싸우지 않겠다고 약속했다고. 』
모두 「♪ 멍청이들이 싸움판을 벌인다네~ ♪ 」
(격투)
크리틱 「"우린 형편없는 쿵푸만 골라서 배웠구나! "」
리틀크리보 「특히 이놈. 이 새낀 주먹에 장풍 달았냐? 」
(타격)
(입수)
크리틱 「스나이더당했다아--- 」
(유리파쇄)
리틀크리보 『대가리로 차 위를 쓸고 다닌거야? 』
(슬라이딩)
English:
MasakoX: Ugh, come on. Even Krillin wouldn't do that.
By the way, is he even in this?
LittleKuriboh: No.
MasakoX: Ugh, piece of shit film...
NC: Should I be angry at that?
LittleKuriboh: Yeah.
NC: I'm really angry!
MasakoX: So the original Goku who hated fighting and only did it when he had to is now tossing one-liners like an unfunny James Bond.
NC: And fart faces too.
[Fart]
MasakoX: Nevertheless, he defeats the bullies and gets friendly with Chi-Chi.
Chi-Chi: What happened to your parents?
Goku: Uh, I don't know. But my grandpa said everything will be explained to me when I turn 18.
LittleKuriboh: My grandpa's kind of a dick.
MasakoX: But he might not get his wish, as Grandpa is attacked by Piccolo who is literally dressed like a piccolo.
LittleKuriboh: He destroys the house because apparently Piccolo can do that now, and Goku comes home to his dying mentor.
Gohan: Find Master Roshi in Paozu... Tell him... Piccolo has returned.
NC: Now if you'll excuse me, there's a dead mentor poker game with Obi Wan Kenobi, Uncle Ben, Dumbledore, and Mickey I need to attend.
And I better hurry. I hear Gandalf might drop by briefly.
Korean:
마사코X 「아 쫌. 크리링도 저러진 않겠다.
근데 크리링도 영화에 나오나? 」
리틀크리보 「아니. 」
마사코X 「거지같은 영화... 」
크리틱 「이것도 화날만한 거야? 」
리틀크리보 「맞아. 」
크리틱 「나 엄청 화나써! 」
마사코X 「싸움을 싫어하고 오직 필요할 때만 했던 원작 오공이는
재미 빠진 제임스본드 마냥 개그나 툭툭 내뿜고 있네요. 」
크리틱 「방귀 표정 포함. 」
(방귀소리)
마사코X 「어쨌거나, 불량배를 눕히고 치치와 친해진 오공. 」
치치 『네 부모님께 무슨 일 있었니? 』
손오공 『잘 몰라.
근데 울 할아버진 내가 18살이 되면 모든걸 알려준다 하셨어. 』
리틀크리보 「"울 할아버진 병슨이거든." 」
마사코X 「허나 그 얘기는 못 들을 거 같아요. 할아버지가 피콜로에게 공격받게 되는데
말 그대로 복장이 피콜로네요. 」
(붕괴음)
리틀크리보 「그럴 여유는 있는지, 피콜로는 집을 부셔버리고
오공이 재빨리 죽어가는 자기 멘토에게 달려갑니다.
손오반 『파오즈에 있는... 무천도사를 찾아가서...
피콜로가 돌아왔다고... 전해라... 』
크리틱 「저기, 우리 멘토들끼리 저승 포커게임이 열리거든요.
오비완 케노비랑 벤 파커랑 덤블도어랑 미키 씨도 한대요.
빨리 오세요. 간달프는 잠깐 들린댔어요. 」
Portuguese:
MasakoX: Ugh, fala sério. Nem o Kuririn faria algo assim.
A propósito, ele tá no filme?
LittleKuriboh: Não.
MasakoX: Ugh, filme de merda...
NC: Devo estar irritado com isso?
LittleKuriboh: Sim.
NC: ESTOU MUITO PISTOLA!
(Pessoalmente, acho que é uma vitória pro carequinha)
MasakoX: Então, o Goku original odiava brigas fúteis e só lutava quando adequado/necessário. Aqui ele fala frases de efeito como um James Bond nada engraçado.
NC: E faz caras de peido também.
[Cagão]
MasakoX: Mesmo assim, ele derrota os valentões e fica amiguinho da Chichi.
Chichi: O que aconteceu com seus pais?
Goku: Uh, eu não sei. Mas meu avô disse que tudo vai ser explicado quando eu fizer 18 anos.
LittleKuriboh: Meu avô meio que é um babaca.
MasakoX: Mas parece que ele não terá seu desejo realizado, já que Gohan é atacado pelo Piccolo, que está literalmente vestido como um piccolo.
(Mas... É uma clarineta!)
LittleKuriboh: Ele destrói a casa, porque aparentemente o Piccolo pode fazer isso agora, e Goku volta para a casa com seu mentor à beira da morte.
Gohan: Encontre o Mestre Kame em Paozu... Diga a ele... Que Piccolo retornou.
NC: Agora se me dá licença, tem um jogo que pôquer de mentores mortos que eu preciso comparecer. Junto a Obi Wan Kenobi, Tio Ben, Dumbledore e Mickey.
E é melhor eu me apressar. Ouvi dizer que o Gandalf vai sair do jogo em breve.
Spanish:
MasakoX: Uf, por favor. Incluso Krilin no haría eso.
Por cierto, ¿él está en esto?
LittleKuriboh: No.
MasakoX: Uf, pedazo de película de mierda ...
NC: ¿Debería estar enojado por eso?
LittleKuriboh: Sí.
NC: ¡Estoy realmente enojado!
MasakoX: Entonces, el original Gokú que odiaba pelear y solo lo hacía cuando tenía que hacerlo ahora está lanzando frases ingeniosas como un James Bond poco gracioso.
NC: Y caras de pedo también.
[Pedo]
MasakoX: Sin embargo, él derrota a los matones y se hace amigo de Chi-Chi.
Chi-Chi: ¿Qué pasó con tus padres?
Gokú: Uh, no sé. Pero mi abuelo dijo que todo se me explicará cuando cumpla 18 años.
LittleKuriboh: Mi abuelo es un idiota.
MasakoX: Pero puede que no tenga su deseo, ya que el abuelo es atacado por Piccolo quien está literalmente vestido como un "piccolo". [La imagen es de un clarinete]
LittleKuriboh: Él destruye la casa porque aparentemente Piccolo puede hacer eso ahora, y Gokú llega a casa con su mentor moribundo.
Gohan: Encuentra a Muten Roshi en Paozu ... Dile ... Piccolo ha regresado.
NC: Ahora, si me disculpan, hay un juego de póquer de mentores muertos con Obi Wan Kenobi, el Tío Ben, Dumbledore y Mickey al que tengo que asistir.
Y mejor me apresuro. Escuché que Gandalf podría estar de paso.
English:
MasakoX: After searching the house, Goku finds, I think, a second present he was going to give him.
Goku: Grandpa...
[Gohan laughs]
LittleKuriboh: Even his dead grandpa laughs at how stupid that looks.
[Gohan laughs]
NC: But he quickly discovers he's not alone.
Bulma: Where is it? I know it's here.
Goku: Are you Piccolo?
MasakoX: The casting's so bad, she could be.
LittleKuriboh: Actually, this is Bulma, played by Emmy Rossum.
NC: Singing?
LittleKuriboh: No.
NC: Good.
LittleKuriboh: They originally met when Goku was a little boy, but now in this they're the same age. It works because- wait, no it doesn't.
Bulma: If I was a Piccolo, whatever that is, I wouldn't tell you.
Somebody stole my promethium orb, and I'm here to get it back.
MasakoX: You know this movie has enough whitewashing. Do we really have to dubwash too?
Bulma: Ph.D. in Applied Dynamics.
They're gonna make me famous.
NC: What a story, Mark.
Bulma: Somebody hacked the vault, killed the guards and stole the Dragon Ball.
LittleKuriboh: What is this, Spy Kids? I've seen toy commercials with more realistic technology.
Bulma: This can detect and locate the signature wavelengths emitted by the Dragon Balls.
Korean:
마사코X 「오공이는 집을 뒤지다가... 아마도...
받을 거였던 두번째 선물을 찾게 됩니다.
손오공 『할아버지... 』
(으하하--)
손오공 『할아버지... 』
리틀크리보 「할애비도 니 대사 치는거 보고 웃는다야. 」
(으하하하--)
크리틱 「알고보니 오공 말고 다른 이도 있었어요. 」
(장전)
??? 『어디에 있지? 여기 있는 거 알고 왔어. 』
손오공 『너 피콜로지?! 』
마사코X 「캐스팅이 참 안맞지? 그런 거 같아. 」
리틀크리보 「사실은 '에미 로섬' 분 '부르마'입니다. 」
크리틱 「노래 부르디? 」
리틀크리보 「아니. 」
크리틱 「됐어. 」
리틀크리보 「이 둘은 원래 손오공이 어렸을 때 만났는데
여기는 서로 동갑으로 만나네요.
제법 들어맞는 설정... 아니 그건 아니다. 」
부르마 『내가 피콜로였다면 네게 말 걸지도 않았겠지.
누군가 내 프로메튬 구체를 훔쳐갔어. 난 그걸 되찾으러 왔고. 』
마사코X 「이미 이 영화는 화이트워싱 충분히 했잖아. 화이트워싱을 또 할 셈이야? 」
부르마 『응용역학 공학박사야.
그걸 가지면 난 유명해 질거야. 』
토미위소 「좋은 이야기야 마크! 」
부르마 『누군가 금고를 해킹해 경비병을 죽이고 드래곤볼을 훔쳐갔어. 』
리틀크리보 「이게 무슨 스파이키드냐?
장난감 광고에 나오는 기술도 이것보단 진짜같겠다. 」
부르마 『이걸로 드래곤볼만이 내뿜는 파동을 탐지해서 찾을 수 있어. 』
Portuguese:
MasakoX: Depois de revistar a casa, Goku encontra o que, presumo eu, seria o seu segundo presente.
Goku: Vovô...
[Gohan ri]
LittleKuriboh: Até mesmo o avô morto dele tá rindo do quão ridículo tá esse gi.
[Gohan ri]
NC: Mas ele logo descobre que não está sozinho.
Bulma: Cadê ela? Eu sei que está aqui.
Goku: Você se chama Piccolo?
MasakoX: A escolha de elenco é tão ruim, que é capaz de ser.
LittleKuriboh: Na verdade, essa é a Bulma, interpretada pela Emmy Rossum.
NC: Cantando?
LittleKuriboh: Não.
NC: Não.
LittleKuriboh: Eles originalmente se encontraram quando Goku era um garotinho, mas agora eles têm a mesma idade. Funciona aqui porque--- Pera, não funciona não.
Bulma: Se eu fosse Piccolo, seja quem for, eu não te contaria.
(Curiosidade, Bulma tinha 16 anos e Goku 12 quando se conheceram no mangá)
Alguém roubou minha orbe de promécio, e agora eu estou tentando recuperá-la.
MasakoX: Cara, o filme já tem whitewashing o bastante. Precisamos mesmo de dubwash também?
Bulma: Ph.D em Dinâmicas Aplicadas.
Elas vão me fazer ser famosa.
NC: Mas que história, Mark.
Bulma: Alguém hackeou o cofre, matou os guardas e roubou a Esfera do Dragão.
LittleKuriboh: O que é isso, Pequenos Espiões? Eu já vi comerciais de brinquedos com tecnologia mais realista.
Bulma: Isso pode detectar e localizar as assinaturas de ondas eletromagnéticas emitidas pelas Esferas do Dragão.
Spanish:
MasakoX: Después de buscar en la casa, Gokú encuentra, creo, un segundo regalo que iba a darle.
Goku: Abuelo ...
[Gohan ríe]
Little Kuriboh: Incluso su abuelo muerto se ríe de lo estúpido que se ve.
[Gohan ríe]
NC: Pero rápidamente descubre que no está solo.
Bulma: ¿Dónde está? Sé que está aquí.
Goku: ¿Eres Piccolo?
MasakoX: El reparto es tan malo, que ella podría serlo.
LittleKuriboh: De hecho, ella es Bulma, interpretada por Emmy Rossum.
NC: ¿Canta?
LittleKuriboh: No
NC: Qué bien.
LittleKuriboh: Originalmente se conocieron cuando Gokú era un niño pequeño, pero ahora tienen la misma edad. Y funciona porque ... espera, no, no funciona.
Bulma: Si yo fuera un Piccolo, sea lo que sea, no te lo diría.
Alguien robó mi orbe de prometio, y estoy aquí para recuperarlo.
MasakoX: Sabes que esta película tiene suficiente personajes blancos. ¿De verdad tenemos que aguantar el mal doblaje también?
Bulma: Doctorado en Dinámica Aplicada.
Me van a hacer famosa.
NC: Qué historia, Mark.
Bulma: Alguien hackeó la bóveda, mató a los guardias y robó la Esfera del Dragón.
LittleKuriboh: ¿Qué es esto, Pequeños Espías? He visto comerciales de juguetes con tecnología más realista.
Bulma: Esto puede detectar y localizar las longitudes de onda distintivas emitidas por las Esferas del Dragón.
English:
NC: Thank God they talk about the important stuff that really matters in this film.
Goku: Wait, you made a Dragon Ball energy locator?
Bulma: Dragon Ball energy. DBE. Catchy name.
Malcolm: Son of a bitch!
Malcolm: I'll kill you! I'l kill you, you son of a-! I'll kill you!
NC: No no no no! It's okay! It's okay! Malcolm! Malcolm! It's okay!
NC: No no no no! It's okay! It's okay! Malcolm! Malcolm! It's okay!
NC: It's okay. We're gonna get through this. Alright? Give me the gun. Give me the gun.
You're okay. You're okay. Just...back over there. You're doing, you're doing good. Better than last time, yeah.
He's a big fan.
LittleKuriboh: They agree to join forces to find the other Dragon Balls, and they ride on her...
NC: My God! The bullshit levels are through the roof!
MasakoX: They go to find Roshi as his grandpa instructed and locate him in the house from Up.
Kyle Hebert: Next time on...
Spanish:
NC: Gracias a Dios que hablan sobre las cosas importantes que realmente importan en esta película.
Gokú: Espera, ¿Hiciste un radar de energía de Esferas del Dragón?
Bulma: Energía de Esferas del Dragón. EED. Nombre pegadizo.
Malcolm: ¡Hijo de pu....
Malcolm: ¡Te mataré! ¡Te mataré, hijo de...! ¡Te mataré!
NC: ¡No, no, no! ¡Está bien! ¡Está bien! Malcolm! Malcolm! ¡Está bien!
NC: ¡No, no, no! ¡Está bien! ¡Está bien! Malcolm! Malcolm! ¡Está bien!
NC: Está bien. Vamos a superar esto ¿Bien? Dame el arma. Dame el arma.
Estas bien. Estas bien. Solo ... regresa allí. Lo estás, lo estás haciendo bien. Mejor que la última vez, sí.
Es un gran fan.
LittleKuriboh: Acuerdan unir fuerzas para encontrar las otras Esferas del Dragón y se montan en su ...
NC: ¡Dios mío! ¡Los niveles de pura mierda están por el techo!
MasakoX: Ellos van a buscar a Roshi como lo instruyó su abuelo y lo ubican en la casa de "Up, Una aventura de altura".
Kyle Hebert: En el próximo:
"Dragon Ball ¿En serio? ¿EN SERIO?"
Korean:
크리틱 「그 물건이 정말로 중요한 것이라고 일일히 말해줘서 참 고맙구나. 」
손오공 『"드래곤볼...에너지...탐지기"를 만들었다고? 』
부르마 『드래곤볼 에너지. D.B.E.
착착 감기는 이름이지. 』
말콤 「이 썅년이...!! 」
말콤 「이 썅년이...!! 」
크리틱 「안돼! 안돼! 참아! 참아!
놔! 괜찮아! 괜찮아... 버틸 수 있어. 응?
총 내려. 총 내려. 괜찮아...
돌아가봐... 괜찮아...
걔 엄청 팬이었거든. 」
리틀크리보 「다른 드래곤볼을 찾는데 힘을 합치기로 했는데
그 이동수단이... 」
(트랜스포밍)
(탐지기소리)
크리틱 「어머나! 개소리 수치가 치솟고 있어! 」
마사코X 「할아버지가 알려준 대로 무천도사를 찾아가다
'업'에 나오는 집을 찾게 됩니다.
(덜커덩)
(매트릭스)
(튕김)
(화들짝)
「드래곤볼 다음이야기...! 」
「드래곤볼 다음이야기...! 」
「실화냐? 」
「실화냐?!? 」
리틀크리보 「오공은 무천도사를 깨워버리고, 외람되지만
Portuguese:
NC: Ainda bem que eles falam sobre coisas importantes que de fato importam nesse filme.
Goku: Espera, então você criou um radar localizador de energia das Esferas do Dragão?
Bulma: Energia de Esfera do Dragão. EED. Soa muito bem.
(DBE é um trocadilho com o título do filme...)
Malcom: Filho duma vagabunda!
Malcolm: Eu te mato! Eu mato , seu filho da---! Eu te mato!
NC: Não não não não! Tá tudo bem! Tá tudo bem! Malcolm! Malcolm! Tá tudo bem!
NC: Não não não não! Tá tudo bem! Tá tudo bem! Malcolm! Malcolm! Tá tudo bem!
NC: Tá tudo bem. Nós vamos superar isso. Tá bom? Me dê a arma. Me dê a arma.
Você está bem. Você está bem. Só... Vá pro sofá. Você está se saindo muito bem. Melhor que da última vez.
Ele é um grande fã.
LittleKuriboh: Eles concordam em unir forças para achar as Esferas do Dragão, e vão montados na...
NC: Meu Deus! Os níveis de mentira estão nas alturas!
MasakoX: Eles vão achar Kame, conforme o vovô instruiu, e o localizam na casa de Up.
Kyle Hebert: No próximo episódio de...
Dragon Ball Sério mesmo? Sério mesmo!?
Portuguese:
LittleKuriboh: Goku acorda Kame e fazem a triste de descoberta que Chow Yun-Fat encontrou um filme pior que Piratas do Caribe 3 para para participar.
Bulma: Parem!
NC: A CGI tá horripilante!
Roshi: Eu sou o Mestre Kame! O Invencível!
[Risos]
MasakoX: Pra ser justo, Chow Yun-Fat, embora diferente, não é uma má escolha para o papel.
Ele é brincalhão, um pouco tarado, e energeticamente repleto de si.
Mas então temos cenas assim:
Goku: Meu avô está morto.
(Silêncio constrangedor demais...)
(Não me olhem assim, galera.)
(Opa! Tem espaço pra mim aí?)
NC: Isso não exatamente me livra da dor.
LittleKuriboh: Mas as menos faz doer um pouco menos.
( O.O )
Spanish:
LittleKuriboh: Gokú despierta a Roshi y hace el triste descubrimiento de que Chow Yun-Fat encontró una película peor que "Piratas del Caribe: En el fin del mundo" para aparecer.
Bulma: Alto
NC: ¡El CGI es horrendo!
Roshi: ¡Soy el Muten Roshi, el Invencible!
[Risas]
MasakoX: Para ser justos, Chow Yun-Fat, aunque ciertamente diferente, no es una mala elección para este rol.
Es un sabio, un poquito pervertido, y enérgicamente lleno de sí mismo.
Pero luego, hay escenas como esta:
Gokú: Mi abuelo está muerto.
NC: Ésto no elimina el dolor.
LittleKuriboh: Pero hace que duela un poquito menos.
English:
LittleKuriboh: Goku wakes up Roshi and makes the sad discovery that Chow Yun-Fat found a film worse than Pirates 3 to appear in.
Bulma: Stop!
NC: The CGI is atrocious!
Roshi: I am Muten Roshi the Invincible!
[Laughs]
MasakoX: To be fair, Chow Yun-Fat, while certainly different, is not that bad a choice for this role.
He's a wisecracker, a little pervy, and energetically full of himself.
But then, there's scenes like this:
Goku: My grandfather is dead.
NC: It doesn't get rid of the pain.
LittleKuriboh: But it does make it hurt a little less.
Korean:
주윤발은 아 그냥 해적연기나 할 걸 생각했습니다. 」
(격투)
(박치기)
부르마 『그만! 』
크리틱 「"끔찍한 CG야! "」
무천도사 『난 무천도사다---
천하무적---! 』
마사코X 「주윤발로 분하기엔 모습은 다르지만,
솔직히 말해서 그리 나쁜 역할 선정은 아니예요.
별나고 변태스럽고 기운 센 모습은 딱 들어맞죠.
근데 이어지는 장면이... 」
손오공 『우리 할아버지가 돌아가셨어요. 』
무천도사 『..... 』
모두 「..... 」
크리틱 「고통이 전혀 안 가셔. 」
리틀크리보 「그래도 고통을 덜 받게 해주잖수. 」
Portuguese:
NC: E então após o Goku dar a sua perfomance mais emocionante e poderosa que consegue fazer...
Goku: Eu vou vingá-lo. mas antes dele... Dele morrer, ele pediu para que eu te encontrasse.
NC: Qual o palpite de vocês sobre como foi a direção para essa cena?
MasakoX: Inexistente.
NC: Kame dá a eles a sua Esfera do Dragão e diz que vai se juntar à eles na busca das outras.
O BANHEIRO TÁ OCUPADO!
Kame: Eu vou levá-los a um lugar secreto.
LittleKuriboh: Ele os leva para um templo de treinamento, que mais parece um internato do Mortal Kombat, onde, que surpresa, a Chichi por coincidência está treinando lá.
Chichi: Ninguém em casa sabe disso, mas eu também sou uma lutadora. Eles simplesmente não entenderiam.
NC: Como assim não entender? Lutar por dinheiro?
MasakoX: Lutar por justiça?
LittleKuriboh: Lutar por diversão?
NC: Nada nesse seu mundo faz sentido, então por que isso significaria algo importante?
Depois dessa cena aparentemente sem importância...
English:
NC: So after Goku gives his most heartfelt, powerhouse performance...
Goku: I will avenge him. But before he...he died, he asked me to find you.
NC: What do you think the directing for that scene was like?
MasakoX: Nonexistent.
NC: Roshi gives them his Dragon Ball and says he'll join them to find the others.
Shitter was full!
Roshi: I will take you to a secret place.
LittleKuriboh: He takes them to a training temple that looks more like Mortal Kombat high school where, what a surprise, Chi-Chi happens to be training there.
Chi-Chi: Nobody at home knows this, but I'm a fighter too. They just wouldn't understand.
NC: What does that even mean? Fighting for money?
MasakoX: Fighting for justice?
LittleKuriboh: Fighting for fun?
NC: Nothing else in this world makes sense, so why should this mean shit?
After that seemingly pointless scene...
Korean:
크리틱 「손오공의 눈물 없이 볼 수 없는 연기가 이어지고... 」
손오공 『할아버지 복수를 할 거예요...
근데 할아... 버지가 죽기... 전에...
도사님을... 찾아가랬어요... 』
크리틱 「감독양반은 이거 찍을 때 무슨 생각을 한 걸까. 」
마사코X 「그런 거 없다. 」
크리틱 「무천도사는 자기 드래곤볼을 주고
자신도 다른 걸 찾는데 끼워달라고 합니다. 」
무천도사 『비밀 장소로 데려가 주겠다! 』
리틀크리보 「웬 모탈컴뱃 고등학교같은 비밀 수련장소로 데려가는데
놀랍게도 치치도 거기서 수련하고 있었더래요. 」
치치 『집에서는 모르시지만, 나도 무술가야.
부모님은 이해하지 못 하실 거야. 』
크리틱 「그게 무슨 의미인데?
돈 벌려고 무술해서? 」
마사코X 「정의를 위해 무술해서? 」
리틀크리보 「재미를 위해 무술해서? 」
크리틱 「이 동네 모든 것이 말이 안되니 이것도 개소리겠지! 」
크리틱 「딱 봐도 의미없는 장면을 지나 」
Spanish:
NC: Entonces, después de que Goku da su más sincero y poderoso desempeño ...
Gokú: Voy a vengarlo. Pero antes de ... que muriera, él me pidió que te encontrara.
NC: ¿Cómo creen que fue la dirección de esa escena?
MasakoX: Inexistente.
NC: Roshi les da su Dragon Ball y dice que se unirá a ellos para encontrar a los demás.
¡El baño estaba lleno!
(Frase de "Vacaciones de Navidad" [1989])
Roshi: Los llevaré a un lugar secreto.
LittleKuriboh: Los lleva a un templo de entrenamiento que se parece más a la escuela secundaria de Mortal Kombat donde, qué sorpresa, Chi-Chi resulta estar entrenando allí.
Chi-Chi: Nadie en casa sabe esto, pero yo también soy una luchadora. Ellos simplemente no entenderían.
NC: ¿Qué significa eso? ¿Lucha por dinero?
MasakoX: ¿Lucha por justicia?
LittleKuriboh: ¿Lucha por diversión?
NC: Nada más en este mundo tiene sentido, entonces ¿por qué ésta mierda significa algo?
Después de esa escena aparentemente sin sentido ...
Korean:
리틀크리보 「"딱 봐도"? 」
크리틱 「"완전히."
야무치라는 놈이 판 함정에 빠져버립니다. 」
부르마 『내가 해 볼께
저기... 내 친구들을 빠져나가게 해주면... 대단히 감사할께요. 』
야무치 『수고비를 받아야겠네요. 』
부르마 『수고비라고? 』
크리틱 「내가 해볼께.
"저깅... 내 친구들을 빠져나가게 해주묜... 대단히 감사할께용." 」
야무치 『신중하게 생각해. 해가 뜨면 굉장히 뜨거워 질 거야!
헤-- 뜨거--... 』
마사코X 「즉석 애드립 칠 수 있다고 해서
꼭 해야한다는 건 아니거든? 」
리틀크리보 「밤이 되자 불을 지피고
오프닝에서 들었던 얘기를 무천도사 입에서 똑같이 내보내네요.
그러다 무슨 이유에서인지 부르마의 탐지기에서
드래곤볼이 바로 아래에 묻혀있다 나옵니다. 운 좋네. 」
(공중부양)
무천도사 『장난은 끝났다. 』
모두 『왜! 진즉에! 안 그랬어?! 』
말콤 『썅넘아. 』
크리틱 「땅 파는 기계 빌리려고 야무치에게 돈을 내는데
거 이상하네요... 그냥 진즉에 돈 냈으면 되지 않나...?
밑바닥에서 얼마나 시간낭비했지? 」
English:
LittleKuriboh: Seemingly?
NC: Entirely.
They fall down a hole and get trapped by a guy named Yamcha.
Bulma: Let me handle this. I'd be, uh...so grateful if you could just help me and my friends out.
Yamcha: I'm gonna need some payment.
Bulma: Payment?
NC: Let me try. I'd be, uh, so grateful if you would just help me and my friends out.
Yamcha: Just think it over, 'cause after the sun comes out it's gonna be hot, hot, hot!
Heh. Hot.
MasakoX: Just because you can improvise doesn't mean you should.
LittleKuriboh: They build a fire as it gets late in the night and Roshi literally tells the same story we heard in the opening.
But Bulma finds out, only now for some reason, that the Dragon Ball is buried beneath them. That's lucky.
Roshi: Enough games.
Everybody: WHY DIDN'T HE DO THAT BEFORE?!
Malcolm: Ass!
NC: They offer to pay Yamcha if he helps them dig, which is weird because that means they could have paid him before anyway.
How many hours did they waste down there?
Spanish:
LittleKuriboh: ¿Aparentemente?
NC: Enteramente.
Caen por un agujero y quedan atrapados por un tipo llamado Yamcha.
Bulma: Déjame manejar esto. Estaría, eh ... muy agradecida si pudieras ayudarnos a mí y a mis amigos.
Yamcha: Voy a necesitar un pago.
Bulma: ¿Pago?
NC: Déjame intentarlo. Estaría, uh, tan agradecida si nos ayudaras a mí y a mis amigos.
Yamcha: Solo piénsalo, porque después de que salga el sol va a estar caliente, caliente, ¡caliente!
Já, Caliente.
MasakoX: Solo porque puedas improvisar no significa que debas hacerlo.
LittleKuriboh: Construyen una fogata cuando cae la noche y Roshi literalmente cuenta la misma historia que escuchamos al principio.
Pero Bulma se entera, solo ahora por alguna razón, de que la Esfera del Dragón está enterrada debajo de ellos. Qué suerte.
Roshi: Basta de juegos.
Todos: ¿POR QUÉ NO HIZO ESO ANTES?
Malcolm: ¡Asnos!
NC: Ofrecen pagarle a Yamcha si los ayuda a cavar, lo cual es extraño porque eso significa que podrían haberle pagado antes de todos modos.
¿Cuántas horas desperdiciaron allí?
Portuguese:
LittleKuriboh: Aparentemente?
NC: Completamente.
Eles caem num buraco e são presos por um cara chamado Yamcha.
(Mais uma derrota na vida do Yamcha)
Bulma: Deixa que eu cuido disso... Eu, erm... Ficaria muito grata se você pudesse ajudar eu e meus amigos a sair.
Yamcha: Vou precisar de um pagamento.
Bulma: Pagamento?
NC: Deixa eu tentar. Eu, uh, ficaria tão agradecido se você pudesse ajudar a mim e meus amigos a sair.
Yamcha: Podem pensar a respeito, porque quando o sol se pôr, vai quente quente, quente quente!
(Não acredito que tô dizendo isso, mas...)
Heh. Quente.
(... Ele tá pior que o Yamcha de fato como perdedor...)
MasakoX: Só porque você consegue improvisar, não significa que deva.
LittleKuriboh: Eles acendem uma fogueira, já que está tarde da noite, e Kame literamelnte conta a mesma história que ouvimos na abertura.
Mas a Bulma descobre, só agora, por alguma razão, que a Esfera do Dragão está enterrada abaixo deles. Baita sorte.
Kame: Chega de brincadeiras.
Todos: POR QUE ELE NÃO FEZ ISSO ANTES?
(POR QUE ELE NÃO FEZ ISSO ANTES?)
Malcolm: Idiota!
NC: Eles oferecem pagar o Yamcha caso ele ajude eles a cavar, o que é estranho já que assim eles poderiam ter pago ele antes de qualquer jeito.
Quantas horas eles desperdiçaram lá em baixo?
English:
MasakoX: So digging through a hole somehow leads them to the top of a volcano...
...where Piccolo sends his Putties, I mean minions, to stop them.
LittleKuriboh: In doing so, though, he only provides a way for them to get to the Dragon Ball. Our evil strategist, everybody.
NC: The floor is literally lava!
Goku gets the Ball, but is pretty easily defeated by Piccolo's assassin, only to have her easily defeated a second later.
Look at this. He talks in the next scene like he doesn't even notice her.
Goku: There's this demon...
Roshi: Oozaru.
Goku: He will kill you.
NC: Oh, there's a lady, too. She got a swing in. Just pointing her out in case she was supposed to be a powerful second-in-command, or...
LittleKuriboh: So Chew the Fat, Harmony Star, Surf Ninja, and Elijah Wooden all travel to the temple of underappreciated Ghostbusters.
Norris: How is my favorite skeptic?
Roshi: I need another containment vessel.
NC: I mean we saw what happened to the last one.
MasakoX: You done?
NC and LittleKuriboh: Yeah, yeah yeah yeah yeah.
Korean:
마사코X 「그리하여 땅을 파니 웬 화산 윗자락이 나오는데... 」
마사코X 「피콜로가 자기 똘마니...아니 부하를 보내 저지하려 합니다. 」
리틀크리보 「그러나 일행이 드래곤볼을 획득하는 데 도움만 주네요.
이게 사악한 책략이랍니다. 여러분. 」
손오공 『헉-- 핫-- 워후-- 』
크리틱 「너무 실제같이 흐르지도 않는 용암!
오공이 드래곤볼을 손에 넣으려다 꽤나 쉽게 자객에게 빼앗기지만
몇초 후에 바로 되 쓰러트려 버리네요.
보세요. 다음에 아무 일도 없었다는 것 마냥 대화하네요. 」
손오공 『악마가 보였어요. 』
무천도사 『오자루야. 』
손오공 『놈이 도사님을 죽일거예요. 』
크리틱 「거기 여자애도 보였는데... 20라운데 뒤에 쳐맞을 것 같아요
알고보니 엄청난 부주인공으로 밝혀지던데... 」
리틀크리보 「주윤발이랑 하모니스타랑 파도 탄 사나이랑 일라이저 우드랑 함께
과소평과된 고스트버스터네 사당에 들어가는데... 」
노리스 사부 『친애하는 투덜쟁이 친구는 잘 지냈나? 』
무천도사 『또 다른 억제 수단이 필요합니다. 』
크리틱 「근데 우리는 이미 전에 무슨 일 났는지 봤거든. 」
마사코X 「같이 안봤는데. 」
둘 「그래 그래 어쨌든. 」
Spanish:
MasakoX: Así que cavan a través de un agujero de alguna manera los lleva a la cima de un volcán ...
... donde Piccolo envía sus masillas, digo secuaces, para detenerlos.
Little Kuriboh: Al hacerlo, sin embargo, solo les proporciona una forma de llegar a la Esfera del Dragón. Nuestro malvado estratega, señores
NC: ¡El suelo es literalmente lava!
Gokú obtiene la Esfera, pero es fácilmente derrotado por la asesina de Piccolo, solo para derrotarla fácilmente un segundo después.
Miren esto. Él habla en la siguiente escena como si ni siquiera la hubiera notado.
Gokú: Está este demonio ...
Roshi: Oozaru.
Gokú: Él te matará.
NC: Ah, también hay una dama. Ella la derroté. Solo la señalaba por si se suponía que debía ser una poderosa segundo al mando, o ...
LittleKuriboh: Así que Chow el gordo, Twilight Sparkle, El Ninja Surf y Elijah Frodo viajan al templo del Cazafantasmas menos apreciado.
Norris: ¿Cómo está mi escéptico favorito?
Roshi: Necesito otro recipiente de contención.
NC: Quiero decir, vimos lo que le sucedió al último.
MasakoX: ¿Ya terminaron?
NC y LittleKuriboh: Sí, si, si, si, si.
Portuguese:
MasakoX: Logo, cavar em baixo de um buraco por algum motivo os leva para o topo de um vulcão...
(Topografia estranha essa...)
(Não usem drogas crianças)
... Onde Piccolo manda seus Bonecos de Massa, digo, servos, para impedi-los.
LittleKuriboh: Entretanto ao fazer isso, ele só dá a eles um meio de chegar até a próxima Esfera do Dragão. Nosso vilão inteligente, pessoal.
NC: O chão literalmente é lava!
Goku consegue a Esfera, mas é facilmente derrotado pela assassina do Piccolo, só para derrotar ela facilmente logo em seguida.
Olha isso. Ele fala na próxima cena como se ela nem existisse.
Goku: Tem esse demônio...
Kame: Oozaru.
Goku: Ele irá te matar.
NC: Ah, e tem uma moça também. Ela acertou um golpe. Só avisando para caso ela seja uma braço direito poderosa, ou...
Little: Então o Choro Fat, Estrela Harmoniosa, Ninja do Surf e Elijah Bunda viajam para o templo dos Caças Fantasmas mal apreciados.
Norris: Como anda meu cético favorito?
Kame: Eu preciso de outro receptáculo de contenção.
NC: Afinal, nós sabemos o que aconteceu com o último.
MasakoX: Satisfeito?
NC e LittleKuriboh: Tá, tá, tá, estamos.
English:
MasakoX: So even though in the show the focus is on mastering energy, here it's mastering...
[Sigh]
airbending.
NC: They do not call it that!
MasakoX: Oh, but they do.
Roshi:...the most basic of all the airbending techniques.
NC: Do they know the difference between animes, non-animes, and abominations of God?!
LittleKuriboh: I'm honestly surprised Sailor Moon isn't in this.
Kyle Hebert: Next time on...
Oh, forget it.
NC: Hey Kyle, where are you going? Get back here you coward!
Kyle Hebert: I'm sorry guys. You know, Dragonball Evolution is one thing, but throwing Shyamalan in there too? I still have my shame to hold on to.
NC: Bastard! You'll never "Next time on Dragon Ball Z..." again! Wave fists, wave fists!
LittleKuriboh: Funny, by the way, how in the show Goku was a child prodigy, and here he can't even light a goddamn candle.
NC: Well, that's because he's not properly horny-vated.
Chi-Chi: Every time you light a torch, you get to take one step closer to me.
MasakoX: "No, I swear. That happens to all guys."
Goku: It doesn't feel right. it feels-I must be missing something.
Chi-Chi: You have to make every move your own.
Spanish:
MasakoX: Entonces a pesar de que en la serie el punto está en dominar el ki, aquí está dominando ...
[Suspiro]
el control del aire.
NC: ¡No lo llamaron así!
MasakoX: Oh, pero lo hicieron.
Roshi: ... la más básica de todas las técnicas de control de aire.
NC: ¿Saben la diferencia entre animes, no animes y abominaciones de Dios?
LittleKuriboh: Honestamente estoy sorprendido de que Sailor Moon no esté en esto.
Kyle Hebert: En el próximo:
"Dragon Ball El último guerrero del aire"
Oh, olvídenlo.
NC: Oye Kyle, ¿A dónde vas? Vuelve aquí cobarde!
Kyle Hebert: Lo siento chicos. Ya saben, Dragonball Evolution es una cosa, ¿Pero poner a Shyamalan también ahí? Todavía me queda dignidad.
NC: ¡Bastardo! ¡Nunca más dirás "En el próximo: Dragon Ball Z" otra vez...! ¡Agiten el puño, agiten el puño!
LittleKuriboh: Curioso, por cierto, cómo en la serie Gokú era un niño prodigio, y aquí ni siquiera puede encender una maldita vela.
NC: Bueno, eso es porque él no está adecuadamente exi-motivado.
Chi-Chi: cada vez que enciendas una antorcha, puedes dar un paso más cerca de mí.
MasakoX: "No, lo juro. Eso les sucede a todos los hombres".
Gokú: No se siente bien. Se siente, que me falta algo.
Chi-Chi: Tienes que hacer que cada movimiento sea tuyo.
Portuguese:
MasakoX: E embora no show o foco é em masterizar o ki, aqui é sobre masterizar...
[Suspira]
(Se preparem)
Dobra do Ar.
NC: Eles NÃO chamam disso!
MasakoX: Ah, chamam sim.
Kame: ... A mais básica de todas as técnicas de Dobra de Ar.
NC: Eles ao menos sabem a diferença entre animes, não-animes, e abominações de Deus?!
LittleKuriboh: Sinceramente, estou supreso que a Sailor Moon não esteja aí.
(NÃO DÊ IDEIAS A ELES!)
Kyle Hebert: No próximo episódio de...
Dragon Ball - O último mestre do ar!
Ah, pode esquecer.
NC: Ei Kyle, tá indo pra onde? Volta aqui, seu covarde!
Kyle Hebert: Perdão rapazes. Sabe, Dragon Ball Evolution é uma coisa, mas combinar com Shyamalan também? Eu ainda tenho uma dignidade para proteger.
NC: Maldito! Você nunca mais vai nos vir com "No próximo de Dragon Ball Z..." aqui! Punhos pra cima, punhos pra cima!
LittleKuriboh: A propósito, é engraçado que no show o Goku era uma criança prodígio, e aqui ele mal consegue acender a porcaria de uma vela.
NC: Bem, é porque ele não está devidamente excitado.
Chichi: Toda vez que acender uma tocha, você pode se aproximar um passo de mim.
MasakoX: "Calma, eu juro que acontece com todos os homens."
Goku: Isso não parece certo. Parece que está me faltando algo.
Chichi: Você tem que fazer de cada movimento ser seu.
Korean:
마사코X 「원작에선 에너지 다루는 법을 통달하는 데 초점을 맞추는 반면
실사판은 무엇을 다루느냐... 하...
에어 벤딩. 」
크리틱 「그렇게 안 부를텐데. 」
마사코X 「그렇게 부르던데? 」
무천도사 『공기 흐름을 잡는 것(Air-bending)이 핵심이지. 』
크리틱 「일본애니랑 아닌거랑 잡탕혼합물이랑 구별할 줄은 아는거야?! 」
리틀크리보 「세일러 문이 여기 없다는 게 놀랍네. 」
「'드래곤볼 라스트 에어벤더' 다음 이야기...」
카일 허버트 『하... 때려쳐. 』
크리틱 「카일, 어디가? 당장 돌아와 이 쫄보야! 」
카일 『저기 죄송한데요
드래곤볼 하나만으로 벅찬데 거기에 샤말란 것 까지 껴얹다니
자괴감이 밀려와서리...』
크리틱 「개자식! 드래곤볼Z 다음이야기 절대로 안 시켜줄 줄 알아!
배신자! 」
리틀크리보 「웃긴 점은, 원작 손오공은 영재였는데
여기 손오공은 양초 불 하나도 못 붙이네. 」
크리틱 「아마도 덜 흥분했나 보지. 」
치치 『네가 등불을 하나 붙일 때 마다
한 걸음씩 내게 다가와. 』
(에어벤딩)
마사코X 「장담할게요. 남자라면 다 그럴거예요. 」
손오공 『제대로 느껴지지 않아. 뭔가 놓치고 있는거 같아. 』
Spanish:
LittleKuriboh: Han robado de un millón de otras películas. ¡ALGO tiene que ser original!
NC: Finalmente lo logra, pero la asesina de Piccolo se escabulle disfrazada de Chi-Chi, robando las Esferas del Dragón.
MasakoX: Rossum tiene una mirada que dice: "Wow. Los efectos de Howard the Duck son mucho más convincentes que ésto".
Roshi: Él está vivo. Pero apenas.
NC: Gokú tiene una experiencia cercana a la actuación en la que ve a su abuelo y ... ya saben. "No es tu tiempo". "Ten fe en quien eres". Bla, bla, bla bla bla.
Gohan: No es tu tiempo, Gokú. Siempre ten fe en quien eres.
NC: ¡Oh, por favor! ¡Eso fue solo una generalización! ¿Él realmente dice eso?
LittleKuriboh: ¿Por qué no lo ponen a decir: "Hay un montón de peces en el mar".
MasakoX: "Recuerda tomar tu leche".
LittleKuriboh: "Miau miau miau miau, miau miau miau miau".
MasakoX: "#FrasePopular"
Malcolm: ¡PENDEJOS!
[Se arma el caos]
LittleKuriboh: El abuelo le devuelve la vida a Gokú porque está medio muerto y van a detener a Piccolo después de disculparse con Ernie Hudson por tenerlo solo por dos minutos.
Korean:
치치 『네가 가진 모든 무공을 끌어올려. 』
리틀크리보 「영화 여기저기서 다 베껴왔구만
하나라도 참신한게 있어봐라. 」
크리틱 「오공이 겨우 터득하자마자 피콜로네 자객이 침입해
치치로 위장하여 드래곤볼을 훔쳐갑니다.
(총격)
마사코X 「에미 로섬 표정이 마치 "와..."
"하워드덕 연출도 이것보단 낫겠다." 」
무천도사 『살아있어. 미약하게나마. 』
크리틱 「오공이는 미약한 연기실력으로 자기 할아버지를 마주하게 되는데
...아마도 "아직 올 때가 아냐" - "네 자신에 대한 신념을 가져" 어쩌구저쩌구. 」
손오반 『아직 올 때가 아니란다.
언제나 자신에 대한 신념을 가지거라. 』
크리틱 「이봐! 흔하디 흔한 대사잖아.
정말 저 대사를 쳤다고?! 」
리틀크리보 「차라리 이러지 그래,
"자리에 잘 앉아주세요."
"자리에 잘 앉아주세요."
"우유는 꼬박꼬박 마시렴."
"자리에 잘 앉아주세요."
"우유는 꼬박꼬박 마시렴."
"얘옹 얘옹 얘옹 얘옹 얘옹 얘옹"
"해쉬태그: 유행어"! 」
말콤 「이새끼가...! 」
말콤 「이새끼가...! 」
(안돼 안돼 참아 돌아가 안돼)
리틀크리보 「할아버지는 오공을 살려보냅니다. "거의 반만" 죽었거든요.
피콜로를 막으러 가기 전에 '어니 허드슨'씨에게
2분 출연만 시켜준 것에 대해 사과를 하러 갑니다. 」
English:
LittleKuriboh: You've stolen from like a million other films. SOMETHING has to be original!
NC: He finally gets it, but Piccolo's assassin breaks in disguised as Chi-Chi, stealing the Dragon Balls.
MasakoX: Rossum has a look that says, "Wow. Howard the Duck's effects are way more convincing right now."
Roshi: He's alive. But barely.
NC: Goku has a near-acting experience where he sees his grandpa, and...you know. "It's not your time." "Have faith in who you are." Blah blah blah blah blah.
Gohan: It's not your time, Goku. Always have faith in who you are.
NC: Oh, c'mon! That was just a generalization! He actually says that?!
LittleKuriboh: Why not just have him say, "Plenty of fish in the sea."
MasakoX: "Remember to drink your milk."
LittleKuriboh: "Meow meow meow meow, meow meow meow meow."
MasakoX: "#PopularPhrase"
Malcolm: Asshole!
[Chaos erupts]
LittleKuriboh: Grandpa brings Goku back to life because he's only half-dead, and they go to stop Piccolo after apologizing to Ernie Hudson for having him for only two minutes.
Portuguese:
LittleKuriboh: Vocês já estão roubando de um milhão de filmes. ALGUMA COISA tem que ser original!
NC: Ele finalmente consegue, mas a assassina do Piccolo invade disfarçada de Chichi, roubando as Esferas do Dragão.
MasakoX: Rossum tem uma expressão que diz, "Uau. Howard, o Pato tem efeitos especiais bem mais convicentes que esse".
Kame: Ele está vivo. Mas por pouco.
NC: Goku tem uma Experiência de Quase Atuação, onde ele encontra seu avô e... Você sabe. "Ainda não chegou sua hora.", "Tenha fé em si mesmo.". Blá blá blá.
Goku: Ainda não chegou sua hora, Goku... Sempre tenha fé em si mesmo.
NC: Ah, qual é!? Foi só uma generalização! Ele realmente diz isso?!
LittleKuriboh: Aproveita que tá nisso e fala:
"Ainda tem muito peixe no mar"
MasakoX: "Lembre-se de sempre tomar seu leite"
LittleKuriboh: "Miau Miau Miau Miau Miau Miau Miau."
MasakoX: "#FrasePopular"
Malcolm: CUZÃO!
[O caos reina]
(Posso pressentir junto do perigo)
LittleKuriboh: Kame traz o Goku de volta, já que só esta meio morto, e eles vão deter Picccolo após se desculparem ao Ernie Hudson por ter ele no filme só por uns 2 minutos.
Spanish:
Norris: Ora para que sea suficiente para contener a Piccolo.
Roshi: Namaste.
NC: "Pasé tres horas en maquillaje para esto?"
MasakoX: Afortunadamente su auto es la mierda de "Chitty Chitty Bang Bang", y puede volar lo suficientemente rápido como para detener el monólogo de Piccolo.
Piccolo: Imagina ...
... ser encadenado tan fuertemente ...
... que cada átomo en tu cuerpo ...
... queda compactado.
Con ésta Esfera del Dragón ...
... Tomo mi venganza ...
... sobre la Tierra.
MasakoX: Ya sabes, solo porque tu infraactuación sea mucho mejor que la sobreactuación de los otros, no deja de ser infraactuación.
NC: Llegan al comienzo del eclipse y tratan de evitar de que él se apodere del mundo.
MasakoX: ¡Miren! ¡Incluso tiene el atuendo puesto! ¡Ahora es totalmente Dragon Ball, chicos!
Gokú: Voy a derrotar a Oozaru, y estoy aquí para destruirte.
Piccolo: Já. ¿Derrotar a Oozaru?
NC: "¡Apenas puedes actuar!"
LittleKuriboh: Pero en un giro extraño, Gokú, resulta ser Oozaru, convirtiéndose en un monstruo. Hubiera sido agradable si alguien lo hubiera preparado para eso.
Portuguese:
Norris: Reze para ser o bastante para deter Piccolo.
Kame: Namaste.
NC: "Eu passei três horas me maquiando só pra isso?"
masakoX: Por sorte o carro deles é Merda Merda Bangue Bangue. e eles voam rápido o bastante para impedir o monólogo do Piccolo.
Piccolo: Imagine...
... Ser accorentada tão fortemente...
... Que todos os átomos de seu corpo...
... Ficassem compactados.
(Já tô com sono só de ouvir isso)
Com as Esferas do Dragão...
... Eu terei minha vingança...
... Contra a Terra.
(zzzzzzz)
MasakoX: Sabe, só porque sua sub-atuação é bem melhor que a super-atuação dos outros, não quer dizer que não seja sub-atuação.
NC: Eles chegam próximos do começo do eclipse e tentam impedi-lo de dominar o mundo.
MasakoX: Olha! Ele inclusive tá com o gi! É mesmo Dragon Ball, galera!
Goku: Eu derrotarei o Oozaru, e estou aqui para te destruir.
Piccolo: Heh. Derrotar o Oozaru?
NC: "Você mal consegue atuar!"
LittleKuriboh: Mas numa reviravolta bizarra, Goku, grande surpresa, É o Oozaru, transformando-se num monstro. Seria legal se alguém tivesse preparado-o para isso.
Korean:
노리스 사부 『피콜로를 봉인할 적에 충분히 기도하거라. 』
무천도사 『나마스떼... 』
크리틱 「"겨우 이거 하려고 분장을 3시간이나 시킨거야?" 」
마사코X 「다행히도 주인공들 차가 쥐티쥐티뱅뱅이였고
피콜로 혼잣말을 가로막을 수 있을 정도로 빠르네요. 」
피콜로 『상상해보아라...
단단하게 결속되는 것을...
네 몸에 있는 원자 하나하나... 탄탄해지는 거다.
이 드래곤볼로...
지구에... 복수를 할 수 있게 되었다. 』
마사코X 「저기, 네가 발연기하는 게 오버연기 보다 낫다고는 해도
발연기 안 하고 있다는 건 아니거든. 」
크리틱 「일식 시작하고 나서야 도착한 일행들은
피콜로의 세계정복을 저지하려 합니다. 」
마사코X 「봐, 얘 이제 도복 입었네. 이제 드래곤볼같네요 여러분? 」
손오공 『오자루를 물리치러 왔다.
네놈도 물리치러 왔다. 』
피콜로 『흣, 오자루를 물리쳐? 』
크리틱 「"니 연기도 등신이네--"」
리틀크리보 「여기서 뜬끔 반전! 손오공이 바로 오자루였대요!
괴물로 변신하는데... 누가 저거에 대비했으면 좋았으려만. 」
English:
Norris: Pray it is enough to contain Piccolo.
Roshi: Namaste.
NC: "I spent three hours in makeup for this?"
MasakoX: Thankfully their car is Shitty Shitty Bang Bang, and can fly fast enough to stop Piccolo's monologuing.
Piccolo: Imagine...
...being shackled so tightly...
...that every atom in your body...
...stood compacted.
With this Dragon Ball...
...I take my vengeance...
...upon the Earth.
MasakoX: You know, just because your underacting is way better than their overacting doesn't mean it's not underacting.
NC: They get there at the start of the eclipse and try to stop him from taking over the world.
MasakoX: Look! He even has the outfit on! It's totally Dragon Ball now, guys!
Goku: I will defeat Oozaru, and I'm here to destroy you.
Piccolo: Heh. Defeat Oozaru?
NC: "You can barely act!"
LittleKuriboh: But in a bizarre twist, Goku, it turns out, IS Oozaru, turning into a monster. Would have been nice if someone prepared him for that.
Spanish:
Gokú: Mi abuelo dijo que todo se me explicará cuando cumpla 18 años.
Piccolo: Gokú es un cascarón.
Éste es quién eres.
MasakoX: ¡Las caras de pedo deben fluir!
[La más grande flatulencia]
[Jeff Daniels de Tontos y Más Tontos en el baño]
[La más grande flatulencia]
Oozaru Goku: [Rugido]
Piccolo: Oozaru. Ellos tienen una Esfera del Dragón.
LittleKuriboh: "No hagas que mi voz suene aún más desinteresada".
NC: Goku mata a Roshi, pero recuerda quién es y regresa.
Piccolo: Imposible.
Gokú: Algo que mi abuelo me enseñó.
La primera regla es ...
NC, LittleKuriboh y MasakoX: ¿Siempre lee el guion?
Goku: ... que no hay reglas.
LittleKuriboh: ¿Entonces cómo es esa la primera regla? ¡Eso es tonto!
MasakoX: Piccolo y Gokú finalmente se enfrentan, y para una película adaptada de una serie CONOCIDA por su lucha, esta lucha apesta horrible.
¡Bibleman tuvo mejores efectos!
Korean:
손오공 『울 할아버진 내가 18살이 되면 모든걸 알려준다 하셨어. 』
손오공 『으으아으... 』
피콜로 『손오공은 껍데기일 뿐. 』
피콜로 『이것이 너의 참 모습. 』
손오공 『끄으으... 』
마사코X 『방귀 얼굴이 터지려 한다---- 』
(쾌ㅂ)
(비명)
피콜로 『오자루, 드래곤볼이 저들 손에 있다. 』
리틀크리보 「"더 이상 내 목소리가 재미없게 만들지 마라." 」
크리틱 「오공은 무천도사를 죽이고 마나 기억이 다시 살아나 원래대로 돌아갑니다. 」
피콜로 『이럴 리 없어. 』
손오공 『예전에 우리 할아버지가 말했었다.
첫 번째 규칙은 』
모두 「언제나 국어책 읽어라? 」
손오공 『규칙이란 없다. 』
리틀크리보 「그럼 첫번째 규칙은 어쩌고? 열라 어이없네! 」
마사코X 「드디어 오공과 피콜로의 맞짱입니다.
여기 나오는 격투장면이 원작의 것을 재현한 고로
격투장면이 참 개주옥같아요. 」
(쾅)
(쾅2)
(쾅3)
(쾅4)
(쾅5)
Portuguese:
Goku: Meu avô disse que tudo seria explicado quando eu fizesse 18 anos.
Piccolo: Goku é uma casca.
Esse é quem você é.
MasakoX: As caras de peido devem explodir!
[Bomba atômica nadegal]
[Jeff Daniel do Debi e Lóide no banheiro]
[Bomba atômica nadegal]
Goku Lobisomem: [Ruge]
(Me nego a chamar isso de Oozaru)
Piccolo: Lobisomem. Eles têm uma Esfera do Dragão.
LittleKuriboh: "Não faça minha voz soar muito mais desinteressada."
NC: Goku mata o Kame, mas se lembra de quem ele é e volta ao normal.
Piccolo: Impossível.
Goku: Tem algo que meu avô costumava dizer.
A primeira regra é...
Todos: Sempre leia o script?
Goku: ... Não há regras.
LittleKuriboh: Então como isso é a primeira regra? Isso é idiotice!
MasakoX: Piccolo e Goku finalmente lutam, e num filme adaptado de show FAMOSO pelas lutas, essa luta é ruim pra cacete.
Bibleman tem melhores efeitos!
English:
Goku: My grandpa said everything will be explained to me when I turn 18.
Piccolo: Goku is a shell.
This is who you are.
MasakoX: The fart faces must flow!
[Biggest fart yet]
[Jeff Daniels from Dumb and Dumber on the toilet]
[Biggest fart yet]
Oozaru!Goku: [Roars]
Piccolo: Oozaru. They have a Dragon Ball.
LittleKuriboh: "Don't make my voice sound even more disinterested."
NC: Goku kills Roshi but remembers who he is and turns back.
Piccolo: Impossible.
Goku: Something my grandfather taught me.
First rule is...
NC, LittleKuriboh, and MasakoX: Always read the script?
Goku: ...there are no rules.
LittleKuriboh: Then how is that the first rule? That's just dumb!
MasakoX: Piccolo and Goku finally face off, and for a movie adapted for a show KNOWN for its fighting, this fighting sucks some harsh balls.
Bibleman had better effects!
Korean:
마사코X 「바이블맨 연출이 훨 낫네!
보세요. 전투 대부분은 오공이가 안 쳐맞을라고 피하고만 다니는 건데. 」
크리틱 「맞지 않는 것 만은 아닌데, 한 대...
두 대...
아이고야 그게 다네. 」
마사코X 「일본애니 사상 최고의 격투장면 중 하나에서
주인공에겐 꼴랑 2대! 」
크리틱 「한번 이 쪽으로 보자. 」
리틀크리보 「걍 여기서 죽치고 살까봐... 」
크리틱 「오공은 자기 자신과 오자루로서 살아가야 함을 깨닫고는...
그게 뭔 의미인진 몰라도...
자신의 궁극의 힘을 해방시킵니다. 」
마사코X 「바로 '카메하메하'!
원작에선 이것이 언제나 장면이지요. 화끈하게 보여지는 파동에 맞는 상대는
비유적으로든 말 그대로든 쳐날라가버려요.
이거는? 그냥 화면보호기 된 거 같은데요. 」
(기폭)
리틀크리보 「이럴수가... 3D 파이프가 됬잖아! 」
크리틱 「우리 그냥 저거 보면 안 되? 이게 더 실감나는데. 」
마사코X 「파이프가 더 낫겠쿠나. 」
리틀크리보 「일식은 끝났지만, 이 영화가
English:
LittleKuriboh: Look at this. Most of the fighting is just Goku trying not to get his ass kicked.
NC: Now that's not true. He hit him once...
Twice...
Oh my God. I think that's it.
MasakoX: One of the most famous fighters in anime, and he gets two hits.
NC: Well, look at it this way:
[.]
[..]
[...]
LittleKuriboh: We should just live here.
NC: Goku realizes he has to be both himself and Oozaru...
...whatever that means.
And he unleashes the ultimate power.
MasakoX: That's right. The Kamehameha.
In the show, this is always the highlight. An incredible display of power blowing everyone figuratively and literally away.
Here, I think he turns into a screensaver.
LittleKuriboh: Oh no. He's turned into 3D Pipes!
NC: Actually, can we just watch that? They are more convincing.
MasakoX: I truly believe that they're pipes.
Portuguese:
LittleKuriboh: Olha isso. A maior parte da luta é só o Goku tentando não apanhar.
NC: Ah, deixa de mentira. Ele bateu nele uma...
Duas...
Meu Deus. Só duas vezes mesmo.
MasakoX: Um dos lutadores mais famosos dos animes, e ele só acerta dois golpes.
NC: Bem, veja desse modo:
...
(...)
[..]
(Estou esperando)
[...]
(Anda Critic!)
LittleKuriboh: A gente devia morar aqui logo.
NC: Goku percebe que tem que ser tanto ele quanto Oozaru...
... Seja lá o que isso queira dizer.
E ele desperta seu poder supremo.
(Seria...?)
MasakoX: Isso mesmo. O Kamehameha.
(Opa! Talvez se redima!)
No show, esse é sempre o ápice. Uma incrível demonstração de poder que é literal e figurativamente uma explosão. Nos surpreendendo.
Aqui, eu acho que ele vira um tela de bloqueio.
LittleKuriboh: Ah não. Ele se transformou em Canos 3D!
(Se você entendeu a referência, é velho que nem eu)
NC: Na verdade, podemos só assitstir isso? Acho que eles são mais convicentes.
MasakoX: Eu realmente acredito que sejam canos.
Spanish:
LittleKuribu: Mira esto. La mayor parte de la pelea es solo Gokú tratando de no ser pateado.
NC: Eso no es verdad. Él lo golpeó una vez ...
Dos veces...
Oh Dios mío. Creo que eso es todo.
MasakoX: uno de los luchadores más famosos en el anime, y da dos golpes.
NC: Bueno, míralo de esta manera:
[.]
[..]
[...]
LittleKuriboh: Deberíamos vivir aquí.
NC: Goku se da cuenta de que es tanto él mismo como Oozaru ...
...lo que sea que eso signifique.
Y él desata el poder supremo.
MasakoX: Así es. El Kamehameha.
En la serie, esto siempre era el punto culminante. Una increíble demostración de poder que arrasaba de forma figurada y literal con todo.
Aquí, creo que se convierte en un protector de pantalla.
LittleKuriboh: Oh no. ¡Se convirtió en la tubería 3D!
NC: De hecho, ¿Podemos quedarnos a mirar eso? Es más convincente.
MasakoX: Realmente creo que son tuberías.
Korean:
드래곤볼 시리즈에 싸지른 그림자의 태는 그보다 훨씬 컸습니다. 」
크리틱 「어쨌거나 드래곤볼을 전부 모으게 된 손오공이
커다란 소원 하나 빌 수 있게 되었으니, 뭐라고 빌까요? 」
손오공 『신룡이시여!
일곱 성구의 시련을 끝마쳤습니다!
제 앞에 나타나 제 소원을 들어주십시오! 』
마사코X 「그 따구로 말하면 안 나올거야!
젠장! 」
(울음소리)
크리틱 「하... 구더기 트림하는 새끼. 션 코너리 목소리를 입혀봤어봐라. 」
손오공 『무천도사를..... 부활시켜주세요. 』
크리틱 「놀랍네. 세계평화를 안겨달라는 소원도 있었을 텐데 」
리틀크리보 「자기를 키워주신 할아버지 되살려주라 빈다거나 」
마사코X 「자기가 누구 살리고 싶을 때 마다 살려주는 능력을 주라고 빈다거나 」
크리틱 「여정이 얼마나 길었는데 이딴 논쟁이나 하고 있냔 말이야! 」
크리틱 「그러자 드래곤볼이 흩어져버리고, 다시 찾으러 가야 한다네요.
...아니고 이 영화가 다시 반복되는 것 마냥 우리는 백만번 볼테니까... 」
마사코X 「아무렴 어때요. 오공이는 치치를 다시 만났네요.
Spanish:
LittleKuriboh: El eclipse concluye, pero nada se compara con la sombra que esta película le ha dado a la franquicia de Dragon Ball.
NC: Pero hey. Ahora que Gokú tiene las Esferas del Dragón y un deseo perfecto, ¿En qué lo va a usar?
Gokú: ¡Dragón! ¡La prueba de los siete se ha cumplido! ¡Te obligo a venir y conceder mi deseo!
MasakoX: ¡No hasta que lo digas como si te importara algo! ¡Cristo!
NC: * Suspiro * Ese pus pútrido parece tan falso que podrías tener la voz de Sean Connery.
Gokú: Devuélvele la vida ...
...a Muten Roshi
NC: Es curioso, podría haber usado ese deseo para garantizar la paz mundial.
LittleKuriboh: O traer de vuelta a su abuelo, la persona que lo crió.
MasakoX: Oh. ¿Tal vez tenga el poder de resucitar a quien quiera cuando quiera?
NC: ¿Cuánto duró ese viaje? ¡Tuvieron mucho tiempo para hablar de esto!
Pero las Esferas del Dragón se han ido y tienen que encontrarlas de nuevo.
Oh no. Como si esta película no hubiera repetido mierda que hemos visto un millón de veces.
Portuguese:
LittleKuriboh: O eclipse acaba, mas nada se compara às trevas que esse filme fez recair sobre a franquia Dragon Ball.
NC: Mas calma. Agora que o Goku tem as Esferas do Dragão, junto a um desejo perfeito, no que ele vai usar isso?
Goku: Shenlong! O Teste das Sete foi cumprido! Eu o invoco e peço e que conceda meu desejo!
MasakoX: Não até dizer como se você se importasse! Jesus!
(Nem mesmo o Shenlong escapou, parece uma lombriga)
NC: *Suspira* Essa pus pútrida parece tão falsa que dava para ter o Sean Connery dublando-a.
(NÃO DÊ IDEIAS A ELES!)
Goku: Dê vida...
... Para o Mestre Kame.
NC: Engraçado, podia ter usado esse desejo para ter paz mundial.
LittleKuriboh: Ou ressuscitar o avô dele, o homem que o criou.
MasakoX: Oh. Talvez ganhar o poder de ressuscitar quem ele quisesse, quando ele quisesse?
NC: Quanto tempo durou essa jornada? Eles tiveram muito tempo pra discutir isso!
Mas as Esferas do Dragão se foram e eles precisam encontrá-las de novo.
Oh não. Como se o filme já não repetisse merdas que já vimos um milhão de vezes.
English:
LittleKuriboh: The eclipse wraps up, but nothing compares to the shade this movie has given to the Dragon Ball franchise.
NC: But hey. Now that Goku has the Dragon Balls and has one perfect wish, what's he gonna use it on?
Goku: Dragon! The Test of Seven has been fulfilled! I compel you to come forth and grant my wish!
MasakoX: Not until you say it like you give a shit! Christ!
NC: *Sigh* That putrid pus looks so fake you could have Sean Connery voicing it.
Goku: Give life...
...to Muten Roshi.
NC: Funny, he could have used that wish to grant world peace.
LittleKuriboh: Or bring back his grandpa, the person who raised him.
MasakoX: Oh. Maybe have the power to grant back anyone he wants whenever he wants?
NC: How long was this journey? They had plenty of time to talk about this!
But the Dragon Balls are gone and they have to find them again.
Oh no. As if this film didn't already repeat shit we've seen a million times.
Spanish:
MasakoX: Pero es genial, porque Goku se reúne con Chi-Chi, quien ... se quedó atrás mientras todos los demás peleaban.
Little Kuriboh: Sí. ¿Dónde estaba esa haragana?
Chi-Chi: ¡Aaaah!
Gokú: [Grita]
Gokú: [Grita] Chi-Chi: [Grita]
MasakoX: Porque de eso se trata Dragon Ball. Goku golpeando el talón de Chi-Chi en el aire.
NC: Ah, y justo cuando piensas que se acabó ...
LittleKuriboh: Bueno, el dolor nunca se acaba, Crítico.
NC: Lo sé. Pero en términos del final de la película, resulta que tienen una escena a mitad de los créditos.
Se revela que Piccolo todavía está vivo y una mujer lo está atendiendo.
Está bien, eso solo demorará cinco segundos en revelarse. Gran cosa.
MasakoX: Bueno, aparentemente piensan que es una gran cosa, porque gastan alrededor de un minuto y medio arrastrando esta revelación.
NC: ¿Un minuto y medio? ¿Qué diablos puedes mostrar en esa cantidad de tiempo?
LittleKuriboh: Bueno, la acumulación de suspenso al recoger plantas ...
[El Hype de LittleKuriboh]
Llevar las plantas adentro ...
Portuguese:
MasakoX: Mas não tem problema, porque o Goku se reúne com a Chichi, que... Ficou para trás enquanto todo mundo lutava.
LittleKuriboh: É. Onde tava essa preguiçosa?
Chichi: Aaah!
Goku: [Gritinho]
Ambos: [Gritam]
MasakoX: Porque é ISSO a alma de Dragon Ball. O Goku socando o calcanhar da Chichi em pleno ar.
NC: Oh, e quando você acha que acabou...
LittleKuriboh: Bem, a dor nunca de fato para, Critic.
NC: Eu sei. Mas falando de como o filme acaba, parece que temos mais uma apunhalada no meio dos créditos.
É revelado que o Piccolo ainda está vivo e que está sendo cuidado por uma mulher.
Okay. Isso só leva uns 5 segundos para revelar. Grande coisa.
MasakoX: Bem, eles aparentemente acharam que seria GRANDE coisa, já que leva mais de 1 minuto e meio para revelar isso.
NC: Um minuto e MEIO? O que raios você pode mostrar nesse tempo todo?
LitlleKuriboh: Bem, a preparação cheia de suspense em pegar as plantas...
[Hype do LittleKuriboh]
(Não creio)
Levando as plantas para a casa...
Korean:
...다른 애들 분투할 동안 혼자 치치 뒤에 숨어서. 」
리틀크리보 「여자애 꽁무니만 보는구만. 」
치치 『합! 』
손오공 『훕! 』
(서로 기합)
마사코X 「드래곤볼을 착실히도 재현을 했어요.
손오공이 공중에서 치치 신발을 주먹으로 치는거! 」
크리틱 「방금 영화 끝나신 줄 알았죠? 」
리틀크리보 「아직 고통이 남아있어. 」
크리틱 「아니 내말은
영화 엔딩을 보니, 크레딧 도중에 깜짝영상이 있었습니다.
알고보니 피콜로는 살아있었고 웬 여자가 수발을 들어주고 있었습니다.
오케이... 그냥 5초 정도의 기다림이 가치있는 반전영상이네요. 」
마사코X 「근데 감독양반이 이게 정말로 중요한 반전이라고 생각했는지
그 앞의 영상만 1분 30초를 박아놨네요. 」
크리틱 「1분 하고도 30초? 어떤 미친놈이 거기에 무슨 내용을 넣으려고?! 」
리틀크리보 「자, 약초 하나 뽑는 게 첫째요.
약초를 안으로 가져가는 게 둘째요.
English:
MasakoX: But it's cool, because Goku reunites with Chi-Chi, who...stayed behind while everyone else fought.
LittleKuriboh: Yeah. Where was her lazy ass?
Chi-Chi: Aaah!
Goku: [Yells]
Goku: [Yells]
Chi-Chi: [Yells]
MasakoX: Because that's what Dragon Ball is all about. Goku punching Chi-Chi's heel in midair.
NC: Oh, and just when you think it's over...
LittleKuriboh: Well the pain never really stops, Critic.
NC: I know. But in terms of the movie's ending, it turns out they have a mid-credits stinger.
It's revealed that Piccolo is still alive and he's being tended to by a woman.
Okay, that should only take five seconds to reveal. Big whoop.
MasakoX: Well they do apparently think that it IS a big whoop, because they spend about a minute and a half dragging this reveal out.
NC: A minute and a half? What the hell can you show in that amount of time?
LittleKuriboh: Well, the suspenseful buildup of picking plants...
[LittleKuriboh Hype]
Bringing the plants inside...
Korean:
약초를 약재로 넣는 것이 셋째요.
약을 만드는 것이 넷째요.
우와...!
맙소ㅅ...!
사...!
현관으로 약을 가져가는 게 다섯째요. 」
크리틱 「오케이! 거기까지! 썅! 」
리틀크리보 「크리틱, 그 충격적인 반전을 보여주기 전 필수불가결한 장면이야!
약을 방 안으로 가져가는 것이 여섯째요!
(흥분)
약으로 헝겊을 닦는 일곱째 이후에야
반전 등장! 」
(빠밤)
크리틱 「이거 속편 없어. 」
리틀크리보 「그래!
리틀크리보 「그래! 그래!
리틀크리보 「그래! 그래!
그래서!
리틀크리보 「그래! 그래!
그래서! 열라 어이없다고!! 」
「드래곤볼 Z 다음이야기!
"개도 안걸릴 감기 걸린 날" 편 」
크리틱 「어머 카일 돌아왔네?! 」
Portuguese:
[Tédio imenso do Critic e MasakoX]
(A vida não vale a pena ser vivida)
Colocar as plantas no medicamento...
[Quanto Hype, quanto tédio]
(Aqui não tem mais uma alma, só um corpo vazio)
Preparando o medicamento...
O quê...!?
[Critic e MasakoX ou dormiram ou morreram]
(Aqui estou morto, definitivamente)
[Critic e MasakoX ou dormiram ou morreram]
(Aqui estou morto, definitivamente)
Ai meu...!
[Critic e MasakoX ou dormiram ou morreram]
(Aqui estou morto, definitivamente)
[Critic e MasakoX ou dormiram ou morreram]
(Aqui estou morto, definitivamente)
Isso!
[Critic e MasakoX ou dormiram ou morreram]
(Aqui estou morto, definitivamente)
Levando o medicamento pelo corredor...
NC: TÁ BOM! JÁ ENTENDEMOS! DEUS AMADO!
(#TradutorMorto)
LitteKuriboh: Citic, isso é essencial para entregar ao público uma revelação poderosíssima dessas!
(#TradutorMorto)
Levar o medicamento ao quarto...
[O Hype do LittleKuriboh evoluiu para Mega Hype]
[Critic cansou dessa merda]
Molhar um lenço com o medicamento, e ENTÃO a revelação!
[TAAAAAAAAAAM!]
(Revivi com as Esferas do Dragão)
NC: Não vai rolar, continuação.
LittleKuriboh: NÉ?!
LittleKuriboh: NÉ?! NÉ?!
LittleKuriboh: NÉ?! NÉ?! ISSO
LittleKuriboh: NÉ?! NÉ?! ISSO FOI
LittleKuriboh: NÉ?! NÉ?! ISSO FOI TÃO
LittleKuriboh: NÉ?! NÉ?! ISSO FOI TÃO ESTÚPIDO!!!!!
Kyle Hebert(?): No próximo episódio de Dragon Ball Z...
"Um dia gelado no HFIL."
NC: Uia! O Kyle voltou!
English:
[Critic and MasakoX Boredom]
Putting the plants in the medicine...
[Such hype]
[Such boredom]
Making the medicine...
Wha...!
[Critic and MasakoX either asleep or dead]
[Critic and MasakoX either asleep or dead]
Oh my...!
[Critic and MasakoX either asleep or dead]
[Critic and MasakoX either asleep or dead]
Yes!
[Critic and MasakoX either asleep or dead]
Carrying the medicine down the hallway...
NC: OKAY! WE GET IT! GOD!
LittleKuriboh: Critic, this is all essential in delivering such a powerhouse reveal!
Bringing the medicine into the room...
[LittleKuriboh Hype has evolved]
[Critic is sick of his shit]
Dabbing a cloth in the medicine, and THEN the reveal!
NC: You're not happening, sequel.
LittleKuriboh: RIGHT?!
LittleKuriboh: RIGHT?! RIGHT?!?!
LittleKuriboh: RIGHT?! RIGHT?!?! THAT
LittleKuriboh: RIGHT?! RIGHT?!?! THAT WAS
LittleKuriboh: RIGHT?! RIGHT?!?! THAT WAS SO
LittleKuriboh: RIGHT?! RIGHT?!?! THAT WAS SO STUPID!!!!!
Kyle Hebert(?): Next time on Dragon Ball Z...
NC: Oh hey! Kyle came back!
Spanish:
[Crítico y MasakoX se aburren]
Poner las plantas en la medicina ...
[Mucho hype]
[Mucho aburrimiento]
Hacer la medicina...
Que ...!
[Critico y MasakoX dormidos o muertos]
[Critico y MasakoX dormidos o muertos]
Ay mi ...!
[Critico y MasakoX dormidos o muertos]
[Critico y MasakoX dormidos o muertos]
¡Sí!
[Critico y MasakoX dormidos o muertos]
Llevar la medicina por el pasillo ...
NC: ¡BIEN! ¡LO ENTENDEMOS! ¡DIOS!
LittleKuriboh: Crítico, ¡Todo esto es esencial para lograr una revelación tan poderosa!
Llevar la medicina a la habitación ...
[El Hype de LittleKuriboh ha evolucionado]
[El Crítico (Y el que está subtitulando) están hartos de su mierda]
Sacar un paño de la medicina, y LUEGO ¡La revelación!
NC: No vas a pasar, secuela.
LittleKuriboh: ¡¿CIERTO?!
LittleKuriboh: ¡¿CIERTO?! ¡¿CIERTO?!
LittleKuriboh: ¡¿CIERTO?! ¡¿CIERTO?! ¡ESO
LittleKuriboh: ¡¿CIERTO?! ¡¿CIERTO? ¡¡ESO FUE
LittleKuriboh: ¡¿CIERTO?! ¡¿CIERTO?! ¡¡¡ESO FUE TAN
LittleKuriboh: ¡¿CIERTO?! ¡¿CIERTO?! ¡¡¡¡ESO FUE TAN ESTÚPIDO!!!!
Kyle Hebert (?): En el próximo:
"Dragon Ball Z: Una Gripa en el infierno"
NC: ¡Oh, hola! ¡Kyle regresó!
English:
Jon Bailey: That's right. And only Ri-yu or Ryu or however you say his name can save the day.
NC: Goddammit Jon Bailey! You're not Kyle Hebert!
Jon Bailey: But I fooled you for a minute, didn't I?
Subscribe to my chann--
LittleKuriboh: So, that was Dragonball Evolution.
NC: Whether you're an average moviegoer...
MasakoX: Or a die-hard fan...
NC, LittleKuriboh: and MasakoX: It blows!
NC: It's visually disjointed, it has little to no world-building, the acting is awkward, the effects are lame,... It's pretty laughably bad.
MasakoX: Fans that have waited years for a faithful live-action movie are gonna have to keep waiting.
Because this has no idea of what Dragon Ball was about, or what made it so special.
LittleKuriboh: It doesn't work in any way, and any newcomers that are introduced to Dragon Ball this way risk losing a fan for life.
It's just one big disrespectful mess.
NC: Well, I probably would have hated the movie anyway, but thank you guys so much for showing me on how many different levels I should hate it.
MasakoX: No problem, Critic.
LittleKuriboh: My miserable pleasure.
NC: I'm the Nostalgia Critic, I remem--
Jon Bailey: Hey, wait. You sure you guys don't want me to narrate you out?
Spanish:
Jon Bailey: Así es. Y solo Ri-yu o Ryu o como diga su nombre pueden salvar el día.
NC: ¡Carajo, Jon Bailey! ¡No eres Kyle Hebert!
Jon Bailey: Pero te engañé por un minuto, ¿No?
Suscríbete a mi cana--
LittleKuriboh: Entonces, eso fue Dragonball Evolution.
NC: Ya seas un cinéfilo promedio ...
MasakoX: O un fan incondicional ...
NC, LittleKuriboh: y MasakoX:
¡ES INMUNDA!
NC: Es visualmente inconexa, tiene poca o ninguna construcción de mundo, la actuación es incómoda, los efectos son flojos, ... Es risíblemente mala.
MasakoX: Los fanáticos que han esperado años para una fiel película de acción en vivo tendrán que seguir esperando.
Porque esto no tiene idea de lo que se trataba Dragon Ball, o lo que la hizo tan especial.
LittleKuriboh: No funciona de ninguna manera, y cualquier recién llegado que le presenten a Dragon Ball de esta manera se arriesga a perder un fanático de por vida.
Es solo un gran desastre irrespetuoso.
NC: Bueno, probablemente hubiera odiado la película de todos modos, pero muchas gracias chicos por mostrarme en cuántos niveles diferentes debería odiarla.
MasakoX: No hay problema, Crítico.
LittleKuriboh: Todo un miserable placer.
NC: Soy Nostalgia Critic, y lo recuer--
Jon Bailey: Oye, espera. ¿Seguro que no quieren que les narre?
Korean:
존 베일리 『맞소이다. 오직 라이우... 아님 류... 뭐라고 말하든... 그 만이
세계를 구할 수 있소이다. 』
크리틱 「존 베일리 새끼, 넌 카일 형이 아니잖아. 」
존 『그래도 잠깐 속았잖아.
제 채널에 구독을 해ㅈ(끊) 』
리틀크리보 『자, 지금까지 드래곤볼 에볼루션이었습니다. 」
크리틱 「평범하게 영화보는 분에게든 」
마사코X 「골수 팬에게든 」
모두 「"개 주옷 같아요." 」
크리틱 「연출도 엉성하고 세계관 정립도 엉성하게 되었고
연기도 엉성하고 특수효과도 엉성하고
죄다 너무 웃길 정도로 엉성합니다. 」
마사코X 「진정한 실사액션영화를 기다리던 팬들은
계속 기다려야 할 겁니다.
왜냐면 이 영화는 드래곤볼의 특징이 무엇인지,
드래곤볼 자체가 무엇인지 모르기 때문입니다. 」
리틀크리보 「감동따위 없을 영화예요.
만일 드래곤볼을 처음 보는 사람이 이걸로 배운다면
팬심에도 타격이 클 지도 모릅니다.
이건 그냥 용납할 수 없는 토사물입니다. 」
크리틱 「이 영화는 그냥 증오하기만 하면 되는 줄 알았는데
'어느 단계로' 증오해야 할 지 알려줘서 고마워요 다들. 」
마사코X 「천만에요 크리틱. 」
리틀크리보 「끔찍하게 감사할 따름. 」
크리틱 「전 노스탤지어 크리틱입니다. 제가 기억하니
크리틱 「전 노스탤지어 크리틱입니다. 제가 기억하니
존 『잠깐!
내 나레이션으로 마쳐야 하지 않겠어? 』
Portuguese:
Jon Bailey: Isso mesmo. e só o Rai-Yu (Ryu) ou Ry-yu (Ryu) - ou seja lá como pronuncia seu nome - pode salvar o dia.
NC: Droga, Jon Bauley! Você não é o Kyle Hebert!
Joj Bailey: Mas eu enganei vocês por um instante, não?
Se inscreva no meu cana---
LittleKuriboh: Então, isso foi Dragon Ball Evolution.
NC: Seja você um membro de audiência comum...
MasakoX: Ou um fã fervoroso...
Todos: É HORRÍVEL!
NC: É visualmente desarticulado, tem quase nenhuma construção de mundo, a atuação é vergonhosa, os efeitos são péssimos... É hilariamente ruim.
MasakoX: Fãs que aguardaram décadas por uma adaptação live-action fiel vão ter que continuar esperando.
Porque esse filme não sabe sobre o que Dragon Ball de fato é, ou o que o tornou tão especial.
LittleKuriboh: Não funciona de forma alguma, e qualquer novato que seja introduzido à Dragon Ball dessa forma pode deixar de virar um fã dessa obra.
É simplesmente uma enorme bagunça desrespeitosa.
NC: Bem, eu provavelmente odiaria o filme de qualquer jeito, mas obrigado pessoal, por me mostrarem em quantos níveis diferentes eu devo odiar isso.
MasakoX: Sem problemas, Critic.
LittleKuriboh: O sofrimento foi todo meu.
NC: Eu sou o Notalgia Critic, eu me lembr---
Jom Bailey: Ei, espera. Têm certeza que não me querem terminando isso em narração?
English:
Kyle Hebert: You know guys, maybe I was jumping the gun a little bit when I left, and I-Hey! Who the hell are you?
Jon Bailey: Um, I'm Kyle He-bert.
NC, LittleKuriboh, and MasakoX: *groan*
Kyle Hebert: I-I'm gone for a minute and you already get another Kyle Hebert?
NC: I'm sorry, but he's a pretty good Kyle.
Jon Bailey: Thanks.
Kyle Hebert: He was talking to me!
MasakoX: Well, there's only one way to settle this.
LittleKuriboh: That's right. A Kyle Hebert-off!
Kyle Hebert: What?
NC: Agreed. You two will face off to see who is the best narrator of Dragon Ball Z! You in?
Kyle Hebert: Alright.
Jon Bailey: Let's do this!
NC: Okay. Get ready...
Get set...
[Inhales]
MasakoX: Guys, it really is Kyle.
LittleKuriboh: Yeah, it's true. He was there first.
NC: Yeah, good point. Kyle, you win.
Kyle Hebert: Yes!
Jon Bailey: Hey! What the f--
NC: I'm the Nostalgia Critic,
MasakoX: I'm MasakoX,
NC: I'm the Nostalgia Critic,
LittleKuriboh: I'm LittleKuriboh...
MasakoX: I'm MasakoX...
NC: I'm the Nostalgia Critic...
NC: And avoid Dragonball Evolution like the plague!
[Fart]
Kyle Hebert: Will Gohan reclaim his former glory, which was unceremoniously squashed on DBZ?
Will Goku be able to close the hole in the ozone layer caused by all the hairspray used in his Super Saiyan do?
Spanish:
Kyle Hebert: Saben chicos, tal vez me precipité un poco cuando me fui, y ¡Hey! ¿Quien diablos eres tú?
Jon Bailey: Em, Soy Kyle He-bert
NC, LittleKuriboh y MasakoX: * suspiran *
Kyle Hebert: ¿Me-me he ido por un minuto y ya tienen a otro Kyle Hebert?
NC: Lo siento, pero es un Kyle bastante bueno.
Jon Bailey: Thanks.
Kyle Hebert: ¡Me hablaba a mí!
MasakoX: Bueno, solo hay una forma de resolver esto.
Little Kuriboh: Así es. ¡Un duelo "Kyle Hebert-esco"!
Kyle Hebert: ¿Qué?
NC: De acuerdo. ¡Ustedes dos se enfrentarán para ver quién es el mejor narrador de Dragon Ball Z! ¿Listos?
Kyle Hebert: Bien.
Jon Bailey: ¡Hagamos esto!
NC: Bien. En sus marcas...
Listos...
[Inhala]
MasakoX: Chicos, realmente es Kyle.
LittleKuriboh: Sí, es verdad. Él estaba allí primero.
NC: Sí, buen punto. Kyle, tú ganas.
Kyle Hebert: ¡Sí!
Jon Bailey: ¡Hey! ¿Qué ca--
NC: Soy el crítico de Nostalgia,
MasakoX: Soy MasakoX,
NC: Soy el crítico de Nostalgia,
LittleKuriboh: Soy LittleKuriboh...
MasakoX: Soy MasakoX,
NC: Soy el crítico de Nostalgia,
NC: ¡Y eviten Dragonball Evolution como la peste!
[Fart]
Kyle Hebert: ¿Podrá Gohan recuperar su antigua gloria, que fue aplastada sin contemplaciones en DBZ?
¿Será Goku capaz de cerrar el agujero en la capa de ozono causado por toda la laca utilizada en su Super Sayajín?
Korean:
카일 『미안해요. 내가 너무 성급하게 뛰쳐나갔나 보ㄴ...
야! 넌 누구야? 』
존 『어..... 카일 허버트올시다. 』
카일 『몇 분 없었다고 다른 카일을 모셔오셨어들? 』
크리틱 「죄송한데 쟤가 카일 역을 잘 해서. 」
존 『고맙소! 』
카일 『쟤 뭔데 날 따라해? 』
마사코X 「흠, 해결할 방법이 있긴 한데. 」
리틀크리보 「그것은 바로 "천하제일 카일대회"! 」
카일 『뭐?! 』
크리틱 「동감.
크리틱 「너희 둘 끼리 누가 최고의 드래곤볼Z 나레이터인지 가려내는 것! 콜? 」
카일 『그래... 』
존 『시작하시오! 』
크리틱 「좋아. 준비...
지금...
마사코X 「진짜 카일 맞아. 」
리틀크리보 「처음 걔 맞네. 」
크리틱 「지당하다. 님이 이겼수 카일. 」
카일 『아싸-- 』
존 『이게 무슨 소ㄹ... 』
크리틱 「저는 노스탤지어 크리틱입니다. 」
마사코X 「전 마사코X였구요. 」
리틀크리보 「전 리틀크리보였구요. 」
크리틱 「드래곤볼 에볼루션은 역병 보듯이 피하세요. 」
(뿡)
카일 「손오반은 드래곤볼Z에서 매정하게 짓밟힌 영광을 되찾을 것인가?
손오공은 슈퍼 사이어인화에 쓰인 헤어스프레이로 인해 뚤린 오존층 구멍을 메꿀 수 있을 것인가?
Portuguese:
Kyle Hebert: Sabe, rapazes, acho que eu me precipitei um pouco quando saí, e eu--- Ei! Quem diabos é você?
Jon Bailey: Hum, Eu sou o Kyle Ri-bert.
Todos: *Suspiram*
Kyle Hebert: E-eu saio por um minuto e vocês já arranjam outro Kyle Hebert?
NC: Desculpa, mas ele é um ótimo Kyle.
Jon Bailey: Valeu.
Kyle Hebet: Ele estava falando comigo!
MasakoX: Bem, só tem um jeito de resolver isso.
LittleKuriboh: Isso mesmo. Uma disputa de Kyle Hebert!
(O quê?)
Kyle Hebert: O quê?
(Exato!)
NC: Concordo. Vocês disputarão para ver quem é o melhor narrador de Dragon Ball Z! Topam?
(Opa, isso vai ser interessante!)
Kyle Hebert: Tá bom.
Jon Bailey: Vamos lá!
NC: Okay. Preparem-se...
NC: Treina a voz...
[Inspira]
MasakoX: Gente, é o Kyle mesmo.
LittleKuriboh: É, verdade. Ele tava aqui primeiro.
NC: É, tem razão. Kyle, você venceu.
Kyle Hebert: Isso!
Jon Bailey: Ei! Mas que po---
NC: Eu sou o Nostalgia Critic...
NC: Eu sou o Nostalgia Critic...
MasakoX: Eu sou o MasakoX...
NC: Eu sou o Nostalgia Critic...
MasakoX: Eu sou o MasakoX...
LittleKuriboh: E eu o LittleKuriboh...
NC: E evite Dragon Ball Evolution como a Peste Negra!
[Peido de despedida]
Kyle Hebert: Será que o Gohan irá restaurar sua gloria, que foi completamente esmagada ao longo de DBZ?
Será que o Goku será capaz de fechar o buraco na camada de ozônio causado pelo spray de cabelo que ele usa ao virar Super Saiyajin?
English:
Can Ox King find true love on Tinder?
When will Mr. Satan join the WWE and become an honorary member of The New Day?
How much wood could a woodchuck chuck if a woodchuck could chuck wood?
Does the rain in Spain fall mainly on the plain, or just in Detroit?
Bulma: DBE. Catchy name.
Doug: Hello, Doug Walker here doing the charity shout-out, and this week we are doing the American Refugee Committee.
This is an international NGO that responds to crisis and helps refugees build lives of dignity and self-sufficiency.
Portuguese:
Será que o Rei Touro conseguirá achar o amor no Tinder?
Quando que o Mr. Satan se juntará ao WWE e se tornará membro honorário do The New Day?
Quanto pau conseguiria um pica-pau picar se a pica dele conseguisse picar pau?
A chuva da Espanha cai em boa parte na planície, ou só em Detroit?
Bulma: DBE. Soa muito bem.
Doug: Olá, Doug Walker aqui fazendo o patrocínio de caridade, essa semana estamos fazendo do Comitê Americano de Refugiados.
Essa é uma ONG internacional que responde a crises e ajuda refugiados a construir vidas de dignidades e autossuficiência.
Spanish:
¿Podrá Ox Satán encontrar el verdadero amor en Tinder?
¿Cuándo se unirá Mr. Satan a la WWE y se convertirá en miembro honorario de The New Day?
¿Cuánta madera podría arrojar una marmota si una marmota pudiera arrojar madera?
¿Un ardid urdió el bardo en Madrid, o solo en Detroit?
Subtitulos en Español (Latinoamérica)
Nolberto Roa Pulido
Bulma: EED, Nombre pegadizo.
Doug: Hola, Doug Walker aquí haciendo el llamado de caridad, y esta semana estamos haciendo el Comité de Refugiados Estadounidense.
ARCrelief.org
Esta es una ONG internacional que responde a las crisis y ayuda a los refugiados a construir vidas dignas y autosuficientes.
Korean:
헉스킹은 텐더에서 진정한 사랑을 찾을 수 있을 것인가?
미스터 사탄은 언제쯤 WWE에 들어가 더 뉴데이 명예 회원이 될 것인가?
저기 저 콩깍지가 깐 콩깍지일 것인가 안 깐 콩깍지일 것인가?
스페인의 비는 평야에 그대로 남아 있을 것인가?
아님 디트로이드 시에 남아있을 것인가? 」
치치 『D.B.E. 착착 감기는 이름이지. 』
안녕하세요. 더그 워커가 자선 단체 홍보를 하러 왔습니다.
이번에 소개해드릴 곳은 '미국 난민 협회'입니다.
이는 국제 비정부 기구로서 위기 대처의 일을 하며
난민들이 존중과 자립 생활을 꾸릴 수 있도록 도와주는 일을 합니다.
협회는 아프리카, 중동, 아시아 등 11개국에서 일하고 있으며
Korean:
35년간의 건강 및 위생과 같은 전문가와 서비스를 통해
전 세계 난민들을 도와주고 있습니다.
난민들은 자신들이 필요한 게 무엇인지를 말하고
그 공동 사회에 가장 적절하게 필요한 프로그램을 공동 제작해줌으로서
인도주의적 문제를 해결하는 데 새롭고 더 나은 해결책을 모색해나갈 수 있는 것입니다.
각각 지역 기구와 협력하거나 기구 공동 설립을 함으로서
난민사회에게 전세계에 걸쳐, 그리고 특유하고 지속가능한 영향력을 행사할 수 있게되었습니다.
협회 사이트나 유튜브 채널로 가시면 그들이 이룩한 결과물을 보실 수 있습니다.
또한 협회는 charitywatch.org에서 A+등급을 받은 바 있습니다.
둘러보셔서 이들이 지속적인 성과를 낼 수 있도록 도움을 주시는 것도 좋습니다.
English:
They work in 11 countries in Africa, the Middle East, and Asia, bringing more than 35 years of expertise and services, such as health and sanitation,
to empower refugees around the world.
Refugees share with them what they need, and they work together to create programs that make the most sense for that particular community,
pursuing new and better solutions to enduring humanitarian challenges.
By supporting and co-creating with local organizations, they've been able to reach around the globe and reach a unique and sustainable impact on communities.
Both their site and their YouTube channel show the incredible work that they do, and they even earned an A+ on Charitywatch.org.
Give them a look, and see how you can help these people continue their amazing achievements.
Portuguese:
Eles trabalham em 11 países na África, Oriente Médio e Ásia, trazendo mais de 35 anos em perícia e serviços, tais como saúde e salubridade.
Para empoderar refugiados do mundo todo.
Refugiados compartilham o que precisam, e trabalham juntos para criar programas que mais condizem para com as comunidades que visitam.
Indo atrás de soluções melhores e novas para superar os enormes desafios humanitários.
Ao apoiar e co-criar com organizações locais, eles foram capaz de alcançar o globo todo e deixar impactos únicos e sustentáveis nas comunidades.
Tanto o seu site quanto canal do YouTube mostram seus trabalhos incríveis, e eles ganharam um A+ no Charitywatch.org.
Dê uma conferida, e você verá como pode ajudar essas pessoas a continuarem a fazer uas conquistas espetaculares.
Spanish:
ARCrelief.org
Trabajan en 11 países de África, Medio Oriente y Asia, aportando más de 35 años de experiencia y servicios, como salud y saneamiento,
ARCrelief.org
para empoderar a los refugiados en todo el mundo.
ARCrelief.org
Los refugiados comparten con ellos lo que necesitan y trabajan juntos para crear programas que tengan más sentido para esa comunidad en particular,
ARCrelief.org
buscar nuevas y mejores soluciones a desafíos humanitarios perdurables.
ARCrelief.org
Al apoyar y cocrear con organizaciones locales, han podido llegar a todo el mundo y alcanzar un impacto único y sostenible en las comunidades.
ARCrelief.org
Tanto su sitio web como su canal de YouTube muestran el trabajo increíble que hacen, e incluso obtuvieron un A+ en Charitywatch.org.
ARCrelief.org
Echeles un vistazo y vean cómo pueden ayudar a estas personas a continuar sus increíbles logros.
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} |
Ukrainian:
Раніше, коли я не слухалася батька, він морив мене голодом
Твій хлопець не тямить, як це, коли ти заморений голодом
Привіт! Я подружка TreeMan, мене звати Кайсін
Дівчина, яка худне заради хлопця
втрачає свідомість через гіпоглікемію (зниження рівня глюкози в крові)
Як на це відреагують перехожі?
Як ти? Чи потрібна тобі допомога?
Чи потрібна тобі допомога?
У мене запаморочилась голова
Запаморочилась голова я? У тебе не гіпоглікемія часом?
Що трапилося?
Запаморочилась голова
У меня трохи запаморочилась голова через гіпоглікемію
Japanese:
以前お父さんの言うこと聞かなかったとき食べるものもらえなかった
彼氏なんもわかってない 食べないのは体に良くないって
どうも大樹君の友達開心です
彼氏のためにダイエットしてる女の子が
低血糖で街で倒れたら
みんなどんな反応するのか
大丈夫ですか 手伝いましょうか
大丈夫ですか
ちょっと眩暈がきて
眩暈 低血糖症状じゃない
どうしましたか
ちょっと眩暈がきて
低血糖でちょっと眩暈がきて
Arabic:
عندما كنت صغيرة، إذا لا أخضع لوالدي، سيمنعني من الأكل
صديقك لا يعرف شيء، الجوعان غير مفيد للصحة
مرحبا، أنا صديقة TreeMan، اسمي كايشين
أصيبت فتاة بالإغماء على الشارع بسبب نقص سكر الدم
لأنها تريد تقلل وزنها حسب طلب صديقها
ماذا سيفعلون الناس؟
ما بك، هل تحتاجين إلى المساعدة؟
هل تريدين المساعدة؟
أشعر بالدوار
الدوار؟ ممكن بسبب نقص سكر الدم؟
كيف حالك
أشعر بالدوار
نقص سكر الدم
Korean:
이전에 제가 말 안들으면 아빠가 저를 굶겼어요
당신 남자친구 배고프면 장에 안좋다는 걸 이해하지 못해요
안녕하세요 저는 트리맨의 해피입니다
남자친구를 위해서 다이어트를 하는 여자가
저혈당으로 인해 길에서 어지러워 쓰러져있고
그 장면을 본 길 가던 사람들은 어떤 반응을 보일까요?
당신 왜 그래요? 도와드릴까요?
도움이 필요해요?
제가 지금 조금 어지러워요
어지러우면 혹시 저혈당이에요?
당신 왜그래요?
지금 조금 어지러워요
제가 저혈당이 있어서 조금 어지러워요
Russian:
Раньше когда я не послушалась, и мой папа подержил меня голодной
Твой парень не понимает, что голод плох для желудка.
Привет всем, я дружу с Трееманом. Кайсин
Девушка для парня сидит на диете
Падала в обморок на обочине из-за гипотонии
Что будут делать прохожие, которые видят эту сцену
Что с тобой? Нужна помощь?
Не нужна помощь?
У меня немного головокружение
Головокружение из-за гипотонии
Что с тобой?
У меня немного головокружение
У меня гипотония
Chinese:
以前我不聽話 我爸就餓我
你男朋友他都不懂 餓肚子不好
嗨 大家好 我是大樹君的朋友 開心
一位為了男朋友減肥的女生
因低血糖而暈倒在路邊
看到這一幕的路人會怎麼做呢
你怎麼了 需要幫忙嗎
需不需要幫忙
我有點頭暈
頭暈 是不是低血糖了
你怎麼了
我有點頭暈
我有點低血糖 頭暈
Spanish:
Antes no le obedecía y mi padre no me dejaba comer
Tu novio no sabe, tienes muchos hambres no es bueno
Hola a todos, soy la amiga de Treeman, Kaixin
Una chica que adelgazaba por su novio
Se desmayó en la carretera debido a la hipoglucemia
¿Qué hacen los transeuntes que ven esta?
¿Qué te pasa? ¿Necesitas ayuda?
¿Necesitas ayuda o no?
Estoy un poco mareado.
¿Mareado? ¿Tiene hipoglucemia?
¿Qué te pasa?
Estoy un poco mareado.
Tengo hipoglucemia y estoy un poco mareado.
Indonesian:
Papaku dulu akan membiarkanku kelaparan ketika aku tidak mendengarkannya
Pacarmu tidak mengerti kalau perut kosong kelaparan tidaklah baik
Hai, saya teman TreeMan, KaiXin
seorang gadis yang sedang berdiet karena pacarnya,
hampir pingsan di jalanan karena mengalami gula darah rendah
Apa yang akan dilakukan orang-orang saat melihatnya?
Kamu kenapa? Butuh bantuan?
Apa butuh bantuan?
Aku agak pusing
Pusing? Apa karena gula darah rendah?
Kamu kenapa?
Aku agak pusing
Aku agak pusing karena gula darah rendah
Portuguese:
Quando eu era criança, se eu fiz algo errado, meu pai não me deixava comer
Seu namorado não sabe nada. Isso vai prejudicar a sua saúde
Olá, pessoal. Sou amiga do Tree Man, Kai Xin
Uma menina que perdeu peso para o namorado
desmaiou na rua por causa do baixo teor de açúcar no sangue
O que os transeuntes vão fazer neste caso?
Tá tudo bem? Precisa de ajuda?
Precisa de ajuda?
Sinto-me um pouco tonta
É por hipoglicemia?
Tá tudo bem?
Sinto-me um pouco tonta
por causa do baixo teor de açúcar no sangue
Vietnamese:
Ngày trước tôi không nghe lời bố tôi thì để tôi đói
Bạn trai của bạn không hiểu đói bụng không tốt cho sức khỏe
Hi chào mọi người tôi là bạn của Đại Thụ Quân Vui Vẻ
Một cô gái giảm béo vì bạn trai
Ngất xỉu bên lề đường do hạ đường huyết
Khi nhìn thấy cảnh này người qua đường sẽ làm thế nào
Cháu sao thế cần giúp đỡ không
Cần giúp đỡ không
Cháu hơi chóng mặt
Chóng mặt à có phải là tụt đường huyết không
Bạn sao vậy
Tôi hơi chóng mặt
Tôi bị hạ đường huyết nên chóng mặt
Chinese:
以前我不听话 我爸就饿我
你男朋友他都不懂 饿肚子不好
嗨 大家好 我是大树君的朋友 开心
一位为了男朋友减肥的女生
因低血糖而晕倒在路边
看到这一幕的路人会怎么做呢
你怎么了 需要帮忙吗
需不需要帮忙
我有点头晕
头晕 是不是低血糖了
你怎么了
我有点头晕
我有点低血糖 头晕
Turkish:
İtaatkar olmadan önce babam açtı
Erkek arkadaşın açlığın kötü olduğunu anlamıyor
Herkese merhaba, ben Da Shujun mutlu bir arkadaşım
Erkek arkadaşı için kilo veren bir kız
Düşük kan şekeri nedeniyle yol kenarında bayılır
Geçenlerin bu sahneyi görerek ne yapması gerekir?
Yardıma ihtiyacın var mı
Yardıma ihtiyacınız var
Biraz başım dönüyor
Baş dönmesi düşük kan şekeri mi?
sana ne oldu
Biraz başım dönüyor
Biraz başım dönüyor
English:
My dad used to starve me when I was naughty.
Your boyfriend can't understand the feeling of starvation.
Hi, everyone! I'm TreeMan's friend, Kai Xin.
If a girl who was on a diet because of her boyfriend
passes out on the street due to hypoglycemia,
what will people do?
What's wrong with you? Can I help you?
Do you need any help?
I'm a little dizzy.
You may have hypoglycemia.
What's wrong with you?
I'm a little dizzy.
I have hypoglycemia.
French:
Avant quand je désobéissais , mon père me donnait pas à manger
ton copain ne comprends pas que c'est mauvais de ne pas manger.
Bonjour , je suis l'ami de Treeman, Kaixin
Une fille se met au régime pour son copain
s'évanouit dans la rue de faim
que seront les passants en ayant assisté à cette scène ?
Qu'est-ce qu'il y a ? tu as besoin d'aide ?
est-ce que tu as besoin d'aide ?
j'ai le tournis
Ah bon ? C'est de l'hypoglycémie ?
Qu'est-ce qu'il y a ?
je me sens mal
c'est de l’ hypoglycémie , j'ai un peu le tournis
Japanese:
持ってるお菓子あげて
キャンディーあるけど
速く
ここで座ったら
ここにちょっと
手で支えるので
ありがとうございます
全然
後ろにあるので
ちょっと座って
ちゃんとご飯を食べないと
ほらおじさんからキャンディー 食べて
大丈夫
僕が糖尿病だからいつもキャンディーを持ってる
ありがとうございます
速く食べて
キャンディーを食べて
いまダイエット中
ダイエットなんて 健康第一だよ
彼氏にデブだと言われて
じゃあ 別れればいい
そう
全部食べなくてもいい
でもせめて 口に入れてちょっと糖分を
大丈夫 キャンディーぐらい
ありがとうございます
彼女朝ご飯食べてないの
彼女の痩せてないけど
この状況でダイエットなんて
全然太ってないよ 私と比べれば
せめて生きて行かないと
基本的なものを摂取しないと
ダイエットするのは別にいいんだけど 食べないのはだめ
Spanish:
Dale tu merienda
Tengo caramelo
Rápido
Siéntate aquí. ¿Vale?
Siéntate en esta piedra
Venga, te ayudo
Gracias
De nada
Hay una (piedra) detrás de ti, siéntate aquí
Siéntate
Te dije que comieras
Comes un poco del caramelo que te dio
No pasa nada
Como tengo diabetes, siempre llevo caramelo conmigo
Gracias a usted
Todo para ti, comes
Comes un poco del caramelo
Estoy adelgazando
La salud es lo más importante
Pero mi novio dice que soy demasiado gordo
Entonces, separaos de él
Sí
Puedes no comer todo
Pero aún así, manténgalo en la boca
No pasa nada, este no te hará engordar
Gracias
Ella no desayunó
Miras que ella es más gorda que tú
Ya estás así, ¿Quieres seguir adelgazando?
¿Dónde estás gorda? Te comparas conmigo
Al menos estarás vivo
La persona debe mantener una ingesta básica
Puedes perder peso, pero no puedes hacer dieta
Chinese:
把你的零食给她
我这有个糖
快 快
你坐这行不行
坐这小墩上行不行
来我扶着你
谢谢你
没事
后面有一个（凳子）坐这
你坐这就行
我说一定要吃饭
大叔给你的糖你吃点吧
没事
我有糖尿病 所以随身带着糖
谢谢您
都给你 快吃上吧
吃点糖
我在减肥
减什么肥 先身体要紧
可是我男朋友说我太胖了
那就分手吧
对
你不吃完可以
但是还是稍微放嘴里 含一会
不要紧 这点糖还怕胖
谢谢你
她早晨没吃饭
你看这个都胖成啥样了
你都这样了还减什么肥啊
你哪里胖 你跟我比你哪里胖
最起码你得活着吧
人要维持基本的摄入
你可以减肥 但不能节食
Russian:
Дай ей свои закуски
У меня есть конфеты
Быстрее
Садись
Сидеть на этом
Я поддерживаю тебя
Спасибо
Пожалуйста
Вот один (стул), садись
Давай
Надо есть
Ешь конфеты
Все в порядке
У меня диабет, так что беру конфеты с собой
Спасибо вам
Все тебе
Ешь конфеты
Я теряю вес
Какой вес? Здоровье в первую очередь
Но мой парень говорит, что я слишком толстая
Тогда расстаться с ним
Да
Ты можешь не съесть
Но все еще немного во рту
Ничего страшного, маленькая конфета
Спасибо
Она не завтракала утром
Какая толстая
Ты теряешь вес при таком состоянии?
Где ты толстая? Я больше тебя
По крайней мере ты должна жить.
Человек должен поддерживать основное потребление
Ты можешь немного похудеть, но не на диете
Arabic:
هاتيها المأكولات عندك
عندي هذه الحلويات
اسرع
هل ممكن تجلسين هنا؟
تقدرين على الجلوس هنا؟
تعالي، لأساعدك
شكرا
عفوا
خلفنا عمد صغير
اجلسي هنا
اسمعي، لا بد منك أن تأكلي الطعام الكافي
خذي الحلويات من العم وكلي
لا تقلقي
أعاني من مرض السكر، فأحمل معي الحلويات في أي وقت
شكرا جزيلا
كلها لك، كلي
كلي الحلويات
أريد التنحيف
انسي التنحيف، الصحة أهم من التنحيف
لكن صديقي قال أنني سمينة جدا
انفصلي معه إذن
نعم
إذا لا تريدين كمله
كلي جزء منه
لا بأس، لا يحتوي سكر كثيرا
شكرا لك
لم تأكل الفطور اليو
شفي هي، أكثر سمينة منك
قد تأثرت صحتك، لا تهتمي بالتنحيف الآن
لست سمينة على الإطلاق، شفي أنا
إذا أردت بقاء على قيد الحياة
عليك أن تأكل الطعام الكافي للحفاظ على حياتك
فكري بالطريقة الأخرى للتنحيف، ولا تمنعي نفسك من الأكل
Portuguese:
Dê a ela seu lanche
Aqui tem um açúcar
Rápido
Não pode sentar aqui
Vai pra cá
Me segura
Obrigada
Imagina
Aqui tem uma (cadeira)
Sim, aqui
Você tem que comer
Ele te dá açúcar
Pode comer
Tenho diabetes, por isso carrego açúcar comigo
Obrigada
Pode comer
Coma açúcar
Estou perdendo peso
A saúde é importante
Mas meu namorado disse que eu sou muito gorda
Tem que terminar com ele
Sim
Não engole tudo isso
Você precisa colocar o açúcar na sua boca por um tempo
Não se preocupe, só um açúcar
Obrigada
Ela não tomou café da manhã
Ela também é gorda
Você não deve perder peso
Você é muito mais magra do que eu
Tem que prestar mais atenção à sua saúde
e garantir a ingestão diária de nutrição
Você pode perder peso, mas não pode fazer dieta
Vietnamese:
Đưa đồ ăn cho bạn ấy
Tôi có kẹo
Nhanh lên
Bạn ngồi đây được không
Ngồi cái đôn đây được không
Nào tôi đỡ bạn
Cảm ơn ạ
Không sao
Phía sau có một cái đôn ngồi đấy
Bạn ngồi đây thì được
Cô nói chắc phải ăn cơm
Chú đưa kẹo cho cháu thì ăn đi
Không sao
Chú có bệnh tiểu đường nên có mang kẹo
Cảm ơn chú ạ
Đều cho cô cứ ăn đi
Ăn kẹo
Tôi đang giảm béo
Giảm cái gì giảm sức khỏe là quan trọng nhất
Nhưng bạn trai tôi nói tôi béo quá
Thế chia tay đi
Đúng
Bạn có thể không ăn hết
Nhưng nên giữ nó trong miệng một chút
Không có gì đâu ít đường thôi còn sợ gì đấy
Cảm ơn ạ
Cô ấy không ăn vào buổi sáng
Bạn xem bạn gái tôi đã béo thế này rồi
Bạn đã như vậy rồi lại giảm béo gì nữa
Bạn béo đâu hả so với tôi bạn béo đâu
Ít nhất bạn phải sống trên đời mà
Mọi người cần duy trì năng lượng cơ bản
Bạn có thể giảm béo nhưng đừng ăn kiêng
French:
donne lui ton goûter
j'ai des bonbons
vite
viens t'asseoir ici ça va ?
sur la pierre ici
viens je t'aide
merci
c'est rien
il y en a un juste derrière toi , assieds toi là
oui voilà ici
il faut manger correctement
prends un peu de bonbons du monsieur
c'est rien prends
J'ai le diabète, donc j'en ai tout le temps avec moi
merci
je te les donne tous , aller mange
prends des bonbons
je suis au régime
roh là là , ta santé passe en premier
mais mon copain dit que je suis trop grosse
alors quitte le
oui
c'est pas grave si tu finis pas
mais mets le dans ta bouche quelques moments
C'est pas grave, y'a pas beaucoup de sucre.
Merci
Elle a pas manger le matin
regarde comment ma femme est grosse
T'as vraiment pas besoin de faire un régime
toi tu es grosse ? regarde moi , tu n'es pas du tout grosse comparé à moi
avant de faire un régime, tu dois être en vie
en être humain il doit avoir un minimum d'énergie consommé par jour
tu peux faire un régime , mais tu dois quand même manger
Chinese:
把你的零食給她
我這有個糖
快 快
你坐這行不行
坐這小墩上行不行
來我扶著你
謝謝你
沒事
後面有一個（凳子）坐這
你坐這就行
我說一定要吃飯
大叔給你的糖你吃點吧
沒事
我有糖尿病 所以隨身帶著糖
謝謝您
都給你 快吃上吧
吃點糖
我在減肥
減什麼肥 先身體要緊
可是我男朋友說我太胖了
那就分手吧
對
你不吃完可以
但是還是稍微放嘴裡 含一會
不要緊 這點糖還怕胖
謝謝你
她早晨沒吃飯
你看這個都胖成啥樣了
你都這樣了還減什麼肥啊
你哪裡胖 你跟我比你哪裡胖
最起碼你得活著吧
人要維持基本的攝入
你可以減肥 但不能節食
English:
Give her your snacks.
I have some candies.
Come on.
Would you like to sit here?
Sit on this stone.
Let me hold you.
Thank you.
That's all right.
There's a stool behind you.
Sit here.
Listen to me, you have to eat.
Eat some candies the uncle gives you.
It's okay.
I always take some sugar with me because I have diabetes.
Thank you.
Give you all of these, eat it.
Have some candies.
I'm on a diet.
Your health is the most important thing.
But my boyfriend said that I was too fat.
You should break up.
That’s right.
You don't have to eat them all.
Keep them in your mouth.
Never mind, just a little.
Thank you.
She didn't eat in the morning.
Look at her, she is so fat now.
Don't lose your weight. You're almost fainting.
You're not fat. You're thinner than me.
You have to live first.
People should maintain basic intake.
Korean:
당신이 가진 간식 이 여자분께 드려요
저한테 사탕이 있어요
빨리 빨리
당신 여기 앉을 수 있겠어요?
옆에 여기 바위에 잠깐 앉을 수 있겠어요?
제가 부축해드릴께요
감사합니다
괜찮아요
뒤에 하나(의자) 있는데 여기 앉아요
여기 앉으면 되요
꼭 밥먹어야해요
이 아저씨가 주는 사탕 좀 먹어봐요
괜찮아요
저한테 당뇨병이 있어서 항상 사탕을 가지고 다녀요
감사합니다
다 줄테니까 빨리 먹어요
사탕 좀 먹어요
저 지금 다이어트 중이에요
무슨 다이어트에요 일단 몸부터 챙겨요
근데 제 남자친구가 저보고 뚱뚱하다고 그래요
그러면 그냥 헤어지세요
그러니까요
다 안먹어도 되요
근데 입안에 넣어서 조금씩 녹여서 먹어요
너무 긴장하지마 이렇기 작은 사탕인데 살찔까봐 걱정을 해
감사합니다
이 여성분 아침에 밥 안먹었어요
이 모습도 뚱뚱하다고 그러면 어떻게요
이렇게 어지러워하면서 무슨 다이어트를 해요
그리고 어디가 뚱뚱한데요 당신이 나보다 어디가 뚱뚱해요
적어도 당신 살 수 있을정도로 해야죠
사람은 기본적으로 섭취해야하는 정도를 유지해야해요
당신 다이어트는 해도 되는데 절식은 하지 마요
Turkish:
Ona atıştırmalıklarını ver
Şekerim var
Hızlı bir şekilde
Burada oturabilir misin
Bu küçük iskeleye çıkamıyorum
Gel sana yardım ederim
teşekkür ederim
Hiçbir şey değil
Burada arkasında bir (tabure) oturuyor
Buraya oturabilirsin
Yemek zorundayım dedim
Amca, sana biraz şeker ver
Hiçbir şey değil
Diyabetim var, bu yüzden yanımda şeker taşıyorum
teşekkür ederim
Senin için yiyeceğim
Biraz şeker ye
Kilo veriyorum
Önce kilo vermek önemlidir
Ama erkek arkadaşım çok şişman olduğumu söyledi
Sonra ayrıl
Doğru
Bitirebilirsin
Ama yine de bir süre ağzıma koy
Bu şekerin hala şişman olmaktan korkup korkmadığı önemli değil
teşekkür ederim
Sabah yemek yemedi
Bunun ne kadar şişman olduğunu görüyorsun
Ne tür yağ kaybediyorsun?
Benden nerede şişmansın
En azından hayatta olmalısın
İnsanlar temel alımı sürdürmelidir
Kilo verebilirsiniz ama diyet yapamazsınız
Ukrainian:
Дай їй що-небудь поїсти
У мене є цукерка
Швидше, швидше
Сідай сюди, добре?
на цей стовпчик, зможеш сісти?
Я допоможу
Дякую
Нема за що
Позаду також є стовпчик
Сідай тут
Послухай, тобі необхідно поїсти
Скуштуй цукерки, які я даю тобі
Усе добре
У мене цукровий діабет, тому при мені постійно є щось солодке
Дякую Вам
Давай швидше їж
З'їж цукерки
Але я на дієті
На якій ще дієті? Здоров'я важливіше
Але мій хлопець вважає мене товстою
Так розлучися з ним
Так
Необов'язково їсти всі
Але потримай трохи у роті
Не хвилюйся, ти не погладшаєш від них
Дякую
Вона не снідала
Подивись на неї, вона така товста зараз
Подивись до чого це призвело, і ти ще й далі худнеш?
Покажи мені, де ти товста? Ти худіша за мене
Найголовніше тобі потрібно жити
Людям потрібно підтримувати основний обмін речовин
Ти можеш худнути, але не потрібно так урізати раціон
Indonesian:
Kasih dia cemilan
Aku punya permen
Cepat
Kamu duduk sini, OK
Duduklah di atas batu ini
Mari, aku bantu
Terima kasih
Tidak apa-apa
Duduklah di (bangku) sini
Kamu duduklah di sini
Kalau aku bilang, kamu harus makan
Kamu makanlah permen dari paman ini
Tidak apa-apa
Aku menderita diabetes, jadi aku selalu membawa permen
Terima kasih
Ini untukmu, cepat makanlah
Makanlah permen
Aku sedang diet
Diet apanya? Sekarang kesehatan lebih penting
Tapi pacarku bilang aku terlalu gendut
Kalau gitu putus saja
Betul
Kamu boleh saja tidak menghabiskan makananmu
Tapi kamu harus membiarkannya sementara di mulutmu
Tidak usah khawatir, permen tidak akan membuatmu gendut
Terima kasih
Dia belum makan pagi ini
Kamu lihat ini baru yang namanya gendut
Kamu sudah segini, masih mau diet apa lagi
Mana ada kamu gendut, bandingkan denganku mana yang gendut
Paling tidak kamu harus tetap hidup
Semua orang perlu mempertahankan asupan dasarnya
Kamu boleh menurunkan berat badan, tapi janganlah berdiet sampai seperti ini
Turkish:
Et yetiştiremeyen bir parça yemeniz önemli değil
Bu sadece açılmamış, sadece açıldı
Yemekten sonra yürüyeceğim ve sonra bayılıyorum
sana ne oldu
Biraz başım dönüyor
Senin önünde otur
Aç mısın
İyi misin
Biraz başım dönüyor
Bir süre gölgede oturmana yardım edeceğim
teşekkür ederim
Hiçbir şey değil
Yolun kenarında otur
Buraya otur
Sana yiyecek alacağım
Kilo veriyorum
sen şişman değilsin
Çok ince, çok zayıfsın
Sana bir şişe su alacağım
Buradasınız
Arabic:
كلي قطعة صغيرة، لن تصبحي سمينة
هذه العلبة جديدة، فتحتها للتو
كلي، أو لا تستطيعين المشي
ما بك
أشعر بالدوار
تعالي، لنجد مكان للاستراحة
هل تشعرين بالجوعان؟
أنت بخير؟
أشعر بالدوار
تعالي، لنجد مكان تحت الظل
شكرا
عفوا
تعالي، اجلسي هناك
اجلسي
لأشتري لك بعض الأطعمة
لا، أنا على التنحيف
لست سمينة
أنت نحيفة جدا
انتظري قليلا
سأذهب لأجلب لك الماء
French:
c'est pas grave d'en manger juste un ,ça grossit pas
et j'ai pas encore ouvert
vas-y mange, sinon tu vas t'évanouir en marchant
qu'est-ce qu'il y a ?
j'ai le tourni
va t'asseoir devant
tu as faim ?
qu'est-ce qu'il y a ?
j'ai le tourni
Je viens avec toi t'asseoir dans un endroit frais
merci
c'est rien
on s'assoit au bord de la route ?
juste là
je vais t'acheter quelque chose à manger ?
je suis au régime
tu n'es pas grosse
tu es super maigre , même trop
je te achète une bouteille d'eau ?
attends-moi ici
Spanish:
No importa comer un poco, no vas a engordar
Esto no está abierto, acabo de abrirla
Comeslo,Si no te desmayará después de caminar
¿Qué te pasa?
Estoy un poco mareado.
Ve al frente y siéntate
¿Tienes hambre?
¿Estás bien?
Estoy un poco mareado.
Vamos a sentarnos en esa sombra
Gracias
De nada
Siéntate al borde de la calle
Siéntate aquí.
Voy a comprarte un poco de comida
Estoy adelgazando
No eres gorda.
Eres delgada, muy delgada
Te compraré una botella de agua
Esperas aquí
Korean:
한조각 먹는 거 갖고 너무 긴장하지 마요 살 안쪄요
이거 방금 뜯은거에요
먹어요 안 그러면 이따가 또 어지러워서 쓰러져요
당신 왜그래요?
지금 조금 어지러워서요
저기로 가서 잠깐 앉아요
당신 혹시 배고픈거 아니에요?
당신 괜찮아요?
지금 조금 어지러워요
제가 부축해드릴테니까 저기 그늘에서 조금만 쉬어요
감사합니다
괜찮아요
여기 길가쪽으로 가서 앉아요
여기 앉아요
제가 가서 당신한테 밥 좀 사드릴께요
저 지금 다이어트 중이에요
당신 안 뚱뚱해요
엄청 말랐어요 정말로
제가 물 사다 드릴께요
여기서 잠깐만 기다려요
Chinese:
你吃一块不要紧的 长不了肉的
这个都是没开封的 刚打开的
吃了 要不一会走路再晕倒了
你怎么了
我有点头晕
你到前面坐会吧
你是不是饿的呀
你没事吧
我有点头晕
我扶你上个阴凉地坐会儿
谢谢你
没事
坐在这马路边上吧
坐这儿
我去给你买点饭
我在减肥
你不胖啊
好瘦啊你 太瘦了
我给你买瓶水吧
你在这等会
Russian:
Ешь одну кусочку, не будет толстеть
Это только открывалось
Ешь, а то падает в обморок
Что с тобой?
У меня немного головокружение
Садись немножко
Ты голодна?
Ты в порядке?
У меня немного головокружение
Я помогу тебе сидеть в тени.
Спасибо
Пожалуйста
Сидишь здесь
Сюда
Я пойду купить вам еду.
Я не диете
Ты не толстая
Ты худой очень
Я куплю тебе бутылку воды.
Подожди
Japanese:
飴一個くらいで大丈夫よ 太らないから
これはまだあけてない 新しいもの
食べないと 歩いていたらまた倒れちゃう
どうしましたか
ちょっと眩暈がきて
前のところでちょっと座ったら
ちゃんと食事してないからじゃない
大丈夫ですか
ちょっと眩暈がきて
じゃあ涼しいところで一旦座ろ
ありがとうございます
大丈夫です
道端でちょっと座って
ここで
食べるものなんか買ってこようか
いまダイエット中
全然太ってないよ
痩せてるよ全然
水を買ってこようか
ここでちょっと待ってて
Portuguese:
Só um açúcar, não se preocupe
Eu abri isso, pode comer
Ou você vai desmaiar de novo
Tá tudo bem?
Sinto-me um pouco tonta
Pode sentar e descansar um pouco
Está com fome?
Tá tudo bem?
Sinto-me um pouco tonta
Vamos sentar lá por um tempo
Obrigada
Imagina
Pode ser aqui mesmo
Aqui
Eu vou comprar algo pra você comer
Estou perdendo peso
Você não é gorda
Você é muito magra
Quer água?
Espera um pouco
Indonesian:
Tidak masalah kalau makan sedikit, kamu tidak akan bertambah gendut
Ini masih bersegel, baru saja tadi dibuka
Makanlah, kalau tidak nanti pusing lagi saat berjalan
Kamu kenapa?
Aku agak pusing
Kamu duduklah dulu di sini
Apa kamu menahan lapar?
Apa kamu tidak apa-apa?
Aku agak pusing
Aku bantu kamu, ayo duduk di tempat yang teduh
Terima kasih
Tidak apa-apa
Duduklah di pinggir jalan sini
Duduklah di sini
Aku akan pergi belikan kamu makanan
Aku sedang berdiet
Kamu kan ga gendut
Sudah kurus, kamu terlalu kurus
Aku akan belikan kamu air
Kamu tunggulah di sini
Ukrainian:
Скуштуй, не хвилюйся.Від одного шматочка цукру ти не погладшаєш
Вони всі запечатані, я тільки-но відкрила
Їж, бо знову підведешся на ноги й впадеш
Як ти?
У мене запаморочилася голова
Ти можеш там спереду присісти
Ти голодна?
Ти у порядку?
У мене запаморочилася голова
Я допоможу тобі перебратися у затінок
дякую
нема за що
Присядь збоку біля дороги
Сідай тут
Я куплю тобі щось поїсти
Я на дієті
Але ти не товста!
Така худенька
Я куплю тобі води
Чекай тут
Vietnamese:
Bạn ăn một cái đi không tăng cân được
Cái này đều là đồ ăn mới mới mở ra thôi
Ăn đi nếu không thì bạn không đi được lại ngất xỉu
Bạn sao vậy
Tôi hơi chóng mặt
Bạn đến đấy nghỉ một lát đi
Bạn có phải là đói không
Bạn còn ổn chứ
Tôi hơi chóng mặt
Tôi đỡ bạn đến chỗ râm mát để nghỉ lát đi
Cảm ơn ạ
Không sao
Ngồi bên lề đường đi
Ngồi đây
Cô đi mua đồ ăn cho cháu nhé
Cháu đang giảm béo
Cháu không béo
Rất gầy cháu quá gầy rồi
Tôi mua chai nước cho bạn nhé
Bạn đợi chút ở đây
English:
You can lose weight, but you can't go on a diet.
It doesn't matter if you eat one piece of sugar.
This is unopened.
Eat it, or you will faint again.
What's wrong with you?
I'm a little dizzy.
You can sit over there.
Are you hungry?
Are you OK?
I'm a little dizzy.
Let me help you sit in the shade for a while
Thank you.
You're welcome.
Sit by the side of the road.
Sit here.
I'll buy you something to eat.
I'm on a diet.
You are not fat.
You're so slim.
Let me buy you a bottle of water.
Wait here.
Chinese:
你吃一塊不要緊的 長不了肉的
這個都是沒開封的 剛開啟的
吃了 要不一會走路再暈倒了
你怎麼了
我有點頭暈
你到前面坐會吧
你是不是餓的呀
你沒事吧
我有點頭暈
我扶你上個陰涼地坐會兒
謝謝你
沒事
坐在這馬路邊上吧
坐這兒
我去給你買點飯
我在減肥
你不胖啊
好瘦啊你 太瘦了
我給你買瓶水吧
你在這等會
Turkish:
teşekkür ederim
Önünüzde bir eczane var
Tamam, sadece bir süre oturacağım
Sana bir torba süt alacağım
kız
Bu suyu içiyorsun
Acele et ve teşekkürler
Bunu ye
Şişmanlamaktan korkma
Hayat önemli mi yoksa kilo vermen de önemli mi
Ama erkek arkadaşım çok şişman olduğumu söyledi
Yemek yememe izin vermiyor
Onunla ne ilgileniyorsun? O seninle değil
Seni onun için bile öldüremezsin
Hala ne kadar şişmansın
şişmanım
Ben iki yüzden fazla kilo, ben atlamak gerekirdi
Bir ısırık al, seni zehirlemeyeceğim
Sana iyi adamlar olduğunu söyledim
Erkek arkadaşın olsun ya da olmasın
Japanese:
ありがとうございます
すぐ前のところに薬局あるけど 行かない？
大丈夫 少し座って休憩したら
じゃあ牛乳を買ってくる
どうぞ
この水を早く飲んで
速く ありがとうございます
これも少しでも食べて
いまダイエット考える場合じゃない
命が大事 それともダイエットが大事？
でも彼氏にデブとか言われて
もう食べないでと言われて
彼のこと気にしなくていいよ いま目の前にいないし
彼のために 健康を捨てるわけにはいかない
太ってるって 今何キロ？
私こそ太ってるよ
私１００キロだよ どうする？
一口食べて 毒入ってないから
いい男いっぱいいるよ
彼氏とか別に関係なく
French:
merci
il y a une pharmacie devant, tu veux y aller ?
non , je vais juste m'asseoir un peu
je vais t'acheter un peu de lait
Allez
boire un peu d'eau
aller vas-y bois, merci
et mange un peu ça
n'ai pas peur de grossir
est-ce que ta vie et pas plus important que de grossir ?
mais mon copain dit que je suis trop grosse
il veut pas que je mange
tu t'en fou de lui , tu vis pas avec lui
tu ne peux pas mourir de faim pour lui
en plus tu n'es même pas grosse, tu pèses rien j'imagine
moi je suis gros
je pèse plus de 100 kilos , je devrais mourir alors ?
il n'y a pas de poison , vas-y mange
il a beaucoup d’homme meilleur que lui
tu t'en fou de lui
Vietnamese:
Cảm ơn ạ
Phía trước có một nhà thuốc bạn cần phải đến đấy
Không sao tôi ngồi chút thì được rồi
Tôi đi mua một túi sữa cho bạn
Cô gái ơi
Cô uống nước
Cứ uống đi cảm ơn ạ
Ăn những cái này
Không cần sợ sẽ tăng cân
Là sinh mệnh quan trọng hơn hay giảm béo quan trọng hơn
Nhưng bạn trai tôi nói tôi béo quá
Anh ta không cho tôi ăn
Bạn để ý anh ta làm gì anh ta không ở đây
Bạn không thể mất mạng cho anh ta được
Bạn còn béo hả bạn mới bao nhiêu cân à
Tôi mới là người béo mà
Tôi có hơn một trăm cân thế tôi nên tự tử hả
Bạn ăn đi tôi không thể đầu độc bạn
Tôi nói với bạn đàn ông có rất nhiều
Không cần để ý bạn trai của bạn
Korean:
감사합니다
이 앞에 약국 있는데 갈래요?
괜찮아요 조금 앉아있으면 나아져요
제가 가서 우유 하나 사다드릴께요
아가씨
물 좀 마셔요
빨리 마셔요 감사합니다
그리고 이것 좀 먹어요
살 찌는거 두려워 하지마요
생명이 중요한지 아니면 다이어트가 더 중요한지 잘 생각해봐요
근데 제 남자친구가 저보고 너무 뚱뚱하데요
제 남자친구가 그래서 저 못 먹게 해요
남자친구 신경쓰지마요 남자친구가 지금 있는 것도 아니고
남자친구를 위해서 목숨까지 바치려고 하지 마요
당신 뚱뚱하다고 하기에는 몸무게가 얼마 안나가잖아요
제가 뚱뚱한거죠
제가 대략 100kg인데 그럼 저는 이미 죽었어야 했네요
한입만 먹어요 거기에 독 안 탔어요
제가 봤을 땐 좋은 남자는 얼마든지 있어요
당신의 남자친구던 남자친구가 아니던
Indonesian:
Terima kasih
Di depana sana ada toko obat, apa kamu mau ke sana?
Tidak usah, aku duduk saja sebentar sudah cukup
Aku akan belikan kamu susu
Nona
Minumlah air ini
Cepat minumlah ~ terima kasih
Dan makanlah ini
Kamu tidak usah takut gendut
Mana yang lebih penting, hidupmu atau dietmu?
Tapi pacarku bilang aku terlalu gendut
Dia tidak mengijinkanku makan
Untuk apa kamu mempedulikannya? Dia juga tidak menemanimu
Kamu tidak boleh hanya karena dia, jadi tidak peduli dengan hidupmu
Kamu merasa gendut, memangnya berapa beratmu?
Aku nih gendut
Aku 200 jin (100 kg) lebih, apa kalau gitu aku harus lompat bunuh diri?
Kamu makanlah sedikit, aku tidak akan meracunimu
Aku beritahu kamu, masih banyak pria baik
Tidak usah pedulikan pacarmu
Spanish:
Gracias
Hay una farmacia al frente, ¿Vas?
No pasa nada, me sentaré un rato
Te compraré una botella de leche
Chica
Bebes un poco de agua
Rápido, gracias
Comes un poco de esto
No te preocupes por engordar
¿Cuál es más importante, la pérdida de peso o la vida?
Pero mi novio dice que soy demasiado gorda
No me deja comer
No pasa nada, no está aquí
No puedes renunciar a tu vida por él
¿Tú eres gorda? ¿Cuánto pesa?
Soy gordo
Si soy como tú, me mataré cuando pese 100 kg
Comes un poco, no te voy a envenenar
Te digo que hay muchos buenos hombres
No te importa lo que diga tu novio
Portuguese:
Obrigada
Lá em frente há uma farmácia. Quer ir pra lá?
Não, só quero descansar um pouco
Eu vou comprar leite pra você beber
Oi
Pode beber essa bebida
Pode beber. Obrigada
Coma isso
Não tem medo
O que é mais importante: saúde ou perda de peso?
Meu namorado disse que eu sou muito gorda
Ele não permite que eu coma
Não se importe com o que ele disse
A saúde é sempre a primeira
Qual é o seu peso?
Eu sou gordo
Eu penso mais de 100 quilos, e eu devo morrer?
Você pode comer. Não é venenoso
Há muitos bons homens no mundo
Não se importe com o que seu namorado disse
Chinese:
謝謝
前面有個藥店 你要不要過去
沒事 我坐一會就好了
我去給你買一袋奶
姑娘
你把這個水喝點
趕緊喝點 謝謝
把這個吃口
你別怕發胖
是命重要還是你減肥重要
可是我男朋友說我太胖了
他不讓我吃東西
你管他幹嘛 他又不在你這
你不能為了他 你連命也不要了
你這還胖 你才多少斤
我才胖呢
我二百多斤 那我早該跳樓了呢
你吃一口吧 我不會給你下毒的
我跟你說 好男人有的是
不用管你男朋友不男朋友的
Russian:
Спасибо
Там аптека впереди, ты хочешь пройти?
Все в порядке, я просто сижу немножко
Я пойду купить тебе молоко
Девушка
Пей воду
Давай. Спасибо
Ешь
Не бойся толстеть
Жизнь и вес, какой важнее?
Но мой парень говорит, что я слишком толстая.
Он не позволяет мне есть
Он не здесь, не обращай внимания
Ты не можешь терять свою жизеь только ради него
Ты толстая?
Я такая толстая
Я больше 100 кг., а я должна прыгать из здании?
Ты ешь, я не буду отравлять вас.
Хорошие мужчины везде.
Не обращай внимания на парня
Arabic:
شكرا
هناك صيدلية في الأمام، هل نذهب إليها
لا داعي، لأجلس قليلا
لأشتري لك علبة من الحليب
يا بنت
اشربي الماء
اسرعي، شكرا
وكلي هذا
لا تخافي من السمنة
أيهما أهم؟ الحياة أم التنحيف؟
لكن صديقي قال إنني سمينة جدا
ويمنعني من الأكل
هو غير موجود هنا، انسيه
حياتك أنفس من رؤيته
ولست سمينة، يبدو وزنك خفيف جدا
أنا أسمن منك بكثير، أكثر من مئة كيلو
فهل يجب علي أن أرمي نفسي من سقف المبنى؟
كلي، لا تخافي، لن أتسممك
اسمعي، الشباب الممتازون كثيرون
لا تهتمي بكلام صديقك
Chinese:
谢谢
前面有个药店 你要不要过去
没事 我坐一会就好了
我去给你买一袋奶
姑娘
你把这个水喝点
赶紧喝点 谢谢
把这个吃口
你别怕发胖
是命重要还是你减肥重要
可是我男朋友说我太胖了
他不让我吃东西
你管他干嘛 他又不在你这
你不能为了他 你连命也不要了
你这还胖 你才多少斤
我才胖呢
我二百多斤 那我早该跳楼了呢
你吃一口吧 我不会给你下毒的
我跟你说 好男人有的是
不用管你男朋友不男朋友的
English:
Thank you.
Would you like to go to the drugstore over there?
Don’t worry. I'll be fine after sitting for a while.
I'll buy you some milk.
Girl.
Drink some water.
Drink it. Thank you.
Eat this.
Don't be afraid to get fat.
Your health is the most important thing.
But my boyfriend said that I was too fat.
He wouldn't let me eat.
Forget it, he's not here.
You can't lose your life for him.
You're slim!
I'm fat.
I should have jumped
because I weigh over one hundred kg.
Have a bite. I won't poison you.
There are really good men out there.
Leave your boyfriend behind.
Ukrainian:
Дякую
Позаду є аптека, чи бажаєш піти туди?
Не треба, я трохи посиджу і мені полегшає
Я придбаю тобі молоко
Дівчино
Випий води
Випий. Дякую
Скуштуй це
Не бійся погладшати
Твоє здоров'я це найважливіше
Але мій хлопець каже, що я товста
Він не дозволяє меня їсти
Забий на нього, його тут поруч немає
Ти не повинна заради нього втрачати своє життя
Ти худенька
Це я товстий
Я важу понад 100 кілограмів. Так на мені взагалі треба хрест ставити?
Скуштуй, я не отрую тебе
Послухай, у світі повно хороших юнаків
Забудь про свого хлопця
Japanese:
彼氏なんもわかってない 食べないのは体に良くないって
以前お父さんの言うこと聞かなかったとき食べるものもらえなかった
ちゃんとご飯食べて
運動もダイエットの効果あるよ
食べないのはだめ
体型で駄目だしするような男は
気持ちがないと思う
全然あなたの愛してないよ わかる？
なんであんな男で自分を傷付けるの
本当に気持ちがある人は体型とか気にしないよ
彼氏から何と言おうと
自分の健康が一番大事
私たちは自分のために生きてるんだよ
男のために生きてない
陽気なあなたは本当のあなただと思う
自信あって明るい君が一番美しい
ありがとうございました
さっき社会調査の映像を取らせていただきました
ありがとうございました ありがとうございます
大丈夫だったらそれでいい
聞いてるだけで 心痛くなって
夏になったから ダイエットする女の子も多い
だからみんなの態度が気になって
ちょっと調査しました
なるほど 回復のスピードはやいなと思ったら
Portuguese:
Seu namorado não sabe que é muito ruim fazer dieta
Quando eu era criança, se eu fiz algo errado, meu pai não me deixava comer
Você deve comer muito
Pode tentar fazer exercícios físicos para perder peso
Não pode fazer dieta
Acho que ele não te ama
porque ele não se importa com a sua saúde
entendeu?
Não se machuque por um homem como ele
Pessoas que realmente gostam de você não se importam com seu peso
Não tem medo
A saúde é sempre a primeira
Viva bem,
para você mesmo, não para os homens
Saudável você é o verdadeiro você
Autoconfiança e saúde são a verdadeira beleza
Muito obrigada
A gente está filmando um vídeo
Muito obrigada
É bom que você tá tudo ótimo
Eu também me sentia muito triste
Porque no verão as meninas gostariam de perder peso
A gente quer saber
as opiniões de vocês sobre isso
Você mentiu para mim
Russian:
Твой парень не понимает, что голод плох для желудка.
Раньше когда я не послушалась, и мой папа подержил меня голодной
Ешь хорошо
Больше заниматься спортом
Не можешь голодать
Если мужчина порвал с тобой из-за фигуры
Он тебя любит?
Нет, понимаешь?
Зачем причинять себе боль для такого человека
Люди, которые любят вас, не заботятся о том, ты толстая и худая
Не бойся слова парня
Хорошее здоровье - самое важное
Мы живем для себя
не живет для мужчины
Уверенность -это вы
Уверенная в себя - ты самая красивая
Спасибо
Мы снимаем теплое видео
Спасибо
Главное - это тебе все хорошо
Мне грустно когда ты сказала мне
потому что летом девушки теряют вес
Мы хотим посмотреть
как все относятся к этому вопросу
Я сомневаюсь как ты быстро поправилась
Chinese:
你男朋友他都不懂 餓肚子不好
以前我不聽話 我爸就餓我
你好好吃飯
減肥 你多運動就減下去了
不能餓自己
一個男人能因為胖瘦嫌棄你
他是愛你嗎
他不愛 明白了嗎
為什麼要為這樣的男人傷害自己呢
喜歡你的人不會在乎你的胖和瘦的
不要怕男朋友說你
健健康康的就很好
我們是活給我們自己的
不是活給男人的
陽光的你才是真正的你
自信陽光的你，最美
剛剛謝謝您
其實我們在拍一個暖心的視訊
謝謝您 謝謝
你只要沒事就行
你跟我說的我都覺得難受
因為夏天了 女生都在減肥
我們就想看一下
大家對這件事的態度是怎樣的
我還以為 你怎麼一會就好了
Arabic:
صديقك لا يعرف شيء، الجوعان غير مفيد للصحة
عندما كنت صغيرة، إذا لا أخضع لوالدي، سيمنعني من الأكل
لازم أن تأكلين جيدا
إذا أردت التنحيف، اعملي الرياضة
لا تجوعي
رجل يلومك بسبب شكلك
هل هو حقا يحبك؟
لا، لا يحبك، فهمت؟
لماذا تؤذي نفسك من أجل رجل مثله
من يحبك لن يلومك بسبب شكلك
لا تهتمي بكلام صديقك
الصحة أهم
من يعيش حياتك؟ أنت
وليس صديقك
افعلي كما تريدين، ستشعرين بالسعادة
فتاة مع الابتسام على وجهها والثقة الذاتية في قبلها أجمل فتاة في العالم
شكرا لكم
في الحقيقة، كنا نسجل فيديو عن الأخلاق الجميلة
شكرا جزيلا
عفوا، الأهم شيء أنك بخير
كنت أحزن كثيرا لك
الآن فصل الصيف، فكثير من الفتيات تجوعن للتنحيف
فنريد أن نكشف
موقف الناس لهذا الأمر
آه، دهشت، كنت أستغرب بسرعة شفاءك
French:
Ton copain ne comprend pas que c'est mauvais
Avant quand je désobéissais , mon père me donnait pas à manger
tu dois bien manger
si tu veux faire un régime , fais plus de sport
tu ne dois pas ne pas manger
si un homme t'aime pas parce que tu es grosse
il ne t'aime juste pas
il ne t'aime pas , tu as compris ?
pourquoi tu te blesse pour ce genre d'homme ?
si quelqu'un t'aime , il s'en fiche que tu sois grosse ou maigre
n'aie pas peur que ton copain dise quelque chose
ta santé passe en premier
on vit pour nous-mêmes
pas pour les hommes
la fille qui est en bonne santé est le vrai toi
Le toi qui est heureux et positif est le plus beau des toi
merci
c'était une expérience sociale
merci beaucoup
ça va si tu as rien
j'étais vraiment triste pour toi
parce que c'est l'été , la plupart des filles font un régime
donc on voulait voir
c'est quoi l'attitude des gens par rapport à ça
je pensais que c'est bizarre que tu vas soudainement bien
Indonesian:
Pacarmu tidak mengerti kalau perut kosong kelaparan tidaklah baik
Papaku dulu akan membiarkanku kelaparan ketika aku tidak mendengarkannya
Kamu makanlah dengan baik
Untuk menurunkan berat badan, beratmu akan turun dengan banyak berolah raga
Tidak boleh membiarkan diri kelaparan
Seorang pria yang karena kamu gemuk atau kurus jadi tidak menyukaimu
Apa dia sungguh mencintaimu?
Dia tidak mencintaimu, apa kau mengerti?
Mengapa mau menyakiti diri sendiri hanya demi pria seperti itu?
Orang yang menyukaimu tidak akan menyebutmu gendut/ kurus
Jangan takut dengan ucapan pacarmu
Asalkan sehat, itu lebih baik
Kita hidup demi diri kita sendiri
Bukan ditentukan oleh seorang pria
Jadilah bersinar atas dirimu sendiri
Menjadi diri sendiri adalah yang terindah
Terima kasih ya
Sebenarnya kami sedang merekam video tentang kebaikan
Terima kasih ya
Untung kamu tidak apa-apa
Apa yang kamu bilang tadi membuatku sedih
Karena musim panas, banyak perempuan yang berdiet menurunkan berat badan
Kami ingin melihat
Bagaimana reaksi orang-orang akan hal ini?
Aku masih berpikir, bagaimana bisa kamu membaik sangat cepat
English:
Your boyfriend can't understand the feeling about starvation.
My dad used to starve me when I was naughty.
You have to eat well.
You can do more sports to lose weight.
But you can't starve yourself.
If he don't like you because you are fat,
does he really love you?
He doesn't love you, you know?
Why you hurt yourself because of him?
People won't care about your weight if they really like you.
Don't be afraid of what he said.
Keep healthy.
Live for yourself.
Not for man.
The real you should be positive.
The confident and sunny you are the most beautiful
Thank you so much.
We were shooting a video.
Thank you.
I am glad that you are fine.
I was sad when I heard what you said.
Many girls are on a diet because of summer.
We would like to know
people's attitude to this matter.
I wonder why you were recovering so quickly.
Turkish:
Erkek arkadaşın açlığın kötü olduğunu anlamıyor
İtaatkar olmadan önce babam açtı
İyi yemek
Daha fazla egzersiz yaparsanız, daha fazla kaybedersiniz
Aç olamaz
Bir adam şişman olduğun için seni hor görebilir
Seni seviyor mu
Anlamıyor mu
Neden böyle bir adam için kendine zarar verdin
Seni sevenler şişman ve zayıf umurlarında değil
Erkek arkadaşının seni söylediğinden korkma
Sağlıklı ve sağlıklı
Kendimiz için yaşıyoruz
Erkekler için değil
Güneş ışığı sen gerçeksin
Kendinden emin ve güneşli en güzelsin
Şimdi teşekkürler
Aslında iç açıcı bir video yapıyoruz
Teşekkür ederim teşekkür ederim
Sadece iyi olmalısın
Bana söylediğinde rahatsız hissediyorum
Çünkü kızlar yazın kilo veriyor
Sadece bir göz atmak istiyoruz
Bu konudaki tutumunuz nedir?
Bir süre iyi olacağını düşündüm
Vietnamese:
Bạn trai của bạn không hiểu đói bụng không tốt cho sức khỏe
Ngày trước tôi không nghe lời bố tôi thì để tôi đói
Bạn ăn cơm bình thường
Giảm béo vận động nhiều hơn thì giảm đi rồi
Không thể để bản thân đói
Một người đàn ông ghét bỏ bạn là vì béo hay gầy
Nó là yêu thật bạn không
Nó không yêu hiểu chưa
Tại sao làm tổn thương bản thân bởi vì một người đàn ông như vậy
Người yêu thích bạn không thể để ý bạn là béo hay gầy
Đừng sợ bạn trai nói bạn
Có sức khỏe thì khá tốt rồi
Chúng ta là sống vì mình
Không phải là sống vì đàn ông
Bạn sống tích cực mới là sống chân trần
Đẹp nhất là bạn tự tin và tích cực
Vừa mới cảm ơn bạn
Thực tế chúng tôi đang quay một video ấm áp
Cảm ơn bạn cảm ơn
Bạn chỉ là không có gì thì được
Bạn nói với tôi tôi cảm thấy khó chịu
Vì đến mùa hè rồi cô gái đều đang giảm béo
Chúng tôi muốn xem xem
Đối với sự việc này thái độ của mọi người là thế nào
Tôi còn nghĩ sao bạn chỉ một lát thì tốt rồi
Spanish:
Tu novio no sabe, tienes muchos hambres no es bueno
Antes no le obedecía y mi padre no me dejaba comer
Comes normalmente
En cuanto a la pérdida de peso, puedes hacer más ejercicio
No debes tener hambre
Un hombre no puede despreciarte por tu tamaño
¿Te ama?
No, ¿Sabes?
¿Por qué te lastimaste a ti mismo por un hombre así?
A alguien le gustas, no le importa tu tamaño
No te preocupes por que tu novio te acuse
Es bueno estar sano
Vivimos para nosotros mismos
No para los hombres
Tu alegre eres lo que realmente eres
Confiada y alegre, la más hermosa
Gracias a usted
Acabamos de filmar un video
Gracias a usted, gracias
Estoy aliviado de que estés bien
Me entristece escuchar lo que dices
Las chicas están perdiendo peso debido al verano
Queremos ver
Cuál es la opinión de todos sobre este asunto
Todavía estoy preguntándome, por qué te recuperaste de inmediato
Ukrainian:
Твій хлопець не тямить, як це, коли ти заморений голодом
Раніше, коли я не слухалася батька, він морив мене голодом
Тобі треба добре поїсти
Ти тільки більше рухайся, та вже й схуднеш
Не мори себе голодом
Якщо хлопець відвертається від тебе через те, що ти товста,
то він тебе не кохає тебе, розумієш?
не кохає, розумієш?
Навіщо заради такої людини шкодити собі?
Якщо тебе насправді кохатимуть, то людині все одно буде товста ти, чи худа
Не звертай уваги на те, що він сказав
Проте ти здорова
Ми живемо для себе
А не для чоловіків
Життєрадісна ти - це справжня ти
Найгарніша ти - це самовпевнена та життєрадісна ти.
Дякую вам
Насправді, ми знімаємо відео
Дякую вам, дякую
Меня радісно, що з тобою усе в порядку
Я засмутилася, коли розмовляла з тобою
Тому що це літо, усі дівчата зараз худнуть
Ми хотіли дізнатися
як відреагують люди на цю ситуацію
Я була здивована, як ти так швидко оправилася
Korean:
당신 남자친구는 배고프면 장에 안좋다는 걸 이해하지 못해요
이전에 제가 말 안들으면 아빠가 저를 굶겼어요
밥 꼭 잘 먹어야해요
다이어트는 당신이 운동하면 다이어트가 되는 거에요
자신을 배고프게 하지마요
한 남자가 뚱뚱하고 마른 것 때문에 당신을 싫어한다면
그 남자는 당신을 사랑할까요?
당신을 사랑하지 않아요 이해했어요?
왜 그딴 놈 때문에 당신 스스로를 해쳐요?
당신을 좋아하는 사람은 당신이 뚱뚱하고 마른거에 연연하지 않아요
남자친구가 당신에 대해 이야기하는 거에 대해 너무 무서워하지 말아요
건강한 게 좋은거에요
우리는 우리 자신을 위해 살아야해요
남자친구를 위해 사는 게 아니에요
태양 아래의 당신이 진짜 당신인 거에요
자신있는 당신의 모습, 가장 아름답습니다
방금 정말 감사드렸습니다
사실 저희가 몰래카메라 촬영 중 이였습니다
감사합니다 정말 감사합니다
당신한테 이상 없으면 다행이네요
당신이 저한테 이야기한 것들이 정말 슬펐어요
여름이라서 여자들이 지금 다 다이어트하잖아요
저희는 여러분들이
이 일에 대해 어떠한 태도를 보일 지 궁금했습니다
저는 당신 어떻게 조금 지나니까 바로 좋아졌어요
Chinese:
你男朋友他都不懂 饿肚子不好
以前我不听话 我爸就饿我
你好好吃饭
减肥 你多运动就减下去了
不能饿自己
一个男人能因为胖瘦嫌弃你
他是爱你吗
他不爱 明白了吗
为什么要为这样的男人伤害自己呢
喜欢你的人不会在乎你的胖和瘦的
不要怕男朋友说你
健健康康的就很好
我们是活给我们自己的
不是活给男人的
阳光的你才是真正的你
自信阳光的你，最美
刚刚谢谢您
其实我们在拍一个暖心的视频
谢谢您 谢谢
你只要没事就行
你跟我说的我都觉得难受
因为夏天了 女生都在减肥
我们就想看一下
大家对这件事的态度是怎样的
我还以为 你怎么一会就好了
Korean:
당신한테 아무 일 없으니까 다행이네요
가장 중요한건 당신한테 아무일이 없다는 거니까 다행이네요
감사합니다 정말 감사합니다
당신한테 아무일 없으니까 (다행이네요)
저는 당신 남자친구가 너무하다고 생각했거든요
근데 당신 남자친구 비판하기에는 미안해서요
당신 아버지가 이전에 당신을 굶게 했어요?
왜냐하면 제가 말을 안들어서요
그래서 아빠가 저를 방에 가뒀어요
한번은 저를 일주일을 굶겼어요
배고파서 쓰러졌는데 그때 저한테 나와서 밥먹으라고 했어요
울지 마요
제가 사주실 때 쓰셨던 돈을 당신한테 드릴께요
괜찮아요 비싼 것도 아니였어요
저희 영상은 많은 사이트에 올라갑니다
아까 그 사탕 정말로 감사드립니다
이거 다시 돌려 드릴께요
당신 저혈당올 때 꼭 드세요
그리고 정말로 감사드립니다
Turkish:
İyisin
Ana şey iyi olmanız
Teşekkür ederim teşekkür ederim
Sen iyisin (iyi)
Erkek arkadaşının çok aşırı olduğunu düşündüm
Onu eleştirmek için iyi değilim (anlam)
Baban seni daha önce aç mı yaptı?
Çünkü itaatkar değilim
Beni evde kapatacak
Bir hafta aç kaldım
O kadar acıkmıştı ki beni akşam yemeğine bıraktı
Ağlama
Hala parayı sana aktarmak zorundayım
Tamam ve çok para değil
Videolarımız bu platformlarda yayınlanacak
Sadece şekerin için teşekkürler
Tutun
Düşük kan şekeriniz olduğunda yemek yemeyi unutmayın
Teşekkür ederim teşekkür ederim
Arabic:
الأهم شيء أنت بخير
هذا الأهم
شكرا جزيلا
الحمد لله أنت بخير
صديقك غير معقول للغاية
وكنت لا أجرؤ على انتقاده
والدك كان يمنعك من الأكل؟
نعم، إذا لا أخضع لأمره
سيحجزني في الغرفة
ذات المرة، جعت لأسبوع كامل
وسقطت على الأرض في الغرفة، ثم سمح لي أن أخرج وآكل
لا تبكي
ولازم أحول الفلوس لك
لا داعي، ليس مبلغا كبيرا
سننشر الفيديو في عدة المواقع الكبيرة
شكرا لحلوياتك
تفضل
احفظها عند حالة الطارئ
شكرا لكم
English:
I am glad that you are fine.
The most important thing is that you are OK.
Thank you so much.
I am glad that you are fine.
I thought your boyfriend was gone too far.
I wanted to criticize him.
Did your father starve you before?
When I was naughty,
he kept me in my room.
Once I was starved for a week.
He allowed me to eat until I fainted due to hungry.
Don't cry.
I have to transfer the money to you.
Never mind, it didn't cost much.
Our video will be posted online.
Thanks for your candies.
You take them.
Remember to eat when you have hypoglycemia.
Thank you.
Chinese:
你沒事就好
最主要就是你沒事就好
謝謝你們 謝謝
你沒事（就好）
我還以為你男朋友這麼過分
我都不好（意思）批評他
你爸爸以前讓你捱餓嗎
因為我不聽話
他就會把我關在屋子裡
有一次 我就餓了一週
餓暈了 他才讓我出來吃飯
別哭啦
還有錢我必須一定要轉給你
沒事 沒有多少錢的
我們的視訊會在這些平臺上播出
剛剛謝謝您的糖
您拿著吧
您低血糖的時候記得吃
感謝您 謝謝
Indonesian:
Kamu tidak apa-apa ya sudah
Yang terpenting kamu baik-baik saja
Terima kasih ya
Kamu tidak apa-apa (itu yang terbaik)
Aku berpikir betapa keterlaluannya pacarmu itu
Aku jadi tidak enak sudah mengkritiknya
Apa papamu dulu membiarkanmu kelaparan?
Karena aku tidak mau nurut
Dia akan mengunciku di kamar
Ada sekali aku kelaparan hingga seminggu
Hampir mati kelaparan, baru dia mengijinkanku keluar makan
Jangan menangis
Aku harus mengganti uangmu
Tidak usah, tidak seberapa
Video kami akan diunggah ke YouTube
Terima kasih untuk permen anda barusan
Kamu terimalah ini
Kamu bisa memakannya ketika gula darahmu turun
Terima kasih
French:
ça va si tu n'as rien
c'est ça le principal
merci beaucoup
ça va alors
je pensais que ton copain était si horrible
j'avais pas envie de trop l'insulter
ton père te donnait pas à manger avant ?
parce que je vais désobéissais
donc il m'a enfermé à la maison
il y a une fois , j'ai pas mangé pendant une semaine
et je me suis évanouie , il m'a laissé sortir pour manger
ça va aller
et je dois absolument vous rendre l'argent
c'est rien , c'est pas beaucoup
notre vidéo sera sur tous les médias sociaux
merci pour vos bonbons tout à l'heure
prenez ça
penser à aller manger pour votre hypoglycémie
et vraiment merci
Chinese:
你没事就好
最主要就是你没事就好
谢谢你们 谢谢
你没事（就好）
我还以为你男朋友这么过分
我都不好（意思）批评他
你爸爸以前让你挨饿吗
因为我不听话
他就会把我关在屋子里
有一次 我就饿了一周
饿晕了 他才让我出来吃饭
别哭啦
还有钱我必须一定要转给你
没事 没有多少钱的
我们的视频会在这些平台上播出
刚刚谢谢您的糖
您拿着吧
您低血糖的时候记得吃
感谢您 谢谢
Spanish:
Estoy aliviado de que estés bien
Lo más importante es tu salud
Gracias a vosotros, gracias
Estoy aliviado (de que estés bien)
Pensé que tu novio era tan malo
No sé cómo criticarlo
¿Tu padre te dejó pasar hambre antes?
Porque desobedecerle
Me encerrará en la casa
Una vez tuve hambre durante una semana
No me dejó salir a comer hasta que me desmayé de hambre
No llores más
Tengo que transferirte el dinero
No pasa nada, eso es nada
Nuestros videos se publican en muchas plataformas
Gracias por el caramelo que me acaba de dar
Te lo devolveré.
Recuerde comer cuando tenga hipoglucemia
Gracias a usted, gracias
Russian:
Главное, чтобы ты была в порядке.
Ты в порядке
Спасибо, ребята, спасибо
Главное, чтобы ты была в порядке.
Я думал, что твой парень был настолько плохим.
Я все плохо критикую его
Твой папа заставил вас голодать раньше
Потому что я не слушала его
Он запер меня в комнате.
Неделю я была голодна
Голодна в обморок он только что выпустил меня на ужин
Не плачь
И деньги, которые я должен обязательно передать тебе
Ничего, моло
Наше видео будет транслироваться на этих платформах
Спасибо за конфету
Держи
Не забудь съесть, когда у тебя кружит голова
Спасибо
Japanese:
大丈夫だったらそれでいい
無事で何よりです
ありがとうございます
大丈夫だったらそれでいい
彼氏がひどいなと思って
でも直接言うのもあれだから
お父さんの話って本当？
言うこと聞かなかったから
私を部屋に閉じ込めて
一週間立って
倒れそうになって ようやくご飯食べられた
泣かないで
お金ちゃんと払うよ
大丈夫 大したことじゃない
映像サイトで公開するので
キャンディありがとうございます
持っててください
低血糖の時食べてください
ありがとうございます
Vietnamese:
Bạn không có gì thì được
Quan trọng nhất là bạn không có gì
Cảm ơn các bạn cảm ơn
Bạn không có gì thì được
Tôi còn nghĩ bạn trai của bạn quá đáng vậy
Tôi ngại phê bình nó
Ngày trước bố của bạn để bạn đói bụng à
Vì tôi không nghe lời
Nó sẽ đóng cửa trong nhà
Có một lần tôi đã từng đói một tuần
Đói ngất mới cho tôi đi ra ngoài ăn cơm
Đừng khóc nữa
Tôi chắc phải chuyển tiền cho bạn
Không sao không có nhiều tiền
Video chúng cháu sẽ tải lên internet
Vừa mới cảm ơn đường của chú
Chú giữ đi
khi chú đường huyết thấp nhớ ăn nhé
Cảm ơn chú cảm ơn ạ
Ukrainian:
Головне, що з тобою усе в порядку
Саме головне - що з тобою усе добре
Дякую вам, дякую
Головне, що ти в порядку
Я гадала, що твій хлопець дійсо виходить за всі межі
Мені прикро, що я розкритикувала цого
Твій батько морив тебе голодом?
Тому що я не слухалася
Він зачиняв мене в хаті
Було таке, що я не їла недлю
Втратила свідомість, і тільки тоді він дав мені поїсти
Не плач
Я поверну тобі гроші
Не треба, це не так дорого
Наше відео буде опубліковано онлайн на цих платформах
Дякую за цукерки
Забирай собі
Обов'язково їх з'їж, коли запаморочиться у голові
Велике Вам дякую
Portuguese:
É bom que você tá tudo ótimo
Muito obrigada
É bom que você tá tudo ótimo
Achei que seu namorado estava louco
Queria criticar ele
Seu pai pediu que você fez dieta?
Eu sempre fiz algo errado
Ele me trancou na casa
Uma vez, fiquei com fome por uma semana
e desmaiei , depois ele me permitiu comer
Pare de chorar
Eu devo te pagar de volta
Não faz mal. Não é caro
O vídeo vai ser publicado nas várias redes sociais
Muito obrigada pela sua ajuda
Aqui está seu açúcar
Você também tem baixo teor de açúcar no sangue
Muito obrigada
| {
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you're watching duct tape and popsicle
sticks with Mike and Maria Keiser
because sometimes you feel like your
business is being held together by duct
tape and popsicle sticks on this show
you're not gonna hear the latest
business bag you're gonna get useful
information that you can apply to your
own business right now hello and thanks
for watching another shocking episode of
duct tape and popsicle sticks I'm Mike
Keiser along with a woman who believes
evil spirits lurk inside of Cheerios
boxes Maria Keiser after 300 vodcasts
and 70 shows we have original content so
she Rios she's kind of rough folks Wow
thank you for starting me off on a
positive note and thanks again everyone
for joining us we love having you along
as usual everything you need to know is
in the show notes like how to get to the
rest of the videos how to get to our
website how to interact with us all
those kinds of things so you have to
check out all the many things we have to
offer but on today's show we wanted we
talked a lot about different forms of
marketing on this show but I was having
a conversation last week with a business
owner and he was saying that he he
primarily has grown his business through
what he called physical efforts meaning
getting out to Chamber events to meetups
to one-on-one networking to other
networking events he's grown primarily
that way and and works well for him so
so why fix it right so but that's one of
the things we've noticed in the digital
age is that a lot of people seem to be
getting away from the physical marketing
efforts but when you do them both in
combination it can be very very powerful
so I don't know what are your thoughts
on combining the physical with the digit
well I mean as small business owners we
don't have the budget coca-cola has to
you know put out these these grandiose
marketing campaigns so you know we we do
digital we might have our email
marketing but we still need to be out
there kissing babies shaking hands
talking to the people and reminding
people of who we are and then we're your
social media and your digital marketing
come into play is now that is a
supplement to you going out and doing
the physical side of marketing exactly
and I would say this can be true for
everyone but I would say it's especially
true for the businesses whose most of
their business is local right so if
you're doing business across the United
States or across the world you can you
can't but if you are a local business
serving local customers it can still be
quite a I mean if you sell a 99-cent
widget then you know that digital
presence is probably going to to benefit
you and in your need for networking
might not be as strong as if you sell a
service or a higher ticket item but when
you say higher ticket your it--your your
product is the more people want to know
you know before I put out this money are
you the person that's going to be able
to do this job now on the back end you
have your reviews you'll have your
social media posts you'll have your
articles you'll have your website but
your your being the face of your
business whether it's you are you hire
somebody is imperative there you go and
you know the kind of summarize that we
found that a lot of the times our our
digital marketing is most useful after
somebody's Medus right somebody will
meet us and then later say you know I've
watched every episode of duct tape and
popsicle sticks so and I know another
thing I hear is that well you know by
evening I'm ready for family time or
saying sometimes you might just have to
make a little a little you don't have to
be out every night of the week but maybe
choose one or two nights a week that
you're out I mean if that's what makes
your cash register ring then those are
the things you have to do so I mean I
guess what I would say is just suck it
up there you go good way to wind up the
video there you got anything else you
want to add alright cool so yes so
remember you can't give up on the physic
of marketing and cheese I guess that's
about it so once again thank you so much
for hanging out with us we love getting
your comments we love your feedback good
bet your feedback whether it's good bad
or indifferent and as always you've been
watching duct tape and popsicle sticks
where we make your business better three
minutes at a time now you're watching
duct tape and popsicle sticks with Mike
and Maria Keiser
| {
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>>Audio's good? >>Yes >>Okay so
I'm 3AlarmLampScooter and uh
today I'm giving a talk on DIY
Nukeproofing so, show of hands
real quick, anyone here try to
come to this talk last year?
Anyone? Anyone? We've got a few
okay. Anyone spotted as a fed in
the spot the fed panel that uh
replaced this talk last year?
[chuckle] Okay guess no one's
that brave. So anyways [chuckle]
ah got a little, a little
background radiation I guess
you'd say as far as uh
motivations for this. I
originally submitted this talk
to CFP uh with some outstanding
questions as to what exactly
that I could and couldn't
discuss uh there was actually
some information in this talk
that was pretty previously
classified but has since been
published in an open access
journal and uh I couldn't- I
couldn't deliver that content
last year as it had not yet been
published and uh now I'm you
know not afraid of ending up in
getmode to discuss it that info
specifically is uh third
generation laser isotope
separation technology. In
addition to that unfortunately
there was some tritium
implicitly imported for the
black badges last year and uh
also I was warned you know,
don't- don't get caught up in
that. So I guess that's- that's
a little bit about background.
I'm really trying to keep this
fast 'cause we've only got like
what? Ten minutes or whatever.
Anyways, so we're just going to
talk about physics a little bit
uh as we move into DIY
Nukeproofing. Uh there's kind of
more fear uncertainty and doubt
surrounding nuclear weapons than
uh perhaps any other technology
out there especially their
hypothetical capabilities in
electronic warfare, of course
Defcon is a computer security
conference and nuclear weapons
and fortunately for the most
part have not done much physical
damage in the last seven decades
outside of some cold war
accidents however Defcon did
originally stand for defense
condition and I think it's a
valuable form to look at how the
confluence of factors in
technologies are uh causing what
you can basically refer to as a
changing threat landscape on the
nuclear side. Uh so to really
brock the gestalt of nuclear
weapons and the threat landscape
that has been there in the past
uh we kind of have to go back to
a little quick remedial physical
lesson you've got uh two
different main isotopes of
Uranium and Uranium two thirty-
[audience shouting] >>It's
really hard to understand >>Okay
let me try and speak up a little
bit more, so we're gonna have a
uh like a ninety second remedial
physics lesson here if my
microphone could work properly
[laugh] we've got two different
isotopes of Uranium that are
kind of important to all this,
one of them is Uranium 235 the
other is Uranium 238 they uh
differ by three neutrons and
that is why they have different
mass and uh a kind of the real
short version of this- I had a
lot more prepared- but you can
use what's called the kinetic
isotope effect to separate uh
the hi- uh the lighter from the
heavier uranium and uh the
lighter uranium 235 actually is
what's called fissile material,
if you hit it with a neutron it
can sustain a nuclear reaction
if it's enriched above around
five percent usually unless it's
a you know pressurized light
water reactor uh anyways the uh
the heavier uranium isotope is
much more stable, has about four
and a half billion year half
life whereas the uh lighter
uranium isotopes about seven
hundred million years and uh if
you manage to get about a fifty
seven kilogram ball of this
lighter isotope separated out of
the heavy stuff that's naturally
occurring at ninety nine point
seven er sorry ninety nine point
three percent. Naturally uranium
you can uh you can actually make
a- a physics package as they
euphemistically call uh a
nuclear weapons uh with again
about fifty seven kilograms as a
minimum uh for the 235 content
uh interestingly uh uranium 238
is also not just a nerd filler
you can actually hit it with a
neutron and it will undergo a
transmutation to plutonium 239
which is also fissile material
actually has about a uh ten
kilogram critical mass that
translates to about the size of
a baseball uh but you need a
nuclear reactor that's running
to do that, so that is a very
difficult thing for a anything
but a really a nation state
actor to do whereas as I'll get
to this uh U235 route to uh a
physics package is becoming more
practical for a potential
proliferator. So moving on a
little bit more uh we kind of
had the original proliferation
was uh was really the United
States in Manhattan project back
around World War two and I
really again won't touch on too
much here I'll just try and go
with the very basics but kind of
the one on the uh the device on
the right there was called Fat
Man that was a plutonium
implosion style device again you
need a nuclear reactor to build
that uh pretty difficult to come
up with the plutonium uh you
also need explosive lensing
because plutonium is uh
naturally liable to kind of go
off ahead of time whereas
uranium isn't uh you need to
slam several pieces of the
plutonium together at a very
high speed and that's also
something that's non trivial
with explosives engineering. The
one on the left uh Little Boy
which was dropped on uh
Hiroshima versus Fat Man was
dropped on uh on Nagasaki uh the
one on the left is much much
easier to build uh again as I'll
get to because of third
generation laser light strip
separation uh so moving on again
real quick and I'm skipping over
so much content but I want to
get into essentially the USSR
you know Soviet Russia at the
time- ripped off uh the US'
design they had a spy named
Klaus Fuchs in Manhattan
project, he turned over a lot of
diagrams and uh information on
the US' army in the Manhattan
project over to the Rosenbergs
who were subsequently
electrocuted for their spying by
the US and uh then the USSR made
uh RDS-1 or Stalin's Jet Engine
and that kind of really got the
Cold War into uh into over drive
you could say um So anyways
moving on from there uh there
was of course further R and D in
nuclear weapons and this is
honestly not super duper
relevant to the presentation
either, there were what were
called teller-ulam devices which
is where you have a nuclear
fusion reaction going on near a
fission reaction and uh again
that actually requires a
hydrogen isotope called tritium
it's quite rare and there have
not been any big breakthroughs
recently in in producing er uh
er in uh separating tritium out
from regular hydrogen so that's
again not super duper relevant
other than you know the largest
fireworks out there essentially
try- tsar bomba was uh weighed
over fifty megaton detonation
that the USSR did. Uh so moving
on again [chuckle] uh there were
a lot of other countries that
you know proliferated and uh
there was the UK, France, China,
India, Pakistan, etc. I kind of
call them all the nuclear also
rans. Most of them didn't do
anything to uh necessarily
innovative uh but one of the big
exceptions to that which was
interesting from a strategy
perspective, and I'll get into
strategy a get- uh again in a
second is uh Israel, and they've
officially maintained nuclear
ambiguity uh supposedly they
might have set off a nuke in
1979 called the- the Vela
incident somewhere in the uh
[whistles] you know exact se-
but anyways the Vela incident in
nine- 1979 was supposedly a test
of theirs but they don't confirm
or deny that they have nuclear
weapons so all outside sources
have that kind of graph on the
right there as a uh as a
probability distribution of how
much plutonium they likely have
with yeah know low end there and
the uh five hundred kilogram
range and a high end in the nine
hundred kilogram range and
that's uh that's kind of that
and then on the left you kind of
see this graph of uh you know
the stock pile of the world over
time. In the US and USSR were
essentially engaged in uh kind
of deadlock race to try and get
the most nuclear weapons up
until there was a change in
strategy that I'll get to in a
second and then that kind of
came down and then over time you
had these other countries
emerging and uh and also joining
the nuclear club. So here are
three people who I think were
really central to kind of that
graph we saw previously. The uh
the first one is John von
Neumann and the really
interesting thing that he did is
he came up with what was called
mutually assured destruction
which was sort of the idea that
as long as you've got two super
powers that are perpetually
locked in a uh you know a cold
war essentially that they will
never nuke each other because
they're afraid of getting blown
up by the other. And uh he kind
of said you know the only way
you can keep a a strategy like
that going is you have to have a
massive response of being able
to obliterate the other side no
limited response of just you
know tit for tat uh and that was
a a bit of a interesting
strategy at the time fortunately
nuclear war obviously never
happened but one of the guys who
was really uh instrumental in
changing that strategy and I'd
say led to a lot of those
stockpile eruptions over time
was Herman Kahn and he argued uh
rather controversially in his
book on thermonuclear war which
was rather famously parodied by
Stanley Kubrick's as Dr.
Strangelove uh the concept of
winability which is
controversial though I wouldn't
say he looked as much of that as
uh as really you know how you
can make it a little more
survivable uh and what he
essentially concluded and he
quite controversial was an
extensive fortification anti
ballistic missile and related
and defense technologies uh were
not the only way of looking at a
massive retaliatory response or
as he called it a 'wargasm' you
could uh end up having a
tremendous amount of over
targeting where mass gallons of
you know pointing a dozen
warheads at a hot dog stand at
the pentagon or vice versa. Uh
but his thinking was certainly
heard in Moscow too they
excavated M2 a second
clandestine subway for uh soviet
leadership, Kennedy also looked
at uh a bunker at one point too
but that was never built under
Washington um and then the third
guy on the right there is quite
interesting uh Abdul Qadeer Khan
and he was essentially the first
state agnostic uh proliferator
of nuclear technology and he
pretty much just spread it
around everywhere- I won't get
into too much but he uh was
called the father of Pakistan's
nuclear program but he really
proliferated to a lot of other
countries including North Korea,
Iran and he he originally worked
for Uranko in the Netherlands
and he developed a non proved
version of uh Centrifuge to
separate out uranium and then he
just went and dealt it
essentially to the highest
bidder [chuckle] uh so let's
move on again uh yes so one of
the big things- my slides are a
little off of work here
[chuckle] uh but one of the big
things really with reexamining
this threat model uh is not
necessarily looking at mu- as
much as a uh full out nuclear
wars perhaps um maybe an EMP uh
EMP event and that is something
that was learned to a large
degree during US testing ah back
in 50s and 60s there was the uh
the starprish- starfish prime
shot which took out about uh a
third of the satellites uh
orbiting the planet at the time
and this was uh you know well up
into the exosphere this is not a
detonation down near the ground
and uh what it does essentially
is it ionizes the plasma in the
upper atmosphere, ionizes the
gas in the upper atmosphere into
plasma and uh that leads to a
compton current where a very
large amount of electrons are
all coming downward and then you
have relatively broadband
radiation down from the very low
frequency ELF side all the way
up to uh you know a mid range
microwave if you up to a few
gigahertz uh all projected by
the CNP of course this would be
a quite catastrophic potentially
to electronics if you see a map
here of just a an EMP over South
Dakota you know a few hundred
miles up you can have voltage
strengths of you know five
thousand to fifty thousand volts
per meter in some of these bands
you know the red one there is
fifty thousand the uh kind of
turquoise ish is is more of five
thousand and uh you know
obviously you need schuling for
that so this is something that
US government and military has
been pretty proactive about ever
since the starfish prime test
but the civilian sectors really
been lagging behind and uh oh my
goodness I'm running out of time
already let me run into this
much longer uh I guess the
[inaudible] are out anyways
[chuckle] uh so when you think
about a uh this proportionate
risk for high altitude for EMP
uh you really think of maybe a
non state actor more even than
necessarily a state wanting to
do something like this I mean it
would be a tremendously
devastating attack from an
economic perspective- I'm
waiting for a hook any minute by
the way uh but uh oh dear uh
yeah in terms of a hypothetical
day to day life post EMP really
the industries would be hardest
hit is anything that relies on a
just in time supply chain so in
terms of goods and services,
anything uh could be uh very
homogenous you know availability
from area to area uh most
internet backend providers are
pretty EMP hard in this day and
age and some of them uh can be a
little more forward thinking
even in commercial data centers
uh of course uh a lot of devices
would survive that are just very
small because there is a uh kind
of upper limit on the
frequencies that this EMP puts
out and as I said that's the
gigahurtz so if you have a small
enough device that doesn't
really behave like an antennae
anymore and if it's not plugged
into you know a large power line
which is maybe resonating at say
uh you know somewhere extremely
low frequency range and if that
device is more likely to
survive. Uh then you know you
might just well we haven't had
an EMP attack in over the last
half century in which we've
known about these effects, is it
really something to be concerned
over? And I'd say some concern's
reasonable but certainly not
panic uh however the interesting
thing I'm going to get to if I
can get this video up here in
one second [chuckle] uh is this
new uranium uh separation
technology. It's in the video-
videos folder here and uh this
uh the CEO of Silex systems
actually uh explains the uh
explains it quite well. If we
can hear. Do we have audio? I
guess we might not have audio
here. Oh dear. Okay well I guess
we're not getting uh audio on
our videos for now so we'll just
go ahead and skip over but
basically this guy says that
they build this uh great new
laser enrichment technology in
uh in Australia and this indeed
uh has been ongoing for the last
couple decades, and then
surprisingly there is a wild
proliferation assessment a lot
of people have been calling for
a proliferation assessment of
third generation laser isotope
separation and one came out it
was published by a postdoc at
princeton named Ryan Snyder and
uh he essentially said you know
it looks like this is pretty
sim- carbon dioxide laser
technology they've probably
started working on carbon
monoxide laser technology and
that the uh possibility exists
that such a system could be
indigenously assembled which is
kind of just code for saying
this is not a very hard thing to
build like you could get your
hands on uranium in theory and
uh enriching it would would
really no longer be a huge
undertaking of nation states
making centrifusion spending a
lot- you know tens of thousands
of RPM that's really no longer
necessary with uh just gas laser
technology I mean we're talking
relatively simple things you can
build out, marks generators
which are made out of capacitors
and spark caps are stalled so it
switches and uh and that's
really kind of you know
switching things up because you
don't need that huge capital
investment and a lot of non
state actors may be able to
indigenously proliferate in the
future and uh that's why I think
we may be looking at kind of a
future of arms control failure
at least from the perspective of
being able to stop enrichment
because it's difficult to pick
up somebody making uh laser
isotope separation setup versus
a medical laser or you know just
anything that needs a lot of
pulse capacitors for example uh
so as much as I hate to agree
with Donald Trump on the issue
of nuclear arms control I I
think totality of the evidence
may point to uh being kinda
shoot [inaudible] for lack of a
better term. Granted there is uh
great progress elsewhere in our
arms control like the Newsford
experiment for remotely
detecting uh isotope signatures
operating nuclear reactors um
most arms control has really
been more around policy of
restricting enrichment but again
that's really going to be a lot
harder with uh with this Silex
process being reverse engineered
now. In terms of locating a
clandestine proliferation
facility uh turns out you only
need about seventy two hundred
kilograms of uh uranium ore in
order to proliferate and the
facility might fit within about
two hundred square meters so
this this could be very
challenging there really haven't
been too many good intelligent
solutions out there yet for this
Uh in addition to the
comparatively low upfront
capital expenditures the ability
to indigenously assemble laser
enrichment facilities really
presents a significant
operational security advantage
for a proliferator versus uh a
say probing an existing supply
chain to find an X to AQ con
because you'll need centrifuges.
Uh in terms of building a
realistic future of threat model
for a potential asymmetric
nuclear reactors I think
stepping back into the annuls of
civilian misadventure with
energetic materials is really
warranted, I mean you can say
for every you know Timothy
McVader ten thousand Jason
Pierre-Paul's who blow their
finger off with fireworks
[chuckle] for lack of a better
analogy and I think you probably
see a lot of similar things if
there's uh indeed a a surge in
nuclear proliferation in the
future you may see a lot of
accidents by would be
proliferators before you see
anything that actually uh know
comes to fruition uh you know in
the moral words of Boris Baranov
you can't make an omelet without
breaking some eggs pooksy
[laugh] so really in terms of
what to do with it you know like
I said I think the high altitude
EMP uh is really the you know
kind of the most likely threat
model given the really
disproportionate uh kind of
effect it can have on a whole
society versus you know maybe
you can affect a few square
miles with a ground detonation,
you can affect a country with a,
a high altitude EMP, uh and
believe it or not shielding is
actually not that difficult you
know you look at like a picture
of the Cheyenne mountain complex
well that was designed to
survive a five megaton direct
strike uh granted it's even
deprecated now 'cause there are
precise enough missiles to hit
it over and over and over again
are held by nation states but
when you think about just kind
of a pop shot coming in and you
know exploding at a high
altitude believe it or not
something like a trashcan can
give you you know forty or fifty
decibels of shielding if you
tape it up properly so it
doesn't act as a slot antennae
and let alone you know steel
culverts, drainage pipes, uh
there are really a tremendous
amount of options as far as
shielding goes the important
thing is just the inside of the
shielding it has to be non
electrically conductive whereas
the shielding itself has to be
electrically conductive and then
uh very large devices are going
to also need magnetic shielding
in addition to just conductive
electric shielding. So I decided
to look at you know some
different options for this and
uh you know you can obviously go
small like trash can or whatever
or go ahead and actually you
know purpose build a hardening
facility and that's where I
looked at uh Mil STD 188 1251
high altitude magnetic pulse
protection- oh we got time?
>>We're done >>Okay, shoot
>>Okay, Thank you! [Applause]
>>Okay thanks a lot [laughs]
| {
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} |
Top of the Morning to ya laddies, My name is Jacksepticeye
And welcome to a HTC vive game called 'Sprint Vector'
I saw this at PAX West when we just went to it, and it looked really really cool they had a little booth set up
and I'd never heard about the game before, never seen it before until we went to PAX and then when I came back
I got talking to the developers over email, and they sent me a code for it for the Alpha
And I've had it for a while and I was supposed to play it
But I got a new computer and the Vive stuff isn't set up on that so I had to
reset up my own computer just to play this so it's all over the place, but this looks like a really cool game
It's a parkour kind of like freerunning superfast game
Which I should put my straps on for but you actually have to go like this to run
Which to me is really interesting because a lot of VR games don't have proper locomotion
And it's very hard to do and Gorn is the only one that made you actually do this to run
so I'm curious how this is gonna handle it
And wireless Vive so this should be perfect for that, but anyway before my batteries run out let's learn Sprint Vector
Let's learn the basics first. I probably won't even get past the tutorial.
Okay, let's go - also, I've my battery pack plugged into a fanny pack right now, so I - I'm really cool, I'm really 80's right now
[Tutorial] To skate, first hold your hand out in front of you and hold the trigger button
[Jack]: Oh
[Tutorial]: Next, swing your arm fully backwards and release the button along the way to push your body forward
[Jack]: Oh, oh yeah! That's fucking rad!
[Tutorial]: Excellent
[Jack]: Oh, jesus!
[Tutorial]: You should be able to make it to the end of any race track
Okay, that's really cool
[Jack]: I was hope- (Rude interruption)
[Tutorial]: Turning is simple: you sprint in the direction you are looking. It helps to turn your body so you're facing the direction you want to go.
[Jack]: *laughs* Looking good, my dude
[Tutorial]: The finish line is right around the corner. You can make it!
[Jack]: Okay, okay, so I was holding the triggers and doing this
But that doesn't get you far; you have to hold the trigger, pull, release - oh yes
Yes!
Okay, oh, that's fucking cool!
Okay, I got this, I got this.
That's really nice
[Tutorial]: Turn your body towards the direction you'd like to move. Awesome!
[Jack]: That's very, very good. I'm highly impressed with that. That's good movement.
[Tutorial]: Once you start racing in Sprint Vector, you'll be able to move at extreme speeds.
[Jack]: Okay
[Tutorial]: While skating, the more effort you put into sprinting the faster you'll go
[Jack]: Yes! Oh, that feels fucking nice. Okay, okay, okay? I want to go over here.
Oh, oh, I did it. Okay, super fast!
[Tutorial]: The physical effort and speed is just -
[Tutorial]: Don't worry, you can come back later and try again
[Jack]: Okay, how do I go back? Oh, return? No, I don't wanna go back to the lobby!
[Tutorial]: Once you start to go faster, you...
[Jack]: I guess I just go over here *laughs*
[Tutorial]: Great job!
[Jack]: Okay, so, I don't know if I go faster...
[Tutorial]: You should be able to keep pace with any racer
[Jack]: I don't know if I go faster by longer movements and better pace, or if I just go really fast
[Tutorial]: ...and you'll come to a stop. Try using the brakes to stop yourself from running off this ledge
[Jack]: *strange noise a bit like ughhhhhh*
I did it!
[Tutorial]: To break, all you need to do is hold on to those grip buttons.
[Jack]: Yeah, I am- Oh, grip buttons
Aaaaaaah, okay that make sense.
[Tutorial]: Breaking in the air will drop you towards the ground faster
[Jack]: Huh... this is really intuitive!
[Tutorial]: First, hold your hand out above your head and hold down the trackpad
[Jack]: What?
[Tutorial]: Then, swing your arms straight down and release along the way
[Jack]: Oh. god. Woah, god. Oh god.
[Tutorial]: ...to get to the finish line. You can jump twice - give it a try!
[Jack]: I mean, I'm doing it, but I'm not doing it very well
Oookay, alright, I get it. So you actually have to *grunts*
[Tutorial]: You made it! Congratulations!
[Jack]: Cool! So it's the same as running, but you have to do it like that.
Hi! Oh, I'm all the way down there! This feels really good.
[Tutorial]: ...can also help you leap across vast gaps.
In order to make these kinds of distances, you'll need to build up some speed first.
Try running and jumping to get across these gaps.
[Jack]: Huhp!
Nice. Oh, my god, I feel so cool. Hahp! Haah!
Fuck yeah! *laughs*
Gah, geez. Woo! Okay, where even am I in my room right now?
Oh, I'm facing my door. Okay, um...
I guess I should do the advanced tutorials? That feels really good, just right off the bat, that feels amazing!
That's the best movement I've ever had in a VR game. I really like that.
[Tutorial]: While you're midair you can fly by extending both arms forward and holding down the trigger buttons on each hand
[Jack]: Ooh
[Tutorial]: You can't jump here. You'll have to soar to the finish line.
[Jack]: I can fly?!
Oh, yeah, oh, yeah, oh, yeah, baby!
[Tutorial]: You made it across! When flying, you can conquer much further gaps than you normally would by just falling
[Jack]: Oh, you bet your ass I can! Woah!
[Tutorial]: To turn in mid-air, simply twist your arms. Kinda like steering a car!
Point your head and hands in the direction you want to go. Try to make it to the end by steering around the walls
[Jack]: Okay, that's actually a really good way of explaining it
[Tutorial]: To turn fast, try lowering an arm in the direction you want to turn and raising the other
[Jack]: Oh, god, oh, god. I got it, I got it! That's really good!
[Tutorial]: This twisting motion will help you steer yourself with better speed and accuracy
[Tutorial]: Now that you know how to turn in air, you'll be able to better control yourself...
[Jack]: Man, I cannot wait to get into some actual tracks for this.
[Tutorial]: To climb up a wall, simply pull yourself up by grabbing the green handles
[Jack]: Oh, this is like that To The Top VR game
[Tutorial]: ...over the handle and your hand will snap to the nearest grabbable object
[Jack]: Ah, ok
[Tutorial]: Try and climb to the top of these walls
[Jack]: Oh, yeah! Yeah! Wahoo! I'm just doing this over and over again! *laughs*
This is some hell of a workout, man.
[Tutorial]: You can also fling yourself up a wall to climb faster.
To fling yourself, first grab a handle with the trigger button. hold it above your head, and then throw it straight down to the floor.
[Jack]: I didn't even do anything, I just ran up that wall.
[Tutorial]: You can't slow climb these! Make it up the walls by flinging yourself upward
[Jack]: What I don't, I don't get it. Oh!
[Tutorial]: Avoid scrambling up the wall...
[Jack]: Whoa, whoa, whoa! Huhp!
Okay, wuhp!
I can't! I can't do it captain!
[Tutorial]: Remember to release the trigger button midway through your swing, when your hand is moving fastest, to fling yourself at higher speeds
[Jack]: Oh, I get it, wow
Wow
WOW
[Tutorial]: Fantastic! Now you can quickly scale up climbable walls by flinging yourself ahead of the competition.
[Jack]: Ok... There's a lot of controls being thrown at me immediately
[Tutorial]: While you are skating, hold both the trigger and trackpad down on either hand to drift in that direction
Try drifting continuously for three seconds
[Jack]: Okay
[Tutorial]: If you want more practice, feel free to keep drifting around. When you want to leave, approach the screen at the center...
[Jack]: YES! That's so cool!
Can I get it even faster going? *multiple grunts*
Yeah, baby!
That feels *makes a screechy brakes noise*
That feels phenomenal
[Tutorial]: Double tap the trigger button to shoot your glove blast and blow things out of the way
[Jack]: What?!
[Tutorial]: Glove blast the target to open up the path
[Jack]: Oh, man, that's gonna get really fucking hard after a while, because you'd be flying along
[Tutorial]: Just double tap the trigger button to blast your way out of this room
[Jack]: HI! Hi friend!
[Tutorial]: ...double tap the trigger button to use it
[Jack]: Okay
[Tutorial]: Power-ups will replace your ability to glove blast, so don't hold on to them for too long
[Jack]: Double tapping- double-
[Tutorial]: When you're ready to move on, skate over to the screen to leave this area.
[Jack]: I get it. Double tapping to do shit seems very counterintuitive 'cause triggers are to do this
[Tutorial]: A slow mine will create an area that slows down anyone inside.
[Jack]: Ah that's what the thing was!
Okay, I get- I'm trying to get how this shit works
[Tutorial]: The EMP missile disables the locomotion of a- The missile barrage can slow opponents down each hit cuts their speed in half.
[Jack]: Okay
Nice! HAHA! Oh, crap, okay. Again, I'm trying to get used to it. It's a bit hard
Here we go, that's a snail again
[Tutorial]: The slip mine will cause racers to slip and slide inside, perfect for setting traps...
[Jack]: There we go, there we go! Oh, I love that that you can still run in this direction, but look behind you
That's really nice!
Okay, I'm trying to get used to it. AAAH, god, I'm slipping! *giggles*
It feels amazing!
WOOOOOOOOH!
Oh, yeah! Oh, yeah! Waaa *laughs maniacally*
Oh, that's so cool!
Okay, I think that's the tutorial done! Bye, guy. It was fun hanging out. Oh, I'm so sweaty
Can I just do basic levels? I don't wanna actually get into a multiplayer round. Ooh, I can select my character
Cosmo
No, I don't want Dax
Hendricks, he looks like a street shark!
You look like you belong in either Horizon or Splatoon
Wanna be Hendrix, he's a fucking shark, dude
Hell yea - Look at that guy
Okay, let's do the ice level. Man, I am so pumped to try this. What way am I facing?
Okay, let's actually orient ourselves properly. I'm running right towards you guys.
Do- do I just go? *countdown beeps* Oh, okay.
Yes!
This is amazing!
Okay, okay, I got this, I got this
I wanna get over that. I don't know if that actually affected me, but whatever
What does this do? Okay, nitro! WOOOOO!
Okay *more frickin grunting* I got this. Man, having wireless VR for this is the best!
Okay, go faster. Huhp! Go faster. Whoaaa!
Okay, I can't do that when I'm- huhp, huhp
Ah, god, it's weird. It's weird to try and turn. I'm not used to doing this. I'm not used to actually turning around in circles
Huhp! Okay, okay.
I could just do that anyway?!
What? Whoa look at that guy! What is this?
Yes! Yes! YES!
Huhp!
Okay, I'm not the best at this!
Ah, christ, what did you do to me?
Ah, man, you boosted me into a fucking wall
Huhp!
Over, over, over, over, yes, huh, huh, huh
I got this. I'm a speed demon. I'm a speed demon!
Ah, fuck I'm gonna fall over
Shit, man
Okay in the tutorial courses, this was easy
In real courses, this is very hard! Oh, shit where am? Go this way!
Okay the flying part is messing me up
Ah, ah, ah. Oh my god, oh, sweet Jesus
I am actually out of breath after that. Mother of god!
Amazing! Amazing!
Holy crap!
Okay, let's try arid.
Wooooh, mama
That it's a full-on workout
Okay, here we go. I have to get better at it! Hello Anubis!
You're scary
Okay, I didn't even hit- what? I didn't hit anything
Okay, I got this
Huhp, huhp
Oh yeah. What the fuck? God damn it! huh, huh, huhp!
Okay, go go go go go
WOOOOO!
HAH!
Ah, crap! I missed the thing!
Ah, no, oh, I fucked it up. Okay.
Aghh *grunt*
Oh, god, oh, god. This is weird to get used to! I got it though, I got it though. Watch.
Oh YEAH! Oh, god, oh, god. Oh, god oh, god. Ah come on
COME ON!
Okay, go! Go, my shark dude, go! Yes! Yes!
Oh, god, oh, god, oh, god.
OH YEAH!
WAAH *laughs* Oh, jesus!
That was so much fun!
Oh, god, we're going this way? Okay.
No, oh, oh, oh
Ow, ow, ow! Fuck you! Go!
*grunts* Okay, checkpoint, whatever
Oh, god, oh, god, oh, god. Okay, stop the fucking- stop the- stop the train! I want to get off! Huhp!
Oh, oh
I'M TIRED!
Ooh, what's this?
Okay, just grab the thing! Grab the things! Why aren't you grabbing them?
Okay, stop! Huhp! Huhp!
This is confusing! Oh, shit
Uh oh
Okay, yah! Oh god! OH GOD!
*facing completely the wrong way* Okay, my problem so far is that I'm not getting the controls fast enough because
Pulling triggers to run in certain directions is one thing, and then pressing these
to jump, like, I can't wrap my brain around it as I'm going through the air, so I'm trying to like figure that out and
Sometimes my brain is trying to go like this, to, like, throw myself sideways 'cause I'm so used to other VR games
Having locomotion just face one direction, and then you work like this
But in this game, you have to go and then pull yourself that way, and then go back that way
So, it's very very involving. I mean it's amazing, don't get me wrong
It's- it's me that can't get the controls, but when I do, I'm gonna feel great
I'm gonna do this again, I wanna practice round
Oh-hoo, I'm not saying much because I'm actually fucking tired playing this
Okay, where's my walls?
Okay, here we go! Let's get ready bitches!
WOO!
Huhp!
I don't know if that's faster. I don't know if the ground is different there. Okay, and then you go like this
Oh, I forgot I have drifting, okay, let's see. Let's use my drift now this time
Ah, crap *laughs* Ah, the buttons, I don't know how to use them
I'm not going as fast as I could be either. Okay. This is it, that's the speed.
Okay, okay, let's go this way
Nice!
Nice!
And you have to put your fucking whole body into this
And when you do, it feels good!
Okay, nitro, nitro. I'm gonna hold on to this. I'm not gonna use it just yet, okay
There we go that's the time to use nitro. Fuck yes!
Okay, oh that was good. I like that one.
Okay, oh man. Huhp! Ooh, God
Let's go, let's go, let's go. Let's go. Let's go. Let's go. Okay, go. The end is right there!
Go on, baby! Go, baby!
YEAH!
Oh, I actually have a stitch!
Did I do it better?
I'm not sure. I can't remember what my time was last time. Okay.
Well, I'm going to leave this episode of sprint vector there.
The best parkour, free-running, locomotion game I've ever played on the Vive
These people get it, that- Okay, let me just take off all this stuff
Wooh. Like I, I play a lot of VR games - you know that. I'm very, very enthusiastic about it. I love VR games.
It's very, very rare for me to be out of breath while playing a VR game.
A lot of them make me feel like I've been working out and I get very warm, or I get a little sweaty, or whatever.
But very few have- actually none have ever made me actually feel out of breath and that, that's
That's incredible 'cause not only is it fun to play and fun to master, but it's a workout
So you're actually burning calories as you do it
Which is nuts
Like, that, that's one of the side benefits of VR that I don't think anybody's really talking about all that much
Everyone's talking about how much it feels like to be immersed and the type of gameplay you can do
This is so immersive
It actually feels like- well, like, once you get down to the controls
I'll dick around with it a small bit more and I'll get a bit better at it, um
When you actually get the controls down, most of them are very intuitive.
It's when you get into an actual racetrack, and then you're doing them, like, around corners and everything it's, like,
It's hard to master, or at least it is for me. I can't get my head around it just yet, but
the more time I spend in it, I feel like the better I'm gonna get at it, and
I've just, I've never felt like that playing a VR game before.
Where I felt like I was having direct input as to what was going on, 'cause, as I said, a lot of VR games struggle with how to move around.
Some of them have it that you hold a button and you move forward, and then wherever you're looking, you move in that direction
Some of them, like Gorn, have you press - I think it's the thumb pads on Gorn.
That you press, and then you pull, and it's like that,
but because you don't have momentum, it gets very tiring very quickly
So in this, when you're pulling, you're actually still moving, so it accomplishes pushing forward with very minimal input
Which is incredible, and it actually, like, the sense of speed that you get while playing it is really good
And just having to, like, look around your scenario and try and figure out where you're going
I need to get my head around the jumping and all that kind of stuff and then I'll get much better
And then I'll be able to fly on the environment.
I'd love to see somebody who's really good at this, but, again, having seen it at PAX
And I didn't even see anyone demo it
I just saw, like, the videos
And I saw how the movement was based around - and the game itself just looks cool already, because it reminds me of Jet Set Radio
which is a super fun game where you're on rollerblades going around a city, and that stuff is really fun
Rollerblading and just freerunning and anything like that in VR is really, really good
But to have it actually feel good is a very hard thing to do and they nail that - and this is only the alpha
This isn't even, like, a full game yet, this isn't even the beta, a demo, anything like that
This is just an alpha build that they sent to me specifically - not, not just to me to reviewers
Um, and I am absolutely blown away by it
and I'm very, very excited to see what the rest of their game is going to be like.
I can't wait to see more characters, more skins, more tracks
I really hope that this game has a long life in it and I'd love to see,
like, a user-based or user custom created mode in the game as well. That would be super fun!
Oh, absolutely blown away and
playing it normally would be a pain in my fucking ass, because having to turn like that and you'd be tripping over cables and everything
But playing it wirelessly, like, this is this is definitely a game to promote Wireless VR.
I think this - um, Gorn was a good, so it was a good demo for it because it's a 360 around kind of game
And I really like that but another game that I might try out as well
I know I've played super hard VR already
But I might try it out wirelessly, because I think that's gonna be very fun because the amount of times where I couldn't go far enough
Or there's a table behind you and you want to hide behind it
But the cable kept getting snagged in things,
so now having full, full rein to be able to move all the way around the place would be super cool.
Ah, super excited about the future VR. It's going to be really cool, and I'm glad people like this are pushing it in a way
that's not just - because everything in VR feels like fucking tech demos these days.
You sit down, you, like, shoot waves of enemies coming towards you, and that's cool for ten minutes
But it's stuff like this that really sells VR
It's harder for people to get into because there's a lot more learning of the controls and mastery of that
But that sense of, like, moving forward, that sense of you're actually in the environment, having direct input into what's going on
I mean, I'm out of breath. What does that tell you?
Anyway, I'm just gonna stop pushing over stuff, and leave it there. I leave links in the description for the game
It's not out yet, but um,
I hope that this kind of generates some more buzz for the developers around this game 'cause I'm very, very excited about this, and you can tell
that they put a lot of time and effort into it. That's, that's a really cool thing to see, but anyway,
Thank you guys so much for watching this episode. If you liked it, punch that like button in the face
LIKE A BOSS!
And, high fives all round! *impressively accurate high five noises*
Well, thank you guys, and I will see all you dudes... IN THE NEXT VIDEO!
I mean, I put a lot of energy into my videos anyway, but that took the energy to like another level. WOO!
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Subscribe and enjoy
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Subscribe and enjoy
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Albanian:
Faleminderit David! Mirëmbrëma të gjithëve! Ju faleminderit
shumë për kohën dhe për praninë tuaj sonte këtu!
Ashtu siç e dini disa nga ju, buxheti i Kosovës është
rreth një miliard e gjysmë euro
dhe remitancat (dërgesat) që kemi marrë nga mërgata
jonë janë zyrtarisht rreth 600 milionë euro
dhe jozyrtarisht rreth një miliard euro. Pra, nuk ma
merr mendja se ka ndonjë shtet tjetër ku raporti
midis remitancave nga mërgata dhe
buxhetit të shtetit është në raportin dy me tre.
Ka shtete të tjera mërgatat e të cilave dërgojnë
më shumë para sesa jona, por jo me këtë përpjestim.
Sidoqoftë, këto dërgesa zbutën varfërinë
deri diku por nuk rritën nivelin e punësimit.
English:
Thank you David! Good evening everybody!
Thank you very much for taking your time and
coming here tonight!
As some of you know budget of Kosova is around
one billion and a half euro and remittances
that we get from our Diaspora are officially
around 600 million euro and unofficially around
one billion euro. So I don't think that you
have any other country where the ratio between
remittances from the Diaspora and the budget
of the state is two to three.
There are other nations whose diasporas send
more money than ours but not within this ratio.
English:
However these remittances did soften a bit
poverty but did not increase unemployment.
Trade deficit of Kosova is 35. 1 percent of
GDP - so it's higher than the third of GDP
- and GDP per capita, in Kosova, is nine times
less than average EU (GDP). In the so called,
'golden age' of former Yugoslavia, in the
year 1979 the standard of living in Kosova
was one ninth of that in Slovenia. Now, 30
years latter is nine times higher than GDP
per capita in Kosova.
Foreign direct investments have fallen in
the last year to their lowest level since
Albanian:
Deficiti tregtar i Kosovës është 35.1 për qind
e PBB-së (GDP)-- pra është më e lartë se një e treta e PBB-së
- dhe PBB -ja për kokë banori në Kosovë është nëntë herë
më pak se mesatarja e PBB-së së BE-së. Në të ashtuquajturën,
'epokë të artë' të ish-Jugosllavisë,
në vitin 1979 standardi i jetesës në Kosovë
ishte nëntë herë më i ulët sa ai në Slloveni.
Tani, 30 vjet më pas mesatarja PBB-së së BE-së,
për kokë banori, është nëntë herë më e lartë se ajo e Kosovës
Investimet e huaja direkte në vitin e fundit
kanë rënë në nivelin më të ulët që nga viti 2005
the year 2005 at 4.3 percent of GDP, half
në 4.3 për qind të PBB-së, gjysma e saj shkon
në pasuri të patundshme dhe në sektorin e ndërtimit,
Albanian:
12 për qind në shërbimet financiare,
dhe vetëm 13 për qind kanalizohen në prodhimtari.
Në njërën anë ka pasur 20 për qind rritje
të bizneseve të reja të regjistruara në Kosovë,
por nga ana tjetër, 16.7 për qind e bizneseve janë mbyllur.
Pra, në një mënyrë, në situatën ekonomike që kemi atje,
ekonomikisht është më e lehtë të niset një biznes,
por gjithashtu edhe më e lehtë është që të vdirret.
Kjo vjen falë doktrinës së ndërmarrjeve të vogla dhe të mesme,
që arriti më pak a shumë, në të njëjtën kohë me çlirimin e Kosovës.
English:
the year 2005 at 4.3 percent of GDP, half
of it goes to real estate and construction
sector, 12 percent in financial services,
and only 13 percent are channelled into manufacturing
and production. There have been 20 percent
increase of new registered businesses in Kosova,
but on, the other hand, 16.3 percent the businesses
were closed. So, in a way, in the economic
situation we have there, it's economically
easier to spring, but also it's easier to
die out. This is thanks to doctrine of small
and medium enterprises, which arrived more-less,
Albanian:
Ne na u pati thënë se korporatat e mëdha,
komplekset industriale, i përkasin tashmë së kaluarës
dhe se tash duhet të përqendrohemi
në ndërmarrjet e vogla dhe të mesme.
Problemi me ndërmarrjet e vogla dhe
të mesme është se ato janë, zakonisht, të vogla
dhe shumë të rrallë të mesme dhe
shumë shpejt shndërrohen në mikrondërmarrje.
74 për qind e aseteve në sektorin financiar
i takon bankave, dhe 19.5 për qind
Fondit të Trustit Pensional. 70 për qind e aseteve
të bankave menaxhohen nga tri bankat më të mëdha,
nga nëntë sa janë krejt, dhe 90 për qind
ato janë në pronësi të huaj. 37.8 për qind
e të rinjve të cilët janë të punësuar punojnë
pa kontrata dhe 30.000 të rinj hyjnë në tregun e punës
English:
at the same time after the liberation of Kosova,
and we have been told that big corporations,
industrial complexes, they belong to the past,
and we should focus now in the small and medium
enterprises. The problem with small and medium
enterprises is that they are usually small
and very rarely medium and very soon they
become micro-enterprises.
74 percent of assets in the financial sector
belongs to the banks, and 19.5 percent to
the Pension Trust Fund. 70 percent of the
assets of the banks are managed by three biggest
banks, out of nine altogether, and 90 percent
in foreign ownership. 37.8 percent of the
youth who are employed work without contracts
and 30.000 youngsters enter the job market
English:
every year without getting any job. Unemployment
is long term and at the same time absolute,
because vast majority of the unemployed would
work any kind of job. Besides the massacres
and genocide which killed 12.000 civilians
in the last war in Kosova, Serbia also destroyed
120.000 houses, killed 60 percent of livestock,
and also burned or took to Serbia, majority
of the tractors. And this is key to understand
economic dependency of Kosova from Serbia
even 14 years after liberation. 45 percent
of the population live with the two dollars
Albanian:
çdo vit, pa gjetur një vend pune.
Papunësia është afatgjatë dhe në të njëjtën kohë absolute,
sepse pjesa më e madhe e të papunëve
do të punonin çfarëdo pune. Përveç masakrave
dhe gjenocidit që bëri Serbia e duke vrarë 12.000 civilë
në luftën e fundit në Kosovë, ajo gjithashtu shkatërroi
120.000 shtëpi, mbyti 60 përqind të bagëtisë,
dhe gjithashtu dogji apo grabiti për në Serbi, shumicën
e traktorëve. Ky është çelësi për të
kuptuar varësinë ekonomike të Kosovës nga Serbia
edhe 14 vjet pas çlirimit. 45 për qind
e popullsisë jetojnë me dy dollarë
Albanian:
në ditë, 18-përqindshi tjetër jeton me
një dollar në ditë, dmth. rreth 300.000
njerëz janë të uritur për çdo ditë për shkak
se me më pak se një dollar në ditë nuk mund të merren 2100
kalori të cilat janë të nevojshme për trupin e njeriut.
Dhe 80 për qind e qytetarëve të Kosovës jetojnë
me më pak se pesë dollarë në ditë.
Pra, në thelb, ne nuk kemi klasë të mesme.
Mesatarja e tokës për bujqit është 0,15-0,18 hektarë,
gjë që është më pak se mesatarja e BE-së,
dhe energjia elektrike është duke u konsumuar
nëntë herë më shumë nga familjet sesa nga industria.
English:
per day, another 18 percent live with one
dollar per day, which means that around 300.000
people are hungry on daily bases because with
less than a dollar per day you can't get 2100
calories which are needed for normal human
body. And 80 percent of people of Kosova live
with less than five dollars per day. So, basically,
we do not have middle class there. The average
land for farmers is from 0.15 to 0.80 hectares,
which is less than the average of the EU,
and the electric energy is being consumed
nine times more by households than by industry.
English:
The entire budget of Kosova lays outside of
Kosova. 800 million euro of Pensions Trust
Fund, and 600 million euro of Privatisation
Fund. Only 2.5 percent of Pensions Trust Fund
is invested inside Kosova. So, we are very
poor country, but at the top of this our money
is abroad. We have this freedom of capital,
but not the freedom of the movement for the
people. I have a diplomatic passport as a
Member of Parliament, but I can go without
visas only in five countries: Albania, Montenegro,
Macedonia, Turkey and Haiti. So, we cannot
go where our money is. Our money leaves the
country very fast, but we can't go where the
Albanian:
I tërë buxheti i Kosovës qëndron jashtë
Kosovës: 800 milionë eurot e Trustit Pensional,
dhe 600 milionë eurot e Fondit të Privatizimit. Vetëm 2.5
për qind e fondit të Trustit Pensional investohet brenda Kosovës.
Pra, jemi vend shumë i varfër, por edhe mbas
gjithë kësaj paratë tona janë jashtë vendit.
Ne kemi këtë liri të kapitalit,
por jo lirinë e lëvizjes për njerëzit.
Unë kam pasaportë diplomatike si
anëtar i kuvendit, por mund të shkoj pa viza
vetëm në pesë shtete: Shqipëri,
Mali të Zi, Maqedoni, Turqi dhe Haiti.
Pra, ne nuk mund të shkojmë aty ku janë paratë tona.
Paratë tona largohen nga vendi shumë shpejt,
English:
money is.
I think that our socio-economic situation
of our country has nothing to do with the
history of the people, has nothing to do with
the culture of the society, and neither with
the richness or geology of the territory but
has to do with economic model. Economic model
in Kosova is wrong. It's neo-liberalist, where
they keep saying that we shall privatise everything,
very fast, very cheap, then development and
well being will come naturally. Of course,
this didn't happen.
The budget for the Ministry of Infrastructure
is seven times higher than the budget for
the Ministry of Agriculture, Forestry and
Rural Development. Three ministries that would
make developmental state - that I will talk
about later on - Ministry of Economic Development,
Albanian:
por ne nuk mund të shkojmë ku janë paratë tona.
Unë mendoj se situata socio-ekonomike e vendit
tonë nuk ka të bëjë asgjë me historinë e popullit,
nuk ka të bëjë asgjë me kulturën
e shoqërisë, dhe as me pasurinë
ose gjeologjinë e territorit,
por ka të bëjë me modelin ekonomik.
Modeli ekonomik në Kosovë është i gabuar. Është neoliberaliste,
ku vazhdohet të na thuhet se duhet të privatizojmë gjithçka,
shumë shpejt, shumë lirë, e pastaj
zhvillimi dhe mirëqenia do të vijë natyrshëm.
Sigurisht, kjo nuk ndodhi.
Buxheti i Ministrisë së Infrastrukturës
është shtatë herë më i lartë se buxheti
i Ministrisë së Bujqësisë, Pylltarisë dhe Zhvillimit Rural.
Tri ministri që duhet të përbëjnë shtetin zhvillimor - për
ç'gjë do të bëj fjalë më vonë - Ministria e Zhvillimit Ekonomik,
English:
Ministry of Agriculture and Ministry of Trade
and Industry, altogether have 4.3 percent
of the overall budget of Kosova. Usually they
increase a bit the salaries and the expenses,
the internal debt, but the subvention of the
publicly owned enterprises has fallen 30 percent.
For highways, budget of Kosova, dedicates
60 times more then for 'Trepça', the mining
complex mainly in the northern part of Kosova,
in Mitrovica surroundings.
The Privatisation Agency of Kosova, up to
now, privatised around 400 enterprises, mainly
Albanian:
Ministria e Bujqësisë dhe Ministria e Tregtisë
dhe Industrisë, marrë së bashku, përbëjnë 4.3 përqind
të buxhetit të përgjithshëm të Kosovës.
Zakonisht ato rritin pak pagat dhe shpenzimet,
borxhin e brendshëm, por subvencionimi
i ndërmarrjeve publike ka rënë 30 për qind.
Për autostrada, buxheti i Kosovës, jep 60 herë
më shumë sesa për kompleksin e minierave 'Trepça',
që gjendet kryesisht në pjesën veriore
të Kosovës, në rrethinat e Mitrovicës.
Agjencia Kosovare e Privatizimit, deri tani,
ka privatizuar rreth 400 ndërmarrje,
English:
the socialy owned enetrprises. Out of them
they created 700 new enterprises and liquidated
360 assets. From the fund which was gathered
from the process of privatisation, it's close
to 600 million euro, and from the liquidation,
72 million, 20 percent was supposed to belong
to workers, but only 77 millions have been
distributed so far to them. Of course, there
are other governments in the world that sell
publicly owned enterprises, some of them with
the aim to increase the budget without increasing
the taxes. But in Kosova this is not the case
because the money is being blocked in the
Privatisation Fund, where also Serbia has
its claims, as well.
Albanian:
kryesisht ndërmarrje me pronësi shoqërore.
Prej tyre krijuan 700 ndërmarrje të reja dhe
likuiduan 360 asete. Nga fondi
i mbledhur nga procesi i privatizimit,
rreth 600 milion euro, dhe nga likuidimi,
rreth 72 milionë, 20 për qind është dashur t'u takojë
punëtorëve, por vetëm 77 milionë
u janë shpërndarë deri tani.
Natyrisht, ka edhe qeveri të tjera
në botë që shesin ndërmarrjet publike,
disa prej tyre me qëllim të rritjes së buxhetit
pa rritur taksat por, në Kosovë,kjo nuk ndodh
ngaqë paratë janë kyçur në Fondin e Privatizimit,
ku edhe Serbia ka pretendimet e saja.
Privatizimi në Kosovë e ktheu kapitalin
në pronë dhe jo anasjelltas.
Albanian:
Në emër të kalimit nga sistemi socialist në
atë kapitalist ata privatizuan ndërmarrjet shoqërore,
por po ashtu vazhduan me ndërmarrjet në
pronësi publike. Ata nuk u ndalën aty.
Sot në Kosovë kemi lirinë për
të zgjedhur prodhimin e kapitalistëve
- çfarë lloji të verës apo ujit duam - por
jo lirinë për të zgjedhur llojin e kapitalizmit.
Ndoshta duam kapitalizëm gjerman, ndoshta
atë skandinav, anglo-sakson, frëng, apo singapurian...
Ndoshta llojin e kapitalizmit jugkorean. Por kjo nuk
është pjesë e debatit, as e debatit publik as e atij parlamentar.
Privatizimi, në fakt, nuk ka qenë kurrë
koncept, por një parim apo një normë
që duhet të plotësohet pa na lejuar
që të pyesim pse të privatizojmë,
English:
The privatisation in Kosova turned capital
into property and not the other way round.
In the name of transition from socialist to
capitalist (system) they privatised socially
owned enterprises but they (also) continued
with the publicly owned enterprises. They
did not stop there. Today in Kosova we have
the freedom to choose the product of capitalists
- what kind of wine or water we want - but
not to choose the type of capitalism. Maybe
we want German capitalism, maybe Scandinavian,
maybe Anglo-Saxon, maybe French, maybe Singaporean...
South Korean kind of capitalism. But this
is not part of debate nor parliamentarian
debate. Privatisation, actually, has never
been a concept, but rather a principle, norm
that should be fulfilled without allowing
(us) to ask why to privatise, when to privatise,
English:
how much to privatise and to whom to sell.
The key contradiction is, in this context,
the one between the plan and the principle.
We are not allowed to have any kind of a plan
or vision for economic development. You're,
simply supposed to install the principle and
wait for the consequence of the principle
being good for us as we have been told.
One of the key arguments of how the privatisation
has been justified is to fight over corruption.
Of course, there is huge corruption in publicly
owned enterprises, but if there is corruption
in publicly owned enterprises, what we believe
should be done is to buy a new management
Albanian:
kur të privatizojmë, sa të privatizojmë dhe kujt t'ia
shesim. Kundërthënia kryesore është, në këtë kontekst,
ajo në mes të planit dhe parimit.
Ne nuk na lejohet të kemi ndonjë plan
apo vizion të zhvillimit ekonomik.
Thjesht, duhet të instaloni parimin
dhe të pritni pasojat e parimi për të
cilat na thuhet se janë të mira për ne.
Një nga argumentet kryesore se si është aryetuar
privatizimi është se kështu luftohet korrupsioni.
Natyrisht, ka korrupsion të madh në ndërmarrjet
publike, por nëse paskësh korrupsion
në ndërmarrjet publike, atë që besojmë ne se
duhet bërë është që të blihet një menaxhment i ri
e të mos shiten asetet. Qeverisë e cila
toleron korrupsionin në ndërmarrjet publike,
English:
and not to sell the assets. The government
which is tolerating the corruption in the
publicly owned enterprises, should not be
given the right to privatise those enterprises.
Because those who are corrupted in supervising
enterprises, are going to be also corrupted
in the process of their privatisation. On
the other hand there is the other contradiction
between privatisation and the rule of law
because both are supposed to fight corruption.
The rule of law is there to fight corruption,
and privatisation is there to fight corruption.
But in Kosova 14 years after the war, we do
not have the law on privatisation. So basically,
the privatisation is illegal, but it is implemented
very fast, efficiently. On the other hand,
in the field of rule of law - we have very
good laws in general in the paper - but not
Albanian:
nuk i duhet dhënë e drejta që
të privatizojë këto ndërmarrje.
Për shkak se ata që janë të korruptuar për të
mbikëqyrur ndërmarrjet, do të jenë të korruptuar
edhe në procesin e privatizimit të tyre.
Nga ana tjetër nuk ka kundërthënie tjetër
në mes të privatizimit dhe të shtetit të së drejtës,
sepse të dy pritet që ta luftojnë korrupsionin.
Sundimi i ligjit është për të luftuar korrupsionin dhe,
po ashtu, privatizimi është për të luftuar korrupsionin.
Por në Kosovë as 14 vjet pas luftës,
nuk e kemi ligj të privatizimit.
95
00:12:37,540 --> 00:12:46,300
Pra, në thelb, privatizimi është i paligjshëm,
por ai zbatohet shumë shpejt, dhe në mënyrë shumë efikase.
Nga ana tjetër, në fushën e sundimit të ligjit,
në përgjithësi, kemi ligje shumë të mira në letër
por jo në fushë e zbatimit të tyre. Pra, privatizimi
i paligjshëm është zbatuar në mënyrë shumë efikase,
English:
much of implementation. So illegal privatisation
is very efficiently implemented, while rule
of law lacks implementation. There is this
unfair competition between privatisation and
rule of law, in fighting corruption, where
privatisation is wining over rule of law.
Soon will be six years that Kosova declared
independence but it is more then 12 years
that we have the privatisation (process).
When UNMIK arrived in Kosova like in Terra
Nullius - like we discovered you - they said
that 'you do not have status', 'your status
is not resolved', that's why you can't play
football with other countries, that's why
you cannot travel, that's why you cannot this
cultural events, but privatisation we can
do. For conducting privatisation they didn't
care that we have no status. So, again, the
Albanian:
ndërsa sundimi i ligjit nuk zbatohet. Është
kjo konkurrencë e pandershme në mes të privatizimit
dhe të shtetit të së drejtës, në luftën kundër korrupsionit,
ku privatizimi është fitues mbi shtetin e së drejtës.
Së shpejti bëhen gjashtë vjet që Kosova ka deklaruar
pavarësinë e saj, por kemi më shumë se 12 vjet
që kemi procesin e privatizimit. Kur
UNMIK-u erdhi në Kosovë si në Terra Nullius
-- diqysh si: 'Ne ju zbuluam!' - ata thanë
"nuk keni status', 'statusi juaj nuk është zgjidhur',
dhe kjo është arsyeja pse nuk mund të luani
futboll me vendet e tjera, kjo është arsyeja që
nuk mund të udhëtoni, kjo është arsyeja që nuk mund
të keni ngjarje kulturore, por privatizimin mund ta bëjmë.
105
00:13:48,820 --> 00:13:55,800Për privatizim nuk
ishte pengesë fakti që nuk kishim status të zgjidhur.
Albanian:
Pra, përsëri, e gjithë strategjia e privatizimit
ishte krono- strategji: "KUR diçka të bëhet'.
Kurrë nuk u vu në pyetje NËSE duhet ta bëjnë apo jo.
Pra, duke mos menduar fare për privatizimin,
privatizimi u bë mënyra e vetme nëpërmjet së cilës
njerëzit mendonin. Në të vërtetë, privatizimi nuk është ide.
Në vend të kësaj, ajo përfaqëson, mungesë idesh.
Kur nuk dini se çfarë të bëni me ndërmarrjet, i shitni.
Pra, nuk është ide ekonomike, por ide shumë e shtrenjtë.
Është aq e shtrenjtë sa nuk është më fare ide.
Kjo është më tepër mungesë e ideve.
Kur nuk dini se çfarë të bëni me
pasurinë e kombit, atëherë e shitni atë.
Ka një lloj paniku para-apokaliptik te
ministrat dhe kryeministri kosovar,
English:
entire strategy for privatisation was chrono-strategy:
'when to do what'. It was never questioned
whether to do it or not. So, by not thinking
at all about privatisation, the privatisation
became the only way through which the people
were thinking. But I think that privatisation
is not, really, an idea. It represents, rather,
lack of ideas. When you don't know what to
do with the enterprises, you sell them. So,
it's not an economic idea, it is very expensive
idea. It is so expensive that it is not an
idea at all. It is rather absence of ideas.
When you don't know what to do with the wealth
of the nation, then you sell it.
There is a kind of pre-apocalyptic panic among
kosovar minister and Prime Minister, as if
English:
Kosova will be hit by some asteroid or tsunami,
therefore we have to sell everything rather
sooner than later. But, precisely, this approach,
where you think that you should sell fast
is bringing the apocalypse, where you have
the social misery and economic degradation.
At the same time I believe that the privatisation
should have been at best part of socio-economic
plan for development of the country, but not
the starting point where the development is
the consequence. So we are not, as a political
movement, against privatisation per se, but
Albanian:
sikur Kosova gjendet para një goditjeje nga një asteroid
apo një cunami, kështu që duhet të shesim çdo gjë,
sa më shpejt, aq më mirë. Por, pikërisht, kjo
qasje, kur mendoni se duhet të shitni sa më shpejt
që është e mundur po e sjell apokalipsin. Për këtë
arsye kemi mjerimin shoqëror dhe degradimin ekonomik.
Në të njëjtën kohë besoj se privatizimi është dashur të
jetë, në rastin më të mirë, pjesë e planit social- ekonomik
për zhvillimin e vendit, por jo pikënisje ku
zhvillimi vjen eventualisht si pasojë.
Pra, ne nuk jemi, si lëvizje politike,
kundër privatizimit 'per se',
por jemi të shqetësuar shumë që privatizimi ekzistues
është duke e kthyer Kosovën në shtet të ngjashëm
Albanian:
me ato në Amerikën Latine 30 vjet më parë.
Ajo që ndodhi me privatizimin e ndërmarrjeve publike
është se kemi bërë nacionalizmin e
humbjeve dhe privatizimin e fitimeve.
Për shkak se pjesët fitimprurëse të ndërmarrjeve
u shitën, ato që kanë punuar me humbje
iu lanë qeverisë që të subvencionohen
nga buxheti i shtetit.
Privatizimi perjashtoi njerëzit nga politika
dhe nga sfera publike, sepse sapo
të privatizoni pronën publike qytetarët humbin atë
që e kanë të përbashkët, kështu krijohet hendek
më i madh politik midis institucioneve dhe qytetarëve.
Pra, në një mënyrë, privatizimi është ekskluziv.
Prona dhe ndërmarrja i takon dikujt dhe askujt.
Nuk ka asgjë për ç'gjë mund të bëhet fjalë.
English:
we are very much worried that the existing
privatisation is turning Kosova to the countries
similar to those in Latin America 30 years
ago. What happened in privatisation on publicly
owned enterprises is that we got nationalisation
of the loses and privatisation of the profit.
Because the profitable parts of the enterprises
were sold, and those which were operating
with loses were left to the government to
be subsidised by the budget of the state.
Privatisation kicked people out from the politics
and from the public sphere, because once you
privatise the public property the citizens
lose what they have in common and you have
greater gap between institutions and citizens.
So, in a way, privatisation is exclusive.
Albanian:
Të tjerët janë të përjashtuar.
Sa më shumë privatizim, aq më pak diskutime,
aq më pak debat.
Privatizimi nuk solli liberalizimin e
tregut. Vetëm monopoli publik zakonisht
shkoi në duart private. Kur është fjala për monopolet,
atëherë më mirë është që të kemi monopole publike
sesa monopole private.
Është interesante ajo që kanë bërë me KEK-un dhe PTK-në.
I trajtuan këto korporata
- të dyja shumë fitimprurës dhe në pronësi
publike -- ashtu siç thotë Deluze: "trupa pa organe".
I trajtuan ato si organe të sëmura, por askush s'mund
të gjente një organ të vetëm në atë trup të sëmurë;
korrupsioni është i përhapur,
është i thellë, është kudo, prandaj
English:
The property and the enterprise belongs to
somebody, and to no one else. There is nothing
to talk about. Others are excluded. More privatisation
you have, less discussion you get, less debate
you get.
Privatisation did not bring liberalisation
of the market. Only public monopoly usually
went into private hand. When it comes to monopolies,
then better is to have public monopolies then
private monopolies.
KEK (Kosova's Electro-energetic Corporation)
and PTK (Post-Telecom of Kosova) cases
It is interesting what they have done with
KEK and PTK. They treated these corporations
- very profitable both of them and publicly
owned - as Deluze would say 'body without
organs'. They treated them as bodies which
are sick, but you cannot locate single organ
in that body which is sick; corruption is
widespread, is deep, is everywhere, therefore
English:
you have to sell this corporations. So they
never allowed us to distinguish certain organs
within the body that should be healed separately.
But, once privatisation started, what they
were doing is that they were actually privatising
only the healthy organs of the corporations
which was described as body without organs.
So, retroactively we understood that actually
this body had organs, but through privatisation
they turned into organs without body, if I
may say so. They destroyed the corporation,
and then they took only the good organs. So
it is typical situation of organ transplant
because you killed the enterprise and then
Albanian:
- na u tha - duhet t'i shitni këtë korporata. Pra,
kurrë nuk na lejuan që të dallojmë organet e caktuara
në trup që duhet të shërohen veç e veç.
Sapo filloi privatizimi, çfarë bënë ata është se,
në fakt, privatizuan vetëm organet
e shëndetshme të korporatave
të cilat qenë përshkruar si trup pa organe.
Pra, në mënyrë retroaktive, e kuptuam se
në fakt ky trup kishte organe, por nëpërmjet
privatizimit e kthyen në organe pa trup,
në qoftë se mund të thuhet kështu. I shkatërruan
korporatat dhe pastaj ua morën vetëm organet e shëndosha.
Kjo është situatë tipike e transplantimit të organeve,
sepse një herë e mbytën ndërmarrjen e pastaj ia morën organet.
Albanian:
Privatizimi në Kosovë i trajtoi
ndërmarrjet jo si kapacitete për zhvillim,
jo si organizata të punëtorëve,
por vetëm si asete të vdekura.
Pra, në një mënyrë, sapo të krijoni një qasje nga këndvështrimi
i privatizimit të ndërmarrjes në pronësi publike,
para se të bëni çfarëdo gjë tjetër, duhet
ta mbytni paraprakisht. Kjo qasje e mbyt ndërmarrjen.
Unë mendoj se në mënyrë paradoksale,
privatizimi konsideroi se ky trup është pa organe,
dhe vetëm nëpërmjet privatizimit ne u bëmë
të vetëdijshëm se në fakt ka organe,
ka disa organe të sëmura, por atë që bënë
ata është që i morën vetëm ato të shëndoshat.
English:
you get the organs. Privatisation in Kosova
considered enterprises not as capacities for
development, not as organisation of workers,
but only as dead assets. So in a way, once
you approach from the viewpoint of privatisation
to the publicly owned enterprise, you have
to kill it first before you do anything else.
This approach kills the enterprise.
I think that paradoxically, privatisation
considered that this is body without organs,
and only through privatisation we became aware
that there are actually the organs, there
are some sick organs, but what they did is
they took the good ones. 14 years after the
English:
war we have this paradigm of stability which
is also stability for the sake of privatisation.
Stability of the patient in the surgery room,
while the doctors take the organs, and after
the stabilisation with anaesthesia or morphine,
of course, if I may say so, the hand of the
doctor remains hidden.
The transfer of economic relations in Kosova
from socialist into capitalist (relations),
in the name of negation of socialist (relations)
they negated all other variants inside capitalism
but new liberal one. I think that this shift
from socialism to capitalism did not actually
Albanian:
14 vite pas luftës e kemi këtë paradigmë të
stabilitetit që është edhe stabilitet për hir të privatizimit.
Stabiliteti i pacientit në dhomë kirurgjike,
derisa mjekët marrin organet,
dhe pas stabilizimit me anestezi ose morfinë,
natyrisht, në qoftë se mund të thuhet kështu,
dora e mjekut mbetet e fshehur.
Transferimi i marrëdhënieve ekonomike në Kosovë
nga ato socialiste në kapitaliste,
në emër të mohimit të marrëdhënieve socialiste
mohoi të gjitha variantet e tjera brenda kapitalizmit,
përveç atij liberal. Mendoj se kjo zhvendosje nga
socializmi në kapitalizëm nuk ka si rezultat kapitalizmin,
Albanian:
por më tepër feudalizmin. Natyrisht,
tash të gjithë ne kemi llaptopë,
ajpadë e kamera sepse përparimi teknologjik
është maskim i marrëdhënieve ekonomike reale në terren.
Për shembull, ne kemi aq shumë veçori feudaliste:
nuk kemi industri, nepotizmi është në lulëzim e sipër,
analfabetizmi është në rritje, para kesh ka çdo
ditë e më pak, shkëmbimi i mallrave me mallra
ndërmjet bisneseve është gjithashtu në
rritje. 78 për qind e buxhetit vilet në dogana,
në një mënyrë paradoksale shteti i
Kosovës është i varur nga ajo që po e mbyt.
Si gjendja e të droguarit. I duhet drogë, por
në të njëjtën kohë është pikërisht ajo që e mbyt.
Pra, ne jemi të varur nga importet,
por importet po i mbytin bujqit tanë
English:
have as a consequence capitalism but rather
feudalism. Of course, we all have laptops,
cameras, and i-phones - technological advancement
is masking the real economic relations on
the ground. For example, we have so many features
of feudalism: we do not have industry, nepotism
is blooming, illiteracy is increasing, there
is each day less cash money, the exchange
between goods with goods is increasing as
well. 78 percent of the budget is collected
at the boarders, so the state of Kosova is
paradoxically dependent on what is killing
it. Like a drug addict. You need drugs, but
at the same time it is killing you. So, we
English:
are dependent upon imports, but imports are
killing our farmers. 78 percent of the budget
is collected at the boarders, from the import...
The main category becomes ethnicity, not any
more the nation or the state. The capital
town of Prishtina has increased not as a result
of the industrialisation but bureaucracy,
with government offices and administrative
and also those of empires. We have less water
and electricity in public system, and we have
more wells and private generators for electric
energy. Culture is not used to define political
unit, but rather to maintain the hierarchical
distinction: rural - urban; provincialism
of political parties and leaders is increasing.
Albanian:
sepse 78 për qind e buxhetit mblidhet në dogana, nga importi...
Kategoria kryesore bëhet përkatësia etnike, jo më shteti.
Kryeqyteti, Prishtina, nuk është rritur si
rezultat i industrializimit por i burokracisë,
me zyra qeveritare dhe administrative, si
dhe ato perandorake. Kemi më pak ujë dhe
energji elektrike në sistemin publik, dhe kemi më
shumë puse dhe gjeneratorë privatë për energjinë elektrike.
Kultura nuk përdoret për të përcaktuar njësi
politike, por për të ruajtur dallimin hierarkik:
English:
We have so many feudalistic businessmen who
are owners of land on nearby highways, airport
or - what we will find soon - mines. Great
part of the manufacture of the country, which
is very little anyway, is not done for the
market as in capitalism, but for people usage
as it happens in feudalism. On top of this
we have two queens - because in the UK you
have one queen - The Republic of Kosova is
not monarchy but has two queens: Baroness
Ashton from Brussels and American Ambassador,
Madame Jacobson.
Albanian:
rurale-urbane; provincializmi i partive
politike dhe i liderëve është në rritje.
Kemi kaq shumë biznesmenë feudalistë
të cilët janë pronarë të tokës afër autostradave,
aeroportit apo - ajo që ne do zbulohet së shpejti -
afër minierave. Një pjesë e madhe e prodhimit vendor,
e cila është shumë e pakët, gjithsesi, nuk
është bërë për tregun, siç bëhet në kapitalizëm,
por për futjen në përdorim të njerëzve, qysh ndodh
në feudalizëm. Në krye të kësaj kemi dy mbretëresha
- ngaqë ju në Britani të Madhe keni vetëm një mbretëreshë -
Republika e Kosovës nuk është monarki, por ka dy mbretëresha:
Ashton from Brussels and American Ambassador,
Baroneshën Eshtën nga Brukseli dhe
ambasadoren amerikane, zonjën Xhekobsën.
English:
I believe that the causes of problems that
we have in Kosova are socio-economic and consequences
are cultural rather than the other way round.
Therefore I do not think that corruption is
culture. I think corruption is the system.
We have been told very often in Kosova: 'You
Albanian people are lazy that's why you don't
find jobs there.' But I haven't seen any German
businessman, or Suisse businessman, or British
businessman, complaining that Albanians are
lazy. They complain, only, that Albanians
in Kosova are lazy. They are lazy because
they have no jobs. And people who have no
jobs, they look lazy. That doesn't mean that
they are lazy. One journalist asked me: 'Why
there are not protests in Kosova on 1 of May?'
Yes, I said, Albanians in Kosova and others,
they do protest on 1st of May, but they do
Albanian:
Besoj se shkaqet e problemeve që kemi në Kosovë janë
socio-ekonomike e pasojat janë kulturore dhe jo anasjelltas.
Prandaj nuk mendoj se korrupsioni është kulturë.
Mendoj se korrupsioni është sistem.
Ne në Kosovë na është thënë shumë shpesh:
"Ju shqiptarët jeni dembelë, kjo
është arsyeja pse nuk gjeni punë atje."
Por nuk më ka rënë të takoj ndonjë biznesmen gjerman,
ose biznesmen zvicran, apo biznesmen britanik,
duke u ankuar se shqiptarët janë dembelë. Ata
ankohen se shqiptarët janë dembelë vetëm në Kosovë.
Ata janë përtacë nga shkaku i thjeshtë se nuk kanë vende pune.
Dhe njerëzit që nuk janë të punësuar, duken si të ishin dembelë.
Kjo nuk do të thotë se ata vërtet janë dembelë. Një
gazetar më pyeti: "Pse nuk ka protesta në Kosovë më 1 maj?
'Po, i thashë, shqiptarët dhe të tjerët në Kosovë
protestojnë me 1 maj, por ata e bëjnë këtë në Londër,
në Berlin, në Paris. Klasa jonë punëtore është atje e
jo në Prishtinë. Ne kemi këtë subkulturë të makiatos atje.
English:
it in London, Berlin, Paris. Our working class
is there not in Prishtina. We have this subculture
of macchiatos there. So, you work here in
London and other capitals in the West, you
work here without brake, and we maintain you
coffee brakes with the remittances that you
send to us.
One of the greatest problems that lies at
the core of this grave economic situation
is that democracy by international protectorate
has been limited to anti-communism. So when
you limit the democracy to anti-communism,
that is a highway for neo-liberalism. Yes,
we can have free-market economy but what we
get in Kosova is the freedom of the market
which becomes market domination over institutions.
In 1999 prior to getting political liberty
Albanian:
of macchiatos there. So, you work here in
London and other capitals in the West, you
Pra, ju punoni këtu në Londër dhe kryeqytetet e tjera
në Perëndim, punoni këtu pa pushim, dhe ne kujdesemi për pushimet
e kafesë me dërgesat që ju na i dërgoni.
Një nga problemet më të mëdha që gjendet në
thelbin e kësaj situate të rëndë ekonomike është se
demokracia me protektorat ndërkombëtar ka
qenë e kufizuar me luftën kundër komunizmit.
Pra, kur jua kufizojnë demokracinë me
anti- komunizëm, i hapet rruga neo-liberalizmit.
Po, mund të kemi ekonomi të tregut të lirë,
por ajo që ne kemi në Kosovë është liria e tregut
e cila bëhet mbizotëruese e tregut mbi institucionet.
Në vitin 1999, para se të arrijmë lirinë politike,
Albanian:
ne arritëm në liberalizmin ekonomik. Pra,
ne u desh të kemi më parë, lirinë politike,
vetëvendojen, shtetin, sovranitetin
dhe më pas të bëhej liberalizimi.
Me hapjen e tregut të Kosovës nuk përfituam paga
të BE-së, por vetëm çmime të BE-së.
Natyrisht, e di se tregtia, financat e
shërbimet janë degë të rëndësishme të ekonomisë.
Por aq më shumë është prodhimi. Projekti i vetëm ekonomik
i qeverisë sonë tash për tash është liberalizimi i vizave.
Pra, ata nuk dinë se si të bëjnë rritje ekonomike,
por kanë idenë e zvogëlimit të popullsisë.
Rritja ekonomike në Kosovë nuk është as gjithëpërfshirëse,
as e qëndrueshme. Ajo është e bazuar në remitancat e importit
English:
we got economic liberalism. So we should have
got first, political liberty, self-determination,
state, sovereignty and after that you do the
liberalisation. With the opening of the market
of Kosova we didn't get the salaries of EU
but the prices of EU. Of course I recognise
that trade, finances, are important branches
of the economy. That manufacture is even so.
The only economic project of our government
at present is visa liberalisation. So, they
don't know how to increase our economy but
they have this idea of decreasing population.
The economic growth in Kosova is neither inclusive
nor sustainable. It is based on import remittances
Albanian:
dhe të shpenzimeve qeveritare. Qeveria e
Kosovës nuk i ka në qejf prodhuesit vendorë
për shkak se është e lidhur shumë ngushtë
me importuesit e produkteve
të cilët janë njerëzit më të pasur në vend.
Infrastruktura... tani po ndërtohet kudo,
me Bechtel-Encan, me këtë korporatë amerikano-turke,
me autostrada shumë të shtrenjta,tri herë më të shtrenjta
sesa çmimet e tregut. Ne na u premtua ekonomia e tregut,
a nuk u desh të pritet që të kemi edhe çmime të tregut, pra?
Por, atëherë pranuam kontrata shumë të shtrenjta me Bechtel-Enkan.
Të gjitha këto autostrada, në rastin më të mirë,
mund të jenë bartës të zhvillimit ekonomik, por energjia
dhe infrastruktura nuk përfaqësojnë zhvillimin ekonomik në vetvete.
Në gjithë këtë histori një çështje e rëndësishme
mbetet sistemi i arsimit, sepse na është thënë se:
English:
and government expenditures. The Kosova's
government does not like the local producers
and manufacturers because it is connected
very much with those who import products and
they are the richest people in the country.
Infrastructure which is build all over now
with Bechtel-Enca, this American-Turkish corporation,
very expensive highways, three times more
expensive then market prices. We are promissed
market economy, we are supposed to get market
prices, right? But, then we got this very
expensive contracts with Bechtel-Enka. All
this highways, at best, they can be carriers
of economic development, but energy and infrastructure
they do not represent the economic development
per se.
English:
One important issue is the education system,
in all this, because we have been told that:
'You know what? All of you go to universities,
equip yourselves with diplomas, and then you
will be attractive for foreign investments.
We have universities in Kosova (popping up)
like mushrooms. Everybody has a diploma now,
but foreign investments did not arrive. You
know what we got? We got brain drain. The
best left. In the life of an individual education
and employment, I think, must be in diachronic
relations. First you do high school, then
you get a job, for example, but in the life
of society must be synchronic relations, employment
and education must go hand in hand. If you
think that we are going to do for some years
education and then you are going to get employment,
I think that is not going to happen and Kosova's
Albanian:
"E dini çfarë? Të gjithë shkoni në universitete, pajisuni
me diploma, dhe pastaj do të jeni tërheqës për investime të huaja.
Kemi përplot universitete në Kosovë që kanë dalë si kërpudha pas shiut.
Gjithkush tani ka një diplomë, por investimet e huaja erdhën.
218
00:28:19,010 --> 00:28:27,800
E dini se çfarë kemi? Përfituam rrjedhjen e trurit.
Më të mirët ikën. Në jetën e një individi,
mendoj se arsimimi dhe punësimi duhet të jenë në
marrëdhënie diakronike. Së pari bëni
shkollën e mesme, atëherë gjeni një vend pune, për shembull;
por në jetën e shoqërisë duhet të jenë marrëdhëniet sinkronike,
punësimi dhe arsimimi duhet të shkojnë dorë për dore.
Nëse mendoni se do të bëjmë për disa vjetë arsim
e pastaj do të gjeni punë, mendoj se kjo nuk do të ndodhë
Albanian:
dhe rasti i Kosovës ilustron këtë më së miri.
Na u tha se ne kemi nevojë për ndërmarrje të vogla
dhe të mesme. Kjo shkatërroi sindikatat krejtësisht.
Në të njëjtën kohë ndërmarrjet e vogla dhe të mesme
nuk u themeluan si komplementare me industrinë,
por më tepër si zëvendësime të saj. Edhe sipas revistës
liberale si 'The Economist',për shembull, një e treta
e ndërmarrjeve prodhuese në Greqi kanë më
pak se dhjetë të punësuar,
krahasuar me 4.3 për qind në Gjermani. Në Gjermani nga të gjitha
ndërmarrjet prodhuese 55 përqind kanë më shumë se 250 punonjës.
Në Portugali kjo është 19 për qind. Në Kosovë 0.8
për qind. 96 për qind e 60 mijë ndërmarrjeve
English:
case illustrates this in the best way.
We have been told that we need small and medium
enterprises. This destroyed the unions altogether.
At the same time small and medium enterprises
were not established as complementary with
the industry but rather as substitution
of it. Even according to the liberal magazines
like The Economist , for example, one third
of the manufacture enterprises in Greece have
less than ten employees, comparing to 4.3
percent in Germany. In Germany from all manufacture
enterprises 55 percent have more than 250
employees. In Portugal is 19 percent. In Kosova
0.8 percent. 96 percent of 60 thousand enterprises
Albanian:
që kemi këtu kemi të punësuar njëshifrorë.
80 për qind e ndërmarrjeve kanë një punonjës,
i cili ndodh të jetë punëdhënësi, pastruesi,
zyrtari financiar, menaxher dhe çdo gjë tjetër.
Ky është dyqan me një njeri të punësuar.
Ne propozojmë një model të ndryshëm ekonomik,
duke e ditur shumë mirë se kapitalisti nuk është neutral,
për këtë arsye duhet ndërhyrja e shtetit. Por jo
ndërhyrje të shtetit për të kontrolluar ekonominë,
por ndërhyrje të shtetit për të orientuar
që të mos jetë sehirxhi. Shteti është aktor ekonomik
dhe mendoj se në shekullin 21 rëndësia e shtetit
do të rritet dhe nuk do të pakësohet.
English:
we have here have one digit number of employees.
80 percent of enterprises have one employee
who happens to be the employer, the cleaner,
the financial officer, the manager and everything
else. This is the one man shop.
We propose a different economic model, we
know very well that capitalist is not neutral,
therefore we need state intervention. But
not state intervention to control the economy,
but state intervention to orient and not to
be a spectator. State is an economic actor
and I think that in the 21 century the state
importance will grow. Is not going to decrease.
English:
So, we advocate for the model of the development
of state where simply government will not
be like today administration of the corporations
of Bechtel-Enka and Limak and Calik who took
over our budget and publicly owned enterprises.
But on the contrary, we are going to subsidise
manufacturing production. Of course, we cannot
produce any time soon flatscreen TV's but
we shall not import any more garlic from China,
onions from Egypt, chicken from Brazil, and
pumpkin seeds from Turkey. This is what's
happening today. Our grand grandfathers were
totally illiterate, they produced these things.
Now in the 21 century we are not producing
Albanian:
Pra, ne mbrojmë modelin e shtetit zhvillimor
ku qeveria thjesht nuk do të jetë si sot
administratë e korporatave si Bechtel-Enkas dhe
Limak e Çalikut të cilët kanë futur në dorë buxhetin
dhe ndërmarrjet tona publike. Përkundrazi,
ne do të subvencionojmë prodhimin.
Natyrisht, nuk mund të prodhojmë,
së shpejti, televizorë të sheshtë,
por nuk do të importojmë më hudhra nga Kina,
qepë nga Egjipti, pula nga Brazili,
dhe fara kungulli nga Turqia. Kjo është ajo
që po ndodh sot. Stërgjyshërit tanë
kanë qenë krejtësisht analfabetë, por kanë
prodhuar këto gjëra. Tani në shekullin e 21,
Albanian:
ne nuk jemi duke prodhuar këtë. Mendojmë
që është shumë e rëndësishme që shteti
të vërë zhvillimin e tregut në shërbim të ekonomisë,
dhe ekonominë në shërbim të shoqërisë
dhe jo anasjelltas. Kemi nevojë për të dyja,
shtetin zhvillimor dhe shtetin social.
Ne angazhohemi për taksën progresive.
Aktualisht Kosova ka TVSh të rrafshët 16 përqind,
për qumështin e fëmijëve dhe uiskin Chivas Regal.
Ne do ta ndryshojmë këtë. TVSh zero për bukë, qumësht, vaj
ushqimor, sheqer, libra, kripë dhe gjësende të tjera elementare
dhe 20 për qind për mallrat e luksit. Pastaj,
në Kosovë kemi taksat për korporata 10 për qind.
Ne do ta bëjmë atë 30 për qind. Të gjithë ata që fitojnë
dhjetë herë më shumë sesa paga minimale, e cila është 170 euro,
English:
this.
We thing that it is very important that developmental
state puts market at the service of economy,
and economy at the service of the society
and not the other way round. We need both
developmental state and social state. We advocate
for progressive taxation. At present Kosova
has flat VAT 16 percent, milk for children
and wisky Chiwas Regal. We will change this.
VAT zero for bread, milk, cooking oil, sugar,
books, salt and these elementary things and
20 percent for luxury goods. Then, in Kosova
we have corporate taxis 10 percent. We will
English:
make it 30 percent. All those who earn ten
times more than minimum wage, which is 170
euro, so, those who earn more than 1700 euro
will pay 30 percent tax, and we do not have
any Gerard Depardieu, who would leave the
country. If we had them, they already left.
We think that it is very important that we
do decolonisation before privatisation because
as long as we sell our enterprises without
decolonisation Serbia has quite a chance to
get some money from privatisation fund but
also we could end up in endless processes
of international courts. The fist republic
of Kosova which was declared on 2 July 1990
Albanian:
pra, fitojnë më shumë se 1.700 euro
do të paguajnë tatim prej 30 për qind.
Ne nuk kemi asnjë Zherar Depardie, i cili do të largohej
nga vendi. Edhe nëse i kemi pasur, ata tashmë janë larguar.
Mendojmë se është shumë e rëndësishme
që të bëhet dekolonizimi para privatizimit,
sepse sa kohë që shesim ndërmarrjet tona pa
dekolonizim, Serbia ka mjaft shanse për të marrë
një pjesë të parave nga fondi i privatizimit, por kjo mund
të përfundojë edhe në procesin e pafund të gjykatave ndërkombëtare.
English:
was the Republic for Resistance, the second
Republic of Kosova which was declared on 17
February 2008 was Republic for Privatisation,
so I believe what we need in Kosova with the
developmental state and sovereignty is third
republic. We need this third republic which
implies radical transformation of the state.
This third republic will very much help local
farmers, local industry, especially energy,
mining, light industry, food industry, because
at the same time we believe that there is
coherence between republic and manufacture
Albanian:
Republika e parë e Kosovës e cila u shpall
më 2 korrik 1990 ishte Republikë e Rezistencës,
Republika e dytë e Kosovës e cila u shpall
më 17 shkurt 2008 ishte e Republikë e Privatizimit,
kështu që besoj se ajo që kemi nevojë në Kosovë me
shtet zhvillimor dhe sovranitet është Republikë e Tretë.
Ne kemi nevojë për këtë Republikë e Tretë
që do të thotë transformim rrënjësor të shtetit.
Kjo Republikë e Tretë do t'u dalë shumë
në ndihmë bujqve vendorë, industrisë lokale,
veçanërisht energjetikës, minierave,
industrisë së lehtë, industrisë ushqimore,
për shkak se në të njëjtën kohë besojmë se
ka një koherencë ndërmjet republikës dhe prodhimit
English:
production being that consumption individualises
and production collectivises. It is the manufacture
that brings people together. In order to produce
this wine all of us have to get together.
Maybe we need more people. But like this each
of us is consuming individually. So this Republic
for Privatisation turned citizens of Kosova
into human beings who have mouth to consume
but without hands. So, actually, third republic
of Kosova which will be pushing for sovereignty
and economic development based on manufacturing
will give hands to people.
Thank you!
Albanian:
duke qenë se konsumi individualizon
dhe prodhimi kolektivizon.
Është prodhimi ai që i bën njerëzit bashkë. Në mënyrë
që të prodhojnë këtë verë të gjithë duhet të bashkohemi.
Ndoshta do të kemi nevojë edhe për më shumë njerëz.
Por, secili nga ne e konsumojnë në mënyrë individuale.
Pra, Republika e Privatizimit i ktheu qytetarët e Kosovës
në qeniet njerëzore që kanë sy për të konsumuar,
por pa duar. Pra, në fakt, Republika
e Tretë e Kosovës do të luftojë për sovranitet
dhe zhvillim ekonomik të bazuar në prodhim
dhe kështu do të bëhet krah i njerëzve.
Ju falemnderit!
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Welcome to webinar 2. Ancient
itineraries - exploring digital art history
Stuart Dunn is Senior Lecturer and
Head of the Department of Digital Humanities
at King's College London. He's
the principal investigator of the
ancient itineraries project. He's an
archaeologist with interests in the
history of cartography, digital approaches to landscape studies and spatial humanities
He works on projects
in spatial narrative theory, critical GIS
Cypriot cultural heritage and
archaeology of mobility
First of all thank you Asa and everyone else very
much for the invitation to participate in this webinar
This presentation is essentially the work
of this wonderful team here
Arianna Ciula of
the King's digital lab, my colleague
professor Graeme Earl of digital
humanities, Anna Foka who we heard from earlier
and Will Wootton also from King's
College London the department of classics
The ancient itineraries project was funded
by the Getty Foundation very generously
and it was one of their advanced
Institute projects so our remit was to
bring together an international
collaboration of scholars for two long meetings
two-week meetings in each case
in autumn 2018 and spring 2019
to discuss the idea of digital art history
and to think about what sort of problems
the field is facing and what sort of solutions
technical or or epistemological
or theoretical we might come up with
to some of those problems
We were very
fortunate to pull together this
tremendous slate of international
scholars from all over the place
so this presentation is as I say very much the
product of this hive mind
that that we were able
to bring together in the last 18 months or so
so I think that this question
reigned very much in terms of the debate
that Anna opened her presentation with
earlier. Which she framed in terms of the
disparity or the opposition should I say
the dichotomy between digitalization and
digitization. And this is a aspect that
was picked up by Johanna Drucker who is
a scholar I'm sure that many of us have
read and interacted with it one way or another
So in 2013 she made exactly this
distinction. She says the distinction has
to be made between the use of online
repositories and images which is
digitized art history and the use of
analytic techniques which he cause
digital artistry. I think this
digitized versus digitalized is very important
it's a distinction between
making resources available online or
widely available using the web and using
computational modes of thinking to do
something with that data. Drucker goes
on to say we have to take into account
the ways digital humanities more broadly have taken up computational techniques
sort of the specificity of digital art objects and their particular requirements and points of resistance
So this point about the specificity
of visual art objects is an extremely
important one and it's one that I'm
going to pick up a little later
I think this is very useful to just
restate that distinction between
the availability of resources and what
you do with them
so an opposing view was put forward two years ago
by Claire Bishop who argues essentially that
the use of digital techniques digitization and
by the extension in this passage digitalization
is perhaps not so useful
in art history simply because by
crunching material information that has
being digitized in some way you will
never be able to explore the original
material in a more creative or a more
discursive or a less abstract fashion
and I think this is a very important
stance that she takes when she puts out
this quotation that empirical findings
never before highlighted in our history
as a kind of aim of digital art history
you know to do digital art history there
has to be some kind of Eureka moment
I put a bunch of data through a
computer and find out something about
the history of art that I didn't know
before. Now I happen to agree with both
of these positions to differ in degrees
I think this is since I became a manager
a year ago I have to hedge and sit on
the fence all the time and I'm now
starting to do that in my research but I
think that there are two very
valid and valuable viewpoints here
and what I'm going to try and explore is
how our thinking in the ancient
itineraries project employed models
around the Semantic Web and the linking
of various different aspects can help us
navigate a path between those two
Let's have a little bit of a think about
this distinction between the digital and
digitalized. So this is of course an
extremely famous painting by Jan van Eyck,
the Arnolfini portrait
It is absolutely iconic there are
reproductions of it everywhere
It is probably among the most famous visual
items of visual arts that have ever been produced
Now of course the web comes along
in 2000 or whatever - no earlier that wasn't it
I teach the history of the Internet
I should know these things. But there are
now multiple, thousands, tens of thousands
probably hundreds of thousands of
different representations
different digitization of the Arnolfini wedding
online in all different corners of the internet
Now some you can just see from
this google image search here you know
there are differences in the way these
digitizations are treated
1997 was when the internet web was founded
well this is actually a question I set
my students so I think we'll come
back to that one later
Some focus on the mirror in the background there
which really focuses in on particular
details and around the edges here this
is quite a famous aspect to the portrait
There are sort of miniatures actually
painted into the frame of the mirror
But you know this doesn't really, I think it
is fair to say, tell us anything
about the history of the object, the
connoisseurship surrounding the object
why it might be interesting.
That is because we are looking here at
I guess Google level metadata. Of course
if we go in a bit further
So using a framework like Europeana
for example this gets us to a next level
because here we have structured, much
more curated metadata which will allow
us to explore the concepts around
a particular artwork like the Arnolfini wedding
So what I've just given as an
example here is an example of
exploring the concept of the wedding in
Europeana so there's all different
objects, different types of objects,
there's different levels of detail that
I can borrow into the subject using a
platform like this without then
having to go through the laborious
process of manually exploring a
Google images search
So obviously this level of
enrichment definitely takes us one stage
further and it's the basis
of a lot of I guess what Drucker
would call digitized art history
There have been other
initiatives of course the Flickr Commons
I don't know if anyone has used it but
back in the days when Flickr was a thing
and the Commons website provided a forum
for cultural heritage institutions and
galleries to make digitized surrogates
of their collections available online
under a Creative Commons license
where copyrights allowed them to do so
So again this is another little bit of a
step forward I think you know this is a
different level of metadata structure
being given but it's one that depends on
pre-existing metadata structures those
of the participating heritage organizations
and Anna in her talk spoke
a little bit about these different
competing models and mentioned sort of
crowdsourcing as another aspect of this
and crowdsourcing and you know Flickr is
in a sense a
crowdsourcing platform because the users
could in a way go in
and add their own metadata tags to it
So again there is another kind of metadata enrichment going on there
So I think it's useful in the context of
this dichotomy, both between digital art
history and digitalized art history and
different levels of metadata enrichment
to think about the concept of provenance
which is absolutely the bread
and butter for the profession of art history
But I think one issue
which comes across or which has come
across in the course of our ancient
itineraries meetings is that whereas
provenance has one particular meaning in
art history
it means slightly different things in
other contexts. Particularly when we move
into the more technical end of things
This I think is an interesting sort of
interdisciplinary issue for how we
tackle digital art history
From the French 'provenir' which to means "to come
from, to originate from"
the history of ownership of a valued object, such as a
work of art etc etc
There is an expectation that a full provenance will
provide a full background
a full sort of informational profile of a valued object
But as with the examples of platforms I've just talked through there are different levels of detail and
completeness and verisimilitude
that metadata can offer as a vehicle of provenance
Provenance is of course absolutely critical not only to the field of professional art history but also
to the profession of art sales and so it's
extremely important that any art object
that is offered for sale in a suitably
licensed forum like Christie's or London
which have their own approaches
and their own standards given to provenance
so this is very important to ensure
that the artwork in question has been
ethically sourced, that it hasn't been stolen
that its financial valuations are
sound, that any competing cultural claims
are dealt with in an ethical and
transparent manner
This kind of intersects with the way that
museum collections deal with all these things as well
So there seems to me to be quite
a lot of crossover
between different ideas of what
provenance is.
Metadata is one way that is expressed
Of course
this allows us to think in more detail
about those digital quantitative
approaches to provenance which many
organizations and institutions have come
up with over the last few years
One of the most important examples for the field,
I would suggest
is the Getty Research Institute's
provenance index, the GPI
which is a kind of field wide professional standard for documenting the provenance of artworks
Taking quite a metadata like view of that.
So I'm going to come back to that in a moment.
But this I think drives us to those
slightly more technical
framings of the concept of provenance
So if like the GPI for example, the great Getty
provenance index, you know you are
framing provenance as a networked
collective of quantitative metadata labels
This I think takes us to a space
that is at least between those
art historical ideas of provenance and more
web based ideas of provenance
So the W3C Consortium for example
describes provenance as a record that describes the peoples, institutions, entities and activities
involved in producing, influencing or delivering a
piece of data or a thing
So the concept of provenance, the concept
of metadata can be applied
to both artworks and to data on the web
I really think it is not hugely useful to break
those down too much.
And then as it says there good curation on the web demands good provenance.
Provenance is no longer merely a nicety
of artists academics and winemakers
It is an ethic we expect
So just to illustrate that, this is the
Getty provenance index
I though might try and see if I could be very
brave and actually share a webpage
Can you see my screen still? Can you see the network?
Let me just see if I can do
something about that because it does
work way better on the zoomable web
page.
Okay I'm not going to spend too long fooling about with this
Your mic is going off sometimes a little bit
Can you hear me now
This is the equivalent of the adapter not working isn't it
Yeah so what we have here in this
network visualization of the
provenance index that the Getty has provided us with
is a set of connections
between art dealerships and some of the
main art markets in the first 20 years
of the 19th century. So London, Paris,
Rotterdam, various Dutch ports and so forth
This is incredibly useful
because this gives us a very clear
overview of where is particularly
important. Where there are most connections
between nodes like Amsterdam
for example and particular dealers and
that shows you which particular dealers
are dealing most with which particular markets.
But I think in a sense the limitation of this sort of visualization and this is just
a general comments on network visualization,
not on the Getty provenance index,
is that in a sense it
amplifies and entrenches very structured
bottles of metadata that were there
already. And I think it implicitly limits
our way to looking outside what is
really obvious in those connections
within the network. I think one of the
key ideas for me that came out of our
ancient itineraries project is how can we,
within a network based visualization
how can we look for what is not obvious in that?
How can we pick up the
kind of things that a discursive art
historian might be interested in?
I know there have been other initiatives
working with the Getty and others like
the Linked.Arts Initiative looking at this
That's another set of
conversations that we're having
This takes us on to the little case study
I would like to look briefly at
which is a particular artwork which we spent
quite a lot of time looking at
which is the statue of the dancing faun
at Leighton House in West London
No doubt this is bringing about many
happy memories for Anna
So Leighton house was the residence of
sir Frederic Leighton
who was a grand tourer,
a collector, a philanthropist.
He was all of these things and he amassed this
amazing art collection which now functions as a
domestic museum under the stewardship of the
Royal Borough of Kensington and Chelsea
One of the centerpieces of this collection is
this statue of a dancing faun
This is interesting for a number of reasons
It is a copy of an original that was originally
discovered in Pompeii in the House of the Faun
So this particular image
goes through various different iterations
From 80, 79 or whenever right through
to the present day in West London
As you can see on
the left hand side there this is from
the Royal Borough of Kensington and
Chelsea's online catalogue
where it documents the Leighton art collection.
This is I think a fairly standard,
a fairly robust metadata catalog of what
this statue is all about
But when you start digging into the history of
the object and the history of the
objects around the object, then this
starts to bring out some of
these interesting networked sort of
networked questions
So what we started doing, and we did this
completely manually in the first instance
we just thought of what kind of metadata
both relating to the object and relating to
abstract ideas which described things related to the object could we document?
The chronology for example,
when when was it created?
In what time window did it exist,
where did it come into existence?
Where did it end its existence?
There was a discussion in the previous presentation about CIDOC. You can plug CIDOC links into this.
You can plug place types into this and
you can then link sort of more
conventional art history metadata headings,
like the ULAN, the the Getty names list
So we built up a set of what we
call these segments that document the history of
the image of the dancing faun, basically from
Pompeii to Leighton House
and framed these almost as a narrative, with the sections of the narrative
consistently described according to that
metadata list as it were
And I'll have another go at sharing my screen
I'm not going to waste too much time doing this
because it would be quite nice
So using the Neo4j Platform we kind of
hacked these sort of
DIY provenance lists into a network graph
which contains not just objects
or literals such as places, but also concepts,
also ideas, also references to styles
I mean you can have all sorts of fun
just it's pulling these around
but essentially it starts with this 'literal' in the
middle here the Pompeii form
which you can list as you
know, we can just express, or the links
So we start with the original object but we link that to
an abstraction a conceptual object
which is basically a linked data reference
to the idea of the dancing faun in general
because dancing fauns are a mythological motif throughout Greek mythology
Then we look at what other instances there
have been of dancing faun
we look at where those instances
have been displayed
so there was a representation in the
British Museum for example
so you can pull out all the links to
the British Museum representation etc
And I'm not quite mad enough to try and do
a complete demonstration live
So I am just going to do the rest
through screen grabs
So let me just share my slides
Ok hopefully you have my slides back now?
- Yes
So just as to talk you through this a little bit
There were a total of six instances of the
abstract dancing faun
There is the Pompeii dancing faun off to the right there,
an example in the Uffici gallery, and the British Museum
There is one in the Royal Academy Gallery in
London and also the Leighton House faun
Now this as I mentioned also allowed us to
build events into this model as it were
Just to give two examples here
abstractions of the move of the original
faun from Pompeii to the Naples Museum
and a completely separate event, the original creation of the Pompeii faun
which of course we can abstract as CIDOC CRM
entity types, entity clusters
That again allows us to be consistent about the way that we describe those segments of information
Same goes for time
periods so we used basically a variety
of different literals for referencing
time periods.
Wiki data was one so we have a literal representing the 19th century
So we have a two events linked to the 19th century
And also the PeriodO, the gazetteer of time periods, which was was very useful certainly
for the earlier periods that we were dealing with in the history of this object
We are also able
to use abstract representations of styles,
using for example the Getty's Art
and Architecture thesaurus
This is a link representing the
Imperial Roman cultural period
That's not as a time period, that's as a period of cultural
homogeneity as it were
Not a statement that we are making.
A statement that we are relying on
the Getty Art and Architecture Thesaurus to make.
Again this is very much relying on other
institution's authorities
And also, this was discussed
in the previous presentation,
there is of course places, for which we have
primarily used the Pleiades gazetteer
Now this is where I
think it gets a little bit interesting
because of course we can simply point to
a URI for Pompeii as in this example
and say well this is a representation of that
one point on the Earth's surface which is Pompeii
But what if we wanted to dig into
that in a bit more detail?
What if we wanted to say there was a less well-known place, a less well attested place?
How would we be able to capture
those sorts of authorities?
This I think is where I would go back to a previous project that I've worked on
which is the gazetteer project in Cyprus.
In this, rather than testing places at the top level
we attested the names of places
and of course the spellings of place names
can change and do change over time
and they change quite dramatically in some cases,
particularly in the Mediterranean
so for example, for all
these spellings of Pafos here for example
we have an attestation link. So we have
one kind of abstract place that is Pafos
but it has multiple different attestations.
So this I think is the next stage of the project
We integrated it with the now deprecated Peripleio platforms, and it's just an example of that
But this I think is an example of where
ends in or other nodes
in semantic networks should
never be the end of the story.
There are always further ways in which
you can break down attestations for those nodes
and that's the kind of thing that
art historians are really interested in
So I'm coming up to the end of
my allotted 30 minutes
so I'm going to conclude with what I think are
two really important questions
to come out of the ancient itineraries Institute, which I
think can inform a range of options going forward
Be that through existing
initiatives such as Linked.Arts,
such as the Getty and so forth.
The first is, do objects have a particular type of significance when they are artworks?
Is there a way in which an object, that is an
artwork, is significant or complex
in a way that any other kind of object isn't?
This gets to much more fundamental and philosophical questions about what is an artwork
To give you an example: Here we have a photo of a
19th century photo of a set of pots
from Cyprus, which I bought
when I was there a few years ago
The photo that is not the pots.
Just from looking at this I can tell
that there's at least one Bronze Age pot
on the back left there
There's white slip ware, there are
sort of geometric period and so forth
Now when I was researching
this kind of thing as a PhD student
looking at East Mediterranean
archaeology, I was always inhabiting a
world where by looking at the morphology
and the typology and the decoration of
these sorts of objects were described as
art history.
Now the Arnolfini portrait is also an art object and
most definitely the subject of art history
So I guess my question is,
what sort of significance
do these types of objects share by
virtue of the fact that they are artworks,
that they are susceptible to the
epistemologies of art history, or of digital art history?
Because I mean, I guess,
it's got a Cyprus example there
We wouldn't necessarily
think of pottery ceramic vessels like this
in terms of connoisseurship of taste
or fluctuations in taste
We might, but I think in a
much less granular level
than the words and objects
like the Arnolfini portrait
My second question is, does history have a particular type of significance when it is art history?
We all know what a history is right?
You know it is about books and manuscripts
most of the time.
Also about events and characters and so forth.
so what I would really like to do going forward
as the next phase of this project
is look at ways of integrating this kind of
network approach with
more conventional historical / art historical ways of
looking at things.
For example, integrating the kinds of
network analysis I have been showing
with text for example. On platforms like
the Pelagios Recogito platform
Or the annotation of objects, all that kind of
thing.
So I guess just to sum up
What I have learned from the
ancient itineraries project
is that we have to think about metadata
and provenance interchangeably
if we are going to steer
that difficult pathway between
the Claire Bishop way of looking at things,
and the Johanna Drucker way of looking at things
and that really I think is the ultimate question
for me of enriching metadata
So I think I'm gonna stop there. Thank you
very much for your attention
and I will now hand back to Asa.
So Stuart the first comment is
from Alexander Huber of Oxford
Thanks Stuart do you have any thoughts on how
to get from small hand coded examples
like the faun one which have been
around for a few years now to linked
open data on scale for thousands and
millions of Records?
Yeah I mean I guess that
would depend you know why you're wanting
to make the information available I mean
are you wanting it to be made available
in order to link to other collections or
are you wanting to use it to interrogate
the history of one particular object?
Because I mean I think those two
slightly different ways of using network
analysis and as I say what
I found really interesting about the way
the example of the faun kind of emerged
was that this was about representing an
individual object. One object as a
network rather than about representing
you know networks of objects networks as connections
So to try and sort of creep towards
an answer to that question
I mean yes I suppose you have
to look at creative ways of integrating
those small-scale hand-coded examples
with the larger scale linked open data
at scale frameworks that the Semantic Web
already provide and I think that's
something that you know there
is a lot of potential for looking at in the future
So I guess the second
question there is, is it the
responsibility of institutions to turn
their catalogs into LOD catalogs?
Is it a responsibility with digitization
projects to build "semantic integration” into their bids?
That's a really interesting question.
I mean I don't know if it's a
responsibility but I certainly think
it's a very good idea because you know
if you don't do it somebody else will.
You know by our wiki data or you know
some other publicly available source of
information. So yes one certainly should.
You know whether we get into the realms
of it being an ethical requirements
well who knows, I mean I'm not sure
There could actually be quite an
interesting discussion in itself and
something for a good workshop.
Giving access to collections
and archives, should there be
some sort of mutual beneficiary
built into this to make sure that both
parts get something out of it? But of
course this will bring a lot of extra
requirements for humanities researchers
to think and to get good networks where
people can help them do things like this
We can move on, think on this for a while
and I'm gonna ask a few
questions about that myself. But we can
ask another question now from Carlotta Capurro:
Thank you for an interesting presentation
I would like to know if in
tracing the provenance of the art object
and describing it with metadata you
considered to provide also information
of its context and its variations that
often is crucial information for artwork
Yes absolutely
I think this is one of
the really powerful potentials of the
linked open data approach in this space
and I think you know linked.art
which I've mentioned a couple of times
is demonstrating this really
successfully.
In Semantic Web, linked open data, you don't have to make an assertion
that one particular version of
events is true. All you have to do
is make an assertion and you can then
attach as many different interpretations
as you possibly can. I think that is
a really interesting set of
possibilities therefore you know
carrying over these art history
exceptions of provenance into the more
web-based perceptions of provenance.
That's definitely something that I would like
to try and do more of in the future
We also
have a question from Natalie Thibault
In our museums we often
have a large number of unknown artists.
How to properly represent the works of
these unknown artists in the
Semantic Web where there's little data
from authorities? The iconography of
these works is a good basics for the
Semantic Web (subjects, periods, styles).
Have you considered other possibilities?
Again I mean I think this is another really
I think this goes back to
you know to some extent what Anna was
talking about this mornin. Which is that
there is a danger that some of these
type of quantitative networks amplify
voices that are already loud.
Artists who are already well known, the van
Eyck's of the world and the Arnolfini
portraits of the world. Which you know
already have a lot of exposure
I would say that I would probably
fall back on the same sort of answer
I mean if you don't have a means of
representing those unknown artists
yourself as linked open data then you
can use other sources like
you can create your own references in
Wikidata for example
Have a targeted Wikidata sprint about those artists.
This has been done in various different contexts
For example there is another Wikipedia editing group
which focuses on women and
classics for example and making sure
that female classicists
throughout history have Wikipedia pages
I think it's very much the same sort of
principle because you know an end point
a node for linked data can be
anywhere you like on the web. It doesn't
have to be in your official museum
presence. But you then have to have a
conversation of what sort of control you
need to have of that data
So I think it's as much about your own
institutional policies as the profile of
the people or the objects that
you're wanting to represent
We have a question from Michael Neiß:
As an archaeologist with a focus on the
Viking Age animal art, mostly fibulae, I am
interested in certain features/data (workshop attribution) that are not
necessarily anticipated by museum
curators who instigate their databases
Who instigate the databases more interesting to other researchers
There have been attempts by certain
museums to let their informed and also
not so informed public to participate in
gathering data but there is also the
managing aspect. There's a heavy workload
to curators and limited resources
Do you have suggestions for manageable
strategies for expert / public participation
when designating and
expanding those databases?
That's pretty much the question I was going to
ask so very good for Michael for asking it
So that's kind of the perennial question
with crowdsourcing any aspect of
cultural heritage information I guess.
This was very much a question that
we came up against with that Cyprus
gazetteer project that I briefly
mentioned that I thought could continue
some of these chains of attestation in
terms of place. So when we started that
project the idea was that it should be a
kind of open platform that anyone could
contribute Cypriot place names to or
spellings of Cypriot place names to and
you know there would be an editorial
process and you know we would make sure
that nothing too political happened with
Greek and Turkish names and that
kind of thing. But we found that model
really didn't work at all. Mainly because
the general public didn't care enough
about Cypriot place names to start making lots of contributions, which is fair enough I guess
Also kind of access to source material
and that kind of thing
and there's very much the
issue of the quality control of
information which you mentioned
The way we addressed that is we got a series of
workshops together
Actually with students who were working the
texts. We sort of got them to
discuss and create content based on
texts they were working with
I think that kind of targeted approach is much
more successful for this kind of project
I mean again there are ethical questions
because you know unless there is some
benefit to the people doing the
contributing there is the possibility
that it could be seen as exploitative so
there has to be some kind of quid pro quo
Some kind of benefits I guess.
I think we sort of stopped thinking
of it as crowdsourcing
and more thinking of it
as community sourcing
You know getting information
from as you say in
the question there, sort of
free expertise from peers
The question is sort of finding those peers, who will not be very large in number usually
and setting up some kind of relationship
with them to to get that information
I'm just gonna jump in here
before we move on to the next question
because one of the things that I
personally feel like
when there is some
miscommunication sometimes it's like
certain information for the museum
collections they have to be restricted
they can't fill up with
everything that everyone could ever want
Like for instance if
you are a specialized researcher and you
are very interested in in fibulae.
But the researcher can create their own
they can take the data from all these
various collections where there are
remains of fibulae. And they can create
and enrich a database
of their own. And this will
of course require getting extra help
from specialists but you can make that
database available to others if you have
added it properly with proper standards
you can upload it to research database repositories
You can even as
you have done in your project ancient itineraries
build your own
visualization of these data
Kind of like working hand in hand, saying
ok when I'm doing a research project
I'm gonna create a lot more data than
the museum is going to use but by making
sure that you have some sort of key, when
I'm talking about this object it's this
particular object in the museums, you
can sort of create an additional
database and that's perhaps the
power of linked open data
that both parties can get what they want.
How common is it in England for researchers to share
their databases would you say?
I suppose this is another perennial
problem because you know a lot of people
a lot of researchers don't necessarily
want to share data that they perceived
to be incomplete and therefore of not
sufficient quality for their
work to be judged as being good.
There is a long old debate about this
certainly in the UK. I mean we used to
have various repositories where academic
data was deposited up to about 15 years ago
when the funding was cut. Which you
know is another issue that we always
come up against. I suppose the
the issue is that sharing data,
sharing useable data is never
a cheap or easy process
despite what the web might trick you
into thinking sometimes
Exactly. We can move on to a
question by Karin Tetteris.
Her question: I'm the curator of a
collection of military flags taken as
war booty and would love to find a
digital way to visualize their
itineraries for histories. I'm thinking of linking the
information about them to historical
maps, but also to biographical data on
historical persons available online. Aany ideas any suggestions for her?
I don't know if Anna would like to jump in
but that sounds like the sort of thing
that you can do in Recogito with an
image of a historic map
In fact that sounds conceptually like the sort of
work you've been doing recently Anna
I allowed to respond?
Yes please Anna
I think this is something that you can very
easily do with a very easy platforms
that are open source and open to for
everybody to use. The first question is
what kind of structured data do you have
about place and what kind of maps do
you have and how would you like to
annotate them?
I would be really happy to
hear more about this and help you.
You can shoot me an email and we can if that
if that is of help we can discuss about
it more. Asa is sharing the
global instance of Recogito which is the
platform we use at the moment.
This is enriched with several different data
sets for space to say the least
Gazetteers as Stuart would refer them to
and that structured data about space and
also it enables you to free tag things.
But of course the options that are in
the global instance pertain to the
ancient world. There's also GeoNames
which is not very perfect when it comes
to structured temporal data if anything
If anything you know
most gazetteers have still their
infidelities that you have to work
around but it pretty much depends on
what your data looks like if you can do
this with maps or I just have to see
that question again. Military Flags
taking as war booty
Yes you can totally do this with Recogito.
You might have to tweak it a little bit
and add your own sort of structural
vocabularies that have
to do with the military flags' spatial
and temporal data. So what did the world
look back then and when they were moved
and what would you know because the
world changes.I think I have to
we quote each other all the time Stuart
I have seen today but I think that
brings back to the key idea that you ask
that if we are to visualize a
network how can we pick up what's
important and the first question to ask
is what is important?
What exactly is the kind of information that you have
and how would you map it?
Is it copies, is it digital
pictures of the flags themselves?
How would you symbolize them? What kind
of symbologies would you use?
What kind of information would you like to enrich
those flags with? Place, time, space?
It all depends on whether or not you
can structure data basically to make sense
It strikes me as like all
these ideas are good and I can
understand it can be a bit overwhelming
because when you start thinking,
for instance this was a very clear and
specific project. It was great as an example.
But then the question is, okay so
we need someone who knows the collections,
we need someone who knows flags and
knows from different countries at these times,
someone who understands different types
of historical maps that are available
Of course sometimes you can start, and you can say okay this is good enough
but for me what I would just like to say that I would like to see for the future is perhaps
thinking that okay we have this great, we
at this museum have this great idea,
we have this great
material, so are there Master students and
researchers who would like to, they
can do specific things in different
parts and say can you help us add this
information, can you help us
double-check this information? This is
something that you can use as a very
interesting case study in a way because
to get help that is kind of
I really liked what you said Stuart
about community sourcing instead,
putting together specific individuals
that you know, that you can have a more
direct contact with, and maybe start with
a good basic knowledge and maybe even
very advanced knowledge on a very
specific topic. What really is needed
then is a project leader that can keep the
threads together.
It would be interesting to see more
cases of involving students, involving
younger researchers to help adding.
Because no one can do everything
by themselves anymore
If I am to summarize?
I just want to ask Stuart do you want to
add something before Anna makes a bit of
a summary?
Just to thank you very much for all the questions
and discussion . Very helpful.
I think from Stuart's excellent talk, and
I'm looking forward to the rest of our
excellent talks that are coming up in
the next few days, I would like to start
with the two important questions of the
end. Do objects have a particular
kind of significance when they are
artworks and whether or not the style
for example one could say yes,
we can talk about style, we can talk
about materials, we can talk about
provenance, we can talk about
art catalogues. And then the second
question, does history in particular has
a significance?
In what ways? And when it is history?
Just to wrap this up I would like to say
that what the talk has taught me at
least today, was that we are
talking about artifacts that are made by
humans and when we talk
about humans we don't really necessarily
talk about the complexity of
representing humans, but we talk about
the the complexity of
representing humans not as like some
description but as affinities. And
holding on to those affinities of what
it means to be an artwork or a human
or you know the Adolfini wedding
and all of the things that come with
it is a very interesting question
and if we are to
enrich any set of data with additional
information it has to take into
consideration those affinities
That's a really good point.
If there are no more comments or suggestions?
Larissa, if you have anything you want to
add you can join in
Thank you very much, it was a
lovely workshop and I'm looking very
forward to our next events tomorrow and
on Tuesday next week
So I hope to see you all again there too
Yes we certainly hope so
So tomorrow we will have Koraljka Golub
who is in information science and
library science who is going to talk about
standards for the humanities and trying to find information in the humanities.
And also Karin Glasemann
from the Nationalmuseum
the National Gallery in
Sweden who is going to talk about what
they went through digitizing their
collections and making them,
which meant working a lot with metadata
so it's a really interesting project
We hope to see you tomorrow and thank
you very much for asking questions and
participating and being patient with us
when everything wasn't working and we
will make these recordings available as
soon as possible afterwards as well
Thank you very much
| {
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Hello there, my name is Richard McMunn from
the interview training company, PassMyInterview.com.
And in this tutorial, I am going to teach
you how to pass a Procurement Officer interview.
So, it does not matter which company or organization
your interview is with, please make sure you
stay tuned, watch the presentation from start
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And I will also tell you about further resources
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four reasons why you should stick around.
And just very quickly before we get going.
A very warm welcome to this Procurement Officer
interview presentation. My name is Richard
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SUBSCRIBE to the channel. I am uploading insider
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you. The first question. Tell me about yourself?
So, this is going to be the first Procurement
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tell me about yourself. And you can then move
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the video if you want to and take note of
the questions and answers as we work through
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24 Procurement Officer Interview Questions
and Top Scoring Answers, including the ones
we are covering today. The next question.
Why do you want to work for our organization
as a Procurement Officer? The interviewer
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I still have more questions and answers to
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Answers, including the ones we are covering
today. Here is the next question. Tell me
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officer interview question. Tell me a time
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So, that is a great answer because you are
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make sure you CLICK THAT LINK in the top right-hand
corner of the video, go through to my website,
PassMyInterview.com. Take a look at my 24
Procurement Officer Interview Questions. Those
are the ones I strongly recommend you prepare
for. You also have the opportunity to DOWNLOAD
ALL OF THE ANSWERS in PDF format, including
the ones I've covered within this presentation
today. I hope you've enjoyed that. Don't forget
to SUBSCRIBE. Connect with me on LinkedIn.
I've put my LinkedIn.com link in the description
below the video, and please make sure you
HIT THE LIKE BUTTON. Thank you for watching.
Have a brilliant day and I wish you all the
best for passing your Procurement Officer
job interview. Thank you very much!
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Jack: Alright.
Micheal: I don't think so.
Micheal: I think we're gonna get, like, two levels in.
Ray: We're gonna speedrun it.
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Jack: When do we start playing this game?
Ray: There's people-
Micheal: Right now, bitch! Look at this!
Jack: Oh, there we go!
Geoff: Christ Almighty!
Jack: Acorn!
Ray: Acorn Plains A.P. motherfucker!
Jack: Acorn!
Ray: Acorn Plains A.P. motherfucker!
[Jack laughing]
Ray: Oh! LLLLLLLLLLLLETS PLAY Super Mario Brothers... New, U!
[Gavin laughs]
Ray: Oh! LLLLLLLLLLLLETS PLAY Super Mario Brothers... New, U!
[Gavin laughs]
Ray: Let's do it!
Gavin: Go!
Micheal: Super Mario Brothers New U!
[Ray loudly sings Super Mario Brothers theme]
Jack: Oh, Look how high I am!
Micheal: Geoff's already fucking us with the blocks.
Oh, look! There's secret stuff! Secret stuff!
Jack: Oh, Look how high I am!
Ray: Oh! I want that acorn!
Gavin: Oh! there's mushrooms!
Ray: Give me that acorn!
Micheal: Jesus Christ. Ray!
Ray: Oh! I want that acorn!
Gavin: Oh! there's mushrooms!
Geoff: Oh, I can hit the bad guys.
Jack: Hey, look, someone throw me up here!
Ray: Oh, want these coins!
Ray: Look at me! I'm flying!
Ray: Oh, want these coins!
Ray: Fuck!
Micheal: Get over here! Stop fucking around on the left!
Jack: I don't know.
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Ray: Fuck!
Micheal: Get over here! Stop fucking around on the left!
Ray: Alright, let's go, let's go.
Jack: I'm going to jump-
Jack: Oh God!
Gavin: Oh! Geoff! That's it!
Jack: There you go.
Gavin: No! Geoff! Make a platform!
Ray: Alright, let's go, let's go.
Jack: Oh! shit! Mario!
[Laughter]
Jack: Ow! Friggin' Luigi! Oh! Now I'm up here!
Ray: Oh! More acorns!
Micheal: We have to run ahead of Geoff to escape his wrath.
Micheal: Goddammit, Geoff!
Gavin: Ohhh! Squirrel Suit! Whoooo! Gliding!
[Laughter]
Jack: Ow! Friggin' Luigi! Oh! Now I'm up here!
Geoff: You guys are doing great.
Micheal: How do I - What the hell? Oh, Fuck!
Ray: Oh! More acorns!
Micheal: We have to run ahead of Geoff to escape his wrath.
Micheal: We have to run ahead of Geoff to escape his wrath.
[Micheal laughs]
Gavin: Ohhh! Squirrel Suit! Whoooo! Gliding!
Micheal: How do I...?
Ray: Almost got it! Oh- Geoff!
[Geoff laughing]
Jack: Stop moving forward!
Ray: You asshole.
Micheal: There's fucking mushrooms everywhere.
Geoff: I'm helping you guys get there.
[Micheal laughs]
[Micheal laughing]
Jack: Oh, c'mere, c'mere, I'll help you get the coin.
Ray: Almost got it! Oh- Geoff!
[Geoff laughing]
Ray: Geoff, you're blocking...ah...
Jack: I got a mushroom!
Ray: Dude, I'm on top of the world!
Geoff: No, I'm not. I'm helping you.
Ray: When do we get-
Gavin: BEANSTALK!!
Gavin: [Singing] A whole new world....
Ray: Oh shit! Coin City!!
Micheal: My dicks are getting huge!
Ray: Dude, I'm fine.
Jack: I got a mushroom!
Ray: Geoff, you're blocking...ah...
Jack: I got a mushroom!
Ray: ...Geoff, you're blocking the path.
Micheal: Holy fucking shit.
Ray: Dude, I'm on top of the world!
Geoff: No, I'm not. I'm helping you.
Jack: Geoff? Ok, Geoff? You gotta...
Micheal: Oh, fuck, get the mushroom!
Gavin: [Singing] A whole new world....
Jack: Woah!!
Gavin: Secret!
Geoff: Oh, fuck!
Gavin: Where's the Portal Gun?
[Ray singing Super Mario Brothers Underground Theme]
Jack: Down! Wheee! Oh.
Jack: There we go.
[Ray singing Super Mario Brothers Underground Theme]
Jack: Someone got an extra life!
Micheal: How do I use the fucking Glider Suit?
Jack: Ahh, ha-ha!
Micheal: Oh, no! Oh, Don't leave me behind!
Jack: Woah!!
Gavin: Secret!
Geoff: Oh, fuck!
[Geoff evilly laughs]
Gavin: Whoo-hoo!
Jack: Ah! I'm getting stuck!
Jack: There's a thing in my way!
Jack: There we go.
[Ray singing Super Mario Brothers Underground Theme]
[Micheal laughs]
Ray: Checkpoint!
Jack: Ahh, ha-ha!
Ray: Sliiiide!!
Micheal: I'm fucking flying, bitches! Whoo!
Jack: Shit! Godda- Ah! I'm stuck!
[Jack laughs]
Gavin: Whoo-hoo!
Jack: Ah! I'm getting stuck!
Micheal: Fuck you, fucker!
Jack: Ah! No! Awww, I got killed.
Micheal: I am getting- Ah! Fuck!
Ray: I think it's a portal.
Geoff: Oh, watch out for those squirrels, guys.
Ray: Oh shit!
Ray: You gotta keep up.
Micheal: We just murdered Jack!
Jack: You just murdered my ass.
Geoff: No, no, no, it's good.
Micheal: [Sarcastic] Geoff, you are so helpful.
Jack: Seven!
Ray: Oh! There he is!
Jack: Oh, there I am!
Geoff: Guys, I'm just happy to help.
Ray: Oh! 1up!
Micheal: I am getting- Ah! Fuck!
Ray: I think it's a portal.
Geoff: Oh, watch out for those squirrels, guys.
Ray: Oh shit!
Ray: Get the coins!
Jack: Coins!
Geoff: Here, I'll knock it out of the way.
Ray: We have to defend ourselves somehow.
Micheal: Because we have to because he's trying to murder us!
Micheal: [Sarcastic] Geoff, you are so helpful.
Jack: Seven!
Gavin: I'm holding onto the block!
Ray: Oh, shit! What happened there? Do we get 1ups?
Jack: I had an acorn.
Micheal: Oh, shit!
Geoff: Now no... uhh...
Gavin: Oh!
Ray: Fuck! I can't even reach!
Geoff: ...Fuckin' plants can come out.
Micheal: I like how we can hit Geoff's blocks and break 'em.
Ray: Yeah.
Gavin: Whoo-hoo.
Ray: Yeah.
Micheal: Oh shit!
Micheal: Because we have to because he's trying to murder us!
Micheal: Whoo-hoo-hoo!
Jack: [Singing] shake, shake, shake, Senora.
Ray: [Singing] Can you take me higher?
Jack: Oh! I think I can-
Micheal: Dude, I'm fuckin' havin' a fit!
Gavin: Ahhhhhh...
Gavin: ...Hooouugghhhhhss!
Geoff: Now no... uhh...
Gavin: Oh!
Ray: Fuck! I can't even reach!
Geoff: ...Fuckin' plants can come out.
Gavin: Oh! Dude, you can jump-
Micheal: Agh! You jumped on my head!
[Geoff laughs]
Ray: Yeah.
Micheal: Oh shit!
Geoff: This is fun!
Micheal: That was ace, wasn't it? look at all that-
Jack: [Singing] shake, shake, shake, Senora.
Ray: [Singing] Can you take me higher?
Micheal: Whoo-hoo-hoo!
Jack: [Singing] shake, shake, shake, Senora.
Ray: [Singing] Can you take me higher?
Jack: Ohh! Ga! Goddammit, Geoff
Jack: Do you?
Gavin: Geoff, howzit going on over there with all the blocks?
Gavin: Geoff, howzit going on over there with all the blocks?
Ray: Don't block the-
Micheal: You suck!
Jack: There we go!
Micheal: You're not in the club, bitch.
Ray: You gotta have it for the whole level, sir.
[Geoff laughs]
Ray: Who got a 1up?
Geoff: This is fun!
Micheal: That was ace, wasn't it? look at all that-
Ray: That was awesome!
Jack: Look at all you guys.
Micheal: Dude, we tossed that level like a dirty salad.
Geoff: I feel- I feel so helpful.
Jack: Do you?
Gavin: Geoff, howzit going on over there with all the blocks?
Ray: [Laughs] Yeah, you right.
[Jack laughs]
Ray: Jack, you don't have a Squirrel Suit.
Micheal: You suck!
Jack: Dude, I got a Squirrel Suit for about half a second and then immediately got hit.
Micheal: You're not in the club, bitch.
Ray: You gotta have it for the whole level, sir.
[Droning singing]
Jack: Aaah!
Ray: Oh! Flower!
Gavin: Fire Flower!
Micheal: I'm excited.
Micheal: Flower power sucka!
Jack: Look at all you guys.
Micheal: Dude, we tossed that level like a dirty salad.
Micheal: Dude, we tossed that level like a dirty salad.
Jack: You guys are all furries.
Gavin: I wanna Yoshi.
Ray: [Laughs] Yeah, you right.
[Jack laughs]
Gavin I wanna Yosh.
[Micheal and Geoff laugh]
Ray: Alright, let's do it.
[Geoff laughing]
Ray: Goddammit.
[Jack and Geoff laugh]
Jack: Aaah!
Ray: Oh! Flower!
Gavin: Fire Flower!
Ray: Oh. no! Aww.
[Gavin sings Super Mario Bros. Underground Theme]
Jack: Move!
Gavin: Nah, I don't want it.
Jack: I want it! Move! Move Luigi!
Gavin: Get out of the way!
Jack: Get out of my way!
Gavin: Get out of the way!
Jack: Gah!
[Micheal and Geoff laugh]
Jack: NOOOO!
[Geoff laughing]
Ray: Goddammit.
[Jack and Gavin laugh]
Ray: Ohh Shit.
Jack: Stupid Luigi.
[Gavin sings Super Mario Bros. Underground Theme]
Jack: I'm still just a normal-
Ray: More Flowers!
Gavin: Ohh!
Jack: Oh, Goddammit!
Gavin: Putting flowers everywhere!
Ray: Oh. Oh, wow, Ja- oh, fuck!
Gavin: Whoo-hoo!
Jack: Oh, there we go.
[Micheal laughs]
Ray: OHH FUCK!!
[Jack and Micheal laugh]
Ray: I was leading the way
Micheal: Wah-hah!
Gavin: Whoo-hoo!
Ray: Hold on, I'm scared.
Jack: Let's go below.
Ray: Geoff, get your fucking platforms outta here.
Micheal: Oh shit!
Gavin: Wrong way.
Jack: Ohh, Luigi! No! No! No! Ahhhh!!
Micheal: Where are you guys going!?
Gavin: Argh! I died!
[Micheal laughs]
Jack: Argh!
[Jack and Micheal laugh]
Ray: Oh Shit!
Micheal: Systematic murder.
Ray: Huh! Huh!
Micheal: Holy shit!
Micheal: Everything's coming down around us, Ray!
Ray: What's in here?
Ray: Oh, it was a coin.
Micheal: Dude, this is like...
Jack: I want that thing up there!
Micheal: Dude, Geoff's trying to kill us!
Ray: Goddammit, Geoff!
Micheal: Geoff!!
Geoff: No, I'm helping.
Jack: Oh! I got it! Uh!
Micheal: It's like Tomb Raider
Micheal: I'm trying to escape.
Jack: There we go.
Ray: Goddammit.
[Micheal cackles]
Jack: Uh, Dammit!
Ray: Huh!
Jack: Move that, move that thing, Geoff!
Jack: NOOOO!!
Micheal: Fuck!
Geoff: I'll save you from-
Gavin: Geoff's trying to make me fall off the screen!
Gavin: Geoff! Stop Geoff!
Ray: Oh, I want that mushroom!
Ray: Ah, Fuck!
Ray: Geoff, no! Geoff!
[Micheal laughs]
Ray: UHH! AHHH!!
[Micheal cackles]
Ray: Goddammit!
Jack: Oh! Look at that, down there! What is it?
Gavin: Oh!! It's a moon!!
Ray: Oh! It's a moon!
Jack: What is that moon?
Ray: It's a New Moon!
Gavin: Get the moon!!
Gavin: I can't get the-
Gavin: WARRRGHHHHHHH!!!
Micheal: Fuck you, bitches!
Jack: Wheeee! Uh!
[Micheal laughs]
Gavin: Where did I go!?
Ray: Mario! Guide the way!
Ray: I got a mushroom, we're good.
Jack: Wait for me!
Ray: Oh, get that coin! Agh, Geoff!
Micheal: AHH!! Geoff, you killed me, you son of a bitch!
Jack: Oh shit! Ah!
Ray: Aghh! Geoff!
Ray: Ah! Saved it! Saved it!
Gavin: Ah!
Micheal: Dude, you can bounce off the walls?
Jack: Land it!
Gavin: AAAHHHHH!!
[Micheal laughs]
Ray: Goddammit!
[Geoff giggles]
Jack: Oh Goddammit! Move that stuff! Nooo!!
Micheal: All hell is breaking lose!
Ray: Okay, sure, take both of them.
Gavin: Oh! This is chaos!
Ray: Checkpoint!
Jack: Checkpoint!
Ray: Just keep going! Just keep going!
Gavin: Leg it!!
Jack: Run!!
Ray: Hold on, what's in here?
Gavin: Oh Shit!
Ray: Wait for it...
Jack: Oh Goddammit!
[Geoff giggles]
[Micheal laughs]
Ray: I want that flower!
Ray: Okay, sure, take both of them.
Micheal: I'm running the fuck outta here! I'm running the fuck outta here!
Gavin: Luigi's got two flowers, bitch!
Ray: I got a shell! Agh!!
Gavin: Ah!
Jack: Ahh!
Ray: Let me out!
Jack: I bounced on someone's head!
Ray: Oh shit! Sorry!
Jack: Oh! Oh, You hit me with the turtle shell!
Micheal: Oh shit! JESUS CHRIST!!
Ray: I may have killed Jack.
[Micheal laughs]
Gavin: AAAOOGHHH!!
Jack: Oh!
Micheal: Oh my God!
Gavin: The rock flipped!!
Jack: Where am I?
Jack: Oh, I'm up top, look at me!
Micheal: Geoff, you fucking piece of garbage.
Jack: Look at me up here! I'm all the way up top!
Ray: Jack's hacking.
Jack: Ay! Move it! Move it!
Jack: Dammit, Geoff!
Micheal: Get out of the way! That's my mushroom!
Gavin: Ohh! There's a mushroom in a bubble?
Micheal: Dammit, Gavin.
Ray: Where all the 1ups at?
Gavin: Woah!
Jack: Look at that! Look at all these flowers I have!
Gavin: He got all of them!
Ray: He got all of them?
Ray: Goddammit!
Jack: Hah!
[Gavin laughing]
Ray: Shit!
[Geoff laughing]
Gavin: Who decided to put everything at the top?
Gavin: HOOOURGH!! GEOFF!
Jack: I have all of the flowers.
Jack: Oh G- Oh, there we go.
Ray: Get the fucking-
Micheal: Go, man! God!
Ray: C'MON!!
Gavin: I'm in! I'm in, lads!
Ray: Got it!
Jack: Get in! Get in!
Geoff: Get up, guys, c'mon!
[Gavin laughing]
Micheal: Fuck me!
[Geoff laughing]
Gavin: I like the fact that you can see the circles where Geoff is pressing. He's going mental with it!
Jack: Oh Jesus Christ!
Gavin: Look at it!
Ray: Just get to the end!
Jack: Make it to the end!
Gavin: Guuhhhh!
Jack: Make it to the castle!
Ray: Goddammit Geoff!
Micheal: Ahh, fucking Christ.
Gavin: Whoo-hoo!
Jack: Yeah!
Ray: Wow!
Geoff: Good job, guys!
Micheal: Holy shit. Ohh, you get a 1up if you make it to the top?
Jack: Yeah, if you hit the top.
Geoff: Blowing through it.
Micheal: That's cray!
Ray: I was going for the top and my mouth got fucked.
Gavin: So who gets- why is the flag? Is it whoever gets there first?
Ray: Whoever gets- no, whoever gets the top.
Micheal: No, it's whoever grabs the top gets a 1up.
I grabbed the top and I-
Ray: This is fun as fuck!
Geoff: I really that we're- I really feel that it's a collaboration.
Gavin: I think it's whoever gets the flag first.
Jack: Is that what it was?
Geoff: Yeah.
Micheal: Nah, I saw two of you get 1ups.
Jack: Is that what we're calling it?
Ray: It's whoever gets the top of the flag.
Geoff: Yeah, we're all really- we're in sync here. Helping each other out.
Gavin Yeah, well, I got top of the flag and I didn't get the flag, is what I'm saying!
Micheal: You get a 1up!
Ray: You got a 1up!
Micheal: You don't get a flag! Nobody get's a flag, Gavin!
Gavin: The flag went up!
Jack: I gotta flag! I gotta flag!
Micheal: Yeah, whoever grabs it first sends the flag up.
Gavin: Yeah, that's what I just said, Micheal!
Micheal: Who gives a shit, though? You get a 1up!
Gavin: I wanted it to be a Luigi flag!
Micheal: Too bad, it was a Mario flag, bitch.
Gavin: "It's-a me! Luigi! Ba-ba-boo-ba!"
Micheal: And it was a shitty one.
Jack: "It's-a Luigi!"
Micheal: "It was only 200 points!"
Jack: Right or up? Right or up? Right or up?
Ray: Uhhh, up.
Jack: Up? Up. Up.
Gavin: Let's go right!
Gavin: NOO! Let's get some supplies!
Micheal: That's a store.
Ray: No, look, there's a fucking castle here!
Gavin: No, let's get some supplies!
Ray: Crushing Cogs, man!
Micheal: Let's get some supplies.
Jack: Oh Jesus.
Ray: Alright, what's in here?
Jack: Alright, let's buy some stuff.
Gavin: This guy has coke.
Ray: Dude, is this where we're gonna get some 'shrooms?
Ray: I know a guy.
Gavin: This guy has got some crack.
Jack: Woah!
Micheal: Look out, is Kevin here?
Ray: Pick a block-
Gavin: Ohh, don't pick the Bowser!
Micheal: Don't do it.
Geoff: Use the WiiMote to play.
Ray: The middle one!
Ray: I mean, don't- not the middle one! Ah shit.
Gavin: Alright. Keep your eye on the middle one.
Gavin: Uh, it's not the middle one now.
Micheal: Now it's the left one.
Ray: Don't get the left one!
Jack: Left is bad!
Ray: Left is bad!
Micheal: We don't have to call it out the whole way!
Jack and Gavin: Ohhhhh!!
Gavin: Right!
Jack: Right is bad! Right is bad! Right is bad.
Micheal: It's easy peasy lemon squeezy.
Ray: The one on the left!
Gavin I'm gonna go for the middle!
Micheal: Yeah, go for both.
Jack: Right is bad.
Micheal: That isn't the one on the right.
Ray: Alright.
Jack: Gavin, don't hit right.
Gavin: Huh! Nailed it!!
Geoff: Nailed it! Good job, guys.
Ray: Did we win, or...?
Jack: I'm-a kill him! I'm-a kill him!
Micheal: Yeah, we did! See? Ok?
Ray: What did we get?
Jack: Woah!
Micheal: We fucking get that shit, I guess.
Ray: Alright.
Gavin: Check it out, guys!
Jack: We won. Look at us dancing!
Jack: Unce-unce-unce-unce!
Micheal: Dude, and you didn't want us to go here?
Micheal: Nice plan, Gavin!
Gavin: There's something creepy about big Toad.
[Gavin, Jack and Geoff laugh]
Ray: Uhh, I think we can use those items.
Micheal: Those items, man!
Jack: Ohhh! Look at that!
Ray: Ah, fuck that. That's for pussies.
Micheal: Hey Luigi! Fucking good call, bro!
[Ray sings Super Mario Brothers Underground Theme]
Ray: Alright, go to the real level.
Gavin: 1 to check items?
Ray: Let's do it!
Jack: Ok, going in.
Gavin: I want to check the damn items!
Micheal: Nah, you ain't checking shit.
Ray: Crushing Cogs! Gears of War: Judgement, here!
[Gavin, Jack and Geoff laugh]
Ray: Seriously. Who cares about that game?
Micheal: Is this a fucking tower?
Gavin: Uh-oh!
Ray: Tower of Pimps?
Micheal: Oh fuck, dude.
[Ray sings Super Mario Brothers Underground Theme]
Micheal: Is there a Boss Fight, here?
Micheal: Ow! My head is getting bashed in!
Jack: Ow! Oh, hey, let's get up high!
Ray: Oh, this is- we're off to a great start.
Micheal: Geoff is already out for blood.
Jack: Oh!
Ray: Oh! Hey!
Jack: Oh, Geoff! C'mon!
Gavin: Geoff-
Jack Oh, look! There's a thing up there!
Ray: Get the coin!
Ray: Hah! Hah!
Geoff: Hey, you guys wanna get up there?
Jack: What the hell!?
Gavin: Ohh!
Ray: I saw- oh shit! I want what's up there!
Geoff: Get the coin!
Micheal: Dry Bones, bitch!
Gavin: Oh! Ice Flower!!
Gavin: I'VE GOT IT!!
Ray: Hold on! Fucking, I can't get that-
Jack: C'mon! C'mon! Here! Mushroom! Mushroom jump off of me!
Geoff: Get the mushroom!
Gavin: Uh!
Ray: We're trying! Oh shit!
Micheal: What are you dickheads doing over there?
Gavin: [Laughs] Just now?
Ray: Huh! Got it!
Jack: Yeah! There we go!
Micheal: Nice, Ray!
Jack: Good job!
Geoff: There you go. You're welcome.
Gavin: I got a sweet Ice Flower, dude!
Ray: Thanks, Geoff!
[Jack laughs]
Gavin: Yeah, I got Ice Flower!
Ray: Where the fuck? What is that?
Jack: What is that?
Micheal: Just now.
Micheal: Or, I don't know.
Gavin: [Laughs] Just now?
Micheal: Yeah, that was it.
Gavin: As of today: New PowerUp!
Ray: New DLC.
Micheal: Gah, I'm gonna get fucking crushed!
Gavin: Did we just change the direction of that thing?
Micheal: Geoff, you son of a bitch!
Ray: Yeah, we did.
[Jack laughs]
Ray: Goddammit.
Geoff: I don't know-
Micheal: We're all just jumping on each other's heads!
Geoff: You're all just being rude.
[Micheal Groans]
Micheal: I'm getting crushed!
Ray: Alright, I'm on the cog.
[Geoff singing]
Geoff: I'm doing everything I possibly can to help you here.
Ray: Oh shit! What the fuck is that? I want it.
Jack: Alright.
Micheal: Arhp! Arhp!!
Micheal: Bup! Boop!!
Micheal: BAHP!!
Micheal: FUCK!! SHIT!!
Ray: Uh-oh, I'm dead! Uh-oh! Dammit, I'm dead.
Ray: OH!! I'm still alive!!
Gavin: Ah! I've got a skeleton!
[Micheal Groans]
Ray: How did I survive!?
Micheal: I got killed. Where am I?
[Geoff singing]
Jack: Alright, I'm on the far left.
Micheal: Oh! Now I'm dead. Now I'm dead.
[Jack and Ray laugh]
Micheal: I wasn't dead but now I'm dead.
Ray: Oh! You killed Dry Bones!
Jack: Oh! Ow!
Ray: Oh shit! Got it!
Gavin: Geoff's buncing the enemies for us!
Gavin: OOAARGHHHHHH!!!
Ray: Geoff! Geoff, hook a brother up! Hook a brother up!
Jack: Noooo!
Geoff: I told you guys I was helping you.
Ray: Hey Geoff!!
Ray: Platform!
Ray: Aw, fuck you.
Micheal: Goddammit, ray.
[Jack and Ray laugh]
Geoff: I was trying but you were just under it.
Gavin: Geoff, can I ask you a question?
Geoff: Yeah.
Gavin: Are you having too much fun?
Jack: Oh, there I am.
Micheal: Dammit! DAMMIT GEOFF!!
Gavin: Oh, it's the-
Ray: Alright, I'm at the top.
Gavin: Ahh! Moons!!
Jack: Oh, ring!
Jack: I got the ring!
Micheal: You gotta get the coin.
Ray: I ain't getting that shit, fuck that!
Geoff: I'm tryna-
Gavin: Guys, we just lost four moons!
Jack: Hang on, I'm getting on the ring!
Ray: Is that bad?
Micheal: I just died twice.
Jack: Wait, wait! Don't go up! Don't go up!
Jack: I'm gonna get us an extra life!
Ray: Dude, checkpoint!
Jack: I got us an extra life.
Jack: You're welcome.
Micheal: How do I get over here?
Ray: Oh! I get a flower, thanks Jack!
Gavin: Oh! Ice flower!
Micheal: Gimme that! Gimme that! Gimme that!
Micheal: Ok, there we go.
Ray: Alright, what the hell is this?
Gavin: Guys, we gotta keep the moons going.
Micheal: Ok, Gavin.
Ray: Do we though?
Gavin: No, 'cause they're three lives arent they, the moons?
Ray: Oh? Are they?
Jack: Woah.
Gavin: I don't know.
Micheal: I don't know what you're talking about.
Ray: More Ice Flowers! Who wants them?
Micheal: You snorting crack?
Ray: Correct answer: I want all of them.
Micheal: No, Ray!
Jack: Ray takes all the flowers.
Micheal: Fuckin', I got one.
Ray: Fuck that, no!
Micheal: Ray didn't get any!
Ray: I didn't get any!
Gavin: Who's changing the direction of the damn thing?
Ray: Stop changing the direction of the fucking cog!!
Ray: Aww, I just got crushed!
Jack: Geoff, is that you?
Micheal: Oh you both- Oh my God, you guys just got squished like bitches!
Jack: Oh, yeah. That's totally Geoff doing that.
[Gavin singing]
Ray: Yeah, you're tapping it.
Ray: Oh shit, Dry Bones just spawned right in front of me.
Micheal: I got fucking crushed to death by that cog.
Geoff: Look: I'm not even touching right now and it's not doing stuff.
[Geoff laughing]
Jack: Yeah, "I'm not even touching it right now" and it stops doing that.
Gavin: Ohh! Check this out! Check this out!
[Geoff continues to laugh]
Gavin: I got him!
Jack: Goddammit, Geoff!
Micheal: Geoff!!
Geoff: Oh, yeah. I can change the direction.
Micheal: We gotta get up, man!
[Gavin singing]
Ray: I can't get on the cog!
Jack: Oh! Oh-no!
Gavin: Stop it! Stop it! Stop it!
[Geoff continues laughing)
[Geoff laughing]
Micheal: Oh! I made it a little bit!
[Geoff laughs harder]
[Geoff continues to laugh]
Jack: Oh God, Geoff's-
Gavin: People keep jumping on my-
Ray: Ah! No-no-no-no! No-no-no-no! Ah! Ah!! AH!!
Jack: Oh! C'mon!
Ray: Oh! I'm still alive!
Micheal: OH GOD, GEOFF! AHH GODDAMMIT!!
Jack: Mario brought me back to life and immediately got me killed.
Ray: Goddammit.
Micheal: Godamn.
[Geoff continues laughing)
Micheal: We're never gonna survive this!
Gavin: AAAARGHHHH!!
[Geoff laughs harder]
Micheal: It's like a fucking Saw trap!
Gavin: I got squished!
Jack Oh! Look at this!
Jack: Oh, look what I found! Look what I found!
Micheal: Dude, it's a secret Geoff Tunnel!
Micheal: Maybe we can escape his wrath!
Jack: Yeah, yeah! Let's get away from Geoff! Get away from Geoff!
Gavin: I don't think we can escape from this crazy maniac!
Micheal: Oh my God.
Gavin: [Singing] Alright, alright, alright, alright!
Gavin: I don't know!
[Micheal laughs]
Ray: I can't fucking wall bounce!
Ray: Oh, hey! Thanks!
[Jack laughs]
Ray: Thanks, Jack.
Micheal: [Singing] Alright, alright, alright, alright, alright, alright, alright, alright.
Geoff: Hey, I'm gonna kill all the bad guys for you.
Jack: Ahh! I'm dead.
Geoff: You're welcome.
Ray: God, there's more cogs.
Micheal: Goddammit.
[Gavin laughs in shock]
Gavin: [Singing] Alright, alright, alright, alright!
Ray: Shout-out to André 3000.
[Micheal laughs]
Jack: You realize that Luigi and Mario and Toad are not bad guys right, Geoff?
Geoff: Well it depends on who's story we're told.
[Jack laughs]
Ray: Fuck! Alright, cool. We made it.
Micheal: [Singing] Alright, alright, alright, alright, alright, alright, alright, alright.
Jack: Are you playing the part of the enemy?
Micheal: Dude, Boss Fight!
Ray: Look at this bald fuck!
Geoff: I got it, guys, don't worry I'll fuck him up.
Ray: Cancer's hit you hard.
[Gavin laughs in shock]
Micheal: We're gonna make this guy a bitch.
Gavin: Woah!
Jack: Oh! Squish!
Gavin: I just smushed him!
Ray: Oh shit!
Micheal: Oh. I keep forgetting you can jump off of the walls.
Gavin: can you imagine being an enemy...
Micheal: Geoff! You're a prick!
Geoff: No! I'm tryna give you guys platforms to jump on him.
Micheal: How did I-
Gavin: Ayah, Luigi! [Gurgles]
[Laughter]
Micheal: [Italian gibberish]
Micheal: Well, don't jump on his back.
Jack: Yeah!
Gavin: Can you- guys!
Jack: What's up!?
Micheal: Oh, we killed him! We're dead.
Geoff: We got him!
Gavin: Can you imagine being an enemy and fighting that rabble of people?
Micheal: We're fighting the game and Geoff.
Micheal: I died like...
Ray: I guess so.
Micheal: ...five times that level.
Gavin: Ayah, Luigi! [Gurgles]
[Laughter]
Micheal: [Italian gibberish]
[Micheal laughing]
Micheal: What?
Micheal: [Imitating Gavin] DON'T POST IT!!
[Gavin laughing]
Jack: [Imitating Gavin] Not to the Miiverse!
Micheal: Are you kidding me?
[Jack and Gavin laughing]
Micheal: We're fighting the game and Geoff.
Ray: Stop The Bullying 2013.
Jack: Oh Yes.
Micheal: Ah!
Ray: Ah, no!
Jack: What are we doing?
[Ray sniggering]
[Micheal laughing]
Gavin: Get out of it.
Micheal: [Imitating Gavin] DON'T POST IT!!
Jack: Wheeeeeee!
Micheal: [Bad Italian accent] It's-a me, a-Mario! Wah-hah!
Gavin: Whoo-hoo!
Jack: Wheeeeeee!
Micheal: [Bad Italian accent] It's-a me, a-Mario! Wah-hah!
Ray: Wheeee!
Micheal: [Bad Italian accent] I'm-a Joe Pesci-o!
Gavin: Ah! Whoever's Blue just jumped on my head, like, twelve times!
Ray: Oh shit!
Gavin: Ah! Whoever's Blue just jumped on my head, like, twelve times!
Micheal: Oh, God.
Jack: Next level!
Gavin: Aww! Dude! There's a Yahshi on the side! On the right!
Micheal: What's a 'Yahshi'?
Jack: There we go.
Micheal: Get it!
Micheal: Oh God!
Micheal: Dere's ah Yahshay!
[Micheal Gasps]
Gavin: Ay! Bomb's away!
Jack: Wheeeeeee!
Micheal: [Bad Italian accent] It's-a me, a-Mario! Wah-hah!
Gavin: Whoo-hoo!
Jack: Wheeeeeee!
Micheal: [Bad Italian accent] It's-a me, a-Mario! Wah-hah!
Ray: Wheeee!
Micheal: [Bad Italian accent] I'm-a Joe Pesci-o!
Gavin: They added...
Ray: Oh shit!
Gavin: Ah! Whoever's Blue just jumped on my head, like, twelve times!
Micheal: Dude! Let's get some fuckin' mushrooms!
Ray: Get your 'shrooms!
Jack: Ow! Who jumped off me?
Micheal: Dude, Mario's fucking...
Jack: There we go.
Micheal: Get it!
Micheal: Oh God!
Micheal: Oh God no!!
[Laughter]
Gavin: I think they added...
[Laughter]
Gavin: Who's got me in their mouth!?!
Micheal: I was trying to grab it!
[Raucous laughter and screaming]
Gavin: Ah! Don't eat me!
Gavin: Did they add extra bars to this-
Gavin: Let me on- [Muffled screaming]
Ray: Oh, Yoshis!
[Gavin continues to scream]
Jack: Yoshi!
Micheal: Ah, dude, gimme one!!
Gavin: AHHH!! SOMEONE ATE ME!!
[Laughter]
Gavin: SOMEONE ATE ME!!!
[Laughter]
Gavin: Who's got me in their mouth!?!
[Jack laughs]
[Raucous laughter and screaming]
[Jack still laughing]
Jack: C'mere!
Gavin: Let me on- [Muffled screaming]
Micheal: There's still a Yoshi here for Gavin!
[Gavin continues to scream]
Ray: I got you, buddy!
Gavin: Oh-hah!
Micheal: This is gonna be like Brokeback Yoshi.
Gavin: Yes!
Ray: I deserve-
Ray: Goddammit!
Gavin: Gobbled!
[Jack laughs]
Ray: Boy how the tables have turned!
[Jack still laughing]
Micheal: Alright, Gavin.
Ray: Alright, there. We're good.
Micheal: You got Yoshi.
Jack: Whoa! Look at that!
Ray: Hey, nice!
Gavin: I didn't know we could damn eat each other!
Micheal: We're ready.
Micheal: This is gonna be like Brokeback Yoshi.
Geoff: Hey, look! I made stairs for you guys.
Gavin: Hey, thanks, dude!
Jack: Oh, look, I got it!
Ray: Oh, shit! No! Shit! Okay, I got it.
Micheal: Yeah, nice Geoff!
Gavin: Hup!
[Yoshi lick-fest]
Micheal: Fuck! Goddamn.
[Jack and Geoff laughing]
Jack: [Laughing] We were tongue-ing each other!
Gavin: Ah! Dude! Dude! Dude! Secret! Secret floor!
Jack: Whoa! Look at that!
Ray: Hey, nice!
Jack: Ow!
Ray: Oh, we got two of the coins!
Gavin: And we're done.
Jack: Ow!
Gavin: I think I just someone's skull!
Jack: Ah! My Yoshi!
Micheal: I jumped off!
Ray: Ah, fucking... Goddamn!
Gavin: I've gone down the pipe.
Ray: So have I.
[Yoshi lick-fest]
Micheal: Fuck! Goddamn.
[Jack and Geoff laughing]
Jack: [Laughing] We were tongue-ing each other!
Gavin: I am just caked in saliva right now.
Ray: You too?
Gavin: Hooooouuuurggghhh!
Ray: Oh, we got two of the coins!
Gavin: And we're done.
Micheal: No!!
Micheal: Yoshi! No!
Micheal: Come back!
Ray: Get your Yoshi back!
Micheal: No-no-no-no-no!
All: Ooooooohhhh!
Ray: Dude, you clutched it!
Micheal: It was clutch.
Ray: Captain Clutch.
Gavin: Oh, I'm out.
Micheal: Captain... Professor...
Gavin: I'm gonna eat that then I'm gonna eat-
Gavin: AAAARGHHHHH!!
Ray: Opp! Go, Yoshi, go!
Gavin: AAHH!!
Gavin: I died!
Ray: Yoshi's still going. I'm keeping-
[Micheal chuckling]
Micheal: No-no-no-no-no!
[Micheal chuckling]
Micheal: NO!! GEOFF YOU KILLED HIM!!
[Jack, Micheal then Geoff chuckle]
Micheal: GET OFF MY YOSHI!!
Ray: Gavin, you're free!
Jack: Yoshi! come back!
Gavin: Waaaahhhhh!
Ray: Getcha Yoshi! Getcha Yoshi!
Jack: No, that's my Yoshi!
Gavin: Oough!
Micheal: Ha-ha-ha-ha! Thanks, Jack!
Jack: Micheal took my Yoshi!
[Micheal chuckling]
Jack: Goddammit, Micheal!
[Micheal chuckling]
Micheal: That's politics, bitch!
[Jack, Micheal then Geoff chuckle]
Ray: Wheeee!
Ray: Yoshi slide!
Gavin: I don't know where I am.
Jack: Awww.
Gavin: Oh, I'm dead.
Micheal: How did you die from that?
Jack: I'm with Gavin.
Micheal: Oh, there's more Yoshis
Jack: Yoshi!
Gavin: Ohhh! Awww! Weak!
[Jack and Gavin laugh]
Ray: Oh, Piranha Plant!
Gavin: Don't get the-
Gavin: Oof!
Jack: Move!
Gavin: Who's getting all the mushrooms?
Jack: Yeah! I got Yoshi!
Micheal: Alright, ev-
Ray: You can eat the Piranha Plant!
Jack: C'mere I'll getcha, Gavin!
Micheal: Grabbin! Grabbin!
[Jack and Geoff laugh]
Micheal: Grab your Yosh!
Jack: Yolp!
[Jack and Gavin laugh]
Micheal: Grab your Yosh!
Ray: OHH!!
Ray: Not gonna make that jump!
Jack: Don't worry!
Gavin: How do I get out?
Gavin: Someone just spat me out!
Jack: Oh, did I swallow you?!
Micheal: Oh fuck!
Jack: I think I swallowed Gavin!
Micheal: Did you kill him?
[Jack and Geoff laugh]
Micheal: Did you murder him?
Jack: I think I may have!
Gavin: No, no-
Ray: Oh, hey! There's a 'shroom if anyone-
Ray: OHH!!
Ray: Not gonna make that jump!
Gavin: ARP!!
Jack: Oh!
Gavin: Someone just spat me out!
Micheal: I have no idea what happened.
Jack: Where am I? Oh, there I am.
Gavin: Micheal! You tried to spit me down a hole!
Micheal: You were in my mouth?!
Jack: Oh! Ow! Ow!
Jack: Stop jumping on me!
Gavin: Good grief, Geoff! Give it a rest!
Gavin: WAAHH-HAAH!!
Micheal: Oh my God.
Ray: Oh. What happens if I go down here?
Jack: Oh! Yoshi! No-no-no!
Gavin: Ahhh! The pipe.
[Geoff laughs]
Geoff: Here, I'll make platforms for you guys so you can jump over.
[Geoff laughs]
Jack: Ha-ha! Ha-ha!
Gavin: Too late.
[Geoff laughing]
All: Awww...
[Geoff laughing]
Ray: Cocks!
[Geoff laughing]
Micheal: Jesus...
Jack: Alright.
[Jack laughs]
Ray: Oh! Last coin! Mine!
Ray: Oh no!!
Gavin: AH-HA-HA!!
Ray: Oh, we got it! We got it!
[Geoff laughs]
Ray: Fuck you, Geoff.
[Geoff laughs]
Gavin: Dude, I'm making quick progress with these downstairs-
Gavin: OH!! There's a secret area up top!
[Geoff laughing]
All: Awww...
[Geoff laughing]
Ray: Cocks!
[Geoff laughing]
Micheal: Jesus...
Geoff: I'm so happy to help.
[Jack laughs]
Ray: You're doing something.
Jack: Yoshi!
Gavin: He keeps tapping! He's buncing me in the air!
Gavin: Wuh!
Gavin: Ah!
Ray: Oh!
Gavin: Jack!
Micheal: Hnnnnngggh!
Ray: Triple kill!
Micheal: Hnnnnngggh!
Ray: Woah! What happened? Why am I- Am I full now?
Micheal: Hnnnnngggh!
Ray: Like, can I not eat anymore?
Jack: Oh! I spit a fireball!
Ray: Oh! Yeah you did!
Gavin: How are you spitting fireballs?!
Ray: Hold on!
Jack: I grabbed a Piranha Plant.
[Micheal laughs]
Ray: I want it! Got it!
Gavin: Really!?
Jack: Yeah.
Gavin: I didn't know you could do that.
Gavin: Oh! There I am!
Ray: Yeah, you can grab PowerUps with Yoshi then spit them out and grab them later.
Jack: Oh, Geoff's making stairs for us!
Ray: 1up!
Geoff: Yeah!
Jack: Oh, nope, no he wasn't.
Geoff: Yeah I was!
Gavin: Uhhh... where am I?
Ray: What kind of stairs are these!?
[Micheal laughs]
Gavin: Where am I!?
Jack: Ah! Woah!
Gavin: Am I in someone's mouth?
[Ray laughs]
Gavin: Oh! There I am!
[Everyone laughs]
Jack: Oh! It's the end!
Ray: STOOUUUGGHH!
Ray: 1up!
Micheal: Dammit! I keep missing the 1up!
Geoff: Good job, guys!
Jack: Oh! I didn't even get to the end!
Gavin: This is freakin' fun!
Micheal: Dude, you don't take Yoshes into the castle.
Micheal: Fuck, dude. Fuck, dude.
Jack: Do I not get...?
Micheal: You're a bitch!
Gavin: You're just watching you chump. Look at that!
[Ray laughs]
Ray: Oh! Look at these Yoshis!
Micheal: See you later, sucker!
Jack: Bye, guys!
Gavin: I think these are the-
Ray: Oh! I guess we need to-
Micheal: Oh, Goddammit!
Geoff: Whew!
Gavin: These are the inflate-y guys.
Ray: Oh yeah. let's go see what's up.
Geoff: You guys are great.
Gavin: This is freakin' fun!
Micheal: Dude, you don't take Yoshes into the castle.
Geoff: I agree, guys! I'm having a blast!
Jack: [Funny Yoshi voice] Hey, baby! I'm Baby Yoshi!
Micheal: S'up, baby?
[Micheal laughs]
Ray: Oh, dude! Go to that fat fuck on the right!
Gavin: Yeah, let's go right.
Micheal: We're going this way?
Gavin: Yeah, we're gonna get this-
Jack: Fat Yoshi.
Jack: [Funny Yoshi voice] I'm following you guys!
[Gavin laughs]
Micheal: I dunno.
Jack: [Funny Yoshi voice] Let's go!
[Micheal laughs]
Jack: [Funny Yoshi voice] Alright!
Gavin: It's-a me! [Gibberish]
Micheal and Ray: It's Baby Yoshi.
Jack: [Funny Yoshi voice] Hey, baby! I'm Baby Yoshi!
Micheal: S'up, baby?
Jack: [Funny Yoshi voice] Who's got some cake!?
Ray: That was something.
Jack: That's how he talks!
Gavin: Alright, you do the voices from now on, Jack!
Micheal: Oh, dude! He's coming with us!
Ray: Oh, he's following us?
Jack: [Funny Yoshi voice] I'm following you guys!
[Gavin laughs]
Gavin: I'm going to do Luigi's voice.
Jack: [Funny Yoshi voice] Let's go!
[Micheal laughs]
Jack: [Funny Yoshi voice] Alright!
Gavin: It's-a me! [Gibberish]
Micheal: That's Luigi!?
Gavin: Yeah. I don't know. How does he talk?
Jack: [Funny Yoshi voice] Who's got some cake!?
Gavin: Myehhh.
Micheal: What the fuck is Jack's voice?
Ray and Jack: Whoa!
Micheal: Oh shit!
Gavin: They're suicidal!
Jack: Pick them up! Quick!
Ray: Oh, I got one!
Micheal: Oh, they're-
[Jack laughing]
Gavin: WHOO HOOOO!!
Ray: Told you they were fat!
Jack: Oh! Look at that!
Micheal: Wha-
Ray: WHOA!
Jack: We're floating!
Ray: You're holding onto me!
Micheal: I killed one!
Geoff: Here, I've got platforms to push you guys forward.
Micheal: I already lost one!
Ray: I got you, buddy!
Micheal: I'm holding onto Ray!
Ray: AHHHHH!!
Micheal: RAAAAYYYY!!!
[Jack laughing]
Micheal: You dropped me!
Ray: I didn't let you go, that was Geoff!
Geoff: What? I didn't let you go!
Jack: I think that- is that me?
Micheal: See ya, bitch!
Jack: I don't know which one I am.
Ray: NOOO!!
Gavin: You shake them to get more height!
Ray: Yeah.
Jack: Which tch- I'm-
Gavin: Ahh! Stop jumping on my head!
Jack: I have no idea where I'm at right now!
Ray: Oh! Jack, you just ran off the map!
Micheal: You just- you just died!
Jack: Oh, ga- I thought I was the one on top!
Gavin: Ahhhh my God!
Gavin: Geo- OOOOUGGHHHHH!!
Gavin: I lost mine!
Ray: Hop on!
Gavin: Oh, I got him back!
Ray: Okay, cool.
Jack: Alright, Alright! Let me jump on!
Micheal: Oh God!
Micheal: [Bad Italian accent] That's-a my baby Smoshio!
Jack: [Funny Yoshi voice] Hey guys! Let's get some more cake!
Micheal: [Laughing] What the fuck?
Gavin: Ughh!
Micheal: [Laughing] What is it with you and the cake?
Micheal: Jack's gonna kill us all!
Gavin: Ahhhh! Flower attack!
Jack: Opp!
Ray: Jack's got it now!
Jack: I got it! Alright!
Ray: And then Luigi fell off the map!
Gavin: Jack, you got my baby Smosh!
Micheal: "My baby Smosh"?
Gavin: Smoshi.
Ray: Luigi, grab on!
Micheal: [Bad Italian accent] That's-a my baby Smoshio!
Jack: [Funny Yoshi voice] Hey guys! Let's get some more cake!
[Laughter]
Micheal: [Laughing] What the fuck?
Ray: Are you all four of them now, or...?
Micheal: [Laughing] What is it with you and the cake?
Micheal: OH GOD NO!!
Ray: Oh!
Gavin: Oh! Someone get this coin!
Ray: Hold on! Hold on! I'm going for it! I'm going for it!
Gavin: Ohhh, Ray!
Ray: Got it!
Gavin: Ohhh, Ray! Nicely done!
Gavin: Wah!
Jack: Oh! Ga- geoff, you're blocking my path!
Ray: I'm losing fat!
Micheal: Ohhh shit!
Geoff: Nah, I'm helping you guys out. I'm building stairs.
Jack: Uh! Oof!
Gavin: Dude, you're gonna have to re-chunk yourself.
Gavin: [Laughs] Thanks, Geoff!
[Jack laughing]
Jack: I got a thing! I got a thing! I got a thing! What is this?
Gavin: Whoo-hoo!
Jack: I can't get this!
Ray: Stop blocking me!!
Micheal: Goddammit!
Jack: Oh! I got 1ups!
Gavin: I'm trying to kill this giant flower!
Jack: Oh!
Jack: Oh no!
Micheal: Dammit! They all fell off!
Gavin: Geoff! Give me a platform, Geoff!
Geoff: Okay.
Micheal: Yeah, Geoff'll- Geoff'll-
Geoff: Here. Over here.
Gavin: [Laughs] Thanks, Geoff!
[Jack laughing]
Gavin: Geoff gimme a platform!
Jack: We lost Luigi.
Ray: How?
Ray: Uh oh!
Micheal: [Laughing] Who'd we lose? We lost Gavin!
Ray: Uh oh!
Ray: Geoff! Stop it! Stop it!
Micheal: [Laughing] You have seven!
Jack: Yeah, 1up!
Micheal: Fucking finally I got a 1up.
Ray: Oh!
Geoff: Whew!
Jack: [Funny Yoshi voice] Alright, guys! That was fun!
Gavin: Well, I- mine got it! Jack- [Gurgles incoherently]
[Laughter]
Geoff: That was some pretty intense platform work by me!
Micheal: [Bad Italian accent] He ate-a the cake!
Jack: [Funny Yoshi voice]I turned into a balloon!
Jack: We lost Luigi.
Ray: How?
Gavin: You've got fourteen lives!
Micheal: [Laughing] Who'd we lose? We lost Gavin!
Ray: Yeah, I've got fourteen lives.
Ray: Yeah, we lost Gavin along the way.
Micheal: [Laughing] You have seven!
Gavin: I did not make it.
Micheal: [Sighs] I'm gonna go the other way?
Geoff: Whew!
Micheal: Yeah, everyone but you.
Jack: [Funny Yoshi voice] Alright, guys! That was fun!
Gavin: Well, I- mine got it! Jack- [Gurgles incoherently]
[Laughter]
Ray: Good one, Luigi!
Gavin: [Laughing] Speedrun?
Jack: [Funny Yoshi voice]I turned into a balloon!
Geoff: Whew!
Gavin: Oh! Dude! Y'know what we should do?
Micheal: Let's get this castle, son!
Ray: D'you think we should do that?
Gavin: Nah, we should go the other way!
Ray: Should we go straight to the castle?
Jack: Castle!
Gavin: No, we should go the other way.
Micheal: [Sighs] I'm gonna go the other way?
Jack: Aw.
Gavin: Yeah, yeah! Then we can kill this-
Ray: No, we ain't ready for the castle.
Gavin: Then we can see what those flowers are about.
Ray: Dude, it's a 100% speedrun!
Micheal: Yeah, we need some training!
Gavin: [Laughing] Speedrun?
Micheal: D'you think we're setting records here, guys?
Geoff: Yes.
Jack: We're crushing.
Gavin: We're gonna submit this to Speed Demos Archive.
Ray: Rise of the Piranha Plants.
Ray: It's like that movie with the apes.
Micheal: Yeah, we can hit the house and then we can hit the fucking-
Ray: Tell Barbara.
Gavin: Geoff!
Micheal: Goddammit.
[Ray and Gavin laughing]
Jack: Ahh! Ahh!
Jack: Oh! I've got a-
Geoff: Oh! Watch out!
Micheal: I've lost track of myself.
Ray: Holy shit!
Micheal: Oh! I died! I ran out and I immediately died!
Ray: Oh.
Ray: Get that Koopa fuck!
Jack: Alright.
Micheal: Where the hell am I?
Micheal: Oh, there I am.
Jack: There you are.
Ray: Dude, hop on!
Micheal: Ohhhhh.
Micheal: YOU FUCKING HIT ME RIGHT INTO IT!!
[Ray and Gavin laughing]
Micheal: Goddammit!!
Jack: That is a giant freaking piranha!
Ray: Dude, this Yoshi thing is awesome!
Micheal: Fuck!
Jack: There you go!
Gavin: Ray? You know people at- you know people at Speed Demos Archive, right?
Ray: I don't KNOW them but I watch them.
Jack: Woah!
Gavin: We're gonna submit this.
Ray: Yeah! We're gonna submit this.
Gavin: Yeah.
Micheal: Oh God!
Ray: And then it probably won't get accepted.
Gavin: Coin!
Gavin: COIN!!
Gavin: Woahhh!
Micheal: But we would've tried, Ray.
Ray: That's true.
Geoff: Don't worry, I'm protecting you.
Jack: Where am I? Oh, there I am.
Gavin: OOORGHH!!
Jack: Oh! Hammer Brother!
Gavin: I got-
Ray: Dude we don't have- we don't have a timer going, we don't have splits, we don't have anything to go off of!
Gavin: He hammered off my overalls!
Jack: Ah!
Micheal: What is this star doing? Why is it here? What does it do?
Gavin: Oh my God, star?
Ray: I don't know I've seen that quite a few times.
Gavin: GEOFF TAP THE STAR!!
Ray: Yeah, tap the star!
Micheal: Geoff, tap it!
Jack: Tap the star, Geoff!
Micheal: Tap the star Geoff!
Micheal: Everyone's saying it.
Ray: Oh.
Jack: Woah! Woah!
Micheal: There you go!
Geoff: There you go, I tapped the star.
Jack: What's going on?
Micheal: I don't know what's happening.
Ray: Now his.. thing... is all starry.
Gavin: Wooaahh!
Micheal: Oh great! So It somehow fucked us more!
Ray: Geoff, you're a superstar!
Ray: Where am I? Oh there I am.
Jack: Where am I?
Gavin: What is this doing?
Ray: Gaahh! Noo! Fuck!
Jack: Oh, there I am!
Gavin: Do you get extra money for enemies now?
Ray: Oh! No-no-no-no-no-no! Nuh! Huh!
Miccheal: Oohhh my God! I died again!
Ray: Got 'em!
Jack: Oh! I lost my Yoshi!
Micheal: I'm catching up on Gavin very quickly!
Ray: Yo, I still got my Yoshi!
Jack: There we go!
Gavin: Awww! My Yoshi's running out of air!
Jack: Owh!
Gavin: Oh, he's got more now!
Jack: Luigi was bouncing off head!
Micheal: There we go.
Gavin: I managed to intake more air jumping on someone's head!
Ray: Ahh! How the fuck we- Ah shi-
Gavin: What the!? Jeeeeez!
Micheal: Geoff, you keep bashing me around!
Ray: Geoff is gonna fuck our mouth.
Jack: Woah! Woah! Geoff!
Ray: Let's just wait this out?
Jack: Can you murder that thing for us, please?
Ray: Huh! Huh! Huuuuh!
Micheal: Geoff! You're a bitch!
[Jack and Micheal laugh]
Gavin: Ahh!
Micheal: Oh my God!
Jack: Ohh! It's so big!
[Micheal and Jack laugh]
Jack: Ohhhh!
Ray: I'm trying to.
Gavin: That's a pipe!
Ray: I'm trying to!
Gavin: Geoff! Make a platform for the pipe!
Geoff: Alright, hold on.
Jack: Uhhh! Can't get up to it!
Geoff: I can't do it right there.
[Laughter]
Jack: Can't get- Push me through it!
[Everyone laughing, Gavin groaning]
[Jack and Micheal laugh]
Geoff: Okay.
[Jack and Geoff laughing]
Gavin: Geeooff!
[Micheal and Jack laugh]
Gavin: Alright, that's good! That's good!
Gavin: Aaarghhhh!!
Ray: Well. You gave it the old college try.
[Micheal chuckling]
Jack: C'mon, Geoff, do it!
Gavin: Under me!
Gavin: Geoff!! Under me!
Jack: Under Luigi!
[Laughter]
Gavin: Geoff! I'm gonna run out of puff!
[Everyone laughing, Gavin groaning]
Jack: Oh! You lost your Yoshi!
Gavin: AAHHH!!
[Jack and Geoff laughing]
Gavin: Oh no!
Jack: Ah! You're trying to kill me!
Gavin: AAHH!! I'm smooshed!
Micheal: WHHOOOO!!
Jack: Oh no! I got squished!
[Micheal chuckling]
Jack: Oh, I'm still alive! I'm still alive!
Gavin: Geoff!
Micheal: Geoff!!
Geoff: That was good, guys!
Micheal: Ugg!
Geoff: No, I'm helping like crazy, what are you talking about?
Jack: Well, again, it depends who you're-
[Micheal making strange noises]
Ray: Oh!
Jack: There's the end!
Ray: 1up!!
Micheal: [Bad Italian accent] It's-a me! Joe Pesci-o!
[Gavin and Jack laugh]
Micheal: Aww!
Gavin: Ai-yea!
Micheal: Dammit!
Geoff: Toad flag.
Micheal: Holy ssshhit!
Geoff: Whew!
Geoff: That was good, guys!
Ray: Dude, I got 16 lives!
Micheal: Ray is racking them up.
Gavin: I've only got seven.
[Micheal making strange noises]
Ray: Later, Mario.
Micheal: That's fine.
Ray: Or Mario.
Micheal: [Bad Italian accent] It's-a me! Joe Pesci-o!
[Gavin and Jack laugh]
Ray: Oh! What's on the left? Can we get 1ups?
Gavin: Ai-yea!
Micheal: Ai-i-i-i-i-i-i!
Gavin: Yeah, let's go left first.
Micheal: Micheal: Yeah, let's go through this door thing again.
Jack: Alright.
Micheal: And then we'll fucking do that castle.
Gavin: It's a green mushroom now!
Ray: Yeah.
Gavin: Ahhh! Different game!
Micheal: Ah shit! It's going down!
Jack: Alright.
Ray: Get more fuckin' 1ups than Bowser tokens.
Gavin: Uh oh! This is gonna be chaos, innit?
Jack: Oh no.
Ray: Uhhh, yeah it is.
Micheal: Teamwork!
Gavin: Don't get the Bowsers!
Gavin: OOHH! Coins!
Gavin: Huuuh! So many!
Jack: Coins!
Ray: Hoh!
Gavin: AHHH!!
Jack: I got a 1up! Aww!
Micheal: You jibs got the Bowsers!
Jack: I swallowed some Bowser.
Ray: Chomping the- Oh!
Micheal: Get it in your mouth, Jack.
Ray: Double 1up!
Geoff: Boooom!
Jack: Oh no! I got a Bowser!
Ray: Shit, I got that Bowser.
Gavin: I'm gonna stand up here.
Micheal: Gavin, we don't neeeed anything else, okay?
Gavin: Ohhh!
Ray: I just got a bowser thing. That sucked.
Gavin: Uh oh!
Ray: What happens if you get the Bowser thing? Nothing seems to be happening.
[Micheal making noises]
Ray: I just got another one.
Micheal: Uhh, I think a little bit goes up your butt.
Jack: Oh! I got a bad one.
Ray: Oh, okay. Nice.
Gavin: Uhhh! Hah!
Ray: I should keep getting inside.
Ray: Got that one.
Micheal: Ass play.
[Laughter]
Jack: Aww, I missed a 1up!
Micheal: Ass play. Ass play. Ass play. Ass play.
[Laughter]
Geoff: Oohhhhhh!
Jack: Yeah! I got a 1up!
Geoff: Good job, guys!
[Laughter]
Ray: My bad! [Laughs]
Geoff: Nothing, I can't do anything.
Gavin: Wow!
Micheal: What the hell does that mean?
Ray: Not bad.
Ray: Uhhhhh...
Jack: Yeah!
Gavin: AHH!
[Laughter]
Ray: Goddammit!
Micheal: So...
[Laughter]
Micheal: Well that blows!
Gavin: Did we really pick up, like, twelve of those things?
Ray: I picked up, like, eighteen on my own.
[Laughter]
Ray: My bad! [Laughs]
Micheal: Dude.
Geoff: Whew!
Ray: So do we fight that Piranha Plant now, or what the fuck do we do?
Micheal: So... yeah! Do we-
Gavin: Yeah, let's go!
Micheal: D'you wanna try go this way?
Jack: Oh!
Geoff: Oohhhhh!
Micheal: Oh shit!
Ray: Fuck you!
Micheal: Dude, get wrecked, bitch!
Geoff: Dammmnnnn!
Ray: Is this like a boss fight?
Jack: That was ridiculous!
Micheal: I don't know, Ray.
Jack: I got it! [Laughs]
Micheal: I'm not a future-seer
Jack: Oh, I'm on the right!
Ray: Ah fuck! I threw my Yoshi!
Jack: [Laughing] That was me!
Ray: Uhhh...
Ray: I have Fire Flowers, so...
Gavin: Oh! A thing!
Micheal: We'll probably just, y'know, have Geoff help us out.
Geoff: Yeah! I'll help!
Ray: I think the- Oh! A chest!
Gavin: Oh!
Micheal: Oh! A chest! We killed it! It's dead! We win!
Ray: What did we get? Oh!
Gavin: Ohhhh! It's a star!
Micheal: Good job, guys!
Jack: I got it! [Laughs]
Jack: Weeeee!
Gavin: Who's that flying around?
Micheal: He's just flying around.
Jack: [Laughing] That was me!
Ray: That was Jack. Did I lose my Yoshi?
Ray: That would suck.
Micheal: I don't know, bro.
Gavin: Ahh! Dude!
Micheal: Alright! You ready for this?
Jack: Alright, here we go!
Gavin: Bloody Lemmy Koopa or whatever his name is is going down!
Jack: Ooo!
Micheal: This is like the first Boss Fight!
Ray: You might be right, Gavin. That might actually be his name.
Jack: Alright. Let's Boss this Fight.
Ray: Lemmy's Swingback Castle!
Gavin: Dude! Lemmy's always first, isn't he?
Jack: Lemmy's Swingin' Castle.
Micheal: [Bad Italian Accent] It's-a me! Your brother Mario!
Ray: Super Mario Brothers 3.
Jack: Ayyy, what's up? I'm Lemmy, I'm swinging!
Ray: I have twenty lives!
Gavin: I'm looking forward to Ludwig!
Ray: Aaaaaalright! This-
Micheal: Alright this is good!
Ray: Ah! fucking Geoff is-
Jack: Ahhhh...
Micheal: Dude! I'm looking forward to Sedders.
Jack: This is gonna go well!
Gavin: Geoff could potentially help us here!
Gavin: Wingsuit!!
Micheal: Oh, you think?
Gavin: Ah! Who's jumping on my head?!
Jack: Where am I?
Micheal: [Bad Italian Accent] It's-a me! Your brother Mario!
Gavin: Ahhh...
Ray: Oh!!
Jack: Oh! Look at me!
Ray Huh! Hah!
Micheal: Bustavongoolie!
Jack: Look at me! I'm at the very top! I'm at the very top again!
Ray: How did Jack get up there again?!
Gavin: Houwh!
Jack: How did I do this?
Gavin: I burnt my arse!
Micheal: You were in the lava!
Ray: Ho!
Micheal: Geoff! You little prick!
[Gavin laughing]
Micheal: Could you please not on the lava?
Jack: Look at me way up there! Weeee!
Geoff: What?
Gavin: Hey! Geoff!
Gavin: Geoff.
Geoff: What's up?
Gavin: I think what happens when you-
Ray: NO!!
Jack: Aw, I fell.
Gavin: When you fill your Star Meter if it's filled by us walking on your things.
Jack: Oh! I got an acorn!
Geoff: I'm sorry. Say that again, please. Sorry.
Gavin: When we walk on your blocks it fills your Star Meter up I think.
Geoff: When I walk on my blocks?
Gavin: When we walk on your blocks!
Micheal: When we walk on your blocks, Geoff!
Geoff: Oh, good!
[Gavin laughing]
Micheal: Well, they're always, like, on top of us.
Geoff: I'm filling you with stardust.
Gavin: I keep burning to death!!
Micheal: No-no-no-NO-NO-NOO!!
Micheal: YOU KILLED ME!!
Micheal: You fuckers!
Geoff: Gavin killed you?
Micheal: Yoooou fucks!
Gavin: I'm in a bubble!
Ray: Ah, fuck!
Gavin: Ahh!
Ray: I feel pretty good about this.
Gavin: Freedom bubble!
Gavin: Oohh!
Jack: Ah!
Gavin: Uhhh!
Micheal: We're gonna fuck-
Gavin: Huugh! It's screwed!
Micheal: I'mma- I'mma come to live in the lava!
Jack: Acorn!
Ray:No you're not, you're fine.
Gavin: Ah!
Gavin: Geoff is-
Micheal: Geoff is trying to kill us-
Gavin: [Laughs] "Runs out of wing"!
Ray: Uh! Found me!
Gavin: Ah!
Ray: Uh! Huh! Huh!
Jack: Ah! Geoff's helping! Geoff is helping!
Ray: Speedrun! Speedrun! Speedrun!
Jack: Quote on quote.
Micheal: Crap! Oh, Geoff!
Ray: Speedrun!
Gavin: Ahhhhh!
Micheal: Right in the lava again!
Jack: Make it! Make it!
[Geoff giggling]
Micheal: Ray's- Ray's in the lava.
Ray: Ohhhhh! Saved it! Uh!
Micheal: Wow! That's impressive!
Jack: So hot!
Ray: God, this wingsuit is so good and then it runs out of fucking... wing!
Micheal: Geoff is trying to kill us-
Gavin: [Laughs] "Runs out of wing"!
Micheal: I got right in the lava!!
Gavin: AAARGHHHH!!
Ray: Alright! Checkpoint! Way to go, guys!
Jack: Alright! And a checkpoint!
Gavin: I've lost twelve lives I think on this run!
Ray: Wuh!!
Jack: Woah!
Micheal: I don't even know where I am!
Ray: Ohh! I got so lucky!
Jack: Geoff almost murdered me!
Micheal: Oh, look!
Gavin: Bloody tut!
Gavin: Uh!
[Geoff giggling]
Micheal: They. Keep. Fucking. Spawning me over the lava!
Jack: Oh! It's a star!
Micheal: Geoff. You little shit.
Geoff: Oh! I missed it!
Gavin: Is Geoff making us spawn?
Jack: Ohhh! Nuuuh! Nuuh!
Ray: Uh, yeah, he's-
Gavin: Is he popping my damn bubble?
Ray: He's popping bubble.
Gavin: You're popping my bubble over thE LAVA!
Micheal: Yeah, We're gonna be fucking game over'd in two seconds.
Jack: Ohhh!
Micheal: Goddammit!
Ray: Huh! Huh!
Jack: Noooo!
Gavin: Ray! It's all on you, buddy!
Ray: I got it!
Ray: Huh! Hoh! Hoo!
Jack: Hot!
Gavin: Uh!
Gavin: Don't leave me- [Death gurgles]
Micheal: Holy fuck!
Micheal: And then I DIED AS SOON AS I GOT OUT BY FUCKING DRY BONES!!
Ray: I got this, guys! I'll get to the end!
Gavin: AAHHHHH!! Geoff!!
Geoff: I'm trying to help you guys out!
Jack: Alright. Wuh! Ah, hot!
Ray: Oh! WOOAAH!!
Micheal: I've seen myself die, like, fifteen times!
Ray: I lost my wingsuit!
Geoff: Ohhh! Watch out!
Micheal: Welcome to hell, Ray!
Gavin: Noo!
Jack: Ohhhh boy!
Ray: Uh!
Ray: Made it!
Jack: No!
Gavin: Ahh!
Gavin: Don't leave me- [Death gurgles]
Ray: Alright. I think we're good. I think the lava's over.
[Gavin Singing the X-Men theme]
Ray: The Bad Man's gone now.
[Jack singing the X-Men theme]
Geoff: Whew!
Gavin: Ourh!
Jack: Look at us going in! That was close, guys!
Ray: That wasn't bad!
[Jack continues to sing]
Gavin: HOW DOES RAY HAVE 21 LIVES, AND I HAVE TWO!?!
Ray: I didn't fall in the lava once!
Ray: I hadn't lost my wingsuit.
Micheal: He had his wingsuit. He had the wingsuit.
Jack: I think I can explain that.
Ray: Holy shit!
Jack: Woah! What the hell is that thing!?
Gavin: I'm not even here!
Jack: Wel- Oh! Oh Jee- What the- Woah!
Gavin: There we are!
Micheal: You're right there!
[Gavin and Jack laughing]
[Jack laughing]
[Gavin, Jack and Geoff laughing and chuckling]
[Jack singing the X-Men theme]
Gavin: Ah! X-Men Let's Play? I'm on it!
Micheal: Geoff, I hope you burn in hell.
[Jack continues to sing]
Geoff: That's not a nice thing to say to the person who's helping you.
Micheal: I'm sorry, Geoff.
Micheal: [Bad Italian accent] It's-a me!
Micheal: I hope you burn in hell.
Gavin: Oh. We're gonna get fired over there.
Jack: Bye Mario.
Jack: Wel- Oh! Oh Jee- What the- Woah!
Gavin: Whoo-hoo!
Micheal: Uhh... tell me how it goes, guys!
[Gavin and Jack laughing]
[Jack laughing]
[Gavin, Jack and Geoff laughing and chuckling]
Gavin: I don't remember that would've-
Micheal: Is it dangerous?
Jack: Who'da thunk?
[Laughter]
Ray: Oh! This guy!
Jack: He's on his little ball!
Gavin: Ah, thanks for joining us, Mario.
Micheal: Ah, y'know.
Jack: Alright, Lemmy.
Micheal: [Bad Italian accent] It's-a me!
Ray: Oh shit.
Jack: Do you think he's uhhh... a Motörhead Fan?
Ray: He's droppin' bombs!
Geoff: Here. I'll help you get above him.
Pfffffffffff!
Micheal: Yeah. Dammit.
Ray: Thanks.
Gavin: Huah!
Gavin: I just nailed him!
Ray: Oh nice, you got him.
Gavin: I died! I died.
[Ray and Jack laugh]
Gavin: Well I guess you can't do that.
Micheal: Oh God! Oh God! Oh God! Oh God!
Jack: Ahhhhhh!
Micheal: OH GOD! OH GOD! OH GOD!!
Ray: AHHH!! Somebody hit him!
Micheal: Ah! Fucking punk-ass bitch!
Gavin: Oh! He's a- HE'S A SHELL NOW!
Jack: Oh! He got me!
Geoff: I'll protect you!
Gavin: WAAHH-HOH!
Ray: Hey, there's a mushroom there for whoever wants it. Oh fuck! Geoff no!
Gavin: Argh! He can jump! Oh my God!
Jack: Where am I? Oh, there I am.
Gavin: Geoff is making it so I can't jump over him!
Ray: [To Gavin] I have 22 lives, you have one!
[Ray and Jack laugh]
Jack: Oh! I've lost him!
Gavin: Where is he? Where is he?
Micheal: Ahh! I'm dead again. And again.
Ray: He's in shell.
Gavin: Ah!
Ray: Shell mode!
Gavin: Ah! Ahh!!
Micheal: Dead again.
Geoff: I'll stop the shell, don't worry!
Jack: [Laughing] Yeah.
Gavin: Wah-hah!!
Ray: Oh my God!
Gavin: Ahhh! I died.
Ray: Geoff actually saved my life, there.
Geoff: Yeah, I did! I-
Ray: Hey!! We did it!
[Laughter]
Micheal: [Bad Italian accent] We fucked him up good, bro!
Jack: [Singing] The Ace Of Spades!
Jack: [Singing] The Ace Of Spades!
[Gavin singing the instrumentals badly]
[Jack laughing]
Micheal: Good job, Geoff.
Ray: Way to go, Geoff.
Gavin: Tune into part two where-
Jack: Good job.
Geoff: I saved your life, Ray.
Ray: Yeah you did.
Gavin: Tune in for part two where I won't be there.
Jack: [Laughing] Yeah.
[Gavin laughing]
Jack: Woah! Woah! We are just destroying him!
Ray: [Laughing] That's the cover band!
Ray: Fuck yo boat!
Gavin: BYE LEMMY!
[Laughter]
Micheal: [Bad Italian accent] We fucked him up good, bro!
Jack: [Singing] The Ace Of Spades!
Jack: [Singing] The Ace Of Spades!
[Gavin singing the instrumentals badly]
[Jack laughing]
Ray: That's it.
Micheal: Look! We're moving on to the-
Gavin: Yeah!
Jack: Yeah.
Micheal: Whooo!
Ray: Who's your favourite member of Mortar- Ma- Mötorhead?
Gavin: Uh...
Jack: I like Mortarhead.
[Gavin laughing]
Gavin: Mortar!
Ray: [Laughing] That's the cover band!
Ray: There's people-
Micheal: Right now, bitch! Look at this!
Jack: Oh, there we go!
Ray: Alright, let's go, let's go.
Jack: Oh! shit! Mario!
Jack: Get up!
Micheal: Goddammit, Geoff!
Geoff: Nobody's gonna fall, there.
Micheal: We have to run ahead of Geoff to escape his wrath.
Micheal: We have to run ahead of Geoff to escape his wrath.
Ray: When do we get-
Ray: ...Geoff, you're blocking the path.
Micheal: Holy fucking shit.
Jack: Yeah, buddy!
[Everyone laughs]
[Laughter]
Ray: Oh! LLLLLLLLLLLLETS PLAY Super Mario Brothers... New, U!
Micheal: Because we have to because he's trying to murder us!
Jack: [Singing] shake, shake, shake, Senora.
Ray: [Singing] Can you take me higher?
Geoff: Great!
Micheal: Dude, we tossed that level like a dirty salad.
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French:
Bonjour bonsoir à tous, j'aimerais ouvrir une parenthèse. Les films de super héros c'est cool, c'est de l'action, c'est de l'humour, c'est des valeurs, c'est
la belle beauté. A la fois on sait à quoi s'attendre et à la fois il y a encore tellement de choses à raconter, de façons
de les raconter... D'ailleurs, parlant de ça, voilà vingt personnages de comics dont j'attends encore une bonne adaptation au cinéma.
Squirrel Girl
Squirrel girl ne serait pas évidente à adapter parce que c'est un personnage un peu parodique. Dorine Green a des pouvoirs d'écureuil, elle est intelligente, elle
a une grosse queue touffue, parle aux écureuils, elle a des super sens et elle a vaincu certains des plus gros méchants de l'univers Marvel.
Fin Fang Foom, Doctor Doom, Galactus et même Thanos ont été vaincus par Squirrel girl.
Alors du coup c'est un peu délicat de l'introduire au MCU, mais dans l'univers Netflix pourquoi pas, d'autant qu'elle a été un temps la
nounou du gosse de Luke Cage et Jessica Jones.
Un jour Robert Reynolds se rappelle qu'il a été Sentry, l'un des êtres les plus puissants de l'écurie Marvel.
Il se rappelle de son identité juste à temps, alors que sa némésis The Voïd s'attaque à l'Europe jusqu'à ce qu'il se rende compte que
c'est lui The Void. Pour se vaincre lui-même,
il éradique donc son souvenir de la mémoire de tous les habitants de la planète,
English:
Hello everybody, I'd like to open a parenthesis.
Superhero movies are great : it's action, it's comedy, it's values,
it's a beautiful beauty. Even if we know what to expect, there are still so many things to tell, and ways to tell them...
By the way, here are 20 comic book characters who have yet to star in a GOOD cinematic adaptation.
Squirrel Girl.
Squirrel Girl won't be that easy to adapt because she's kinda parodic.
Dorine Green got squirrel powers, she's clever,
with a big fluffy tail, talks to squirrels, she's got super senses and she has already beaten some of the biggest villains in the Marvel Universe.
Fin Fang Foom, Doctor Doom, Galactus and even Thanos has been defeated by Squirrel Girl.
So sure, it would be tricky to introduce her in the MCU, but why not in the Netflix Universe?
Especially since she has played nanny for Luke Cage and Jessica Jones's kid.
One day, Robert Reynolds remembers he once was Sentry, one of the most powerful beings in Marvel's stables.
He remembers his identity just in time, as his nemesis, The Void, starts attacking Europe, until he realizes that... (gasp)
He is The Void.
To defeat himself,
he erases the memories of himself in everyone,
French:
lui inclus, et il comprend que c'est pour ça qu'il ne se rappelait plus qu'il avait été Sentry.
Ça ne peut faire qu'un bon film.
Killer Croc. Parce que merde, voilà. Killer Croc est cool, le DC U l'a tué.
Harley Quinn
Bah pareil, Harley Quinn est un personnage très délicat à traiter, mais le DC U s'est senti plus pressé d'en faire une catch-phrase vivante qu'un vrai
personnage. Vous noterez que Suicide Squad a enterré l'idée d'avoir dans le DC U un bon Killer Croc, une bonne Harley Quinn,
et un bon Joker.
Spiderman est mon personnage de comics préféré et il a eu des bons films.
Vous savez qui n'en a pas eu ? Venom et Carnage. Ce sont les deux personnages qui m'ont fait aimer Spiderman.
J'ai découvert le reste de son univers après, mais Venom et Carnage sont mes Madeleines de Proust
génocidaires extraterrestres. Quand Spider Man 3 est sorti, je n'ai donc pas été déçu comme beaucoup de gens: j'ai été trahi.
Comment on pouvait rater Venom à ce point ? Le film avec Tom Hardy a intérêt à remonter la pente et à nous donner un peu de Cletus Kasady.
Dans cette liste vous trouverez des personnages qui ont été adaptés dans de mauvais films, des personnages qui n'ont jamais été adaptés, mais peu de
personnages qui ont été adaptés dans de bons films. Mais dans cette catégorie,
English:
including himself, and he understands that this was the reason he forgot he was Sentry.
It can only be a good movie.
Killer Croc.
Because fuck it!
Killer Croc is awesome, it's the DCU that killed him.
Harley Quinn, same thing here.
Harley Quinn is a tricky character to treat, but the DCEU felt more like making her a walking catchphrase instead of an actual character.
You'll notice that Suicide Squad burried the idea of the DCEU having a good Killer Croc, a good Harley Quinn,
and a good Joker.
Spiderman is my favorite comic book character and he had some good movies.
But do you know who didn't?
Venom and Carnage.
Those two who made me love Spiderman.
I discovered the rest of his lore after, but Venom and Carnage are my Proust Madeleines
while being genocidal aliens.
When Spiderman 3 came out, I wasn't disappointed like most of you: I was BETRAYED
How is it possible to fail Venom like that?
The movie with Tom Hardy better go back up the slope and give us a bit of Cletus Kasady
In this list, you'll find characters who have been adapted in bad films, character who have never been adapted,
but few characters who have been adapted in good movies. But in this category,
English:
The Mask.
The mask is one of the most disturbing, gore and violent comic series I ever found.
The version with Jim Carrey is...
...awesome when you don't get the reference...
...And X-Men Origins: Wolverine when you got.
I discovered this movie before the comic, and it stays one of my favorite films ever, but
please do an ultraviolent film noir, where Kellaway gotta arrest Stanley Ipkiss, the madman and overpowered killer named Big Head.
Sorry, Jim, I love you, but the Riddler.
If Gotham taught us something, it was that a good Riddler was actually a thing.
A brilliant villain, yet jealous of Batman beyond imagination, I WANT to see that.
At the movie theater.
If you remember, I bitched about the DC U because of Killer Croc, The Joker and Harley Queen.
Well, BatmanVSuperman burried the idea of having a good Lex Luthor and a good Doomsday.
I don't know what's up with them, but they don't like bad guys.
But I found Lex Luthor nice in the first Supermans, especially in Superman Returns,
So Jesse Eisenberg's horrrible version did not exactly hurt my feelings,
but what did hurt my feelings was that Doomsday is supposed to be the result of a genetic selection among hundreds of thousands of Kryptonian babies,
French:
The Mask. The Mask est l'une des séries de comics les plus gores, les plus violentes et les plus dérangeantes que j'ai pu croiser.
La version avec Jim Carrey est
excellente quand t'as pas la référence,
et X-Men Origins Wolverine quand tu l'as. J'ai découvert le film avant le comics et il reste encore aujourd'hui un de mes films préférés mais
nom de Dieu faites un film noir ultra violent, où le lieutenant Kellaway doit arrêter Stanley Ipkiss, le tueur fou furieux et
surpuissant qui répond au nom de Big Head.
Désolé Jim Carrey, je t'adore, mais l'Homme Mystère.
Si Gotham nous a appris un truc c'est qu'il était possible de faire une bonne adaptation de l'Homme Mystère, un méchant
brillant et jaloux au delà de toute raison de Batman, je veux voir ça.
Au cinéma.
vous vous souvenez que plus tôt je pestais que le DC U nous avait privés d'un bon Killer Croc, d'un bon Joker et d'une bonne
Harley Quinn
bah batman vs superman a enterré l'idée d'avoir un bon Lex Luthor et un bon Doomsday
je sais pas ce qu'ils ont ils n'aiment pas les méchants
mais j'ai trouvé Lex Luthor chouette dans les premiers superman et surtout dans superman returns donc la version détestable de jesse eisenberg
m'as pas tant défrisé nan ce qui m'a défrisé c'est que Doomsday est censé être le fruit de la sélection génétique parmi des centaines
English:
set free by a mad scientist trying to create the most adaptable being ever.
An immortal being, able to come back to life each time he's killed and to be immune to what killed him before.
Are we super far away from BatmanVSuperman?
Yup.
We are soooooo far.
I hesitated a long time, but I'll put those two (those eight) together and say: the Fantastic Four and the TMNT.
Those two teams of four, acting more as a family that a team, who have the common point to love bright colors.
It would be too weird to give them immediatly a "true" super hero movie, but a self-aware film or even a parody
of superheros movies with one of those two teams would give us something excellent.
Especially since TMNT are, originally, a parody.
Like Venom, he's in a WIP,
Shazam.
Shazam's strenght is not really his story, that is nice but not awesome, but the character itself.
It's a child who acquires the power of ancient gods by simply saying 'Shazam'.
After that, he turns into a kind of superman, when talking about power,
but inside, he stays a kid, and that might give us a really funny movie, and give a bit of credibility to the comical aspect
of DC movies.
French:
de milliers de bébés kryptonien lâché dans la nature par un savant fou visant à créer l'être le plus adaptable au monde
un être immortel capable de revenir à la vie chaque fois qu'il est tué et d'être immunisé à ce qui l'a tué jusque là
est-ce qu'on en est loin dans batman vs superman oui
on en est très loin
j'ai longtemps hésité mais je vais mettre les deux là (en fait les huit) les 4 fantastiques et les tortues ninja
ce sont deux équipes de quatre membres formant plus une famille qu'une équipe de super héros qui ont comme point commun d'être trop haut en couleurs
trop bizarre dès le départ pour donner de vrais films de super héros mais un film conscient de lui-même ou même une parodie de
film de super héros avec l'une des deux équipes pourrait donner un excellent résultat
d'autant que les tortues ninja sont déjà une parodie de super héros à la base
comme Venom un projet est en préparation
Shazam, la force de Shazam c'est pas tant son histoire qui est chouette mais sans plus, que le personnage en lui-même
c'est un enfant qui acquiert la puissance de dieu de la mythologie antique en prononçant Shazam
alors il se transforme en espèce de superman, là encore en terme de pouvoir pur les deux se vallent
sauf qu'à l'intérieur ça reste un gamin, ça pourrait donner un film très drôle et donner enfin un peu de crédibilité à l'aspect comique des
films dc
French:
Hulk rouge surnommé Rulk
Red Hulk comme c'est astucieux ! Le truc bien avec Hulk c'est quand il affronte des truc aussi gros que lui
dans le premier film ça a été raté, dans le deuxième l'affrontement avec l'abomination est brouillon mais dans avengers
voilà ça c'était cool donc pourquoi pas un film avec le hulk rouge
l'alter ego surpuissant mais en plus brulant de Thaddeus Thunderbolt Ross
le père de la chérie de Bruce Banner qui déteste deux choses dans la vie
Bruce Banner et Hulk
avec le retour un peu surprise de Thaddeus Ross dans Civil War ce serait chouette de voir débarquer un film centré sur l'affrontement
entre les deux monstres
je vais pas faire l'unanimité avec celui ci mais je trouve que gueule d'argile est un méchant sous-exploité par exemple dans arkham city
il est très bien utilisé et amène à la fois des éléments de mystère et d'horreur
car il peut se changer en n'importe qui et est
monstrueux sous sa véritable forme, les films de super-héros permettent de se balader d'un style à l'autre alors
est-ce qu'on peut pas imaginer un film un tiers super héros un tiers film noir et un tiers film d'horreur avec gueule d'argile
moi je dis qu'on peut
parmi les gros gros méchants de l'univers Marvel on a Galactus dont franchement je me fous un peu
English:
Red Hulk, nicknamed Rulk
I see what you did there.
The thing that's great about Hulk, it's when he beats up things at least as big as him.
In the first film, it's been failed, in the second, it's the Abomination, but it's untidy, and in Avengers..
...Well that was cool, so why not a movie with the Red Hulk?
Thaddeus Thunderbolt Ross' overpowered and burning alter ego.
Bruce Banner's sweetheart's dad who hates two things in life:
Bruce Banner and Hulk
With the surprising return of Ross in Civil War, it would be great to have a movie focused on the fight between the two monsters.
Not everyone will agree but I think Clayface is an underused villain,
In Arkham City, for example, he's very well used.
He brings both elements of mystery and horror,
because he can turn into anybody,
and he's monstrous under his real form!
Superhero movies allow to travel between styles,
so can't we imagine a movie one third superhero, one third noir and one third horror?
With Clayface, I think we can.
Among the Big Bads of the Marvel universe, we have Galactus (whom I don't really care about),
we have Magneto, wonderfully interpreted by Ian McKellen in cinema,
English:
and we have Doctor Doom.
They failed Doctor Doom three times.
In the last one, I won't mention his look, I thought it was pretty great. The problem is with everything else.
And in the first ones, well, Doom is supposed to be a monstrous power-hungry tyrant,
not a scientist who got his girlfriend STOLEN AWAY so he's JEALOUS.
Doctor Doom in cinema, still waiting for him.
Green Lantern! Two things: first, fuck that.
And second, you know how Marvel built its universe?
Hero 1, Hero 2, Hero 3, Hero 4, Team, Team 2, Face-off.
As for DC...
Hero 1, Face-off, Hero 2, Team, for fuck's sake, nothing is right.
That is to say the Green Lantern movie will come out after Justice League and its sequel.
Green Lantern is my 3rd fave in DC, and knowing the Justice League will be made without him makes me very sad.
But I guess a good movie too late is better than a turd too early.
[Tongue twister] It's difficult.
Some heroes are a bit atypical, like Swamp Thing.
French:
on a Magnéto superbement interprété par Ian McKellen au cinéma et puis on a Doctor Doom
ils ont raté trois fois Doctor Doom
alors dans le dernier je vais pas évoquer le look je le trouvais franchement très cool
c'est tout le reste qui chie et dans les premiers bah Doom est censé être un tyran
monstrueux assoiffé de pouvoir pas un scientifique qu'on lui a piqué sa copine qu'il est jaloux Doctor Doom au cinéma on l'attend encore
Green Lantern alors de deux choses l'une déjà ça non et ensuite vous savez comment Marvel a construit son univers ?
film héros 1, film héros 2, films héros 3, films héros 4, films équipe, film équipe 2, film affrontement
DC de son côté
film héros 1
affrontement
film héros 2, films équipe, bordel de merde ! Y a rien qui va tout ça pour dire que le film Green Lantern sortira après Justice League
et après Justice League 2 green lantern est mon troisième
personnage DC préféré et savoir que la ligue de justice se fera sans lui me rend très triste
mais il vaut sans doute mieux un bon film trop tard qu'un étron trop tôt étron trop tôt étron trop tôt étron trop tôt
étron trop tôt étron trop tôt c'est difficile
English:
They tried to make movies for it, but, well, it's a failure,
the Swamp Thing comics offer two levels of conflict:
psychological, with Alec Holland, a former scientist who became Swamp Thing's human consciousness,
and most importantly, elemental, in the endless and ruthless fight between the Sap, which Swamp Thing protects, the Blood, and the Necrosis.
For the visuals, imagine Sin City meets Cronenberg.
completely stylized, but in organic horror, it could be amazing.
and most importantly, less conventional than the current superhero movies.
Same comment, and with the same reasons, for Spawn.
Even more so since Spawn already had his crap movie, and it's time to clean up one of the coolest superheroes from Image,
the publishing house which also cradled The Darkness and The Walking Dead.
Spawn has the potential to be a huge superhero on the top with Batman and the X-men.
I really hope the 1996 movie did not ruin all hope to see a Spawn reboot someday,
With a good director, it can only be excellent.
I think the DCEU didn't see the perfect occasion to give fans the first cinema version of Bizarro.
French:
certains héros sont un peu atypiques comme Swamp Thing ils ont essayé d'en faire des films mais bon bah ben c'est raté
les comics Swamp Thing offrent des luttes à deux échelles
psychologique : entre le personnage d'Alec Holland qui est un ancien scientifique devenue la conscience humaine de Swamp Thing et surtout
élémentaire : dans le combat sans merci et éternel entre la sève dont Swamp Thing est le gardien, le sang et la nécrose et au niveau visuel
voyez sin city rencontre cronenberg hyper stylisée mais dans l'horreur organique ça pourrait être énorme et surtout
moins convenu que les films de super héros actuels
même commentaire et pour les mêmes raisons avec Spawn
sauf qu'en plus Spawn a déjà eu son film de merde et qu'il est temps de redorer le blason
de l'un des héros les plus cools d'image, la maison d'édition qui est également à l'origine de the darkness et de walking dead
Spawn a le potentiel d'être un énorme super héros tout là haut avec batman et les x-men j'espère très fort que le film de
1996 n'a pas ruiné tout espoir de voir un jour un reboot de spawn accordé aux bons réalisateurs ça ne peut qu'être excès
je pense que le DC U a laissé passer une occasion en or de donner aux fans la première version
French:
cinéma de Bizarro dans les newfies petit ou le sujet B-0 tu l'as ? Tu l'as ? Hé tu l'as ? Tu l'as ? La blague Tu l'as ? Tu l'as ?
Le sujet B-0, le sujet B-0 est créée par Lex Luthor qui veut un superman qui lui obéit il crée donc un clone de superman en y mêlant
son propre ADN humain traduisez : c'est la jeunesse de Bizarro sauf que ça a donné Doomsday
deux mauvaises décisions pour le prix d'une alors que Bizarro aurait été un boss de fin très intéressant pour la ligue de justice naissante
Batman aurait pu mettre à profit ses découvertes sur Superman en concluant que les points faibles du kryptonien sont les points forts de bizarro et
donc inversement enfin bref
Moon Knight est un héros méconnu de l'univers marvel et souvent moqué comme étant le batman de Marvel mais c'est aussi ce qu'on dit de
la panthère noire, de Daredevil et puis même d'Iron man sauf que Marc Spector l'alter ego de Moon Knight est convaincu d'être l'avatar du dieu égyptien
de la lune Konshu sur terre
autant dire que lui a vraiment viré cinglé
je reconnais que son histoire se prête plus à une série qu'au cinéma mais quand même Moon Knight est cool et il mérite son adaptation
English:
In the New 52, subect B-0 (did you get it? Hey, did you get it? The joke, did you get it?)
Subject B-0 is created by Lex Luthor, who wants a Superman under his orders,
so he creates a Superman clone, mixing it with his own human DNA.
Translate: it's Bizarro's youth, except it was given to Doomsday.
Way to hit two bad decisions with one stone.
When Bizarro would have been a fascinating end boss for the new Justice League.
Batman could have used his discoveries about Superman,
deducing that the Kryptonian's weaknesses are Bizarro's strengths, and so the opposite... Anyway.
Moon Knight is a little known Marvel hero, and often mocked as the Marvel Batman.
but that's also what they say about Black Panther, Daredevil, and even Iron Man.
Except that Mark Spector, Moon Knight's alter ego, is convinced he is the earth avatar of the Egyptian moon god, Konsu.
My point is that he really lost it.
I'll give you that his story suits a TV series better than a movie, but still: Moon Knight is cool, and he deserves to be adapted.
English:
DC really kicked Marvel in the gut by giving us the first superheroin movie we can consider seriously.
I'll remind you the second best superheroin movie is Elektra.
Alright. You know how Marvel could answer?
Miss Hulk.
Jennifer Walters is Bruce Banner's cousin, and one day she gets shot, she gets a blood transfusion from the cousin,
and she gets his powers, while conserving her personality.
When it comes to Girl Power™, she's up there.
[A FEW HONORABLE MENTIONS]
Deadpool. Sorry, but the movie we got is only considered good because it's a better Deadpool than in X-men Origins: Wolverine.
Deadpool is not a gore buffoon who keeps breaking the fourth wall [it's funny because dick]
he's got a little more depth.
Like, do you know who his love interest is?
Death.
Yes, they kind of overlooked that in the movie.
"Buuuut they can't tell everything"
It's true that between the sex jokes and the fart jokes there was little time left for more development!
So it will be Hero saves Love Interest from Villain with Funny Sidekicks.
Deadpool deserves better.
The League of Extraordinary Gentlemen.
They're sort of the Literature Avengers (or the Justice League, since it's based on a DC comic)
French:
DC a mis un sérieux taquet à Marvel en présentant le premier film de super-héroïne qu'on peut au moins qualifier de sérieux
je rappelle que le deuxième meilleur film de super héroïne est Elektra
bon vous savez comme Marvel pourrait rétorquer ?
Miss Hulk
Jennifer Walters est la cousine de Bruce banner et un jour elle se fait tirer dessus on lui transfuge le sens du cousin et elle
récupère ses pouvoirs tout en gardant le contrôle de sa personne et niveau Girl Power elle se place là.
Deadpool
Désolé ! Le film qu'on a eu n'a comme seul mérite d'avoir été une meilleure représentation de Deadpool que celle de X-Men Origins: Wolverine.
Deadpool n'est pas un bouffon gore qui brise le quatrième mur, il a un peu plus de profondeur. Genre vous savez qui c'est son amoureuse ?
La Mort. Ah bah oui ça dans le film ils l'ont zappé.
*Avec un autre ton de voix* Mais y peuvent pas tout raconter !
Ha bah oui ! Ça entre les blagues de cul et de pet, y avait plus beaucoup de temps pour développer quoi que ce soit.
Donc heu, ça sera héros sauve amoureuse de méchant avec sidekick drôle. Deadpool mérite mieux.
La Ligue des Gentlemen Extraordinaires
c'est un peu les avengers de la littérature ou la justice league puisque adapté d'un comics DC c'est criminel d'avoir raté ça
English:
It's a crime we never made it.
Sabretooth. Deadpool earned his apology movie after the massacre of X-men Origins: Wolverine,
I'm still waiting for Sabretooth's, if Marvel considers rebooting Wolverine.
And Marvel does consider it, so seriously, I hope we'll have a badass Sabretooth to face him.
Batwoman. A rich heiress is fired from the army because of her sexual orientation,
but, inspired by Batman, she decides to fight crime under the identity of Batwoman.
Redhead lesbian Batman, how is that not a thing yet?
Sinister, Juggernaut, and Apocalypse.
I haven't loved a single X-men movie.
Not one.
Even though the animated series was one of my favorites!
Why? The villains.
Magneto and Mystique did get the best treatment,
but Sinister never showed the tip of his mad scientist's nose,
and when Juggernaut and Apocalypse showed up, it was a disaster.
What makes a good hero, is a good enemy. This is the case for my favorite hero, Spiderman.
French:
Dent-de-sabre, Deadpool a eu droit à son film d' excuse après avoir été massacré dans x-men origins wolverine
j'attends encore celui de Dent-de-sabre, si Marvel songe à rebooter Wolverine
et Marvel songe à rebooter Wolverine sérieusement évidemment donc j'espère qu'on aura un Dent-de-sabre qui pèse en face
Batwoman une riche héritière est rejetée de l'armée à cause de son orientation sexuelle
mais inspirée par Batman, elle décide de combattre le crime en adoptant l'identité de Batwoman
Batman rousse lesbienne comment c'est pas encore adapté
Sinister, le Fléau et Apocalypse je n'ai adoré aucun film x-men
aucun alors que je me rappelle que la série animée était une de mes séries préférées
pourquoi ? les méchants
alors autant Magnéto et Mystique ont eu droit au traitement de luxe
autant Sinister n'a jamais pointé le bout de son nez de savant fou et quand le Fléau et Apocalypse sont apparus c'était
catastrophique
ce qui fait un bon héros ce sont les bons ennemis c'est vrai en tout cas pour mon héros préféré spider-man
English:
Venom and Carnage are missing, but we've had a Green Goblin, a good Octopus, a good Lizard, an Electro... let's say decent.
and in the whole gallery of assholes, one of them is yelling "ADAPT ME IN A MOVIIIIIIIIIIIIIE"
That's Mysterio.
Mysterio's thing is magic.
Not Harry Potter magic, prestidigitation.
Elaborate machines, chemicals, hypnotism, it opens on basically every cinema genre.
Imagine Spiderman in a universe with ideas of Doctor Strange, Inception,
Mysterio kicking down the fourth wall by manipulating Spidey to make him believe he's in a movie,
making him hallucinate episodes of his two previous personas,
we can even imagine animated parts, in the hallucinations caused by Mysterio!
Kind of like those provoked by the Scarecrow in Batman: Arkham Asylum.
That's the only reason the Scarecrow isn't in this list, by the way, or else he'd share the first place with Mysterio.
There! That was my list of twenty characters who have yet to star in a good adaptation.
Who are the characters you still want to see? Tell me in the comments, and don't hesitate to like, share and subscribe - we'll meet again in a new video,
and I close the parenthesis.
French:
Venom et Carnage manquent mais on a eu un Bouffon vert, un bon Octopus, un bon lézard, un Electro...
disons bien, et alors de toute la galerie de connards qui reste il y en a un qui hurle adapte-moi au cinéma
C'est Mystério, le truc de Mystério c'est la magie, pas la magie harry potter hein, la magie prestidigitation,
machinerie élaboré, produits chimiques, hypnose ça ouvre la porte à pratiquement tous les genres de cinéma
imaginez Spiderman dans un univers visuel reprenant du Docteur Strange, du Inception :
Mystério défonçant le quatrième mur en manipulant spider pour qu'il croit qu'il est en réalité dans un film,
lui faire halluciner des épisodes de ses deux précédentes itérations
on peut même imaginer une partie en animation dans les hallucinations provoqués par Mystério, un peu dans l'esprit des hallucinations provoqué par l'épouvantail
dans batman arkham asylum
seule raison qui fait que l'épouvantail n'est pas dans cette liste d'ailleurs sinon il partagerait sa première place avec Mystério et voilà ma liste de
20 personnages de comics dont j'attends encore une bonne adaptation
Quels sont les personnages dont vous attendez encore une bonne adaptation rapportez-moi ça dans les commentaires sinon n'hésitez pas à liker, partager
et vous abonner on se revoit très vite pour une prochaine vidéo je referme la parenthèse
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LOGAN URY: So before
we start I just
wanted to thank you all very
much for coming in person.
I thought a lot about
this event and the fact
that "The Ethical
Slut" is a title
that some people may
not be familiar with
or comfortable with.
And we are in a
corporate environment,
so I think it's so cool
you all came in person.
And I'm just so happy
to see your faces
and to have you here.
And we're really lucky to
have Dossie Easton with us,
so this is our third event in
this series on modern romance.
And for those of
you who haven't met,
my name is Logan Ury I
help lead a team here
called the "Irrational Lab" and
we're a behavioral economics
unit.
And it's my pleasure to host
this modern romance series.
So a little bit
more about Dossie,
she is a psychotherapist,
relationship counselor,
educator, and author.
Along with Janet Hardy, she
has co-authored several books,
including "The
Ethical Slut," a guide
to infinite sexual
possibilities.
"Radical Ecstasy," SM
journeys to transcendence.
"When Someone You Love is
Kinky," "The New Topping Book,"
and "The New Bottoming Book."
And I'd like to give her an
award for best book titles.
And since 1969, she
has lived and worked
in sexual minority
cultures, she is
dedicated to feminist,
polyamorous, BDSM, spiritual,
gender diverse, and LGBTQ
individuals and communities.
She also offers authentic,
respectful, and compassionate
psychotherapy and
relationship counseling
to people exploring
nontraditional lifestyles.
Dossie, thank you so
much for joining us.
DOSSIE EASTON: Thank
you for inviting me,
I'm really glad to be here.
LOGAN URY: Great to have you.
So I'll ask some
questions, and then we'll
save about 20 or 25 minutes
at the end for questions
from the audience.
So first, let's start
at the beginning.
What is polyamory, and
what is an ethical slut?
Why is that the name of
your most famous book?
DOSSIE EASTON: OK, we could get
really argumentative about what
is polyamory.
To my mind, it has
become the umbrella word.
And people ask me
questions like,
what's the difference between
polyamory and non-monogamy?
And I say I don't know.
Because inside
that umbrella there
should be the freedom
for everyone--
and that means each
and every one of you--
to decide how they want
their relationship to be,
and how they want it to be at
any given time in their life,
because those things
also change over time.
So it's that freedom to
decide that I think polyamory
is about for me.
It was originally coined by
Morning Glory Ravenheart-Zell--
great name-- to refer to
her lifelong lifestyle
of culturing and developing
and nurturing group marriages.
And so it meant something
a little bit smaller,
but what it opened the door, I
think, for a lot of people to
is to say, our
relationships, whatever
commitments we make in terms
of home finances or mortgages
or children or whatever,
whatever level of that
kind of life partnership we
enjoy with any given partner,
but all of our relationships
are indeed partnerships,
and all of them are not only
about sex but also about love,
and about connection, and
about emotional connection,
and I really do believe that.
At the time, because the
definition was kind of
in question-- and we're
very proud, actually,
that the OED actually
called Morning Glory
and asked her for a
definition of polyamory.
So we're very proud of that.
The only person I ever knew
that was called up by the OED
to investigate a word she
invented, a good word.
This started out
as kind of a joke,
we had written "The Bottoming
Book" and "The Topping Book,"
and we were at a MENSA
conference in Sylmar,
and we had been talking
about negotiation in BDSM.
And Janet and I had done
some flirting on the stage.
And our partners were
there, which everybody knew
because we had introduced them.
And we came into the
room, and instead
of talking about all of
the interesting stuff
that we had talked about,
this woman was saying,
did you see her?
She was flirting
with that woman,
and her husband was
sitting right there.
That was all she could see.
It was all she could see.
And I mean, I've been
consciously non-monogamous
since 1969.
It's like a vow I took
as part of my feminism.
I'm serious.
I'm serious.
I didn't want to spend my
life looking for a spouse
to complete me.
That wasn't what I was doing.
And so this became
kind of a joke.
We were writing it.
People would say, what
are you writing now?
We'd say, "The Ethical Slut."
And they all knew
what that meant,
because they were all sluts.
And then when it came time to
make a name for the book, when
we finished the book
and it needed a title,
and we explored "Polyamory
for the New Millennium,"
and all that kind of stuff.
And it just didn't ring.
So it became "The Ethical Slut,"
it remains "The Ethical Slut,"
and I'm very proud of it
because I have a lifelong career
of laundering dirty words.
LOGAN URY: So what does it
mean to be an ethical slut?
DOSSIE EASTON: It means to have
a celebratory and adventurous
approach to sexuality, to
own your own sexuality,
to share it, as Janet wrote.
I love this.
"A slut shares her sexuality as
a philanthropist shares money."
That we go out there,
men and women alike,
and we proudly grasp our
sexuality and adventure in it.
And at the same time, we
do that with due respect
to all the people
who are affected by,
that we connect with,
and their people,
and anybody else who's
affected by what we do.
So we have a high
set of ethics, which
is how we manage to
make this sustainable.
Does that makes sense?
Because the culture had it
that if you went out to a club
and you picked somebody
up and you went home
and you fucked, and
then the next morning,
if you weren't
going to marry them,
you could never
speak to them again.
And it was all
like, then that was
all what I call sport fucking,
that was supposed to be really
distant and armored.
And that wasn't
what I meant at all.
I meant people
actually connecting
with each other,
which means that we
have to keep ethics in mind.
LOGAN URY: So as I
was doing my research,
I read about a lot
of misconceptions
around polyamory,
especially the difference
between polyamory and
polygamy, and between polyamory
and cheating.
Can you talk a bit about some of
those common misunderstandings?
DOSSIE EASTON: Yeah.
Polygamy, by the way,
is a strange word,
because usually
they mean polygyny--
which is like misogyny-- which
means one man, many women.
But this has been the culture.
I had a reporter
from "Salon" call me
up to ask me about three-ways.
And it turned out
that it had never
occurred to him that a three-way
could happen in any way
except for one
man and two women.
LOGAN URY: I'm sure you gave
him an education on that.
DOSSIE EASTON: He
was quite shocked.
He was horrified.
[LAUGHTER]
LOGAN URY: That's great.
DOSSIE EASTON: So
that is one aspect.
And the other aspect that
differentiates us from cheating
is that we are transparent.
And we make a big-- be
very careful about consent.
In this, I kind of agree
with work Morning Glory.
Ideally, our partners,
or at least any
of them we go on to
date longitudinally,
meet our other partners,
because, frankly,
if I get a new lover and
they come home with me
and they can't be
respectful toward my partner
that I live with-- or my
baby, because my baby was
three months old when I
decided this in '69-- then
that's not going to be real
sustainable in the long run.
So my thoughts are that
it works a lot better,
and everyone's happier, and
feels more secure and more
together if everybody
knows everybody,
and everybody's
there, and we all
get it that we're
all on the same side.
Nobody's competing
with anybody, ideally.
LOGAN URY: So, I read an
interview with you online
where you said, "I spent a
great deal of my life feeling
like this completely
isolated weirdo nut."
How did you find your
people, and how did you
come to do the work that you do?
DOSSIE EASTON: Well,
I was very lucky
that I made this
decision in San Francisco
two years after the Summer
of Love, which did help.
[LAUGHTER]
LOGAN URY: Right
place, right time.
DOSSIE EASTON: And
living communally
as a single mom,
that worked too,
because there were
a lot of post-Summer
of Love single moms.
[LAUGHTER]
But to pick up children
was our statement
about saying that
our culture was not
something we were going to
outgrow but something that we
were going to bring on
into the future, which
makes me very exciting about.
How many of you
go to Burning Man?
Yeah right, OK.
You think that has
some resemblance
to the Summer of Love?
I think it does.
So that part, I had
friends and stuff.
But what really got me
going, a lover of mine
named Maggi Rubenstein
was one of three women who
founded an institution--
that still exists--
called San Francisco
Sex Information.
And Maggi said, oh, you've
got to come volunteer.
So I came and volunteered.
I thought I knew everything,
so the volunteer training
was a revelation to me.
I learned so much.
It was just wonderful.
And I got to join a community
of people who talk about sex
all the time, especially around
a sex information switchboard,
where you can call up and
ask a question if something's
on your mind.
And somebody who is
trained as a peer counselor
will talk with you and
help you out with that.
And so talking about sex at a
time when there was very, very
limited language, OK?
SFSI is actually one
of the major agencies
in developing sex positive
language, because we were
talking to people on the phone.
You couldn't wave
your arms around.
So that gave me a core
of like 1,500 people who
wanted to radically
explore sexuality
and to take all the
oddities that we had
heard from the culture
and question them
and put them up for question
and see what it took to-- I
think of it as
outgrow, but maybe it's
grow beyond what we were taught
as children we were supposed
to be and do around sex.
Does that answer--
LOGAN URY: Yeah, it does.
And it also leads right
into my next question,
which is that one of my
favorite parts of the book
is when you talk about all
these common romantic myths.
And it made me realize all
these socialized beliefs
that I had around,
oh, you should
look for one long-term
partner, and all these things.
Can you talk a little bit
more about relationship myths
and how people can
recognize and confront them?
DOSSIE EASTON: Well, we
started out in a culture--
depending on where you
grew up in this country,
because we now have second
and even third generation
sluts growing up.
I love it.
But we started out
in a culture that
said that there was one gold
standard of relationships.
And that was somebody that
you got together with,
and you stayed
together with, and you
celebrated your 50th
anniversary, and so on.
And that's all fine and good,
but that's not the culture
that we actually live in.
That's a very agrarian model of
what a relationship should be,
and it is not the
only successful way
to connect and relate
to other people.
There are tons and tons of ways.
Most of us here in
this room can expect
to move through
several relationships,
major relationships,
in a lifetime.
And if we are indeed
open to it, that's
a whole lot of
other relationships
that are valuable
for whatever they're
valuable for, because
we're not actually
trying to cement a
relationship to work
the farm so the
children don't starve.
I mean, that's where
those values come from,
this idea that we have
an invested survival
interest in stable families.
And you live in a world
where you don't think a lot
about changing jobs and so on.
People I've worked
with who work here
think about not working
here, even though it's
a very wonderful place to work.
They think about what they want
to do, and where they'll fit.
And so the same is true of your
relationships, and the people
that you love and who love you.
They can be fabulous
profound relationships,
in a lot of different forms.
I loved it when
people started talking
about friends with benefits.
That doesn't sound cold with me.
Because through SFSI,
I wound up sharing sex
with a lot of my
friends, because we
would go to parties, whatever.
We were just there
and available.
And so friends, and
the concept that I
got from the gay men of fuck
buddies, because, to me,
that's like a partner
in exploration.
We're going to
climb this mountain.
We're going to delve
into this forest.
We're going to take care of each
other while we go spelunking.
[LAUGHTER]
As it were.
To me, that is another aspect
of the many different ways
our relationships can
become very profound,
in not necessarily
being romantic,
not necessarily
being one and only,
not necessarily even being
what we call falling in love.
Interesting that we call it
falling, sort of stumble,
I think, but also because we
can love a lot more people.
And why should we not include
sex in those connections?
LOGAN URY: Can you talk a
little bit more about that?
I thought that was one of
the most interesting parts
of the book, that there isn't
a starvation economy for love,
that you can love
more than one person,
and that doesn't mean you
love any one person less.
DOSSIE EASTON: Yeah.
We are not taught
that there's supposed
to be sexual abundance.
We're taught that
men are supposed
to seek for sexual
abundance, and women
are supposed to be
the brakes and go,
oh no, oh no, I don't want to,
not until that ring, and so on.
I mean, it's a really dumb
system, if you think about it.
But a lot of what we
have in our culture
prevents us from thinking
outside that system.
And I think it's
a trap, frankly,
that they don't want us to think
outside of that system anymore
than they wanted
slaves in slavery era,
where it was illegal to
teach a slave how to read.
It's a form of
oppression, I believe.
We trap people by
belief systems.
This doesn't mean that
you shouldn't fall in love
and celebrate a
50th anniversary.
That's just fine and dandy.
If your life goes that
way, that's just great.
There's nothing wrong with that.
But if your life is
different from that,
there should be
room for that, too.
Does that answer the question?
LOGAN URY: Yeah, it does.
I'm really curious
to know, do you
think monogamy is
realistic for most people?
DOSSIE EASTON: If you really
want to investigate this,
read a book by my friends
Judith Lipton and David Barash
called "The Myth of Monogamy."
They are evolutionary
researchers,
and they did things
like do DNA testing
on all the chicks in a
bird nest to find out
that it's a wise bird who
knows their own father.
They found nests, for
instance-- and this reminded me
of something.
They found nests where the
male bird in the nest-- and you
have to have two birds if you
have a nest full of hatchlings
in bird land.
You can't feed them
unless you have two birds.
One bird can't do it.
It's too much work.
They will starve.
So there has to be two birds.
But sometimes they would
find that the male bird
in the partnership, or the
other bird in the partnership--
because there are
Amazon birds-- that they
weren't related to any of
the chicks biologically.
And yeah, you laugh.
And they actually
use the word cuckold,
but I thought that
was really stupid.
My closest life partner,
my longest life partnership
who raised my daughter with me
for eight years, was a gay man.
And we were great at homemaking.
I think during that
period of time,
we had sex three times,
always involving other people,
because our relationship
wasn't primarily sexual.
It was primarily a
relationship between people
who are making home, and we were
very active as sex educators,
so we held all the meetings in
our living room, and you know,
it was wonderful.
LOGAN URY: So is
your answer to that
question is that the book is
called "The Myth of Monogamy"?
DOSSIE EASTON: Yeah, I'm sorry.
I didn't say that part?
LOGAN URY: No, you did,
but that answers it.
DOSSIE EASTON: Yeah,
"The Myth of Monogamy."
That's what they
call it, and that's
because they didn't
find a lot of monogamy.
LOGAN URY: So this is a
question that somebody
submitted to me before hand.
She said, "I'm
interested to hear
what you think the role
of gender and sexuality
is in poly relationships.
My experience has
always been that there
tends to be more fluid
sexuality in poly couples,
and I would love to know
what you think about that."
DOSSIE EASTON: Well, I think
I would go back a step,
if that makes sense.
Because I think people
who are attracted to poly
have already looked
at their gender roles.
I really do think that's
true, and maybe it's
particularly true of women,
because the world was supposed
to operate on the
fact that women
weren't really interested in
sex and only did it for England.
[LAUGHTER]
But that's not true either.
But the truth is that poly
doesn't work very well
with people who have not checked
out what they were taught
men women were supposed to be.
And that doesn't
matter if you're
a man or woman, or
trans, or non-binary,
or any other category of gender.
But of course, people
who are not binary,
or people who trans, have
already asked those questions.
Many people grew up in
parts of the United States
where nobody questions
that men do this.
I worked with a person who was
raised as a Jehovah's Witness,
and she had left that and
built a wonderful life,
but she wondered questions
so far behind in her career.
And I said, well,
did they educate you
for working outside the home?
Oh no, no, you
weren't supposed to.
Women weren't
supposed to do that.
Did they send you to college?
No, they didn't send
women to college.
So this still exists
in the United States,
often with the
interesting threat,
maybe, that this is
the way God wants it.
It's tremendously limited.
So it works better if people
have thought through what
it means to be a man, what
it means to be a woman,
and how they want
to be in that area,
and what work they need to
do to claim that territory.
If you were raised
to believe that
you were always in some
kind of competition or race,
for instance, whether
a man in his career
or a woman with other
women for desirable men.
Looking at the world as if it's
not a race can be a revelation.
And then how do you have
to change yourself in order
to not constantly be
wondering if you are ahead
of or behind the person
you're talking to.
Hierarchies kind of get
thrown out the window in here.
LOGAN URY: Well, that's
a good transition
to my next question, which is
around when we first talked.
You said you have
a lot of clients
who either work at Google or
work in the tech industry,
and I'd love to hear more
about that, and maybe
the relationship between tech
and open relationships or tech
and polyamory and what you
think the connection is.
DOSSIE EASTON:
Well, first of all,
you are all very
intelligent people,
or you wouldn't be here.
And that's the first
thing on the list,
that you think about things,
and you wonder about things,
and you question things.
And this is good stuff.
You are people
who would be bored
to tears working on an assembly
line or something like that,
in the factory.
Even if they payed you
more than they did here,
you would still
be bored to tears
and not tolerate it very well.
So this is an interesting
population of people.
I find it interesting
because, when I was young,
there was no built-in
employment for smart kids.
There wasn't any place
you went that you
could avoid being bored.
The corporate ladder
was kind of it,
unless you went to medical
school or something like that.
And so this idea
that there's now
a playground for bright
kids makes me very happy.
And my understanding
is that Google
is very actively pursuing
diversity in the population
here.
I know there's a lot of
activity and women in tech,
and that there's outreach
to high school and even
younger middle school
students to see
the kids from all over the
place get access, whether it's
by gender or by social
strata, or whatever,
get access to computers
and can learn about them.
So you live in a
very privileged world
here, and at the same time,
It's a very high pressure world.
You work really, really hard.
And some of you
are in the position
that a friend of mine
who's a medical doctor
told me he was told
in medical school.
When he went to
medical school, they
told them-- this was
when very few women went
to medical school-- get married
right away because you're not
going to have time to socialize.
Well, particularly
those of you who've
worked in the game industry,
you could easily be in a job
where you don't have
time to socialize.
Polyamory requires
an investment.
And you're investing,
and I don't
like to see people look
at marriage as sort
of a convenience.
My socks get washed, make
sure it's getting picked up
at the dry cleaner, so
I work and I come home
and expect to be taken care of.
And who are those
people at home that
are doing the taking care
of, and how do they count.
Anyway, so that
is something that
is I think another question.
A lot of you also as bright
kids in school were as I was.
Kind of social outcasts.
They did a research
project in a gifted program
in fourth and fifth
graders in California
when the gifted program
still existed in our schools.
And they had a bunch
of grad students
looking at kids in recess
and checking out the high IQ
kids that have been
identified, and seeing
how much time in recess they
spent as leaders, followers,
or outcasts.
Believe it or not,
these researchers
were surprised to discover
that the bright kids were
almost never the
leaders in grade school.
You all know that.
And so one of the
things that happens
when you have an assembly
of very bright people,
is that a lot of us were
not able to figure out
how to socialize in middle
school and high school.
And we found a home
for you, I didn't
because this didn't exist when
I was young, so many of you
now found a home in front
of a computer screen.
Where you could be respected,
where people could know you
by your handle or whatever
name you were using,
and you could win respect
being outrageous, blogging,
or doing something very
clever with computer games
or something like that.
And so a lot of people, a
lot of very bright people
get bullied in schools
and get kind of obstacles
to learning how they
want to socialize,
and figuring out how
we want to socialize.
So sometimes it's hard.
A lot of us are kind
of shy and awkward.
LOGAN URY: So I heard Dan
Savage speak last week,
and he said the most
common question he gets
is, am I normal?
DOSSIE EASTON: My
question is, do you
want to be normal, really?
Normal, it may
interest you to know,
is 1.75 minutes of fucking.
That's normal, OK?
Do you want to be normal?
I don't think so.
You're way too smart for that.
I throw that up.
It's important when
looking at research
because statistical research
has taken normal as right.
Now, normal is an IQ of 100,
and actually that's-- in terms
of here-- that would be way low.
Normal doesn't
actually include people
who are explorers,
who are looking out
of the box, who are creative
thinkers, who do something
well.
You're not normal if you
do anything well, you see.
You all, in intelligence, are
a couple standard deviations
above normal, three
or four, maybe.
So normal is kind of deceptive.
And when you think of normal in
sexuality and sexual behavior,
it's taken in a
culture with a history
of tremendous sexual oppression.
Using that word normal,
say, oh no, it's not normal.
When I started as
a sex educator,
it was considered
pathological to masturbate.
We have changed the
world on that one.
And that's crazy.
LOGAN URY: That's true.
It's interesting to
see what's normal now,
what was normal, what will
be normal in the future.
DOSSIE EASTON: Well,
people still jack off.
They were ashamed of
themselves for doing it,
which is really bad.
LOGAN URY: So I'd
love to hear you talk
a little bit about jealousy.
I think that's something that
people often wonder about.
How do people manage jealousy,
and what are the expectations
around jealousy?
Does it not exist in a
polyamorous relationship?
Or do people just
handle it differently?
DOSSIE EASTON: People handle
it differently, of course.
After all these years,
I still get jealous.
And I have been consciously
poly for more than 50 years now.
Jealousy is not one thing.
If we were to ask around this
room, we would find out--
I don't have my whiteboard here.
This was the white
board question.
We would find out that for
one person here, when they
get jealous, they get angry.
Another person gets insecure.
Another person feels
very territorial.
Another person
fears abandonment.
Another person
goes, oh my god, I
should have lost
those 20 pounds.
And they're very, very
different experiences.
Jealousy is interesting in that
it's not really an emotion,
it's a word we use
for a stimulus that
may cause strong emotions
and may frighten us.
We've been taught
that we are supposed
to take our security from
our life partnerships,
from our marriages,
from our relationships.
And that security is
supposed to include--
this is one of the biggest
myths of all-- the idea
that our partner
is not attracted
to anybody else but us, which
is really probably not true.
[LAUGHTER]
Matter of fact, if
you look at this,
people think people who watch
porn-- I always was very amused
by these things
about the statistics
of these terrible
people who watch porn,
and they all turn into serial
killers-- you start by saying
this is a multi-billion
dollar industry of criminals,
and we must stop.
Well, who do you
think is providing
those multi-billion dollars
if it isn't all of us?
So there's a lot
of what is normal.
You were asking about normal.
I'm sorry I got off track.
What I look at with
jealousy is, we
start with the sort of
axiom in this society
that jealousy is an
intolerable emotion.
I recall one of my clients
coming into the office
one day to say she had
talked to her girlfriend
about her boyfriend's
behavior, and her boyfriend
was indeed being a jerk.
And her girlfriend said,
well, he just gave you
a license to go ballistic.
Ballistic?
I thought about that.
Do you actually own a gun?
And she didn't,
so we could relax.
But you think about
that, hey, Joe,
where you going with
that gun in your hand?
I'd rather see you
dead, little girl,
than see you with another man.
And there's equivalent
stuff for women
as well, that the
world comes to an end
if you find that your
partner has had sex
or wants to have sex
with somebody else.
And so we've taught ourselves
that jealousy is its own kind
of emotional tyrant.
Because the belief
system is that jealousy
is intolerable, that
it is inevitable,
and that it is unchangeable.
Interestingly
enough, brain science
has given us-- all those
wonderful functional MRI
research-- a different story.
And the story is that when
people get jealous, often
we are triggered.
An emotional
triggering is something
that, if you get upset
really fast about something,
you feel very overwhelmed.
You start flooding, and it
feels like a big emergency.
I gotta run away, or I got to
freeze, or I have to fight,
or something like that.
That's what triggering is.
It's actually a
physiological function
of organs called the
amygdalas in our brains
that are there to teach us
to run away from tigers.
LOGAN URY: The amygdala hijacks.
DOSSIE EASTON: Yep, hijacks
the whole nervous system.
So when that happens, we're
all flooding with adrenaline
and norepinephrine, and
all the sugar in your cells
goes into your bloodstream
so you can run better.
You become able to ignore
your insulin, which
is why some people in stressful
childhoods, it's now identified
as a cause of diabetes, because
it messes up the sugar system
so badly.
That stuff is what
seems intolerable,
but the interesting truth
is that if you accept
that your system's
been hijacked,
and you're now no
longer able to,
you can't do conflict resolution
in this state of mind.
Forget it.
All we want is for
that other person
to be wrong and you
to be proved right.
It's a very blinding
kind of state.
But if you manage to
take care of yourself
without re stimulating whatever
it was that set you off,
whatever that trigger was,
for as little as 15 minutes,
your physiology will
return to its normal state.
And if you're having a
fight with your partner,
standard couples
therapy says that what
you do separate for 15
minutes, to take a timeout,
do whatever it takes
to occupy yourself
in a positive and
supportive way.
Go hug a tree, whatever.
Why is that a bad thing to do?
Tree huggers.
It's weird.
And then if you come back
and look at what's happening
and you will see
it more clearly.
And this will get
you through a lot
of problems in partnerships.
Really, just stop, go occupy
your mind in some positive way.
I am a meditator, but I
don't find meditation-- maybe
I'm not good enough at it, but
I don't find it an easy thing
to do in moments like that,
because I need something that
occupies my verbal thought train
while I'm starting up going,
you just want me in the
corner crying, don't you?
That kind of thinking
is hard to ignore.
Crossword puzzles help.
But what happens when
you calm yourself down,
every time you do that,
every time you self sooth,
integrating fibers grow
into the amygdala that
deliver gabapentin, which
is endogenous valium.
And you get to keep the fibers.
So every time you succeed
in soothing yourself
when you're triggered, you
gain in physiological resources
for calming yourself down.
This makes sense.
So the goal with jealousy
is not that it goes away,
but that it is
changed from a typhoon
to kind of a gentle
summer shower.
You go, oh well,
I'm feeling jeaous.
How shall I take care of myself?
Matter of fact, it's even
affirming just to say,
every time I feel jealous,
I go be nice to myself.
I mean, it's interesting.
It's not necessarily
logical, but it works.
LOGAN URY: That's
really helpful.
I'm going to go take
a timeout next time.
Yeah.
So I wanted to share
a story with you.
My friend told me
this story few years
ago, that she's in
an open relationship,
and her therapist is
really supportive.
But then one, day
she brought out
the idea of having a
child with her primary,
and the therapist
sort of freaked out.
And you've talked a bit
about having a child.
I'd like to hear your
thoughts on childbearing
in nontraditional environments.
DOSSIE EASTON: I was very lucky
that this came to me right
after I had my daughter,
who is now in her '40s,
and we are very close,
and that's a good thing.
And it all worked.
But she was only
three months old then.
And I wound up connecting
with a lot of other parents,
a lot of extended families
of sluts that were often,
let's say, society for creating
an anachronism, Renaissance
Faire, science fiction,
computer people?
Is that familiar by any means?
[LAUGHTER]
Oh, I forgot pagan.
We all had kids.
And what that meant was that we
were doing our initial lessons
in having polyamorous extended
family in a way in which we
could not compartmentalize
our relationships.
Everybody knew
everybody, our children
played with everybody
else's children.
We could go to sex
parties because somebody
would stay home with and throw
a pajama party for the kids.
These were our children's
brothers and sisters,
which took care of the
problem that many of us
were having in a one or two
child family, because that's
what middle class
modern people do.
And so our kids didn't
have as many siblings
as they might have had.
So if I was dating somebody
and then we came to a bad thing
and we didn't want to do that
anymore, we wanted to change,
we couldn't go hunt.
Because we'd have to rip our
children out of their family to
do it.
So much like the serial
monogamy of people who get
divorced and remarried.
When you have children,
there's a lot of reason
to say, well, we
should all decide
that we're on the same
side, because we're
raising this child.
And we need to figure out
what our best behavior is,
and what kind of role model we
want to present for children.
And that gave us
a lot of impetus
and a lot of desire to not
act like idiots and go,
I'll never speak
to you again, you
know, because I was going to
have to speak to that person
again, or lose my
entire support system.
And so we learned to
speak to each other,
even after troubled breakups
and painful misconnections.
I thought that was a very good
thing, our kids just benefit.
Kids are designed to grow up
in little villages of maybe 40
people, in tribes.
Babies are like puppies.
If you've ever had a
friend who had a puppy
and you played with the puppy
and came back six months later,
it seemed like the
puppy recognized you?
Babies are like that.
They can register about
40 people, possibly more.
I don't know, that
was about what we had.
And they love each other.
They're just happy.
They recognize people.
They know what it is.
And this means the child has
a lot of adult resources,
and the parents have
a lot of resources,
because that minimizes the
time we spend losing sleep
with screaming babies and
feeling like we're exhausted
or taken beyond our resources.
Children are very challenging.
It's very hard raising
young children.
It's a lot of work,
and if you have
plenty of adults around
to share the burden,
it becomes more of a
joy and a lot easier.
LOGAN URY: If you're
comfortable speaking about it,
I'd love to hear how
your daughter reflects
on her childhood.
DOSSIE EASTON: You will all
understand this, my daughter
Bea, my daughter
with me, we have
an agreement that I do not
speak in any specific way
about her life.
[LAUGHTER]
LOGAN URY: I figured
that might be the case.
DOSSIE EASTON: You might
figure out if I were your mom,
you might want it that way too.
[LAUGHTER]
LOGAN URY: Makes sense, yeah.
So what's your relationship
between polyamory and feminism?
DOSSIE EASTON: Well,
when I started out,
that was the beginning
of my feminism.
I was determined to, I
decided in that day--
and I was coming out of a
very scary relationship that
had really everything to do with
sexism and then nothing to do
with it.
Because my partner,
my daughter's father,
had his first psychotic
episode after we
decided to have a
child, and became
a paranoid schizophrenic,
which happens sometimes.
Some forms of mental
illness occur in adulthood.
We were both 25.
And he became dangerous
and violent and scary,
so I was quite traumatized
when I got there.
But I was also very angry.
I was really aware that he was
taking out his frustrations
by hitting me, and
threatening to kill me
and chasing me around, the lies,
all kinds of horrible stuff.
I had to leave.
I mean, it's like I can't
raise a child in this.
This isn't possible.
And so it was a big
lesson, because what
is it in the culture that says
that if you're feeling small,
one way to go about feeling
big and feeling more powerful,
if you're feeling
powerless, is to take
someone smaller
than you and make
them feel even smaller yet.
This is one of the basic
difficulties of sexism,
and of how we look at sexuality.
Prison sex is like this.
The person who penetrates
is believed to gain power.
The person who is
penetrated is believed
to lose power, become
lower in the hierarchy.
Janet said this, quoted
me on this to somebody
who answered, oh yeah,
but that's true, isn't it?
And she said, oh
you mean sort of
like plugging in an electrical
cord to the circuit.
I like that metaphor.
Where is the power?
Where is the power?
So it was a big part
of my feminism, both
to grasp my sexuality the
way I wanted to grasp it,
and I decided not to be
a partner for five years
so that I could find out who
I was when I wasn't trying
to be somebody's wife.
That was really important to me.
I vowed to take my relationships
with women seriously,
and wound up in
relationships with women,
and even identifying as a dyke.
And all of that was part of
me finding out who I was,
and starting to value the parts
of me that I had been taught
were not valuable because
they were unwomanly,
like, for instance,
being intelligent.
We'll get back to that one.
So it was a great voyage
of exploration for me,
I consider myself a
reformed clinging vine.
But what's interesting
in polyamory,
when you're looking at
what kind of a grownup
you're going to be, whatever
you were told you should be,
is that every
relationship you have
to decide what you want the
boundaries of that relationship
to be.
You have create it.
You have to be aware of what
it's limits are going to be.
And this is very strengthening
because the power belongs
to each of us to make
those decisions about how
we want to regard any given
relationship in our lives,
instead of trying to be
somebody else's version of what
a relationship is
supposed to look like.
LOGAN URY: Thank you for
sharing that with us.
So the first edition of "The
Ethical Slut" came out in 1999,
is that right?
DOSSIE EASTON: 1997,
actually, but yes.
LOGAN URY: 1997, and
then the second version
came out in 2009, I'd love
to hear what changes you
made over that period of time.
And then what changes
you might hope or expect
to see 10 years from now.
DOSSIE EASTON: First, I want to
give a total vote of confidence
and thanks, thanks to
Janet, my co-author,
thanks to my lovers
and my lover's lovers,
and all those people.
But also particularly
thanks for my clients,
because the difference
between those two books
was, however many years it
was, 12 years or something,
me seeing people
in my office who
maybe came from
parts of the culture
that I would not
normally have met them.
Maybe they were more
conservative than me.
That's pretty easy.
So I got to learn
a lot, and a lot
of that learning--
what happened was,
because of the first edition
was popular and got around
to a lot of places, I learned
how a lot of different people
do poly.
And that was something
that is reflected in here.
There's a lot more
diversity in here, I think.
The other case was that I
had been doing a lot of work
so I had exercises
that I did as homework.
And we included those
exercises in here.
So there's an aspect
of the second edition
that you use like a
workbook, and try things
and find out, that might guide
your exploration into who
you want to be as a slut.
And how you want your life to
be, and what kind of agreements
you might want to make with
your various partners and so on.
So that's new.
We have some stuff, but not an
awful lot about internet sex.
Because neither
of us are-- well,
maybe I don't notice it
because she wrote it,
because I don't do it.
Somebody else needs
to write that book.
We are not millennials.
We didn't grow up
with computers.
So that's not so much in
there, but there is also
just some expansion.
There's new chapters.
There's a chapter on
being a single slut.
And a nice long discussion of
the rights and responsibilities
that become sort of like saying,
well, if I'm a single slut,
and I'm an outsider to
somebody's marriage,
but I'm a member that family by
virtue of fucking someone who's
in it, then what are my rights?
What are my responsibilities?
And the rights
part is important,
because if you look
at these people who
say they're going to cure your
marriage of having affairs,
the first thing they talk about
is who they're going to dump.
And they think
that other person,
they treat them like
they're not human.
That other person doesn't count.
Get rid of them.
They're a home wrecker,
or some such thing.
They don't count.
And in fact, everybody
counts in poly.
So if I don't honor my
lovers' other relationships,
I'm failing as a poly person.
If they don't honor my
presence there, than they
are feeling me.
And so that part I think
is really important,
and it's in here.
And the other thing
that's in here
is a chapter called opening
a poly relationship.
And curiously enough
that one wound up
having a big
section on cheating.
The reason being, that a lot
of people came into my office
where in fact wanting to
open a relationship that
in fact was already open only
one partner didn't know that.
[LAUGHTER]
Sometimes both partners
didn't know that.
So I began to realize
that a lot of people
come to thinking about poly
and thinking maybe this
is an answer for me because
they have been cheating.
And I started looking at
that kind of differently.
I also see a lot of sex
workers, and I haven't ever
seen this thing, but one
of my sex worker friends
who is a sex worker activist,
was writing her master's degree
or master's thesis
on family structures,
including the sex workers
as members of the family.
Not maybe known to most of
the members of the family,
but they're there and
they're part of the ecology
of the whole system.
They're providing an
important sustenance of sorts.
And so I also got a lot
sex workers' clients.
And in fact if you're
cheating, seeing a sex worker
is a more honorable
way to cheat,
because to be honorable
and cheat your partner's
never supposed to know.
That's the honorable
way of cheating.
I know that sounds crazy
but there's an ethics to it.
For people who felt that
their partners would never
allow them, for
instance, to explore SM,
or to explore gender,
or to explore whatever
it is, who had husbands and
wives and children and houses
and families that they valued.
And they didn't want to have to
leave their families in order
to explore more completely
who they are by trying
on these various roles.
Sex work becomes a way with
good boundaries that is about as
honorable so you can get.
Because the other thing in
poly is that we do take it
that desire is important.
That when I have
a desire, when I
have a fantasy
that calls to me, I
can benefit from
listening to that call.
If I'm free, if I've set up my
life so I'm free, that I can go
and just answer that call.
Because one of
things poly gives you
is that you can have
relationships with people
that you would not dream of
sharing your checkbook with.
[LAUGHTER]
But you can find out what
that call is, you can find out
who that attractive person is.
And presuming that you respect
them and they respect you,
you're in business.
And you don't have to be
prepared to share a mortgage
or raise a child
with that person.
LOGAN URY: Well, this
has been fascinating,
and definitely the most times
I've heard the word fuck
use in a talk to Google.
[LAUGHTER]
DOSSIE EASTON: Yeah.
LOGAN URY: We're
going to open it up
to questions from the audience.
I see a lot of
interested faces here.
DOSSIE EASTON: I do
want to say something
while we're getting the mic
organized, about the word fuck.
There's no other active verb
to describe that activity.
We have sex, we get nooky,
we get lucky, we cop a feel,
we often steal.
But the language
is all about sex
as something, a
thing that you get,
and so fucking is the only verb
that says this is something
that you do.
AUDIENCE: Screw.
Mate.
Copulate.
DOSSIE EASTON: That's
why I use it so much.
AUDIENCE: Copulate.
DOSSIE EASTON: Screw, copulate.
Well, copulate is another way.
It's like saying the
only clean words are
ones that are multi-syllabic
and in dead languages.
[LAUGHTER]
It's true that copulate
and fornicate are fine.
They are there.
They sound like diseases.
LOGAN URY: OK, let's start
with a question over here.
AUDIENCE: Not to dis
the word polyamory,
but it is a multi-syllabic
word in a dead language.
[LAUGHTER]
So I have like 60
questions I could ask.
But I think the one that
probably hit me most
is, you're delightfully
pandering to this audience.
I appreciate that.
We're all smart people
yadda, yadda, yadda.
We're all privileged to
be in this environment.
In my circles, I have had often
the sort of accusation, maybe,
levied that poly is something
for rich white people,
or some flavor of that.
That you have to be in a certain
economic class or situation
in order for it to be OK.
My own experience differs,
greatly, from that.
But I'm wondering how
much you've heard that,
and what your response to
that sort of framing is.
DOSSIE EASTON: Well,
I think that there's
a certain amount of truth to
it, in the sense that we have
to recognize-- I talked
about agrarian families,
where they get together so
the children don't starve.
Well, we have families
in this country,
often farming families.
I'm a first generation American.
My family came over
to this country.
My grandparents were
domestic servants.
So I come from a very
working class background.
My parents worked, crawled their
way up to white collar jobs,
and were very dedicated to
getting education for us.
So that kind of
cemented family has
been very important for
people who are getting
a toehold in this world.
Especially people
immigrate from elsewhere.
People coming into this
country from Syria,
the great debate now, are
going to need to their families
the way most of the
people in this room don't.
Most of you could leave
your blood families,
and could leave a partner,
without putting yourself
in danger of starving or
having no job or no life.
That doesn't mean you can
easily come out of the closet
everywhere, not even here,
but you have that freedom.
And many people in
the culture don't.
So I think there is
a kind of, there's
a certain privilege
associated with this.
Now many, many young people
of families like my family
immigrant families
that worked really
hard to get a foothold
in the culture,
including those who had a
harder job than my family.
Because my family was Northern
European, so I'm white,
so I have an advantage in
that, that's a privilege.
We're seeing a lot more people
from immigrant families,
and from poor families, and
so on in this generation.
In places like here
and in the sex world.
It has been largely
a very white world,
the world of sex
parties and sex clubs
and all that kind of stuff, and
a very middle class, educated
world.
So sometimes we have to
realize, and how do we
welcome people who come from
the world that I grew up in.
This world, when
my parents lived
through two world
wars and a depression,
they were in danger of starving.
And so their values
I came to realize
were different from
mine, because they've
been endangered.
And the way that they raised
me I was never in danger.
So there's a lot of
privilege in there.
I agree.
That doesn't mean
we shouldn't do it.
It just means that
there's a lot of privilege
and we should acknowledge that.
LOGAN URY: Another
question out there.
AUDIENCE: So you
mentioned earlier,
when you talked about
educated people,
you talked about video game
culture, and the being outcast,
et cetera.
In recent years, it's very clear
that this video game culture
has actually been very
toxic do anti feminist, very
sexist and male centric people,
even though supposedly we
are out.
So can you say anything
about that point?
DOSSIE EASTON: Yeah, I think
that Mortal Combat, Black Ops,
is not really the best
thing to feed your children.
So I really don't think
it's the best thing at all.
And I think it's an
unfortunate part of our culture
that we get, we decide
that the way we're
going to get adrenaline
raisers in this world
is not going and doing something
exciting with our friends,
which we could do, by pretending
to kill lots of people.
I remember running
across a little boy
was about 10 years
old who was playing
a video game many years ago,
the first time I'd ever seen it.
I looked at the game, and I
said does anything ever pop up
you're not supposed to shoot?
And he said, no,
that's interesting.
[LAUGHTER]
So yeah I think there's a big
question about these, about
this culture.
And yet again, I mean
these are ways that people
develop computer skills.
They really do,
and so they are now
a part of our learning
experience for everybody.
I think that the idea that
it so much about combat,
and that there's a whole
bunch of very, very
sexist with
occasional woman hero
you know, but that's been
happening for awhile.
I recently had a
big surgery and had
to figure out how to rest a
lot, and I did 132 episodes
of Xena Warrior Princess.
[LAUGHTER]
LOGAN URY: Question over there.
AUDIENCE: So on the
topic of jealousy,
we were talking about
how, with experience, you
develop kind of an
emotional maturity,
a physiological
maturity, but have you
in your experience
had clients in therapy
or elsewhere that are
younger, but have found ways
to handle jealousy
in a mature way?
DOSSIE EASTON: Of
course, absolutely.
People grow up in
different circumstances.
For instance, the triggers
from the amygdala,
I am a survivor of a violent
childhood so I know this.
In people who are
trauma survivors,
there is a lot more,
the triggers are bigger,
they are a lot
harder to deal with.
They're more work.
So in people who have had
very unsafe childhoods,
were very triggered,
I've had people
who had a incredibly hard
time because a father
left the family with no
resources whatsoever.
They were homeless and
whatever, terrible traumas
that can be associated
with this sort of thing.
And so some people
have a much harder job
to do if they want to
overcome the triggers,
and there you have
another question.
Because it's a lot of work.
It's a lot of work
for people who
haven't been so
traumatized, but it's
a lot of work to learn to
operate your own triggers.
Now there's a
benefit, obviously,
because that means that
your triggers don't own you
in any situation.
So if you work on
them because you
want the freedom to fuck
around, here you go again
but that's what I do.
Slut, one syllable
word in English.
Then you want to do
that work because you
want to claim your
freedom, and one
of the places where this becomes
difficult with some people that
come into my office are people
who actually have no desire
whatsoever to do the work.
And if they were
going to do it, it
would only be to please or
perhaps hold onto a spouse.
And that's not enough
motivation for a lot of people,
because it's painful.
There is no way around jealousy.
You have to go
through it, you have
to be willing to experience
it, and start to work with it
and take care of yourself
and nurture yourself
while you're having it.
You can't just count
on avoiding it.
And so for the person
who never wanted
to do this in the
first place, it
can become something
that they do not
have the resources to conquer.
I take great pride
that some of the people
in these situations
who've come to my office
decide to be monogamous.
Because I don't want
to be a therapist who's
shoving my agenda
down people's throats.
I'm willing to be
there, but I'm not
willing to say that
they ought to be
different from how they are.
I'm willing to say, this is
the work that needs to be done,
and it's hard
because X, Y, Z. You
have to decide if it's
worth doing for you,
or if you'd rather wait 10 years
til the children are older.
What is it, whatever
is real in your life.
Thank you for that question,
it's a good question.
AUDIENCE: Really appreciate
you sharing your perspective
from the late '60s all
the way through now
in terms of seeing the
tremendous social change that's
happened around how we perceive
and think about the sexuality.
I want to revisit actually
the question from before,
so between the first and second
edition, and then maybe down
the road what kinds of
changes you might anticipate
or what kinds of
developments or trends
would you see between now
and maybe the third edition,
or in the decades ahead?
DOSSIE EASTON: Yeah, we're
actually sort of getting it.
They want you to do another
addition every 10 years or so,
it's like publicity and so on.
I'm not really sure.
I think that we would
have to look at,
I kind of learned in
the process of doing it.
And I don't have a clear
vision about what I could add.
The one thing,
there is some stuff,
the brain science
I quoted to you,
is also quoted in this book.
In this addition.
It's not in the first
edition because the research
hadn't happened yet.
And so I'm going
to assume there's
going to be more research
about emotions and about states
of consciousness by then.
That's what my interest
is, I'm working
on a book called Shadow Play.
About journeys into
shadow, and why
we find "Little Red Riding
and The Big Bad Wolf"
a big sexy story.
And what happens if we
decide to do a role play,
and where do we get to go and
journey, and what happens?
So that's what I'm kind of
interested in exploring right
now, the intersection
of eros and kind
of Jungian shadow stuff.
And that's what's
interesting me.
I don't know what the
next book would bring
it's kind of an adventure.
We go to write it.
We kind of live with them
when we're writing it.
This book brought many
surprises as well.
AUDIENCE: One of the
things when I was first
exploring the sort of
expressions of polyamory
in society, I'd always felt
something along these lines.
But by learning about how people
talk about polyamory, there
was a great deal of distinction
between rules based poly
and this idea of hierarchy,
where you're primarily
and secondary, versus
other people who
have sort of
something some people
are calling relationship
anarchy, where everything
is consistently negotiated.
And there's all sorts of
different formulations.
I guess I'm not interested in a
historical examination of that.
But as a psychologist,
where do you
find people best
make use of rules,
best make use of flexibility?
Like, how does that play out
in your experience with clients
and in your own experience?
DOSSIE EASTON: Well,
you'll see in the book
that I don't talk about rules.
I talk about agreements.
And sometimes I get
snarky with my clients.
"She broke an agreement."
I guess she didn't
agree about that.
[LAUGHTER]
There we are.
And sometimes that's
something that I come down on.
If it's safer sex, I
care about that a lot.
Sometimes it's like
something that you go, well,
how are you guys
going to negotiate?
Why don't we talk about
what the emotional cost is
of both of your positions?
Relationship anarchy is
an interesting notion.
And I hear it in
two different ways.
I have always been
a person who I
guess would be described as
a relationship anarchist.
But I've never used that
language, because I don't like,
in general, the kind
of dualism that's
about rankings and hierarchies.
I'm wandering around
snarkily saying,
you know, how many
Olympic athletes can you
name that won bronze medals?
We only count the people
at the top of the ladder,
and that means nobody counts,
or very few people count,
and that's a drag.
My understanding is
that we need agreements.
And some degree-- and
this varies enormously
by people-- some degree of
predictability is important.
Almost no one could
tolerate simply
being blindsided constantly.
So if anarchist just means
I won't make agreements,
that's a problem.
If anarchist means we negotiate
agreements as they fit,
and if we are-- I have
a wonderful poly family
in my practice who are
currently pregnant.
There's an originating couple
who are married legally,
and then they each are married
to someone else in a way that
is not legal but pagan.
They are planning
to have children
in all these combinations.
And I have a friend who's
a family lawyer who loves
this challenge of, like, OK.
You go visit Dylan, and have
him make whatever agreements you
guys can figure out how to
make and about how you're
going to deal with
the college fund,
and so on, if you're
having children
between all these different
sets of parents in one family.
And they are doing a
beautiful job of it.
It's amazing.
They support each other
when people have hard times.
They all get in
there and help out
the person who's feeling
bad, even if they start out
by expressing it by being
very angry about something
or whatever.
So it could be a very
nice thing, in that sense.
It's interesting because
talking about adrenalin raisers
in the games, there's
a relationship
between structure
and risk that has
to do with how awake we get.
There's actually an ideal,
in any situation there's
kind of an ideal balance between
structure, which is safety,
and risk, which is expansive
and maybe challenging.
Because if it's too
structured, it feels too safe.
It's boring.
And people get restless.
And if it's too unstructured,
too anarchist, if you will,
then people get scared because
they can't find their place.
This comes from
research into groups.
Where people work the
best and function the best
is in some balance in between.
LOGAN URY: State of flow.
DOSSIE EASTON: Yeah.
Does that answer your question?
It's a little abstract
AUDIENCE: Yeah, kind of.
I would quibble with some of
the ways you used the word
anarchist, but I
get what you mean.
DOSSIE EASTON: Yeah.
You nodded to me--
by the way, he
nodded when I said
if anarchist just
means that you don't
make agreements,
you shook your head.
And I agree.
That's quite true.
LOGAN URY: I think
we should continue
that conversation over lunch.
But I feel so grateful that you
came and that I work in a place
where we could have
this conversation.
And it's really been eye
opening to have you here.
So thank you so
much for joining us.
DOSSIE EASTON: No, thank
you for inviting me.
[APPLAUSE]
| {
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UNIQUE SQUAWK ON IT I FIND IT
VERY DIFFICULT THEY WOULDN'T
ULTIMATELY LAUNCH SOME QUICK
REACTION ALERT FIGHTERS TO GO
AND SEE WHAT IT S
>> WHICH IS ONE OF THE BIG
QUESTIONS OUT THERE BILL WHAT
ABOUT THE FLIGHT DATA RECORDER,
AN AREA OF EXPERTISE FOR YOU IF
THIS PLANE IS UNDER THE WATER
WHERE YOU THINK IT IS AND
POTENTIALLY UNDER THE WATER IN
AN INCREDIBLY REMOTE, NOT NEAR
LAND, INCREDIBLY DEEP,
MOUNTAINOUS UNDERWATER AREA ARE
WE EVER GONNA FIND IT?
>> WELL, I GOT TO SAY IF IT IS
UNDERWATER, WE WILL PROBABLY
FIND IT EVENTUALLY.
I MEAN, WE FOUND SO MANY THINGS,
THE DEEP SEA SUBMERSIBLES HAVE
GOTTEN SO MUCH BETTER LAST
DECADE AND A HALF.
>> YEAH.
>> THAT WE WILL FIND IT BUT
THIS -- EVERYBODY'S IN DISTRESS
RI WHAT WOULD YOU
DO WITH A 777?
WHAT WOULD YOU DO WITH 300
HOSTAGES?
WHAT EXACTLY COULD YOU PULL OFF?
SO I'M HOPING THAT PEOPLE WHO
PLAN THESE THINGS, WHEN YOU TALK
ABOUT
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Italian:
-
-
-
Grazie.
STEVE JOBS- DIRETTORE GENERALE DELLA APPLE E DELLA PIXAR ANIMATION
È un onore per me essere oggi qui con voi per la consegna dei vostri diplomi di laurea
da parte di una delle migliori università al mondo.
A dire la verità, non mi sono mai laureato, e questa cerimonia è la cosa più simile a una cerimonia di laurea
a cui abbia mai partecipato.
Oggi, voglio raccontarvi tre episodi della mia vita: Nulla di che, solo tre storie.
La prima storia parla del collegare i punti.
Spanish:
(Universidad de Stanford www.stanford.edu)
Este programa es presentado por la Universidad de Stanford. Visítenos en stanford.edu
(aplausos)
Gracias
Director de Apple y Pixar
Me siento honrado de estar hoy con ustedes en su graduación de una de las mejores universidades del mundo.
(aplausos)
La verdad sea dicha, nunca me gradué de la universidad y esto es lo más cercano que he estado de una graduación universitaria.
(risas)
Hoy, quiero contarles tres historias de mi vida. Eso es todo, no es gran cosa, sólo tres historias.
La primer historia trata sobre "conectar los puntos".
Portuguese:
Este programa é trazido a você pela Universidade de Stanford.
Por favor, visite-nos em stanford.edu
Obrigado. Estou honrado de estar com vocês hoje para a formatura
de uma das melhores universidades do mundo.
Verdade seja dita, eu nunca me formei na faculdade
e isso é o mais perto que eu já cheguei de uma cerimônia de formatura.
Hoje eu quero contar a vocês três histórias da minha vida. É isso aí.
Não é grande coisa. Apenas três histórias.
A primeira história é sobre ligar os pontos.
English:
This program is brought to you by Stanford University.
Please visit us at stanford.edu
Thank You. I am honored to be with you today at your commencement
from one of the finest universities in the world.
Truth be told I never graduated from college
and this is the closest I've ever gotten to a college graduation.
Today I want to tell you three stories from my life. That's it.
No big deal. Just three stories.
The first story is about connecting the dots.
Japanese:
スタンフォード大学
www.stanford.edu
アナウンス：この番組はスタンフォード大学の提供でお送りします
[拍手]
スティーブ・ジョブス：ありがと～な
スティーブ・ジョブス
アップル及びピクサーアニメーションのCEO
めっちゃ頭ええ大学の卒業式に呼んでもうて、ほんまおおきに
[歓声]
ホンマわな、わて大学卒業してへんねん
大学の卒業式に出んの初めてやねん
（笑）
今日 わては３つの話しをします
まぁなんのことはない３つの話しやねんけどな
まずはな「点を繋げること」やねん
Spanish:
Este programa es presentado a ustedes por la Universidad de Stanford.
Por favor visítenos en stanford.edu
Gracias. Es un honor para mí estar con ustedes el día de su graduación
en una de las mejores universidades del mundo.
A decir verdad, yo nunca me gradué de la universidad
y esto es lo más cerca que he estado de una graduación universitaria.
Hoy quiero contarles tres historias de mi vida. Sólo eso.
Nada importante. Sólo tres historias.
La primera historia tiene que ver con conectar puntos.
Central Khmer:
[សាកលវិទ្យាល័យស្ទែនហ្វដ www.stanford.edu]
អ្នកអធិប្បាយ៖ កម្មវិធីនេះនាំមកជូនលោកអ្នកដោយ សាកលវិទ្យាល័យស្ទែនហ្វដ។
សូមចូលមើលវិបសៃថ៍យើងខ្ញុំនៅ stanford.edu។
[សំលេងទះដៃ]
ស្ទីវចប៖ សូមអរគុណ។
[ស្ទីវចប៖ ប្រធានប្រតិបត្តិក្រុមហ៊ុនអេបផលនិងភិចសារជីវចល]
ចប៖ថ្ងៃនេះខ្ញុំមានកិត្តិយសខ្លាំងណាស់ដែលបានចូលរួមក្នុងពិធីបញ្ចប់ការសិក្សាពីសាកលវិទ្យាល័យដ៏ឆ្នើមមួយលើលោក របស់អ្នកទាំងអស់គ្នា។
[សំលេងហ៊ោ]
តាមពិតទៅ ខ្លួនខ្ញុំផ្ទាល់មិនធ្លាប់បញ្ចប់ការសិក្សាពីមហាវិទ្យាល័យទេ។ នេះជាឱកាសតែមួយគត់ដែលខ្ញុំបាននៅក្បែរពិធីបញ្ចប់ការសិក្សាបំផុត។
[សំលេងសើច]
ថ្ងៃនេះ ខ្ញុំចង់ប្រាប់អ្នកទាំងអស់គ្នានូវរឿងរ៉ាវចំនួន៣អំពីជីវិតខ្ញុំ។ តែប៉ុណ្ណឹងទេ។ គ្មានអ្វីអស្ចារ្យទេ។ គ្រាន់តែរឿង៣ប៉ុណ្ណោះ។
រឿងទីមួយ គឺនិយាយពីការតភ្ជាប់ចំនុច។
Arabic:
جامعة ستانفورد
www.stanford.edu
هذا البرنامج يأتيكم من جامعة ستانفورد , رجاءاً زورونا على الموقع اعلاه
تصفيق
أشكركم
(ستيف جوبز - الرئيس التنفيذي لشركة أبل و شركة بيكسار)
اتشرف بلقائي بكم اليوم لبدئكم في جامعة من اعرق جامعات العالم
هتاف
في الحقيقة , انا لم اتخرج ابدا من الجامعه وهذا هو أقرب شيء حصلت عليه كخريج جامعة.
[ضحك]
اليوم, أريد ان اخبركم بثلاث قصص من حياتي.
هذا هو لا شيء كبير فقط ثلاث قصص.
القصة الأولى عن ربط النقاط.
Spanish:
Abandone la Universidad Reed después de los primeros seis meses, pero me quede atendiendo algunas clases unos 18 meses antes de que realmente me vaya.
Entonces, ¿por qué me fui?
Comenzó antes de que yo naciera.
Mi madre biológica era una joven, soltera estudiante universitaria y decidió ponerme en adopción.
Creía firmemente que debía ser adoptado por universitarios graduados,
así que todo estaba listo para que sea adoptado al nacer por un abogado y su esposa.
Salvo que cuando nací, decidieron en el último momento que realmente deseaban una niña.
Así que mis padres, que estaban en la lista de espera, recibieron una llamada en medio de la noche preguntándoles:
"Tenemos un bebé no esperado; ¿lo quieren?" Ellos dijeron: "Por supuesto"
Mi madre biológica después se enteró que mi madre nunca se había graduado de la universidad y que mi padre nunca se había graduado de la secundaria.
Arabic:
انسحبت من جامعة ريد بعد أول ستة أشهر , ثم بقيت في انخفاض حوالي ثمانية عشر شهراً أو نحو ذلك ,قبل أن استقيل فعلاً.
السؤال لماذا انسحبت ؟
ابتدأ هذا كله قبل أن اولد
كانت امي البيولوجية شابة متخرجة عزباء , و قررت وضعي للتبني.
شعرت بقوة بأنه علي أن أتبنى من قبل خريجي جامعات,
لذلك كل شي كان معدّ لي لأُتبنى عند الولادة من قبل محامي وزوجته.
إلا انه لحظة خروجي وفي الدقيقة الأخيرة قرر الزوجان أنهما يريدان فتاة.
حتى حصل والداي, اللذين كانوعلى لائحة الإنتظار , على مكالمة في منتصف الليل يسأل :
واضاف "لقد حصلنا على طفل رضيع غير متوقع، هل تريده ؟" قالوا: "بالطبع".
اكتشفت أمي البيولوجيه لاحقاً أن أمي بالتبني لم تتخرج قط من أي جامعة و أبي لم يتخرج من المدرسة الثانوية.
Japanese:
わてはリード大学を6カ月で中退して、ちゃんと退学するまで18カ月ほど学校をうろついとりました
なんで中退したんかはな・・・
わてが生まれる前の話しになります
わてのホンマのおかんは未婚の大学院生やったから
わてを養子に出しよりました
おかんは大学を卒業した人が親になってくれたほうが、
この子のためにえぇやろーおもて
ある弁護士夫婦に預けるちゅう話になってん
でもな、わてが生まれる直前、弁護士夫婦が女の子を欲しい言わはったんで、ご破算になってん
そんでな、養子縁組を待ってはった別のお家に電話してん
望まれへんかった男の子がいます。もろてもらえまへんやろか？
「あぁ、ええよぉ」
ほんで、後でわかったんやけど、育てのおかんは大学中退で、おとんは高校すら中退しとりました
English:
I dropped out of Reed College after the first 6 months,
but then stayed around as a drop-in
for another 18 months or so before I really quit.
So why did I drop out?
It started before I was born.
My biological mother was a young, unwed graduate student,
and she decided to put me up for adoption.
She felt very strongly that I should be adopted by college graduates,
so everything was all set for me to
be adopted at birth by a lawyer and his wife.
Except that when I popped out they decided
at the last minute that they really wanted a girl.
So my parents, who were on a waiting list,
got a call in the middle of the night asking: "We have an unexpected
baby boy; do you want him?"
They said: "Of course." My biological mother later found out that
my mother had never graduated from college
and that my father had never graduated from high school.
Portuguese:
Eu abandonei o Reed College depois dos primeiros seis meses,
mas então eu fiquei por lá como visitante
por mais uns 18 meses antes de eu realmente sair.
Então, por que eu saí?
Tudo começou antes de eu nascer.
Minha mãe biológica era uma jovem estudante, solteira,
e ela decidiu me dar para a adoção.
Ela queria muito que eu fosse adotado por pessoas formadas,
então tudo estava armado para que eu
fosse adotado por um advogado e sua esposa quando eu nascesse.
Exceto pelo fato de que quando eu apareci, eles decidiram
no último minuto que queriam uma menina.
Então meus pais, que estavam em uma lista de espera,
receberam um telefonema no meio da noite perguntando: "Nós temos um
bebê menino que não esperávamos; vocês o querem?"
Eles disseram: "É claro." Minha mãe biológica descobriu mais tarde que
minha mãe nunca tinha se formado na faculdade
e que meu pai nunca tinha completado o ensino médio.
Spanish:
Dejé la Universidad de Reed después de los primeros seis meses,
pero me quedé por ahí como oyente
durante otros 18 meses antes de abandonarla totalmente.
Entonces, ¿por que me di de baja?
Esto empezó antes de que yo naciera.
Mi madre biológica era una estudiante joven y soltera
que decidió darme en adopción.
Su deseo era que me adoptarán personas graduadas de la universidad,
así que todo estaba planeado para que yo fuera
adoptado por un abogado y su esposa.
Sin embargo, cuando yo nací decidieron de último momento
que en realidad lo que querían era una niña.
Así que mis padres, que estaban en una lista de espera,
recibieron una llamada a media noche que decía: "Tenemos un niño
que no esperábamos, ¿lo quieren?"
Contestaron: "Por supuesto". Más tarde mi madre biológica descubrió que
mi madre nunca se graduó de la Universidad
y que mi padre nunca se graduó de la preparatoria.
Italian:
Lasciai il Reed College dopo i primi sei mesi, ma rimasi nei paraggi per altri diciotto mesi circa prima di abbandonare definitivamente.
Perché ho abbandonato gli studi?
Tutto iniziò prima che nascessi.
La mia madre biologica era una studentessa universitaria non sposata, e decise di darmi in adozione.
Sentiva il dovere di darmi in adozione a dei laureati,
quindi era tutto pronto affinché fossi adottato da un avvocato e sua moglie.
Ma quando sono nato, questi hanno deciso all'ultimo momento che volevano una bambina.
Quindi i miei genitori, che erano in lista d'attesa, ricevettero una telefonata nel cuore della notte:
"Ci è rimasto un bambino inaspettato, lo volete?"
Risposero: "Certo!"
La mia madre biologica scoprì in seguito che mia madre non si era mai laureata e che mio padre non aveva nemmeno finito le superiori.
Central Khmer:
បន្ទាប់ពីចូលរៀននៅសាកលវិទ្យាល័យរីដបាន៦ខែខ្ញុំបានព្យួរការសិក្សា។ ប៉ុន្តែខ្ញុំនៅទៅរៀនរយៈពេល១៨ខែទៀត មុនពេលដែលខ្ញុំរត់ចោលសាលាពិតប្រាកដ។
តើហេតុអ្វីបានជាខ្ញុំព្យួរការសិក្សា?
ដើមហេតុ គឺគួររំលឹកតាំងពីពេលខ្ញុំមិនទាន់កើត។
ម្ដាយបង្កើតរបស់ខ្ញុំជានិស្សិតអនុបណ្ឌិត វ័យក្មេង និងមិនបានរៀបការ។ ហេតុនេះគាត់បានសំរេចចិត្តដាក់ខ្ញុំអោយក្លាយជាកូនចិញ្ចឹមរបស់គេ។
គាត់ប្រាថ្នាអោយអ្នកដែលទទួលខ្ញុំចិញ្ចឹម គួរតែជាអ្នកដែលបញ្ចប់ការសិក្សាពីមហាវិទ្យាល័យ
ហេតុនេះគាត់បានរៀបចំអោយប្ដីប្រពន្ធមេធាវីមួយគូទទួលយកខ្ញុំទៅចិញ្ចឹម ពេលដែលខ្ញុំកើតមកភ្លាមៗ។
តែពេលដែលខ្ញុំកើតចេញមក ពួកគេបានសំរេចចិត្តជាចុងក្រោយថា ពួកគេចង់បាននោះគឺកូនស្រី។
ហេតុនេះឪពុកម្ដាយ(ចិញ្ចឹមរបស់ខ្ញុំ ដែលមានឈ្មោះក្នុងបញ្ជីរង់ចាំ បានទទួលទូរស័ព្ទមួយទាំងកណ្ដាលអាធ្រាត ដែលសួរថា៖
«យើងមានកូនង៉ែតប្រុស ដែលយើងមិនបានរំពឹងទុក តើអ្នកត្រូវការវាទេ?» ពួកគាត់ឆ្លើយភ្លាមថា «ចង់បាន»។
ម្ដាយបង្កើតរបស់ខ្ញុំ ក្រោយមកបានដឹងថា ម្ដាយរបស់ខ្ញុំមិនធ្លាប់ដែលរៀនចប់ថ្នាក់បរិញ្ញាប័ត្រ ហើយឪពុករបស់ខ្ញុំក៏មិនដែលបានរៀនចប់វិទ្យាល័យ។
English:
She refused to sign the final adoption papers.
She only relented a few months later when
my parents promised that I would go to college. This was the start in my life.
And 17 years later I did go to college. But I naively chose a college
that was almost as expensive as Stanford,
and all of my working-class parents'
savings were being spent on my college tuition.
After six months, I couldn't see the value in it.
I had no idea what I wanted to do with my life
and no idea how college was going to help me figure it out.
And here I was spending all of the money my parents had saved
their entire life.
So I decided to drop out and trust that it would all work out OK.
It was pretty scary at the time,
but looking back it was one of the best decisions I ever made.
The minute I dropped out I could stop
taking the required classes that didn't interest me,
Arabic:
رفضت حينها ان توقع أوراق التبني الأخيرة.
بعد بضعة أشهر أذعنت للأمرعندما قطع والداي بالتبني عهداُ بأن أذهب للجامعة. وهذه كانت بداية حياتي.
وبعد مضي سبعة عشر عاماً ذهبت فعلاً للجامعة. ولكن بسذاجة اخترت جامعة مكلفة مثل جامعة ستانفورد,
وكانت كل مدخرات والداي ذوي الطبقة العاملة تنفق على رسم التعليم الجامعي الخاص بي.
وبعد ستة أشهر , لم أعد أستطيع رؤية الفائدة من ذلك.
لم تكن لديّ فكرة عما أريد فعله في حياتي و لا كيف ستساعدني الجامعة على اكتشاف ذلك.
وهنا كنت قد أنفقت كل مدخرات والداي التي جمعوها طيلة حياتهم.
لذلك قررت الإنسحاب ووثقت بأن كل شي سيكون جيد.
لقد كان جميل ومخيف في نفس الوقت, ولكن بالنظر للخلف فقد كانت احدى أفضل خياراتي التي قمت بها.
[ضحك]
في اللحظة التي انسحبت بها استطعت التوقف عن أخذ الصفوف التي لم تكن تهمني,
Spanish:
Se negó a firmar los últimos papeles para la adopción.
Cedió unos meses después, cuando
mis padres le prometieron que yo sí iría a la Universidad. Este fue el comienzo de mi vida.
17 años más tarde, fui a la Universidad. Ingenuamente escogí una escuela
que era casi tan cara como Stanford,
y todos los ahorros de mis padres de clase trabajadora
los estaba gastando en mi educación universitaria.
Después de seis meses, yo no le encontraba ningún valor.
No tenía idea de lo que quería hacer con mi vida
y no tenía idea cómo la Universidad me iba ayudar a descubrirlo.
Y aquí estaba yo, gastando todo el dinero que mis padres habían ahorrado
durante toda su vida.
Así que decidí salirme, confiando en que todo resultaría bien.
Me dio un poco de miedo en ese momento,
pero mirando hacia atrás, fue una de las mejores decisiones que he tomado.
En el instante que me di de baja pude dejar
de asistir a las clases que no me interesaban
Italian:
Rifiutò quindi di firmare gli ultimi documenti per l'adozione.
Tornò sui suoi passi solo alcuni mesi dopo, quando i miei genitori le promisero che sarei andato all'università. Questo fu l'inizio della mia vita.
E diciassette anni dopo andai all'università. Ma ingenuamente scelsi un'università che costava quasi quanto Stanford,
e tutti i risparmi dei miei umili genitori furono spesi per le mie tasse universitarie.
Dopo sei mesi, non riuscivo a vedere il valore dell'università.
Non avevo idea di cosa fare delle mia vita e nessuna idea su come l'università potesse aiutarmi a capirlo.
Ed eccomi lì a spendere tutti i soldi che i miei genitori avevano risparmiato per tutta la vita.
Quindi decisi di abbandonare e confidai che tutto sarebbe andato per il meglio.
All'epoca fu davvero terribile, ma ripensandoci è stata una delle migliori decisioni
che abbia mai preso.
Quando abbandonai gli studi potei smettere di seguire i corsi obbligatori che non m'interessavano,
Japanese:
ほやから、産みのおかんは養子の書類へのハンコをつきまへんでした
最後にはわてを立派に大学生にすることを約束して
ハンコをつきました
Portuguese:
Ela se recusou a assinar os papéis da adoção.
Ela só aceitou meses mais tarde quando
meus pais prometeram que eu iria para a faculdade. Este foi o início da minha vida.
E 17 anos depois eu fui para a faculdade. Mas, inocentemente escolhi uma faculdade
que era quase tão cara quanto Stanford,
e todas as economias dos meus pais
estavam sendo gastas na minha educação superior.
Depois de seis meses, eu não podia ver valor naquilo.
Eu não tinha idéia do que queria fazer com a minha vida
e nenhuma idéia de como a faculdade iria me ajudar a descobrir isso.
E lá estava eu, gastando todo o dinheiro que meus pais tinham juntado
por toda a sua vida.
Então eu decidi largar a faculdade e acreditar que tudo ficaria OK.
Foi muito assustador naquela época,
mas olhando para trás foi uma das melhores decisões que já fiz.
No minuto em que larguei, eu pude parar
de assistir às matérias obrigatórias que não me interessavam,
Spanish:
Se negó a firmar los documentos de la adopción.
Sólo cedió meses más tarde cuando mis padres prometieron que iría a la universidad. Este fue el comienzo de mi vida.
Y 17 años después fui a la universidad. Pero ingenuamente escogí una universidad que era casi tan cara como Stanford,
y todos los ahorros de mis padres trabajadores eran gastados para la universidad.
Después de seis meses, no le podía encontrar el sentido.
No tenía idea de qué quería hacer con mi vida y ni idea de cómo la universidad estaba ayudándome a encontrarlo.
Y ahí estaba, gastando todo el dinero que mis padres habían ahorrado toda la vida.
Así que decidí retirarme y confiar en que todo iba a salir bien.
fue bastante aterrador en ese momento, pero mirando hacia atrás, fue una de las mejores decisiones que he tomado.
(risas)
En el momento que me retiré pude dejar de tomar las clases obligatorias que no me interesaban,
Central Khmer:
គាត់បានបដិសេធមិនព្រមស៊ីញ៉េលើកិច្ចព្រមព្រៀងប្រគល់កូនអោយចិញ្ចឹម។
ប៉ុន្មានខែក្រោយមក គាត់ក៏បានប្ដូរចិត្តវិញ ពេលដែលឪពុកម្ដាយរបស់ខ្ញុំបានសន្យាថានឹងបញ្ជូនខ្ញុំទៅមហាវិទ្យាល័យ។ នេះជាចំនុចចាប់ផ្ដើមរបស់ជីវិតខ្ញុំ។
១៧ឆ្នាំក្រោយ ខ្ញុំបានចូលរៀនថ្នាក់បរិញ្ញា។ ប៉ុន្តែ ខ្ញុំបានជ្រើសរើសសាកលវិទ្យាល័យដ៏ថ្លៃប្រហែលស្ទែនហ្វដ ដោយមិនបានគិតគូរអោយបានដឹតដល់។
ឪពុកម្ដាយខ្ញុំដែលស្ថិតក្នុងវណ្ណៈពលករ បានចំណាយប្រាក់សន្សំទាំងអស់សំរាប់បង់ថ្លៃសាលាអោយខ្ញុំ។
បន្ទាប់ពីនៅទីនោះ៦ខែ ខ្ញុំមិនអាចមើលឃើញតំលៃអ្វីពីទីនោះទេ។
ខ្ញុំមិនដឹងពីអ្វីដែលខ្លួនចង់ធ្វើនៅក្នុងជីវិត ហើយក៏មិនដឹងថាតើសាកលវិទ្យាល័យអាចនឹងជួយខ្ញុំរកឃើញអ្វីដែលខ្ញុំចង់ធ្វើដោយរបៀបណា។
អញ្ចឹងហើយ ខ្ញុំនៅតែចំណាយប្រាក់សន្សំក្នុងមួយជីវិតរបស់ឪពុកម្ដាយខ្ញុំទៅលើវា។
ហេតុនេះខ្ញុំបានសំរេចចិត្តព្យួរការសិក្សា និងជឿថាលទ្ធផលចុងក្រោយនឹងមិនអីទេ។
វាជារឿងគួរអោយខ្លាចណាស់នាពេលនោះ ប៉ុន្តែបើងាកមើលទៅពេលនោះវិញ វាជាការសំរេចចិត្តដ៏ត្រឹមត្រូវបំផុតមួយរបស់ខ្ញុំ។
[សំលេងសើច]
ចាប់ពីនាទីដែលខ្ញុំផ្អាកការសិក្សា ខ្ញុំអាចឈប់ទៅរៀនមុខវិជ្ជាណាដែលខ្ញុំមិនចាប់អារម្មណ៍
Arabic:
ولبدء في الوقوع على تلك التي تهمني أكثر.
لم تكن جميعها ذات طابع رومانسي. لم تكن لدي غرفة نوم , كنت انام على الأرض في غرف الأصدقاء , وبادلت زجاجات الكوكاكولا بـ 5 سنتات لشراء الطعام بها,
وكنت قادر على المشي سبعة أميال عبر المدينة كل ليلة أحد للحصول على وجبة واحدة جيدة في معبد هاري كريشنا.
احب ذلك
وكثير من الأشياء التي تعثرت بها عن طريق اتباع حدسي وفضولي تبينت لي فيما بعد بانها عديمة القيمة
و مثال على ذلك :
جامعة ريد في ذلك الوقت عرضت افضل خطّ يد تعليمي في المدينة
في كل مكان في الحرم الجامعي وفي كل ملصق , وفي كل درج , كان جميلاً خطّ اليد.
و لأنني انسحبت ولم آخذ الصفوف العادية , قررت الالتحاق بصفوف تعلم الخطّ .
تعلمت عن الط الرقيق و بدون المحارف الرقيقه, وعن تفاوت المسافة بين الحروف المختلفة,
Spanish:
y atender aquellas que parecían interesantes.
No era del todo idílico. No tenía un dormitorio,
así que dormía en el suelo de la habitación de mis amigos,
retornaba botellas de Coca Cola a cambio de 5 centavos por lata para comer
y recorría a pie los 10 KM que atraviesan el pueblo, todos los domingos
por la noche para obtener una buena cena a la semana en el templo Hare Krishna.
Me encantaba.
Y mucho de lo que me topé saciando mi
curiosidad e intuición, se convirtió después en algo valiosísimo.
Les daré un ejemplo: La Universidad Reed ofrecía
en ese momento tal vez la mejor educación en caligrafía del país.
A lo largo de todo el campus, todos los pósters, las etiquetas de todos los dibujos
tenían una caligrafía manual perfecta.
Como yo ya me había dado de baja y no tenía que tomar las clases normales,
decidí tomar la clase de caligrafía para aprender a hacerlo.
Aprendí sobre tipografía serif y san serif,
sobre la variación de espacios
entre las diferentes combinaciones de letras,
Portuguese:
e comecei a frequentar aquelas que pareciam interessantes.
Não foi tudo assim romântico. Eu não tinha um quarto no dormitório,
por isso eu dormia no chão do quarto de amigos,
Eu retornava garrafas de coca-cola por 5 centavos cada para comprar comida;
e andava 11 quilômetros para atravessar a cidade
todo domingo à noite para ter uma boa refeição por semana no templo Hare Krishna
Eu adorava.
E muito do que eu encontrei seguindo
minha curiosidade e intuição se mostrou de valor incalculável mais tarde.
Deixe-me dar um exemplo: o Reed College naquele tempo
oferecia talvez a melhor formação de caligrafia do país.
Em todo o campus, cada poster e cada etiqueta de gaveta,
foi maravilhosamente caligrafado a mão.
Como eu tinha largado o curso e não tinha que assistir às aulas normais,
Eu decidi tomar aulas de caligrafia para aprender a fazer isso.
Aprendi sobre fontes com serifa e sem serifa,
sobre variar a quantidade de espaço
entre diferentes combinações de letras,
English:
and begin dropping in on the ones that looked interesting.
It wasn't all romantic. I didn't have a dorm room,
so I slept on the floor in friends' rooms,
I returned coke bottles for the 5 cent deposits to buy food with,
and I would walk the 7 miles across town every Sunday
night to get one good meal a week at the Hare Krishna
temple. I loved it.
And much of what I stumbled into by following
my curiosity and intuition turned out to be priceless later on.
Let me give you one example: Reed College at that
time offered perhaps the best calligraphy instruction in the country.
Throughout the campus every poster, every label on every drawer,
was beautifully hand calligraphed.
Because I had dropped out and didn't have to take the normal classes,
I decided to take a calligraphy class to learn how to do this.
I learned about serif and san serif typefaces,
about varying the amount of space
between different letter combinations,
Central Khmer:
និងចាប់ផ្ដើមដើររៀនមុខវិជ្ជាណាដែលមើលទៅគួរចាប់អារម្មណ៍។
អ្វីៗមិនមែនឡូយទាំងអស់នោះទេ។ ខ្ញុំគ្មានបន្ទប់ក្នុងន្តេរវិសិកដ្ឋាន ហេតុនេះខ្ញុំត្រូវគេងលើកំរាលឥដ្ឋក្នុង បន្ទប់មិត្តភក្ដិ។ ខ្ញុំយកដបខូកទៅហាងដូរយកប្រាក់តំកល់៥សេនមកវិញ ដើម្បីបានលុយទិញម្ហូប។
ហើយខ្ញុំធ្លាប់ដើរ៧ម៉ៃល៍កាត់ក្រុង រាល់យប់ថ្ងៃអាទិត្យ ដើម្បីទៅហូបអាហារសមរម្យនៅព្រះវិហារហរិគ្រិស្នា។
ខ្ញុំចូលចិត្តធ្វើបែបនេះ។
ហើយអ្វីដែលខ្ញុំធ្វើដោយស្ដាប់តាម ភាពចង់ដឹងចង់លឺ និងវិចារណញាណ បានក្លាយជារបស់ដ៏មានតំលៃមិនអាចកាត់ថ្លៃបាននាពេលក្រោយមកក្នុងជីវិតខ្ញុំ។
អនុញ្ញាតអោយខ្ញុំលើកឧទាហរណ៍មួយ។
សាកលវិទ្យាល័យរីដនាពេលនោះ ប្រហែលជាកន្លែងផ្ដល់នូវការបង្រៀនអក្សរផ្ចង់ល្អលើសគេនៅក្នុងប្រទេស។
នៅលើប័ណ្ឌផ្សព្វផ្យាយនៅទូទាំងសាលា និងនៅលើផ្លាកបិតថតតុ អក្សរទាំងឡាយត្រូវបានសរសេរដោយដៃយ៉ាងស្អាត។
ដោយសារតែខ្ញុំបានព្យូរការសិក្សាហើយខ្ញុំមិនចាំបាច់ត្រូវទៅរៀនមុខវិជ្ជាធម្មតា ខ្ញុំបានសំរេចចិត្តរៀនមុខវិជ្ជាអក្សរផ្ចង់ ដើម្បីមើលថាតែគេសរសេរវាយ៉ាងម៉េច។
ខ្ញុំបានរៀនអំពីប្រភេទអក្សរសេរីប (មានកន្ទុយ) និងសង់សេរីប(គ្មានកន្ទុយ) អំពីបំរែបំរួលទំហំចន្លោះរវាងបន្សំអក្សរផ្សេងៗគ្នា
Italian:
e iniziare a seguire quelli che sembravano molto più interessanti.
Non era per nulla una cosa romantica. Non avevo una stanza, quindi dormivo sul pavimento delle camere dei miei amici. Restituivo le bottiglie vuote di Coca-Cola per 5 centesimi con cui comprarmi da mangiare.
E camminavo per dieci chilometri lungo la città ogni domenica sera, per avere un buon pasto alla settimana al tempio Hare Krishna
Lo adoravo.
E molto di ciò che mi è capitato mentre seguivo la curiosità e l'intuito si rivelò inestimabile in seguito.
Vi faccio un esempio:
il Reed College all'epoca offriva forse i migliori corsi di calligrafia nell'intero Stato.
E per tutto il campus ogni poster e ogni etichetta su ogni cassetto erano scritti a mano con delle calligrafie fantastiche.
Essendomi ritirato e non dovendo frequentare i corsi obbligatori, decisi di frequentare un corso di calligrafia.
Ho imparato i caratteri Serif e Sans Serif, ho imparato a variare lo spazio fra diverse combinazioni di lettere,
Spanish:
y comencé a meterme en las que se veían más interesantes.
No todo fue romántico, no tenía un dormitorio, así que dormía en el piso en las habitaciones de mis amigos. Reciclaba botellas de gaseosa por 5 centavos para comer,
Y caminaba las siete millas por la ciudad cada domingo en la noche para conseguir una buena comida a la semana en el templo Hare Krishna
Me encantaba
Y mucho de lo que me fui topando al seguir mi curiosidad e intuición resultaron después ser de gran valor.
Permítanme darles un ejemplo:
Reed College en esa tiempo ofrecía quizás la mejor educación en caligrafía en el país.
A lo largo de el campus cada cartel, cada etiqueta en cada cajón, estaban bellamente caligrafiados a mano.
Debido a que no estaba matriculado y no tenía que tomar las clases normales, decidí tomar una clase de caligrafía para aprender cómo hacer esto.
Aprendí acerca de las tipografías "serif" y "sans serif", de las variaciones de la cantidad de espacio entre las diferentes combinaciones de letras,,
Arabic:
وحلول مايجعل الطباعة العظيمة عظيمة .
لقد كانت جميلة , تاريخية , فنية , دقيقة بطريقة لايمكن للعلم التقاطها , و وجدتها ساحرة.
كان لا شيء من هذا يملك حتى أمل لأن يطبّق في حياتي العملية.
ولكن بعد عشر سنوات عندما كنا نقوم بتصميم حاسوب ماكيتوش الأول , عاد كل ذلك لي.
وقمنا بتصميم كل شي بأنظمة تشغيل ماك. كان الحاسوب الأول بأسلوب طباعة جميل.
لو لم أتراجع عن مقرر واحد في الجامعة,
لكانت ماك لاتملك الخطوط المتعددة والتباعد النسبي في الخطوط.
ولأن شركة ويندوز قامت بنسخ الخطوط عن شركة ماك, فمن المحتمل أنه لا يوجد ولا حاسوب شخصي يكون لهم .
[يضحك وتصفيق]
لو أنني لم انسحب , لما كنت قد دخلت في صف تعلم الخطّ,
ولم يكن للحواسيب الشخصية هذه الخطوط الجميلة التي تعمل عليها.
Spanish:
Sobre qué hace a la tipografía grandiosa.
Fue Hermoso, histórico, artísticamente sutil en cierto sentido que la ciencia no puede captar y lo encontré fascinante.
Nada de esto tenía incluso una esperanza de aplicación práctica en mi vida.
Pero diez años después, cuando estábamos diseñando la primera computadora Macintosh, todo tuvo sentido para mí.
Y todo lo diseñamos en la Mac. Fue la primer computadora con bella tipografía.
Si nunca me hubiera topado con ese simple curso en la universidad,
La Mac jamás hubiera tenido múltiples tipografías o fuentes espaciadas proporcionalmente.
Y como Windows solo copiaba la Mac, es probable que ninguna computadora personal lo tuviera.
(risas y aplausos)
Si nunca me hubiera ido, nunca me hubiera topado con ese curso de caligrafía.
y las computadoras personales tal vez no tendrían la maravillosa tipografía que tienen.
Central Khmer:
និងអំពីអ្វីដែលធ្វើអោយហ្វុនអក្សរដ៏ស្រស់ស្អាតអោយកាន់តែស្រស់ស្អាតថែមទៀត។
វាស្អាតណាស់ វាមានលក្ខណៈប្រវត្តិសាស្ត្រនិង មានភាពលំអិតតាមបែបសិល្បៈ ដែលវិទ្យាសាស្ត្រមិនអាចក្ដោបក្រសោបបាន ហើយខ្ញុំបានដឹងថាវាស្អាតអស្ចារ្យណាស់។
ក្នុងចំនោមចំនេះដឹងទាំងនេះ គ្មានអ្វីដែលអាចសង្ឃឹមថានឹងអាចយកទៅអនុវត្តផ្ទាល់ក្នុងជីវិតរបស់ខ្ញុំទេ។
ប៉ុន្តែដប់ឆ្នាំក្រោយ ពេលដែលយើងកំពុងឌីហ្សាញកុំព្យូទ័រម៉ាឃីនថូសជំនាន់ដំបូងគេ ចំនេះដឹងទាំងនោះបានរស់ជាថ្មីឡើងវិញនៅក្នុងខ្លួនខ្ញុំ។
ហើយយើងបានឌីហ្សាញវាចូលទៅក្នុងម៉ាក់។ វាជាកុំព្យូទ័រទីមួយដែលមានហ្វុនអក្សរស្រស់ស្អាត។
បើសិនជាខ្ញុំមិនបានទៅចូលរៀនមុខវិជ្ជាអក្សរផ្ចង់នោះទេ
ម៉ាក់ក៏មិនអាចមានហ្វុនច្រើននិងហ្វុនដែលមានចន្លោះពីគ្នាបានសមយ៉ាងល្អឥតខ្ចោះនោះដែរ។
ហើយដោយហេតុថាវីនដូស៍ចេះត្រឹមតែចំលងពីម៉ាក់ ប្រហែលជាគ្មានកុំព្យូទ័រលើលោកណាមានហ្វុនស្អាតបែបនោះផងក៏មិនដឹង។
[សំលេងសើចនិងសំលេងទះដៃ]
បើសិនជាខ្ញុំមិនបានព្យួរការសិក្សា ហើយមិនបានដើរទៅរៀនថ្នាក់អក្សរផ្ចង់នោះទេ
កុំព្យូទ័រក៏ប្រហែលជាមិនអាចមានហ្វុនអក្សរដ៏ស្រស់អស្ចារ្យដូចសព្វថ្ងៃបានដែរ។
Portuguese:
sobre o que torna uma bela tipografia bela.
Era lindo, histórico,
artisticamente sutil de uma maneira que a ciência não pode capturar,
e eu achei isso fascinante.
Nada disso tinha sequer um lampejo de aplicação prática na minha vida.
Mas dez anos depois,
quando estávamos projetando o primeiro computador Macintosh,
tudo voltou para mim. E nós colocamos tudo no Mac.
Foi o primeiro computador com tipografia bonita.
Se eu nunca tivesse caído naquele curso na faculdade,
o Mac nunca teria tido múltiplos
tipos de letra ou fontes proporcionalmente espaçadas.
E como o Windows simplesmente copiou o Mac,
é bem provável que nenhum computador as tivesse.
Se eu nunca tivesse deixado a faculdade,
Eu nunca teria caído naquela aula de caligrafia,
e os computadores poderiam não ter a maravilhosa tipografia
Spanish:
acerca de qué es lo que hace que una excelente tipografía sea excelente.
Fue maravilloso, histórico,
artísticamente delicado, de una manera tal que la ciencia no lo puede apreciar
y para mi fue algo fascinante.
Nada de esto tenía la mínima esperanza de aplicación práctica en mi vida.
Pero diez años más tarde,
cuando estábamos diseñando la primera computadora Macintosh,
todo esto regreso a mí. Y diseñamos todo esto con la Mac.
Fue la primera computadora con una tipografía maravillosa.
Si yo nunca me hubiera anotado a ese curso en la universidad
la Mac no hubiera tenido nunca múltiples
tipografías o fuentes proporcionalmente espaciadas.
Y como Windows solo hizo una copia de la Mac,
cabe la posibilidad de que ninguna computadora personal las tuviera.
Si nunca me hubiera dado de baja,
no me hubiera anotado nunca a esta clase de caligrafía
y las computadoras personales nunca hubieran tenido la maravillosa tipografía
English:
about what makes great typography great.
It was beautiful, historical,
artistically subtle in a way that science can't capture,
and I found it fascinating.
None of this had even a hope of any practical application in my life.
But ten years later,
when we were designing the first Macintosh computer,
it all came back to me. And we designed it all into the Mac.
It was the first computer with beautiful typography.
If I had never dropped in on that single course in college,
the Mac would have never had multiple
typefaces or proportionally spaced fonts.
And since Windows just copied the Mac,
it's likely that no personal computer would have them.
If I had never dropped out,
I would have never dropped in on this calligraphy class,
and personal computers might not have the wonderful typography
Italian:
ho imparato ciò che rende grande la stampa tipografica.
Era bellissimo, in un modo che la scienza non può capire, perché era storico, artistico, e ne fui affascinato.
Niente di tutto ciò aveva la minima speranza di trovare un uso pratico nella mia vita.
Ma dieci anni più tardi, quando progettavamo il primo Macintosh, mi ritornò alla mente.
E lo utilizzammo per il Mac. Fu il primo computer con una tipografia fantastica.
Se non fossi capitato per caso in quel corso all'università,
il Mac non avrebbe mai avuto caratteri multipli o font proporzionati.
E dato che Windows è una copia del Mac, probabilmente nessun personal computer
li avrebbe mai avuti.
Se non mi fossi ritirato, non sarei mai capitato in quel corso di calligrafia,
e i computer non avrebbero il fantastico sistema tipografico che hanno oggi.
Portuguese:
que têm. É claro que era impossível conectar
os pontos olhando para frente quando eu estava na faculdade.
Mas aquilo ficou muito, muito claro olhando para trás 10 anos depois.
Mais uma vez, você não pode conectar os pontos olhando adiante;
você só pode conectá-los olhando para trás.
Então você tem que confiar que os pontos de alguma forma se ligarão
no seu futuro.
Você tem que confiar em alguma coisa, sua força de vontade, destino, vida, karma,
o que for.
Acreditar que os pontos vão se conectar no caminho vai lhe dar a confiança para seguir seu coração,
mesmo quando ele te levar fora do caminho padrão, e isso vai fazer toda a diferença.
Minha segunda história é sobre amor e perda.
Eu tive sorte que eu encontrei o que eu amava fazer cedo em minha vida.
Woz e eu começamos a Apple na garagem dos meus pais quando eu tinha 20 anos.
Nós trabalhamos duro, e em 10 anos a Apple cresceu de apenas nós dois
em uma garagem a uma companhia de 2 bilhões de dólares com mais de 4000 empregados.
English:
that they do. Of course it was impossible to connect
the dots looking forward when I was in college.
But it was very, very clear looking backwards ten years later.
Again, you can't connect the dots looking forward;
you can only connect them looking backwards.
So you have to trust that the dots will somehow connect
in your future.
You have to trust in something, your gut, destiny, life, karma,
whatever.
Beleiveing that the dots will connect down the road will give you the confidence to follow your heart
Even when it leads you off the well worn path, and that will make all the difference.
My second story is about love and loss.
I was lucky I found what I loved to do early in life.
Woz and I started Apple in my parents garage when I was 20.
We worked hard, and in 10 years Apple had grown from just the two of
us in a garage into a $2 billion company with over 4000 employees.
Spanish:
Por supuesto era imposible "conectar los puntos" mirando el futuro cuando estaba en la universidad.
Pero fue muy, muy claro mirando hacia atrás diez años después.
Repito, no podes "conectar los puntos" mirando hacia adelante, solo podes hacerlo mirando hacia atrás.
Así que tienes que confiar en que los puntos, de alguna manera, se conectaran en tu futuro.
Tenes que confiar en algo. Tu intuicion, destino, vida, karma, lo que sea.
Porque creer que los puntos se conectaran en el camino te darán la confianza para seguir a tu corazón.
Incluso si te guiá en el camino equivocado, y eso hará toda la diferencia.
Mi segunda historia es sobre amor y perdida.
Yo tuve suerte, encontré lo que amaba temprano en mi vida.
Woz y yo empezamos Apple en el garage de mis padres cuando tenía 20.
Trabajamos duro, y en 10 años, Apple había crecido de los dos solos en mi garage a una empresa de $2.000.000 y con mas de 4000 empleados.
Arabic:
بالطبع كان من المستحيل ربط النقاط التي كنت اتطلع اليها عندما كنت في الجامعة.
ولكنها كانت جدا جدا واضحة بالنظر للخلف بعد عشر سنوات.
مجدداً , لا تستطيع ربط النقاط بالتطلع للأمام : فقط عندما تنظر للخلف تستطيع ربطهم.
لذلك عليك ان تثق بأن النقاط بطريقة ما سترتبط بمستقبلك.
عليك الوثوق بشيء - شجاعتك , قدرك , عاقبة الحياة أياً كانت.
لأن الاعتقاد بأن النقاط سترتبط على طريق حياتك سوف يعطيك الثقة لإتباع قلبك,
حتى عندما يقودك خارج الطريق المعروف جيداً , والذي من شأنه أن يحدث الفرق.
قصتي الثانية عن الحب والخسارة.
كنت محظوظ - لقد وجدت الشيء الذي أحب القيام به بوقت مبكر من الحياة.
ووز و انا بدأنا بشركة آبل بمرآب الداي عندما كنت بالعشرين من عمري .
عملنا بجد , في غضون عشر سنوات كبرت شركة آبل من اثنين فقط عملوا في مرآب الى شركة تقدر بـ اثنين بليون دولار مع عدد موظفين يتجاوز الـ أربعة الاف موظف.
Spanish:
que tienen. Por supuesto era imposible conectar
los puntos mirando hacia delante cuando estaba en la Universidad.
Pero era algo muy claro si miraba hacia atrás dies años más tarde.
Otra vez, no puedes conectar los puntos mirando hacia delante;
únicamente puedes conectarlos mirando hacia atrás.
Tienes que tener confianza en que de alguna manera los puntos se van a conectar
en tu futuro.
Tienes que tener confianza en algo, tu instinto, tu destino, tu vida, tu karma,
lo que sea.
Creer que a lo largo del camino los puntos se unirán, te da confianza para escuchar a tu corazón.
Incluso cuando eso te lleve por el mismo camino de siempre, pero hará toda la diferencia.
Mi segunda historia es acerca de amor y pérdida.
Tuve suerte en encontrar lo que me gusta a temprana edad.
Woz y yo iniciamos Apple en el garaje de mis padres cuando yo tenía 20 años.
Trabajamos muy duro y en 10 años Apple había pasado de ser sólo nosotros dos
en un garaje, a ser una compañía de $2 mil millones de dólares con más de 4000 empleados.
Central Khmer:
ពិតមែនហើយ ខ្ញុំមិនអាចតភ្ជាប់ចំនុច ដោយមើលទៅមុខពេលដែលខ្ញុំនៅជានិស្សិតទេ។
ប៉ុន្តែវាច្បាស់ណាស់ថា ខ្ញុំបានតភ្ជាប់វាពេលក្រលេកមើលថយក្រោយនៅ១០ឆ្នាំក្រោយ។
ខ្ញុំសូមនិយាយម្ដងទៀត។ អ្នកមិនអាចតភ្ជាប់ចំនុចដែលនៅខាងមុខបានទេ។ អ្នកភ្ជាប់វាបានតែពេលក្រលេកមើលថយក្រោយប៉ុណ្ណោះ។
ហេតុនេះអ្នកត្រូវតែជឿថាចំនុចទាំងនោះនឹងតភ្ជាប់គ្នានាពេលអនាគត ក្នុងរូបភាពណាមួយ។
អ្នកត្រូវតែជឿលើអ្វីមួយ៖ វីរភាព វាសនា សង្ខារ កម្មផល ស្អីក៏បានដែរ។
ការជឿថាចំនុចទាំងនោះនឹងតភ្ជាប់គ្នានៅលើផ្លូវជីវីតដែលអ្នកដើរ នឹងធ្វើអោយអ្នកមានទំនុកចិត្តលើខ្លួនឯង អោយអ្នកធ្វើតាមអ្វីដែលបេះដូងអ្នកប្រាថ្នា។
ទោះបីជាវានឹងនាំអ្នកចេញពីផ្លូវក្រាលកៅស៊ូស្រួលដើរដែលអ្នកដទៃដើរក៏ដោយ។ ការជឿបែបនោះនឹងជួយធ្វើអោយអ្វីៗផ្លាស់ប្ដូរ។
រឿងទីពីររបស់ខ្ញុំគឺនិយាយអំពីក្ដីស្រលាញ់និងការបរាជ័យ។
ខ្ញុំមានសំណាងណាស់ ដែលបានរកឃើញអ្វីដែលខ្ញុំចូលចិត្តធ្វើតាំងពីយុវវ័យ។
Woz និង ខ្ញុំបានបើកក្រុមហ៊ុនអេបផលនៅក្នុងរោងឡានរបស់ឪពុកម្ដាយខ្ញុំ ពេលខ្ញុំមានអាយុ២០ឆ្នាំ។
ពួកយើងប្រឹងប្រែងធ្វើការណាស់ ហើយក្នុងរយៈពេលតែ១០ឆ្នាំ អេបផលបានរីកធំធាត់ពីបុគ្គលិកតែ២នាក់នៅក្នុងរោងឡាន ក្លាយជាក្រុមហ៊ុនមានតំលៃ២០០០លានដុល្លារនិងមានបុគ្គលិកជាង៤០០០នាក់។
Italian:
Certo, era impossibile collegare i punti guardando in avanti quando ero all'università.
Ma mi sembrò tutto molto chiaro dieci anni più tardi, quando ripensai al passato.
Non si possono collegare i punti guardando in avanti; lo si può fare solo guardando indietro.
Quindi dovete confidare che i punti si collegheranno in qualche modo nel vostro futuro.
Dovete credere in qualcosa, il vostro istinto, il destino, la vita, il karma, qualsiasi cosa.
Perché credere che i punti si collegheranno alla fine vi darà la forza di seguire il vostro cuore.
anche quando vi condurrà fuori dalla strada già battuta, e sarà quello a fare la differenza.
La mia seconda storia parla di amore e perdita.
Sono stato fortunato -ho trovato ciò che adoro fare molto presto.
Woz ed io abbiamo dato vita alla Apple nel garage dei miei quando avevo vent'anni.
Lavorammo sodo, e in dieci anni la Apple era diventata un'azienda da due miliardi di dollari con oltre quattromila dipendenti.
Arabic:
كنا فقط كشفنا عن أفضل صنع لنا - ماكينتوش - قبل عام , وتحولت فقط للثلاثين.
وبعدها تم طردي .
كيف يتم طردك من شركة قمت ببنائها؟
حسناً , عندما كانت شركة آبل تكبر قمت بتوظيف شخص إعتقدت بأنه موهوب ليقوم بإدارة الشركة معي,
ولمدة سنة ونحوها كانت الأمور تسير بشكل جيد
ولكن عندها بدأت رؤيانا للمستقبل تنقسم و في نهاية المطاف أخفقنا.
عندما أخفقنا , وقفوا أعضاء مجلس الإدارة في صفه.
وهذا عندما بلغت الثلاثين من عمري طردت . وبطريقة جداً علنية .
ما كان محور حياتي كشخص راشد قد ذهب , و كان قد دمّر .
حقاً لم أكن أعلم ماعلي فعله بالاشهر القادمة
شعرت بأنني قد خذلت الجيل السابق من رجال الأعمال - بأنني أسقطت العصا بينما كان يجري تمريرها لي.
التقيت بـ دايفيد باكرد و بوب نويسي وحاولت الإعتذار عن إخفاقي الشديد .
كنت فاشلاً علناً , و حتى أنني فكرت بالهرب بعيداً عن المكان .
Spanish:
Acabábamos de liberar nuestra mejor creación, la Macintosh,
un año antes y yo estaba cumpliendo apenas los 30.
Después me despidieron.
¿Cómo te pueden despedir de una compañía que tu fundaste?
Bueno, al crecer Apple contratamos a alguien que yo pensé
tenía mucho talento para dirigir la compañía conmigo
y durante el primer año, más o menos, las cosas iban bien.
Pero después, nuestras visiones del futuro empezaron
a divergir y eventualmente tuvimos una discusión.
En ese momento, nuestro consejo de directores estuvo de su lado.
Así que a los 30 yo estaba fuera. Muy públicamente fuera.
Lo que era el centro de toda mi vida adulta, se había ido
y fue devastador.
En realidad durante varios meses no supe que hacer.
Sentía que le había fallado a la generación previa de emprendedores
- que había tirado la estafeta cuando era mi turno.
Me reuní con David Packard y Bob Noyce
y traté de disculparme por haberlo estropeado todo.
Era una fracasado público
e incluso pensaba escaparme del valle.
Spanish:
Acabábamos de realizar nuestro mejor invento, la Macintosh, un año antes de cumplir 30.
Y después me despidieron.
¿Cómo te pueden despedir de la empresa que fundaste?
Mientras Apple crecía contratamos a alguien quien yo creia muy talentoso como para dirigir la empresa con migo,
y por el primer año mas o menos las cosas fueron bien.
Pero después nuestras visiones del futuro empezaron a separarse y eventualmente tuvimos un desacuerdo.
Cuando lo tuvimos, nuestra mesa de directores se puso del lado de él.
Y entonces, a los 30 años estaba fuera. Y muy públicamente afuera.
Lo que había sido la atención de toda mi vida adulta había desaparecido, y fue devastador.
No supe mucho que hacer por unos meses.
Sentía que había decepcionado a la previa generación de emprendedores, que había dejado caer el testigo mientras me lo pasaban a mi.
Me encontre con David Packard y Bob Noyce e intente pedirles disculpas por haber fracasado de tal manera.
Fue un fracaso muy público, y hasta yo pensé en irme del Valle.
Portuguese:
Nós tínhamos acabado de lançar nossa maior criação, o Macintosh,
um ano antes, e eu tinha acabado de fazer 30.
E então eu fui demitido.
Como você pode ser demitido de uma empresa que você começou?
Bem, conforme a Apple cresceu, nós contratamos alguém que eu achava
que era muito talentoso para levar a empresa comigo,
e para os primeiros anos as coisas correram bem.
Mas então nossas visões do futuro começaram
a divergir e eventualmente nós tivemos uma briga.
Quando isso aconteceu, nosso Conselho de Administração ficou do lado dele.
Então aos 30 anos eu estava fora. E muito escandalosamente fora.
O que tinha sido o foco de toda a minha vida adulta tinha ido embora,
e isso foi devastador.
Eu realmente não sabia o que fazer por alguns meses.
Senti que tinha decepcionado a geração anterior de empreendedores,
que eu tinha deixado cair o bastão quando ele estava sendo passado para mim.
Eu me encontrei com David Packard e Bob Noyce
e tentei me desculpar por ter estragado tudo daquela maneira.
Eu era um fracasso público
e eu até pensei em fugir do Vale do Silício.
Italian:
Avevamo appena lanciato la nostra migliore creazione, il Macintosh, un anno prima, ed avevo appena compiuto trent'anni.
E poi venni licenziato.
Come puoi essere licenziato da un'azienda che hai fondato?
Dunque, con la crescita della Apple avevamo assunto qualcuno che credevo dotato di talento, per amministrare con me l'azienda,
e per il primo anno circa le cose filarono lisce.
Ma poi le nostre visioni sul futuro iniziarono a divergere e infine avemmo un litigio.
E quando questo avvenne, i nostri dirigenti si schierarono dalla sua parte.
E quindi a trent'anni ero fuori. E in maniera plateale.
Ciò che era stato l'obiettivo della mia intera vita da adulto era andato; fu devastante.
Per alcuni mesi non seppi davvero cosa fare.
Sentii di aver abbandonato la generazione precedente di imprenditori, come se avessi lasciato il testimone che mi avevano passato.
Incontrai David Packard e Bob Noyce e provai a giustificarmi per aver mandato tutto all'aria così malamente.
Era una disfatta pubblica, e pensai addirittura di scappare dalla Silicon Valley.
Central Khmer:
មួយឆ្នាំមុននោះ យើងបានចេញលក់ផលិតផលដ៏ឆ្នើមជាងគេរបស់យើង គឺម៉ាស៊ីនម៉ាឃីនថូស ហើយពេលនោះខ្ញុំទើបមានអាយុ៣០ឆ្នាំទេ។
បន្ទាប់មកខ្ញុំត្រូវគេបណ្ដេញចេញពីការងារ។
ដែរមានដែរ អ្នកដែលត្រូវគេបណ្ដេញចេញពីក្រុមហ៊ុនដែលខ្លួនឯងបង្កើត?
តាមពិតគឺអញ្ចេះទេ។ ពេលដែលអេបផលរីកធំ យើងបានជួលបុគ្គលម្នាក់ដែលខ្ញុំគិតថាមានសមត្ថភាពគ្រប់គ្រងក្រុមហ៊ុនជាមួយខ្ញុំ
ហើយអ្វីៗដំណើរការបានល្អណាស់នៅឆ្នាំដំបូង។
ប៉ុន្តែក្រោយមក ទស្សនៈវិស័យពីអនាគតរបស់យើងបានឃ្លាតឆ្ងាយពីគ្នា ហើយយើងក៏បានបែកបាក់គ្នានៅទីបំផុត។
ពេលយើងសំរេចចិត្តបែកគ្នា គណកម្មការនាយករបស់ក្រុមហ៊ុនបានឈរនៅខាងគេ។
ហើយខ្ញុំក៏ត្រូវគេដេញចេញនៅអាយុ៣០។ ត្រូវគេដេញចេញយ៉ាងចំហ។
អ្វីដែលខ្ញុំបានបូជាឆាកជីវិតពេញវ័យខ្ញុំទៅលើនោះ បានរលាយបាត់ទៅ។ វាជាការបាត់បង់ដ៏ធំធេង។
រយៈពេលប៉ុន្មានខែដែលខ្ញុំពិតជាមិនដឹងថាគួរធ្វើអ្វីល្អ។
ខ្ញុំមានអារម្មណ៍ដូចធ្វើអោយសហគ្រិនជំនាន់មុនៗខកចិត្ត។ ខ្ញុំមានអារម្មណ៍ដូចធ្វើជ្រុះដំបងដែលគេហុចអោយពេលប្រកួតរត់បណ្ដាក់អញ្ចឹង។
ខ្ញុំបានជួបជាមួយ David Packard និង Bob Noyce ដើម្បីសុំទោសដែលបានធ្វើអោយអ្វីៗដើរមិនបានល្អ។
ខ្ញុំជាជនបរាជ័យក្នុងសង្គម ហើយខ្ញុំថែមទាំងគិតចង់រត់ចេញពីជ្រលងស៊ីលីខន់ទៀតផង។
English:
We had just released our finest creation the Macintosh
a year earlier, and I had just turned 30.
And then I got fired.
How can you get fired from a company you started?
Well, as Apple grew we hired someone who I thought
was very talented to run the company with me,
and for the first year or so things went well.
But then our visions of the future began
to diverge and eventually we had a falling out.
When we did, our Board of Directors sided with him.
So at 30 I was out. And very publicly out.
What had been the focus of my entire adult life was gone,
and it was devastating.
I really didn't know what to do for a few months.
I felt that I had let the previous generation of entrepreneurs
down - that I had dropped the baton as it was being passed to me.
I met with David Packard and Bob Noyce
and tried to apologize for screwing up so badly.
I was a very public failure,
and I even thought about running away from the valley.
Central Khmer:
ប៉ុន្ទែមានពន្លឺអ្វីមួយ ដែលចាប់ផ្ដើមរះនៅក្នុងចិត្តខ្ញុំ។ គឺ ខ្ញុំនៅស្រលាញ់អ្វីដែលខ្ញុំបានធ្វើ។
រឿងរ៉ាវដែលបានកើតឡើងនៅក្រុមហ៊ុនអេបផលមិនបានធ្វើអោយក្ដីស្រលាញ់នោះផ្លាស់ប្ដូរសូម្បីតែបន្តិច។ខ្ញុំត្រូវគេច្រានចោលមែន តែខ្ញុំនៅតែស្រលាញ់វា។
ហេតុនេះខ្ញុំក៏សំរេចចិត្តចាប់ផ្ដើមសារជាថ្មីម្ដងទៀត។
ពេលនោះខ្ញុំមិនដឹងសោះ ប៉ុន្តែក្រោយមកទើបខ្ញុំដឹងថាការត្រូវគេដេញចេញពីក្រុមហ៊ុនអេបផលជាបទពិសោធន៍ដ៏ល្អបំផុតមួយដែលធ្លាប់កើតមានលើខ្លួនខ្ញុំ។
សំពាធដ៏ធ្ងន់របស់ជ័យជំនះ បានជំនួសដោយភាពធូរស្រាលចិត្តពេលក្លាយជាអ្នកទើបចាប់ផ្ដើមវិញ និងមិនសូវច្បាស់លើអ្វីៗទាំងអស់។
ខ្ញុំមានសេរីភាពនឹងបោះជំហានចូលក្នុងរយៈកាលប្រកបដោយគំនិតច្នៃប្រឌិតមួយក្នុងជីវិត។
ក្នងរយៈពេល៥ឆ្នាំបន្ទាប់ ខ្ញុំបានបើកក្រុមហ៊ុន NeXT និង ក្រុមហ៊ុន Pixar
ហើយមានស្នេហាជាមួយនារីដ៏អស្ចារ្យម្នាក់ដែលជាភរិយារបស់ខ្ញុំនៅពេលនេះ។
ក្រុមហ៊ុន Pixar បានក្លាយជាក្រុមហ៊ុនដំបូងគេលើលោកដែលផលិតភាពយន្តជីវចលដោយប្រើកុំព្យូទ័រ គឺរឿងToy Story ហើយសព្វថ្ងៃវាជាក្រុនហ៊ុនជីវចលដែលបានទទួលជោគជ័យជាងគេលើលោក។
[សំលេងទះដៃនិងសំលេងហ៊ោ]
ព្រឹត្តិការណ៍ដ៏គួរកត់សំគាល់មួយកើតឡើង។ អេបផលបានទិញយក NeXT ហើយខ្ញុំបានត្រលប់ទៅកាន់អេបផលវិញ
ហើយបច្ចេកវិទ្យាដែលយើងបានអភិវឌ្ឍបាននៅ NeXT បានក្លាយជាគោលគ្រឹះសំរាប់ស្ដារអេបផលបច្ចុប្បន្នអោយរស់ឡើងវិញ។
Portuguese:
Mas algo começou a surgir lentamente em mim: eu ainda amava o que fazia.
A série de eventos na Apple não tinha mudado isso nem um pouco.
Eu fui rejeitado, mas eu ainda estava apaixonado.
E então eu decidi começar de novo.
Eu não vi isso na época, mas acabou que ser demitido da
Apple foi a melhor coisa que poderia ter acontecido para mim.
O peso de ser bem sucedido
foi substituído pela leveza de ser de novo um iniciante,
menos certezas sobre tudo.
Isso me libertou para entrar num dos períodos mais criativos da minha vida.
Durante os cinco anos seguintes, criei uma companhia chamada NeXT,
outra companhia chamada Pixar,
e me apaixonei por uma mulher maravilhosa que se tornou minha esposa.
Pixar passou a criar o primeiro longa-metragem animado por computador do mundo,
Toy Story,
e é o estúdio de animação mais bem sucedido do mundo.
Em uma inacreditável guinada de eventos, a Apple comprou a NeXT,
eu retornei à Apple, e a tecnologia que nós desenvolvemos na
NeXT está no coração do atual renascimento da Apple.
Arabic:
ولكن شيء ببطئ ظهر لي - مازلت أحب ما أفعل.
تحول الأحداث في شركة آبل لم يتغير أبداً , لقد تم رفضي , ولكنني مازلت أحب ما أفعله.
لذلك قررت البدء من جديد .
لم أرها في حينها , ولكن تبين لي بأن طردي من شركة آبل كان أفضل شيء قد يحدث لي .
تم استبدال ثقل نجاحي بخفة كوني مبتدئاً مجدداً , وأقل تأكد من كل شيء.
لقد حررني لأدخل واحده من أكثر فترات الإبداع في حياتي.
خلال السنوات الخمس القادمة, بدأت بشركة أسميتها نيكست , وأخرى اسمها بيكسار,
ووقعت بالحب بأكثر إمرأة مدهشة لتكون زوجتي فيما بعد.
توجه بيكسار كان على انشاء أول فيلم للرسوم المتحركه على الكمبيوتر , قصة لعبة , وهو الأن اكتر استيديو للرسوم التحركة نجاحاً في العام .
[ تصفيق و ابتهاج ]
وفي تحول ملحوظ للأحداث , قامت شركة آبل بشراء شركة نيكست وبذلك عدت انا لآبل ,
والتكنولوجيا التي قمنا بتطويرها في نيكست هي في صميم نهضة آبل الحالية.
Spanish:
Pero todavía tenía algo, todavía amaba lo que hacía.
Los eventos en Apple no habían cambiado eso ni un poco. Me habían rechazado pero seguía enamorado.
Así que decidí empezar de nuevo.
No lo vi en ese momento, pero resultó que haber sido despedido de Apple fue lo mejor que me pudo haber pasado.
Lo pesado de ser exitoso fue reemplazado por lo liviano de ser un principiante de nuevo, menos seguro de todo.
Me había liberado para entrar en uno de los momentos mas creativos de mi vida.
Durante los siguientes 5 años, funde una empresa llamada NeXT y otra llamada Pixar.
y me enamore de la asombrosa mujer que se convertiría en mi mujer.
Pixar creo la primera película animada con computadoras, Toy Story, y ahora es el mas exitoso estudio de animación del mundo.
(aplausos)
En una increíble serie de eventos, Apple compro a NeXT, y yo volví a Apple.
Y la tecnología que desarrollamos en NeXT esta en el actual renacimiento de Apple.
Spanish:
Pero poco a poco fui cayendo en la cuenta. Aun amaba lo que hice.
El giro de los acontecimientos en Apple no logró cambiar eso.
Fui rechazado, pero aun estaba enamorado.
Así que decidí volver a empezar.
No lo ví en ese momento, pero resultó que el haber sido despedido de
Apple fue lo mejor que me pudo haber pasado.
El peso de ser exitoso fue
reemplazado por la luz de volver a ser un principiante,
menos seguro de todo.
Me dio la oportunidad de entrar a uno de los periodos más creativos de mi vida.
Durante los siguientes cinco años, empecé una compañía llamada NeXT,
otra compañía llamada Pixar
y me enamoré de una maravillosa mujer que se convertiría en mi esposa.
Pixar se dedicó a crear el primer largometraje del mundo animado por computadora,
Toy Story,
y ahora es el estudio de animación de mayor éxito en el mundo.
En un sorprendente vuelco de eventos, Apple compró a NeXT,
yo regresé a Apple y la tecnología que desarrollamos en
NeXT es el corazón del actual renacimiento de Apple.
English:
But something slowly began to dawn on me I still loved what I did.
The turn of events at Apple had not changed that one bit.
I had been rejected, but I was still in love.
And so I decided to start over.
I didn't see it then, but it turned out that getting fired from
Apple was the best thing that could have ever happened to me.
The heaviness of being successful was
replaced by the lightness of being a beginner again,
less sure about everything.
It freed me to enter one of the most creative periods of my life.
During the next five years, I started a company named NeXT,
another company named Pixar,
and fell in love with an amazing woman who would become my wife.
Pixar went on to create the worlds first computer animated feature
film, Toy Story,
and is now the most successful animation studio in the world.
In a remarkable turn of events, Apple bought NeXT,
I returned to Apple, and the technology we developed at
NeXT is at the heart of Apple's current renaissance.
Italian:
Ma qualcosa lentamente iniziò a farsi strada nella mia mente - Amavo ancora quello che facevo.
Ciò che era successo alla Apple non aveva modificato questo punto. Ero stato rifiutato ma ero ancora innamorato.
E quindi decisi di ricominciare.
Non lo vidi allora, ma per come sono andate le cose, esser stato licenziato dalla Apple è stata la miglior cosa che potesse mai accadermi.
Il peso del successo venne rimpiazzato dalla leggerezza di essere di nuovo un principiante, meno sicuro su tutto.
Mi permise di entrare in una delle fasi più creative della mia vita.
Durante i cinque anni successivi, diedi vita a un'azienda chiamata NeXT, ad un'altra chiamata Pixar,
e mi innamorai di una donna fantastica che poi sarebbe diventata mia moglie.
La Pixar arrivò a creare il primo cartone animato al computer, "Toy Story" ed è ora lo studio d'animazione
più rinomato al mondo.
Ciò che successe in seguito fu memorabile: la Apple comprò la NeXT e ritornai alla Apple,
e la tecnologia che sviluppammo alla NeXT è al cuore dell'attuale rinascita dell'Apple.
Spanish:
Y Laurene y yo tenemos una maravillosa familia juntos.
Estoy seguro que nada de esto
hubiera pasado si no me hubieran despedido de Apple.
Fue horrible probar la medicina, pero creo que el paciente la necesitaba.
A veces la vida te pega en la cabeza con un ladrillo. No pierdan la esperanza.
Estoy convencido que la única cosa que me mantuvo a flote fue que amaba
lo que hacía. Tienen que encontrar lo que aman.
Y esto es tan cierto ensu trabajo como lo es con sus amantes.
Su trabajo va a llenar gran parte de sus vidas
y la única manera de estar verdaderamente satisfecho
es hacer lo que crean que es un gran trabajo.
Y la única manera de hacer un gran trabajo es amar lo que hacen.
Si aun no lo encuentran, sigan buscando. No descansen.
Como con todo lo del corazón, ustedes sabrán cuando lo encuentren.
Como toda buena relación,
mejora y mejora al pasar de los años.
Así que sigan buscando. No se rindan.
Central Khmer:
លើសពីនេះទៅទៀត Laurene និងខ្ញុំបានកសាងគ្រួសារដ៏ពិសេសមួយជាមួយគ្នា
ខ្ញុំអាចនិយាយបានប្រាកដណាស់ថាអ្វីៗទាំងអស់នេះនឹងមិនកើតឡើងទេ ប្រសិនបើខ្ញុំមិនត្រូវបានគេដេញចេញពីក្រុមហ៊ុនអេបផល។
វាជាថ្នាំដ៏ល្វីងជូរចត់ ប៉ុន្តែខ្ញុំគិតថាអ្នកជំងឺត្រូវការវា។
ជួនកាលក្នុងឆាកជីវិតយើង យើងត្រូវគេវ៉ៃក្បាលនឹងដុំឥដ្ឋ។
ប៉ុន្តែសូមកុំអស់ជំនឿចិត្ត។ ខ្ញុំជឿថារបស់តែមួយគត់ដែលជួយជំរុញខ្ញុំអោយបន្តធ្វើការដល់សព្វថ្ងៃ គឺទឹកចិត្តស្រលាញ់របស់ខ្ញុំចំពោះអ្វីដែលខ្ញុំធ្វើ។
អ្នកត្រូវតែរកអោយឃើញនូវអ្វីដែលអ្នកស្រលាញ់ចូលចិត្តនឹងធ្វើ ទាំងក្នុងជីវិតការងារនិងជីវិតស្នេហា។
ការងារនឹងគ្របដណ្ដប់លើផ្នែកមួយភាគធំនៃជីវិតរបស់អ្នក ហើយវិធីដែលធ្វើអោយអ្នកស្កប់ស្កល់ចិត្តនោះ គឺត្រូវធ្វើការងារណាដែលអ្នកជឿថាជាការងារអស្ចារ្យ។
ហើយវិធីតែមួយគត់ក្នុងការធ្វើការងារអស្ចារ្យ គឺអ្នកត្រូវតែស្រលាញ់អ្វីដែលអ្នកធ្វើ។
បើអ្នកមិនទាន់រកឃើញវាទេ ចូរបន្តស្វែងរកទៀតទៅ។ កុំនៅស្ងៀម។
ដោយសារវាជារឿងបេះដូង អ្នកនឹងដឹងដោយខ្លួនឯងពេលដែលអ្នករកវាឃើញ។
ក៏ដូចជាទំនាក់ទំនងរវាងមនុស្សនិងមនុស្ស វានឹងរីកលូតលាស់ទៅតាមពេលវេលា។
ហេតុនេះសូមបន្តស្វែងរកទាល់តែឃើញ។ កុំនៅស្ងៀមអោយសោះ។
English:
And Laurene and I have a wonderful family together.
I'm pretty sure none of this would
have happened if I hadn't been fired from Apple.
It was awful tasting medicine, but I guess the patient needed it.
Sometimes life hits you in the head with a brick. Don't lose faith.
I'm convinced that the only thing that kept me going was that I loved
what I did. You've got to find what you love.
And that is as true for your work as it is for your lovers.
Your work is going to fill a large part of your life,
and the only way to be truly satisfied
is to do what you believe is great work.
And the only way to do great work is to love what you do.
If you haven't found it yet, keep looking. Don't settle.
As with all matters of the heart, you'll know when you find it.
And, like any great relationship,
it just gets better and better as the years roll on.
So keep looking. Don't settle.
Arabic:
لورين زوجتي وانا لدينا عائلة رائعه معاً
أنا جد متأكد بأنه ولا واحدة من هذه الأمور كانت لتحدث لو لم أطرد من شركة آبل.
كان مروعاً تذوق الدواء , لكن على ما اعتقد بأن المريض بحاجة له.
في بعض الأحيان تقم الحياة بضربنا على رأسنا بطوبة.
لا تفقد الأمل . أنا مقتنع بأن الشيء الذي أبقاني أستمر كان حبي لما أقوم به.
عليك أن تجد ما تحب . وهذا صحيح بالنسبة للعمل كما هو الحال بالنسبة لمن تحب .
عملك سيملأ جزء كبير من حياتك , والسبيل الوحيد لتكون راضياً حقاً هو أن تعمل ماتؤمن بأنه عمل عظيم .
والسبيل الوحيد لفعل عمل عظيم هو أن تحب ماتفعله.
اذا لم تكن وجدته بعد , واصل البحث ولا تهدأ .
كما الحال مع كل أمور القلب , ستعرف عندما تجد العمل المناسب.
ومثل أي علاقة مميزة , ستحصل على الأفضل والأفضل مع مرور الزمن.
لذلك واصل البحث ولا تسكن.
Spanish:
Y Laurene y yo tenemos una fabulosa familia juntos.
Estoy bastante seguro que nada de esto hubiera pasado si no me hubieran echado de Apple.
Era medicina desagradable, pero supongo que el paciente la necesitaba.
Algunas veces la vida te va a golpear la cabeza con un ladrillo.
No pierdas fe, estoy convencido que la única cosa que me motivó para seguir con mi vida era que amaba lo que hacía.
Tenés que encontrar lo que amas. Y eso es verdad para el trabajo como para tus parejas.
Tu trabajo va a rellenar una gran parte de tu vida, y la única manera de estar completamente satisfecho es hacer lo que vos creas un grandioso trabajo.
Y la única manera de hacer un grandioso trabajo es amar lo que hagas.
Si todavía no lo encontraste, sigue buscando y no te conformes.
Como todos los asuntos del corazón, sabrás cuando lo encuentres.
Y, como cualquier buena relación, solo mejora y mejora mientras pasan los años.
Así que sigue buscando. No te conformes.
Portuguese:
E Laurene e eu temos uma família maravilhosa juntos.
Tenho certeza de que nada disso teria
acontecido se eu não tivesse sido demitido da Apple.
Foi um horrível e amargo remédio, mas acho que o paciente precisava dele.
Às vezes a vida te bate na cabeça com um tijolo. Não perca a fé.
Estou convencido de que a única coisa que me permitiu seguir adiante foi
o amor pelo que eu fazia. Você tem que encontrar o que você ama.
E isso é tão verdade para o seu trabalho quanto é para seus relacionamentos.
Seu trabalho vai preencher uma parte grande da sua vida,
e a única maneira de estar realmente satisfeito
é fazer o que você acredita ser um ótimo trabalho.
E a única maneira de fazer um ótimo trabalho é amar o que você faz.
Se você ainda não encontrou o que é, continue procurando. Não se acomode.
Como em todos os assuntos do coração, você saberá quando encontrar.
E, como qualquer grande relacionamento,
só fica melhor e melhor à medida que os anos passam.
Então continue procurando. Não se acomode.
Italian:
e Laurene ed io abbiamo una splendida famiglia assieme.
Sono abbastanza sicuro che nulla di tutto ciò sarebbe successo se non fossi stato mandato via dalla Apple.
Era una medicina dal sapore terribile, ma suppongo che il paziente ne avesse bisogno.
A volte la vita vi dà una mattonata in testa.
Ma non dovete perdere la speranza. Sono convinto che l'unica cosa che mi fece andare avanti fu il mio amore per quello che facevo.
Dovete trovare ciò che amate. E questo vale sia per il lavoro sia per le persone.
Il vostro lavoro riempirà una larga parte della vostra vita, e l'unico modo di essere davvero soddisfatti è fare ciò che si crede essere un grande lavoro.
E l'unico modo per fare un grande lavoro è amare quello che si fa.
Se non lo avete ancora trovato, Continuate a cercare, non fermatevi.
Come per tutto ciò che riguarda il cuore, sarete capaci di riconoscerlo quando lo avrete trovato.
E, come ogni grande relazione, continuerà a migliorare col passare degli anni.
Quindi, continuate a cercare.
English:
My third story is about death.
When I was 17, I read a quote that went something like:
"If you live each day as if it was your last,
someday you'll most certainly be right."
It made an impression on me, and since then, for the past 33 years,
I have looked in the mirror every morning
and asked myself: "If today were the last day of my life,
would I want to do what I am about to do today?"
And whenever the answer has been "No" for too many days in a row,
I know I need to change something.
Remembering that I'll be dead soon is the most important
tool I've ever encountered to help me make the big choices in life.
Because almost everything all external expectations, all pride,
all fear of embarrassment or failure -
these things just fall away in the face of death,
Spanish:
Mi tercera historia es acerca de la muerte.
Cuando tenía 17 años, lei una cita que decía algo así:
"Si vives cada día como si fuera el último,
es probable que algún día tengas razón".
Me impresionó mucho y desde entonces, durante los últimos 33 años,
cada mañana me miró al espejo
y me pregunto: "Si hoy fuera el último día de mi vida,
¿me gustaría hacer lo que estoy a punto de hacer hoy?"
Y cuando la respuesta ha sido "NO" por varios días seguidos,
me doy cuenta que tengo que cambiar algo.
Recordar que pronto voy a estar muerto, es la herramienta más importante
que he encontrado para ayudarme a tomar las grandes decisiones de mi vida.
Porque casi todas las expectativas externas, todo el orgullo,
el miedo a la vergüenza o a fallar -
son cosas que desaparecen frente a la muerte,
Arabic:
[ تصفيق ]
قصتي الثالثة عن الموت.
عندما كنت في السابعة عشر من عمري, قرأت اقتباس الذي يحوي شيء من هذ القبيل :
" اذا عشت كل يوم وكأنه آخر يوم في حياتك, فسوف يأتي يوم تكون فيه على حق "
[ضحك]
كان لذلك الأثر الكبير على نفسي , ومنذ ذلك الوقت , وعلى مر الثلاثة والثلاثين سنة الماضية , أنظر في المرآة كل صباح وأسأل نفسي :
" لو كان اليوم آخر يوم في حياتي– هل كنت لأود أن أفعل ما أنوي فعله في يومي هذا؟"
و مهما كانت إجابتي هي ’لا‘ على مر عدة أيام، في حينها كنت أدرك حاجتي لتغيير شيء ما.
تذكري لحقيقة أني سأموت قريبا ً كانت الأداة الأكثر مواجهه لتساعدني على اتخاذ القرارات الكبيرة في حياتي
لأنه تقريباً كل شي - الآمال الكبيره , الفخر , الخوف من الحج والفشل
هذه الأشياء فقط تخفت في مواجهة الموت , تاركة فقط ماهو مهم حقاً .
Portuguese:
Minha terceira história é sobre morte.
Quando eu tinha 17 anos, li uma frase que era algo assim:
"Se você viver cada dia como se fosse o último,
algum dia você com certeza estará certo."
Ele deixou uma impressão em mim, e desde então, nos últimos 33 anos,
Eu olhei no espelho todas as manhãs
e perguntei a mim mesmo: "Se hoje fosse o último dia da minha vida,
eu iria querer fazer o que estou prestes a fazer hoje?"
E sempre que a resposta fosse "não" por muitos dias seguidos,
Eu sabia que era preciso mudar alguma coisa.
Lembrar que eu estarei morto em breve é a ferramenta mais importante
que já encontrei para me ajudar a fazer grandes escolhas na vida.
Porque praticamente tudo, todas as expectativas externas, todo o orgulho,
todo o medo de se constranger ou falhar;
estas coisas simplesmente somem em face da morte,
Italian:
Non arrendetevi.
La mia terza storia parla di morte.
Quando avevo diciassette anni, lessi una citazione che faceva più o meno così:
"Se vivi ogni giorno come se fosse l'ultimo, un giorno probabilmente avrai ragione".
.
Ne fui colpito, e da allora, per i trentatré anni successivi, mi sono guardato allo specchio ogni mattina chiedendomi:
"Se oggi fosse l'ultimo giorno della mia vita, vorrei fare quello che sto per fare oggi?"
E se la risposta era "No" per troppi giorni di fila, sapevo che c'era bisogno di cambiare qualcosa.
Il ricordare che morirò presto è lo strumento più importante che abbia mai incontrato per compiere le grandi scelte della vita.
Perché quasi tutto, tutte le aspettative esterne, tutto l'orgoglio, tutta la paura dell'imbarazzo o della disfatta
svaniscono completamente davanti alla morte, lasciando solo ciò che davvero conta.
Central Khmer:
[សំលេងទះដៃ]
រឿងទីបីរបស់ខ្ញុំគឺនិយាយអំពីមរណភាព។
ពេលខ្ញុំមានអាយុ១៧ឆ្នាំ ខ្ញុំបានអាននូវពាក្យពេជន៍មួយថា៖
«បើសិនជាអ្នករស់ជីវិតមួយថ្ងៃមួយថ្ងៃ ដោយចាត់ទុកថ្ងៃនោះជាថ្ងៃចុងក្រោយរបស់អ្នក នោះនៅពេលណាមួយអ្នកនឹងប្រាកដជារស់បានត្រឹមត្រូវ។»
[សំលេងសើច]
ពាក្យនេះដក់ជាប់នៅក្នុងខួរក្បាលខ្ញុំ ហើយចាប់ពីពេលនោះក្នុងរយៈពេល៣៣ឆ្នាំមកនេះ រាល់ព្រឹកខ្ញុំតែងសំលឹងរូបខ្លួនឯងនៅក្នុងកញ្ចក់ ហើយសួរខ្លួនឯងថា៖
«បើសិនថ្ងៃនេះជាថ្ងៃចុងក្រោយរបស់ខ្ញុំ តើខ្ញុំពិតចង់ធ្វើអ្វីដែលខ្ញុំមានគំរោងនឹងធ្វើនៅថ្ងៃនេះដែរឬទេ?»
ហើយនៅពេលដែលចំលើយចេញមកថា «ទេ» ជាប់ៗគ្នាជាច្រើនថ្ងៃ ពេលនោះខ្ញុំដឹងថាខ្ញុំគួរតែផ្លាស់ប្ដូរអ្វីម្យ៉ាង។
សូមចាំថា ការគិតថាខ្លួនឯងនឹងស្លាប់នាពេលឆាប់ៗ ជាវិធីដ៏មានប្រសិទ្ធភាពបំផុតមួយ ដែលជួយខ្ញុំអោយធ្វើការសំរេចចិត្តធំៗក្នុងជីវិត។
ព្រោះអ្វីៗទាំងអស់ ទាំងការរំពឹងពីអ្នកដទៃ ទាំងមោទនភាព ទាំងការភ័យខ្លាចចំពោះក្ដីអាម៉ាស់ពេលបរាជ័យ
អ្វីៗទាំងអស់នេះនឹងរលាយបាត់ពេលដែលប្រឈមមុខនឹងការស្លាប់។ អ្វីដែលនៅសល់ជាអ្វីដែលសំខាន់សំរាប់យើងពិតប្រាកដ។
Spanish:
(aplausos)
My tercera historia es sobre muerte.
Cuando tenía 17, leí algo mas o menos como esto:
"Si vives cada día como si es tu último, algún día va a ser verdad".
(risas)
Me marcó de por vida, y desde ese día, por los últimos 33 años, me he mirado en el espejo todas las mañanas y me he preguntado:
"¿Si hoy fuera mi último día, querría hacer lo que voy a hacer hoy?"
Y cuando sea que la respuesta era "no" por demasiados días seguidos, sabía que tenía que cambiar algo.
Recordar que voy a estar muerto pronto es una de las mejores herramientas que encontré para ayudarme a tomar las grandes decisiones en la vida.
Porque casi todo - todas expectativas externas, todo el orgullo, todo el miedo a fallar o pasar vergüenza -
estas cosas simplemente desaparecen ante la cara de la muerte, dejando solo lo que es verdaderamente importante.
English:
leaving only what is truly important.
Remembering that you are going to die is the best
way I know to avoid the trap of thinking you have something to lose.
You are already naked. There is no reason not to follow your heart.
About a year ago I was diagnosed with cancer.
I had a scan at 7:30 in the morning,
and it clearly showed a tumor on my pancreas.
I didn't even know what a pancreas was.
The doctors told me this was almost
certainly a type of cancer that is incurable,
and that I should expect to live no longer than three to six months.
My doctor advised me to go home and get my affairs in order,
which is doctor's code for prepare to die.
It means to try to tell your kids everything you thought
you'd have the next 10 years to tell them in just a few months.
It means to make sure everything is buttoned
up so that it will be as easy as possible for your family.
It means to say your goodbyes.
Central Khmer:
ចាំថា ការគិតថាខ្លួនឯងនឹងស្លាប់ជាវិធីល្អបំផុត ដែលជួយអ្នកអោយរួចពីអន្ទាក់គំនិតដែលអ្នកតែងគិតថាអ្នកមានអ្វីដែលត្រូវបាត់បង់។
អ្នកកើតមកគ្មានអ្វីយកមកតាមទេ ហើយក៏គ្មានអ្វីដែលត្រូវបាត់បង់ដែរ។ គ្មានមូលហេតុអ្វីដែលអ្នករស់នៅដោយមិនស្ដាប់តាមអ្វីដែលបេះដូងអ្នកចង់បានទេ។
មួយឆ្នាំមុន គ្រូពេទ្យប្រាប់ថាខ្ញុំមានជំងឺមហារីក។
ខ្ញុំអោយគេថតឆ្លុះនៅម៉ោង៧កន្លះព្រឹក ហើយរូបភាពបង្ហាញយ៉ាងច្បាស់នូវដុំសាច់ដុះលើលំពែងរបស់ខ្ញុំ។
ខ្ញុំមិនទាំងដឹងថាលំពែងនោះជាស្អីផង។
គ្រូពេទ្យបានប្រាប់ខ្ញុំថានេះជាប្រភេទជំងឺមហារីកដែលសឹងតែគ្មានសង្ឃឹមថាអាចព្យាបាលបាន ហើយថាខ្ញុំអាចរស់បានតែ៣ទៅ៦ខែទៀតទេ។
គ្រូពេទ្យបានប្រាប់ខ្ញុំអោយត្រលប់ទៅផ្ទះរៀបចំដោះស្រាយអ្វីៗអោយហើយ។ នេះជាពាក្យសំងាត់របស់ពេទ្យ ដែលមានន័យអោយរៀបចំអ្វីៗទាំងអស់មុននឹងស្លាប់។
វាមានន័យថាអ្នកត្រូវប្រាប់អ្វីៗទាំងអស់ដែលអ្នកគ្រោងនឹងប្រាប់ទៅកូនចៅរបស់អ្នកក្នុងរយៈពេល១០ឆ្នាំទៅមុខនោះ អោយចប់ត្រឹមរយៈពេលតែប៉ុន្មានខែនេះអោយហើយ។
វាមានន័យថាបញ្ចប់ការបន្តអ្វីៗទៅអោយគ្រួសារ ដើម្បីអោយពួកគេរស់នៅដោយស្រួលពេលអ្នកស្លាប់ទៅ។
វាមានន័យថាអោយអ្នកនិយាយពាក្យលាអោយហើយ។
Spanish:
Recordar que voy a morir es la mejor forma que tengo de evitar la trampa de creer que tengo algo que perder.
Ya estas desnudo, no hay motivo por el cual no seguir tu corazón.
Hace un año se me diagnostico cancer.
Tuve un estudio hecho a las 7:30 de la mañana, y claramente mostraba un tumor en mi páncreas.
Ni siquiera sabía lo que era el páncreas.
Los doctores me dijeron que seguramente tenía un tipo de cáncer incurable, y que no espere vivir mas de 3 a 6 meses.
My doctor me aconsejo que vaya a mi casa y ponga mis asuntos en orden, que es código de doctores para "preparate para morir".
Significa intentar explicarles a tus hijos en un par de meses todo lo que tenías planeado decirles los siguientes 10 años
Significa asegurarse de que todo este preparado para que las cosas sean fáciles para tu familia.
Significa decir adiós.
Spanish:
dejando latente lo verdaderamente importante.
Recordar que vas a morir es la mejor manera
que conozco, para evitar caer en el pensamiento de que tienes algo que perder.
Ya estás desnudo. Ya no hay razón alguna para no hacerle caso a tu corazón.
Hace casi un año me diagnosticaron cáncer.
Me hicieron una ecografía a las 7:30 de la mañana
y claramente se veía un tumor en el páncreas.
Yo ni siquiera sabía lo que era un páncreas.
Los doctores me dijeron que este era
un tipo de cáncer casi incurable,
y que mi esperanza de vida era de tres a seis meses.
Mi doctor me recomendó irme a casa y poner mis ideas en orden,
lo que en código médico significa prepararse para morir.
Significa tratar de hablar con tus hijos y decirles todo lo que
les ibas a decir en los próximos 10 años, en tan sólo unos meses.
Significa asegurarte que todo está en su lugar,
de tal manera que sea lo más fácil posible para tu familia.
Significa decir adiós.
Portuguese:
deixando apenas o que é verdadeiramente importante.
Lembrar que você vai morrer é a melhor maneira
que eu conheço para evitar a armadilha de pensar que você tem algo a perder.
Você já está nu. Não há razão para não seguir seu coração.
Cerca de um ano atrás eu fui diagnosticado com câncer.
Eu fiz um exame às 7:30 da manhã,
e ele mostrava claramente um tumor no meu pâncreas.
Eu nem sabia o que era um pâncreas.
Os médicos me disseram que esse era quase
certamente um tipo de câncer incurável,
e que eu não deveria esperar viver mais do que três a seis meses.
Meu médico me aconselhou a ir para casa e por minhas coisas em ordem,
o que é um código dos médicos para: prepare-se para morrer.
Significa tentar dizer aos seus filhos tudo o que você pensou
que teria os próximos 10 anos para lhes dizer, em apenas alguns meses.
Significa ter certeza que tudo está abotoado
de modo que seja o mais fácil possível para sua família.
Significa dizer seu adeus.
Italian:
Ricordare che si deve morire è il miglior modo che conosca per evitare di essere intrappolati nella convinzione di aver qualcosa da perdere.
Siete già nudi. Non c'è motivo per non seguire il vostro cuore.
Circa un anno fa mi è stato diagnosticato un cancro.
Ho fatto la radiografia alle sette e mezzo di mattina, e mostrava chiaramente un tumore al pancreas.
Non sapevo nemmeno cosa fosse un pancreas.
I dottori mi dissero che era un tipo di cancro quasi sicuramente incurabile, e mi diedero dai tre ai sei mesi di vita.
Il mio dottore mi consigliò di tornare a casa e sistemare quello che avevo in sospeso, che nel linguaggio dei dottori significa "Preparati a morire".
Questo significa provare a dire ai tuoi bambini tutto ciò che pensavi di poter dire nei prossimi dieci anni nell'arco di pochi mesi.
Significa assicurarsi che ogni cosa sia sistemata per il meglio, affinché sia il più facile possibile per la tua famiglia.
Significa dire "Addio".
Arabic:
أن تذكر نفسك بأنك سوف تموت هي أفضل سبيل لتجنب الوقوع في فخ مظنة أن لديك شيء لتخسره .
أنت بالفعل عارٍ. لا يوجد أي سبب يمنعك من إتباع قلبك .
منذ قرابة عام مضى تم تشخيص حالتي بالسرطان .
كان لدي مسحاً طبياً في 7:30 صباحاً , والذي أوضح بشكل ظاهر إصابتي بورم خبيث في البنكرياس .
لك أكن أعلم وقتها ماهو البنكريس حقاً .
أخبرني فريق الأطباء أن مرضي عضال لا شفاء منه، وأن أمامي من 3 إلى 6 أشهر لأعيشها.
كانت نصيحة طبيبي أن أعود إلى بيتي وأرتب أموري، وهي كانت شيفرة الطبيب ليخبرني بأن أستعد للموت .
وهذا يعني أن أحاول و أخبر أطفالي كل ما كنت أظن أن أمامي عشر سنوات لأخبرهم خلالها بما أردت قوله لهم فقط في بضعة شهور.
وأن أجهز كل شيء لعائلتي حتى يصبح رحيلي سهلا عليهم.
هذا يعني أن أودع الجميع.
Italian:
Ho vissuto con quella diagnosi per tutto il giorno.
Ed a sera feci una biopsia, nella quale mi ficcarono un endoscopio giù per la gola, lo stomaco e l'intestino,
misero un ago sul mio pancreas e presero alcune cellule del tumore.
Ero sedato, ma mia moglie, che era lì, mi ha detto che quando i dottori videro le cellule al microscopio si misero a piangere
perché si scoprì essere una forma di cancro al pancreas molto raro, curabile con l'intervento.
Ho fatto l'intervento, e fortunatamente
ora sto bene.
Questo è quanto di più vicino io sia stato alla morte, e spero di non andare oltre per alcuni decenni.
Essendoci passato, posso dirvi con un po' più di certezza rispetto a quando la morte era un concetto utile ma puramente intellettuale:
Central Khmer:
ខ្ញុំរស់ជាមួយក្រដាស់លទ្ធផលពិនិត្យសុខភាពនោះពេញមួយថ្ងៃ។
ល្ងាចថ្ងៃនោះ ខ្ញុំទទួលការធ្វើកោសល្យវិច័យ។ គេញាត់អន្តោទស្សន៍ចូលតាមបំពង់ក ចូលក្នុងក្រពះ ពោះវៀន
រួចយកម្ជុលចាក់លើលំពែងរបស់ខ្ញុំដើម្បីជួសយកកោសិកាមួយចំនួនពីដុំមហារីកនោះ។
ខ្ញុំត្រូវគេចាក់ថ្នាំសន្លប់មិនដឹងខ្លួនទេ។ ប៉ុន្តែប្រពន្ធខ្ញុំដែលនៅទីនោះដែរបានប្រាប់ខ្ញុំថា ពេលដែលគេមើលកោសិកាខ្ញុំតាមមីក្រូទស្សន៍ គ្រូពេទ្យចាប់ផ្ដើមស្រក់ទឹកភ្នែក
ព្រោះគេបានឃើញថាវាជាប្រភេទមហារីកលំពែងដ៏កម្រមាន ដែលអាចព្យាបាលបានដោយការវះកាត់។
ខ្ញុំទទួលការវះកាត់ ហើយខ្ញុំមានសុខភាពល្អវិញហើយនៅពេលនេះ។
[សំលេងទះដៃ]
នោះជានាទីដែលខ្ញុំនៅក្បែរសេចក្ដីស្លាប់ជាងគេ។ ខ្ញុំសង្ឃឹមថាខ្ញុំនឹងមិននៅក្បែរវាជាងនេះទៀតទេក្នុងរយៈពេលប៉ុន្មានទសវត្សរ៍ទៀតនេះ។
ដោយរស់ឆ្លងកាត់បទពិសោធន៍នេះ ខ្ញុំអាចប្រាប់អ្នកបានច្បាស់ជាងមុន ជាងពេលដែលការស្លាប់គ្រាន់តែជាមនោគតិសុទ្ធសាធនោះថា៖
Spanish:
Viví con ese diagnóstico todo el día.
Por la tarde de es mismo día, me hicieron una biopsia,
en donde deslizaron un endoscopio por mi garganta,
a través de mi estómago y hasta mis intestinos,
colocaron una aguja en mi páncreas y extrajeron unas cuantas células del tumor.
Yo estuve sedado, pero mi esposa, que estuvo presente,
me contó que cuando los doctores vieron las células bajo el microscopio
empezaron a llorar, pues resultó ser
una forma muy rara de cáncer de páncreas que se puede curar con cirugía.
Me hicieron la cirugía y afortunadamente ahora estoy bien.
Esto es lo más cerca que he estado de la muerte,
y espero que sea lo más cerca que esté durante varias décadas más.
Después de haber vivido esto,
ahora puedo hablar con un poco más de certeza, que cuando
la muerte era sólo un útil concepto intelectual:
Nadie se quiere morir.
Spanish:
Viví con ese diagnóstico todo el día.
Despues esa tarde tuve una biopsia, donde te meten un endoscopio por la garganta, a través del estomago, hasta mis intestinos,
ponen una aguja en mi páncreas y tomar unas cuantas células del tumor,
Estaba sedado, pero mi esposa, que estaba ahí al lado mio, me dijo que cuando los doctores vieron las células bajo un microscopio empezaron a llorar
porque resultaba que tenía un tipo raro de cáncer pancreático que era curable con cirugía.
Tuve la cirugía y gracias a todo, estoy bien ahora.
(aplausos)
Esto fue lo mas cerca que estuve de la muerte, y espero que sea lo mas cerca que me acerque durante algunas décadas más.
Haber vivido eso, ahora puedo decir esto con un poco mas de certeza que cuando la muerte era solo un concepto útil pero puramente intelectual:
English:
I lived with that diagnosis all day.
Later that evening I had a biopsy,
where they stuck an endoscope down my throat,
through my stomach and into my intestines,
put a needle into my pancreas and got a few cells from the tumor.
I was sedated, but my wife, who was there,
told me that when they viewed the cells under a microscope
the doctors started crying because it turned out to be
a very rare form of pancreatic cancer that is curable with surgery.
I had the surgery and thankfully I'm fine now.
This was the closest I've been to facing death,
and I hope its the closest I get for a few more decades.
Having lived through it,
I can now say this to you with a bit more certainty than when
death was a useful but purely intellectual concept:
No one wants to die.
Arabic:
عشت مع هذا التشخيص الطبي يومي كله.
لاحقاً في المساء ذهبت لأخذ عينة من هذا الورم لتحليلها، من خلال إدخال منظار من فمي وعبر حلقي إلى معدتي ومن ورائها أمعائي,
ومن خلال إبرة اخترقت البنكرياس لأخذ خلايا من الورم ,
كنت مخدراً، ولكن زوجتي , التي كانت حاضرة , أخبرتني أنه حين نظر الأطباء إلى هذه الخلايا المنتزعة مني تحت المنظار بدأو بالبكاء فرحاً
لأن الورم كان من النوع شديد الندرة القابل للعلاج بالتدخل الجراحي.
أجريت العملية الجراحية وأزلت الورم وأنا بخير الآن.
[تصفيق]
كانت هذه الواقعة أقرب لقاء لي مع الموت , وأرجو أن تبقى كذلك لعدة عقود مقبلة.
لكوني خرجت حياً من هذه التجربة، أستطيع الآن أن أقول هذه النصيحة عن واقع خبرة – أكثر منها تشبيها مجازيا أو فكرة تحاول تخيلها:
Portuguese:
Eu vivi com aquele diagnóstico o dia inteiro.
Mais tarde naquela noite eu fiz uma biópsia,
onde eles enfiaram um endoscópio pela minha garganta abaixo,
através do meu estômago e dentro dos meus intestinos,
colocaram uma agulha no meu pâncreas e tiraram algumas células do tumor.
Eu estava sedado, mas minha mulher, que estava lá,
me disse que quando eles viram as células em um microscópio
os médicos começaram a chorar porque acabou por ser
uma forma muito rara de câncer pancreático que podia ser curada com cirurgia.
Eu fiz a cirurgia e, felizmente, eu estou bem agora.
Este foi o mais perto que eu estive de encarar a morte,
e eu espero que seja o mais perto que eu chegue por mais algumas décadas.
Tendo passado por isso,
Agora eu posso dizer a vocês, com um pouco mais de certeza do que quando
a morte era um conceito útil mas puramente intelectual:
Ninguém quer morrer.
Portuguese:
Mesmo as pessoas que querem ir para o céu não querem morrer para chegar lá.
E ainda a morte é o destino que todos nós compartilhamos.
Ninguém jamais escapou dela. E assim é como deve ser,
porque a morte é muito provavelmente a melhor invenção da vida.
É o agente de mudança da vida.
Ela limpa o velho para abrir caminho para o novo.
Neste momento, o novo são vocês, mas algum dia não muito distante,
vocês gradualmente se tornarão o velho e serão varridos.
Desculpa ser tão dramático, mas isso é bem verdade.
Seu tempo é limitado, então não o desperdice vivendo a vida de outra pessoa.
Não fiquem preso por dogmas, que é viver
com os resultados do pensamento de outras pessoas.
Não deixem que o barulho da opinião dos outros cale a sua própria voz interior
E o mais importante,
tenham a coragem de seguir seu coração e intuição.
Eles de alguma forma já sabem o que você realmente quer se tornar.
Todo o resto é secundário.
Spanish:
Nadie quiere morir. Incluso la gente que quiere ir al cielo no quiere morir para llegar ahí.
Y aun la muerte es el destino que todos compartimos. Nadie jamas se le ha escapado.
Y así debería ser, porque la muerte es muy seguramente el mejor invento de la vida.
Es el agente cambiador de la vida. Limpia lo viejo para dar lugar a lo nuevo.
Ahora mismo lo nuevo son ustedes, pero algún día no muy lejos de hoy, gradualmente se convertirán en lo viejo para ser eliminados.
Perdón por ser tan dramático pero es bastante cierto.
Tu tiempo es limitado, asi que no lo vivas viviendo la vida de otro.
No te quedes atrapado por el dogma - que es vivir con los resultados de los pensamientos de otras personas.
No dejes que el sonido de las opiniones de otros ahogue tu propia voz interior.
Y mas importante, ten el coraje de seguir tu corazón y tu intuición.
Ellos, de alguna manera, ya saben qué realmente quieres ser.
Todo lo demás es secundario.
Spanish:
Incluso la gente que quiere ir al cielo, no quiere morir para llegar hasta allá.
La muerte es un destino que todos compartimos.
Nadie se puede escapar de ella. Y así es como debe de ser,
ya que la Muerte es el mejor invento de la Vida.
Es el agente de cambio de la Vida.
Se deshace de lo viejo para dar paso a lo nuevo.
En este momento lo nuevo son ustedes, pero algún día no muy lejano,
se irán conviertiendo en lo viejo y serán reemplazados.
Perdón por ser tan drástico, pero es la verdad.
Su tiempo está limitado, no lo desperdicien viviendo la vida de alguien más.
No se dejen atrapar por el dogma de vivir
con los resultados del pensamiento de otras personas.
No permitan que el ruido de la opinión de otros apague su propia
voz interna. Y lo más importante,
tengan el coraje de seguir a su corazón y a su intuición.
De alguna manera ellos saben lo que ustedes quieren ser.
Todo lo demás es secundario.
Arabic:
لا أحد يرغب بالموت. حتى من يريدون الذهاب للجنة لا يريدون الموت للذهاب هناك.
ورغم ذلك فإن الموت هو النهاية التي نشترك كلنا فيها. ولا أحد يستطيع الفرار منها.
وهكذا كيف يجب للأمر أن يكون, لأن الموت هو أفضل اختراع للحياة .
هوعامل تغييرالحياة .فهو يمحو القديم ليفسح المجال للجديد.
حالياً الجديد هو أنت , ولكن يوماً ما ليس ببعيد عن اليوم , سوف تصبح بشكل تدريجي القديم ويتم مسحك.
آسف لكوني درامي حزين، لكنه عين الحقيقة.
وقتك محدود , لذلك لاتهدره بأن تحيا حياة شخص آخر .
لا تكن محاصر بالعقيدة - وهي العيش وفق ما توصل إليه فكر الآخرين.
لا تدع الضوضاء التي تحدثها آراء الآخرين تعلو فوق صوتك الداخلي.
والأكثر أهمية , لتكن لديك الشجاعة لاتباع قلبك وحدسك.
هم بطريقة ما يعرفان بصدق ما تريد أن تكون عليه
وكل شيء آخر هو ثانوي .
Central Khmer:
គ្មាននរណាម្នាក់ចង់ស្លាប់ទេ។ សូម្បីតែមនុស្សដែលចង់ទៅឋានសួគ៌ ក៏មិនចង់ស្លាប់ដើម្បីទៅទីនោះដែរ។
តែការស្លាប់ជាទីដៅដែលយើងទាំងអស់គ្នាត្រូវទៅដូចគ្នា។ គ្មាននរណាម្នាក់អាចគេចវេសបានទេ។
វាជារឿងធម្មជាតិ ព្រោះ ការស្លាប់ ទំនងជារបកគំឃើញដ៏ប្រសើរបំផុតតែមួយគត់របស់ ការរស់។
ការស្លាប់ជាភ្នាក់ងារផ្លាស់ប្ដូរការរស់។ វាលុបបំបាត់អ្វីៗដែលចាស់ទៅ ហើយបើកផ្លូវអោយអ្វីៗដែលថ្មី។
ឥលូវនេះអ្នកជាអ្វីៗដែលថ្មីនោះ ប៉ុន្តែនៅថ្ងៃណាមួយដែលនៅមិនឆ្ងាយប៉ុន្មាន អ្នកនឹងក្លាយជាចាស់បន្តិចម្ដងៗ ហើយ នឹងត្រូវបានគេលុបបំបាត់ចេញ។
សូមទោសដែលនិយាយបែបនាដកម្ម ប៉ុន្តែវាជារឿងពិត។
ពេលវេលារបស់អ្នកមានកំណត់ ហេតុនេះសូមកុំខ្ជះខ្ជាយវាក្នុងការរស់នៅជីវិតរបស់អ្នកដទៃ។
កុំជាប់អន្ទាក់ជំនឿជាទូទៅ។ កុំរស់នៅដោយលទ្ធផលរបស់គំនិតអ្នកដទៃ។
កុំអោយសំលេងរំខានរបស់មតិអ្នកដទៃពន្លិចសំលេងដែលនៅក្នុងចិត្តអ្នក។
ហើយសំខាន់ជាងនេះទៅទៀត ត្រូវមានសេចក្ដីក្លាហានធ្វើតាមសំលេងបេះដូងនិងវិចារណញាណរបស់អ្នកផ្ទាល់។
របស់ទាំង២នេះដឹងរួចទៅហើយពីអ្វីដែលអ្នកចង់ធ្វើពិតប្រាកដ។
អ្វីៗក្រៅពីនោះគ្រាន់តែជារបស់រាយរងប៉ុណ្ណោះ។
English:
Even people who want to go to heaven don't want to die to get there.
And yet death is the destination we all share.
No one has ever escaped it. And that is as it should be,
because Death is very likely the single best invention of Life.
It is Life's change agent.
It clears out the old to make way for the new.
Right now the new is you, but someday not too long from now,
you will gradually become the old and be cleared away.
Sorry to be so dramatic, but it is quite true.
Your time is limited, so don't waste it living someone else's life.
Don't be trapped by dogma which is living
with the results of other people's thinking.
Don't let the noise of others' opinions drown out your own inner
voice. And most important,
have the courage to follow your heart and intuition.
They somehow already know what you truly want to become.
Everything else is secondary.
Italian:
Nessuno vuole morire. Nemmeno la gente che vuole andare in paradiso vuole morire per andarci.
Eppure la morte è la destinazione che noi tutti condividiamo. Nessuno è mai scappato da essa.
E questo è come dovrebbe essere, perché la morte è probabilmente la miglior invenzione della vita.
è la causa dei cambiamenti della vita. Spazza via il vecchio per far spazio al nuovo.
Ora il nuovo siete voi, ma un giorno non molto lontano, diverrete pian piano il vecchio e sarete spazzati via.
Mi spiace esser così drammatico, ma è la verità.
Il vostro tempo è limitato, quindi non sprecatelo vivendo la vita di qualcun altro.
Non vi fate intrappolare dal dogma, dal vivere col risultato del pensiero di altri.
Non lasciate che il rumore delle opinioni altrui seppellisca la vostra voce interiore.
E, più importante ancora, abbiate il coraggio di seguire il cuore e l'intuito.
In qualche modo essi sanno già cosa volete davvero diventare.
Tutto il resto è secondario.
Central Khmer:
[សំលេងទះដៃ]
ពេលខ្ញុំនៅក្មេង មានសៀវភៅដ៏អស្ចារ្យមួយឈ្មោះ The Whole Earth Catalog ដែលជាគម្ពីរមួយសំរាប់អ្នកកើតជំនាន់ខ្ញុំ។
វាត្រូវបានផលិតដោយបុរសម្នាក់ឈ្មោះ Stewart Brand ដែលរស់នៅ Menlo Park មិនឆ្ងាយប៉ុន្មានទេពីទីនេះ។ គាត់បានធ្វើវាដោយការរចនាដ៏ប៉ិនប្រសព្វ។
វាត្រូវបានផលិតនៅទសវត្សរ៍ឆ្នាំ៦០ មុនសម័យដែលគេបោះពុម្ភសៀវភៅដោយប្រើកុំព្យូទ័រ។ វាត្រូវបានផលិតទាំងស្រុងដោយប្រើអង្គលីលេខ កន្ត្រៃ និង ម៉ាស៊ីនថតផូឡារ័យ។
វាហាក់ដូចជាហ្គូហ្គលក្នុងទំរង់ជាក្រដាស់សៀវភៅ កាលពី៣៥ឆ្នាំមុន ពេលហ្គូហ្គលមិនទាន់មានមែនទែន។ វាប្រកបដោយឧត្តមគតិ និងពោរពេញទៅដោយសញ្ញាណនិងវិធីសាស្ត្រពិសេសៗ។
Stewart និងក្រុមការងាររបស់គាត់បានចេញផ្សាយThe Whole Earth Catalog ជាច្រើនលេខ
ហើយនៅពេលដែលវាក្ដោបយកខ្លឹមសារស្ទើរទាំងអស់ហើយ ពួកគេបានបោះផ្សាយលេខចុងក្រោយ។
គឺនៅពាក់កណ្ដាញទសវត្សរ៍ឆ្នាំ៧០ ពេលខ្ញុំមានអាយុស្របាលអ្នកទាំងអស់គ្នា។
Spanish:
(aplausos)
Cuando era joven, había una increíble revista llamada "The Whole Earth Catalog", la cual era una de las biblias de mi generación.
Fue creada por un tipo llamado Stewart Brand no muy lejos de aca en Menlo Park, y el le dio vida con tu toque poético.
Esto era a fines de los '60, antes de las computadoras personales, así que estaba hecho todo con maquinas tipiadoras, tijeras y cámaras polaroid.
Era como Google en forma de papel, 35 años antes de que Google existiera: era idealista, desbordante con lindas herramientas y lindas nociones.
Stewart y su equipo sacaron varias ediciones del catalogo,
y luego cuando habia terminado su camino, sacaron una edición final.
Era en los '70 cuando tenía sus edades.
English:
When I was young,
there was an amazing publication called The Whole Earth Catalog,
which was one of the bibles of my generation.
It was created by a fellow named Stewart Brand not far from here
in Menlo Park, and he brought it to life with his poetic touch.
This was in the late 1960's,
before personal computers and desktop publishing,
so it was all made with typewriters, scissors, and polaroid cameras.
It was sort of like Google in paperback form,
35 years before Google came along: it was idealistic,
overflowing with neat tools, and great notions.
Stewart and his team put out several
issues of The Whole Earth Catalog,
and then when it had run its course, they put out a final issue.
It was the mid-1970s, and I was your age.
Portuguese:
Quando eu era jovem,
havia uma publicação maravilhosa chamada The Whole Earth Catalog (O Catálogo de Todo o Planeta Terra),
que era uma das bíblias da minha geração.
Foi criada por um sujeito chamado Stewart Brand, não muito longe daqui
em Menlo Park, e ele a trouxe à vida com seu toque poético.
Isso foi no final dos anos 60,
antes dos computadores pessoais e da editoração eletrônica,
então tudo foi feito com máquinas de escrever, tesouras e câmeras Polaroid.
Era como o Google em forma de livro,
35 anos antes do Google aparecer: era idealista,
cheio de boas ferramentas e noções.
Stewart e sua equipe publicaram várias
edições do The Whole Earth Catalog,
e depois, quando ele já tinha cumprido sua missão, eles lançaram uma edição final.
Era meados dos anos 70, e eu tinha a idade de vocês.
Spanish:
Cuando yo era joven,
había una publicación increible que se llamaba "The Whole Earth Catalog", [Catálogo de Toda la Tierra]
que era una de las biblias de mi generación.
Fue creada por un tipo llamado Stewart Brand, no lejos de aquí,
en Menlo Park y le dio vida con su toque poético.
Esto fue a finales de los 60s,
antes de las computadoras personales y de la autoedición,
así que todo se hacía con máquina de escribir, tijeras y cámaras Polaroid.
Era como un Google en formato rústico,
35 años antes de que Google apareciera: era idealista,
rebosaba de cuidadosas herramientas y grandes conceptos.
Stewart y su equipo sacaron varias
ediciones de The Whole Earth Catalog y
cuando llegó su momento, decidieron publicar el último número.
Fue a mediados de los 70s y yo tenía la edad de ustedes.
Arabic:
[تصفيق]
عندما كنت يافعاُ , كان هناك كتاب مذهل اسمه " The Whole Earth Catalog " والذي كان من أمهات الكتب لجيلي من الشباب.
تم تأليفه من قبل ستيوارت براند في مكان ليس ببعيد عن هنا في حديقة مينلو , وهو أعاده للحياة بلمساته الشعرية .
كان هذا بآواخر الستينيات , قبل الحواسيب الشخصية والنشر المكتبي , وكان صنع ذلك كله باستخدام الآلات الكاتبة والمقصات وكاميرات بولارويد الفورية.
لقد كان بمثابة توفير خدمات موقع جوجل من خلال الورق، 35 سنة قبل مجيء جوجل إلينا، كان كتابا مثاليا، مليئا بالأدوات الفنية والأفكار العظيمة.
وضع ستيوارت ورفاقه عدة إصدارات من "The Whole Earth Catalog"
وبعدما أخذ وقته وحان وقت النسخة الأخيرة، اجتهدوا في تصميم العدد الأخير
كان ذلك في منتصف 1970م - حين كنت بمثل عمركم.
Italian:
.
Quando ero giovane, c'era una pubblicazione chiamata The Whole Earth Catalog, che era una delle bibbie della mia generazione.
Era stata creata da un tizio chiamato Stewart Brand, non lontano da qui a Menlo Park, che le conferì il suo tocco poetico.
Questo avvenne alla fine degli anni Sessanta, prima dei PC e delle pubblicazioni digitali, quindi veniva fatto tutto con macchine da scrivere, forbici e polaroid.
Era una specie di Google in versione tascabile, trentacinque anni prima dell'arrivo di Google: era idealista, straripante di idee brillanti e di grandi nozioni.
Stewart e la sua squadra pubblicarono diversi numeri di The Whole Earth Catalog,
e poi, quando il suo programma finì, pubblicarono un ultimo numero.
Era la metà degli anni Settanta, e avevo la vostra età.
Portuguese:
Na contracapa de sua edição final
havia uma fotografia de uma estrada rural numa manhã cedo,
o tipo que você poderia
encontrar-se pedindo carona se fosse aventureiro.
Abaixo, estavam as palavras: "Permaneça faminto. Permaneça tolo.".
Foi a mensagem de despedida deles ao terminar. Permaneça faminto.
Permaneça tolos. E eu sempre desejei isso para mim mesmo.
E agora, quando vocês se formam para começar de novo, eu desejo isso para vocês.
Permaneçam famintos. Permaneçam tolos.
Obrigado a todos, muito obrigado.
Central Khmer:
នៅលើក្របក្រោយរបស់លេខចុងក្រោយនោះ ជារូបភាពផ្លូវជនបទនាព្រឹកព្រលឹម ដូចទិដ្ឋភាពដែលអ្នកឃើញប្រសិនបើអ្នកធ្លាប់ធ្វើការសុំដោយសារឡានគេ។
នៅខាងក្រោមរូបនោះមានសរសេរថា
«Stay Hungry. Stay Foolish.» (បន្តនៅស្រេកឃ្លាន។ បន្តនៅភ្លីភ្លើ។)។
នោះជាពាក្យលារបស់ពួកគេ។
Stay Hungry. Stay Foolish ។ ហើយវាតែងតែជាអ្វីដែលខ្ញុំចង់បានសំរាប់ខ្លួនខ្ញុំផ្ទាល់។
ហើយនៅពេលនេះ អ្នកបញ្ចប់ការសិក្សានិងចាប់ផ្ដើមជីវិតថ្មីមួយ ខ្ញុំសូមជូនពរអ្នកដោយប្រើពាក្យទាំងនេះ។
Stay Hungry. Stay Foolish.
សូមអរគុណច្រើនអ្នកទាំងអស់គ្នា។
[សំលេងទះដៃ]
[សាកលវិទ្យាល័យស្ទែនហ្វដ www.stanford.edu]
Arabic:
وفي الغلاف الأخير من العدد الاخيرة كانت صورة عرضت طريقا زراعيا جميلا وقت الصباح، من النوع الذي كنت لتحمل حقيبتك وتستوقف السيارات في الطريق لتأخذك إليه لو كنت من النوع المغامر.
مع هذا المنظر الخلاب جاءت جملة أسفل الصورة تقول: "ابق اجائعاً - ابق أحمقاً". لتكون هي جملة الوداع منهم لقرائهم.
إبق جائعاً. إبق أحمقاً. وكنت دائما اتمنى لنفسي هذا الشي .
والأن , كما انتم تتخرجون لتبدأو من جديد , اتمنى ذلك لكم ايضاً.
ابق جائعا. ابق أحمق.
أشكركم جميعاً .
[تصفيق]
[جامعة ستانفورد - www.stanford.edu]
English:
On the back cover of their final issue
was a photograph of an early morning country road,
the kind you might find yourself
hitchhiking on if you were so adventurous.
Beneath it were the words: "Stay Hungry. Stay Foolish."
It was their farewell message as they signed off. Stay Hungry.
Stay Foolish. And I have always wished that for myself.
And now, as you graduate to begin anew, I wish that for you.
Stay Hungry. Stay Foolish.
Thank you all very much.
Spanish:
En la parte de atras de esta edición habia una foto de un camino country por la mañana.
Debajo de él estaban las palabras: "mantente hambriento, mantente travieso", y era su mensaje para despedirse.
Mantente hambriento, mantente travieso. Siempre he deseado eso para mi mismo.
Y ahora, mientras se gradúan, les deseo eso a ustedes.
Mantente hambriento, mantente travieso.
Muchísimas gracias a todos.
(aplausos)
(Universidad de Stanford www.stanford.edu)
Italian:
Sul retro c'era una fotografia di una strada di campagna, scattata al mattino, il tipo di strada sulla quale potreste ritrovarvi a fare l'autostop se foste abbastanza avventurosi.
Sotto c'erano le parole: "Siate affamati. Siate folli". Era il messaggio di addio per la loro uscita di scena.
Siate affamati. Siate folli. E ho sempre desiderato questo per me stesso.
Ed ora che vi laureate per incominciare un nuovo corso, lo auguro anche a voi.
Siate affamati. Siate folli.
Grazie a tutti.
.
.
Spanish:
En la contraportada de este último número
había una fotografía de un camino campestre en las primeras horas de la mañana,
el tipo de camino en el que se podrían encontrar
ustedes caminando si fueran así de aventureros.
Bajo la foto estaban las palabras: "Sigue hambriento. Sigue Alocado."
Era su último mensaje a manera de despedida. Sigue Hambriento.
Sigue Alocado. Siempre he deseado eso para mí.
Y ahora que se gradúan para empezar de nuevo, es lo que yo les deseo.
Sigan Hambrientos. Sigan Alocados.
Muchas gracias a todos.
Central Khmer:
អ្នកអធិប្បាយ៖ កម្មវិធីមុននេះរក្សាសិទ្ធិគ្រប់យ៉ាងដោយ សាកលវិទ្យាល័យស្ទែនហ្វដ។
សូមចូលមើលវិបសៃថ៍យើងខ្ញុំនៅ stanford.edu
Arabic:
حقوق النشر للبرنامج السابق لـ جامعة ستانفورد
رجاءاً زورو موقعنا على الرابط التالي stanford.edu
Spanish:
Este programa es propiedad de la Universidad de Stanford.
Visítenos en stanford.edu
Portuguese:
O programa anterior é registrado pela Universidade de Stanford.
Por favor, visite-nos em stanford.edu
Spanish:
El pasado programa pertenece a Stanford University
Visitenos en stanford.edu.
Italian:
.
.
English:
The preceding program is copyrighted by Stanford University.
Please visit us at stanford.edu
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In this tutorial we'll create a
scrolling icon for your WordPress hero
section so this is a great way to tell
your visitors that there are some nice
content below this full width area to
make it pop out we'll add in smooth
animation and also a link to the section
below
to achieve this we'll use the theme Divi
and you can read more about this on divimundo.com
So, to start we will enable
the Divi visual builder so this is where
we will create the scroll down icon so
we go down to the section or I have
prepared the content so we have a hero
section here a full-width area covers
the whole screen with a nice background
image we have a roll here with a semi
transparent background and inside the
row I've added a text module with a
heading and some dummy text so the goal
for this tutorial is to add the scroll
down icon below the row with the texts
so I start out with creating a new row
below this row and I choose the single
column row and the scrolling icon we
will use the blurb module so choose that
one and if you have some dummy text here
in the text field just delete that we'll
just looking for the icon right now so
I'll go down to the image icon section
and click yes I will use an icon and
here you can find several nice icons to
choose from you have different arrows
here so choose whichever you like I'll
go for the circular arrow with one arrow
icon inside of it another thing here is
to add the link to the section below so
we go to the link section and add the
URL hashtag lorem of course you can add
another text here like a start or down
or whatever you want to call the section
below
okay let's design this icon so we'll use
the icon color white and since this icon
already has a circle so I don't need to
add that and the placement should be top
however I think it's a bit big so I'll
go to change the size and I'll choose
here 50 pixels and again this is a
matter of taste so you can have it
bigger or smaller that's up to you
so we had also the small animation
effect the bounce effect so I go down to
the animation section and choose bounce
and I want it to bounce from up to down
in that direction so I go to animation
direction and choose down so now I have
a proper animation but I think it's a
bit quick and sharp so I will add maybe
1500 milliseconds to the animation and
I'll also remove the double animation
here because it's already a default
animation to the blurb module so I just
say no animation there so we don't have
a clash of animations one is enough
right so here you can see preview kind
of a nice effect it's hard to miss this
one so I'll save just to be sure that we
don't miss any updates and I think it's
a bit too high this icons I would like
to maybe put it down a bit so I just
grab the section and drag it down to
move it down and now I have to decrease
the padding below now it starts to look
like something I think it's kind of nice
we can make some small adjustments here
just to cover the screen just save again
to make sure and one thing remains here
because we linked to the section hashtag
lorem then we have to tell the browser
where is this section where
be sent if I click this icon so we go to
the section below and we click the
Settings icon up in the left corner and
we go to the Advanced tab and we use CSS
ID and classes and the ID is actually
the hashtag link so I already fill this
in with Laura but it's here where you
can write down or start or whatever you
choose to have one important thing is to
not add the hashtag here in the CSS ID
it's automatically added for default so
just type the text of the ID not the
hashtag so I save and I exit the visual
builder and we'll give it a try here if
it worked so I'll go down to my new
section and they will have the bouncing
icon and if I click it it sends me down
perfect that's all guys have a look at
divimundo.com for more tutorial tips and
tricks good luck with your web design!
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Ciao amici del tubo,
ormai manca davvero poco
per l'inizio di Lione - Juventus.
Accanto a me, in cabina di commento
c'è il grande José.
- Ciao amici amici!
- Durante l'incontro
vi daremo continui aggiornamenti
sulla partita Dinamo Zagabria - Siviglia
grazie al nostro Gianpietrangelo,
che seguirà la partita.
- Ciao amici, un bacio dalla Croazia, smack.
- Ok, adesso ricordiamo ai nostri amici del tubo
che la Juventus deve assolutamente vincere.
Perché se vince, il Lione perde
e se il Lione perde, la Juventus vince.
- Hai ragione Sandro.
Questa è una partita da vincere assolutamente.
- Sì, non c'è dubbio!
Ma adesso l'attesa è finita,
si comincia.
La Juventus attacca da destra verso sinistra
dei vostri teleschermi.
E oggi come potete vedere
gioca con la maglia blu,
questo perché il blu è più elegante di sera.
Dani Alves rimette la palla in gioco,
Khedira la passa a Pjanić,
si fa vedere Evra e viene servito.
Ancora Pjanić, entra in area,
prova la botta,
non va!
Brivido.
- E' partita davvero forte la Juve,
vuole subito sbloccare il risultato.
- Sì, infatti
vuole passare immediatamente in vantaggio.
Tutti si aspettavano una partita più tattica,
almeno all'inizio,
e invece questa partenza ha sorpreso tutti.
Compreso il Lione
che sembra non riuscire a rispondere.
Mamma mia che paratona di Buffon.
Assurdo! Abbiamo appena finito di dire
che il Lione avrebbe reagito
e ha subito creato un pericolo per la Juve.
Questo Lione è davvero forte.
E sarà calcio d'angolo
ma andiamo oltre, tanto non segnano.
Seguiamo invece questa azione della Juve
che sembra parecchio interessante.
Higuaín avanza palla al piede,
attenzione, zona tiro per lui,
entra in area ma finisce giù.
Il pallone arriva a Dani Alves
ma la conclusione non è delle migliori.
- Che peccato!
- Attenzione, Gianpietrangelo, da Zagabria,
ci chiede la linea.
- Mi senti, Sandro?
- Sì, vai pure.
- Bene, allora ti informo
che qui non succede un cazzo.
- Capito!
Qui invece c'è un'altra azione interessante della Juve.
Attenzione,
ed è rrrete, rrrete, rrrete incredibile!
Ha segnato proprio lui, l'uomo più atteso.
Ed è senza dubbio lui
il nuovo Diego Armando Rossi.
- E chi è questo Rossi?
- Il mio vicino di casa.
Sai, è molto bravo a giocare a calcio.
all'oratorio, tutti lo chiamano Armando
perché ricorda un altro ragazzo, che si chiama Armando
e fa l'idraulico.
Juve ancora in avanti.
Il Lione ha accusato il colpo
e quindi la squadra di Allegri
sente che è il momento favorevole
per centrare il raddoppio.
Higuaín aspetta l'inserimento di Pjanić,
attenzione pericolo,
prova la botta,
non va!
E bordata di fischi per lui,
buu!
- Incredibile amici, che occasione sprecata.
- Adesso il Lione
riprova a rendersi pericoloso,
vediamo che combinano
neanche faccio il commento,
sono curioso quanto voi di vedere che fanno.
Beh... tutto qua?!
Davvero senza parole.
E fine del primo tempo.
Signori abbonati a premium,
la prima parte dello spettacolo finisce qua.
Abbiate pazienza
e tra non molto ritorneranno in campo.
Come promesso,
le squadre sono tornate in campo
pronti per darsi battaglia in questi altri 45 minuti.
Diamo anche la linea a Gianpietrangelo,
per sapere se anche a Zagabria
è ripresa la partita.
- Mi senti, Sandro?
- Aspetta, Gianpietrangelo,
C'è un'occasione per il Lione.
Parte il sinistro al veleno
ma para Buffon.
Brivido!
Ok, dimmi Gianpietrangelo.
- Anche qui la partita è ripresa,
è il risultato è sempre 0 - 0.
- E ritorna in attacco la Juve.
Dybala controlla il pallone,
gli avversari non riescono a fermarlo.
Higuaín scatta sul filo del fuorigioco
e viene servito.
Ma attenzione, la posizione non è buona.
Qualche dubbio su questa chiamata rimane.
- Anche secondo me la posizione era regolare.
- Perfetto avevamo ragione noi.
Il fuorigioco era netto,
ottima chiamata dell'assistente.
Intanto il Lione effettua un cambio.
Attacca il Lione con prepotenza sulla fascia destra.
Evra non riesce a contenere il suo avversario,
che mette un invitante pallone al centro,
e Buffon si supera.
Semplicemente strepitoso.
Rimessa laterale per la Juve
che continua a condurre la partita.
Khedira effettua uno splendido passaggio per Evra,
che entra in area di rigore,
N'Koulou lo strattona
ed Evra finisce giù.
Attenzione, l'arbitro indica il dischetto,
non ha avuto nessuna esitazione
calcio di rigore netto.
Va Dybala sul dischetto.
- ha una grande responsabilità.
- Questi sono attimi tremendi.
Si narra, che al rigorista
passa l'intera vita davanti agli occhi
un secondo prima di calciare il pallone.
Ma attenzione,
ecco la rincorsa,
ed è rrrete.
E la Juve raddoppia,
Lione 0 Juventus 2.
Mamma mia che partita!
Khedira commette fallo
ma l'arbitro fa proseguire
per la regola del vantaggio.
E attenzione,
la difesa della Juventus sembra in difficoltà.
Il cross al centro,
ed è rrrete.
Ha segnato il Lione.
Incredibile amici del tubo,
si riapre la partita.
- Accidenti! Ora saranno 10 minuti terribili.
- Purtroppo sarà così.
Ma la Juve deve saper reagire,
e portare a casa il risultato
come una grande squadra.
Dybala non controlla bene
e regala il pallone agli avversari.
Intanto, come potete vedere nella grafica
si giocherà ancora per altri 4 minuti.
- Sandro, 4 minuti sono tanti
ma la Juve dovrà resistere,
non può crollare proprio ora.
Pienamente d'accordo.
Ma attenzione,
pericolo per la Juve,
la posizione sembra buona
e invece no, non lo è.
Ottima chiamata del guardalinee.
Ed è finita, è finita la partita.
La Juve batte il Lione 2 - 1
e gioia mia, piscia piano!
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German:
- Alles klar, Leute, das ist es,
unsere Chance, das Battle
Royale zu gewinnen.
Eine ganz neue Truppe
übernimmt die Führung.
- Hah, das war ziemlich cool.
Oder, Yeet?
- Okay, wir sollten jetzt
wahrscheinlich nach Nwar sehen.
Nwar, Nwar, wach auf.
Wach auf, Nwar, die fünfte
Season ist fast vorbei.
Nwar, Season sechs hat gerade
erst angefangen und es gibt
eine verrückte, würfelförmige,
schwimmende Insel.
Wach auf, Nwar!
Die sechste Season ist vorbei!
Wir bringen ihn besser ins Krankenhaus.
- Vergiss es, ich trage
seinen Arsch nicht.
Er ist schwer.
- In welcher Richtung ist das Krankenhaus?
- Es ist in die Richtung.
- Ich weiß, dass ihr euch
Sorgen um Nwar macht,
aber ich habe einen Ersatz,
der uns helfen wird.
Hey, ich bin's, Nwar!
Hat jemand diesen Hamburger gesehen?
English:
(adventurous music)
- All right, guys, this is it,
our chance to win the Battle Royale.
A whole new squad taking over.
(gun blasting)
(woman shouts)
(guns firing)
(man groans)
(explosion blasts)
(people scream)
- Ha, that was pretty cool.
Wasn't it, Yeet?
- Okay, we should probably
go check on Nwar now.
Nwar, Nwar, wake up.
Wake up, Nwar, season five is almost over.
Nwar, season six just started and there's
some crazy cube floating island.
Wake up, Nwar!
Season six is over!
We better get him to a hospital.
- Screw that, I'm not carrying his ass.
He's heavy.
- Which direction is the hospital?
- It's that way.
(plunger whooshes)
- I know you guys are worried about Nwar,
but I have a replacement who
is gonna help us out a lot.
Hey, it's me, Nwar!
Has anybody seen that hamburger?
(Yeet groans)
(hand slaps)
English:
(somber piano music)
- Guys, I have some bad news.
- Wait, you look familiar.
- Aren't you Ted?
- We weren't exactly
able to get Nwar back,
but, with modern technology, I was able
to upload his consciousness
into this robot llama.
- Hey, guys.
- Nwar?
- Is, is it really you?
- Yes, it is.
Luckily, now I can resume
my quest for the burger.
I will not stop until I find--
(switch clicks)
- I like him better already.
(upbeat rock music)
- You guys, search the main floor.
I'll go upstairs.
- Wait, what do you think is down there?
(dramatic music)
(playful music)
- [Bald Fighter] Hmm, this is strange.
- Right, what kind of
sociopathic douche would
film themselves alone in their
basement with a green screen?
- Well, might as well keep looking around.
Oh my God, it's Ninja!
(gun firing)
(planks thud)
(gun firing)
(feet patter)
German:
- Leute, ich habe schlechte Nachrichten.
- Warte, du kommst mir bekannt vor.
- Bist du nicht Ted?
- Wir konnten Nwar nicht direkt retten,
aber mit moderner Technologie konnte ich
sein Bewusstsein in dieses
Roboterlama hochladen.
- Hey, Leute.
- Nwar?
- Bist das wirklich du?
- Ja, ich bin's.
Glücklicherweise kann
ich jetzt meine Suche
nach dem Burger fortsetzen.
Ich werde nicht aufhören,
bis ich gefunden--
- So gefällt er mir schon besser.
- Leute, kümmert ihr
euch um das Erdgeschoss.
Ich gehe nach oben.
- Wartet, was glaubt ihr ist da unten?
- [Klatzkopf] Hmm, das ist komisch.
- Stimmt, welche soziopathischen
Idioten würden sich
allein in ihrem Keller mit
einem Greenscreen filmen?
- Nun, wir können uns
genauso gut weiter umsehen.
Oh mein Gott, es ist Ninja.
English:
(hawk cries)
(gun firing)
(feed thud)
(ice clumps)
(phone dials)
(birds chirp)
(phone rings)
(muffled voice mutters)
- Hi, Epic Games?
(muffled voice mutters)
Yeah, yeah, it's me.
Yeah, so, this team just
pretty much beat me.
(muffled voice mutters)
No, they're not stream sniping.
I don't know if it's like a bug or some--
(gun fires)
(Ninja groans)
- Wow, thank God you had that freeze trap.
- I know, right?
I was using it to keep
Nwar's body beet cold
so we could use it for food!
Kidding, can you imagine?
Yes, yes, you can.
You're imagining it right now.
(guns firing)
(fort rocks)
- Oh, shit!
Our fort's gonna be
destroyed from the bottom up!
- Don't worry, guys.
I stole these clown
condoms from the hospital.
- Um, those are balloons.
(hawk cries)
(air rushes)
- Mm, you know, you probably just
needed to use one or two of those.
- Not a problem.
Maybe from here we can see Greasy Grove.
I think that's where the burger could be--
German:
Hallo, Epic Games?
Ja, ja, ich bin's.
Ja, also, das Team hat
mich gerade besiegt.
Nein, sie waren nicht am Stream Snipen.
Ich weiß nicht, ob es
ein Bug ist oder so--
- Wow, gottseidank
hattest du diese Eisfalle.
- Ja, oder?
Ich benutzte es, um Nwar's
Körper kalt zu halten,
damit wir es essen können!
Spaß, ich bin lustig, könnt
ihr euch das vorstellen.
Ja, ja, könnt ihr.
Ihr stellt es euch gerade vor.
- Ach du scheiße!
Unser Fort wird von unten
nach oben zerstört..
- Keine Sorge, Leute.
Ich habe diese Clownskondome
im Krankenhaus gestohlen.
- Ähm, das sind Baloons.
- Mhm, weißt du, wahrscheinlich hätten
einer oder zwei davon auch gereicht.
- Kein Problem.
Vielleicht können wir von
hier Greasy Grove sehen.
Ich denke da könnter der Burger sein.
English:
(switch clicks)
- Shh, shh, shh, shh.
I'll show you my Greasy Grove.
(hip instrumental music)
German:
Pst, pst, pst.
Ich zeig dir gleich mein Greasy Grove.
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Audience, please. Welcomeia Tinisha Agramonte director of the Office of Civil Rights
Alright everybody I had to get my hugs in I mean when people take time out of their schedules
and
They are we're willing to support you by being vulnerable and sharing their stories. You have to honor that
So now that you've heard some really amazing stories from our FGP panelists
I have the distinct pleasure of introducing the next segment of today's summit the fireside chat
First I would like to introduce you to mr. Jay Clayton the chairman of the Securities and Exchange Commission
Chairman Clayton will be moderating a chat with our keynote speaker madam treasurer Jovita carranza
Chairman Clayton was nominated to the chair of the SEC by President Trump in January
2019 and was sworn in May of that year
Chairman Clayton was born in Newport News, Virginia
But raised in Pennsylvania, he has a BS in engineering
BA an MA in economics from the University of Cambridge where he was a thern scholar and a JD from the
University of Pennsylvania Law School
Chairman Clayton practiced law and was a partner at Sullivan and Cromwell and was a lecturer in law
And an adjunct professor at the University of Pennsylvania Law School, please join me in welcoming chairman Clayton
Now I would like to introduce our keynote speaker madam treasurer Jovita Carranza
Treasurer Carranza is a principal advisor to Treasury secretary minuchin in the areas of community
economic development and engagement
Treasurer Carranza is from Chicago
She earned her MBA from the University of Miami and Coral Gables
Florida and received executive management and financial training at the NC
Business School in Paris
Michigan State University in the University of Chicago. I have to look that up now to see what that
She previously served as the deputy administrator at the Small Business Administration under president. George W Bush prior to SBA
Treasurer Carranza worked twenty plus years at the united Parcel Service where she was the
Highest-ranking Latina in the history of the company. She started as a part-time
nightshift box handler and worked her way up to president of the Latin American and Caribbean operation
So this is what I shared with her in the green room and what I want to share with you
When I was looking for someone
Who would serve as the keynote speaker for this event?
And when I tell you on the weekends every weekend I was on the internet and I was putting in google terms
I was asking everybody who could we bring up here who exemplifies a first generation professional who's a senior leader?
So I was putting words like humble beginning rose to the top
I mean I was getting really creative with the the search on the internet and one day this article pops up latina magazine
And it had Jovita Carranza Treasurer when I read her story. I said that's it
I found her. I wrote my staff like at 2:00 in the morning on a Saturday
I said I found our keynote speaker. Now. Here's the problem. How do we get her here?
Right and anyone who works for the federal government, you know
there's a lot of protocol you got to go through to get so as I was trying to figure out that protocol I
Just happened to mention to a colleagues and a colleague of mine Peter Henry who works at the Securities and Exchange Commission
He's my counterpart over there. I said guess what?
I found our keynote speaker for this but I got to figure out how to get her and I'm getting ready to start working that
Through Commerce and he said oh, ok, very nonchalant. We finished our conversation the next day
He calls me and he goes, oh by the way, Tinisha
Our chairman is scheduled to have a chat with Madam Treasurer to ask her if she'd be willing to be your keynote speaker. I
Was like what and he was like yeah the next day
I was already scheduled to go over there for an initiative that he's doing and I met chairman Clayton and he goes hey
Did you hear the good news she accepted?
Two days. I mean that's how quick we circumvented
But why that story is important is because all morning you've heard about the power of networking right
And I don't know if they share it with you
But they said the first time that you meet someone should not be when you meet them
the fact that I had already
Cultivated that relationship with him and I'm looking at him and he's not in his head Peter the fact that I had already cultivated that
relationship with him and that he trusted me and that he supported me that is why you have these individuals these
high-ranking
Powerful individuals on this stage with us today, so welcome them
Tinisha that was really nice of you. Thank you. Thank you
I feel like I should have Tinisha right here
Well served right
Well madam treasurer
I'm I'm so excited to have the opportunity to interview you and I and I want folks to know that
The reason I could make that phone call was because I have admired
Your work from the day we first met and you're just you're not only a terrific
public servant
You're a terrific person and a terrific American and we're lucky to have you in. Thank you very much. I really appreciate that. But
don't underestimate your
Power of influence when you call me
I
Didn't know he regulated the Treasury
The Chairman is on the phone
What's going on? And I thought you were gonna ask me to speak again
But but I was really pleasantly surprised and it's a real honor and privilege to be here. Thank you
Okay. Well, this is about first generation professionals and no one better to talk about that than you so
Let's get started. Okay
so
You were born in Chicago the oldest of four, your mother was a housewife and your dad a formative factory
Let me ask this when you were younger
What were the conversations with your parents about what you might do when you grew up and what were the expectations?
Well, I think my parents at a very early age realized
I had some innate talents because I was the eldest and I was responsible for my younger
Siblings and I took it
You know willingly I complied very very quickly when my parents were great disciplinary and so I couldn't could not comply
So I was quite obedient at a very young age. And so that developed a real
Strong discipline
practice that I had with not only my siblings but
respected the family and the Hispanic
Culture, you do know that the mothers and fathers are held
much like in other
Ethnicities but in the Hispanic culture, especially because my parents were born in Chicago but raised in Mexico
they had a lot of the tradition and so
That was an early training for me as part of that upbringing
Accepting responsibility and making sure that we contributed to the family well-being was very critical
So I knew very early on that. I had to seek employment
acquire education to really
Have some earning power in order to become a significant contributor to the family being the eldest
I wasn't the son which is typically the one who takes that responsibility, but I was the eldest daughter so
They encouraged me to
Continue my education to excel beyond the parameters that they had been living under, you know
I was sharing with someone that
mmm, I
Think was my senior advisor Kelsey who's in the audience? And I said, you know, we're so polite in coming up with
The word poverty would give it a blue-collar
Definition or underserved or underbanked or unbanked or?
Medium income or lower level and and I'm like, no it was poverty. So I needed to really strive to
Really?
Excel from that particular condition Wow
so, um, so
Get your education or your start on your education
You start off at as a as a night shift box handler at UPS can can for every but can you walk us through?
That starting point to the top of the top of the house. Yes
We always start out with United Parcel Service, right? Because I spend the majority of my youth and my young adult life at UPS
But prior to that I started at the age of twelve
helping the family right from
babysitting
Doctors children's and so they paid well, it definitely looked for that type of babysitting assignments
so from babysitting to helping the local store to
Working in medical clinics and and things as such it was always within the white collar
community and so when I worked at UPS and accepted an untraditional position like loading trucks
It was a means to an end. It paid. Well, it was very convenient to where I lived. It had a wonderful shift
where I could raise my
Daughter was a newly divorcee as well as attend Cal State LA join during the mornings
And I was working two jobs when I actually accepted the position at UPS and a man can take you through a 20-year journey
so I'm gonna speak hates me down this one, but
but but it's important to know what
compromises you make in order to
Make ends meet or for that matter
Not consider it as a dead end but it's a short solution short term solution to a particular condition
I was faced with
but I saw ups as an opportunity because of its wage is because of its location and because it's
Non-traditional and it wouldn't have much competition applying for this position
as a woman
Secondly, it paid well, and then of course I didn't have a car. So public transportation was really essential
so it met all those particular needs and I said this is short term as soon as I get my degree and
Not promote from within although I learned eventually that they had this great program a promotion from within anybody worked here at UPS
Ok, tell me if I'm lying, alright, oh no, no
or correct me where I may have skipped something, but but
It had a great promotion from within but I only wanted to make the first 90 days to make seniority
So fast forward, I became a load or unload er for about six months
then it became a part-time supervisor and seven promotions later and
six relocations is when I became that executive that everyone reads about
president of Latin America and vice president of the air operations, so I went from
being
responsible for zip codes on packages to a workforce to
about 50 vehicles to automation
than to becoming a
P&L administrator responsible for the red and black ink of the company and all along I
Realized that as long as I did a really good job and made a contribution. That was really key
Not just do a good day's job for a good day's wages
It was really what kind of contribution am I making that's attracting them to continue offered me these opportunities
Ok, so I'm not gonna let you get away with the whole fast-forward. I'm gonna ask you a specific question, which is on that journey
when did you go home and say yeah Jovita I
Can I can aspire to the the top executives but when did when did your mind?
Shift if maybe maybe the first day maybe not but but tell us
There were about two or three milestones the first milestone was one where one employee a union official approached me and said
You're working too hard. You're making us look bad. And I said, excuse me. Are you a seniority employee, and they said yes and
I said
well
I'm not and I'm working through my probationary period and I have a child so I'm gonna work as hard as I have to in
order to tank
So
That kept me on the job, right?
Because I worked extra hard and it was really diligent. I get to work early and did all the right things and
That's when I was noticed to become a part-time supervisor
So the other
Aspiration I had was well if I could do the part-time supervisor
I wonder if I could do the full-time supervisor and then as a full-time supervisor if I did all the right things and then
By exceeding everyone's expectations that I could get the job done
they then recognized that I had greater capacity than what the job they had assigned me to or offered me to work in and so
I said well if I could do a full-time supervisor, I can do a manager's position
And so it just it was just testing myself. I was I'm not risk adverse
So I would always say if it's gonna pay more if it's gonna provide more
For my family if it's going to support the educational pursuits that I have for myself and my daughter
then I'm gonna I'm gonna take that challenge and
Nobody can penalize you for trying hard to go to that next level and
And that's what I what I kept pushing myself to achieve
But trust me throughout every one of those milestones. I had to study very hard and research the jobs that I
aspired to achieve and
people think that you go to your boss and you
Your boss gets impressed by saying when your boss asks you so what do you want to be when you grow up at UPS? I
Listen to an advisor, and I said I want to I want your job
That didn't set really well. He goes really
really and I was just a young pup, so
he realized that I had some growing up to do and so I I realized then there's a process and
the process
involves not having to spend ten fifteen years doing what you did in order to achieve that level my manager but more so
How can I?
Accelerate that because I don't have that much time and and the opportunities are there
So I did as much research and as as much observation and accepted all the training that that company offered
Along the way to prepare me for the next move
I always was preparing for the next move never complacent in the position. I had at the time
well, let's talk about another move and you know eyes wide open and that is the move from
Chicago to college you were the first in your family to go to college. Well, well, what was it like
Going to that new environment
Like my management
trajectory where I leapt and
And plunged into things
I did have a method to my madness and when I went from Chicago to Los Angeles
I knew I had an aunt that I could go in and and
collaborate perhaps a potential or maybe temporary
Stay with her until I acquired my own my own apartment with my daughter
so I
mapped out
What could happen the do's and the don'ts opposed the cons?
What-if scenarios, but I didn't want to come back to Chicago. I had to be successful
so I mapped it out to where I
Visited California first at Los Angeles spoke to my aunt. She said welcome
I explored this local schools and then I made the move I came back
to my
To my mother's home, and I said, I'm ready to leave and she never did. Believe me
Being the eldest, you know
When when you're in a Hispanic household Jay sometimes leaving home is like you're leaving security or stability
And and sometimes parents don't give you the benefit of
Maturity in the some small but maturity developing to where you think the process out
it may not be a perfect plan, but it is a plan and so I
executed my vision and
The rest is history. I lived in California for thirteen years never moved back to Chicago until
2006
To care for my mother and my father but that's how long I see the way
Good for you. Yes or less because I travel to many states as a result of that first move now
That's that's terrific. Well, I'm gonna shift gears and I know that this is important to you. And yeah, actually you just alluded to it
Treating co-workers people above you people below you in the corporate hierarchy with respect
Keeping in mind you've said this to me that some day, you know a colleague could be your boss
Someday you were somebody else's boss
but
advice for first-generation
professionals on how to make connections with their colleagues how to how to connect with colleagues and whether it's at school or at
UPS or in the federal government, how do you make connections with your with your colleagues?
well
I'm sure I'm not unique in in this way where you're a woman and you're working in an untraditional
environment like UPS or for that matter or when you're pursuing serving on a board and it's it's
It's a board that you have interest in but you've never served on a board. So how you know, what's the kind of conduct?
What's the language? What are the protocols?
and
You can't get it. You can't go at it
You you have to embrace
Whether it's the local community or the members of that particular association
To work site the board, you know even in Treasury
When I came into Treasury I said, I'm not a banker. I'm not a lawyer
I know P&L and so how do I embrace all these financial analysts all these attorneys and whatnot
So as I mentioned that in a conversation we had before I look for the common
commonalities in a person and
Once you embrace those commonalities can we build off of that? I don't
You know, I don't even like the cliche you have a glass half-full or glass half-empty
In my sight I always act like it's half empty because I was strive to fill it up
All the time. I never could become complacent
but
people
Make the world go round
And I had great training
Compromising
Consoling
And supporting three siblings. So I took those principles those
Fundamental traits and applied. It's everything I do so I treat I I learned what makes you tick and
Then I try to complement that and reinforce that as I would expect you to do that for me
I've watched the
treasurer do this and it's it's pretty remarkable her ability to connect with all
Different types of people and do so quickly and in a way that makes them comfortable
it's it's it's quite impressive but I'm gonna ask a tough question here on this which is a
Lot of people are easy to connect with but we do encounter difficult people in our career
How do you how do you manage to connect so well with difficult people
When he asked that question
before
he almost apologized because he had to ask me that question, but
It's a tough one to answer
because it it it requires a lot of
emotional intelligence
You know working I started out by saying working in an untraditional environment like an all-male workforce
You would think that you'd have to put on your defenses and you would have to safeguard
certain language certain
posture certain disposition
but I found that
The commonalities that were similarities that I talked about as I am a woman, I'm a mother and I'm a daughter and a sister
I realized that that gentleman was a father and an uncle and a brother and a son to someone and
So why not?
Deal with the shortcomings right? I
Didn't apologize for perhaps their shortcomings. I would address them because I'd give the person the benefit of the doubt
That's usually how I operate and if you don't it's always best to have mano-a-mano
Know as a respect a mutual respect
professionalism is to address the issue head-on with the person before you share it with ten other people or a
Superior then it's too late
that's how you build trust and confidentiality and
It's a sense. It's a sign of maturity
Good advice
You know, I
I could probably write a book and I can probably keep you here for days, but
When you go from supervising 12 people to 15,000 people in close proximity to then managing
countries from Miami and I had to manage employees in Brazil and Chile and
Uruguay Paraguay
All different dialects all different cultures Hispanic is not Hispanic here in Colombia Hispanic is not Hispanic here in Peru
So I had to learn what was important to them in some of our work sites
They had the Virgin Mary and whatnot, but the parent company that I worked in didn't practice religion
symbols or anything
so it was like do I go there and tear it down or do I learn about the culture and the practice and what's
important for them
as long as they gave me the pieces per hour and the profitability I
Pray with them, you know, I guess I guess we are at the Department of Commerce
But I am a person of great faith so I could appreciate it, but I could not you know
Practice. What I believe was appropriate. It was really company policy and
programs that I had to adhere to
All right, I'm gonna transition to something
I know that you really believe in and that I share your belief and that is financial literacy. And the the
importance of financial literacy
to mobility and participation and
in our society
You've made, you know, great efforts and I would have brought the report with me, but just put out a report on financial literacy
That's that's tremendous. But can you comment on the importance of financial literacy?
Particularly for first-generation professionals
When I interviewed with the secretary one of the things he asked me was
How I would manage this new role
Especially the section where in my position description it says that I advise
the Secretary of the Treasury on Community Economic Development
And I thanked my good Lord for all of the exposure
Given to me throughout all the years whether it was Michigan State or whether NCI and in France
or
University of Chicago where I kept taking finance classes to learn more and in depth because I didn't have that early training
so that I could be
Valuable to any organization whether I served on a board or whether it was the private sector or just coaching
counseling individuals
the fundamentals
To fundamentals that I I'll act at a very young age
was mastering math
The sciences stem so going back to my interview with the secretary when he said what do you envision?
I said I envision increasing the stem student enrollment. I said by 50% and
Increasing the savings of savings accounts opening new savings accounts for a million people
And I didn't seek out a way to achieve those goals
But it almost
came to fruition that when the secretary said and I want you to oversee the
Reform work of the financial literacy and Education Commission. I think there's an opportunity to elevate
financial literacy, and so I took that as an opportunity not a challenge and
so when we
Assess what was being done. We thought we could do more to have a greater impact
Because I lack that when I was young when when I started to
Start saving because we were awarded bonuses and stocks
The only reason I didn't touch any of my stock or my thrift plan was because they told me
You'll be branded
So I was like a fear factor. It wasn't a wise decision was just a fear factor, and I you know
like my whole life mission now is to remove the fear of stem from the
minority population
because we don't really have the benefit especially the first generation probably don't have
Parents who help with algebra or geometry or calculus? That was very difficult for me
And so if we can start very young, that's why I'm such an advocate of this. I'm J
You know, November 4th
we're gonna have a White House event what we're going to invite university presidents and and also the sponsors of
21:55 and talk about how can we
institutionalize financial literacy because without that base understanding
how do you
Compounded interest for for college education for a home. How do you know when?
6% interest rate is a whole lot better than 14% interest rate
and when you should consolidate your credit cards and whatnot unless you know some basics you just keep
Rolling those interest rates the banks love us, but at the same time
We have to be smarter when when I came in to Treasury. I learned more about the stats concerning
The number of people in the United States that don't have enough for a four hundred dollar
Emergency that they have to borrow and I thought about my family
So when we talk about mentoring, it starts at home first and financial literacy starts at home
So I've worked on my sisters now about retirement 401k plans and things as such
Because I struggled and I know there's many in this room that had struggled. I
When I spoke at SCC, one of your people came in and says, you know, I'm trying to make a decision
I don't have to buy stock or
buy this home that my wife wants and I'm thinking he should know this answer faster than me, but
it's a it's a young person, but probably a little under 30 and
that
gap is really crucial for our
Economy in the United States. Also, they need to be significant contributors and
experience
Prosperity like we are now
Now I look up your your effort in their area is so important it is so important
financial literacy
it's it's like a language and if you don't know the language, you can't really participate and
You know, you've you've made that clear to people and in a clear way
I
Applaud you for that and there's there's something also that you've identified
for me that it goes into our next question, which is as you get older and you don't know the language you
get
Worried about revealing that you don't know the language
And can you talk about not just that but you know how someone coming from your background?
How you deal with that that fear that maybe I don't belong how do I show that I belong?
Jumping over those kinds of hurdles. I'm because you've done it so well in your life
It hasn't been painless
The growing up is very painful it's very lonely
and
Sometimes you find yourself alone. So
If someone you said you googled this, I didn't know I was a weekend project
But I consider as it as a compliment now because she was putting the extra time for us write
Work ethics
but
with regards to
the
Acceptance level. I never thought I
should
should engage
Beyond my capacity
And so I was either withdrawn or I was tip ador. Well nowadays tip. It means something else but timid
I would engage within my comfort zone wouldn't broaden that scope or
group and
So I would test the waters, but I in order to be successful in that engagement
I would do my homework, you know to get to this point. It's not easy, right? I
Would either study the individuals count the number of professionals what kind of background their education level?
because if they went to Princeton or Stanford or Harvard
How was I going to communicate coming from East LA or Cal State LA we were in different spheres
But what did we have in common? I knew some things they didn't know and if I could just
Share that bit of knowledge no one to step out
That's the other thing
Jay sometimes we think we know and we're gonna engage and we're gonna make it big
you almost look you're almost a nuisance for people that have all high achievers and
So instead they're like, okay. Thank you very much. You're very courteous. And you almost leave in a worse situation than not
So, let me go back to the financial literacy piece
When you supervise a workforce you're dealing with payroll
When you're managing a unit you're looking at expenses, right payroll
there's one I have to make sure the checks are going out and whatnot and you're enthrall because
Your signatures on that check right that that's the ultimate
but then
You have to think of
expenses you have budget and
balance sheet, and now you're speaking to CFO's or
the accountant in the company
Then you go from where they rely on you to manage the PNL the profit and loss of an organization
You apply those same concepts to your personal life and then
You'll say well I need to budget I need to say for education
I need to say for a home purchase and I have to go through
Retirement etc
Being prepared means you have to make some sacrifices on time
Do you go out and shop for five hours?
or do you spend the first two hours learning some concepts whether you're gonna be networking or attending a conference or
Sitting here with a panel
You're small a whole lot smarter than I am Jay
But to be able but to be I'm gonna hold I'm holding my wallet right now
Intellectually and whatnot. I did my homework
I checked what Ivy League schools he attended and I know that financial people are like get to the point
concise so I
I'm trying to pull out of the weeds. So it's not to lose you but I have you have to study the
Person that you're engaging with so that I can be an asset to you. You're an asset to me
That's how I look at it. It has to be a value proposition. Yeah
You know I can you just say that I'm
Asset yeah, that's that's it. That's it make make
There's reciprocity. There should always be a give-and-take not always a draw
Because you drain those relationships and J. I hope you called me again
Well, it'll be a joy
You are certainly my asset. Thank you. Thank you very much now so I have a we have time for a few more Tanisha
That's a couple more. Okay, great fear of failing
Mm-hmm
Put up just just put a point out. How do how do how do we I I
People say how do you overcome fear of failing I don't know they ever overcome fear
But how do you how do you work through the fear? I feared coming on this stage. You could never
never
is out of the picture and
Fear and
Fear of fear itself is a real drain and can serve as real obstruction to really creative energies
and
so I understand that there is such a
sense and I try to deal with it I try to
Succumb that feeling as much as I possibly can by preparing
the
the most
Dreadful thing a person could live through is regret
that weighs so heavy on I shoulda coulda woulda and
I learned that too late coulda shoulda woulda and so now the fear of
not doing something and not
Demonstrating to you that I have the potential or the capacity is really serves as a disadvantage for growth
so
Fear is inevitable but learning how to cope with it. I'll give you a couple examples
I wrote them down Roger Berkman behavioral assessments and
Profiles performance indicator and Hogan assessment. I've just about taken every assessment there's out there to identify
those
personality traits that I have
So I'm learning about myself
Throughout the past thirty years to make sure that I'm addressing each one of those areas of either
Weaknesses or continue with the strengths, you know, some people say, oh don't worry about that weaknesses
Capitalize on their strengths and work on those but you have to recognize that those weaknesses
Do haunt you at times and so you have to recognize them and then learn how to work with them. So I highly recommend
There's so much online these type of personality assessments. Don't be afraid to find out
What your shortcomings are because what I try to do with my executive coach is every time he tells me there's something wrong
I will try to debate it
Rationalize why that particular situation doesn't come out. Right? Right. So I have an executive coach because I fear failure I
Want to be successful at every engagement and I want to give back
You've liked this group has dedicated
Personal time they probably have their workload
Accumulating back there to listen to us and I hope that what we've been able to share will benefit in some way
So I fear that I would just lose their time in a vacuum. I don't think you have anything to worry about
We talked a little bit about networks
Can you talk just a little bit about networks and and in particular
We talked about this before I have my notes here. You had some great thoughts on
looking at organizations and
Understanding organizations as part of building a network best practices accepting responsibility those types of things
how how what advice can you pass on about how to look at an organization and
Use the network in that organization. You talked a lot about listening
yes, I
Didn't learn English until about six or seven was six six or seven years of age
And even then I didn't feel real confident or proficient and speaking so I observed
people's movements and body language and
so
understanding an organization's culture and why it's
Like that
because the word culture was always used the past 30 years in any
organizational behavioral assessments and whatnot, but
Through observation and documentation
and validation is how I
Better understand an organization even a family, you know when I returned to my family was 30 years later
My my sister's are fully grown. Now. I
Left them at teens, and now they're full adults. So that was even a transition. So you have to work situations out at home. I
use they'll use my family as a beta test, but
they then you practice those principles in any organization that you are that you're serving in, you know, I've gone from
logistics supply chain
to
not-for-profit board service
a governor's board a federal board and I've gone from being a treasurer and
being nominated by the president for another move and
All along the way I've had to learn each organization the uniqueness of each organization. I don't like I
Don't have a particular bias
On anything and I don't judge as a whole so I take the individual case and then study it
Yeah, you you are one of the best listeners
I've I've I have seen I've never seen somebody
Listen to the different people around the room
and immediately
pick up on the commonalities and
The things that make them tick what motivates them and in different organizations, it's different things
That's true. The listening is is a science. It's a it's a practice. It's a and then it's intentional
It's not automatic. We have two ears one mouth and I'm I'm practicing only to use these two and
Then I'm conscious that my body language sends very subliminal
minimal
messages and so I'm very cautious about
about that because if I'm tense I make everyone else tense in the room or if I'm
Hurried I make everybody ant anxious and so being a leader and being a very prominent leader
Especially when you have your signature on every dollar
Have you calculated how much money that is yet? Well
Then I how much did you produce so far with my name and the secretaries the amount they're putting you on the spot
I know we only have one more minute, but
900 million a day. That's pretty good
All right, so you see why it's so so important that I conduct myself in a certain way I
Io myself to you, I no longer believe
I'm not my own property anymore because i've shared it
with you having my name on honest the
currency
also
you've entrusted me with
the nation's
critical strategic assets like Fort Knox and
so for me to be flippant or not conscientious or not thorough or thoughtful J would be
You know irresponsible. So that's why I take it seriously
Put a lot of trust in me. So thank you very much. Well, I'm gonna can I ask one more question just one more
Yes, okay. I lost it. Yes
Well more and and and this is a question for my benefit. What what advice do you have for?
for me and people like me about
encouraging first generation
To get into the financial world to get into get into
this type of
Occupation where we've landed in in these important jobs what?
What can I do? What can I do to make it easier for first generation?
Professionals, that's it. That was an excellent question. I had to really think hard about that because
Whatever I'm gonna say you you possibly may start implementing
I think I'd be a fool not to
It's a way of influence, but but Jay
what what what I learned and how I benefit it was someone having
Trust and confidence in me when I didn't have it. So
When someone said hey, did you ever think about going into operations?
Well, I thought about it, but I don't know and they said okay
I walked out of the office and the following week. I was in operations. They saw something in me that I that I
Didn't I could I could sense it?
I I wanted to do it but I didn't take that extra step like asking and I will tell you in all sincerity
I've been really blessed Jay. I've
Not asked for one promotion in my life
It's I believe in God, but I I do know. Thank you
But I but I do know it's not being proud. I'm not being condescending to anyone here. It's a matter of
You demonstrate you're ready. And the only way you demonstrate even though you think you're not ready?
This the the executives can set can can catch the innate abilities and capacities
Better than we can so the more you don't accept the answer
No, I don't think so and say yes, I believe you can and give the person an opportunity
I think you will find that
Our workforce in the United States will be enlightened and strengthened and much more profitable if we said yes or
Encouraged people more like you are today
Without without with everyone here and do more of these forums
that would be great and sometimes we try to
Formulate questions for the audience. I believe in asking the audience. What do you want to hear from us?
That would be meaningful to them so that listening piece important. So that's what I would recommend what
I
Can't wrap it up any better than that other than to say. Thank you for all that you do. Thank you for being here today
You
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>> John Haskell: Welcome
to the Library of Congress.
I'm John Haskell, Director
of the Kluge Center.
In today's program, I have, at
the end of the dais up here,
Hope Harrison, who is
a history professor
at George Washington
University, and the author
of After the Fall: Memory and
the Making of the New Germany,
1989 to the Present,
that just came out.
The recipient of
fellowships from Fulbright,
the Nobel Institute is Oslo,
the American Academy in Berlin,
Harvard, and the Wilson Center,
Dr. Harrison is also the author
of a praise winning book about
the building of the Berlin Wall,
Driving the Soviets Up the
Wall, which was released
to wide acclaim and received
a great deal of acclaim
in its German translation
as well.
In the sensible center here,
Constanze Stelzenmuller,
is currently the Library
of Congress Kissinger Chair
on Foreign Policy and
International Relations,
and a senior fellow in the
Center on the United States
and Europe at the
Brookings Institute.
She served as the inaugural
Robert Bosch senior fellow there
forum 2014 until this year.
Prior to working at Brookings,
she was a senior
transatlantic fellow
with the German Marshall Fund,
where she directed the
influential Transatlantic Trends
survey program.
Constanze's essays and articles
in both German and English,
have appeared in a wide
range of publications,
including; Foreign Affairs--
>> Constanze Stelzenmuller: You
don't have to list them all.
>> John Haskell: I'm not
going to list them all.
I just want to try
my pronunciation
on Internationale Politik,
is that even close?
>> Constanze Stelzenmuller: Yep.
>> John Haskell:
The Financial Times,
the International
New York Times,
and wait, Suddeutsche Zeitung.
That wasn't so good was it?
Okay, let's get to
the discussion.
>> Constanze Stelzenmuller:
We'll practice this.
>> John Haskell: She's
in residence until April
so I have plenty of time to
do better than my one year
of German in college,
which clearly didn't take.
What's-- Let me, I want to pose
the first question to Hope;
tell us, just go to the
basics, what was the wall,
why did it fall, and
then maybe you can go
into what the process was.
Why did the focus
shift to unification?
That's a lot all in one, right?
>> Hope M. Harrison:
That's okay.
>> John Haskell: You know.
>> Hope M. Harrison: So glad to
be here in this beautiful space.
Thank you, John, so much.
And Constanze, for
letting me join you,
it's an honor to
be with you all.
And to continue to think
about the 30th anniversary
of this amazing event, the
peaceful, unexpected fall
of the Berlin Wall, which so
many people thought they would
not experience in
their lifetimes.
So the Berlin Wall stood
for 28 years, it was built
by the East Germans in
1961, to stop East Germans
from escaping the communist
regime, to go to the west,
to democracy and capitalism,
to freedom in the west.
The Berlin Wall was
never just one wall,
it was always two walls; an
outer wall and an inner wall,
and a whole deathly border strip
in between including
armed guards who were
to shoot anyone trying to
escape, guard dogs, towers,
trip wires, anti-tank
barriers, all sorts of obstacles
that surrounded 96 miles of
West Berlin, so that nobody
from East Berlin
or the surrounding east
German countryside,
could get into the democratic
capitalist city of West Berlin,
which was of course, luring
these people from communism,
both for the freedom; freedom
of expression, free press,
but also for all the
goods in the stores,
which they didn't
have in East Germany.
So, not surprisingly, the
East German regime wanted
to stop that mass exodus.
By the summer of 1961, over
1000 East Germans were leaving
every day.
So, after pushing for many years
for soviet approval to do this,
and the soviets had
resisted for a long time,
knowing this would not look
good, they said, you know,
what kind of regime are we
going to look like if we have
to wall our people in.
So they kept trying
to find another way
to prevent the East Germans from
leaving, but that didn't work.
So in 1961, the East
Germans built the Berlin Wall
and that stood for 28 years,
until November 9, 1989,
when it unexpectedly
and peacefully fell.
In the intervening 28 years,
about 140 people were
killed trying to escape
across the wall,
tens of thousands
of people were arrested and
put in East German prisons
for trying to escape or being
suspected of trying to escape.
So many people were very happy
when the wall fell in 1989.
And if fell, not by
policy, the building
of the wall had been carefully
thought out over many years,
but the fall of the
wall 30 years ago was,
in fact, a mistake.
It was a senior East
German official who went
to a live press conference,
unprepared.
I always point this out to my
students, why it's important
to be prepared when
you speak in public.
The East German regime
had been under pressure
from the soviets who, under
Gorbachev, were making reforms,
from neighboring Poland
which had thrown off
its communist regime,
replaced it with solidarity,
ultimately led by Lech Walesa,
so many East Germans wanted
these kinds of changes
and this kind of freedom.
And were taking to the streets
in droves, calling for change,
and some of them were escaping.
So on the night of
November 9th, 30 years ago,
the senior East German
official went to talk
about changes to border policy.
It was still going to
be necessary to apply
for permission to leave, as it
was in all communist countries,
but he didn't say that.
He basically said, oh
we're changing things
and the border will be open.
And someone said, what does
this mean about the Berlin Wall?
And he said, yeah, it
means the wall too.
And someone else said, well,
when is this going to happen?
And he looked confused
at his notes,
he looked over at his
assistants, and finally he said,
immediately, without
delay, on live television.
So, over the next several hours,
more and more East Germans
headed to the Berlin Wall
to find out what the
heck, is this real?
The soldiers guarding the wall,
of course had gotten
no instructions
because this wasn't
supposed to happen.
And finally, 4 1/2 hours after
the press conference had ended,
at 7:00 pm, at 11:30 that night,
Harald Jaeger, who was in charge
of one of those border crossing
points, at Bornholmer Strasse,
gave up and opened the border
to let East Germans cross.
That crossing point,
at Bornholmer Strasse,
20,000 East Germans
crossed there that night,
including the current chancellor
of Germany, Angela Merkel,
who herself was from
the east and living
in East Berlin right near
that border crossing.
So, those are the dramatic
developments that sort
of set the background
for us talking
about the 30th anniversary
of this day.
>> John Haskell: So Constanze
has a brilliant essay, 8000,
I think it's an 8000 word essay,
that is well-worth the read,
called German Lessons, which
is essentially the topic
of what we're doing today.
And you talked a little
bit about, as a German,
where you were at that time
and what your response was,
so maybe you could capture
a little bit of that.
>> Constanze Stelzenmuller:
Sure, sure.
It's funny, I was asked to
do this on very short notice,
by Brookings, and I have
to say that I cursed loudly
when I was told this because--
>> John Haskell: But not this
event, it was the article.
>> Constanze Stelzenmuller:
No, no, so the essay.
Because I, for a variety
of reasons, this is for me,
both personally and as a German
and as given what my trajectory
as an expert has been,
an enormous topic.
And I felt, I have to say, I
felt completely overwhelmed
by what was not a request, but
a, you have got to do this now,
so an order as it were.
And then, got down to writing
it with immense trepidation,
because it also became clear
to me that the only way
that I could write this credibly
was by writing about myself.
Because I'm not a
historian, unlike Hope,
who by the way has also just
written a second book called,
After the Berlin Wall,
which has just come
out in Cambridge University
Press, and is awesome,
which you should
all buy and read.
>> John Haskell: Which will
be available after the event.
>> Constanze Stelzenmuller:
Awesome.
>> John Haskell: Signed.
>> Constanze Stelzenmuller:
I've just finished reading it
and there is actually, you
and I need to talk about this,
because there are some
people in there that I know
and that I crossed paths
with, it's very funny.
But the truth is
that at the time,
I was a 27 year old
graduate student,
working on the beginnings
of my German doctoral thesis
about American constitutional
law, at Harvard.
And I was sitting in, I had
been out of Germany for 2 years,
this was my third year.
And I was writing about direct
democracy in the United States,
and the reason why I was doing
that was because, of course,
so much was happening in Europe,
including in my own country,
and it seemed to me that civil
society was kind of coming
into its own and that maybe
direct democracy would be a
useful vehicle and involving
civil society in a sort
of organized, institutionalized
way, in the making
of politics and policy.
And that is a view which I have
since comprehensively
reneged on,
not least because of
writing this doctoral thesis,
but that's just a footnote.
And so on that day, I was
sitting at my desk, which is one
of these, you know,
we had as students,
like a door from Home Depot on,
you know, on wooden, you know,
on file cabinets,
and I was wearing,
I am almost certain I was
wearing my double layered
thermal underwear from L.L. Bean
because that was the only way
to survive a Massachusetts
winter.
I still got pneumonia
a couple times.
And this friend calls me
and says the wall's down.
And this friend is
pretty conservative,
I was sort of vaguely
left of center
and I said Angelica,
what the hell?
You know, you and your
stupid political jokes.
And she just said,
turn on the TV.
And I was sort of went to
the TV like I'm an automaton,
and it was one of these,
you know, I was living
with roommates and so we
had a communal living room
and there was this
enormous chest, you know,
or 1960's chest shaped TV with
grainy black and white images.
And I turned it on and I see
all these people dancing on top
of the wall, with sledgehammers
and champagne bottles,
and I was thunderstruck.
I was completely thunderstruck.
And the thing is,
the thing that I,
that then was worked completely
floored me, I burst into tears.
And I was sobbing, I'm literally
sobbing my eyes out, and I,
it's basically taken me the
last 30 years since then,
to process why I sobbed my
eyes out, because really,
I had no personal reason to be
affected by this in any way.
I was a foreign service brat,
we had no family behind the
Iron Curtain, as it was called,
to send packages to who might
have come and visited us,
and I was sort of in my
vaguely left of center way,
sort of thought, you know,
you can't keep 30
million East Germans just,
you know, with a wall.
And also, the people
who were on the right,
like my friend Angelica,
wanted parts of Poland back,
which I thought was a doesn't,
and you know, just
unconscionable.
And so one tended to think
that it couldn't be as bad
as the revisionists
made it out to be,
literally I had not paid
attention for most of my,
you know, young adult life.
I had however, started
paying attention that summer,
and that was because my mother
had become very I'll and we had,
I had been flying back and
forth, and despite the fact
that my mother was in
intensive care units
in Franklin University
for a variety of reasons,
she's had a brain tumor and then
had complications and so on.
My mother insisted on us reading
the news to her every morning
at 8:00 am, and it was
really through the reactions
of my parents, who were
absolutely mesmerized, thrilled,
completely captivated, by
what was going on in Poland
and in Hungary, and then the
tens of thousands marching
in East Germany, and the East
German police not shooting.
But nobody quite knowing
where this was heading.
And of course, we had all seen
the brutal bloody crackdown
in Tiananmen Square, so
everybody was terrified
that Tiananmen Square
would happen all
over again in East Berlin.
And so, that had all built up
inside me, I was perfectly,
although for me it didn't seem
personal, I was perfectly aware
that I was seeing world history.
I was also completely,
I completely understood
in that moment, that what was
happening had just changed my
adult life forever.
And I mean, as I write in this
essay, I had really sort of gone
to America thinking,
Jesus, if I can stay here,
this would be so great.
Because frankly, just Cold War
Europe and Cold War Germany,
was just, was horrible.
And so, in that moment, I
realized that I was going back.
That was a pretty big shift.
>> John Haskell: So,
Hope, you've written
about what [inaudible]
German leaders drew
from the history of the wall.
Could you, you know,
capture that for us,
summarize that for
us, I know that--
>> Hope M. Harrison: I will,
but I can't resist commenting
on the crazy reverse
situation we're in.
Because Constanze was a German
in the U.S. on November 9th.
I was an American
on a plane headed
to Berlin on November 9th.
I boarded the plane November
9th, when nothing had happened,
flew to Frankford where I
caught the commuter plane
from Frankford to West
Berlin, a long planned trip.
Get on the commuter flight
from Frankford to Berlin,
and everyone's reading
newspapers,
because now it's November 10th.
And the headlines,
huge headlines [foreign
phrase], the wall is open!
I too was a graduate
student, as you were,
I was writing my dissertation
at Columbia, on the Berlin Wall.
>> John Haskell: Nothing
to write about [inaudible]
>> Hope M. Harrison: And
suddenly, the pilot gets
on the intercom and says,
ladies and gentlemen,
in case you haven't heard, the
Berlin Wall fell last night
and we are flying into history.
So, while Constanze
was sitting at Harvard,
I was in the incredible
situation of being in Berlin,
and West Berlin and East Berlin,
for 10 days following
the opening,
watching them remove
sections of the wall
so East Germans could
come through.
Watching West Germans embrace
them and everyone crying,
me crying, you know, it was
so moving to see all of this.
Champagne being sold
on street corners.
I went to some of these
demonstrations in East Berlin,
to see what was going on.
I saw [foreign name]
speak at [foreign name],
about this amazing moment.
So, in some sense
that experience
of watching the immediate
aftermath of the opening
of the wall, was the beginning
of this book I have
just published,
After the Berlin Wall.
So, looking back,
your question John,
about lessons German leaders
have drawn about this;
these kinds of lessons have
changed over the past 30 years
and that's what I
really write about.
My book looks at how Germans
have grappled with this part
of their history over
the past 30 years.
As you may very well
know, Germany has grappled
with the Holocaust, really
significantly, in great detail,
they have come face to
face with that dark past,
and atoned for it in many
ways, and continue to do that.
So I was interested to see, what
about this more recent past?
What about the 40 years
of communist East Germany
and particularly the 298
years of the Berlin Wall,
how has Germany grappled
with that and how is
that process been connected
with how Germany has
handled the Holocaust past?
And those are things
I talk about.
So on the question of lessons
German leaders have drawn,
I'll give you sort
of two examples.
In 2009, for the 20th
anniversary of the fall
of the wall, which is a
huge celebration in Berlin,
and a picture of the celebration
at the Brandenburg Gate,
with fireworks going off,
if the cover of my book.
And for that anniversary,
10 years ago,
the Germans drew very
sort of positive lessons
about the history of the
wall, focusing on the fall
of the wall, saying look,
this was all peaceful, these,
we have to thank the brave
East German citizens who,
in the fall of 1989, took to
the streets demanding change,
not knowing whether they
were going to be faced
with a Tiananmen
Square type solution,
because the East German regime
made it clear they admired the
Chinese for how they had
cracked down in June of 1989.
So as things heated up in East
Germany in the fall of 1989,
every single person who decided
to go out onto the streets,
70,000 people in Leipzig, a
month before the wall fell.
Over 100,000 in East Berlin,
5 days before the wall fell.
Every single one of those
East Germans had to wonder,
am I going to get beaten up?
Might I be killed?
Might I be imprisoned?
And if any of those
things happen,
might they take my
children away from me?
That's what the East German
regime did sometimes with people
that were opponents to the
regime, if they put you
in prison, they sometimes
took your kids,
put them in orphanages, or
put them up for adoption
with reliable East
German citizens.
So, it was no small matter for
those East Germans to decide
to go out to the streets.
So for the 20th anniversary
in 2009,
the lessons the German
leaders focused
on were the brave East German
citizens wanting freedom
and democracy, and saying this
is the lesson of the wall,
Germans can be democrats,
Germans can be actively engaged
in peacefully calling
for change, for democracy
and for freedom, and
they are an inspiration.
That remains a lesson, but
the mood in Germany now,
30 years later, particularly
over the past 4 years
since the refugee
crisis, and the sense
of division Berlin Wall East and
West, the rise of the far right,
the rise of xenophobia,
they remember that but they,
for example, President
Steinmeier,
who gave a speech on, this
year on the 30th anniversary,
at the Brandenburg Gate,
he remembered those people,
but he also said, you know what,
we Germans now are
building walls.
They're not literal
wall, they're walls
between each other, including
between East and West,
between rich and poor, we're
not listening to each other.
Only with ourselves can
take down those walls.
And again, thinking of the
bad history of the wall,
sort of the violence,
and thinking
of sometimes the violence
in Germany against refugees.
So the wall has both a
very negative history,
the 28 years it stood, the
people that were killed,
the regime who decided
to build it.
But also, this wonderful sort of
happy ending positive side of,
it came down peacefully.
>> John Haskell: Constanze,
what, where are we today,
from your perspective,
commenting on what
Hope had to say.
>> Constanze Stelzenmuller:
Yeah, well,
it's true that for my generation
of Germans, and in fact,
sociologists have at some point
decided to call us the '89-ers,
because '89 was the
definitive event of our lives.
For us, and this is, I'm quoting
something I say in my essay,
'89 was a moment
of amazing grace.
And I mean that in a theological
sense, because it was a gift
who enormity we only were
slowly learning to understand
and one which, at
least our generation,
had done absolutely
nothing to deserve.
It was really, you know, it
was the Poles, the Hungarians,
the Czechs, the Polish
pope, it was Gorbachev,
it was the East Germans
marching,
it was some West Germans who
had smuggled printer's ink
or written letters to prison
directors, that did also happen,
that was a very much part
of the West German culture.
But it was by no
means, universal.
And for many of us, like
me, profoundly ignorant,
and only started realizing
over time, the enormity
of the political shift
that has just taken place.
And in some ways, I mean I
always felt it was like a gift
that I was trying to
live up to really.
But the, Hope is right that
this 30th anniversary has been
particularly glum.
And in some ways, I
will say that I think
that that is a good thing,
because being German,
I am slightly perhaps,
Hope is very polite,
I would be a little more
critical towards how Germans
interpreted the lessons
of 1989 because there was,
there has of course, always
been will the increasing German
awareness of the crimes of the
[inaudible] and of World War II,
there's also a sense of
mounting complacency.
You know, we've done the
whole atonement thing,
other people haven't.
And in 1989, it is not
unfair to say that a lot
of Germans concluded,
with a deep sense
of personal satisfaction,
even if they, like me,
had done absolutely nothing
to create the situation,
that really, from having been
behind everybody else in history
for a century, we were
suddenly out in front.
We were now the good
example for everybody
and everybody would
now become like us
and this included our
dear brothers and sisters
from the Eastern German
lender who are now proposing
to join us, of course on our
terms and under our rules
because what else
would it be, right?
I think the single thing that
the East Germans got to keep,
was the ability to
turn right on red.
And which, as far as I'm
concerned, is a good thing.
But, I was a junior
journalist in the early '90s,
I was doing a [inaudible]
internship at a daily paper
in West Berlin, Tagesspiegel,
and I as, you know, yelled here
and was out the door when,
if somebody said there was,
we needed to cover a
hunger strike in one
of the factories
being dismantled,
either in East Berlin
or on in Brandenburg,
the land that surrounds
it or further afield
and I also covered
some of the court cases
in which the border guards
and their commanding officers
were tried, and I have to say
that even in those early years,
I had very, very mixed feelings
about how we were doing this.
I mean it seemed
to me, very clear,
that the GBR really was an
[foreign word], in other words,
a state that treated the
majority of its citizens
in a way that we would, we
I think under most standards
of human rights, we would
consider illegitimate
and unlawful.
But at the same time,
it was clear that these,
that the ordinary, there
were also ordinary citizens
who had not been in any way
implicated in the system,
and who were paying
a huge personal price
for this transformation, in
ways that one, I felt one had
to empathize with and we
weren't doing as a society,
and particularly
as a West German,
as the West German half not
doing enough to empathize with.
And now of course,
you see in 2019,
we have a hard right party,
the alternative for Germany,
which has been campaigning
with the slogan,
full [inaudible] vendor,
complete the revolution.
On what is essentially
an anti-system ticket,
basically saying,
and all you have
to do is read their
party program,
it's translated not just
into Russian and Hungarian,
but also into English.
And it basically calls the
current constitutional order
of the United Federal
Republic, illegitimate.
If that's not enough for you,
I urge you to read their
military policy paper
that they published this summer,
which is absolutely hair raising
and I do military
and security policy.
This is a party that
wants to change the nature
of our constitutional order.
In much the same way that
say, you know, [inaudible],
or Viktor Orban, or certainly
Vladimir Putin, would recognize
as eminently, you know, in
tune with their preferences.
I have to say, I'm horrified
that we are even there.
I'm horrified that they
get 10% in the west
and up to 28% in the east.
And they have just held a party,
a general their annual party
conference, which to me,
demonstrated that they are
acting in a very strategic
and very disciplined way,
something that they weren't
doing in their early years.
And that, to me, is
as an anniversary,
as an anniversary
phenomenon, deeply troubling.
And I think that we Germans
in particularly we westerners,
have a great deal to answer
for in terms of the complacency
that we, I think that
we, that prevented us
from addressing some of
the legitimate concerns
of our new follow
East German citizens.
That's a really hard
thing to have to learn,
and that's a very somber lesson,
and it's one that is repeated
in different ways
throughout the transformation,
the transformed democracies
of Eastern Europe.
Because, let's not forget,
that what we're talking
about here was part of a much
larger, much larger phenomenon
of the toppling of
communist regimes all
across Eastern Europe, the
dissolution of the soviet union,
and this then in turn
became an example
for citizen movements trying
to topple authoritarian
governances, governments,
in Latin America and Asia, and
in Africa, South Korea, Chile,
Argentina, South
Africa of course.
And it seems to me that this
really calls into question
in the most fundamental way,
our ability to preserve the
representative democracy
and open societies,
that have to me,
is the great civilizational
achievement
of the post-World War II era.
>> John Haskell: So you, you
know Hope mentioned walls
within Germany, you've put
some flesh on that by talking
about the AFD and its platform.
You've written and
spoke about, Constanze,
the idea that while walls
are being built politically
throughout Europe, and some
countries are even, you know,
much further along, then AFD
gets 10%, you know, in the west
and quite a bit higher
in the east,
but still nowhere near
getting power yet.
The--
>> Hope M. Harrison:
Well they are the third,
they are the third--
>> John Haskell: Number,
they're number three, yeah.
>> Hope M. Harrison: --
biggest party in the--
>> Constanze Stelzenmuller:
They're the leaders
of the opposition in the--
>> John Haskell: I didn't mean
to belittle that accomplishment
so to speak, but you
have this, you've written
about the political divergence
that you're seeing throughout
Europe, at the same time
as the economies are
more and more integrated
and so there's this,
I mean there's,
is that just simply
an interesting irony
or what kind of--
>> Constanze Stelzenmuller:
No, I think what,
I mean there is obviously a
huge debate going on right now
about why western societies
appear to be succumbing
to this fear of complexity,
succumbing to authoritarian
temptations,
flirting with the
anti-democratic.
And there are a variety,
they're,
I mean every western
country, including this one,
is going through this moment.
All of us are going
through polarization,
political self-segregation,
and phenomena
that we would more associate
with Europe in the 1920's,
than with the outgoing, with the
beginning of the 21st century.
And it's certainly an object
lesson to all of those
who thought that history was
always going to be linear
and would always be progressive.
I think the biggest lesson
of all this is that democracy
and open societies
need to be defended,
they aren't self-repairing.
But, the, I think that that's
about as much generalization
as I'm willing to do.
It's, I think, really
quite important to look
at each political space
and analyze the sort
of culturally politically
specific reasons why
representative democracy is
being contested in this way.
And I would say that
there are some cultures
where there is clearly an
economic explanation for this,
and I would say that the
United States is one of them,
because it is, happens to be
true that the entry of China
into the global trade
system and the WTO,
literally really did a great
deal to syphon off jobs
from certain regions in America,
and that has had political
consequences, but I would add
to that, that was
probably helped by,
shall we say the deregulating,
not just of economic markets,
but also of political
institutions.
Things like gerrymandering,
money [inaudible]
Citizens United,
campaign finances,
et cetera, exactly.
Whereas I think, you
know, it is notable
that Germany has
full employment,
has had until quite
recently, a roaring economy
and that the living
standards of the east and west
in Germany have actually
been converging.
So the question there clearly
has more to do with the politics
of memory and the
politics of identity
than with actual economics.
And so on, we could take
this through other spaces
in Eastern Europe where I think
you have to be very careful
in examining and identifying
the precise reasons why this
is happening.
>> John Haskell: You want
an opportunity [inaudible]
because that's what you write
about is politics
of memory, Hope.
>> Hope M. Harrison: Yes,
and also specifically to sort
of follow on about what
Constanze's been telling,
but the situation in Germany
Berlin Wall east and west,
and the question of democracy.
You know, in a recent
survey asking is Germans,
is democracy the best
form of government;
77% of West Germans said, yes,
that's what they lived
with for 50 years.
Only 42% of the East
Germans now, in 2019,
agreed that democracy is
the best form of government.
Then when they were asked,
is United Germany a democracy
in terms of guaranteeing certain
basic rights, such as freedom
of speech, 2/3 of West
Germans said yes, but only half
of East Germans said yes.
Feeling sort of, you know,
they're supposed to be careful
with what they say in terms of
being critical of the system
or maybe having positive
things to say
about the East German system.
When asked is the legal system
independent of politics,
56% of West Germans say yes, and
only 39% of the East Germans.
On the question of how
united people feel,
when asked do you
feel more German
or do you feel more
Eastern or Western German?
Among East Germans,
47% feel East German
and only 44% feel German.
So, there is this identity
issuer happening with sort
of different views of what's
going on, different views
of democracy, different
views of the future,
different views of the past.
And on the question, because
I know we're going to get
to also the question of German
relations with the U.S.,
when asked you know, what
poses a danger to democracy
in Germany, people mentioned
right winning extremism
of course, they mention
left winning extremism,
they mention migrants, but they
also mention the U.S. You know,
seeing the U.S. now as
a danger to democracy.
So there are not only are there
these divisions within Germany,
but as we all know, from
reading the newspapers,
there are also important
divisions between the U.S.
and Germany, certainly at the
level of the leaders, but also,
you know, average citizens.
You know, looking at polls on
how average citizens in the U.S.
and Germany see those relations.
Germans are much
more optimistic,
I think 2/3 of Germans see
the relations as very good.
I mean, sorry, of Americans
see the relations as very good.
Whereas a much smaller
number of Germans
>> Constanze Stelzenmuller:
Not so much.
>> John Haskell: Yeah, that's
really interesting data.
You want to comment on that?
>> Constanze Stelzenmuller:
Yeah,
I would like to add
something to that,
I mean all of that is true.
But I have to say, having run
a survey myself for 2 years,
I'm always, I think sort of
you know, you have to be,
you sort of, you can use
surveys as a starting point,
and then you sort
of have to look
at other stuff that's
happening at the same time.
And it seems to me that one
of the most important things
that is happening right now,
and wasn't happening before,
and that echoes what happened in
West Germany, or began to happen
in the late '70s really,
when younger Germans started
interrogating their families
about what they, where they had
been during the Third Reich,
and what they had done.
And I think that the
conversation among the East
Germans about who had done
what under communist rule,
is really only just starting.
I think that that was
repressed for a very long time.
And speaking of repression,
it's important to keep in mind
that in, that many of these,
you're talking about a situation
where everybody did something
to somebody, very often.
The people who were in the
resistance or who were marching
in the streets, were a
minority of the citizenry.
At the height
of the demonstration you
had what, 70,000 in Leipzig?
The total population of
East Germany was 30 million.
And if you look at the work,
the outcome of the work
of the so-called [foreign name]
that the agency created
affair Germany was unified,
to look through the files
that the [inaudible] had kept
meticulously on its citizens
and to, and the, there
are some truly horrific,
tragic stories coming out
of that, of neighbors,
family members, and
even married couples,
spying and reporting
on each other.
And it is incredibly difficult
to have this kind of discussion
with your parents, it is a
little easier to have them
about your grandparents.
And I think that is
what is happening now.
You're seeing now, that's what
I found in writing my essay,
there is a whole new
burgeoning of literature about,
not just what happened in
1989, but the familial context
of families who had
been part of the system
in one way or another.
Where the grandfather
and the father had been
in either the Stasse or in
the military and the kids
and the grandkids came
out of this in 1989
and were suddenly confronted
with an entirely new system,
but at home faced family
members, older members,
you know, people whom they
loved and were close to,
who were not just, you know,
who were not just shall we say,
ambivalent about this,
but deeply, deeply,
hostile to these events.
And who, in some ways, had been,
had not just lost
their social status
but had been emasculated
by this.
And I will, there is a,
on Twitter there is a,
in German Twitter there is a new
hash tag called [foreign term],
baseball bat years,
and it was created
by a guy whom I've just talked
to and whom I have been reading,
a journalist who writes for
[inaudible] online, and he's,
and this is a motif
that has been, that more
and more people are coming
out and writing about now,
about being 10 year
olds in 1989, in rural
or suburban communities that
are essentially lawless zones,
where young neo Nazi thugs,
roam and are the forces of order
and the instrument that they use
to impose order is
baseball bats.
And I in fact, experienced
this myself.
I write this in the essay, there
was one, I had to cover a trial
of young neo Nazis, in
Frankford [inaudible] which is
on the Polish border, it's a
1 hour train trip from Berlin,
and I go there and I was already
pretty negatively impressed
by how these young guys were
sort of sitting there in front
of the judge, you know,
insolently indifferent
to what the judge and the
jury were saying, and then I,
you know, go out after
the court session is
over to file my report, and
I find myself in the middle
of a battle, of a battle,
between the supporters
of the neo Nazis,
and anti [inaudible],
all of them with baseball
bats, some of them
who had brought [inaudible]
with busses,
who were basically beating
each other around the head
in the bushes and the trees
around the courthouse,
and I literally sort of, you
know, jumped to safety somewhere
and then ran off to the train
station, and this was, I think,
far more virulent and far more
prevalent than people saw.
And I suspect that we
could tell similar stories
about other parts of Europe
that underwent these
[inaudible] processes.
In other words, the communist,
the [inaudible] state
had disappeared,
the enforcement state
had disappeared,
and the new state was either
not strong enough or basically
in denial about what
was happening to move in
and do something about this.
And I think that this has a,
plays a tremendous role in some
of the resentment that
we're seeing here.
And one final point is
if you read these
autobiographical reports
that are now being published,
there is a not insignificant
element of generational
and familial continuity between
support of the Nazis before 1945
and being members of the GDR
functional elites after 1945,
and that of course, is in direct
[inaudible] to the founding myth
of the GDR, which was that
all the Nazis had stayed
on the other side of the wall.
>> John Haskell: Normally
we're proud of baseball
as a cultural export, but
not in this particular case.
>> Constanze Stelzenmuller:
In this case I would
say not so much.
>> John Haskell: So
let's, let's switch gears
for the last few minutes
before we take a few questions,
to the question of
U.S. /German relations
and how that's changed.
I guess we all get the sense,
although the NATO Summit may
have complicated it a little
bit, and we can go
there too if you want,
but we all get the sense that
there's more tensions now
in the last few years
between the U.S.
and Germany than there had been.
Why is that?
Either of you want
to kick it off.
Is that an easy answer or?
>> Hope M. Harrison: Well, I
mean there's no question part
of it is Trump, many,
many Germans,
I mean Germans really
loved Obama.
I think it was the country, I
think it was the country outside
of the U.S. where people most,
where he was most popular.
So, it's been a huge
change in that regard.
But there has been, there's
been increasing skepticism
by many Germans for a long time,
about the U.S. which pains me,
but I've watched it happen.
You know, in some ways
starting with George W. Bush
and the Iraq War,
Germans who, you know,
since World War II have become
most of them, very anti-military
and anti-war and you know, you
add that with sort of the people
in the east who were
always trained to sort of be
against the U.S.
and against NATO,
with a general German opposition
to use of military force,
and that, you know,
the war against Iraq
in 2003 was an important
beginning.
Obama, the National Security
Agency, ultimately finding
out that it had been listening
in on Angela Merkel's
cell phone.
Okay, they loved Obama, but
they sure did not like that.
And then with Trump attacking
Merkel and attacking the Germans
so much that, you know, to
me it's been very dismaying
because older generations
of West Germans
of course felt the
incredible importance
of the German/U.S.
alliance because of the U.S.
after World War II, the Marshall
Plan, the Berlin Airlift,
saving West Berlin when
Stalin blockaded it.
Then the U.S. role in
German unification;
after the wall fell,
Europeans were pretty worried.
Thatcher, [inaudible],
Gorbachev, the Poles,
were quite worried, remembering
what had happened the last time
Germany was united, you
know, with the Nazis
in World War II and
the Holocaust.
So, it was really only
George Bush Senior,
who supported the process,
actively supported,
and wasn't afraid
of that process.
So, that was of course a very
positive moment, but people,
older generations remember
what the U.S. has done,
including in unification, many
of them you know, remember,
fondly in some cases, the U.S.
forces, all the U.S. troops
and getting to know
them, American music,
all these different things.
And that has also been sort
of the basis of you know,
for a lot of Americans getting
to know Germany because,
you know, they were
stationed there
and there're many
fewer of those now.
There are 35 thousand active
duty U.S. soldiers in Germany
and actually a recent
survey shows that a majority
of Germans would actually
like to see them go.
So, you know, I think
there have been,
there's been a tendency growing,
a critical tendency in Germany,
of the U.S. which has only
become exacerbated under Trump,
and Constanze and
I both are parts
of transatlantic networks that,
you know, do all we possibly can
to keep fostering U.S.
/German relations and sort
of weathering this storm.
>> John Haskell: So I'll
give you the last word
so that we can have time
for a few questions
[inaudible] for that.
>> Constanze Stelzenmuller:
Yeah, I mean everything
that Hope says is correct, I
didn't think I'd see the day
when I'd be trolled by an
American ambassador to Germany
in Twitter, that has happened
to me and it's not pleasant.
And yes, you know, my dad
was a 16 year old POW,
and was just you know,
thrilled by the experience,
the Americans sent him
to translator school
in Leipzig in 1947.
My dad ended up,
you've heard this story,
as the set translator on
the Howard Hawks' movie,
I Was a Male War Bride, which
was filmed in [inaudible],
the region where my mother's
from, in [inaudible].
So if you ever see that movie,
it's Cary Grant and Ann Sheridan
in front of the camera, Howard
Hawks and my dad behind it.
Unfortunately, my
dad's first girlfriend,
who married [inaudible] in
Oregon, took the signed picture
with her to Oregon, it's
somewhere out there.
Anyway, I would really like to
get that picture back frankly.
But, but you know, yeah, when
I was a kid in [inaudible],
the then capital of
the federal republic,
there was an American
club where friends
of my parents were members and
there was really nothing greater
for us kids, as far as we were
concerned, than being invited
to the [foreign name],
on a Saturday afternoon,
hitting the swimming pool,
and then getting a hamburger
and an ice cream sundae.
As far as we were
concerned, I mean you know,
that made you know,
sort of helps vassals
of America for us forever.
The other thing frankly
that seduced me
at an impressionable age,
was in the [foreign name],
the American settlement around
the embassy, which I mean,
you have to, if any of you,
if you've never been there,
you have to imagine
German city, you know,
nice [inaudible] city among the
vineyards, and then you go off
to the left on the [inaudible]
in the direction of the south,
and you were suddenly in
a, you have American roads,
American sidewalks, and you
have this little green clearing
with a white clapboard, New
England church and a sort
of little sort of colonnade
of shops and a movie theatre.
And in the movie theatre, you
paid with either a douche mark
or a quarter, and my
mother had a friend,
an American who was married to
a German, who explained to her
that the birthright
of modern woman,
was Saturday afternoon off,
and the way that you did this
was packing your kids off
to the movies.
And my mother, who was very
sort of serious about culture,
had serious misgivings
because she felt
that American movies
were not culture.
But the prospect of getting
rid of us for several hours,
won over and so I was
shipped off together
with the friend's four
kids, and my little brother,
and I saw every single movie
ever made about the Korean War,
all the Disney movies,
I was carried screaming
out of Fantastic Voyage.
But you get, this is
the kind of thing,
I'm saying this only
half-jokingly,
that had an immense
influence on generations
of German [inaudible]
growing up,
and one of the saddest
things in my view,
is the Americans closing down
all of the [foreign name]
in German cities, because
those were really important
for building these bridges.
I mean, you were
right, the German,
right now German/American
political relations are
at an all-time low, and
I've been writing about this
for the last 25 years as a
journalist or as a think tanker,
I have never seen
anything like this.
And I will say also to
you, and I've written this,
that Trump has a point in some
of his critiques of Germany.
Our defense expenditures,
our trade surpluses,
I'd say guilty as charged.
Those things are problems
not just for America but also
for European neighbors starting
with the Poles, and others.
But the problem is that
this administration seems
to have a hostility to the
European Union and a nation
that Germany is some of
its puppet master in ways
that I find deeply disturbing.
And they go well beyond what
I would say is an ordinary
and reasonable sort of
political debate to be had.
That's where, that's what
I'm most worried about.
Not the security [inaudible]
although I will say
as a security expert,
that is enough
to give anybody nightmares.
The weaponization of
economic interdependence,
which I think is ultimately
deeply harmful to America.
But it's the culture war framing
that really freaks me out.
It's this nation that we are,
or that America is in some sort
of civilizational end of
days, you know, contest,
with the forces of
darkness and that the forces
of darkness are non-Christian,
have different skin color,
that's where it gets a
little edgy for my taste.
And I honestly and with
that this sort of you know,
the contempt for you know,
the nation of a rules
based international order,
the contempt for representative
democracy and open societies,
that is unfortunately picked up
upon by right winning movements,
not just in my country,
but elsewhere.
That's what makes me think
this is a very dangerous moment
and one where civil
societies can't reach
out to each other enough to
help us all get through this.
But ultimately, I think
all of us, what we share,
is I think a sense of concern
about our own political spaces.
But I think what unites us, is a
profound, a profound commitment
to values that ought to be able
to see us, help us, you know,
work our way through this
and I think, you know,
if we don't do it together,
you know the famous saying,
if we are not hanged together,
we will definitely
hang separately.
That is, I think, I worry that
that is a place we might end up
and I would find that very
sad, because I still believe
that we have much good
to find in each other.
>> John Haskell: Let's see if we
can, we have a couple questions
in the next few minutes.
Just signal, there's a
gentleman back there, Mike.
[ Ambient Noise ]
>> I was curious about
your reaction to,
when President Reagan gave his
speech and said, Mr. Gorbachev,
tear down this wall, emphasizing
that the Russians were
as much responsible for it and
responsible for Eastern Germany.
What kind of reaction
was there to that?
And how big a role did that play
in the wall being torn down?
>> John Haskell:
Interesting question.
>> Hope M. Harrison: Well, that
speech was in June of 1987,
so that was 2 1/2 years before
the wall fell, the West Germans
who were hosting Ronald
Reagan for that speech
in West Berlin right
at the wall,
right at the Brandenburg
Gate, West Germans
under Helmut Kohl were in fact,
really worried about that,
felt that that was
too aggressive,
because at that point in 1987,
no one remotely thought the
wall was going to come down.
The reason Reagan said that was
Gorbachev had just started some
major reforms, he's come to
power in '85, this was now '87,
and Reagan was saying,
if you are really serious
about all these reforms
you're making to communism,
then tear down the wall.
That's sort of where
it came from.
The West Germans felt
that this was sort
of rocking the boat too much,
they're at the front
line of the Cold War.
In fact, a few months
after that,
Helmut Kohl hosted the East
German leader, Erich Honecker,
in the capital of Bohne,
for full, you know,
I mean they were toasting
each other with champagne,
both flags were flying, they're
reviewing the troops together,
I mean there was no sense that
East Germany or communism,
you know, in East Germany,
were going away anytime soon.
So, you know, in terms of actual
impact on the fall of the wall,
I would argue Reagan's speech
had very, very little impact,
it was 2 1/2 years before,
I mean when you ask Germans,
you know what sort of led to
it and if you ask historians,
they will focus on Gorbechev's
reforms, Poland's reforms,
and you know, what was
going on in East Germany
with what they now call
the Peaceful Revolution,
of all the people
taking to the streets.
Yes, having a U.S. leader who
sort of kept saying, you know,
we don't accept communism
and this isn't good,
the people who most responded
to that were the people
who were imprisoned in
East Germany and elsewhere,
and you know, were strong
opponents to the regime
and really wanted external
pressure on the regime.
Many of those people were
really grateful sort of saying,
oh thank God, here I am
languishing in prison,
but at least somebody out
there realizes, you know,
what's really going on.
Yeah, so--
>> Constanze Stelzenmuller:
Well, but you know,
I would say of course, and I
didn't think this at the time,
as a 27 year old, but of
course Reagan was right.
And I think that both Reagan's
and Pope John Paul the second,
and I'm a Lutheran, I'm
not a Catholic, but both,
so I'm not saying this
because I'm a Catholic,
I'm saying that both John
Paul the second and Reagan,
with their firm commitment to
ending communism as a system
of governance that was inimical
to human, to a descent way
of life, to a descent society
and a just domestic order,
were entirely in the right in
retrospect, I think they have
to be given their proper
place in the pantheon
of people whom we, at least I
as a German, feel grateful for.
>> John Haskell: So we've
got time for, what I'm going
to do is, there's three
people have signaled me,
and we don't have time
for more than that,
so we'll have all three of them,
there's two folks over here,
Andrew, which is
[inaudible] and Anna,
and then the gentleman
right in front of me here.
So why don't you each
ask a quick question
and then these two will
brilliantly bring them together.
Do you have the mic [inaudible]?
Go ahead.
>> Yeah, thanks for your talk
and just a really
quick question;
you spoke about your personal
like biographies, where you were
when the wall came down,
and spoke maybe in the level
of comparative politics, looking
at Germany, United States,
maybe the bilateral
relationship, but wondered
if you could take the level of
analysis up even more and look
at the long term ideological
and geopolitical consequences
of the fall of the Berlin Wall.
So if we think in the history
of the 20th century, you know,
fascism, communism, liberalism,
the war of the German
succession, capitalism
and communism, where is--
>> John Haskell: You're going to
have to do this in 30 seconds.
>> Where is the fall
of the Berlin Wall
in a much broader
kind of timeline?
>> John Haskell: And hand that
up, you can hand it off to--
oh, I thought you
did, I'm sorry.
Then the gentleman over here,
we'll just piggyback those two,
and then we'll let
these guys sort
out [inaudible] excellent
question.
>> Is it possible to talk about
what the Berlin Wall meant
to Berliners, the people
of Berlin, East Berlin,
West Berlin, and what Berliners
are doing today, and the role
of Berlin in Germany,
the political power
and what it means to the world?
>> John Haskell: Alright,
you each got 2 minutes
to bring together--
>> Hope M. Harrison: Okay, what
the wall meant to Berliners;
for many of them
it was devastating,
it divided families,
it divided friends,
some people had been going
to school on the other side,
they couldn't do that
anymore, they had been working
on the other side, they couldn't
do that anymore, you know,
I mean a massive,
massive change.
so heartbreaking for many.
So the fall of the wall, was
you know, this wonderful thing,
this moment of relief as
you know, as amazing grace.
They are remembering families
have been brought together,
they remember people who
were killed at the wall,
there is now a national
Berlin Wall Memorial
where you can go look
at what it looked like,
they have some pieces of it,
they have a display outside
in the former death strip,
it's a seven block long site
that tells the history the
wall, so yeah, a profound,
as people say gash through their
lives and through the city.
If you didn't live there, you
know, you weren't as affected,
West Berliners for a lot of
West Berliners, some of it was
in their backyard, they're
having a barbeque and, you know,
the wall happens to be there.
It just, a lot of West Berliners
and West Germans got used to it.
You know, more as background and
many of them went and painted
on the wall, on the
external side of the wall
which you certainly couldn't
do on the eastern side.
The big, big question,
well I mean,
partly Constanze has said this,
and German leaders always say
this, you know, that the fall
of the wall showed that freedom,
you can't stifle forever
the desire for freedom.
And you know, I mean that lesson
that sort of everybody drew
in 1989, which things have
backtracked since then,
but it's certainly in that
epic context of the Cold War
between communism and democracy,
communism and capitalism,
at the time it sure seemed
like, you know, democracy
and capitalism had won
out these, you know,
more hardline repressive
regimes had lost.
And you know, as
these regimes toppled
and then the Soviet Union
itself toppled 2 years later,
it sure seemed in the
grand scheme of things,
which is partly why Frances
Fukuyama wrote back then,
you know, about the
end of history.
It sure seemed like,
okay, they agree,
those people behind the Iron
Curtain, they want democracy
and all that comes with it,
or and capitalism,
or some combination.
But you know, what we've
learned, is that it's not
so easy, particularly we all
see even in this country,
the problems with capitalism,
the haves and have nots,
you know, that communism
didn't have that, there were,
there weren't these big,
big gaps, which is something
that the people in
east feel very much.
And also, democracy and sort
of civic activism, you know,
one of the lessons the German
leaders say about 1989,
you know, it shows the
importance of civil activism.
Well the only problem with that
is, that's also what the AFD,
that's what the far right
party is doing you know,
they're getting out
on the streets,
they're being civically active.
So you know, just because you're
being really active and wanting
to make your voice heard,
it's not always for democracy.
So, the legacy has become much
more complicated 30 years later,
than people thought
for a while after 1989.
>> John Haskell:
Quick last word.
>> Constanze Stelzenmuller:
Yep--
>> John Haskell: And then the
fun stuff, we have a reception,
books, and one other
thing to say.
>> Constanze Stelzenmuller:
Drinks.
>> John Haskell: Exactly.
>> Constanze Stelzenmuller:
Alcohol.
There is a cottage
industry right now,
suggesting that liberal
democracy
and a rules based international
order are essentially relics
of the 20th century.
And that the sort of modern
age of economic interdependence
and great power of competition
is at least as suited to
or maybe even more suited to,
shall we say authoritarian
constitutional
operating systems.
I think that that is
a defeatist narrative,
and one that essentially sort
of, you know, puts up its hands
when faced with the
complexities of the modern age,
and I think that my
personal inclination is,
and my urge to others, is
to fiercely resist that.
But what I do think that we have
underestimated is just how hard
freedom is.
And it becomes particularly
hard, when you're worried
about where your next
meal is going to come from
and whether you have
a shadow of a chance
at living a descent life
in a society that appears
to be fragmenting around you.
And I think the lesson from that
for us, is that you know, you,
I think really the lesson of the
20th century for all of us is,
particularly for western
societies but I suspect
for others as well, is that it
matters how we construct our
systems of governance.
I personally believe
that representative
democracy is not a flaw,
but a competitive advantage
of western societies,
but it doesn't repair itself,
it doesn't create itself.
And it is the product of a
very carefully calibrated
and designed architecture of
constitutional legislation
of laws and of institutions.
And if you let people
destroy these institutions,
and if people, if you let people
destroy the social contract,
then it should not come
as surprise to anybody
if people think that freedom
under those circumstances
is too hard.
So I think the challenge for all
of us is to look at what we have
and say, is this good enough
to weather what is
clearly a climate change,
not just in international
relations,
but also in domestic politics.
We are clearly looking
at a sort of,
I think climate change is
actually really good metaphor
for this.
Because of the, because
climate change if a product of,
I mean we all live
in an ecosystem,
and we are finding it
increasingly hard to regulate
and control that ecosystem.
And I think what we need to
look at is how to protect it,
and how to make it stronger
against these forces
that are buffeting us.
That's where we are, and I think
all of us can think of things
in our own systems that we
think could use some repairing.
And break this down into
things that can be done locally
or in a state level or
international level,
and be a part of that.
It's not that hard.
And if anything, it seems
to me, I thought after 1989,
that we were moving
into something
of a political consumer culture.
In other words, we were leaving
the hard work of democracy
to self-appointed
political elites,
and we were ordering
stuff from Amazon.
And as far as I'm concerned,
this is a moment when it's kind
of good to rediscover the
virtues of citizenship again.
And as far as I'm, you know,
I think that's a good thing.
>> John Haskell: So let me tell
you that I can't command enough
to you the recent writings
of Hope and Constanze,
and right now I'm
going to tell you how
to get your hands on them.
Hope's new book, After the Fall,
will be available back behind
the reception area and she'll,
I think she'll be nice enough
to sign a copy for you too.
>> Hope M. Harrison: Of course.
>> John Haskell: And--
>> Constanze Stelzenmuller:
But you have to pay for it.
>> John Haskell: Yeah,
you have to pay for it.
Constanze's essay that
I described before,
German Lessons, if you
google Stelzenmuller
and German lessons,
you'll find it.
And if you're like me, you
might miss a metro stop
as you're reading it and end
up at Eastern Market on the way
to work tomorrow,
if you work up here.
That happened to me.
Because it's really riveting
and we thank you both
so much for your--
>> Constanze Stelzenmuller:
Thank you,
thank you for hosting us.
[ Applause ]
>> Hope M. Harrison:
Such a pleasure.
>> Constanze Stelzenmuller:
Thank you for doing this.
>> John Haskell: Very nice.
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[Music]
So guys we could not show you the food inside
Because aunty told us they will not allow the shoot
Pretty unfortunate for us
We are a bit sad now
We wanted to show you guys the food how they present the and stuff like that
Just wanted to show you guys so that you also can enjoy with us
Unfortunately didn't allow us to shoot
Overall taste wise momos were very good
What we have heard its all true that the taste was amazing
Now its totally sunny weather up here
So guys now we are going to another place just walking distance Dewans hotel
Lets see if we get something unique
Because its still a mountain area after all
As we all know that mountains means that momos which is world famous
Then there is wai wai
Then we have allo mimi don't know that we will get here or not
We are still hungry typical food vloggers
[Music]
We are inside Dewans hotel
Our order is getting ready
Have a look at outside
We are inside a small cabin
The seat are all quite neat and clean
You guys can come and enjoy aswell
Our food has arrived as well
So, Anirban excited?
Yeah indeed
Specially I am excited for allo mimi
This is quite special everyone should try once atleast
Before having food lets use hand sanitizer
This is the new normal
If you guys are going out please wear a mask and use hand sanitizer when needed
Safety is the main priority
Let me have allo mimi
It looks quite spicy
Its hot
Our breakfast is completed
We had a bit of everything
It was unusual from the regular mornings
The ride the food its all very different
We had an amazing time hope you guys also had that great time
Please do let us know in the comments that whether you guys enjoyed or not
See you in the next video till then TATA
[Music]
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Hi, I'm Bina and welcome to my channel!
A few weeks ago, I just bought Hario V60 01.
It was on sale and I grabbed it really fast.
I still have my French Press and I use it sometimes.
Sometimes I'm super lazy (most of the time) to wash the dishes and it's quite complicated to wash French Press.
So, I bought this V60 because, it's plastic, very easy to use and wash. I still learn how to use it properly.
I watched James Hoffman's video about how to use V60
and I'm still confused.
So, this video of me, making coffee using V60 might be a little confusing.
But, then again, I'm not a coffee expert.
Just a coffee addict! :D
1 scoop or 12 grams of coffee beans.
I grind it to a medium-coarse.
I rinse the V60 paper filter with some hot tap water.
So, we won't taste the paper filter in the coffee.
I pour filtered-water into a kettle and bring to a boil on high heat.
Throw the tap water away.
Put a V60 on top of the glass. I use Hario V60 01.
I think this one is the smallest.
The material is plastic.
It came in a bundle with the paper filter and scoop.
Now, I use local coffee beans that I got from Tuku Kopi.
It's called Cipete Blend.
The filtered water is boiled and remove it from the heat.
Let it sit for 1 minute.
The temperature should drop a little so it won't burn the coffee beans.
I watched James Hoffman's video about V60 like a bunch of times and I'm not even sure what I'm doing now XD
I really enjoy the process of manual brewing like this.
And I think I wanna buy a Chemex.
I really like the shape of Chemex but,
the price makes me wanna cry in the corner of the room.
Today, I only make 1 cup of coffee.
My Mom only wants to take a little sip of mine later.
I also heard that making coffee with French Press everyday is not good for your health.
I don't know why and I don't know how,
but it kinda scares me a little XD
I'm so sorry the video turns into small frame like this :(
I put my camera phone at the wrong angle and
it became like this :( I hope it's okaaay.
By the way, the white and grey cup is one of my favorite cup ;)
Pour some milk...
and that's it!
That's how an amateur, like me, brew a cup of coffee using V60.
The smell of freshly brewed coffee itself in the morning, always wakes me up and tempts me to brew another cup until I'm drunk under the influence of caffeine.
By the way, what are we making todaaay???
But first, coffee.
I'm gonna make homemade yogurt!
It's very easy, but takes a lot of patients as well.
Pour some milk. I just use regular milk.
My Mom and I like yogurt very much.
She likes eating it with a bunch of fruits.
I like eating yogurt with some fruits, granola and honey.
I used to buy store-bought yogurt, but
it's quite expensive and I eat a lot of it.
So, I googled the recipe and it's so simple.
I already made this a bunch of times.
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In the year 2050, two thirds of the global
population will live in an urban area or city.
Yet, us humans are drawn towards nature ever since we left it behind.
How has our obsession with nature inspired
visual artists throughout the ages?
In 2016, the BBC released Planet Earth II..
the successor of the first Planet Earth
series which was broadcast in 2006.
Technological camera innovations, especially in the field of
stabilization allowed them to create amazing shots like these
While watching, you can't help but wonder..
how do they get so close to these wild animals?
This and many other factors, contribute to the success of the series..
like the immense popular presenter Sir David Attenborough..
and the music by famous composer Hans Zimmer for example.
Not surprisingly, Planet Earth II is the 7th
most popular TV-programme of all time..
and is the most watched nature show ever.
But there is one thing above all other that
explains why we love it so much…
it makes us happy!
A lot of scientific studies have shown that
spending time in nature makes us feel better..
both mentally and physically.
The BBC wanted to find out whether simply
watching Planet Earth had the same effect.
They partnered up with the University of California, Berkeley..
and asked thousands of viewers how they felt before
and after watching an episode of Planet Earth.
Amazingly, the data showed an increase
in joy, contentment, curiosity..
awe, amazement and wonder.
And also: clear reductions in tiredness,
low energy and reduced stress.
Without a doubt, paintings have the same effect..
However, opposed to the BBC's ability
to capture nature in real time..
as it really is, the artists from the 17th century couldn't.
Simply taking your canvas and oil paint outside was not
possible until the invention of the paint tube in 1841.
That is why a lot of landscape paintings
until that time were made up.
They were composed from sketches, memory and fantasy.
This did not mean that artist would
only spent their time in their studio.
Some of them made long and often
dangerous travels, all over the world..
and when they returned, they felt the artistic freedom
to combine everything that they saw, in their work.
Like this imaginary landscape by Herman Henstenburgh..
where he put various bird species from all over the world together.
Like the roseate spoonbill from North America
and the stork found in Europe and North Africa.
Or take this landscape by Albert Cuyp.
This is not set in Italy, as you might think.
It is in the Netherlands, where you will
not find any mountains what so ever.
But this is what is so cool about art: we already have
reality when we open our own eyes and look around.
The artists offer us a unique perspective, a unique
set of eyes, a new way to look at the world.
However, this did not mean that artists were not interested
in studying nature and visualizing it as it really was.
Check out these examples by explorer, soldier
and artist Robert Gordon for example.
He traveled to Africa six times in his lifetime.
In Africa, he was in awe of all he saw
and obsessively tried to capture it.
He wanted to know exactly what a flower consisted of..
drawing every part of the flower separately.
And not only flowers, also plants, animals and people.
The detail is amazing and very much life like.
Innovations in the paint world, such
as the invention of the paint tube..
further allowed artists to capture nature
and the world in a completely new way..
sparking the impressionist movement.
Being able to work outside, in nature, they started
painting the impression that nature gave them.
Monet really learned from nature itself..
observing variations in color and light
caused by the daily and seasonal changes.
Capturing unique moments in thick and vivid brush strokes.
As humanity is losing touch with nature,
our longing for it becomes stronger and stronger.
Thankfully we have the artists of today and of the
past to trick our minds and let us experience nature..
even though it is not really there.
But let's not forget that nature is out there..
Let’s experience it in real life, and most importantly:
let’s cherish it, before it will only
exists on our screens and paintings.
Let us know whether you think BBC Earth is art or not..
and let us know your suggestions for
future episodes of Is This Art?
Thanks for watching!
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And everybody was making their own beer at
home.
Making their own brews, which wasn't no good
at all.
But that's the changes.
And when they threw that out that helped to
beat the devil.
You know I can remember when the women couldn't
be a bar tender - wasn't allowed to be a bar
tender - wasn't allowed to be a waitress.
Every waitress in the restaurant was all men.
No women.
That all came later.
Especially after '42, after the war started
- that's when the women flocked to the jobs,
to replace the men that went to war.
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Les gens se trompent
quand ils disent
que mon travail est high-tech.
En fait,
c'est extrêmement low-tech.
C'est très basique,
très primitif.
C'est physique.
Si j'arrive
à faire de la musique
qui ne ressemble pas
à de la musique d'ordinateur,
c'est parce que
je fais tout à la main.
-On soulève, t'es prêt ?
-Ouais.
-J'y vais, je monte ?
-Ouais. C'est pas si mal.
J'ai décidé de faire
mes propres instruments
parce que j'avais du mal
à faire de la musique puissante
avec les instruments
électroniques existants.
Je suis aussi
ingénieur mécanique
en microfluidique
et en microscopie.
J'ai joué dans des groupes
de metal quand j'étais étudiant.
Je jouais de la basse
et de la guitare.
J'étais aussi passionné
de musique que d'ingénierie.
J'étais frustré de n'être
qu'un membre du groupe.
Donc je me suis dit :
je vais programmer
une musique de batterie
et jouer de la guitare.
Mais quand on joue
par-dessus une bande,
la musique nous échappe.
Il fallait
que ce soit plus vivant.
J'ai commencé
avec quelque chose
que je faisais coulisser.
Mes premières réalisations.
Ça, c'est juste un contrôleur
de synthétiseur.
Avec un port USB...
Ou pour n'importe quel synthé.
Avec ça, plus tu tournes vite,
plus le ton est haut.
C'est un nouveau dispositif,
provisoirement appelé la grille.
Le stylet, là,
il passe sur les sillons.
On crée le bit comme ça.
Ça, c'est le "Rails".
C'est celui
avec lequel je joue le plus.
Il y a 8 boutons.
On peut faire
différentes combinaisons.
Selon la configuration,
les sont seront différents.
Ça ne fait pas de son.
C'est une interface.
En fait, je prends
quelque chose de très concret,
une belle machine
que j'ai fabriquée.
Et j'y attache des encodeurs
ou des potentiomètres
pour pouvoir envoyer le tout
à un ordinateur
et lire les données.
Celui-là, c'est...
Je voulais
un gros morceau d'acier
qui tourne et qui coulisse.
Il faut juste...
Celui-là était dur.
Il faut mesurer la rotation
avec un encodeur
et le coulissage.
Quand l'appareil
est suffisamment lourd,
on entend le poids.
J'utilise
la qualité des matériaux
pour en faire des instruments.
On est au Centre national
de recherches en microscopie
et imagerie.
Je travaille avec des physiciens
et des biologistes
pour photographier différemment
la biologie cellulaire.
Avec cet appareil,
vous pouvez prendre
1 mm cube de cerveau de souris,
ou n'importe quel échantillon,
et vous obtenez
des images en tranches.
Je sais pas ce que c'est.
Sûrement un bout de cerveau.
Ces appareils
sont comme des petits robots.
On doit faire en sorte
qu'ils fonctionnent mieux.
C'est mon boulot.
Je travaille avec un logiciel
de modélisation 3D.
Je modifie les machines,
les emmène au magasin
et les ramène.
Quand je fabrique un instrument,
j'utilise le même logiciel.
L'alliance des deux me permet
de conserver un regard neuf.
Ce que je fais
est basé sur l'informatique
et le matériel d'automatisation.
Des engrenages,
des trucs qui glissent.
Et donc, du fait
de cet environnement...
Ce microscope coûte
10 millions de dollars.
Personne ne dépense autant
pour faire des instruments.
J'essaie d'appliquer les mêmes
stratégies de conception.
Quand je me suis lancé
dans la fabrication,
j'avais un son en tête
et je voulais trouver un moyen
de jouer correctement ce son.
Mais maintenant,
je réfléchis plutôt
à ce que je peux faire
avec mon corps sur scène
en étant tout seul.
Je travaille sur un album
qui sortira cet automne.
Et il est spécial pour moi.
J'ai fabriqué
de nouveaux instruments
pour la première fois
depuis 2010.
Ces nouveaux instruments
proviennent d'une nouvelle idée.
Il se peut qu'un associé
m'aide à les développer,
comme une boutique spécialisée
ou un magasin d'instruments.
Parce qu'on n'en voit
pas tant que ça,
des commandes tactiles
industrielles.
Et je trouve ça dommage
parce qu'il y a
plein de super musiciens
et ils devraient
avoir du super matos.
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(soft music)
- [Dr. Sternberg] None of
us will have total control
over this situation.
This pandemic is worldwide.
It's beyond the ability for
any one individual
to control it.
But, you can do something
in your own small sphere
to help you feel like you're
getting some degree of control.
And, it's different
for every individual.
When you're stressed,
your brain starts pumping out
stress hormones and
nerve chemicals.
And both of those
directly affect
how the immune
system does its job.
So, anything that we can do,
and each of us can
do individually,
to, in some small way,
reduce some of those stressors
that we can't control,
that will be an important way
of helping your immune system
to do it's job to
keep you healthy.
You need to think about
what is your passion?
What do you love to do?
What are you good at?
And how could it
possibly help others
during this pandemic situation?
There are yoga teachers who
are teaching yoga online.
There are people making masks.
There are people delivering food
to people who can't get out.
It can be anything in your world
that you can do to help others.
It'll fool your brain
into thinking that
you have some level of control.
And that's all you need to
lower the stress response.
Not being able to be
with your loved ones,
not being able to go
out and socialize.
That's a huge stressor.
Social support is one of
the most important ways
to reduce the stress response.
But we are incredibly fortunate,
that we are living in an era
when we can connect virtually.
All of these different
virtual ways of connecting,
or allowing us to have
these social gatherings.
And it's really a
wonderful thing.
It's a different
way of connecting.
It's not the usual way
that we're used to,
but it does give a level of
sustenance and social support
that's really
important at this time,
and then helps to reduce
the stress response
and enhance those
positive brain pathways
that keep you healthy.
Fresh air is really important.
The more people who spend
time in an enclosed space,
where there's no fresh air
or there's poor ventilation,
that's gonna make you
really tired and groggy,
and you'll make more mistakes
in whatever it is
that you're doing.
Either open the windows or
open the doors if you can,
and the weather is okay outside.
Or put a fan near your computer
to blow away that carbon dioxide
that you're breathing out
that will make you sleepy.
We know that dry air also dries
out your mucous membranes,
and that makes you more
susceptible to viral infections.
So, it's important
to make sure that
you have enough
humidity in the rooms
where you're spending
most of your time.
Or, for example,
where you're sleeping,
put a humidifier in the room.
And there are many elements
of the physical environment
that can stress.
But, at the same time,
there are many
elements that can calm.
(water gurgling)
Looking at nature,
listening to nature sounds,
inhaling deeply in a
fresh, nature setting.
That's calming.
You know, try to look at things,
watch things that
are not stressful.
And there's plenty of stuff
out there that's stressful.
And I would
recommend not looking
at that stuff in the evening.
Especially because you want
to get a good night's sleep.
Bright sunlight in the morning
and dimmer light in the evening,
what we call circadian light.
Lighting that follows
the timing of the sun.
And that has been shown
over and over again,
to help you fall asleep faster,
have a better restorative
night's sleep,
and be less depressed.
Have improved moods.
Another thing that's important
is the right temperature.
You know, if you take a warm
bath before you go to sleep,
you take a warm shower,
that'll help get your body
into a state of relaxation.
Aromatherapy is another
element of integrative health
and essential oils like
lavender are very effective.
So that leads to another
of the seven domains
of integrative health,
which is spirituality.
Meditation, prayer, all these
activities turn on those,
what we call dopamine reward
pathways in the brain,
and they reduce the
stress response.
Whether you're meditating,
whether you're doing Tai-Chi,
gentle exercise, gentle walking,
that will all turn on the brake
to the brain's stress response.
So, if you feel yourself
getting anxious,
take a moment to just sit
quietly and breathe deeply.
Now, eating healthy
is a really good way
of engaging the whole family
in a stress reducing activity.
(upbeat music)
The chores become a game,
and as the family
works together,
that creates the social support
that helps to
reduce your stress.
Walking 30 minutes a day,
eating a healthy
Mediterranean diet.
And, if you engage in
those simple activities,
that will help enhance
your body's ability
to be resilient and
to fight disease.
You can't do it on your own.
None of us can do these
things on our own.
If you find yourself
in a place where
you're so depressed
that you can't function,
where you're grieving,
where you're thinking
of taking your own life,
where you're drinking too much.
My recommendation
is to seek help.
Don't try to do it on your own.
And if you can't reduce
your stress response
or make yourself feel
better, you haven't failed.
People will say, oh,
I'm a terrible person.
I've failed.
I can't make it work.
Well, that's not true.
You haven't failed.
You just need help.
(soft music)
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English:
It doesn't matter what I wear.
'cause when I dream,
they're Lili's dreams.
You've always sketched me better than I was.
But what you draw, I become.
You made me beautiful.
And now you're making me strong.
Such power in you.
You helped bringing Lili to life but...
... she was always there...
She was always waiting.
Arabic:
لا يهم ماذا أرتدي
فعندما أحلم
أرى أحلام (ليلي) ...
لطالما رسمتِني أفضل من ما أنا عليه
وما رسمتِه أصبحت عليه
جعلتِني جميلة
والآن تجعليني قوية
يالها من طاقة بداخلك ...
أنت ساعدتِ على إحضار (ليلي) للحياة
لكنها كانت دائماً موجودة
كانت دائماً تنتظر
Arabic:
هل تفهمين أن زوجك مريض عقلياً
كلا
هذا غير صحيح
أخبرني عن (ليلي)
من أين أتت؟
من داخلي
أنا أحبك
(جيردا) أحبك أنتِ فقط ... لكنها (ليلي) ...
أنا أؤمن بأنني إمرأة
من الداخل
و أنا أؤمن بذلك أيضاً
"علّمتني شجاعة النجوم"
"قبل رحيلك"
English:
You do understand that your husband is insane?
No.
That's not true.
Tell me about...
Lili.
Where does she come from?
Inside me.
I love you
Gerda
only you.
It's Lili, she-
I believe that I'm a woman
inside.
And I believe it too.
English:
I am
entirely
myself
Arabic:
"كيف أن الضوء يستمر للأبد"
"حتى بعد الموت"
"بقصر النفس "
"شرحت اللانهائي" -- أنا نفسي كليًّا
"كم هو نادر و جميل"
"أن تكون موجود"
"لم أتمكن من أن أطلب منك"
"رؤية كل شيء مرة أخرى"
"حاولت كتابته" -- (ليلي)
"لكنني لم أجد قلماً"
"قد أفعل أيّ شيء لأسمعك"
"تقولها مرّة أخرى"
"أن الكون صُنِع"
Arabic:
"فقط ليُرى بعينيّ"
كم أنني لا أستحق حباً كهذا
"بقصر النفس"
"سوف أشرح"
"اللانهائي"
"كم هو نادر"
"و جميل"
"حقاً"
"أنّنا موجودون"
كنّا انتَ
و أنا
English:
How have I deserved such love?
It was you
and me
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Some examples of Energy System Training.
Or, best case examples energy system training.
I'll try to take a fairly complex topic and break it down to some simple pieces
that can make senseif you want to do or coach specific energy systems training.
One way that I teach coaches to think about that and to explain it to their clients is that
you never really do work without everything being put together in that piece of work.
That means that even if I walk across the room, I'm using all different parts of the energy systems.
If I walk across the room a lot faster and I can sustain it for hours on end,
then, I could be more dominant in one energy system over another.
If I sprint across the room and I have drop off (end point) from that pace,
now I'm using a different energy system.
If I try to carry a massive load across the room, I can't continue to hold it so I put it down and then pick it back up,
across the room and I can't do it and I
have to pick it up and put it down pick multiple times,
now I'm using a whole different energy system.
So, as a starting point, just think that with any piece of work, you have to use all 3 of the energy systems.
Writing them in simple way that makes sense to most people are 3 circles within one another.
The ATP/phosphocreatine system - "gain" - the glycolytic system - "pain" - and the aerobic system - "sustain"
Naming these in a way that makes sense would be:
1. Sustain = Aerobic System
2. Pain = Glycolitic System (and because it rhymes)
3. Gain = CP ATP System
Gain, Pain, and Sustain = the 3 Energy Systems.
Then you can visualize what the dose response is that you're trying to get from the specific workout,
and it gives you an idea in terms of the dominant energy system that used within the training.
So, if we're going to talk about energy
systems and best energy systems training practices,
understanding the dose response and understanding what you're trying to achieve with each one
must be really clear before you start training the process.
For gain, we can call it "Alactic" - ie without lactate production or capability during the training session,
you want to think of it in terms of very short, fast, and intense.
You're going to need to rest for a longer amount of time between sets in order to recover to go again
because if it's proper energy systems training, the work (reps, speed, weights, etc...) must be REPEATABLE within that session.
If we're doing capacity style of that training - testing max ability or pace, reps, weights, etc... - that's different.
If we're if we're doing a peaking variation of capacity, that's different,
if we're teaching people how to start learning how to train, that's different as well.
But, if we're going to be doing alactic training, we want repeatable measures of:
A really short timeframe - 0 - 20 sec as a
starting point.
The rest periods can be anywhere between 7 - 15x (times) that amount of work relative to the intensity, the person, and what's inside of the workout.
A really simple example of this would be:
get on an Assault bike and to do 12 seconds at a really high effort, very very hard effort.
Then take 2:48 sec of a full recovery break when you do that.
So, if you would repeat that for 4 pieces (sets) with the same rest time between each piece (set), that would be an alactic session (Gain).
The reason why I choose an Assault Bike for 12 sec is that a lot of people can do it.
One thing we forget is that if you go through the anaerobic realm for training alactic (Gain) or lactic (Pain) work,
people actually have to be powerful enough to do that.
If you're not powerful enough to get the dose response that's required, or you're looking at 2:48 rest and saying "that's too much time,"
you're either doing two things:
1. You're not going hard enough for the 12 sec or
2. You can't go hard enough for 12 sec to actually get the response that's needed for that specific time frame,
If some people do 12 sec, take only 48 sec off and do it over and over with what they perceive as "very very hard effort."
they're not really anaerobic.
So, in most cases, in order to do true anaerobic training, you have to be strong
enough.
That was one exampleof an alactic session based upon the timeframes, sets, and effort.
Pain - everyone seems to know how to do the pain one.
A way to think about pain work is that whatever timeframe you choose within training,
let's pick an example that is clearly painful, 2 minutes of hard work.
When you do 2 min of work, it really should have an endpoint that's just beyond 2 min in terms of your total workout capacity that you're able to maintain.
So, in order to determine if the workout is really glycolitic (Pain),
you should not be able to maintain the 2-min pace you've chosen for more than just over 2 min.
For example, on a graph,
if you're to put power output for that 2 min,
a person's going to get up to a certain amount of pace and power that they can maintain,
and then after 2 min, the power should drop precipitously.
So, if that's the 2-min interval, they are doing glycolitic (Pain) work because they can't maintain that pace,
regardless of the limitation, after 2 min.
To see the difference from glycolitic to aerobic sustainability,
if you're doing aerobic training, you could still do a 2-min interval.
However, in the aerobic interval, the power output is lower, so there isn't a fatigue point.
They can recover and do the same power output over and over and over again.
That's the difference between 2 min of glycolytic work and 2 min of aerobic work.
If you do 2 min of aerobic work, it's
probably going to take you 1 - 2 min to recover before you can go aerobically again.
If you do 2 min that's truly glycolytic, it should take you 8 to 10 to 12 to 14 to even 16 min to recover.
It gets in-depth to determine what the exact recovery time is per person.
Some people just recover faster than others
due to their aerobic system, due to correct pacing, due to their power output, or due to what was inside of the 2-min interval
and how that really you know really
resides.
An example of 2-min of pain - if we were to say best training practices for most people -
would really come down to mechanics and muscle endurance capability.
If you wanted to do a really good 2-min interval for mixed modal training (CrossFit-style),
something that's really simple that can be a combo of kettlebell (KB) swings, rowing, and burpees.
You do it really fast, you combine all those pieces together for a couple of minutes,
and you do it at a really hard effort.
In most cases, the speed of contraction and the muscle endurance you're partaking in,
as well as the amount of time you spend in lactate, or glycolytic (Pain), training
will determine how long you can sustain that.
You really should not last anything longer than a couple of minutes,
so if you actually do a glycolytic interval,
then it should not be able to sustain past those couple of minutes.
Remember the old days of dot com (CrossFit.com) workouts
that were generally you know three to four minutes in length.
There was no way you were going to be able to do anything for half an hour to perhaps days after that
because so much energy was put into 1 interval.
It's so so much the case today where
people do 3-4 min really hard and then they take 2 min rest and then do another metcon.
and that really meant that
1. They actually didn't make the first one
glycolytic no matter how hard it looked or how "fast"they went,
and for different reasons, they could be super aerobic, they may actually not be able to "go there," or they may be super dampened and working at lower output.
They're basically turning glycolytic work into sustainable aerobic work,
If they were to truly able to go there for 3 min, it should take 20 - 25 min to recover,
it's just recognizing exactly what the training is when people do it.
And, for cyclical, or what we call middle zone painful training,
there's nothing better to use than a rower, so pick 1k row and do it really hard.
Not very very hard, but really hard so that you can't maintain that pace right after the 1k.
So if you do a 1k row, you're a male, and you finish it in 3:10,
as you see you your meters kicking down,
you should be saying "this is all I got, I can't really go a lot further than this."
Then you rest 15 - 20 min,
and you do that 1k a couple more times.
That would be energy systems training for that specific area.
Now, you would do a 3:10 row because you're PR (personal record) is like 2:58,
so for energy system training,
you're going to hold a 3:10 which is right around this area here (just below the capacity line)
which is just below that threshold point so you can repeat it.
That repeatability allows you're to flirt
with that system which pushes your capability up underneath that,
and for a number of other reasons, but just practicing it would be a simple one for a simple modality.
Now, for the aerobic one it's a little bit easier to do
because, based upon the amount of reps that you do, we call them pieces and blocks for OPEX and OPEX coaches.
The amount of repetitions that you do there, you can throw whatever you want in there
as long as people can sustain it repetitively.
For ex, if you wanted to do a 3-4 min metcon and then rest 2 min,
what I would ask people to do is to truly see if it's aerobic,
and if you have enough muscle endurance in order to maintain those aerobic pieces within it,
especially if it's mixed modal,
is to do a 4 min workout with a bunch of stuff inside of it,
record a score relative to how much you did,
rest 3 min, and repeat that exact same
workout 3 more times.
That will allow you to say "can I maintain this pace?"
It may be overkill for the reps you chose, but that's your issue,
at least you got to play around with what's going to go into that.
Whatever movements and reps you're going to have, I'd say take something like you double unders, wall balls, and toes to bar,
do a whole bunch of reps in 4 min,
rest 3 min, and then do that exact same workout in the same format 3 more times.
You should have the same score for every 4-min piece.
If you do, that's aerobic training.
What's wrapped inside of it is basically just muscle endurance and a bunch of other things.
If you get attrition meaning that you score fewer reps each time,
there's a fatigue factor happening where you've either got an incorrect pace (speed),
or you've got a muscle endurance issue that's not allowing you to maintain that aerobic capability,
or you may have just gotten tired or hot depending upon where you live which may cause a limitation
in you creating a mixed modal aerobic piece (work).
So, to use the rowing example here (pointing to aerobic),
some really simple ones that we use are 500m row repeats.
As an example, people have to get lots of volume built up before they get to these,
but to use 500m row repeats,
take your best to case score 2k row time (score),
and take that pace that you did on average for the whole 2k
and row each 500m at that pace.
and for those of you who haven't been introduced to aerobic training before will find that pace a little easy.
That's the whole idea!
Why? Because you're going to rest in two minutes,
and you're going to repeat that over and
over and over and over and over and over.
Start with 3 or 4 pieces of that.
Try to build to 6, 8, 10...the reason why I like volume for the aerobic training is that it maintains sustainability,
and it ensure people know how to pace effectively for a number of the sets.
As you build, it's really tougher for people to go threshold (go hard enough for pace to be forced slower).
If they start to screw up the second set
and they go at a pace, but they know they've got 8 more sets to do,
They'll configure the correct pace because they can't suffer for 8 more sets, nobody wants that
because suffering occurs in here (pain zone).
Sustainable work is something that
should be repeated repetitively over and over.
So those are a couple of different examples of best energy systems training practices per zone.
A couple of major points to remember:
1. There's never one without the other, they're always working together and relying on each other consistently all the time.
Remember that time timeframes and time domains do not dictate energy systems training.
When you choose the alactic system, for gains, you're looking for high power output which requires strength to create power.
If you don't have sufficient absolute and relative strength, anaerobic training is useless.
If you're gonna be doing the glycolytic (pain) stuff, remember the type of power output shouldn't be maintained past the time frame of the interval (set).
If you're doing aerobic work, it has to be sustainable the whole time.
I'll finish with a final point on it. There is a difference between fitness and health.
If we can clearly delineate between the two, my argument is that you really don't need to do any glycolitic (pain) training to maintain health and longevity.
If you are going to do any glycolytic or really painful intervals,
to give you some benefit in the kind of training you do for fitness or sport or whatever the case may be,
it totally makes sense.
If you want to live long and prosper, in most cases we don't have to have glycolytic intervals.
I hope that helps a bit in your thought process around energy systems training.
Come back to OPEX for more information on all things coaching and fitness.
| {
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Okay, so we have a potato and we have diced fruit.
So let's throw this in here.
And we're going to add some water to help the potato mix.
Throw on the lid and...here we go.
Let's see.
Mmm...starch.
It's thick.
AAH!
Alright, so if you want to see another combination
click the blender.
| {
"pile_set_name": "YoutubeSubtitles"
} |
sher e kashmir i a r
Aqua Drop (huh)
(huh)
TriBoss
Aqua Drop (huh)
(huh)
(huh)
(huh)
(huh)
(huh)
(huh)
| {
"pile_set_name": "YoutubeSubtitles"
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Spanish:
Cuestionario: Determinación de la edad fetal
Preguntas
¡Preparate!
Coge papel y boli para llevar un registro de tus respuestas
7 preguntas totales
5 imágenes fijas y 2 videoclips
Ayuda:
Utiliza nuestras tablas de edad gestacional de ganaderia o la fórmula rápida (longitud + 18 = días)
Empezaremos con los fáciles
Imagen 1
Imagen 2
Imagen 3
Probemos algunos más difíciles
Imagen 4
Imagen 5
¿Qué tal unos videos a continuación
French:
Quiz: Détermination de l’âge du fœtus
Questions
Tenez-vous prêts! Prenez un stylo et du papier pour garder une trace écrite de vos réponses.
Au total 7 questions
5 images et 2 clips vidéo
Astuce : Utilisez nos tableaux de repères de l’âge gestationnel bovin ou la formule rapide (longueur+18 = jours)
Nous commencerons par les plus faciles
Essayons des images plus difficiles
Qu'en dites-vous de poursuivre avec des vidéos?
English:
.
German:
Quiz: Altersbestimmung bei Föten
– Fragen dazu
Los geht's!
Holen Sie sich Stift und Papier zum Notieren Ihrer Antworten
Insgesamt 7 Fragen,
5 Abbildungen und 2 Videoclips
Tipp:
Nutzen Sie unsere Tabelle zum Gestationsalter von Rindern oder die Kurzformel (Länge + 18 = Tage).
Wir fangen mit was Leichtem an
Abbildung 1
Abbildung 2
Abbildung 3
Versuchen wir jetzt mal was Schwereres
Abbildung 4
Abbildung 5
Wie wäre es mit Videos?
German:
Video 1
Video 2
Wie viele hatten Sie richtig?
Sehen Sie sich die Antworten an, um es zu erfahren
Spanish:
Vídeo 1
Vídeo 2
¿Cuántos has hecho bien?
Mira el las respuestas del video para saber cuantas acertaste
French:
Combien de réponses justes avez-vous?
Pour le savoir, regardez la vidéo montrant les réponses du quiz
English:
| {
"pile_set_name": "YoutubeSubtitles"
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NARRATOR: One question: "Why is there such
a stunning diversity of life?"
One answer: "Evolution: Charles Darwin's brilliant
theory that explains how species adapt and
change." It's been called the best idea anyone
ever had. But there's one big problem: How
does it actually work?
Now, extraordinary science is answering that
question. It is uncovering the hidden mechanisms
inside creatures' bodies that can explain
astonishing transformations like how birds
can evolve from dinosaurs; why a fish was
once your ancestor; and above all, what makes
us human.
Right now on NOVA, you'll find out, What Darwin
Never Knew.
The
tree of life on Earth, is one of stunning
diversity: 9,000 species of birds, 350,000
kinds of beetles, 28,000 types of fish; 2,000,000
living species and counting. And we are just
one of them.
But why is there such an amazing variety of
animals? Why are there so many types of fish,
so many different species of beetle? How did
this extraordinary profusion of life on Earth
come about?
Today we celebrate the man who would ultimately
answer that question: Charles Darwin.
He was born 200 years ago, and it is 150 years
since he published the work that has become
the bedrock of our understanding of life on
Earth.
CLIFF TABIN (Harvard Medical School): What
Darwin wanted to understand was how you get
this extraordinary diversity of life on Earth.
He was spot on. He really nailed it.
NARRATOR: Darwin's theory of evolution, his
account of why species adapt and change, has
been called the best idea anyone ever had.
But even Darwin admitted that his work was
incomplete. Vast questions were still unanswered.
And the biggest question was, "How?" How did
evolution take place?
SEAN B. CARROLL (University of Wisconsin–Madison/Howard
Hughes Medical Institute): He didn't know
any of the mechanics of that process. He didn't
understand the physical forces that would
actually change the way species appeared.
NARRATOR: But today we can answer the questions
that Darwin could not. We can look under the
hood of evolution, and see exactly how this
mysterious process gives rise to such astounding
diversity.
CLIFF TABIN: What's incredible about this
timing, from a scientific perspective, is
we're going to be able to understand that
diversity. And that just adds to the excitement.
It doesn't demystify it, it makes it all the
more magical.
NARRATOR: And this is the magic and mystery
of evolution: over eons of time a single species
gives rise to many. An ancient fish evolves
to become the ancestor of all four-limbed
animals, even us. And one species, our own,
develops a large and uniquely complex brain,
enabling us to dominate the planet.
This is the search for the answers to what
Darwin never knew.
Darwin began his love affair with nature when
he was a child, just like many of his modern
followers, including evolutionary biologist
Sean Carroll.
SEAN CARROLL: I developed my interest in animals
the same way I think most biologists did,
which was either going out in the backyard
or going to zoos.
And anytime I got a chance, I'd flip over
logs and look for salamanders and snakes and
frogs and things like this. And I was just
fascinated with their patterns and behaviors.
NARRATOR: So it was with the young Charles
Darwin.
Young Charles liked to traipse around outdoors.
He loved to collect beetles and things. He
was a completely ordinary kid. And he didn't
like school.
In fact he was such a poor student that his
father, a rather successful physician and
a pretty imposing figure, was worried about
Darwin's direction in life.
So his father packed him off to Edinburgh,
the finest medical school in Europe, to become
a doctor. But young Charles was just too squeamish.
SEAN CARROLL: He was really horrified by medical
school. He witnesses an operation on a child—and
this was in the era before anaesthetics—and
he fled the operating theater, vowing never
to return.
NARRATOR: Next his father sent him to Cambridge
to study for the clergy. He didn't succeed
at that either, but he did find his direction
in life, reviving his childhood interest in
nature.
SEAN CARROLL: Darwin starts on his path to
his divinity degree, and he starts to mature
as a student. He becomes more serious about
some subjects, particularly natural history;
and he learns a lot more about botany, and
about geology and these things. He's becoming
a pretty solid field scientist.
NARRATOR: His reputation as a naturalist gained
him a spectacular invitation.
SEAN CARROLL: Charles was offered a place
on the British Navy ship, The H.M.S. Beagle,
whose mission was to survey the waters around
South America. Now the captain of the Beagle
wanted a well-educated scientific person aboard,
and a dinner companion, somebody to share
conversation with. And Darwin fit the bill
perfectly.
NARRATOR: And so, Charles Darwin set off on
a fateful voyage that would revolutionize
our understanding of life's great diversity.
The voyage of the Beagle took nearly five
years. It wove its way from the Cape Verde
Islands and along the coast of Brazil. It
was in Argentina that he made his first important
discovery.
SEAN CARROLL: Early on in the voyage he found
some amazing fossils. He dug up some skulls,
some jaws, some backbones of what turned out
to be giant mammals. Now, these were clearly
extinct, and Darwin began to ponder. What
was the relationship of those fossils to the
living mammals of South America?
NARRATOR: But one port of call on Darwin's
voyage proved more important than all the
others: the Galapagos. This cluster of 13
isolated islands lies 600 miles off the coast
of Ecuador, in the Pacific Ocean.
These islands are home to unusual animals
found nowhere else on Earth: penguins that
live at the equator and swim in warm water,
instead of the frigid seas of the South Pole;
giant tortoises that weigh up to 600 pounds;
iguanas, huge lizards that swim and dive in
the sea—everywhere else, they dwell only
on land.
Traveling for the first time in the Galapagos,
Sean Carroll is seeing the same creatures
that so intrigued Darwin.
SEAN CARROLL: Of all the animals, I think
these marine iguanas are the greatest symbol
of the Galapagos, what I most wanted to see
here. And to see them in their native habitat,
blending against that black rock, just as
Darwin described it, is an absolute thrill.
CHARLES DARWIN (Evolutionary Theorist, Passage
taken from Darwin's diary) It is a hideous-looking
creature, of a dirty black color, stupid and
sluggish in its movements. They are as black
as the porous rocks over which they crawl.
NARRATOR: Darwin meticulously described the
iguanas in his diary, but he was far from
the scientific authority he would become.
SEAN CARROLL: The Darwin that arrived here
was not the great theorist that we know today.
He was a 26-year-old collector, collecting,
really, almost at random, any kind of plants,
any kind of animals, any kinds of rocks. He
didn't even know the meaning of what he was
collecting, until much later.
He was also fascinated by the giant tortoises,
which allowed him to ride on their backs as
they slowly lumbered around. CHARLES DARWIN
(Passage taken from Darwin's diary) I frequently
got on their backs, and then, upon giving
a few raps on the hinder part of the shell,
they would rise up and walk away. But I found
it very difficult to keep my balance.
NARRATOR: Darwin measured the creatures' extreme
slowness: about four miles a day, he calculated.
But the local people knew something else about
the tortoises.
SEAN CARROLL: They could tell which island
any tortoise came from just by looking at
its shell.
NARRATOR: Their shells differed depending
on which island they lived on. Some tortoises
had shells shaped like a dome; others had
shells arcing over their heads like a saddle;
others differed subtly in color or by how
much the bottom of the shell flared out.
Darwin had literally been sitting on a clue,
a way to understand the great diversity of
life. But he didn't yet realize it.
Instead Darwin turned his attention to birds.
The islands were full of what seemed to be
a familiar assortment of species. So he stuffed
his collecting bag with what he thought were
types of finches, grosbeaks, wrens and blackbirds.
And then, after five weeks in the Galapagos,
Darwin and the Beagle went to other ports
in the Pacific, and finally set sail for home.
On board he started to sort through the vast
number of specimens he had collected on the
five year voyage. But it was not until he
returned to Britain that he was able to make
sense of them.
It began with a startling revelation. All
the different birds he had collected actually
were variations of a single type.
SEAN CARROLL: He learns that those birds he
had collected on the Galapagos actually represented
13 different species of finch.
NARRATOR: What misled Darwin was that they
looked radically different: some had wide
tough beaks, others had long slender ones.
And these differences depended on which islands
they lived on.
SEAN CARROLL: Now why would that be? Why would
there be slightly different birds, slightly
different species, on different islands, all
in one part of the world?
NARRATOR: Darwin now thought back to the Galapagos
tortoises. They too differed from island to
island. His brain began racing.
SEAN CARROLL: Thoughts are starting to crystallize,
take shape in his mind, bit by bit by bit.
He starts this process he describes as "mental
rioting," just a stream of consciousness where
he's jotting down—note after note after
note—thoughts as they occur to him.
And finally they converge on this one idea.
NARRATOR: What Darwin now realized was that
somehow, for some reason, species change.
Originally, there must have been just one
type of finch on the Galapagos, but over time
it had diversified into many kinds, with different
beak shapes; the same for the tortoises. One
type of tortoise must have turned into many
kinds, with different shells depending on
which island they lived on.
With this great insight, Darwin entered dangerous
new territory. The standard view at the time
was that God had created every species, and
that what God had created was perfect and
could not change.
SEAN CARROLL: But Darwin said "No. Why would
the Creator bother with making slightly different
finches for each of these different islands
that all looked alike?"
NARRATOR: The prevailing view just didn't
make sense. But this was only the beginning
of Darwin's revolution. He turned his attention
to the fossils he had collected in South America.
One was of a giant sloth, another was of a
huge armadillo-like creature.
These animals were extinct, but little sloths
still existed in South America, and so did
smaller armadillos. What could this mean?
SEAN CARROLL: It dawned on him that they resembled
each other, so what he had found in the ground
were the buried ancestors of the living animals
of South America. So, again, here was more
evidence that species changed. Somehow these
ancient giants must have been transformed
into the smaller creatures we see today.
NARRATOR: But what Darwin would later find
out, took this idea of how species change
into a completely new league.
In Victorian times, scientists routinely studied
life forms at the embryonic stage. How these
tiny forms develop from just a single cell
into an entire creature has long been seen
as one of the wonders of nature.
MICHAEL LEVINE (University of California,
Berkeley): Watching a developing embryo is
truly the most glorious miracle of nature,
no baloney.
NARRATOR: What Darwin learned from studying
the embryos amazed him.
In snake embryos you could see tiny bumps,
the bony rudiments of legs. But these would
never develop in the adult snake. Darwin wondered:
"Were snakes somehow descended from animals
with legs?"
He learned that whales, which have no teeth
as adults, had them as embryos.
Those teeth disappeared before they were born.
To Darwin it had to mean whales were descended
from creatures with teeth.
But human embryos provided the most startling
evidence. Under the microscope, tiny slits
around the neck were clearly visible: exactly
the same structures were found in fish. But
in fish they turned into gills; in humans,
they became the bones of our inner ear. Surely
this showed that humans must be descended
from fish.
It's an astonishing thought.
OLIVIA JUDSON (Imperial College London): I
don't know about your ancestors, but mine,
you know, included, included priests and,
you know, the, the usual, the usual suspects.
But, but the idea that all of us have, have
fish in our family tree, I think it's amazing.
NARRATOR: And so Darwin arrived at an astonishing
conclusion, one that would become central
to his understanding of the great diversity
of life.
SEAN CARROLL: Darwin had this amazingly bold
idea: the tree of life—that all species
were connected. And what it meant was, if
you go far enough back in our family tree
of humans, you'll come to fish. If you go
far enough back in the family tree of birds,
you'll come to dinosaurs. So that creatures
that don't look anything at all like each
other are actually deeply connected. No one
came close to having this idea before Darwin.
NARRATOR: This seemed to be an explanation
for the vast diversity of animals. Beginning
with a common ancestor, over time, across
generations, species could change dramatically.
Some might add new body features, others might
drop them.
Ultimately one type of creature could be transformed
into something utterly different. It's a process
Darwin called "descent with modification."
But it all begged a question: why? What was
making creatures change? Darwin needed clues.
And he found them in a very surprising place.
Dogs: big, small, fat, tall. The British have
long been obsessed by them.
It was a full-blown love affair in Victorian
England. Even Her Majesty was dog-crazy.
That love affair still continues today, especially
among scientists like Heidi Parker at the
National Institutes of Health.
HEIDI PARKER (National Human Genome Research
Institute): One of the most interesting things
about working with the domestic dog is the
kind of variation that you have. We have sizes
that range from something the size of a groundhog,
up to dogs like Zeppie, here, who can get
to be the size of mule deer.
If we had that kind of size variation in humans,
we would have people running around the size
of Barbieâ„¢ dolls.
NARRATOR: In his day, Darwin knew this range
of sizes hadn't come about by chance. Through
a careful process of selection, dog breeders
mixed different dogs with different physical
traits to create new forms.
HEIDI PARKER: Darwin was intrigued by what
he was seeing breeders could do with domestic
dogs. They could select for individual traits,
such as size or shape, and they could actually
change the look of their breed.
NARRATOR: The Whippet, for example, had been
developed to chase rabbits. It was created
by mixing greyhounds for speed, with terriers,
used to hunt small game.
And then it hit Darwin. Was there a similar
form of selection going on in nature, but
without human interference? Could natural
selection explain the great diversity of life?
SEAN CARROLL: It was brilliant. He took something
very familiar and comfortable, for example,
animal breeding, and explained that the same
sort of thing was going on in nature, just
at a little bit different pace and with no
human guide.
NARRATOR: But what could be carrying out selection
in the wild? It was then that Darwin took
a completely fresh look at nature.
The Victorian view of nature was sentimental—lambs
lay down with lions—but Darwin's travels
on the Beagle led him to a different view.
For Darwin, nature was savage. Every creature
was locked in a desperate struggle for survival,
ultimately ending in death.
OLIVIA JUDSON: The scale of death in nature
is absolutely horrendous. And sometimes it's
not just there's a lot of death, but it's
very unpleasant death.
NARRATOR: But, in all this brutal chaos, Darwin
saw a pattern.
SEAN CARROLL: Darwin showed that nature was
a battlefield and that everything was in competition.
And this brutal battle, this war of nature
as Darwin described it, was actually a creative
process.
NARRATOR: The pattern that Darwin saw was
that the creatures that survived were those
best adapted to the specific environments
they lived in. For instance, some could handle
extremes of climate. Others were brilliantly
honed killing machines, perfect for catching
the available prey. Still others were perfect
to evade those who might be hunting them.
But how did this harsh view of nature explain
the finches on the Galapagos, where Darwin
observed that that the birds on different
islands had different beak shapes? Somehow
those different beaks must be helping the
finches survive.
CLIFF TABIN: The finches of the Galapagos
Islands have beaks of many sizes and shapes.
And there's a reason for that; they use their
beaks as tools. Now, if you think of the type
of tool you would want to crush a seed that's
very tough, but is the food that you really
like, you'd want a beak like this, which is
the type of beak the ground finch has.
NARRATOR: On an island where the only food
is seeds that are hard to crack, a short,
powerful beak will mean a finch will survive.
But on another island, the available food
isn't seeds but flowers.
CLIFF TABIN: On the other hand, if you wanted
to get into narrow spaces to get pollen and
nectar, that are very hard to get at, you
wouldn't need a big, strong beak, you'd need
a probing beak.
NARRATOR: So on a different island, where
you have a different food source, you have
a different beak shape. And this pattern was
repeated across the Galapagos.
It seems that the finches' beaks had altered
to fit the diet of each particular island.
And that was how one original type of finch
had been transformed into many. But how had
these changes come about?
Here Darwin had another clue. He could see
it in his own family. As every parent knows,
no two children are ever exactly the same.
Charles looked different from his brother
Erasmus, even though they shared the same
parents.
Charles's children looked a bit like him and
his wife Emma, but they, too, looked different
from each other. That was something he called
"variation."
SEAN CARROLL: He realized that not every individual
was the same, stamped out like a toy from
a press, but there was variation.
NARRATOR: Darwin realized that variation must
be the starting point for change in nature.
In any generation, the animals in a litter
are never quite the same. And in the wild,
such a tiny variation might make all the difference
between life and death.
Two penguins, for instance, might differ a
tiny bit in the thickness of their blubber,
a big factor if you live in extreme cold.
In a harsh climate, the environment will select
who will live and who will die. And slowly,
Darwin suggested, over many, many generations,
these tiny variations would allow the fit
to get fitter, and the unfit would vanish.
These variations accumulate and eventually
new species branch off. This is evolution
by natural selection. It is one of the keys
to how new species are formed.
And so, in 1859, after years of painstaking
research, Darwin finally published his masterwork,
On the Origin of Species. It is still impossible
to overstate its importance.
CLIFF TABIN: It was really a quantum advance
in understanding. It shook people up, it changed
the way people thought.
NARRATOR: Gone was the idea that all species
were created perfect and immutable, taken
as an article of faith. In its place, Darwin
provided proper scientific theory, based on
facts and observation.
OLIVIA JUDSON: It is much more than the presentation
of simply the idea of natural selection. It's
a vision of how evolution by natural selection
works.
NARRATOR: One-hundred-fifty years later, his
theory has stood the test of time.
SEAN CARROLL: What's amazing is that Darwin
got so much right. His ideas largely stay
intact today.
NARRATOR: But Darwin himself acknowledged
that there were holes in his theory. He didn't
actually know how it worked. What was happening
inside a creature's body that makes it change?
But now, at last, modern science is providing
the answers, through a hidden mechanism that
Darwin knew nothing about.
Arizona's Pinacate Desert is a harsh and brutal
place, especially if you're a rock pocket
mouse.
MICHAEL NACHMAN (University of Arizona): They're
the SNICKERS® bar of the desert. They really
are. They're probably eaten by foxes and coyotes
and rattlesnakes and owls.
NARRATOR: Weighing just half an ounce, this
mouse could never fight off these large predators.
Its best hope for survival is camouflage.
Not surprisingly, its fur matches the color
of the Pinacate rocks.
But in some sections of the desert, the environment
is different. Ancient volcanoes erupted, and
now the desert is a patchwork of dark lava
and light rock.
But of course a light mouse on dark rock is
easy pickings. So something has happened that
Darwin might have predicted. The mice now
living on the dark rocks have evolved darker
fur. Those that stayed on the light rocks
remain light.
Nachmann was fascinated. How had this happened?
To find out he first needed to catch some
mice. So, with Sean Carroll, he visits a line
of traps he set the previous night.
MICHAEL NACHMAN: All of the dark ones have
a white underbelly, and, presumably, there
is no selection for a dark underbelly, because
predators are coming from above.
NARRATOR: This much Darwin could have done:
find some mice and compare the color of their
fur to their environment. But Nachmann can
now do something that Darwin never could;
he can look inside the animals' D.N.A.
The study of D.N.A. is one of the great triumphs
of modern science.
It has taken our understanding of how creatures
evolve and develop to a level that Darwin
could never have dreamed of.
SEAN CARROLL: The D.N.A. molecule is one of
the real secrets of life. It's a perfect system
for storing the vast amounts of information
that's necessary for building all kinds of
creatures.
NARRATOR: D.N.A. consists of one long molecule,
spiralling around in a double helix. That
helix is, in turn, made up of four smaller
molecules, called by the letters G, A, T and
C.
D.N.A. can be found in the cells of every
living thing on Earth.
OLIVIA JUDSON: The thing about D.N.A. that
I think is remarkable is that the molecule
itself is so elegant: with a small number
of letters, you can say almost infinite words.
NARRATOR: And that is the key. D.N.A. is a
code, and its double strand contains all the
information to make living things grow and
develop. Lined along each D.N.A. molecule
arranged special sequences of this code that
form our genes.
Many genes get translated into proteins, and
these proteins make the stuff of our bodies.
One protein makes hair; another makes cartilage;
others make muscle.
SEAN CARROLL: What makes D.N.A. so amazing
is that contains just four letters but all
sorts of combinations of those four letters
contains all the information for making all
the creatures that are on the planet.
NARRATOR: It's a gene that determines whether
our eyes are blue or not. Another gives us
freckles. Another gives us dimples. But D.N.A.
has one other vital quality: it doesn't stay
the same.
When a baby is conceived, the fertilized egg
receives half its D.N.A. from the mother and
half from the father, creating wholly new
combinations. It's why we look a bit like
our parents, but also different.
Another way that D.N.A. can change is mutation.
SEAN CARROLL: Mutation is a critical ingredient
in the recipe for evolution. Without mutation,
everything would stay constant, generation
after generation. Mutation generates variation,
differences between individuals.
NARRATOR: Mutations can happen as our D.N.A.
copies itself when our cells divide and our
bodies develop. An A, for instance, can be
replaced by a G or a C by a T. This can cause
minute changes that no one is even aware of.
But when mutations occur in the cells we pass
down to our children, they can cause big changes,
like turning a light-colored mouse dark.
SEAN CARROLL: Mutation seems to mean that
something bad has happened. Well, mutations
are neither good or bad. Whether they are
favored, or whether they are rejected, or
whether they're just neutral, depends upon
the conditions an organism finds itself in.
So, for the pocket mouse, a mutation that
caused the mouse to turn black, that is good
if they're, you're living on black rock. It's
bad if you're living out in the sandy desert.
NARRATOR: It was that mutation, the one that
turned a light-colored mouse dark, that Michael
Nachmann was hunting for.
Back in the lab he began the painstaking business
of comparing the genes of the two types of
mice, trying to pinpoint any differences.
MICHAEL NACHMAN: Science is fun when you really
don't know what you're going to find.
NARRATOR: One by one, the genes in the two
mice proved identical. But then, in one gene,
he found something. There were four places
where the sequence of As, Ts, Cs and Gs were
different.
When a mouse is born with these mutations,
its fur grows dark. And that means it can
survive on the dark rocks when others would
not. Here was a clear example of evolution
and natural selection at work.
MICHAEL NACHMAN: I think Darwin would have
been delighted to know that we can find the
genes that are responsible for evolutionary
change.
NARRATOR: And this was just one of many links
that have been found between genetic mutations
and evolution.
Scientists can now pinpoint a range of examples
of evolution in action. The Colobus monkey
can see in color because of a mutation in
one gene; it can now tell nutritious red leaves
from tough old green ones. A genetic glitch
gave this Antarctic fish a potent antifreeze
in its blood, so it can survive in the icy
waters when others cannot.
So powerful was this link between genetic
mutation and evolution that an idea took hold:
to understand how evolution works, all you
need to do is compare creatures' genes.
SEAN CARROLL: One might think that you could
understand all of evolution, simply by mapping
the genes of every creature. Identify all
the genes, identify all the differences, and
you could explain the differences between,
say, a mouse, and monkeys and humans.
NARRATOR: So, when the human genome project
began, in 1990, the scientific world was on
tenterhooks. All three billion letters of
our D.N.A. were going to be identified, in
order.
In parallel, the D.N.A. of some animals and
plants was also being sequenced. Surely this
would be a quantum leap in our understanding
of how different life forms evolved?
With this came another idea: that complex
animals like us would have many more genes
than simpler ones.
SEAN CARROLL: Here we are, the most complex
and sophisticated animal on the planet, right?
You might think that would require a whole
lot more genetic information.
NARRATOR: The betting was on. Just how big
would our genome be compared to other life
forms?
OLIVIA JUDSON: There were estimates that humans
would have between, let's say, 80,000 and
120,000 genes.
NARRATOR: So when the final answer came in
2003, it was a shocker: 23,000 genes, the
same number as a chicken, less than an ear
of corn.
MICHAEL LEVINE: People were freaked out by
the relatively small number of genes. It's
down to something like 22- or 23,000 protein-coding
genes in a human genome.
The simple nematode worm has about that same
number. And there are plants that have considerably
more genes than the glorious human genome.
OLIVIA JUDSON: The whole human genome project
has been a humbling experience, as we've discovered,
that, actually, it doesn't take as many genes
to make a human as we had all hoped.
NARRATOR: And it wasn't just that we had so
few genes, but many of our key genes were
identical to those of other animals.
Huge though the breakthrough had been, the
genetic revolution had opened up a whole new
set of puzzles. As a solution to the mystery
of how evolution works, genes and their mutations
were only part of the story. There had to
be something else, more subtle and more mysterious
going on.
SEAN CARROLL: We have to explain, then, "How
do you get all these differences, if you have
really similar sets of genes?"
NARRATOR: The quest to uncover what Darwin
never knew would have to start again.
The first tantalizing clues would come from
those life forms that Darwin himself had studied,
embryos.
Look at these embryos. It is almost impossible
to tell, just days after conception, which
is the chicken, the turtle, the bat, the human.
They look almost the same.
Only as they grow, does it become clear which
is which. Darwin wondered, as scientists do
today: how could they start out so similar
and end up so different?
MICHAEL LEVINE: There is something profound
about what the embryo was telling us. And
we have rediscovered what Darwin was talking
about all along, that the embryo is where
the action is, in terms of animal diversity.
It is the platform for diversity.
NARRATOR: What fascinates modern biologists
is that all these different animals don't
just look the same, they are using virtually
the same set of key genes to build their bodies.
The body-plan genes determine where the head
goes; where the limbs go, and what form they
take: whether they are arms, legs or wings.
Another set of genes determines an animals
body patterning: the blotches, the stripes
and spots.
It is the same genes at work in every creature
from the leopard to the peacock to the fruit
fly, and yet they produce radically different
results.
This has led scientists to a crucial insight
about how animal bodies have evolved. It's
not the number of genes that counts.
SEAN CARROLL: It's not the genes you have
but how you use them that creates diversity
in the animal kingdom.
NARRATOR: Finding out just how these same
genes are used to create such amazing diversity
has been the work of Sean Carroll and an unlikely
hero of modern science: the fruit fly.
SEAN CARROLL: As much as I'd like to study
the mammals of the African savannah, they
make poor choices for laboratory animals.
They're large, expensive and then reproduce
very slowly. To get data, we have to find
the simplest examples of the phenomenon we
want to understand.
NARRATOR: But the humble fruit fly does weird
and wonderful things.
This fruit fly is dancing for sex. A rapt
female takes in the show. She's particularly
besotted by the dark spots on the male's wings.
Watching it all is an equally besotted Sean
Carroll.
SEAN CARROLL: You might think them to be just
annoying, but they're really charming. The
males of this species does a rather elaborate
courtship dance where he displays these spotted
wings in front of the female. To us, it's
as magnificent as what a peacock does.
NARRATOR: But in some species of fruit fly,
the males don't have wing spots.
SEAN CARROLL: There is another fruit fly species
that is different from the spotted species
in two important ways: it doesn't have spots
on its wings, and it does a lot less dancing.
NARRATOR: Here then is a classic evolutionary
puzzle. Why does one type of fly have spots
and the other doesn't? Sean Carroll wanted
to know what is going on in their genes that
makes them different.
SEAN CARROLL: So we wanted to take apart the
genetic machinery for making wing spots, to
understand how those wing spots evolved.
NARRATOR: Carroll began the process of sifting
through the two types of flies' D.N.A. He
had one clue to set him on his way. He already
knew the gene that codes for the black wing
spots. He calls it the paintbrush gene.
But surprisingly, when he compared the genes
of the two flies, they both had that gene,
and yet only one had spots.
SEAN CARROLL: When we look at that gene in
the two species, really, they both have this
paintbrush gene. So the big difference is
not having the gene, it's how they use it.
One species is using it to make spots, the
other one doesn't.
NARRATOR: So why did the paintbrush gene create
spots in one type of fly but not the other?
In search of answers, Carroll turned to one
of the least understood regions of D.N.A.
The vast stretches that were once known as
junk.
It has been called the dark matter of the
genome: mysterious, uncharted, strange.
The vast bulk of the double helix, some 98
percent of it, doesn't code for proteins,
which make the stuff of our bodies. The genes
which do comprise just two percent.
Even now, no one is sure what much of this
huge non-coding area actually does, but it
has long beckoned evolutionary detectives,
like Sean Carroll.
So that is the fragmented test?
Carroll had already learned that the paintbrush
gene itself was identical in the two types
of fly. So he extended his search through
their D.N.A. And in one place, just outside
the paintbrush gene, he found an important
clue: a stretch of D.N.A. that was different
in the fly with wing spots.
What could this mean?
So Carroll conducted an experiment. He decided
to put that mysterious stretch of D.N.A. that
he had found in the spotted fly in the unspotted
fly. To help him see if it had any effect,
he attached it to a gene from a jellyfish,
a gene that codes for a protein that makes
the jellyfish glow.
SEAN CARROLL: We cut the D.N.A. up into little
pieces, and we hook it up to a protein that
glows in the dark. And then we inject that
into the unspotted fly.
NARRATOR: And then something remarkable happened.
SEAN CARROLL: When we looked at those unspotted
flies, we see, now, their wings are glowing
in the dark with spots.
NARRATOR: Somehow that mysterious stretch
of D.N.A. had turned on the paintbrush gene
in the unspotted fly's wings. Once spotless,
now it had luminous spots.
SEAN CARROLL: Bingo. We had found the piece
of D.N.A. that mattered.
NARRATOR: Carroll had found something that
is revolutionizing our understanding of how
different animal bodies have evolved.
A piece of D.N.A. called a switch. Switches
are not genes. They don't make stuff like
hair, cartilage or muscle, but they turn on
and off the genes that do.
SEAN CARROLL: Switches are very powerful parts
of D.N.A., because they allow animals to use
genes in one place and not another; at one
time, and not another; and so, choreograph
the spots and stripes and blotches of animal
bodies.
NARRATOR: In the case of the fruit fly it
is a mutation, a change in just a few letters
of the D.N.A., that has caused the paintbrush
gene to be switched on. And so, a whole new
species with wing spots has been created.
But switches are now explaining far more than
that. They are helping to solve many perplexing
evolutionary questions, like how one creature
can become another creature by losing it legs.
It all goes back to what Darwin had seen in
the snake embryo: the rudiments of leg bumps.
This convinced him that a snake must have
evolved from some four-legged animal.
Over the years that same mysterious process,
the losing of legs, has been seen in other
creatures, like the whale. Its front flippers
have all the bones of a land creature's arm,
even the fingers. And further back in its
body, it has the vestiges of a pelvis. Clearly
it is descended from an animal that walked
on the land.
DAVID KINGSLEY (Stanford University, Howard
Hughes Medical Institute): Lots of animals
have evolved to slither through the ground,
like snakes. Other animals slither or swim
through the water, like, like whales. So if
you need a streamlined body, it's good to
get rid of these things that stick out from
the body, like limbs.
NARRATOR: Like the whale, the manatee is another
huge mammal that lives in the sea. And it,
too has lost its hind legs. How?
Darwin could never have answered that question,
but now, thanks to our understanding of how
D.N.A. is switched on and off, and a very
small fish, we are getting a little closer.
In this lake, in British Columbia, there is
a creature that really shouldn't be here:
a stickleback.
Most sticklebacks live in the ocean, but some
10,000 years ago, a few were left stranded
in this lake, cut off from the Pacific. And
over the years, they have evolved.
The ocean stickleback has a pair of fins on
its belly that are like spikes. They are for
defense. The spikes make the stickleback hard
to eat.
But the lake sticklebacks have lost those
spikes on their bellies. And it is this that
intrigues researchers David Kingsley and his
colleague Dolph Schluter.
To understand what's behind it, they first
identified the gene that makes the stickleback's
spikes. It's one of those key body-plan genes
and, not surprisingly, they found it to be
identical in both the ocean and the lake stickleback.
The question was, "Why hadn't it been turned
on in the lake stickleback, which had lost
its spikes?"
Kingsley felt the answer might lie in a switch.
DAVID KINGSLEY: We know these genetic switches
exist. But they're still very hard to find.
We don't have a genetic code that lets us
read along the D.N.A. sequence and say, "There's
a switch," to turn a gene on in a particular
place.
NARRATOR: But eventually, hunting through
the vast stretch of D.N.A. that does not code
for proteins, he found it, a section of D.N.A.
that had mutated in the lake stickleback.
These mutations meant that the switch was
broken. It didn't turn on the gene that makes
spikes.
But this work may have implications far beyond
sticklebacks. They are convinced that there
is a link between the stickleback losing its
spikes and other creatures, like a manatee,
losing their legs. And they have two tantalizing
clues.
One: the same body-plan gene that is responsible
for the stickleback spikes also plays a role
in the development of the hind limbs.
The second clue is more tentative. The lake
stickleback may have lost its spikes, but
evolution has left behind some tiny remnants:
the traces of bones. And they are lopsided,
bigger on the left than on the right.
DAVID KINGSLEY: We thought, "Wouldn't it be
amazing if, in fact, this classic unevenness
is the signature of using the same gene to
control hind-limb-loss in incredibly different
animal?"
NARRATOR: So Kingsley and his team went looking
in manatees, searching for this lopsided pattern.
And they found it. In box after box of manatee
skeletons they saw pelvic bones that were
bigger on the left and smaller on the right.
Right now, Kingsley and his team are looking
for the same switch in the manatee that caused
the lake stickleback to lose its spikes. And
if they find it, they will have a powerful
explanation for something that baffled Darwin:
how creatures like manatees, whales and snakes
can evolve away their legs.
But all this begs another question. If switches
can play such a profound role in the different
shapes and patterns of animal bodies, from
wing spots, to spikes, to hind legs, what
is throwing those switches in the first place?
Researchers would see the answer in animals
very familiar to Darwin: those Galapagos finches.
Arkat Abzhanov and Cliff Tabin have spent
years trying to find out exactly how those
Galapagos finches got their different beaks.
Their starting point was what they had learned
from Darwin himself: their beaks were vital
to the birds' survival.
On an island where the main food was seeds,
finches had short, tough beaks for cracking
them open. On an island where the main food
was from flowers, birds had long pointy beaks
for sucking up nectar and pollen.
And they knew something else: the finches
are born with their beaks fully formed. So
the answer to why they had such different
beaks must lie in something that happened
to the finches as embryos, in the egg.
CLIFF TABIN: Something amazing is happening
inside those eggs. Genes are turning on and
off. And depending exactly on how they turn
on or off will determine what type of finch
is formed.
NARRATOR: To find out just what was going
on, the researchers first had to collect some
eggs.
ARKHAT ABZHANOV (Harvard Medical School):
There she is...just got back and about to
lay some eggs. Quite likely that she already
has a batch. She's coming out.
NARRATOR: Abzhanov checks a ground finch nest
and finds a single egg. He won't remove it
because the mother might abandon the nest.
Another nest already has three eggs. He takes
one for his research, as he knows the mother
will lay a replacement.
The team collects several eggs, with embryos
at different stages of development. That way
they will be able to chart exactly how the
different beaks grow.
Back in the lab, they can begin the process.
This cactus finch embryo is well on the way
to its signature long, pointy beak. And this
ground finch embryo is growing a short thick
beak.
CLIFF TABIN: What we wanted to do was try
and understand the genes that were involved
in making the beak the way it was, making
a big, broad thick beak different from a long,
thin beak or a short, thin beak.
NARRATOR: They concentrated on a group of
genes known to control the growth of birds'
faces. As they looked, they saw something
intriguing.
One particular body-plan gene became active
in the ground finch—with the short, thick
beak—on the fifth day of development, but
it didn't go to work in the cactus finch—with
its long, slender beak—for another 24 hours.
This was a revelation. The same genes were
responsible for the beaks in all types of
finch. Any differences were in timing and
intensity.
CLIFF TABIN: We've got it; we've nailed it.
It's the same genes in making a sharp, pointy
beak or a broad, nut-cracking beak. What is
essential and makes the difference, and all
the difference, is how much you turn the gene
on and when you turn it on, when you turn
it off.
NARRATOR: And the revelations didn't end there.
There was something special about this gene.
Like all body-plan genes, it doesn't actually
make the stuff of our bodies. It didn't make
the cartilage for the finches' beaks. It throws
switches, and the switches then turn on or
off the genes that do make the beak.
SEAN CARROLL: These are a different type of
gene; they're the genes that boss other genes
around.
NARRATOR: Scientists now realize that not
all genes are created equal. Some make the
stuff of our bodies, and switches are needed
to turn many of these stuff genes on and off.
The body-plan genes are what throw these switches,
which tell the stuff genes what to do and
when.
This subtle choreography can have profound
effects on how different animal bodies are
formed.
And this knowledge is helping us solve perhaps
the biggest Darwinian puzzle of all: the mystery
of the great transformations.
It all goes back to Darwin's idea of the tree
of life, that all life-forms are ultimately
related, and from the earliest common ancestor,
over billions of years, they have changed
and diversified, so that creatures that started
out looking the same, evolved to become completely
different.
And scientists have made some amazing connections:
that dinosaurs share a common ancestor with
birds; and that a fish must have been the
ancestor of all four-limbed creatures, even
us.
Of all his ideas this was probably Darwin's
most astonishing.
SEAN CARROLL: It was one thing to grasp how
two species of finch could become different,
how their beak shape could change. That was
a small step. But what about the big differences,
the differences, say, between the fish that
swim in the sea and the animals that walk
on land? How did those changes take place?
NARRATOR: Over the years evidence for these
great transformations has been found. For
instance, just a year after Darwin published
On the Origin of Species, a fossil called
archaeopteryx was discovered. It had features
of both birds and dinosaurs.
And Darwin had seen equally persuasive evidence
in embryos. Those slits in the ear of all
land creatures, even humans...in us, they
become tiny bones in the inner ear, but in
fish, they become gills—a tantalizing hint
that land animals must be descended from fish.
But the stumbling block has always been how?
How could a fish develop legs and walk on
land.
Darwin had no idea, but Neil Shubin was determined
to tackle that problem.
NEIL SHUBIN (University of Chicago/The Field
Museum): It captured my imagination. I mean,
here's a fin, and on the other side was a
limb, and they looked different in many ways.
And I thought, "Well, what a first-class scientific
problem to devote my research to!" And I've
been devoting pretty much my research to it,
ever since—over 20 years.
NARRATOR: The first stage in Shubin's quest
was to find a fossil.
If Darwin were right, somewhere out there,
there had to be a transitional form, a fossil
that was part fish, but had the beginning
of legs. But where to look?
He had one clue. The fossil record shows that
creatures with legs first appeared some 365
million years ago. Before that, there were
only fish.
So, summer after summer, Shubin set up camp
on Ellesmere Island, just a few hundred miles
from the North Pole. It has exposed rock from
that crucial transitional time. The scientist's
own video shows how remote and bleak the place
was.
NEIL SHUBIN: It's cold; it's about freezing
every day over the summer. Winds are high;
they can get up to 50 miles per hour. There
are polar bears there. We have to prepare
ourselves by carrying guns. It's a beautiful
place. You've got to love it. It's my summer
home.
NARRATOR: Each expedition was costly, but,
after three of them, there was little to show
for their efforts. A fourth trip seemed pointless.
NEIL SHUBIN: I remember having a conversation
with my colleagues saying: "Well, should we
go? Is this really a waste of money?" This
was our do-or-die moment, and we almost didn't
go.
NARRATOR: But they decided to try one last
time.
After three days they still hadn't found anything.
Then, just when no one was expecting anything
to happen...
NEIL SHUBIN: A colleague was cracking rocks,
and I was working five feet away from him.
And I hear "Hey! Hey, guys, what's this?"
And sticking out of the cliff was the snout
of a fish—and not just any fish, a fish
with a flat head. And by seeing a flat-headed
fish in rocks about 375 million years old,
we knew that we had found what we were looking
for.
NARRATOR: A flat snout, with upward staring
eyes, the signature of an animal that pushes
its head out of the water. And for that, it
would have needed something like arms.
NEIL SHUBIN: What we did at that moment was
all jump around high-fiving. It was a, you
know, there were only six of us in the field
that time, so it was quite a scene.
NARRATOR: Back at home, Shubin and his team
got to work, examining their 375-million-year-old
fossil.
They named their new finding Tiktaalik, an
Inuit word for a freshwater fish.
Tiktaalik is a perfect transitional form.
Much of its body is that of a fish. It's covered
in scales. But it also had something very
un-fishlike,
an arm-like fin, or, perhaps, a fin-like arm.
Tiktaalik had the bone structure that is seen
in the arms and legs of every-four limbed
animal: one big bone at the top; two bones
underneath, leading to a cluster of bones
in the wrist and ankle.
It's the same pattern that is found in everything
from sheep, to sheepdogs, to Shubin himself.
NEIL SHUBIN: You now have an animal that can
push itself up off the substrate, either on
the water bottom or on land.
NARRATOR: One obvious question was, "Why had
Tiktaalik evolved to this new structure?"
One possible answer is suggested by other
fossils found near it.
NEIL SHUBIN: There are large predatory fish,
about 10 to 15 feet long, living alongside
Tiktaalik.
NARRATOR: Tiktaalik was prey. To survive it
had few choices.
NEIL SHUBIN: You can get big, you can get
armor, or you can get out of the way.
NARRATOR: Neil Shubin thinks Tiktaalik got
out of the way. With those arm-like fins,
it could have dragged itself to safety on
land or in the shallows, but this was only
half the answer.
NEIL SHUBIN: What it doesn't show us is the
actual genetic mechanism, the genetic recipe
that builds a fin into that which builds a
limb.
NARRATOR: At 375-million years old, Tiktaalik's
D.N.A. had vanished long ago.
Shubin needed a next of kin, a fish relative
that was still alive.
NEIL SHUBIN: What we needed was a creature
that was in the right part of the evolutionary
tree, but also a fish that had a very fleshy
fin. So the search was on.
NARRATOR: A number of fish fit the bill, but
Shubin favored one in particular: the paddlefish.
NEIL SHUBIN: The paddlefish is a really weird
fish. They have developed this really long
snout, and they are really voracious. They
eat each other. Oftentimes you will lose a
lot of your fish when they swim together,
because they will eat each other.
NARRATOR: Living in the shallow waters of
the Mississippi, it's also a living fossil.
Scientists have spent years working out the
relationships between different species of
fish, and they know that the paddlefish is
one of the last survivors of the class to
which Tiktaalik once belonged.
But unlike Tiktaalik, the paddlefish is in
plentiful supply.
NEIL SHUBIN: Paddlefish is a common source
of caviar, so we get our paddlefish from caviar
farms.
NARRATOR: Intriguingly, even though Tiktaalik
is extinct, the paddlefish is actually the
more primitive form. Its fins bear far less
relation to an arm or leg than Tiktaalik's.
And because they are related, the two kinds
of fish should share the same genes, so Shubin
began looking at paddlefish embryos, hunting
for the genes that built its fins. And soon
he zeroed in on one particular group of body-plan
genes called Hox genes.
Hox genes have been found in all complex animals,
from the velvet worm that dates back some
600 million years, to the modern human. And
in all that time, the letters of their D.N.A.
have remained virtually unchanged.
They are aristocrats of the gene community,
near the very top of the chain of command.
They give orders that cascade through a developing
embryo, activating entire networks of switches
and genes that make the parts of the body.
They are absolutely critical to the shape
and form of a developing creature.
SEAN CARROLL: These genes determine where
the front and the back of the animal's going
to be; the top, the bottom; the left, the
right; the inside, the outside; where the
eyes are going to be; where the legs are going
to be; where the gut's going to be; how many
fingers they're going to have.
NARRATOR: Shubin found that Hox genes had
a key role in the formation of paddlefish
fins. One set of Hox genes orders the first
stage of fin development, a sturdy piece of
cartilage that grows out from the torso.
Amazingly, in all four limbed animals, even
us, exactly the same genes create the long,
upper arm bone.
In the paddlefish, another set of Hox genes
command the next stage of fin development.
Again, exactly the same genes control the
growth of our two forearm bones.
Finally, the same genes, working in a different
order, make the array of bones at the end
of the fin. The same sequence of the same
genes makes our fingers and toes.
This was a massive revelation. Suddenly the
origin of creatures with arms and legs didn't
seem such a huge leap after all. If the same
genes were at work in Tiktaalik, then many
of the genes needed to make legs and arms
were already being carried around by prehistoric
fish.
All it needed was a few mutations, a few changes
to the timing and order of what was turned
off and on, and a fin could become a limb.
NEIL SHUBIN: Oftentimes, the origin of whole
new structures in evolution don't involve
the origin of new genes or whole new genetic
recipes. Old genes can be reconfigured to
make marvellously wonderful new things.
NARRATOR: So it is now possible to answer
what Darwin didn't know and explain how all
four-legged creatures could be descended from
fish.
Around 375-million years ago, a creature like
Tiktaalik was under attack, harried by predators.
But some random changes to the activity of
the Hox genes led to its fins developing a
structure like a limb.
Tiktaalik could now haul itself out of danger,
onto dry land. On land, it would have found
a world of plants and insects, a world ripe
for colonization, a world perfect for animals
with arms and legs.
And so, over millions of years, these new
limbs evolved, changed and diversified. Some
became adapted for running, others for flying;some
for digging, others for swinging. And so,
four-limbed creatures took over the world
in a multitude of different ways, and all
because of some changes to an ancient set
of genes.
And this is the true wonder of where our new
understanding of D.N.A. has led us to: there
are genes that make the stuff of our bodies,
switches that turn them off and on, and still
other genes that give those switches orders.
Together, in a complex cascade of timing and
intensity, they combine to produce the amazing
diversity of life on this planet. That truly
is something that Darwin never knew.
But can this new science also explain perhaps
the most fundamental question of all: "What
makes us human?"
The scope of human activity is simply astounding.
KATIE POLLARD (University of California, San
Francisco): What fascinated me were all the
crazy things that humans do. You look around
the world, and if there is something bizarre
and interesting that you could be doing, humans
are up to it somewhere in the world. And when
you look at all of this, you have to ask yourself,
what makes us so special. And what is the
basis for this humanness?
NARRATOR: For all nature's wonders, the achievements
of the human mind are truly unique. We are
the only species to think about what others
think about us; to punish those who have harmed
others; to create art, music, architecture;
to engage in science, medicine, the microchip.
Only we can destroy millions at the push of
a button.
Hardly surprising, then, that for centuries,
we thought that humans were different from
all other species: better, created in the
image of God.
But then Darwin began to draw conclusions,
from evidence like gill slits in human embryos,
that showed that we were descended from fish.
But it was when he drew parallels with other
close relatives that he got into real trouble.
SEAN CARROLL: Shortly after Darwin returned
from his voyage, in London, an orangutan named
Jenny went on exhibit. And this was a huge
sensation. This was the first great ape to
be exhibited in captivity. And Darwin was
absolutely taken with how she was, sort of,
childlike in her ways. And he saw a lot of
human behavior in the way this orangutan behaved.
NARRATOR: When Darwin suggested that human
beings must actually be descended from apes,
he was savaged. He was accused of attacking
that core belief that humankind had been created
in the image of God, above all other creatures.
But today, the idea that we share a common
ancestor with apes is completely accepted
in biology. Instead, as a result of having
sequenced the genomes of both humans and apes,
we face a very different puzzle.
Katie Pollard is an expert on chimp D.N.A.
KATIE POLLARD: Given all the obvious differences
between humans and chimps, you might expect
our D.N.A. to be really different. But, in
fact, it's more like 99 percent identical.
NARRATOR: Just a one percent difference in
the D.N.A. of humans and chimps.
The mystery facing modern science is not,
"How can such different animals be related?"
But, "How can such closely related species
be so different?" That really is something
that Darwin never knew.
But slowly, scientists are starting to find
the answers. And one answer begins with insights
into the genetics of a key human organ, our
hands.
The human hand is a marvel; nimble and dexterous,
nothing quite like it exists anywhere else
in nature. It offers us a unique combination
of precision and power, and much of that is
down to one particular digit, our thumb.
JIM NOONAN (Yale University): One of the features
of the human hand is our ability to touch
all four fingers with the thumb. And that
allows us to make grips like this, grips that
give us a lot of precision. The power grip
is the ability to put a lot of strength into
this sort of contact.
So if you're holding a ball, you're basically
pinching it, and we can put a lot of strength
into that.
NARRATOR: The better to throw a fastball with.
Finding out why we have such versatile hands,
compared to our nearest relatives, is the
task of Jim Noonan, at Yale University. He
began sifting through that vital one percent
of D.N.A. that is different in humans from
chimps.
JIM NOONAN: It's, kind of...one of the fundamental
questions in science is, "What makes us who
we are?" And that's really what we're trying
to get to—what makes humans human.
NARRATOR: It was slow work. One percent may
not sound like much, but it's still some 30
million of D.N.A.'s chemical letters: As,
Ts, Cs and Gs.
JIM NOONAN: The genome's a big place. And
just by looking at a sequence, it, you really
can't tell, for the most part, what is important
and what isn't.
NARRATOR: But eventually, in human D.N.A.,
he spotted something: a sequence that was
different in 13 places, compared to chimp
D.N.A. The trouble was, he had no idea what
this piece of D.N.A. actually did.
To find out, he inserted it into the embryo
of a mouse. To make the effects of the D.N.A.
easier to follow, he attached it to another
gene that gives off a blue color. That way
he could see where the gene became active
in the embryo.
As the embryo developed, the piece of D.N.A.
seemed to be active all over the place, but
most intriguingly, it was doing something
in the growing paw.
JIM NOONAN: I thought, "Wow, this is really
cool!" It was, it was a really striking image.
NARRATOR: What Noonan saw was that the human
D.N.A. became active in the mouse embryo's
thumb and big toe. It seems that Noonan may
have found a switch that helps form that key
human attribute, our thumb, the part of our
hand that gives us so much power and precision.
It's that power and precision that enables
us to hold a paintbrush, manipulate tools,
pilot a jet fighter, record our thoughts,
all those things that separate us from other
apes.
Of course having a nimble hand is one thing.
But you have to know how to use it. And for
that you need to have humankind's other signature
organ, our brain.
The human brain is vast—three times bigger
than a chimp's—and is structured very differently.
How this extraordinary organ evolved is central
to understanding why we are the way we are.
It is something that Darwin himself was at
a loss to explain, which is why many of his
critics remained unconvinced by his account
of human origins.
But now, part of the answer to why we have
such a remarkable brain may have come from
a surprising source.
Hansell Stedman is a dedicated athlete and
a medical doctor. He never imagined he would
come up with an answer to a profound evolutionary
mystery. He has devoted his career to trying
to cure muscular dystrophy, a distressing
and sometimes fatal degenerative disease.
His quest is very personal.
HANSELL STEDMAN (University of Pennsylvania
School of Medicine): My first exposure to
muscular dystrophy was inescapable. My younger
and my older brother both were born with muscular
dystrophy.
NARRATOR: Muscular dystrophy is a genetic
disease. Its sufferers have a mutation in
one gene that robs their muscles of the ability
to repair themselves.
HANSELL STEDMAN: ...typical workout, here
on the rocks, might blow through a few thousand
muscle cells, but they'll regenerate overnight,
and if anything, be a little stronger the
next day I come in, as a result of all of
that. Whereas, in muscular dystrophy, the
injury process is greatly accelerated, and
the injury process outstrips the body's ability
to repair.
NARRATOR: In search of a cure, Stedman is
investigating the hundreds of genes that control
the development of muscles. So when the human
genome project took off, Stedman seized his
chance.
HANSELL STEDMAN: When the horsepower of the
entire human genome project kicked in, we
knew exactly what to look for.
NARRATOR: Stedman was hunting for any new
muscle-making genes. And so, as the human
genome was sequenced, he began sifting through
the vast mountains of data.
Eventually he found what he was looking for:
a previously unidentified muscle-making gene.
But there was something strange about this
new gene. It didn't look like any other muscle-making
genes. Two letters were missing.
This gene should cause a disease.
HANSELL STEDMAN: It became very clear, early
on, that if you have a mutation of this type,
you get some serious muscle problem going
on.
NARRATOR: Here was a puzzle. Why would humans
carry a gene that was clearly damaged? Perhaps
it was simply a mistake in the data.
Stedman decided to dig a little deeper and
look in another human subject.
HANSELL STEDMAN: In the department of true
confessions, we do certain experiments first
on ourself, largely out of convenience. You
can swab your own cheek and get working on
some D.N.A.
NARRATOR: To his utter amazement, he found
the same damaged gene in himself.
HANSELL STEDMAN: I'm seeing this in my own
D.N.A., and it's suggesting that, "Wait a
minute. That means there's a muscle disease
here somewhere, a muscle disease that I'm
unaware of." And I thought it would be worth
checking this out in some other members at
the lab.
NARRATOR: A few swabs later and...
HANSELL STEDMAN: Sure enough, at the end of
the day, every single person had the same
glitch in their same D.N.A. at the same place.
NARRATOR: Here then was a real mystery. It
seemed that this peculiar muscle-making gene
was common in humans. But when he identified
the same gene in apes, it was just like any
other muscle-making gene.
Why was there such a difference? What did
this gene enable one species to do that the
other could not?
Stedman began to research the role of this
gene in apes. And he found it made one particular
kind of muscle. The muscle for chewing. In
fact, the muscle used to close the jaw. In
humans, that genetic glitch meant that we
chew with just a fraction of the force of
an ape.
This in itself was interesting, but where
Stedman went next was truly intriguing, and
highly controversial.
He drew a direct connection between the power
of our jaw muscle and the evolution of the
human brain. Stedman's thinking goes like
this: the skulls of apes and humans are made
of several independent bone plates. They let
our heads get bigger as we grow. The muscles
for chewing pull against these plates, and
in an ape, these forces can be enormous.
HANSELL STEDMAN: So in the gorilla, the muscle,
the size of a human thigh muscle, lives here
and has to go through this large space to
power the jaw moving back and forth. We're
not talking biceps, triceps here, we're talking
quad here. This is an enormous muscle that
has to come right through this hole here to
power the jaw-closing apparatus.
NARRATOR: Stedman contends that all this muscle
power forces an ape's skull plates to fuse
together at an early stage, and this puts
limits on how much the brain can grow.
HANSELL STEDMAN: In a chimpanzee, gorilla
or orangutan, those growth plates are pretty
much shut down, closed for business, by about
three, four years of age. In a human, they
remain open for growth to perhaps the age
30.
NARRATOR: This, Stedman believes, is the key.
A mutation in our jaw muscle allows the human
skull to keep expanding into adulthood, creating
a bigger space for our brain. And so our most
important organ is able to grow.
HANSELL STEDMAN: It's very cool, to us, to
think that some kind of muscle-altering mutation
might actually have been a signature event
in the evolution of what makes us a distinct
species. It might have been absolute prerequisite
for landing us where we are today.
NARRATOR: But having the space for a big brain
is one thing. What is needed to actually grow
one?
That is the question that Chris Walsh is trying
to answer. He's another scientist who never
expected to be taking on what even Darwin
didn't know.
CHRIS WALSH (Children's Hospital Boston):
I never thought that I'd be studying evolution.
I'm a neurologist, interested in the brain
and kids with neurological problems. And no
one was more surprised than us to find that
the study of kids with disabilities would
lead us into these fascinating evolutionary
questions.
Is he breathing generally good, during the
day?
MOTHER OF MICROCEPHALY PATIENT: Sometimes
it will go fast: huh, huh.
NARRATOR: Chris Walsh is a specialist in a
rare disorder called microcephaly. Children
with microcephaly are born with brains that
can be a half the normal size.
CHRIS WALSH: This disorder can be very devastating
for the kids that have it. They typically
will have severe mental retardation, and so,
will not be able to achieve normal language
and normal schooling. And so it's really an
event that defines the whole family. It defines
the lives not only of the child but of the
parents of that child. And these families
are desperately eager to try to understand,
at least, what caused the disorder in their
kids.
NARRATOR: The purpose of Walsh's work was,
initially, to help families that might be
carrying any defective genes causing microcephaly
to plan their lives.
CHRIS WALSH: We're able to offer those families
predictive testing, so that if they're planning
on having additional children, we can tell
them ahead of time whether that child is likely
to be affected or not.
NARRATOR: First Walsh had to decide where
to look in the vast genome to find any possible
microcephaly-causing genes. So he focused
on one particular area of D.N.A. Other research
suggested it contained a gene involved in
the condition.
That gene is known to control how and when
brain cells divide in animals such as fruit
flies and mice.
CHRIS WALSH: What this gene seems to do is
help control the fundamental decision that
the brain has to make, which is, "When do
I have to stop making cells? When is the brain
big enough?"
NARRATOR: Then his team began searching for
that same gene in a family with a history
of the disease. And sure enough they found
something: a gene that helps direct brain
growth. And, crucially, it was defective.
Walsh decided to check this finding in other
patients.
CHRIS WALSH: Once we found this gene, we sequenced
it in our kids with microcephaly disorder.
And we found that one family after another
had a disabling change in the gene that completely
removed its function.
NARRATOR: In total, he has found some 21 different
mutations responsible for microcephaly. Sometimes,
one of the D.N.A.'s chemical letters is replaced
with another letter, sometimes letters are
missing entirely, but whatever the defect
is, they all stop the brain cells from dividing
at a very early stage of development.
Walsh was now certain, thanks to his microcephaly
patients, he had found a gene key to the growth
of the human brain. Now he decided to compare
normal versions of the gene found in healthy
humans with the same gene in chimpanzees,
our closest relatives.
And what he found was astonishing. The gene
in humans was radically different from that
found in chimps. There had been a large series
of mutations.
It could be that these mutations were a major
factor in the evolution of our huge brains.
And this discovery came about only because
of Walsh's work with his patients.
CHRIS WALSH: I think one of the amazing things
for us was the extent to which studying human
disease can unexpectedly enlighten us about
something like human evolution.
NARRATOR: But this is only the beginning of
our understanding of the evolution of the
human brain. It's an area of research that
is now attracting scientists with a range
of skills that Darwin would have marvelled
at.
Katie Pollard is a biostatistician. Her life
is spent crunching numbers.
KATIE POLLARD: What I love about my work is
geeking out on a computer, writing programs
and thinking about biology. I'm actually working
on something that not just scientists care
about, but really every human being can relate
to and cares profoundly about: what makes
us human.
NARRATOR: Pollard has constructed an ambitious
computer program. It is designed to highlight
D.N.A. that is similar in apes and other animals,
but which is very different in humans.
KATIE POLLARD: Out of these 15 millions letters
that make humans different from chimps, we
need to try to figure out which ones were
important. And so we use a technique, which
is to look for places where human is different
from chimp, but chimp looks almost identical
to other animals.
NARRATOR: She, too, is looking for D.N.A.
relating to the human brain.
KATIE POLLARD: The brain is one of the things
that's changed the most during human evolution,
both in terms of its complexity and its size.
And so when we look to find the parts of our
genome that make us human, we're particularly
interested in finding out whether these are
things that are involved in the brain.
NARRATOR: It is a huge feat of number-crunching,
as Pollard loaded in D.N.A. sequences from
both humans and chimps.
KATIE POLLARD: You basically take a bunch
of computer hard drives and you stack them
up together.We were able to take a task that
would have run for 35 years on a desktop computer
and do it in one afternoon.
NARRATOR: And at the end of that afternoon,
they had a whole array of material charting
the differences between humans and chimps.
Importantly, many of those differences were
not in the actual genes. They were in switches.
KATIE POLLARD: It turns out that the vast
majority are not genes. Instead, they're pieces
of our D.N.A. that we can think of as switches.
They're pieces of D.N.A. that turn a nearby
gene on or off, that tell it where, in what
cells in our body, in what tissue, at what
time or at what level to be operating.
NARRATOR: And there was something even more
intriguing about those switches.
KATIE POLLARD: A large number of them, more
than half, were nearby a gene that was involved
in the brain.
NARRATOR: In Pollard's work, one particular
piece of D.N.A. stood out. It was a piece
D.N.A. that is known to be active in the development
of one of the key parts of the human brain
in the embryo: the cortex.
The cortex is that wrinkled outer layer of
our brain. It's vital for those defining human
capabilities like language, music, and mathematics.
When she looked at that D.N.A. in chimps and
compared it to the same D.N.A. in a chicken,
it was different in just two letters. But
in humans it was different by 18 letters.
A massive mutation.
KATIE POLLARD: This was about as great of
a "eureka moment" as you could have as a scientist.
NARRATOR: So here is another intriguing piece
of evidence suggesting how D.N.A. can shape
our distinctive human qualities.
We now know that D.N.A. works in many different
ways, through genes that make the stuff of
our bodies, through switches that turn those
genes on and off, and through sequences of
D.N.A.'s chemicals that throw those switches.
Taken together, what this all adds up to is
a way that we can, at last, understand how
small differences in D.N.A. can generate enormous
change.
KATIE POLLARD: Basically, you can make massive
changes, just changing those switches. So
a small change, a couple of D.N.A. letters,
could have a profound effect.
NARRATOR: And so that final Darwinian puzzle—how
a human can be so closely related to an ape
and yet be so different—is now, slowly,
being answered.
One-hundred-fifty years after Darwin first
put forward his grand theory to explain the
great diversity of life, the scientists who
carry on his legacy have advanced his work
in wondrous ways.
SEAN CARROLL: I think, if Darwin were here
today, he'd be absolutely stunned, delighted,
even moved, to see how much his theory has
grown.
CLIFF TABIN: What we now are able to understand,
on the one hand, would just blow him away.
But I also think it would give him enormous
satisfaction, because, ultimately, everything
we've been learning validates the things that
he said.
OLIVIA JUDSON: I think that Darwin was a remarkable
scientist and absolutely should be celebrated.
However, I do not think that he was the end
of evolution; on the contrary, I think he
was the beginning. He outlined the major points,
but we have discovered more than I think he
would have imagined possible.
NARRATOR: As we celebrate the 200th birthday
of Charles Darwin and the 150th anniversary
of his great work, there is still much more
to understand about how the endless forms
of nature have arisen.
And in rising to that challenge, it is likely
that we will continue to advance medicine
and come to a better understanding of ourselves
as well.
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Eu não sou um especialista ou professor com esta tecnologia, mas eu vejo os ensinamentos de Mr.Keshe, e pelo que eu entendo, eu faço vídeos com os resultados para compartilhar com você, que poderia estar interessado, e para saber se eu sou tão rong Eu posso corrigir meus erros, e se eu estiver certo, compartilhar o conhecimento com All Mankind por um mundo melhor e pacífico para todos !!! Por favor, corrija-me se estiver errado em algum dos meus vídeos.
Obrigado!!!
(; (; (; VAMOS APRENDER E COMPARTILHAR;););)
se você quiser ajudar eu estou procurando voluntários para
traduzir meus vídeos em mais idiomas,
para que todos no mundo possam aprender de graça.
Ajude-nos a traduzir nosso conteúdo para o mundo
idiomas para que possamos aprender e compartilhar esse conhecimento
junto com toda a humanidade para um mundo melhor e pacífico
Para TODOS, incluindo ANIMAIS bem !!!!! ;););)
Olá a todos e bem vindos de volta
neste vídeo vamos aprender
como obter a haste de carbono e placa de zinco puro
das baterias para que possamos fazer diferentes
GANSes CO2 - CH3 - CUO etc
então aqui temos duas novas baterias grandes
e agora encontramos a linha que conecta
a folha de metal como esta
and now with a straight screwdriver and slowly,
we open the metal sheet like this
nós fazemos o mesmo do outro lado
é melhor usar e abrir novas baterias porque, como veremos mais adiante, nas baterias muito velhas, a chapa de zinco derrete e nós só obtemos a haste de carbono
agora tomamos um alicate e lentamente tentamos
para abrir a folha de metal como esta
e aqui está a placa de zinco com
a barra de carbono dentro
agora cortamos a capa de plástico como esta
e agora tiramos esse pequeno metal
folha e acima é a haste de carbono
e agora, lentamente, nós tiramos
a capa de plástico como esta
e depois disso tiramos o
capa de papelão como esta
e no meio temos
a haste de carbono
agora tomamos um alicate e muito lentamente tentamos
para sair da haste de carbono sem quebrar
nós seguramos a haste de carbono com o alicate e com a outra mão
nos viramos lentamente para a esquerda e direita como este
e depois disso, agora queremos esvaziar o manganês
dióxido de dentro da bainha de zinco
e, lentamente, com a chave de fenda, podemos cavar e
esvaziar o dióxido de manganês como este
podemos manter o dióxido de manganês
para futuros projetos
e aqui eu tentei abrir uma bateria velha e como
podemos ver, a placa de zinco derreteu
mas podemos obter as hastes de carbono
dessas baterias antigas
e aqui 3 bainhas de zinco vazias do dióxido
de manganês e das varetas de carbono
e aqui e aqui eu tentei com uma bateria velha menor e, como podemos ver,
o zinco derreteu e eu tenho apenas a haste de carbono
e depois do processo de lavagem, podemos ver a haste de carbono
e as folhas de zinco puro que tiramos das baterias
podemos usá-lo como é ou podemos cortá-lo com uma tesoura
ou um alicate para uma maior superfície aberta como esta
é um pouco difícil cortá-lo, mas com
pouca paciência, vamos torná-lo
aqui eu abri o zinco assim porque eu
queria fazê-lo em espiral e assim
e isso com um grande buraco para que eu possa
colocar a haste de carbono no meio assim
Então, depois disso, agora estamos prontos para conectá-los juntos,
a haste de carbono para o - e o zinco ou qualquer outro metal para o +
e depois disso, podemos colocá-los em um jarro assim
(esta configuração é para o CO2 GANS)
e depois disso, podemos adicionar água do mar ou água destilada com sal
marinho puro 10 - 15% e conectar a uma pequena fonte de alimentação
neste caso, eu vou usar este pequeno painel solar, ligamos
a haste de carbono ao - e o zinco ou qualquer outro prato para o +
e aqui estamos de novo fora com a mãe natureza e abaixo
dos batimentos cardíacos do nosso sol
e aqui está a produção do CO2
Esperamos ter ajudado você !!!
Se você gosta de nossos vídeos e quer nos ajudar, por favor,
apoie-nos, assinando nosso canal NaTuber Tv,
curtir, comentar e compartilhar esse conhecimento com
o máximo de pessoas que você puder para um mundo
melhor e pacífico para TODOS, incluindo ANIMAIS também !!!
Muito obrigado !!!
você pode verificar nossos outros vídeos para obter mais informações sobre
Plasma Technologies de mr.Keshe, Unidade de Magrav, Baterias de Plasma,
Alekz Beads, Revestimento Nano com soda fria ou quente, Como fazer Gans,
Cuo, Co2, Ch3, Zno, Copa da Saúde, Saúde Patches, Como lavar o GANSes,
Caneta da Vida, como fazer gerador de 3 fases auto-runing, jóias de cobre e
jóias energéticas, como fazer GANS com ervas e muito mais ...
Você pode encontrar links disponíveis na descrição abaixo. Obrigado !!!
inscreva-se e fique ligado na parte 2 e
para mais experimentos
Paz, amor e felicidade para todos !!!
(incluindo também ANIMAIS)
;)(; vejo você na próxima vez ;)(;
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the ipad pro is finally starting to gain
traction
as an actual laptop replacement and we
know this because the last version of
this video
has gained 618 000 views in nine months
so there are a lot of people wondering
if they can just buy an ipad
pro instead of a macbook so in this
video
we're actually going to compare the 2020
macbook air
that's priced at a thousand dollars the
2020 base 13 inch macbook pro
for hundred dollars and the twenty
twenty ipad pro
for eight hundred dollars but this year
there's a very important change
to this comparison we now have the magic
keyboard case
for the ipad pro and this thing is no
regular keyboard
case it adds an incredibly great
trackpad
an excellent keyboard and other features
as well
just take a look at this x-ray image
taken by ifixit
and you'll understand how complex this
accessory really is now while i can't
agree that 300
for it is expensive i still fully
believe that it's worth it
because it actually becomes a true
laptop replacement
for the first time ever so with the
magic keyboard case
this ipad pro setup becomes eleven
hundred dollars
priced right around in the middle of
these two macbooks
now the question is which one do you
choose in 2020
i'll answer that in just a minute but
first let's compare
everything we can between these apple
laptops
in terms of weight the 11 inch ipad pro
with a magic keyboard case
weighs 2.36 pounds quite a bit less than
the macbook air
and the macbook pro the ipad pro setup
is thinner than the macbook air at its
thickest point
but much thicker than the front end of
the air
but compared to the macbook pro there's
not that much of a difference
as far as portability the ipad pro is
definitely the best choice for carrying
around
because of its small size however one of
the downsides is that it's harder to
open the display
compared to the macbooks but i found a
pretty decent solution
put it down on the hinge first and it
becomes easier to pull the keyboard
section down
but either way the macbooks are still
better in this area
now as far as the hinge it's easier to
adjust on the macbooks and you get a
wider range of adjustability
than on the ipad pro's magic keyboard
case but the ipad does have a really
unique floating design
which places the display closer to you
this makes it much easier to use touch
input since it is a touch screen device
unlike the macbooks
which don't have that added
functionality the major benefit for the
ipad pro is that you can easily lift it
off the magic keyboard case
and use it as a tablet which you can't
do at all
on the macbooks and of course there's
the apple pencil support which works
great on the ipad pro
which obviously does not work at all on
either of these macbooks
now getting into the keyboards the new
scissor switch keys on the macbooks are
much better than the previous butterfly
keys
giving you a lot more key travel than
before the ipad pro has the same
key switches and key travel but they
feel more clicky
compared to the ones on the macbooks
which can feel a little bit soft when
you press them down all the way
so some people might actually prefer the
ones on the ipad pro better the best
part is that the ipad pro supports all
of the same keyboard shortcuts that you
get on the macbooks
so there isn't any downside there
however the macbooks feature an escape
key
with function keys or a touch bar at the
top which can be used to conveniently
adjust the brightness volume and other
features like keyboard backlighting
the magic keyboard unfortunately doesn't
get this so it definitely loses in this
area but there are some decent
alternatives like rerouting the escape
key to a different key
using the control center and the
trackpad to adjust brightness and volume
and as for the backlighting it's
actually fully automated
by using the ambient light sensor built
into the ipad pro
so those extra keys aren't a deal
breaker the main downside is that the
keyboard on the 11 inch ipad pro's case
is not a full sized keyboard but
thankfully
it doesn't take that long to get used to
the smaller size the macbooks also use
the touch id sensor for authentication
but i much prefer face id on the ipad
pro since it works instantly and
automatically
as for the track pads the ones on the
macbooks are solid state track pads made
of glass
which means that they don't actually
move or physically click
they simply sense the pressure of your
finger and then trigger the haptic motor
simulating a click but on the magic
keyboard case
it actually does physically click with a
really nice lever based design
that gives you an even clicking feel
anywhere on the track pad
compared to the traditional diving board
track pads which are hard to click at
the top
and since it also uses a glass panel it
feels just as smooth as on the macbooks
and the best part is that it supports
the same features like tap to click
two finger tap to right click and all
the same two finger
and three finger gestures and to my
surprise
these gestures work incredibly well with
no lag at all
because of the physical smart connector
used to connect the keyboard case
to the ipad pro but as for which track
pads work better
i definitely have to say that the
macbook trackpads are the best
especially since they're much larger
than the one on the magic keyboard case
as for the displays the one on the ipad
pro
is better than on the macbooks because
it's brighter than the other two
while getting the same great p3 color
accuracy as the macbook pro
and it also features pro motion 120
hertz display technology
which gives you a much smoother
experience for swiping through apps or
playing games at 120 fps
while also giving you better battery
life when you're watching something like
a 24 fps video
so the display on the ipad pro is
definitely the clear winner
and for those who like larger displays
there's the 12.9 inch ipad pro
but that'll bring the price up to 1350
with the magic keyboard case
more than the base models of these
macbooks as for speaker quality
the macbook's definitely beat out the
ipad pro in this scenario
just listen for
[Music]
world yourself silver
[Music]
now on the flip side the facetime camera
on the ipad pro is much better than on
the macbooks
but the downside is that the camera is
on the side when you're using it with a
magic keyboard case
this is an audio and video quality test
on the 2020 macbook air
this is an audio in video quality tests
on the 2020 macbook pro
this is an audio and video quality test
on the 2020 ipad pro
and another plus for the ipad pro is
that it has rear cameras
including a wide lens an ultra wide lens
and a lidar scanner
for augmented reality apps so that's
something you can't get on a macbook
now both of these macbooks get headphone
jacks which is missing on the ipad pro
so you'll have to use an adapter the
macbooks also get
two high-speed thunderbolt 3 ports for
connecting demanding devices
like external graphics cards and high
resolution displays
the ipad pro on the other hand has a
single usbc
port but the great thing about the magic
keyboard case is that it adds an
extra port on the hinge which can be
used solely for charging the ipad
pro freeing up the main port for
connecting things like external storage
and other devices and while it's nowhere
near as good for file management as the
macbooks are
the new ipad os features can get the job
done if you need to store or transfer
files now finally getting into
performance using geekbench 5 cpu test
the ipad pro surprisingly beats out both
of these macbooks
and that's because it uses a custom
apple arm chip
and in recent years the performance of
these chips
has been growing much faster than the
performance of the traditional intel
chips
as for graphics performance using the
metal test the ipad pro
once again beats the other two macbooks
out by a pretty significant amount
now the macbook air does have the option
to upgrade to the i5
quad-core cpu which has much better
graphics for a hundred dollars
but the issue with that model is that it
heats up to 100 degrees celsius
very quickly even for common tasks but
for performance tasks
the macbook pro is much faster and one
more thing
the macbooks both have 256 gigs of base
ssd storage
compared to 128 on the ipad pro so
that's a pretty big advantage there now
with all of those things compared
let's get into which apple device you
should buy as a laptop in 2020.
now i believe that each of these laptops
has at least two different markets
where it makes sense to buy them
starting with the macbook air
you have the people who want the
cheapest possible new apple laptop
and you also have the market who want a
basic but traditional laptop
and for those people the macbook air
makes sense
because it's only 950 on amazon right
now
now for the macbook pro you have the
people who want a traditional laptop
but also care about performance let me
repeat that
if you care about performance whatsoever
do not buy the macbook air not even the
quad core model
the base macbook pro will destroy it
because it doesn't quickly overheat
like the air does now the second market
for the macbook pro
is for the people who want to invest a
bit more money to get luxury
improvements that you don't get on the
air
like the better display the better
speakers the touch bar
and less fan noise while doing common
tasks
now for the ipad pro there are actually
three
main markets that apply if you want a
laptop for basic computing needs
like web browsing watching videos
transferring files
and typing documents and you're not
afraid to spend
eleven hundred dollars then the ipad pro
with the magic keyboard case
is an excellent choice since it's more
portable
the second market is for anybody who
cares at all about gaming
there are so many more games on the ios
app store and since ios is so
incredibly well optimized the ipad pro
will do the best job for gaming the
third market is for people who want
great performance for doing professional
tasks
like photo editing and video editing
while on the go
while also having a nice tablet for
tablet things
this ipad pro will be great for those
kinds of people that don't require
apps like final cut pro xcode
and logic pro 10 that you can only get
on mac os
so to try to sum up this entire video
it's really great that with the new
magic keyboard case for the ipad pro
we now finally have a third laptop
option from apple
and no longer have to choose solely
between the macbooks for buyers who want
to spend around a thousand to thirteen
hundred dollars
so hopefully this video helped you guys
decide which one of these three laptops
you should buy
and if it did go ahead and use the links
down below for the best deals on these
laptops but if you're still unsure about
which one to buy
comment your specific situation and use
case down below
and we'll be glad to help you out if you
enjoyed this video go ahead and tap the
like button
and click the circle about to subscribe
thanks for watching and we'll see you in
the next video
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sc
maxis here with you and senator sharon
brown brown dot senate dot gov is is
website is on the line with us
and the sender brown welcome back to the
program
at a black thanks it's great to have you
with us i just have to share this very
short anecdote with you
and uh... i hope it's okay it's about
electoral politics
uh... ellen ratner
urged jurors offices with us to talk
radio service and she just came in a few
minutes ago and said to say hi to you
and that she is rooting for you to be
her crazy cousin stuff good word you
know about it what was your family but
uh...
bipartisan it but basically party kindly
read into
helen's family and um...
right relatives i appreciate her
publicly rooting for me i got a dozen
uh... might appreciate that on the stand
for the right brand of politics to move
this country forward and they did not
accept yeah allen is exactly good solid
regressive so you are working on how to
get more jobs too high
and not just a high-level nation but the
question your from ohio that's a usko
the epicenter i would imagine your mind
works
dot there were other were seen
it hurts a little things in bakeries
transportation bill which will keepers
recovery going and it was it started
really the turnaround started many ways
at the auto rescue we know that to get
out of recession you need too
you need to grow manufacturing that's
all we've done that in our country
um... the autorads if you made a huge
difference send my state but accross the
country scene manufacturing job growth
before most of the last we were for
twelve years we lost manufacturing job
seven eight seven and uh... her nineteen
seven two oh nine
the last two years almost every month we
manufacturing job growth
i hadn't been so we passed a
transportation bill we offer though in
that bill we had an amendment i'll offer
on by america go to europe if you're
using that deal
in a bridge and paid for by u_s_
taxpayers you'd better be american steel
um... that's a bit every other country
does not accept almost because upper
arms and found the time we do that week
places where workers are companies
franklin roosevelt
passed a law in nineteen thirty five and
i was reagan who started looking for
except you know lets find some loopholes
in the sky yeah and it's just gone nuts
ever since then so it so i i so salute
your efforts to make it will be valid
daisy nobody senators
um... most republicans but in both
parties infected by american might
be a good thing that i might start a
trade war while there's been a trade war
in this world and china's one of the and
tell you that we try try in many ways at
its most countries they practiced trade
according to the rental interests and we
practiced rate according to some out of
the hottest out of farm print
twenty-year-old college economics
textbook yeah this is an old friend it's
written by when verdict than at
grandma's acolytes costly wells that
yeah this idea is really as i mean this
is chicago school economics we've had
this experiment for thirty years it's
called reaganomics has destroyed our
country
yeah and look at you
are we talking two guys today they came
to me
who want to be nominee will be nominated
serve on the fed more federal reserve
one republican one democrat to be
were called governors on the federal
government have by committee the banking
committee have you know you can tell
them or not in at least at the recent
and nam we were talking about thirty
years ago
twenty six twenty numbers in our g_d_p_
was manufacturing in about ten present
was financial services
today it's almost the reverse tip about
twenty five content transfer service is
not quite in about ten present
uh... make making franklin no wonder the
middle class has been hurt this country
it's here that the ticket to the middle
class for many americans tricycle
graduates community college graduates
often are there are people that make
things and there just aren't enough of
those jobs to make things in
banking canal plus move forward but when
so much of it is wall street in
derivatives we create wealth for a very
small number of people pattern money
back and forth
but leave out a broad middle class and
that's
that's what's distressing about
appallingly italy government-backed
winners than losers thirty years ago
they picked financial services and it's
wrong and
we've got a turnaround you can see below
sea when she was speaker the house
succeeded in getting legislation through
the house a representatives and handed
off to the size
that would have
uh... into tax deductions for companies
that were tearing apart fact we've lost
sixty thousand factories and since
george bush became president that that
would have end of the tax deduction
uh... you know government subsidy for
companies that are tearing apart factors
in america and rebuilding them overseas
and would have given a tax subsidy or a
benefit two companies to tear down their
factories overseas and bring them back
here the republicans in the united
states senate filibuster that and
refused to allow it to become law
how why how is it that the average
american doesn't know that
and how can we get back to the front of
the discussion again
biotech yahoo america doesn't know it
because democrats
don't want to talk about enough we
democrats are always afraid i mean
bertice sanders isn't on your show in
yeah in shelton white house is in a lot
of my colleagues aren't afraid of a
number of them in both parties are are
really afraid of a standing up taking
extreme goin home are taking it out
started trade war whatever but when when
a company in springfield ohio or
mansfield ohio word younger found could
shut down
move its production to china
deduct the cost of the move
intel product of back make in china made
in china on back to our market after the
environment first of all
bought a lottery levels
second they could make no
economics event in the big picture but
we have built up political system
where lobbyists it had too much
influence
to given them a lot to do that rather
than giving intimidated stay here and
produce herein
there really isn't that a thirty-year
betrayal
of the middle class and working families
in poorer families to watch and tested
to get ahead in that
that's what i voted curbing about about
what so puzzle what what what our
government is not in the last decade
last quarter century yeah and not only
that they get tax deduction for the cost
to transportation to bring those goods
back to the necessary they're
manufactured
uneo is and and plus if they're they're
made over our sure they can they can
keep their profits are sure they can
create a harsher division
stick the money-making and islands never
pay u_s_ taxes on so that's what a
trillion dollars for the route that i
think it's going to be interesting to
track record of the interesting to watch
mit romney
try to build a publication why it's in
america's national interest that
a candidate for president can move his
money
offshore and
operating realism that that make sense
for the american public i mean you're
exactly right every everytime
companies every few years company to
come to congress in the say if we're
repatriate their profits we bring our
profits back from overseas and we we
will do that we won't do that unless you
get that big tax cut on these profits so
if congress does that which there is a
some pressure to do then it just gets
presented to to again manufacture
oversee the build up reserves come to
congress uh... decade from our five
years from now and then let's do it
again this uh... that's that's about it
that's what they may fifth several years
ago in
terribly civil desoto factor
zesty reinstated this task here they six
stocks five actors they gave it to
executive they did the best i got it
this senator brown sunset
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Blejska dobrava - Vintgar
Bohinjska bistrica
Bohinjska bela
Bled - Straža - sakališče
Nomenj - Bohinjska bistrica
Jesenica
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(upbeat music)
- [Crew Member] Good morning.
- Hey, everybody.
It's Rock M Sakura
from season 12-'zees'
of RuPaul's Drag Race.
Today, I'm gonna show you how
to recreate my tulle runway,
which is a beautiful
pastel unicorn fantasy.
It's gonna be super easy.
You're gonna see me go from this
to this.
(Rock gasping)
Mm, oh, ah.
(upbeat music)
Whenever I do my makeup,
I like to make sure I
take off all my clothes.
I make sure to get
ready butt-ass naked,
so we're gonna take off
our clothes right now.
(melodious ringing)
(upbeat music)
Use a disappearing
purple glue stick.
Just go ahead and start
against the grain.
Brush upwards.
Since my makeup is so big, I
also glue down my sideburns.
Big scrubbing circles.
(Rock grunting)
And a good cry always helps
before you put on
your makeup, too.
(hairdryer blowing)
You wanna take your
translucent powder
and hit your brows hard.
Don't move it around once you're
packing that dust on there,
'cause you're gonna
get oatmeal brows.
There.
(upbeat music)
I'm going to put foundation
over my whole face,
and also my boobous area.
I have a shadow, a
midtone, and a highlight.
I think that three
is a perfect number
to get like a good gradation.
You can fine tune with
your powders later.
And once it's all on
there, we're gonna go ahead
and take our beautiful
gay beauty blender
and we're just going
to beat that in.
So I get to the neck, I
just swipe it downwards,
'cause when you do this
it kinda feels like
someone's punching
you in the throat.
So, I'm gonna take
my brow pencil
and I'm going to sketch
out my eyeliner first.
And this is gonna take up
a fair amount of your face.
Oh, that's too big.
We're gonna do that
again (laughs).
Okay (laughs).
(chill music)
And remember, this is like
complete anime fantasy face.
So, just make sure that you
go over the top, you go big.
If you wanted a refined
and clean version of this,
you wanna look pretty, do
a Trixie Mattel tutorial.
If you wanna look like Kim Chi
if she had a lot less talent
and was a lot more
bloated, watch my tutorial.
(chill music)
And now that you look
utterly terrifying,
we're gonna use like this
really, really, really, really,
really dark contour shade.
And I'm gonna do a
little rainbow up here.
I like to make sure that
whenever I do my makeup,
it's really geometric.
I like to have very
exaggerated looking lines.
I'll do a lot of
contour right here,
just in the center of the nose.
We're gonna blend it out
in a second. Don't worry!
So, now that I got
the contour on,
we're gonna go ahead
and blend that.
For the cheeks I like
to keep that hard line,
but I'll blend it upwards.
(chill music)
There we go.
And now it's time to refine
everything with our highlight.
And if you can't get
your container open,
just use your teeth because
they don't look good anyway.
(bottle poppiing)
Let's take a small
concealer brush
and just refine the lines
that we were making before.
(chill music)
(Rock exhaling)
(Rock laughing)
Oh my God.
And what I'm doing right here
is I'm silhouetting the nose.
I'm making like a nice
triangle shape right here
with the contour.
(chill music)
Once everything's on,
make sure that you
take your beauty blender and
let's just refine that again.
Ah, and you can already see
the woman coming through.
I'm a woman!
She's coming through, and
she's coming through hard.
So, what had happened was I
was getting ready for Drag Race
and my boyfriend
was helping me pack.
Here's the thing ladies,
if you ask your boyfriend
to pack and they're nice
enough to pack for you,
you're not being a bitch
if you wanna double check.
Because what happened
was my tulle outfit
was so big that we had
to switch suitcases.
And all of my makeup
got left behind at home.
So, I only had about 25%
of my normal makeup on set.
But a queen makes
it work every time.
So, the next step right now is
we're gonna take our midtone
and we're gonna refine all
the things that need midtone.
(chill music)
When I first started
going out in drag,
a queen had come
up to me and went,
"Wow, you look gorgeous,
you're so pretty.
"It must be so easy
because you're Asian,
"you already look like a woman."
And I was like, "Excuse you."
Just because I'm Asian doesn't
mean I'm not trying hard.
So, I wanted people
to know how hard
I was trying with my makeup.
So, as the years went
by my eyes got bigger,
and bigger, and bigger.
And my self worth went
lower, and lower, and lower.
(tongue clicking)
Let's go ahead and set
this down with powder.
I'll take one of
these like art brushes
that you can get from
the dollar store.
And just press it into these
angles that you created.
(chill music)
The more you let it sit,
the more it's gonna
bake into your skin.
(chill music)
Now that I finished with
my highlight powder,
I'm gonna go in with
my midtone powder.
We can just put this pretty
much all over the face.
(pad smacking)
I deserve this.
And we're done.
This was my makeup tutorial.
Thank you guys so much for
joining us today on VH1.
Make sure that you swipe
up and, okay (chuckles).
Brush it up.
Now, we can go in
with our contour.
Take a nice big fluffy brush.
And just go in there.
And then I'll go back in
with the darkest shade,
and I'll bring it right here
just on the end to create
the illusion of depth.
This side turned out a
lot better than this side.
(upbeat music)
Trying it again.
Perfect, let's go ahead
and contour the chin.
Just a nice rounded
brush on the chin.
Make yourself really
look like a thumb.
See?
(chill music)
Now, we're gonna ahead and
add some blush to that.
I'm gonna take three
shades, mix them together.
And I'm gonna get right
here on my rosy cheeks.
Here on the nose.
Right where we did
our contour before.
I'll take the deepest
and the reddest shades,
and I'll go right here.
Whatever is residual
on that brush
and just add it into
the rest of the contour.
A small bit of blush
is gonna really pop
and add some color to your face.
Let's get in on that nose.
So, take your darkest powder
right here, into the corner.
At the top of the nose.
And here again near
the tip at the bottom.
So, once I have my darkest
shades on, I'm gonna go ahead
and add my favorite
color, white (chuckles).
I use a cream foundation
when I do my white.
(chill music)
Just review it, look
at your face as a whole
and see if the silhouette
kind of matches.
Take a very, very
super white powder.
When I first started doing drag,
I used baby powder to
set all of my white.
And besides smelling
like a baby's butt,
I'm sure there is
lots of health risks.
Blend that in with
some regular powder.
Now, we're gonna refine
it one more time.
(chill music)
And I like to get it nice and
skinny at the very, very end.
While it's still wet, I'm gonna
go in with a liquid white.
(chill music)
A liquid eyeliner is
more concentrated.
Midtone powder.
(chill music)
Now, we're gonna come back in
and deepen the contours again.
When we add our final
dot that goes here,
it's gonna look like
it's popping a bit more.
I want things to look
like they're super sharp,
like I'm about to cut you.
Cut you.
Last part, take that
same white liner
and just do a little
dot on your nose.
Next level of nose
contour get it now, uh.
So, what we're gonna
do with our boobs today
is we're gonna do the exact
same thing we did with our nose.
We're gonna put white and
our highest highlights
right here in the middle.
And then we're cut it
with our boob shape.
This middle part right here
can be relatively lazy.
Get on there.
Oh my God (vibrating breath).
Cream white.
I know some people have a
hard time placing their boobs.
And trust me, we've
all been there.
I've had a boob here,
I've had boobs here,
I've had boob down here, I've
had boobs on my shoulder.
Don't ask about that one.
We're gonna go ahead and
set the middle of this
with our whitest white.
And then on both sides,
the top and the bottom,
we're gonna wanna gradate
out with our lighter color.
And then dust it off.
And I'm gonna just
trace a circle.
(upbeat music)
Gonna take our midtone, we're
gonna do a circle right here
where the light would hit.
Right here.
And then you wanna blend it in.
(upbeat music)
Put the white and the highlight
where I want it
the highlight-iest.
And then I'm gonna set
the rest of the boob
with this midtone powder.
Brush it off.
Last thing we're gonna do is
we're gonna deepen that contour
on the boob area with a nice
little angled shadow brush.
And then you can gradate
it out with a bigger brush.
And you're all good.
(upbeat music)
I wanted to do a
rainbow eyeshadow look
because I couldn't
figure out what one color
to use on the whole outfit.
I was just like, "Rainbow
is my favorite color anyway.
"Why not just use
all the colors?
"Why not just use every color?"
So, what we're gonna do is we're
gonna take our little cream
palette that is gross and dirty,
don't you dare zoom
in on this powder.
(Rock chuckling)
We're gonna put a base down
of all these different colors.
Just press it on there.
In between your colors,
clean off your brush
just a little bit
but not too much.
If you leave a little
bit of the product on it,
it's gonna help
gradate the color.
A little bit of
that green in there.
They don't have to
be in the same place.
And we're using the
blocking that we did earlier
when we did the eyebrow pencil.
We're just creating a sticky
base for our shadows later.
(upbeat music)
Then once all your
colors are on,
I'm gonna set that
with my white.
(upbeat music)
So, you can kinda
barely see the colors,
but you know where
the colors are.
And with a light,
light, light touch.
(Rock yelping)
Place it on your face.
(upbeat music)
My makeup aesthetic is
generally very manga-inspired,
very graphic but also pastel,
light, airy, witchy, ethereal.
I have so many outfits that
look like cakes and sweet rolls.
We're gonna use that same
white that we did before
and we're going to trace
that line that we had before.
(upbeat music)
Press, stamp,
stamp, stamp, stamp,
stamp, stamp, stamp, stamp.
(upbeat music)
All right, woo, woo.
Set that with a white.
Liner, it's really,
really, really black
and you don't wanna mess up.
Put a fair amount of product
just on the edge of the brush.
Then you're gonna follow
that line that we did before.
And what I wanna do
is I'm just gonna
outline the shape first.
We're gonna follow
that curve we created.
And once you got it all
lined out, just fill it in.
(chill music)
Uh, looks so good, I'm so happy,
thank God I did not mess
up on camera (laughs).
When I was getting ready to
like audition for the show
and everything, I had
heard rumors that they had
literally 25 minutes to
paint their whole face.
Which I now know is a lie.
But I was like, "Oh, they
only give you 25 minutes?
"I gotta learn how to
paint in 25 minutes."
So, this makeup that
you're seeing right now,
I can actually do
relatively fast.
Same white foundation.
Oh, just moan a little bit
when you do this white part,
'cause this is
your favorite part.
(chill music)
Once you got your shape,
you're gonna go ahead and
take a nice dome brush.
What I like to do is I
put it in the shadow.
And because it's round,
it goes into the
contours of my face.
I'm not gonna do that
again (chuckles).
I'm so sorry everyone at home.
We're gonna do the same
shadow on top, underneath.
I'm just gonna go
in with the shadows
and I'm gonna have a
very, very light, light,
light, light, light, light,
light, light,
light, light touch.
With this color, I'm gonna
refine this bottom edge
right here and make
it look more linear.
Ugh, I love this.
Perfect, I'm going to extend
our liner from the top
just a little bit into here.
(chill music)
So, about halfway through
is when I stop the black.
And I'm gonna take
this small little brush
that we were using for
the shadows earlier
and blend that shadow down.
Do you feel like a trash
fire with makeup on?
That's the look.
We're actually gonna
go on to our next step,
which is kinda eyebrows.
(finger snapping)
I always tell people
that I have eyebrows
but they're underneath my wig.
We can imply that there's
some sort of brow there.
I'm gonna take that same
white that we had before.
And just like if I
had a normal brow,
I'm gonna highlight
underneath it.
(chill music)
I'm gonna use my finger
to blend this down.
Just like with everything,
we're gonna set it
with that white powder.
Next thing we're gonna do,
now that we're
done with our eyes,
is our lips, our beautiful lips.
(chill music)
We're gonna sketch that same
shape that we did earlier.
(chill music)
I'm looking for a nice
balance between the eyes
and the lip.
I like to do a little
clown flick up here.
Make it a little bit more full.
I like to do a cross right here
'cause it makes it
more even for me.
(chill music)
If you don't need
to do the cross,
and you can do it all
freehand by yourself,
off because it's my
tutorial and I need this.
I need this.
Now that we're all mapped out,
let's do the highlight
over the top of the lip.
White cream again.
Set that again with white.
(chill music)
All right, everything is lined.
What I'm gonna do is I'm
gonna bring my eyeliner
in from the sides.
These shadows here,
just on the corners,
are gonna make it look
like my lips right here
on this side are pushed back.
Get in there with your fingers.
Go ahead and put our
base lipstick on.
(chill music)
I wanna go for a nice
bright pink over here
to kinda contrast with the very,
very matte toned down
pastel look up here.
And I actually
love to do shadows
in place of actual
lipstick or gloss,
because sticky lips always
get caught in your hair.
You're trying to lip sync.
I've set the base
foundation now.
And what we're gonna do
is we're gonna darken up
the sides again,
but with powder.
(chill music)
One more time I'm gonna go in
with that liner, redefine it.
(chill music)
Okay, now I'm
highlighting my lip.
And what I'm doing
is I'm taking white
and I'm hugging
that liner up top.
Just lightly feathering it out.
(chill music)
Blend it out.
You're basically just creating
a base for the next step
which is, say it with me
folks, set it with white!
(chill music)
And now we're gonna go back in
and introduce
those colors again.
I chose the right career.
And I'm just going to gradate
it into the darker points
of my face.
We're gonna clean it up.
(chill music)
(upbeat music)
I take some colors and
I put 'em on the brush.
Just at the top of my
cheeks, right over here.
And I also like to contour
right where I put
that white earlier.
Medical grade adhesive,
they use this for surgeries.
Take the end of your brush,
take a little bit of that glue.
And you're gonna wanna dab
where you want your rhinestones.
One, two, three.
The cream dries really fast.
Gonna place 'em on there.
I wish I could love myself
as much as I love these
stones on my face.
Now, we're gonna
add our last ones.
(chill music)
And if you're like me,
and you're a kicking
and bucking girl,
you probably hate when your
earing get caught in your hair.
So, you can always do what I do.
On here, a little
bit of the cream.
Boom.
Now, we're gonna add
some more glitter.
I'll take a holagraphic
glitter sometimes.
I'll take some on
my middle finger
and I'll just press it
into the face like that.
Add some to the
whites of your boobs.
I also like to use glitter paste
because it's super
easy to put on.
And I'm just gonna put that
around the perimeter of my eye.
Now, we're gonna put
this also on our chest.
I'm also gonna put
some right up here.
Yes, it's coming together!
Once I get the glitter
on, it is over.
The rest of you
guys in this room
are gonna die because
I'm so fabulous!
I'm taking a
chunkier glitter now.
All right, add
some to your chest.
(chill music)
Now it's time for eyelashes!
(upbeat music)
I don't have enough
money to spend
on getting these bottom lashes.
So what do we do?
We make our own lashes.
All you need is some
construction paper
and some scissors.
And that little triangle
that we just created,
we're gonna cut that in half.
Some of that cream from before.
On your black.
Now, it's time for
these big-daddy lashes.
Now, I made these myself.
They're eight pairs of
eyelashes stacked together.
And I've added more
construction paper
just glued onto the back
with some weave bond,
which is what we're gonna
use to adhere to our eye.
And then I place
rhinestones on the lashes
just for that extra fantasy.
This stuff takes literally
20 seconds to dry.
I'll place it right here,
into the socket of my eye.
And then I'll pull
the front forward
just a tiny bit like this.
So, just this part
is touching my lash.
And up here is in my socket.
Remember that
hairdryer from earlier?
Here she is again.
(hairdryer blowing)
We're not even relatively
close to my eye.
Like, full-on this is
like a different zip code.
So, I like to do
for my under-eyes,
I'll take a nice
eye cream pencil.
One that's specifically
for an eye.
(upbeat music)
And with that, the face is done.
I'm gonna get my final look on.
And I will be right back!
(Rock coughing)
(tongue clicking)
You guys, this is my
tulle runway look.
I love this because not
only am I living my full,
ethereal fantasy,
I'm also in a garment
that me and my
friends made together.
And I look like a unicorn
sharted all over the place.
If you learn something from
this video, you can dress up
as Sakura, or you can come
up with your own version
of you that makes you happy
and you wanna show me.
(upbeat music)
| {
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English:
Hi people. So here's Hinata Hyuga's sculpture.
As always, I start by making the basic
body form with wires,
and I do this with pliers.
Next, I apply the first layers of cold porcelain clay and let it dry for a few hours or for a day.
Letting this material dry is essential in the creation process of these sculptures.
That's because this material losses about 10% of its original volume when it dries, and this alters the form.
Spanish:
Mantengo mi palabra.
Ya que ese es... mi Camino Ninja...
Hola gente, aquí la escultura de Hinata Hyuga.
Como siempre, empiezo haciendo la forma básica
del cuerpo con alambre,
y esto lo hago con pinzas y un alicate.
Paso seguido, aplico las primeras capas de porcelana y dejo secar, por unas horas, o por un día.
Dejar secar es esencial en el proceso de creación de esculturas con este material,
Ya que al secarse, este pierde alrededor de un 10% del volumen original, lo cual altera la forma.
English:
For this reason, working with layers and letting each individual layer dry, allows you to have greater control
over the sculpture's compositions.
As you may have noticed,
I make part of the sculpture with colored clay.
So that in case the paint peels or deteriorates over time,
I may conceal it a bit and preserve the sculpture's color this way.
Cold porcelain clay doesn't come
in colors other than white.
So I end up coloring it myself.
To color the clay,
I use oil paint.
I apply a little bit and then I knead until the
color gets evenly distributed.
Spanish:
Por lo que trabajar por capas y dejar secar cada una de ellas, te permite tener mayor control
de la forma que le das al personaje.
Como lo habrán notado,
parte de la escultura la realizo
con porcelanicrón coloreado.
Esto es para que en caso de que la pintura se desprenda o se deteriore con el paso de los años,
se disimule ese deterioro y se preserve
el color de la escultura.
Este material nunca viene en colores.
Siempre viene en blanco.
Por lo que me toca a mí darle el color.
Para colorear el porcelanicrón, o porcelana fría como le dirían en otros países,
uso óleo, que es pintura a base de aceite.
Coloco un poco y después amaso hasta que el color que de parejo (uniforme).
Spanish:
Para hacer arrugas en la ropa,
utilizo un palillo y remuevo partes del porcelanicrón, y luego con un pincel, con agua, suavizo la superficie.
Aquí simplemente estoy poniendo el porta kunais,
English:
To make wrinkled cloth,
I use a stick to remove parts of the cold porcelain, and then I smooth out the surface a bit with a wet brush.
Here I'm simply putting the kunai pouch.
English:
Since it's dry already, I use glue to
adhere it to Hinata's leg.
Here I use pliers to move the arms up, so that
I can add more volume to the torso and make the jacket.
With a piece of plastic, which was originally part of a folder,
I create texture in the cloth beneath the jacket.
Spanish:
y como ya está seco, utilizo pegamento blanco para adherirlo a la pierna de Hinata.
Aquí un alicate para mover los brazos,
y alzarlos, y de esta manera,
podré agregar volumen a la zona del torso, y posteriormente hacer la chaqueta.
Con un pedazo de plástico que originalmente
era una carpeta,
doy textura a la prenda aquí y nata lleva
debajo de su chaqueta.
Spanish:
Luego empiezo a pintar el cuello.
Una vez la escultura, como tal, esté lista
pintar estos rincones sería muy tedioso
y prácticamente imposible.
Por lo que lo hago de una vez.
Ya aquí hago la banda, y con un palillo, trato de hacerle arrugas para que parezca tela.
Siempre, al hacer ropa, aplano la masa hasta que quede lo suficientemente delgada para que parezca tela.
Lo ideal sería usado en rodillo, pero como no tengo uno, termino usando una lata de aerosol.
English:
Then I start painting the neck.
Once the sculpture is done,
painting these parts would be pretty tedious and virtually impossible.
So I do it now instead.
Here I make the headband, and with a stick, I create wrinkles to make it look like cloth.
When making clothes, I always flatten the cold porcelain till it gets thin enough to resemble cloth.
Ideally, I would use a clay roller, but since I don't have one, I end up using an aerosol spray can instead.
Spanish:
Doy movimiento a la masa con mis manos, con cuidado, para dar la impresión de que hay viento, y viejo secar.
English:
I carefully create movement in the sculpture with my hands to make it seem like it's windy, and I let dry.
English:
Now I start painting the head and eyes to make the color closest to that of the character.
Spanish:
Ahora empiezo a pintar la cabeza y los ojos, para que el color sea lo más parecido posible al del personaje.
English:
For the hair, I do
the same as when making clothes.
I simply flatten the cold porcelain, and then cut it and make locks of hair,
and I adhere them to the head with water.
From here it's just a matter of repeating steps,
and figuring other things to add to make the sculpture look more like the character.
And that was it, here's the result:
Spanish:
Para el pelo, hago prácticamente lo mismo que cuando hago ropa.
Simplemente aplano la masa, y luego la recorto y doy forma de mechones,
y luego, con agua, los pego a la cabeza.
Ya aquí es cuestión de repetir pasos,
ver qué cosas debés agregarle a la escultura para que se parezca más al personaje.
Y eso sería todo, aquí está el resultado:
English:
Alright, that was Hinata's sculpture.
I was making this sculpture at the same time that I was making Satori, which is going to be the next video.
In order to complete sculptures faster, I decided to work on two at the same time, so that when one is drying,
I can work on the other one.
Those of you who have been following me for a while, or those who have watched my videos,
may have noticed that there are two recording styles in this channel:
One of them is time-lapse, which are videos sped up a lot, to around 2000%,
but they show the entire creation process.
The thing is that since they play really fast, certain things are not seen with much detail.
So as an alternative, I have decided to implement the second type of video too,
Spanish:
Bueno, esa fue la escultura de Hinata.
Esta escultura la estaba realizando al mismo tiempo que la de Satori, la cual va a ser el próximo video.
Para tener las esculturas listas más rápido, he decidido hacer dos a la vez, así cuando una esté secando
puedo trabajar en la otra, y así
tenerlas listas más rápido.
Para quienes lleven tiempo siguiéndome o para quienes hayan visto mis videos,
habrán notado que hay dos estilos
de grabación en el canal:
Uno es el timelapse que son vídeos acelerados bastante, más o menos al 2000%,
pero muestran todo el proceso de creación.
La cosa es que como van tan rápido, hay cosas que no se perciben con mucho detalle.
Entonces como alternativa a esto, he decidido implementar también
English:
the jump cuts, which are
basically videos at a normal speed or just a bit fastened,
but they show just the most important parts of the creation process.
So here or here, you'll get a card to choose the recording style you prefer,
or if you would like to see a combination of both like this video or Naruto's.
And that's it.
Thanks a lot for watching the video.
Bye!
Spanish:
los jump cuts que son
básicamente vídeos a velocidad normal
o un poquito acelerados,
pero que muestran nada más las partes
importantes del proceso de creación.
Entonces aquí o acá, les va a aparecer una tarjeta para que ustedes me digan cuál de los dos estilos
prefieren, o si les gustaría ver una combinación de los dos, como es este video o el de Naruto.
Y eso era todo.
Muchas gracias por ver el vídeo.
¡Chao!
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Arabic:
هل يستطيع أحدكم أن يوقف الوقت للحظة
أشعر بأن هنالك شيئًا أصبح خاطئًا
حاولت أن أضحك بخجل
أنا آسفة لأني عاملت نفسي بهذه الطريقة
لا لا تقل لي لا بأس بذلك
لا أعرف ماذا أفعل بدونك
أنا أبقى هنا وحيدة في هذا المكان البائس
الذكريات التي أرسمها لك كئيبة
الناس يتغيرون
لماذا أنا الوحيده مثل هذا
في يوم جميل كهذا
كيف يمكن لكل الأشياء أن تكون عاطفية جدًا؟
لا أعرف ماذا أفعل
French:
♪ Quelqu'un peut-il arrêter le temps juste pour un moment ♪
♪ J'ai l'impression que quelque chose s'est mal passé ♪
♪ J'ai essayé d'en rire étrangement ♪
♪ Mais maintenant je suis désolée de m’être traitée comme sa ♪
♪ Non ne me dit pas que tout va bien ♪
♪ Je ne sais pas quoi faire sans toi ♪
♪ Je suis ici toute seule dans cet endroit misérable ♪
♪ Les souvenirs que je dessine de toi sont bleus ♪
♪ Les gens changent ♪
♪ Alors pourquoi je suis la seule comme sa ♪
♪ En cette journée pourtant si magnifique ♪
♪ Comment est-ce que tout peut être aussi accablant ♪
♪ Je ne sais pas quoi faire ♪
Spanish:
¿Podemos detener el tiempo un momento?
Siento que algo ha ido terriblemente mal
He intentado reírme torpemente de ello
Pero ahora me doy pena.
No, no me digas que está bien.
No sé que hacer sin ti
Me quedo sola en este lugar miserable.
Dibujando tus recuerdos que son tristes.
La gente cambia
¿Por qué soy la única así?
En un hermoso día como este
¿Como todo puede ser tan abrumador?
No sé que hacer
Vietnamese:
Người ơi, có thể dừng lại vì em một chút được không?
Em cảm thấy như thể đã có điều gì sai lầm ở đây rồi
Em cố gượng cười như không có chuyện gì
Nhưng mà, vẫn không thấy khá hơn chút nào
Không đâu, chả có gì là ổn cả
Em chả biết phải làm gì khi vắng bóng anh
Nhốt mình trong nơi tối tăm lẻ loi này
Cố hồi tưởng những ký ước buồn bã của đôi ta
Con người ai mà không thay đổi chứ
Vậy cớ sao em vẫn như ban đầu?
Trong một ngày đẹp trời đến dường này
Làm cách nào mà mọi thứ trở nên quá đỗi ngột ngạt như thế này vậy?
Don't know what to do
iw:
האם אנחנו יכולים לעצור את הזמן לרגע?
אני מרגישה שקרתה כרגע טעות גדולה
ניסיתי לשכוח ולצחוק במבוכה
אבל אני מרחמת על עצמי עכשיו
אני אומרת שאני בסדר אבל
לא יודעת מה לעשות בלעדייך
נשארתי לבד במקום האומלל הזה
נזכרת בזיכרונות העצובים שלך
אנשים משתנים
למה רק אני ככה?
ביום יפה שכזה
איך הכול יכול להיות כל כך קשה?
לא יודעת מה לעשות
Polish:
[Jennie] Czy ktoś może na chwilę zatrzymać czas?
Czuję, że coś poszło źle
[Lisa] Próbowałam się niezręcznie z tego śmiać
Ale teraz jest mi żal samej siebie
[Rose] Nie, nie mów mi, że wszystko w porządku
Nie wiem, co robić bez Ciebie
Zostałam sama w tym nędznym miejscu
Wyciągam swoje wspomnienia, które są niebieskie
[Jisoo] Ludzie się zmieniają
Dlaczego jedyna taka jestem?
W tak pięknym dniu jak ten
Jak wszystko może być tak przytłaczające?
[Rose] Nie wiem, co robić
Indonesian:
♪ Bisakah kita menghentikan waktu sejenak ♪
♪ Aku merasa ada yang tidak beres ♪
♪ Aku mencoba untuk menertawakannya dengan canggung ♪
♪ Tapi aku mengasihani diriku sendiri sekarang ♪
♪ Tidak, jangan bilang padaku tidak apa-apa ♪
♪ Tidak tahu harus berbuat apa tanpamu ♪
♪ Aku ditinggalkan sendirian di tempat yang menyedihkan ini ♪
♪ Gambar kenanganmu yang berwarna biru ♪
♪ Orang berubah ♪
♪ Kenapa aku satu-satunya yang seperti ini ♪
♪ Pada hari yang indah seperti ini ♪
♪ Bagaimana semuanya bisa begitu luar biasa ♪
♪ Tidak tahu harus berbuat apa ♪
Portuguese:
Alguém pode parar o tempo por um momento?
Eu sinto que um grande erro aconteceu
Eu tentei rir sem jeito
Mas tenho pena de mim mesma
Eu digo que estou bem, mas
Não sei o que fazer sem você
Fui deixada sozinha neste lugar insignificante
Eu imagino suas memórias, elas são azuis
Pessoas mudam
Por que eu estou assim?
Em um dia lindo como esse
Como tudo pode ser tão difícil?
Não sei o que fazer
Korean:
♪ 잠깐 누가 시간을 좀 멈춰봐 ♪
♪ 뭔가 크게 어긋난 걸 난 느껴 ♪
♪ 애써 어색하게 웃어보다 ♪
♪ 이젠 그런 내가 안쓰러워 ♪
♪ 아냐 괜찮다고 말하지만 ♪
♪ Don't know what to do without you ♪
♪ 하찮은 이곳에 홀로 남아 ♪
♪ 그려 본 네 기억은 blue ♪
♪ 사람은 변해 ♪
♪ 왜 나만 이래 ♪
♪ 오늘처럼 예쁜 날에 ♪
♪ 어떻게 이렇게 모든 게 벅차기만해 ♪
♪ Don't know what to do ♪
Thai:
เดี๋ยวนะ ใครสักคนโปรดหยุดเวลาไว้ตรงนี้เถอะ
รู้สึกเหมือนมีบางอย่างผิดปกติ
ฉันพยายามจะฉีกยิ้มออกมา
แต่ตอนนี้ฉันรู้สึกสงสารตัวเอง
ถึงฉันบอกตัวเองว่าไม่เป็นไร แต่..
ไม่รู้จะทำอย่างไรหากไม่มีเธอ
ฉันถูกทิ้งให้อยู่คนเดียวในที่ที่น่าสังเวชนี้
ถอยออกจากความทรงจำของเธอที่มันหม่นหมอง
คนเปลี่ยนไป
ทำไมฉันคนเดียวถึงเป็นเช่นนี้
ในวันที่สวยงามเช่นนี้
ฉันถูกทุก ๆอย่างครอบงำได้อย่างไร
ไม่รู้จะทำอย่างไร
Spanish:
¿Podemos detener el tiempo por un momento?
Siento que algo ha salido muy mal
Traté de reírme torpemente
Pero ahora lamento haberme tratado así.
No, no me digas que está bien
No sé qué hacer sin ti
Me quedo aquí sola en este miserable lugar.
Olvidando todos tus tristes recuerdos.
La gente cambia
¿Por qué soy la única así?
En un hermoso día como este.
¿Cómo puede ser todo tan abrumador?
No sé qué hacer
Chinese:
希望有誰能稍微把時間停下
我感覺似乎有地方出了差錯
盡全力的擠出一個尷尬的微笑
現在卻開始憐憫起那樣的自己
雖然告訴我沒事
Don't know what to do without you
沒有你不知道該如何是好
我獨自在這個悲慘的地方
勾勒出你的藍色回憶
人都是會改變的
為什麼我是唯一一個不是這樣
像今天如此美好的一天裡
為何我感到十分吃力
Don't know what to do
不知道該怎麼辦
Turkish:
♪ Birisi bir an için zamanı durdurabilir mi? ♪
♪ Bir şeyler yanlış gitmiş gibi hissediyorum ♪
♪ Yalandan gülmeye çalıştım ♪
♪ Fakat şimdi kendime böyle davrandığım için üzgünüm ♪
♪ Hayır bana sorun olmadığını söyleme ♪
♪ Sensiz ne yapacağımı bilmiyorum ♪
♪ Bu önemsiz yerde tamamen yalnız bir şekilde kalıyorum ♪
♪ Sana çizdiğim hatıralar mavi ♪
♪ İnsanlar değişir ♪
♪ Neden bir tek ben böyleyim? ♪
♪ Böyle güzel bir günde ♪
♪ Her şey nasıl bu kadar karşı konulmaz olabiliyor? ♪
♪ Ne yapacağım bilmiyorum ♪
English:
♪ Can we stop time for a moment ♪
♪ I feel like something has gone terribly wrong ♪
♪ I tried to laugh it off awkwardly ♪
♪ But I pity myself now ♪
♪ No even though I say I'm okay ♪
♪ Don't know what to do without you ♪
♪ I’m left all alone in this miserable place ♪
♪ Drawing out your memories that are blue ♪
♪ People change ♪
♪ Why am I the only one like this ♪
♪ On a beautiful day like this ♪
♪ How can everything be so overwhelming ♪
♪ Don't know what to do ♪
Portuguese:
♪ Alguém pode parar o tempo por um momento? ♪
♪ Eu sinto que um grande erro aconteceu ♪
♪ Eu tentei rir sem jeito ♪
♪ Mas tenho pena de mim mesma agora ♪
♪ Eu digo que estou bem, mas ♪
♪ Não sei o que fazer sem você ♪
♪ Eu estou sozinha neste lugar miserável ♪
♪ Eu capturo memórias suas, elas são azuis ♪
♪ Pessoas mudam ♪
♪ Por que eu sou a única assim? ♪
♪ Em um lindo dia como este ♪
♪ Como está tudo tão difícil? ♪
♪ Não sei o que fazer ♪
Chinese:
♪我们可以让时间暂停片刻吗♪
♪我觉得有些事情变的可笑了
♪我试图尴尬地笑出来♪
♪但现在只有我怜悯自己♪
♪不要不告诉我不要这样做♪
♪没了你我不知所措♪
♪这凄凉之地只我一人♪
♪画出你的蓝色回忆♪
♪人们改变♪
♪为什么只有我是这样孤身一人♪
♪在这样美好的一天♪
♪怎么办 为何所有事情如此复杂♪
♪不知道该怎么办♪
Bulgarian:
Може ли някой да спре времето за момент
Имам чувството, че току-що стана голяма грешка
Смеейки се неловко, опитах се да изглеждам невъзмутима
Но се чувствам толкова жалка
Не, недей да ми казваш, че всичко е наред
Не знам какво да правя без теб
Стоя сама тук, на това прекрасно място
Рисувайки нашите спомени, които са вече сини
Хората се променят
Защо се държа така?
В хубав ден като днешния
Как е възможно всичко да е толкова сложно?
Не знам какво да правя
Japanese:
（ジェニー）ちょっと誰か時間を止めて
（ジェニー）何か大きくずれてる気がするの
（リサ）あえてぎこちなく微笑んでみる
（リサ）今はそんな自分が痛々しい
（ロゼ）いや 大丈夫って言わないで
（ロゼ）君が居なきゃどうしていいか分からないの
（ロゼ）つまらないこの場所に一人残って
（ロゼ）描いた君の記憶はブルー
（ジス）人は変わるのに
（ジス）どうして私だけがこうなの
（ジス）今日みたいな良い日に
（ジス）どうしてこんなに全てが胸に詰まるの
（ロゼ）どうしたらいいのか分からないの
Russian:
Кто-нибудь может остановить время хоть на мгновение
У меня такое чувство, что произошла большая ошибка
Я пыталась неловко отшутиться
Но мне жаль себя
Я говорю, что я в порядке, но
Не знаю, что мне делать без тебя
Я осталась одна, в этом обычном месте
И проносятся полные грусти воспоминания о тебе
Люди меняются
Почему же я такая же
В такой чудесный день
Как же всё сложно
Я не знаю что делать
Romanian:
Putem opri timpul pentru un moment?
Simt că ceva nu a decurs atât de bine
Am încercat să nu bag deloc în seamă
Acum mi-e milă de mine
Nu, nu-mi spune că totul este în regulă
Nu știu ce mă fac fără tine
Am fost lăsată singură în acest loc groaznic
Prelungesc nostalgia amintirilor cu tine
Oamenii se schimbă
De ce sunt singura care se poartă așa
într-o zi atât de frumoasă ca aceasta?
Cum e posibil ca totul să fie atât de copleșitor?
Nu știu ce să fac
Hungarian:
Megtudnánk állítani az időt egy pillanatra?
Mivel azt érzem valami rossz dolog történt.
Megpróbáltam kínosan, de kinevetni ezt az egészet.
Ám mostanra már, szánalmasnak érzem magam emiatt.
Ne! Ne mond nekem azt, hogy minden rendben van.
Nem tudom mi tévő legyek nélküled.
Egyedül maradtam e hitvány helyen.
A mára már kékre festett emlékeiddel.
Az emberek változnak,
miért én vagyok az egyetlen, aki ilyen?
Egy ilyen gyönyörű napon, mint a mai,
hogy lehet minden ilyen nyomasztó?
Nem tudom mi tévő legyek.
English:
♪ I don't know what to do without you ♪
♪ I don't know what to do without ♪
♪ You ♪
♪ You know I ♪
♪ Don't know what to do ♪
♪ Like the people who come and go ♪
♪ I guess we just weren't meant to be ♪
♪ I hate myself for getting my hopes up for no reason ♪
♪ Thinking you’d call ♪
♪ The sound of the clock ticking ♪
♪ Bothers me even more ♪
Hungarian:
Nem tudom mi tévő legyek nélküled.
Nem tudom mi tévő legyek,
nélküled.
Tudod jól, hogy
nem tudom mi tévő legyek.
Mint az emberek, kik jönnek s mennek.
Mi csak egyszerűen nem voltunk egymásnak teremtve.
Gyűlölöm magam, mert folyamatosan abba reménykedek,
hogy talán hívni fogsz.
Az óra ketyegése,
iszonyúan bosszant.
Turkish:
♪ Sensiz ne yapacağımı bilmiyorum ♪
♪Ne yapacağım bilmiyorum ♪
♪ (Sensiz) ♪
♪ Bilirsin♪
♪ Ne yapacağım bilmiyorum ♪
♪ Gelip geçici insanlar gibi ♪
♪ Sanırım biz birbirimize ait değilmişiz♪
♪Telefon belki çalar diye endişelenmekten nefret ediyorum ♪
♪Özellikle de saatin ''tık tık'' sesi beni rahatsız ediyor♪
Portuguese:
♪ Eu não sei o que fazer sem você, yeah x2 ♪
♪ Eu não sei o que fazer sem ♪
♪ Você ♪
♪ Você me conhece ♪
♪ Não sei o que fazer ♪
♪ Como as pessoas que vêm e vão ♪
♪ Eu acho que nós apenas não tínhamos que ser ♪
♪ Me perguntando se o telefone irá tocar ♪
♪ Eu me odeio por ter criado esperanças sem motivo ♪
♪ O tic-tac do relógio ♪
♪ Me incomoda ainda mais ♪
French:
♪ Je ne sais pas quoi faire sans toi ♪
♪ Je ne sais pas quoi faire sans ♪
♪ Toi ~~ ♪
♪ Tu sais que je ne sais pas quoi faire ♪
♪ Je ne sais pas quoi faire ♪
♪ Comme les personnes qui vont et viennent ♪
♪ Je suppose qu'on étaient tout simplement pas fait pour être ensemble ♪
♪ Je déteste lorsque je suis excitée juste parce-que le téléphone sonne ♪
♪ En pensant que sa pourrait être toi qui appelle ♪
♪ Les bruits répétitifs des tics-tacs de l'horloge ♪
♪ Sont tous aussi énervants ♪
Russian:
Я не знаю, что мне делать без тебя (да, хэ-хей)
Я не знаю, что мне делать без
Тебя
Ты знаешь я
Я не знаю что делать
Как тем людям, которые встречаются и расходятся
Нам не суждено быть вместе, я так считаю
Ненавижу себя, за бессмысленные прогнозы
Интересно, зазвенит ли телефон?
И тиканье моих часов
Особенно угнетает меня
Chinese:
♪没有你我不知道该怎么办♪
♪如果没有♪我不知道该怎么办
♪你♪
♪你知道我♪
♪不知道该怎么办♪
♪像是来来往往的人一样♪
♪我想我们不是故意♪
♪我讨厌自己抱着无谓的希望♪
♪认为你会打给我♪
♪时钟滴答声♪
♪更让我困扰♪
Vietnamese:
Em thật sự không biết làm gì khi thiếu anh
vietsub by Sarah Sarang
Chả biết làm gì khi không có anh ở đây
Em thật sự không biết làm gì khi thiếu...
Anh~
Anh biết rõ
Là em không thể làm gì
Tựa như gió thoảng anh đến rồi đi
Chắc hẳn là, định mệnh đôi ta quá trắc trở
Em ghét việc phải chờ đợi trong vô vọng như thế này lắm
Mong mỏi những cuộc gọi từ nơi anh
Tiếng kim đồng hồ chạy tíc tóc kia
Làm em bồn chồn hơn bao giờ hết
Chinese:
I don't know what to do without you
沒有你不知道該如何是好
I don't know what to do without
我不知道該怎麼辦，因為沒有
You
你
You know I
你了解我
Don't know what to do
不知道如何是好
如同來來往往短暫到來又離開的人們般
但我們並不是如此
擔心著或許是你打來的電話
我討厭空等著你的我
時鐘一直在滴答滴答響著
更令我煩躁不安了
Korean:
♪ I don't know what to do without you ♪
♪ I don't know what to do without ♪
♪ You ♪
♪ You know I ♪
♪ Don't know what to do ♪
♪ 잠깐 왔다 떠난 사람들처럼 ♪
♪ 그냥 우린 아니었던 거지 뭐 ♪
♪ 혹시라도 전화가 울릴까 ♪
♪ 봐 괜한 기댈 하는 내가 미워 ♪
♪ 자꾸 똑딱 거는 시계 소리가 ♪
♪ 유난히 거슬려 ♪
Arabic:
لا أعرف ماذا أفعل بدونك
أنا لا أعرف ماذا أفعل..
بدونك
أنت تعلم أنني
لا أعرف ماذا أفعل
مثل الناس الذين يأتون ويذهبون
أنا أظن بأننا لم نكن مقدرين لبعضنا
أنا أكره حقيقة أني أتحمس كلما رن هاتفي
صوت دقات الساعة
تزعجني كثيرا
Thai:
ฉันไม่รู้จะทำอย่างไรหากไม่มีเธอ
ฉันไม่รู้จะทำอย่างไรหากไม่มี...
เธอ~~~~
เธอก็รู้ว่าฉัน..
ไม่รู้จะทำอย่างไร
เหมือนกับคนที่มาและผ่านไป
ฉันคิดว่าเราอาจไม่ได้เกิดมาคู่กัน
ฉันเกลียดตัวเองที่ทำให้ความหวังของฉันหมดไปโดยไม่มีเหตุผล
คิดว่าเธอจะโทรหา
เสียงของนาฬิกาติ๊กต็อก
ยิ่งรบกวบจิตใจฉันมากขึ้น
Romanian:
Nu știu ce mă fac fără tine
Nu știu ce mă fac fără
Tine
Știi prea bine că eu
Nu știu ce aș putea face
La fel ca oamenii care vin și pleacă
Presupun că n-am fost meniți să fim împreună
Mă urăsc pentru că mi-am făcut speranțe
fără niciun motiv
Crezând că mă vei suna
Ticăitul ceasului
Mă deranjează și mai tare
Indonesian:
♪ Aku tidak tahu harus berbuat apa tanpamu ♪
♪ Aku tidak tahu harus berbuat apa tanpa ♪
♪ Kamu ♪
♪ Kau tahu, aku ♪
♪ Tidak tahu harus berbuat apa ♪
♪ Seperti orang yang datang dan pergi ♪
♪ Kurasa kita tidak seharusnya menjadi ♪
♪ Aku membenci diriku sendiri karena menaikkan harapanku tanpa alasan ♪
♪ Berpikir kamu akan menelepon ♪
♪ Suara jam berdetak ♪
♪ Memberi aku lebih banyak lagi ♪
Bulgarian:
Не знам какво да правя без теб
Не знам какво да правя без теб
Не знам какво да правя без
Теб
Ти знаеш, че не знам какво да правя
Ти знаеш, че не знам какво да правя
Като хората, които идват и си отиват
Предполагам, че не ни е било писано да бъдем заедно
И мразя това, че изпитвам това безсмислено очакване
Не спирам да се питам дали телефонът ми няма да звънне
Дори тик-такането на часовника ми
Ме дразни толкова много
Portuguese:
Eu não sei o que fazer sem você
Não sei o que fazer sem
(Você~)
Você sabe que eu
Não sei o que fazer
Como as pessoas que vêm e vão
Eu acho que nós não tínhamos que ser assim
Querendo saber se o telefone irá tocar
Eu me odeio por me antecipar inutilmente
O tique-taque do relógio
Está me irritando
iw:
אני לא יודעת מה לעשות בלעדייך
אני לא יודעת מה לעשות
בלעדייך
אתה יודע שאני
לא יודעת מה לעשות בלעדייך
כמו אנשים שבאים והולכים
אני מניחה שפשוט לא היינו אמורים להיות יחד
אני שונאת את עצמי על כך שאני מצפה ללא תועלת
חושבת שתתקשר
התקתוק של השעון
מפריע לי אפילו יותר
Japanese:
（ロゼ）あなたが居なきゃ
（ロゼ）あなたが居なきゃ
（ロゼ）あなたが居なきゃ
（ジス）You〜
（リサ）君も気付いてるんでしょ
（リサ）どうすればいいのか分からないの
（ジス）来ては去っていく人々みたいに
（ジス）私たちが違ったのは何だろう
（リサ）もしかしたら電話がくるかもって
（リサ）無駄な期待してる自分が嫌なの
（リサ）しきりにチクチク鳴る時計の音が
（リサ）余計に気に障るの
Polish:
Nie wiem, co robić bez Ciebie
Nie wiem, co robić bez~
[Jisoo] Ciebie~
[Lisa] Dobrze wiesz, że
Nie wiem co robić
[Jisoo] Podobnie jak ludzie, którzy przychodzą i odchodzą
Zgaduję, że po prostu nie pasujemy do siebie
[Lisa] Nienawidzę tego, że bez powodu robię sobie nadzieję
Z myślą, że zadzwonisz
Dźwięk tykającego zegara
Martwi mnie jeszcze bardziej
Spanish:
No sé qué hacer sin ti
Yeah
No sé qué hacer sin ti.
Yeah
No sé qué hacer sin
Ti
Sí, no sé qué hacer
No sé qué hacer
Como las personas que van y vienen
Supongo que no estábamos destinados a estar juntos.
Me odio por seguir teniendo esperanza sin razón,
pensando en que me llamarías, me odio.
El sonido de mi reloj
me molesta incluso más.
Spanish:
No sé que hacer sin ti
No sé que hacer sin
Ti
Tú sabes que..
No sé que hacer
Como las personas que vienen y van
Supongo que no estábamos destinados a estar juntos
Me odio por dejar que mis esperanzas aumenten inutilmente
Pensando si tú llamarías
El tik tok del reloj
Me molesta todavía más
Arabic:
قد أبدو بخير ولكن..
لا أعرف ماذا أفعل بدونك
أخشى أن تكشف المرآة عن مشاعري
الشفاه التي رسمتها زرقاء
من الأفضل أن أكون وحيدة
هذه أنا فقط
في يوم جميل كهذا
كيف يمكن لكل الأشياء أن تكون عاطفية جدًا؟
لا أعرف ماذا أفعل
أنا لا أعرف ماذا أفعل بدونك
لا أعرف ماذا أفعل بدونـك
بدونك
أنت تعلم أنني
لا أعرف ماذا أفعل
English:
♪ I may seem fine but ♪
♪ Don't know what to do without you ♪
♪ I'm afraid a mirror might reveal my feelings ♪
♪ The lips I've drawn are blue ♪
♪ It’s better to be alone ♪
♪ That’s just me ♪
♪ On a beautiful day like this ♪
♪ How can everything be so overwhelming ♪
♪ Don't know what to do ♪
♪ I don't know what to do without you ♪
♪ I don't know what to do without ♪
♪ You ♪
♪ You know I ♪
♪ Don't know what to do ♪
Korean:
♪ 괘나 멀쩡해 보이지만 ♪
♪ Don't know what to do without you ♪
♪ 이런 내 맘 거울에 들킬까 봐 ♪
♪ 그려 본 내 입술은 blue ♪
♪ 혼자가 편해 ♪
♪ 난 그냥 그래 ♪
♪ 오늘처럼 예쁜 날에 ♪
♪ 어떻게 이렇게 모든 게 벅차기만해 ♪
♪ Don't know what to do ♪
♪ I don't know what to do without you ♪
♪ I don't know what to do without ♪
♪ You ♪
♪ You know I ♪
♪ Don't know what to do ♪
French:
♪ J'ai peut être l'aire d'aller bien mais ♪
♪ Je ne sais pas quoi faire sans toi ♪
♪ J'ai peur qu'un miroir puisse révéler mes véritables sentiments ♪
♪ Les lèvres que je dessine deviennent bleus ♪
♪ C'est si confortable d’être seule ♪
♪ Je suis juste comme sa ♪
♪ En une si belle journée comme celle la ♪
♪ Comment est-ce que tout peut être aussi accablant ♪
♪ Je ne sais pas quoi faire ♪
♪ Je ne sais pas quoi faire sans toi ♪
♪ Je ne sais pas quoi faire sans ♪
♪ Toi~~ ♪
♪ Tu sais que ♪
♪ Je ne sais pas quoi faire ♪
Hungarian:
Talán kívülről úgy tűnik jól vagyok, ám
nem tudom mi tévő legyek nélküled.
Attól félek, ha a tükör visszatükrözné érzelmeimet,
ajkam kék színbe menne át.
Jobb egyedül lenni,
ez vagyok én.
Egy ilyen gyönyörű napon, mint a mai,
hogy lehet minden ilyen nyomasztó?
Nem tudom mi tévő legyek.
Nem tudom mi tévő legyek nélküled.
Nem tudom mi tévő legyek,
nélküled.
Tudod jól, hogy
nem tudom mi tévő legyek.
Spanish:
Aunque pueda parecer que estoy bien
No sé que hacer sin ti
Tengo miedo de que el espejo revele mis sentimientos
Los labios que dibuje son tristes
Es mejor estar sola
Esa soy yo
En un hermoso día como este
¿Como todo puede ser tan abrumador?
No sé que hacer
No sé que hacer sin ti
No se que hacer sin
Ti
Tú sabes que..
No sé que hacer
Bulgarian:
Може да изглеждам съвсем добре, но
Не знам какво да правя без теб
Опасявам се, че чувствата ми ще се отразят в огледалото
Устните ми, които стискам от тревога са вече сини
Харесва ми да бъда сама
Просто се чувствам така
В хубав ден като днешния
Как е възможно всичко да е толкова сложно?
Не знам какво да правя
Не знам какво да правя без теб
Не знам какво да правя без теб
Не знам какво да правя без
Теб
Ти знаеш, че не знам какво да правя
Ти знаеш, че не знам какво да правя
Russian:
Я могу выглядеть абсолютно спокойной, но
Я не знаю, что мне делать без тебя
Интересно, отражаются ли мои чувства в зеркале
Губы, которые я нарисовала, кажутся грустными
Мне удобно быть одной
Я просто такая
В такой чудесный день
Как же всё сложно
Я не знаю что делать
Я не знаю, что мне делать без тебя (да, хэ-хей)
Я не знаю, что мне делать без
Тебя
Ты знаешь я
Не знаю что делать
Chinese:
我可能看起來挺不錯
Don't know what to do without you
可沒有你卻不知如何是好
害怕這樣的心情會照映在鏡子裡
勾勒出我的嘴唇 Blue
一個人很自在
我就是那樣
如同今天這樣美好的一天
我怎麼會感到一切是如此吃力
Don't know what to do
不知道該怎麼辦
I don't know what to do without you
沒有你不知道該如何是好
I don't know what to do without
我不知道該怎麼做，因為沒有
You
你
You know I
你了解我
Don't know what to do
不知道該怎麼辦
Portuguese:
♪ Eu posso parecer totalmente bem, mas ♪
♪ Não sei o que fazer sem você ♪
♪ Eu me pergunto se meus sentimentos vão transparecer no espelho ♪
♪ Os lábios que eu desenhei são azuis ♪
♪ É melhor ficar sozinha ♪
♪ Sou apenas eu ♪
♪ Em um lindo dia como este ♪
♪ Como está tudo tão difícil? ♪
♪ Não sei o que fazer ♪
♪ Eu não sei o que fazer sem você, yeah 2x ♪
♪ Eu não sei o que fazer sem ♪
♪ Você ♪
♪ Você me conhece ♪
♪ Não sei o que fazer ♪
Spanish:
Aunque pueda parecer que estoy totalmente bien
No sé qué hacer sin ti
Temo que un espejo refleje mis sentimientos
Los labios que dibujé son tristes
Es mejor estar sola
Sólo soy yo
En un hermoso día como este
¿Cómo puede ser todo tan abrumador?
No sé qué hacer
No sé qué hacer sin ti
Yeah
No sé qué hacer sin ti.
Yeah
No sé qué hacer sin
Ti
Sabes que yo
no sé qué hacer
Vietnamese:
Trông em có vẻ ổn đấy nhưng mà...
Thật ra em đang không biết phải làm thế nào
Mỗi khi nhìn vào gương em lại thấy hoảng sợ vì biểu cảm của chính mình
Màu son em thoa cũng đượm buồn
Ở một mình em thấy tốt hơn nhiều
Chỉ có riêng em thôi
Vào một ngày đẹp trời đến dường này
Tại sao mọi thứ lại đột ngột trở nên u uất như bây giờ cơ chứ?
Em không biết phải làm gì
Em không biết phải làm gì khi vắng bóng anh
Yeah hey hey
Em không biết phải làm gì khi thiếu anh
Yeah hey hey
Em chả biết làm gì khi không có
Anh~
Anh biết thừa
Là em không thể làm gì
Thai:
ฉันอาจดูไม่เป็นไร แต่
ไม่รู้จะทำอย่างไรหากไม่มีเธอ
ฉันกลัวว่ากระจกอาจเปิดเผยความรู้สึกของฉัน
ริมฝีปากที่ฉันวาดเป็นสีฟ้า
อยู่คนเดียวดีกว่า
มีเพียงแค่ฉัน
ในวันที่สวยงามเช่นนี้
ฉันถูกทุก ๆอย่างครอบงำได้อย่างไร
ไม่รู้จะทำอย่างไร
ฉันไม่รู้จะทำอย่างไรหากไม่มีเธอ
ฉันไม่รู้จะทำอย่างไรหากไม่มี..
เธอ~~~
เธอก็รู้ว่าฉัน
ไม่รู้จะทำอย่างไร
Portuguese:
Eu posso parecer estar bem mas
Não sei o que fazer sem você
Eu me pergunto se meus sentimentos serão vistos no espelho
Os lábios que eu desenhei são azuis
Eu estou confortável sozinha
Eu sou desse jeito
Em um dia lindo como esse
Como tudo pode ser tão difícil?
Não sei o que fazer
Eu não sei o que fazer sem você
Eu não sei o que fazer sem
(Você~)
Você sabe que eu
Não sei o que fazer
iw:
אולי אני נראית בסדר אבל
לא יודעת מה לעשות בלעדייך
אני מפחדת שמראה יכולה לחשוף את רגשותיי
השפתיים שציירתי עצובות
יותר טוב להיות לבד
זו פשוט אני
ביום יפה שכזה
איך הכול יכול להיות כל כך קשה?
לא יודעת מה לעשות
אני לא יודעת מה לעשות בלעדייך
אני לא יודעת מה לעשות
בלעדייך
אתה יודע שאני
לא יודעת מה לעשות
Turkish:
♪Dışarıdan iyi gözükebilirim fakat ♪
♪ Sensiz ne yapacağımı bilmiyorum ♪
♪ Ayna karşısında duygularımın açığa çıkmasından korkuyorum ♪
♪ Çizdiğim dudaklar mavi ♪
♪ Yalnız kalmaktan memnunum ♪
♪ Böyle güzel bir günde işte bu haldeyim♪
♪ Her şey nasıl bu kadar karşı konulmaz olabiliyor? ♪
♪ Ne yapacağım bilmiyorum ♪
♪ Sensiz ne yapacağımı bilmiyorum ♪
♪ Ne yapacağım bilmiyorum ♪
♪ (Sensiz) ♪
♪ Bilirsin ♪
♪ Ne yapacağım bilmiyorum ♪
Romanian:
Poate că par că mă simt în apele mele, dar
Nu știu ce mă fac fără tine
Mă tem că o oglindă îmi va da în vileag sentimentele
Zâmbetul pe care l-am desenat este unul trist
Este mai bine să fii de una singură
Așa cred eu
într-o zi atât de frumoasă ca aceasta
Cum e posibil ca totul să fie așa copleșitor?
Nu știu ce să fac
Nu știu ce mă fac fără tine
Nu știu ce mă fac fără
Tine
Știi prea bine că eu
Nu știu ce aș putea face
Polish:
[Jennie] Może z pozoru wyglądam dobrze, ale
Nie wiem, co robić bez Ciebie
Boję się, że lustro może ujawnić moje uczucia
Moje usta, które rysuję są niebieskie
[Rose] Czuję się dobrze, będąc sama
Taka już jestem
W tak pięknym dniu jak ten
Jak wszystko może być tak przytłaczające?
[Jennie] Nie wiem, co robić
Nie wiem, co robić bez Ciebie
Nie wiem, co robić bez~
[Jisoo] Ciebie~
[Lisa] Dobrze wiesz, że
Nie wiem, co robić
Indonesian:
♪ Aku mungkin tampak baik-baik saja tapi ♪
♪ Tidak tahu harus berbuat apa tanpamu ♪
♪ Aku khawatir cermin mungkin mengungkapkan perasaanku ♪
♪ Bibir yang saya gambar berwarna biru ♪
♪ Lebih baik menyendiri saja ♪
♪ Itu hanya aku ♪
♪ Pada hari yang indah seperti ini ♪
♪ Bagaimana semuanya bisa begitu luar biasa ♪
♪ Tidak tahu harus berbuat apa ♪
♪ Aku tidak tahu harus berbuat apa tanpamu ♪
♪ Aku tidak tahu harus berbuat apa tanpa ♪
♪ Kamu ♪
♪ Kau tahu, aku ♪
♪ Tidak tahu harus berbuat apa ♪
Chinese:
♪我可能看起来如无其事，但♪
♪不知道怎么办没有你♪
♪我害怕镜子可能会揭示我的感受♪
♪我画的嘴唇是蓝色的♪
♪单身更舒服
♪因为那就是我♪
♪像这美好的一天一样♪
♪怎么办 为何所有事情如此复杂♪
♪我不知所措♪
♪没有你我该怎么办♪
♪我不知所措 因为没有
♪你♪
♪你知道我♪
♪不知道该怎么办的♪
Japanese:
（ジェニー）大丈夫そうに見えるけど
（ジェニー）君が居なきゃどうして良いか分からないの
（ジェニー）鏡に写っちゃうじゃないかって
（ジェニー）描いた私の唇はブルー
（ロゼ）一人が楽だよね
（ロゼ）私はまあまあだよ
（ロゼ）今日みたいな良い日に
（ロゼ）どうしてこんなに全てが手に負えないの
（ジェニー）どうしたらいいのか分からないの
（ジェニー）あなたが居なきゃ
（ジェニー）あなたが居なきゃ
（ジェニー）あなたが居なきゃ
（ジス）You〜
（リサ）分かっているんでしょ
（リサ）どうしたらいいのか分からんくて
Indonesian:
♪ Tidak tahu harus berbuat apa tanpamu ♪
♪ Tidak, jangan bilang padaku tidak apa-apa ♪
♪ Tidak tahu harus berbuat apa tanpamu ♪
♪ Aku ditinggalkan sendirian di tempat yang menyedihkan ini ♪
♪ Gambar kenanganmu yang berwarna biru ♪
Turkish:
♪ Sensiz ne yapacağımı bilmiyorum ♪
♪ Hayır bana sorun olmadığını söyleme ♪
♪ Sensiz ne yapacağımı bilmiyorum ♪
♪ Bu önemsiz yerde tamamen yalnız kaldım ♪
♪ Sana çizdiğim hatıralar mavi ♪
Korean:
♪ Don't know what to do without you ♪
♪ 아냐 괜찮다고 말하지만 ♪
♪ Don't know what to do without you ♪
♪ 하찮은 이곳에 홀로 남아 ♪
♪ 그려 본 네 기억은 blue ♪
French:
♪ Je ne sais pas quoi faire sans toi ♪
♪ Non ne me dit pas que tout va bien ♪
♪ Je ne sais pas quoi faire sans toi ♪
♪ Je suis ici toute seule dans cet endroit misérable ♪
♪ Les souvenirs que je dessine de toi sont bleus ♪
Portuguese:
♪ Não sei o que fazer sem você ♪
♪ Eu digo que estou bem ♪
♪ Não sei o que fazer sem você ♪
♪ Eu estou sozinha neste lugar miserável ♪
♪ Capturei memórias suas, elas são azuis. ♪
Spanish:
No sé que hacer sin ti
Digo que estoy bien pero
No sé que hacer sin ti
Me quedo sola en este miserable lugar
Dibujando tus recuerdos que son tristes.
Vietnamese:
Không thể làm gì khi anh không ở cạnh
Đừng nói với em rằng "sẽ ổn thôi"
Em phải làm gì khi vắng anh đây?
Cứ để em một mình tại chốn vắng lặng này
Ký ước về anh sẽ chỉ còn là nỗi buồn
Chinese:
♪没有你不知道怎么办才好♪
♪不要不告诉我没关系的♪
我没了你不知所措♪
♪我在这个悲伤的地方独自离开♪
♪画出你的蓝色回忆♪
Spanish:
No sé qué hacer sin ti
No, no me digas que está bien
No sé qué hacer sin ti.
Me quedo aquí sola, en este miserable lugar
Olvidando todos tus tristes recuerdos.
Hungarian:
Nem tudom mi tévő legyek nélküled.
Ne! Ne mond nekem azt, hogy minden rendben van.
Nem tudom mi tévő legyek nélküled.
Egyedül maradtam e hitvány helyen.
A mára már kékre festett emlékeiddel.
Russian:
Я не знаю что делать без тебя
Я говорю, что я в порядке, но
Не знаю, что мне делать без тебя
Я осталась одна, в этом обычном месте
И проносятся полные грусти воспоминания о тебе
Arabic:
لا أعرف ماذا أفعل بدونك
لا لا تقل لي لا بأس بذلك
لا أعرف ماذا أفعل بدونك
أنا أبقى هنا وحيدة في هذا المكان البائس
الذكريات التي رسمتها لك كئيبة
ترجمة من قناة selle jeon
Polish:
Nie wiem, co robić bez Ciebie
[Rose] Nie, nie mów mi, że wszystko w porządku
Nie wiem, co robić bez Ciebie
Zostałam sama w tym nędznym miejscu
Wyciągam swoje wspomnienia, które są niebieskie
English:
♪ Don't know what to do without you ♪
♪ No even though I say I'm okay ♪
♪ Don't know what to do without you ♪
♪ I’m left all alone in this miserable place ♪
♪ Drawing out your memories that are blue ♪
iw:
לא יודעת מה לעשות בלעדייך
לא אל תגיד לי שזה בסדר
לא יודעת מה לעשות בלעדייך
נשארתי לבד במקום האומלל הזה
נזכרת בזיכרונות העצובים שלך
Portuguese:
Não sei o que fazer sem você
Eu digo que estou bem, mas
Não sei o que fazer sem você
Fui deixada sozinha neste lugar insignificante
Eu imagino suas memórias, elas são azuis
(view em kill this love)
[@sehunnete]
Thai:
ไม่รู้จะทำอย่างไรหากไม่มีเธอ
ถึงฉันบอกตัวเองว่าไม่เป็นไร แต่..
ไม่รู้จะทำอย่างไรหากไม่มีเธอ
ฉันถูกทิ้งให้อยู่คนเดียวในที่ที่น่าสังเวชนี้
ถอยออกจากความทรงจำของเธอที่มันหม่นหมอง
Japanese:
（リサ）あなたが居なきゃどうしていいか分からないって
（ロゼ）違うの 大丈夫だって言っても
（ロゼ）あなたが居なきゃどうしていいか分からないって
（ロゼ）退屈なこの場所に一人で残って
（ロゼ）描いた君の記憶はブルー
Bulgarian:
Не знам какво да правя без теб
Не, недей да ми казваш, че всичко ще бъде наред
Не знам какво да правя без теб
Стоя сама тук, на това прекрасно място
Рисувайки нашите спомени, които са вече тъмносини
Romanian:
Nu știu ce mă fac fără tine
Nu, nu-mi spune că totul este în regulă
Nu știu ce mă fac fără tine
Am fost lăsată singură în acest loc groaznic
Prelungesc nostalgia amintirilor cu tine
Chinese:
Don't know what to do without you
沒有你不知道該如何是好
雖然嘴上說著沒事
Don't know what to do without you
可沒有你還是不知道該如何是好
我在這個悲慘的地方微不足道的留下
繪出你的藍色回憶
-日青言苒 -
- gravity_chin -
| {
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>> Tucker: MUCH OF THE MEDIA
>> Tucker: MUCH OF THE MEDIA
HAVE MOCKED THE EXISTENCE OF
UNIDENTIFIED FLYING OBJECTS AND
THE U.S. PENTAGON HAS BEEN
STUDYING THIS SUBJECT FOR QUITE
A LONG TIME.
APPARENTLY THEY WILL SOON
RELEASE SOME OF THEIR FINDINGS
WHICH WILL REMAIN CLASSIFIED.
ACCORDING TO A NEW REPORT IN THE
U.S."THE NEW YORK TIMES," THE U.
MAY HAVE VEHICLES THAT WERE "NOT
MADE ON THIS EARTH."
THEY HAVE ALSO RELEASED FOOTAGE
OF UFO SIGHTINGS INCLUDING A
2004 ENCOUNTER RECORDED FROM AN
ADVANCED NAVY FIGHTER JET.
COMMANDER DAVID FREIGHTER IS A
RETIRED NAVAL AVIATOR WHO WANTS
SOMETHING HE COULD NOT EXPLAIN
IN SCIENCE CAN’T EXPLAIN AND WE
ARE HONORED TO HAVE THEM ON
TONIGHT.
THANKS SO MUCH FOR COMING ON.
SO TELL US IF YOU THINK THIS IS
BEING MISINTERPRETED.
ACCORDING TO THE U.S. NEW
"NEW YORK TIMES," THE U.S. HAS
SOME EVIDENCE OF SOME SORT OF
EVIL NOT MEET ON THIS EARTH, IS
THAT WHAT IT SOUNDS LIKE?
>> IT SOUNDS LIKE THAT TO ME.
I NEVER WANT TO SPECULATE WHAT
THE GOVERNMENT TRULY HAS BUT I
WOULD SAY THERE IS STUFF OUT
THERE.
THE FOUR OF US THAT CHASED THE
TIC TAC IN 2004 HAVE ATTESTED
MULTIPLE TIMES THAT WHAT WE SAW
EXCEEDED ANYTHING THAT WE HAD IN
OUR INVENTORY AND WAS FAR
SUPERIOR TO THE AIRPLANES THAT
WE HAD AT THE TIME.
SO I WOULD SAY YES, THERE’S
SOMETHING OUT THERE AND
HOPEFULLY THE GOVERNMENT DOES
HAVE STUFF.
>> Tucker: IT’S WE SPOKE
BEFORE ABOUT THIS AND YOU
SUGGESTED THE OBJECT THAT YOU
SAW THAT YOU TASTE, THE TIC TAC,
BEHAVED IN WAYS THAT CHALLENGE
YOUR UNDERSTANDING OF
AERONAUTICS AND PHYSICS AND YOU
DIDN’T THINK IT WAS LIKELY THAT
THAT OBJECT BELONGS TO A FOREIGN
MILITARY.
DO YOU THINK THE U.S. GOVERNMENT
HAS CONCLUDED THAT THIS IS NOT
RUSSIA, CHINA OR SOME OF THE
COUNTRY?
>> I’M PRETTY SURE OF THAT.
JUST BY SOME OF THE PHONE CALLS
THAT WE HAVE GOTTEN, SOME OF THE
PEOPLE WE HAVE TALKED TO IN THE
GOVERNMENT, THEY ARE UNAWARE OF
WHAT THIS IS AND I THINK THAT
TIES DIRECTLY WITH THE
EAST COAST CITING, WITH THE
GIMBAL VIDEO, AND I WOULD BE
WILLING TO SAY, BECAUSE I’M IN
CONTACT WITH A LOT OF THESE
PEOPLE, THERE ARE MORE INCIDENTS
THAT ARE STARTING TO COME OUT
AND PEOPLE ARE STARTING TO
REPORT INSIDE OF THE GOVERNMENT
CHANNELS, THE THINGS THAT WE ARE
SEEING.
I THINK YOU’RE SEEING IT FROM
THE PAST BECAUSE IT ALWAYS HAD
THAT TABOO, YOU ARE NOT FINDING
PEOPLE FROM THE PAST IS THAT I
SAW THIS.
AND WHEN I DID I WAS TOLD NOT TO
SAY ANYTHING.
SO I THINK SINCE 2017 THE WORLD
IS STARTING TO CHANGE, BECAUSE
OF LACK OF PUBLICITY AND BECAUSE
OF THE ATTENTION IN THE SENATE
AND THE CONGRESS.
BECAUSE OF PEOPLE LIKE
MARCO RUBIO AND THE INTEL
COMMITTEE, AND THE GOVERNMENT
COMMITTEE, AND THE GOVERNMENT
DOES HAVE STUFF, AND THAT, AND
WHERE IS THAT ALL THAT.
JUST BY ODDS, SOMETHING WOULD BE
HERE.
>> SO THAT RAISES THE QUESTION
WHY THE SECRECY?
CLEARLY THE U.S. GOVERNMENT HAS
LIED FOR THE PUBLIC FOR MAYBE 73
YEARS, WHY DO YOU THINK?
>> THE OTHER ONE PRIMARILY WAS
SENT OUT TO PROVE THAT IT WASN’T
BOARD TO MAKE EXCUSES OF WHY IT
WASN’T.
IF SOMETHING LANDS IN YOUR FRONT
YARD IT THERE’S NO REASON TO
DENY IT EXISTED ORDER FOR THE
DENY IT EXISTED ORDER FOR THE
GOVERNMENT AND THEN WHY WOULD
YOU HIDE IT.
WHY WASN’T IT THOROUGHLY
INVESTIGATED AT THE TIME FOR
SOMETHING THAT LITERALLY COULD
PENETRATE, AND NOTHING WAS DONE
UNTIL ABOUT 2009.
>> Tucker: IT THERE’S A STORY
HERE THAT A LOT OF US CAN’T WAIT
TO SEE.
FINALLY, DO YOU FEEL VINDICATED?
>> I NEVER -- IF YOU COULD SAY
THAT BUT MOST OF THE FELLOW
AVIATORS THAT KNOW THE GROUP OF
US, WE WERE NEVER LIKE CHASTISE
OR, YOU GET RIPPED BUT IT WAS
NEVER LIKE YOU WERE CRAZY OR
NEVER LIKE YOU WERE CRAZY OR
ANYTHING LIKE THAT.
PEOPLE TAKE YOU SERIOUSLY BY
DEFINITION.
| {
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Hey guys welcome to WPBeginner and
thanks for watching.
In this video I want to show you how you
can add a front-end login page with
widgets in WordPress. When you first log
in WordPress will already dump them into their
profile page in the back like this and
if you're kind of new and you're just
logging into somebody's site. It doesn't make sense to you don't know what you're supposed to do
or where you're supposed to go. So by adding a login page setup that'll help with this. So to get
started I'm gonna log out of this subscriber user, login with my admin account, we're gonna add
a plugin called theme my login so from
the dashboard you wanna go to plugins
add new and we're looking for theme my
login, enter to search and we want to install
this plugin right here so I'll click Install
Now
and we also want to activate the plugin.
Now that it's activated we have this
little icon down here so we want to go
to that to set things up. Alright so we'll kind of go over some of these items in the
configuration area.
The stylesheet will use theme my login style
sheet and if you start to see any issues
with the look on your site then you'll
probably want to
disable that or uncheck it, that might be
causing some issues. The login type that
you can use is user name only, email
only, or a combination. Most people log
into their WordPress site with username
so you can leave it like that
and down here is where the the power of it is
and these are the modules that we'll use. Let's just go through we're going to enable all of these just to
show you what they are. Once I enable them
I'm going to save changes and then we'll go through them one by one.
Alright now we see that the settings have
been saved so now we see over here we
have all these items to look at so I'm gonna go to email.
Enabling custom email that will change
by default WordPress will send out certain
emails to subscribers and to admin and
when you enable that you can change what
gets sent out. Under redirection kind of the
power of the plugin because once a
user logs in, depending on what their their, if they are subscriber or an editor or, an
admin you can change where it goes. So
for login you can set it either as
default and when somebody logs in it
takes and if their subscribers will take
them to the profile or this is where you
can change it. You can make sure that it
goes to the referrer so basically whatever
page they were at before when they click
Login it will take them back to that. You
can also enable a particular page say if
you have editors then you can change
that to redirect them to a new posts so as
soon as they log, as soon as they log in
they'll be redirected to a new post where
they can start writing out their new
post for you
Same thing with the log out if they want
to log out then they either just logs them out
and then it shows them the logout screen or
it can log them out and then take them
to the referrer space where you can have
them log out and take them to, redirect them
to a particular page on your site.
That's for the administrator if you notice
all of these are for administrator you
can change if for editor like I said you
could probably send them to the new post
area.
Same thing with an author and you can change
it for contributor or subscriber. Usually
those would be good for reefer depending
on where they were and then they login
you can take him back to that section.
Under User links these are the links
that you can redirect them to, the custom user links that you want to use so these
are the ones that this is where you set
them up you can add new links over here if
you want. ReCAPTCHA that's to add an
extra set of security when somebody is
logging in so spambots can't just go
through and register for your site
without first going through that. To get
that activated you'll wanna go out and
get the reCAPTCHA API and secret key
and add that there and then that will be
added to the registration page. Under
security you can choose to make this a
private site that a user needs to login
before they can see anything. You can
disable the login area altogether or you
can do
login attempts and remove the ability to
do multiple unlimited log-in attempts
that's under security. Themed profiles, you can choose who to set
this theme my login for. Finally under
moderation you can choose when somebody
registers how to deal with it you can
either do no moderation and just let multiple
people log in, you can choose to do
email confirmation where it will send an
automatic email to someone and they must
click on that before they can get login
approval, or you can do it completely manual
and and have admin approval on it. So
just to show you what it will look like
I'm gonna go back to redirection and I'm
going to change from the scroll down to
subscriber
and I want to change the login to refer meaning if a scriber logs in then It'll take them back
to the last page that they were at. The next
thing we want to do is we can go into
the widgets area and add a log in
section to the sidebar
so go to Appearance, Widgets and I want to pick the Theme My Login
I'm gonna grab it left click and I wanna put
that in my sidebar area and these are
all the items that you can show for it.
The default action will be log in, you
can also do the action to be register
if you're looking to register a lot of
people on your site then that would be
the default. Since I have a user for this and
I just want to show you what it will
look like I'm gonna put login as the default action and click Save. I'm gonna log out here.
Now when I go
to the front of my site if I wanna
log in with the subscriber user that I
have, when I click Login instead of going
to the profile page like it did before
you see it will log me in
and welcome me here and I can also see
that I'm logged in here but I'm still in the
front end of the website where I can
just continue to do what I was about to
do and that's how you add a front-end
login page to your website.
If you like this video click on the like button
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Italian:
Nello Stretto di Taiwan e' ancora tensione
tra le flotta americana e cinese,
per la seconda settimana consecutiva.
Il portavoce del Pentagono non ha voluto
rilasciare ulteriori commenti,
se non per ribadire che non e' possibile,
al momento, escludere alcuna opzione.
Ed ora passiamo a tensioni
di un altro tipo.
Stamattina, l'astronave cinese Xian-Do
e' entrata in orbita
attorno all'asteroide BX-159,
dove si e' unita alla missione
americana del Prospect-1.
- Prospect-1.
- Il Prospect-1...
e' entrato ufficialmente nella Storia
la settimana scorsa,
come primo veicolo spaziale con equipaggio
a raggiungere l'asteroide.
Si pensa che BX-159,
ormai noto come "La Bestia",
sia per l'industria mineraria un
vero e proprio tesoro in metalli.
Sebbene la Cina abbia rivendicato diritti
sull'asteroide, violando i trattati ONU,
nessuna delle due parti ha ancora
osato tentare un atterraggio.
English:
The stand-off between American and Chinese
battle groups in the Taiwan Strait
now enters its second week.
Sources in the Pentagon refuse
to comment on the situation
except to say that "all options remain on
the table and nothing has been ruled out".
And now, a stand-off
of a different kind.
This morning the Chinese
Xian-Do spacecraft
entered orbit of the BX-159 asteroid,
where it joined the American-led
Prospect-1 mission.
- Prospect-1
- Prospect-1
entered the history books last week
when it became the first manned
craft to reach the asteroid.
BX-159, dubbed "The Beast",
is expected to contain a treasure trove
of precious metals for mining.
Though China has staked a claim to the
asteroid in defiance of UN treaties,
neither side has yet dared
to attempt a landing.
French:
Le conflit sino-américain
dans le détroit de Taïwan
entame sa deuxième semaine.
Des sources au Pentagone
refusent de commenter la situation,
sauf pour dire que
"toute les options sont envisagées."
Dans le reste de l'actualité :
Ce matin, la navette chinoise
Xian-Do
est entrée dans l'orbite
de l'astéroïde BX-159
où elle a rejoint
la mission américaine Prospect-1.
- Prospect-1
- Prospect-1
est entré dans l'histoire
la semaine dernière
comme étant le premier vol habité
à atteindre un astéroïde.
BX-159, surnommé "La Bête",
contiendrait un trésor
de métaux précieux à exploiter.
Bien que la Chine l'ait revendiqué
en dépit des accords de l'ONU,
aucune mission n'a encore tenté
d'atterrir sur l'astéroïde.
Spanish:
El enfrentamiento entre tropas Americanas y Chinas en el estrecho de Taiwan
entra ahora en su segunda semana.
Fuentes del Pentágono
se niegan a hablar
más que para decir que "todas las
opciones continúan abiertas y nada está fuera de la mesa".
Y ahora, un
enfrentamiento de otro tipo.
Esta mañana la nave espacial
China "Xian-Do"
ha entrado en órbita alrededor del
asteroide BX-159,
donde se ha unido a la
misión Americana "Prospect-1".
- Prospect-1
- El Prospect-1
entró en los libros de historia la semana pasada
al convertirse en la primera
nave tripulada en llegar al asteroide.
Se espera que
el BX-159, apodado "La Bestia",
sea un tesoro en metales preciosos para su minería.
A pesar de que China ha reclamado
el asteroide para sí, en claro desafío
a los tratados de Naciones Unidas,
ninguna de las partes se ha atrevido
por el momento a intentar el aterrizaje.
French:
Le gouvernement affirme
qu'ils suivent la procédure normale,
Mais Peter Lacey...
- Mais Peter Lacey...
- Peter Lacey...
Directeur des Opérations
pour Prospect-1,
a fait cette déclaration hier :
On est allé trop loin
pour être arrêté par la politique,
mais c'est exactement
ce qui se passe.
Les vies de deux équipages
sont en jeu.
Si nos soi-disant dirigeants
se sortaient la tête du cul
rien qu'une seconde, on pourra
peut-être faire notre boulot.
Mais je ne me ferais pas d'illusion,
surtout avec ce président.
- Ca fait huit fois qu'il repasse.
- Au moins.
Je n'arrive pas à croire
que tu ais dit ça.
Peut-être qu'à la neuvième fois
tu y croiras.
Sur une chaîne nationale !
Ils doivent la diffuser
dans le monde entier.
Tu as dit que
le Président des Etats-Unis
- avait la tête dans le cul.
- J'ai dit que beaucoup de gens
avaient la tête dans le cul.
Tu peux éteindre ?
Tu aurais pu trouver,
je ne sais pas...
une formulation plus diplomatique ?
Parce que l'approche diplomatique
nous a été très utile jusqu'ici.
- C'est juste.
- Merci.
Spanish:
Sus responsables dicen estar
siguiendo los procedimientos estándar,
pero Peter Lacey...
- Ma Peter Lacey...
- Peter Lacey...
Director de Operaciones de la misión
del Prospect-1,
dijo lo siguiente cuando
hablamos con él ayer.
Hemos llegado muy lejos para que
nos pare la política y sin embargo es
exactamente lo que está pasando.
Las vidas de dos tripulaciones
están en juego ahí arriba.
Si aquellos que se llaman a sí mismos líderes
mundiales dejaran de hacer el imbécil
durante un sólo segundo, quizás
podríamos seguir con nuestro trabajo.
Pero yo esperaría sentado,
especialmente con este presidente.
- Es la octava vez que lo ponen.
- Como poco.
No puedo creer que dijeras eso.
Quizás a la novena
vaya la vencida, pues.
En la televisión nacional.
Lo están poniendo en todo el mundo,
estoy seguro.
Dijiste que el presidente
de los Estados Unidos...
- es imbécil.
- Dije que mucha gente
es imbécil.
¿Puedes quitarlo?
¿Y no crees que podría haber, no sé...
una manera más diplomática de
decirlo?
Si porque la diplomacia nos
ha servido hasta ahora.
- Cierto.
- Gracias.
English:
Officials say they are proceeding
according to normal procedures,
Pero Peter Lacey...
- Ma Peter Lacey...
- Peter Lacey...
head of mission operations
for Prospect-1,
had this to say when we
spoke to him yesterday.
We've come too far to be stopped by politics
but that's exactly what's happening.
The lives of two crews hang
in the balance up there.
If the so-called leaders of our planet
would take their heads out of their asses
for even a second we might be
able to get on with our jobs.
But I wouldn't hold your breath on that one,
especially with this president.
- That's the eighth time they've played it.
- At least.
I can't believe you said that.
Maybe the ninth time'll
be the charm, then.
On national television.
They're playing it all
over the world, I'm sure.
You said the president
of the United States...
- has his head up his ass.
- I said a lot of people
have their heads up their ass.
Would you turn that off?
You don't think there could
have been, I dunno...
a more diplomatic way of putting it?
'Cause the diplomatic approach has
been working great for us so far.
- Fair point.
- Thank you.
Italian:
Fonti ufficiali affermano trattarsi
di procedura standard...
Pero' Peter Lacey...
- Ma Peter Lacey...
- Peter Lacey...
responsabile operativo
della missione Prospect-1,
ci ha rilasciato delle interessanti
dichiarazioni proprio ieri.
Non siamo arrivati fin qui per farci fermare
dalla politica, eppure sta succedendo.
Lassu' e' a rischio la sicurezza
di due equipaggi.
Se i nostri cosiddetti leader mondiali
la smettessero di farsi le pugnette,
almeno per un po', magari potremmo
portare a termine il nostro lavoro.
Io pero' non ci conterei troppo,
non con un Presidente come il nostro.
Sara' l'ottava volta che
lo fanno vedere.
Minimo.
Non posso credere
che tu l'abbia detto.
Forse alla nona volta
che lo vedi ci crederai.
Su un canale nazionale.
Scommetto che l'avranno visto
in tutto il mondo, ormai.
Tu, che dici che il Presidente
degli Stati Uniti...
- si fa le pugnette.
- Ho detto che un sacco di gente...
si fa le pugnette.
Vuoi spegnere quell'affare?
Non pensi che poteva esserci
un modo, come dire...
piu' diplomatico di esprimere
il concetto?
Perche' finora la diplomazia
ci e' stata molto d'aiuto.
- Giusta osservazione.
- Grazie.
Spanish:
No. Sigues siendo un payaso.
Por necesidad.
¿A dónde vas?
No son ni las cuatro aún.
Tengo una teleconferencia con
Hollander y alguien del Gobierno.
¿Sobre la entrevista?
Estoy seguro de que saldrá
el tema.
Si puedo hacerles actuar
a base de avergonzarlos, lo haré.
Ya, bueno.
No vaya a ser que te
avergüenzen despidiéndote.
Me necesitan. No pueden prescindir de mí
a estas alturas.
- Eso dices tú.
- Eso digo yo.
Puedes quedarte si quieres.
No puedo.
Ya...
- De verdad que no puedo.
- Lo sé.
Tengo el turno de 10.
No, cógete el día libre.
No me trates diferente. Eso no...
No lo estoy haciendo.
Quiero a todos los primeros espadas en el turno de tarde.
¿De qué va la reunión?
No lo sé.
Cógete el día libre.
- Vale.
- Bien.
Italian:
Non ringraziarmi,
sei comunque uno stronzo.
Solo per necessita'.
Dove vai? Non sono neanche le quattro.
Ho una conference call con Hollander
e dei rappresentanti del Governo.
Per quell'intervista?
Sono sicuro che, prima o poi,
saltera' fuori nel discorso.
Se mettendoli in imbarazzo posso convincere
quegli idioti a far qualcosa, lo faro'.
Gia', beh...
magari senza farti licenziare.
A questo punto hanno
troppo bisogno di me, ormai.
Lo dici tu.
Appunto.
Puoi rimanere, se vuoi.
Non posso.
Certo...
Sul serio, non posso.
Lo so.
Sono di turno alle 10.
No, prenditi la giornata libera.
Non voglio privilegi.
Non e' questo che...
Non e' per quello. Voglio
tutti i primari al turno serale.
Argomento della riunione?
Non lo so.
Tu prenditi la giornata libera.
- Ok...
- Ok.
English:
Don't. You're still an asshole.
By necessity.
Where are you going?
It's not even 4:00 yet.
I've got a conference call with
Hollander and some government people.
About the interview?
I'm sure it'll work its
way into the conversation.
If I can embarrass these fools
into doing something, I will.
Yeah well.
Just don't embarrass
yourself out of a job.
They need me. We're too far along.
- Says you.
- Says me.
You can stay if you want.
I can't.
Yeah...
- I really can't.
- I know.
I'm on shift at 10.
No, take the day.
Don't treat me special. That's not...
I'm not. I want all the
primaries on the evening shift.
What's this meeting about?
I don't know.
Just take the day.
- Okay.
- Okay.
French:
N'empêche que tu restes un con.
Par nécessité.
Où tu vas ?
Il n'est pas encore 4h00.
J'ai une téléconférence avec
Hollander et d'autres politiciens.
A propos de l'interview ?
Ca viendra forcément
dans la conversation.
Si les humilier les fait réagir,
alors j'aurai gagné.
Ne t’humilie pas
au point d'être viré.
Ils ont besoin de moi.
On est allé trop loin.
- C'est ce que tu dis.
- C'est ce que je dis.
Tu peux rester, si tu veux.
Je ne peux pas.
Oui...
- Je ne peux vraiment pas.
- Je sais.
Je suis de garde à 10h.
Pose ta journée.
Ne me fais pas
de traitement de faveur...
Non, je veux tous les primaires
dans la garde du soir.
C'est pour quoi, cette réunion ?
Je ne sais pas.
Pose ta journée.
French:
Je ne voulais pas
que ça se passe comme ça.
L'atterrissage ?
A ce soir.
Oui.
Tu arrives ou tu pars ?
- Je pars.
- T'es de garde ce soir ?
Je veux que tu gères le GNC ce soir.
Tu gâches ton talent au SSR.
Merci, monsieur.
Et avant de partir ce matin,
dit à tes hommes de vérifier
la manoeuvre de sortie d'orbite.
C'est l'ordre du jour : diagnostics
de tous les composants.
- Bien. Ca veut dire..?
- Ca ne veut rien dire.
C'est une vérification.
J'ai un truc désagréable à faire.
A plus tard.
Stephen.
- Peter.
- Bonjour.
Italian:
Non e' cosi' che volevo che andasse.
L'atterraggio?
Ci vediamo stasera.
Certo.
- Arrivi o vai via?
- Vado via.
- Sei di turno stasera?
- No.
Ti voglio al G-N-C nel moh-ker stasera.
Sei sprecato all'SSR.
Grazie, signore.
Fammi un favore,
stamattina prima di andartene
di' ai tuoi ragazzi di eseguire la checklist
per la manovra di abbandono orbita.
Ordine del giorno. Voglio dei
diagnostici su ogni componente.
- Sissignore. Il che significa...
- Il che non significa niente,
solo di eseguire la checklist.
Ora ho una spiacevole faccenda
da sbrigare. A dopo.
Stephen.
- Peter.
- Buongiorno.
Spanish:
No quería que esto pasara así.
¿El aterrizaje?
Te veo esta noche.
Sí.
¿Vas o vienes?
- Voy.
- ¿Te toca esta noche?
Te quiero supervisando GNC en la Sala de Control esta noche.
Te estoy desperdiciando en el SSR.
Gracias señor.
Y hazme un favor y antes
de irte esta mañana
haz que tus chicos
repasen la maniobra de descenso.
Ése es el orden del día.
Quiero comprobaciones de cada componente.
- Sí señor. ¿Significa esto que...?
- No significa nada
excepto que lo compruebes todo.
Ahora tengo que hacer algo desagradable,
luego nos vemos.
Stephen.
- Peter.
- Buenos días.
English:
This isn't how I wanted this to happen.
The landing?
I'll see you tonight.
Yeah.
- Coming or going?
- Going.
- Are you on tonight?
- No.
I want you running G-N-C in moh-ker
tonight. I'm wasting you in the SSR.
Thank you sir.
And do me a favor before
you go this morning
have your guys run through the
checklist for the deorbit maneuver.
That's the order of the day.
I want diagnostics on every component.
- Yes sir. Does this mean...?
- It doesn't mean anything
except run the checklist.
I have this unpleasant thing
to do now, I'll see you later.
Stephen.
- Peter.
- Good morning.
Italian:
E' ancora notte.
Allora da' un'occhiata fuori.
Aspetta, c'era una cosa che
volevo chiederti... Cos'era?
Ah, si'.
Sei per caso un idiota?
- Oh, la cosa del "Morning Show"...
- Un idiota totale, per giunta?
- Hai detto che il Presidente si fa...
- Non e' quel che ho detto.
Non importa. E' quello
che la gente ha capito.
- Non e' un problema mio.
- Se e' mio, e' anche tuo.
Non hai idea delle pressioni
che mi fanno.
E' gia' difficile mandare avanti
quest'operazione senza te che straparli.
E non provare a difenderti,
non mi interessa.
- Ok.
- Quanto alle persone la' dentro...
starai a sentire qualsiasi stronzata
abbiano da dirti e te la farai piacere.
Non c'e' problema. Ho fatto
molta pratica con te.
- Basta che ci siamo capiti.
- Quindi?
- Ci daranno l'ok a procedere?
- Lo sapremo tra 5 minuti.
E se ce la faremo,
non sara' per merito tuo.
No, perche' non possiamo starcene
ad aspettare lassu' piu' di tanto,
se non vogliamo perdere la finestra.
Lo so, ma questa cosa di Taiwan
ha incasinato tutto.
Non dovrebbe aver niente
a che fare con noi.
- E invece si'.
- Non mi va di farmi usare...
come merce di scambio.
- Allora siamo in due.
- C'e' altro, prima che entriamo?
Direi proprio di si'.
- Carrie Deveraux.
- Che c'entra lei?
So che e' uscita
da casa tua, stamattina.
Spanish:
Todavía es de noche.
Quizás quieras mirar por la ventana.
Hay algo que quería preguntarte.
¿Qué era?
Ah, sí.
¿Eres idiota?
- Ah, el programa...
- Quiero decir: ¿eres tonto de baba?
- Dijiste que el presidente era...
- Eso no es lo que dije.
Me da igual. Es lo que la gente ha entendido.
- No es problema mío.
- Si es mi problema es tu problema.
No te imaginas la presión que tengo que aguantar.
Ya es duro mantener la operación sin
que vayas abriendo la bocaza por ahí.
Y no intentes poner una excusa
porque me da igual.
- Vale.
- ¿Y los de ahí dentro?
Te vas a tragar la mierda que te echen
y te va a gustar.
No hay problema.
Me has hecho practicar de sobra.
- Mientras nos entendamos.
- ¿Entonces?
- ¿Tenemos luz verde?
- Lo sabremos en cinco minutos.
Y si la tenemos no
será gracias a tí.
No podemos estar mucho más
allí arriba
antes de perder la oportunidad
de aterrizar.
Lo sé, pero lo de Taiwan
lo está fastidiando todo.
No debería tener nada que
ver con nosotros.
- Pero lo tiene.
- No me gusta que me
utilicen para negociar.
- Ya somos dos.
- ¿Algo más antes de entrar?
De hecho, sí.
- Carrie Deveraux.
- ¿Qué pasa con ella?
Sé que ha salido de tu casa esta mañana.
English:
It's still night.
Might want to poke your head outside.
There was something I wanted
to ask you. What was it?
Oh yeah. Are you an idiot?
- Oh, The Morning Show...
- I mean are you a giant idiot?
- You said the president had his...
- That's not what I said.
I don't care. That's what people heard.
- That's not my problem.
- If it's my problem it's your problem.
You have no idea the pressure I'm under.
It's hard enough keeping this whole operation
together without you shooting your mouth off.
And don't try to defend
yourself because I don't care.
- Okay.
- And those guys in there?
You're gonna eat whatever crap they
give you and you're gonna like it.
No problem. You've given
me plenty of practice.
- As long as we understand each other.
- So?
- Are we getting the go-ahead?
- We'll know in about 5 minutes.
And if we do it's gonna
be no thanks to you.
You know cause there's only so long
we can just wait around up there
before we miss the window.
I know, but this whole Taiwan
thing is screwing everything up.
It shouldn't have anything
to do with our guys.
- But it does.
- I don't like being used
as a bargaining chip.
- That makes two of us.
- Anything else before we go in there?
It's perfect, yes.
- Carrie Deveraux.
- What about her?
I know she left your house this morning.
French:
Il fait encore nuit.
Vas jeter un oeil dehors.
Je voulais te poser une question.
Ah, oui !
T'es con ou quoi ?
- Tu as regardé la télé.
- Un abruti complet !
- Tu as dit que le président...
- Ce n'est pas ce que j'ai dit !
C'est ce que les gens ont entendu !
- Ce n'est pas mon problème.
- C'est le mien. Et le tien !
Tu n'imagines pas
la pression que je subis !
C'est assez dur, pas besoin que
tu en rajoutes.
N'essaie pas de te défendre,
je m'en fiche.
Les gens qu'on va voir
vont te balancer des saloperies
et tu vas les en remercier.
Tu m'as très bien appris
comment faire.
On se comprend.
- On va avoir le feu vert ?
- On le saura dans 5 minutes.
Mais ce ne sera pas grâce à toi.
On ne peut pas attendre
éternellement là-haut,
on va manquer la fenêtre.
Mais le conflit à Taïwan
fout tout en l'air.
Ca ne devrait pas
concerner nos hommes.
- Et pourtant...
- Je n'aime pas
servir de monnaie d'échange.
- On est deux.
- Autre chose avant d'y aller ?
La cerise sur le gâteau.
- Carrie Deveraux.
- Hé bien ?
Elle est sortie de chez toi ce matin.
Spanish:
Vale, ¿así que ahora me espías?
- Sé serio.
- Estoy siendo serio.
- Tiene que acabar.
- ¿Acabar?
- ¿Qué?
- ¡Suficiente!
No puedo tener a mi Director de Operaciones
en una aventura con la Segunda Cirujana Espacial.
No estamos rompiendo ninguna regla.
No seas crío.
Sabes que esto es diferente.
¿Por qué?
Sabes exactamente por qué.
No discutas conmigo.
¿Por lo que parece?
Porque es un conflicto de intereses.
Es un conflicto de intereses
y pese a todas las pruebas en contrario
sé que eres lo suficientemente inteligente
para darte cuenta.
Y por lo que parece.
Es...
es la mujer del Comandante
de la Misión por Dios Santo. Acábalo.
¿Entendido?
¿Entendido?
Entendido.
Vayamos a ver qué demonios
pasa con nuestra misión.
Quizás deberías refrescarte algo la cara.
Tienes una pinta horrible.
- Gracias.
- De nada.
Señores.
Italian:
Ok, quindi ora mi fai
anche controllare?
- Oh, sii serio.
- Lo sono.
- La cosa deve finire.
- Finire?
- Cosa?
- Basta cosi'!
Non posso permettere una tresca tra il mio
controllore di volo e il chirurgo di bordo.
Non abbiamo infranto alcuna regola.
Non fare il finto tonto.
Sai bene che qui e' diverso.
Perche'.
Lo sai benissimo. Non metterti
a discutere con me.
E' per le apparenze?
Perche' e' un conflitto d'interessi.
E' un conflitto di interessi, e nonostante
tutto sembri far supporre il contrario,
so che sei abbastanza furbo da capirlo.
Ed e' anche per le apparenze.
Quella donna...
e' la moglie del comandante della missione,
santo cielo! Dacci un taglio e basta, ok?
Ok?
Ok.
Ora vediamo che ne sara'
della nostra missione.
Forse e' meglio se ti dai una rinfrescata.
Hai un aspetto terribile.
- Grazie.
- Di nulla.
Signori...
English:
Okay, so, are you having me watched now?
- Oh, be serious.
- I am being serious.
- It has to stop.
- Stop?
- What?
- Enough!
I can't have my flight director carrying on
an affair with my senior flight surgeon.
We're not breaking any rules.
Don't be a child.
You know this is different.
Why?
You know exactly why.
Don't argue with me on this.
Because of how it looks?
Because it's a conflict of interest.
It's a conflict of interest and
despite all evidence to the contrary
I know you're smart enough to know that.
And because how it looks.
She's...
she's the wife of the mission
commander for crissakes. End it. Okay?
Okay?
Okay?
Let's go see what the hell is
going on with our mission.
You might want to splash some water
on your face. You look terrible.
- Thanks.
- No problem.
Gentlemen.
French:
Tu me surveilles, maintenant ?
- Sois sérieux.
- Je suis sérieux.
- Ca doit cesser.
- Cesser ?
- Quoi ?
- Ca suffit !
Mon directeur de mission ne peut pas
coucher avec la chirurgienne en chef.
On n'a rien fait d'illégal.
Fais pas l'innocent.
Tu sais que c'est différent.
Pourquoi ?
Tu sais pourquoi.
Ne discute pas !
A cause des apparences ?
Parce que c'est un conflit d'intérêt.
Et malgré tes actes
qui prouvent le contraire,
je sais que tu as assez de jugeote
pour le savoir.
Et à cause des apparences.
C'est...
C'est la femme du Commandant, putain !
Arrête ça, c'est clair ?
C'est clair ?
Bien.
Allons voir
ce que deviens notre mission.
Tu devrais te passer de l'eau
sur le visage. T'as une sale tête.
- Merci.
- De rien.
Messieurs,
Italian:
Il Presidente vorrebbe sapere quando
saremo pronti a tentare l'atterraggio.
Signora presidente,
ho gia' dato istruzioni alla mia squadra
di verificare le checklist
e le procedure pre-manovra.
Possiamo dare via
all'atterraggio entro 6 ore.
Bene.
Voglio che proceda entro
questa tempistica.
Certamente.
Grazie.
Signora, se posso chiedere,
perche' quest'improvvisa decisione?
Siamo pronti a fare la
nostra mossa a Taiwan.
E vogliamo gli occhi del mondo puntati
su Prospect, quando la faremo.
Capisco.
Detto fuori dai denti...
Signora presidente, mi chiedo
quali rischi, se esistono,
pensa che potrebbero esserci per i nostri
astronauti, in termini di risposta cinese.
Potrebbero vedere Prospect come
un'opportunita' di rappresaglia.
Questo e' cio' di cui volevo parlarvi.
Le seguenti informazioni non
dovranno uscire da questa stanza.
Abbiamo avuto conferma,
da qualche tempo,
alle segnalazioni di armamenti
sull'astronave cinese.
Vogliamo che siate preparati con
le appropriate contromisure.
Non capisco. Quali...
French:
le Président veut savoir quand
on pourra tenter un atterrissage.
Madame la Directrice,
J'ai déjà demandé à mon équipe
de vérifier les procédures.
On peut faire une tentative
dans 6 heures.
Parfait.
Procédez plus vite que ça.
Absolument.
Merci.
Si je peux me permettre,
pourquoi cette décision subite ?
Nous sommes prêts à agir à Taïwan.
Le monde doit avoir les yeux
rivés sur Prospect quand on agira.
Je vois.
Pour être honnête...
Madame la Directrice,
y a-t-il un risque
pour nos astronautes
en cas de contre-attaque chinoise ?
Ils pourraient utiliser Prospect
pour répliquer.
Je voulais vous en parler.
Ce que je vais vous dire
ne dois pas sortir de cette pièce.
Nous avons eu confirmation
de la présence d'armes
sur la navette chinoises.
Vous devez être prêts
à une contre-offensive.
Je ne comprends pas...
English:
The president would like to know when we
can be ready to make a landing attempt.
Madam Chairman,
I've already instructed my team to go through
the pre-maneuver checklists and procedures.
We can have a go for landing in 6 hours.
Good.
I want you to proceed
under that timetable.
Absolutely.
Thank you.
Madam, if I may ask,
why the sudden decision?
We're ready to make a move in Taiwan.
We want the world's eyes
on Prospect when we do.
I see.
If I may be blunt...
Madam Chairman I'm wondering
what risk, if any,
you think this might pose to our astronauts
in the form of a Chinese response.
They may see Prospect as an
opportunity to retaliate.
That's what I wanted to discuss.
The following information is not to be
repeated to anyone outside this room.
We've had confirmation for some time
on the reports of armaments
on the Chinese spacecraft.
We want you to be prepared with
the appropriate countermeasures.
I don't understand. What...
Spanish:
El Presidente querría saber
cuándo estaremos listos para intentar el aterrizaje.
Señora Consejera,
Ya he ordenado a mi equipo que
compruebe todos los procedimientos.
Estaremos listos en unas seis horas.
Bien.
Siga con ese horario.
Por supuesto.
Gracias.
Señora, si me permite,
¿por qué ahora?
Estamos listos para actuar en Taiwan.
Queremos a todo el mundo
con los ojos en el Prospect cuando lo hagamos.
Entiendo.
Honestamente...
Señora Consejera, me pregunto
qué peligros, de haberlos,
constituye esto para nuestros
astronautas dada una respuesta China.
Podrían ver al Prospect como
una oportunidad para contraatacar.
Eso es de lo que quería hablar.
Lo que voy a decirles no
debe salir de esta habitación.
Hemos tenido confirmación desde hace
algún tiempo
de la presencia de armamento en la
nave China.
Queremos que esté preparado
con las contramedidas apropiadas.
No entiendo. ¿Qué...
Italian:
contromisure?
Generale?
Grazie, signora.
Al modulo di servizio del mark 7
sono stati aggiunti due
laser tattici ad alta energia,
o THELs, usando l'acronimo inglese.
Hanno un sistema di
puntamento di precisione...
e il loro utilizzo dovrebbe
rappresentare un rischio minimo
per il nostro equipaggio.
Lo specialista di carico Alcala
e' l'unico a bordo con la conoscenza e
l'addestramento
necessario a utilizzarli.
L'ordine di farlo verra' dato solo in caso
di risposta ad un'azione provocatoria.
Scusate, state dicendo che Prospect
e' dotato di cannoni laser?
Questa non e'...
una terminologia completamente errata.
Armi.
Ci sono armi su Prospect.
Armi per uccidere. Ho capito bene?
Ne riparliamo piu' tardi.
- Tu lo sapevi?
- Peter!
I nostri...
servizi segreti...
dicono che gli armamenti
cinesi sono composti
da un singolo cannone Norinco Type-23...
French:
Quelle contre-offensive ?
Général ?
Merci, Madame.
Le module de service Mark-7
a été équipé de deux
Tirailleurs à Haute Energie Laser.
abréviés en THEL.
Ce sont des armes de précision,
et leur utilisation ne devrait
poser que des risques limités
à notre équipage.
Le spécialiste des explosifs, Alcala,
est le seul à bord
au courant de leur existence
et entraîné à leur utilisation.
L'ordre de s'en servir ne sera donné
qu'en réponse à une attaque.
Vous venez de dire que
Prospect est armé de lasers ?
Ce n'est pas
une formulation dénuée de sens.
Des armes.
Il y a des armes sur Prospect.
Des armes pour tuer.
J'ai bien compris ?
On en parlera plus tard.
- Tu étais au courant ?
- Peter !
Nos...
renseignements...
indiquent que
l'armement chinois consiste
en un seul canon Norinco Type-23.
English:
countermeasures?
General?
Thank you, madam.
The mark seven service module
was retrofitted with two
Tactical High Energy Lasers,
or THELs, as they're called.
They are precision targeted...
and their operation
should pose minimal risk
to our crew.
Payload specialist Alcala
is the only one on
board with knowledge of
and training to operate them.
The order to do so will only be given
in response to provocative action.
I'm sorry, did you just say that
Prospect is armed with laser guns?
That would not be...
entirely inaccurate terminology.
Weapons.
There are weapons on Prospect.
Weapons for killing things.
Am I understanding that correctly?
We'll have words later.
- You knew about this?
- Peter!
Our...
intelligence...
indicates that the
Chinese armaments consist
of a single Norinco Type-23 cannon...
Spanish:
contramedidas?
¿General?
Gracias, señora.
El módulo de servicio Mark-7 ha sido
equipado con dos
Láseres Tácticos de Alta Energía
o THELs, como les llamamos.
Son armas de precisión...
y su operación
debería resultar del menor riesgo
para la tripulación.
La Especialista de Carga Alcalá
es la única a bordo
con el conocimiento
y entrenamiento necesarios
para operarlos.
La orden para hacerlo deberá ser dada
únicamente en respuesta a una provocación.
Lo siento, ¿acaba usted de decir
que el Prospect está armado con armas láser?
Esa no sería...
la terminología adecuada.
Armas.
Hay armas en el Prospect.
Armas para matar.
¿Lo he entendido correctamente?
Hablaremos más tarde.
- ¿Sabías esto?
- ¡Peter!
Nuestra...
Inteligencia...
indica que
el armamento Chino consiste
de un sólo cañón Norinco Type-23...
English:
Because of the configuration
of their spacecraft...
we believe they will have
first to undock their lander
from the command module
in preparation to fire.
When that happens...
it could indicate they're
preparing to take hostile action.
Or that they're going to
attempt a landing same as us.
We'll have to make that
determination when the time comes.
Mr. Lacey...
I need to know if you are going to
be able to carry out this mission.
Yes ma'am.
You can count on me to do my job...
to the best of my ability.
Good. Continue with your preparations.
The final go order will come
through General Dillahunt.
Oh...
the president had a message they
asked me to pass along to you.
He'd like to thank you for
providing an entertaining sideshow
while he does everything he
can to prevent World War III.
He also says...
he hopes you enjoy the view.
Italian:
A causa della configurazione
della loro astronave...
crediamo che debbano prima
sganciare il modulo d'atterraggio
dal modulo di comando,
per prepararsi a fare fuoco.
Quando cio' avverra'...
potrebbe indicare che si stanno preparando
ad intraprendere un'azione ostile.
O che stanno per tentare
un atterraggio, come noi.
Questo dovremo stabilirlo
al momento opportuno.
Signor Lacey...
ho bisogno di sapere se e' in grado di
portare a termine questa missione.
Si', signora.
Puo' essere certa che
faro' il mio lavoro...
al meglio delle mie possibilita'.
Bene. Continuate con i preparativi.
L'ordine finale di via libera
arrivera' dal generale Dillahunt.
Oh...
il Presidente mi ha chiesto
di riferirle un messaggio.
Vorrebbe ringraziarvi per aver offerto
un divertente numero di intrattenimento
mentre sta facendo tutto il possibile
per prevenire la terza guerra mondiale.
Dice anche...
che spera si goda la visione.
French:
Du fait de la configuration
de leur navette,
nous pensons qu'ils devront
ouvrir leurs trains d'atterrissage
depuis le poste de commandement,
pour se préparer à tirer.
Quand cela se produira,
ça peut indiquer qu'ils préparent
une action violente.
Ou qu'ils vont tenter d'atterrir,
exactement comme nous.
Nous devrons déterminer cela
en temps voulu.
M. Lacey.
Je dois savoir si vous pourrez
mener à bien cette mission.
Oui, Madame.
Comptez sur moi
pour faire mon travail
du mieux que je peux.
Parfait.
Continuez vos préparatifs.
Le feu vert sera donné
par le Général Dillahunt.
Et...
le président m'a demandé
de vous transmettre un message.
Il vous remercie pour
votre amusante déclaration,
pendant qu'il fait son possible pour
éviter une troisième guerre mondiale.
Il dit aussi
qu'il espère que
vous profiterez de la vue.
Spanish:
Dada la construcción
de su nave...
creemos que necesitarán primero
desenganchar su módulo de aterrizaje
del módulo central
para disparar.
Cuando eso pase...
podría indicar que se preparan
para atacar.
O que intentan un aterrizaje igual
que nosotros.
Tendremos que decidirlo
cuando llegue el momento.
Señor Lacey...
Necesito saber si
es capaz de llevar a cabo esta misión.
Sí señora.
Puede contar con que haga mi trabajo...
lo mejor que sé.
Bien. Siga con los preparativos.
La orden final se la
dará el General Dillahunt.
Ah...
el Presidente tiene un mensaje
que me ha pedido le transmita.
Querría agradecerle el
que haya dado un entretenido espectáculo
mientras él intenta evitar la Tercera Guerra Mundial.
También dice...
que espera disfrute de la vista.
Italian:
- Tu lo sapevi?
- Non qui.
Dimmelo. Lo sapevi?
- Si'.
- Incredibile.
Neanche io volevo questo.
Ma lo hai accettato lo stesso.
Non avevo scelta.
Sapevamo entrambi che avremmo dovuto
fare dei compromessi per arrivare fin qui.
- Questo ne e' un esempio.
- Avresti dovuto dire di no.
Sono felice che tu pensi fosse cosi'
semplice. Sarebbe stato bello.
Lassu' ci sono i miei ragazzi.
Sono responsabile delle loro vite.
Siamo entrambi
responsabili. Tutti e due.
Avresti dovuto dirmelo.
Questa e' negligenza.
E' da irresponsabili.
Non e' questo cio' che
dovrebbe accadere.
Speriamo che non si arrivi a tanto.
Con questi pagliacci a
gestire la situazione?
La speranza e' praticamente l'unica
cosa che ci e' rimasta, Stephen.
E' stato annunciato che
Prospect-1 tentera'
il primo atterraggio con equipaggio umano
sulla superficie dell'asteroide BX159.
L'ideatore della missione,
Stephen Hollander
English:
- You knew?
- Not here.
Tell me. You knew?
- Yes.
- Unbelievable.
This isn't what I wanted either.
But you went along with it.
I didn't have a choice.
We both knew we'd have to
make compromises to get here.
- This was one of them.
- You could have said no.
I'm glad you think it was
that simple. It must be nice.
Those are my guys up there.
I'm responsible for their lives.
We're both responsible. Both of us.
You should have told me.
This is slipshod. This is irresponsible.
This isn't how this should be happening.
Let's hope it doesn't come to that.
With these clowns running things?
Hope is just about all we've
got left here, Stephen.
It has been announced that
Prospect-1 will attempt
the first manned landing on the
surface of the BX159 asteroid.
Mission architect Stephen Hollander
Spanish:
- ¿Lo sabías?
- Aquí no.
Dime. ¿Lo sabías?
- Sí.
- Increíble.
Yo tampoco quería esto.
Pero lo aceptaste.
No tenía elección.
Los dos sabíamos que tendríamos
que hacer sacrificios para llegar aquí.
- Éste ha sido uno.
- Podrías haberte negado.
Me alegra que lo veas tan
sencillo. Debe ser agradable.
Ésos de ahí arriba son mis hombres.
Soy responsable de sus vidas.
Los dos lo somos. Los dos.
Deberías habérmelo dicho.
Esto es una chapuza. Irresponsable.
No debería ser así.
Esperemos que no llegue a ello.
¿Con estos payasos dirigiéndonos?
Lo único que nos queda
es la esperanza, Stephen.
Se ha anunciado que
el Prospect-1 intentará
el primer aterrizaje tripulado
en la superficie del asteroide BX159.
El Director de Misión, Stephen Hollander
French:
- Tu le savais ?
- Pas ici !
Dis-le-moi.
Tu le savais ?
- Oui.
- Je n'arrive pas à le croire.
Ce n'est pas
ce que je voulais non plus.
Mais tu as laissé faire.
Je n'avais pas le choix.
On savait qu'on devrait
faire des compromis.
- C'était l'un deux.
- Tu aurais pu dire non.
Tu penses que c'est aussi simple ?
Ca doit être chouette dans ta tête.
Ce sont mes hommes, là-haut.
Je suis responsable de leurs vies.
Nous le sommes tous les deux.
Tu aurais dû me le dire.
C'est n'importe quoi.
C'est irresponsable.
Ca n'aurait jamais dû
se passer comme ça.
Espérons qu'on n'en arrivera pas là.
Avec ces clowns aux commandes ?
L'espoir est la seule chose
qu'il nous reste, Stephen.
On vient de nous annoncer que
Prospect-1 va tenter
le premier atterrissage habité
sur l'astéroïde BX159.
L'architecte de cette mission,
Stephen Hollander
English:
made the announcement at a press
conference which concluded moments ago.
Not since the heyday of NASA...
and the Apollo missions...
have human beings set foot
on another celestial body.
I'm pleased to announce...
that changes today.
The landing is expected to be one of the
most-watched events in all of human history,
as all eyes are on Mission Control
en el Kemper Space Center en New Mexico,
where we'll be watching these historic
events unfold live throughout the day.
Hi.
Hi.
We're going for a walk
on a big rock today.
I heard.
And I assume by your manly strut
that you still have a job?
You assume correctly.
Why aren't you in moh-ker?
Italian:
ha fatto l'annuncio durante la conferenza
stampa che si e' conclusa qualche istante fa.
Era dai tempi d'oro della NASA...
e le missioni Apollo...
che degli esseri umani non mettevano
piede su un altro corpo celeste.
Sono lieto di annunciare...
che oggi tutto questo cambiera'.
Ci si aspetta che questo atterraggio sia uno
degli eventi piu' seguiti della storia umana,
gli occhi di tutti sono
puntati sul Controllo Missione
en el Kemper Space Center en New Mexico,
dove seguiremo lo svolgersi di questo storico
avvenimento in diretta per tutta la giornata.
Ciao.
Ciao.
Oggi andremo a fare una
passeggiata su una grossa roccia.
L'ho sentito dire.
E dal tuo atteggiamento virile,
deduco che tu abbia ancora un lavoro.
Deduzione corretta.
Perche' non sei nel moh-ker?
Spanish:
ha hecho el anuncio en una conferencia
de prensa hace unos momentos.
Desde la época dorada de la NASA...
y las misiones Apolo...
ningún humano ha vuelto
a poner el pie en un cuerpo celeste.
Me alegra anunciarles...
que esto cambiará hoy.
Se espera que el aterrizaje sea uno de los eventos
más seguidos en la historia,
mientras todas las miradas se posan
en el Control de Misión
situado en el Centro Espacial Kemper de Nuevo México.
donde veremos cómo se desarrollan
estos históricos eventos durante el día.
Hola.
Hola.
Nos vamos de paseo
a la gran roca hoy.
Eso he oído.
¿Y supongo por tu pinta
que aun conservas el trabajo?
Supones bien.
¿Por qué no estás en la Sala de Control?
French:
l'a annoncé lors d'une conférence
de presse il y a quelques minutes.
Depuis l'âge d'or de la NASA,
et les missions Apollo,
aucun être humain n'a posé le pied
sur un autre corps céleste.
J'ai l'honneur d'annoncer
que ça va changer aujourd'hui.
L'atterrissage sera certainement
l'évènement le plus vu de l'Histoire.
Tous les yeux sont tournés
vers la salle de contrôle,
au Kemper Space Center,
Nouveau Mexique,
où nous observerons les évènements
se dérouler au fil de la journée.
Salut.
Salut.
On va se promener
sur un gros caillou tout à l'heure.
Il paraît, oui.
Et je suppose à ton air fier
que tu as toujours un travail ?
Tu supposes bien.
Tu n'es pas à moh-ker ?
French:
J'y vais tout de suite.
Mais tu es venu me parler avant.
Cette...
Cette chose...
ce qu'on fait.
- On ne désobéit pas aux règles.
- Je sais.
Mais ?
C'est mal vu.
Oui.
Les gens parlent.
Et c'est aujourd'hui que
tu t'intéresses à ce qu'ils disent ?
C'est mauvais
pour le programme, Carrie.
Je vois...
Tu as pris ton temps
pour t'en rendre compte.
Je veux que tu puisses
regarder tes enfants dans les yeux
quand ils te demanderont
où tu étais quand leur père...
Je t'interdis de dire ça !
Je t'interdis.
On ne va pas faire ça ici,
dans la cuisine.
Pas aujourd'hui.
Italian:
Ci sto andando giusto ora.
Ma prima dovevi fermarti
a parlare con me.
Si', questa...
Questa cosa...
che stiamo facendo.
- Non stiamo infrangendo nessuna regola.
- Lo so.
Ma?
Non fa una bella impressione.
Gia'.
La gente chiacchiera.
E hai scelto proprio oggi per iniziare a
preoccuparti di cio' che dice la gente.
Non fa bene al programma, Carrie.
Si', beh...
di certo ci hai messo un bel po' prima
di arrivare a questa conclusione.
Vorrei solo che tu possa riuscire a
guardare i tuoi figli negli occhi
quando ti chiederanno dov'eri
il giorno in cui il loro padre...
Non ti azzardare a dirlo.
Non osare.
Non faremo questo discorso in
questa accidenti di cucina.
Non oggi.
Spanish:
Voy ahora mismo.
Pero tenía que hablar contigo antes.
Sí, esto...
Esto que estamos...
que estamos haciendo.
- No rompemos ninguna regla.
- Lo sé.
¿Pero?
Es... está feo.
Ya.
La gente habla.
Y has elegido este día entre todos para empezar
a preocuparte por lo que diga la gente.
Es malo para el programa, Carrie.
Ya, bueno...
has esperado bastante antes de
darte cuenta.
Sólo quiero que seas capaz
de mirar a tus hijos a los ojos
cuando te pregunten dónde estabas
el día que su padre...
No te atrevas.
No te atrevas.
No vamos a hacer
esto en la cocina.
No hoy.
English:
I'm on my way there right now.
But you had to stop to talk to me first.
Yeah, this...
This thing...
that we're doing.
- We're not breaking any rules.
- I know.
But?
It... looks bad.
Yeah.
People are talking.
And you picked today of all days
to start caring what people say.
It's bad for the program, Carrie.
Yeah, well...
you sure waited a good long while
to come to that realization.
I just want you to be able
to look your kids in the eye
when they ask you where you
were the day their father...
Don't you dare go there.
Don't you dare.
We're not doing this here
in the damn kitchen.
Not today.
Italian:
Ok.
Bella chiacchierata.
Felice di vederti seduto
al tavolo dei grandi.
Stavolta ci siamo davvero.
Non avevano mai fatto
una conferenza stampa.
Gia', Hollander sembrava un po' agitato.
Ho sentito che lui e Peter stamattina
hanno avuto una discussione.
Benvenuto allo spettacolo
che non chiude mai.
Hai visto cosa ha detto
del Presidente in TV ieri?
Ed ecco il segreto peggio tenuto
della storia del volo spaziale.
Controllori di volo ascoltate.
Sui vostri schermi dovreste leggere le
ultime revisioni del piano di volo.
Controllate e confermate.
Carico...
cortesemente prendi confidenza con...
French:
Okay.
Ce fut constructif.
Content que tu nous rejoignes
à la table des grands.
C'est la bonne, on dirait.
Ils n'ont jamais fait de
conférence de presse, avant.
Hollander tremblait un peu.
Parait qu'il a pris quelques verres
avec Peter ce matin.
Bienvenu dans l'histoire sans fin.
T'as vu ce qu'il a dit
sur le Président, hier ?
Voilà le secret le plus mal gardé
de l'aérospatiale.
Contrôleurs aérien, écoutez.
Vos écrans devraient vous montrer
les dernières trajectoires de vol.
Veuillez confirmer.
Explosifs.
Veuillez vous familiariser
English:
Okay.
Good talk.
Nice to see you join us
at the big kids' table.
This must be for real.
They've never done a
press conference before.
Yeah, Hollander looked a little shakey.
I heard he went a few rounds
with Peter this morning.
Welcome to the show that never ends.
Did you see what he said about
the president on TV yesterday?
Here comes the worst-kept-secret
in spaceflight.
Flight controllers, listen up.
Your screens should be updated with
the latest flight plan revisions.
Take a moment to confirm.
Payload...
please familiarize yourself with...
Spanish:
Vale.
Buena charla.
Me alegra ver que te unes a nosotros
en la mesa de los niños grandes.
Esto debe ir en serio.
Nunca antes habían
dado una conferencia de prensa.
Sí, Hollander parecía nervioso.
He oído que ha discutido con
Peter esta mañana.
Bienvenido al cuento de nunca acabar.
¿Viste lo que dijo del Presidente
en la televisión ayer?
Aquí llega el secreto peor guardado
en la historia espacial.
Controladores de Vuelo, atención.
Vuestras pantallas deberían mostrar
la última actualización del plan de vuelo.
Tomaos un momento para confirmar.
Control de Carga...
por favor familierícese...
French:
avec la nouvelle procédure
2-2-1 Baker.
Merci.
Peter, tu permets ?
Passez-moi le Prospect, Capcom.
Je voudrais que
vous preniez un instant
pour vous rendre compte
de l'insigne honneur que nous avons
de participer
à cet évènement historique.
Souvenez-vous de ce que ça fait.
Bonne chance, Prospect-1.
Merci pour les compliments.
Et merci à vous tous de
nous avoir amené jusqu'ici.
Peter,
tu veux dire quelque chose ?
On aura le temps de faire
des discours plus tard.
Faisons le tour de la pièce.
Go/no-go pour sortir les trains.
- Retro ?
- Go.
- Guido ?
- Go.
- Telmu ?
- Go.
- GNC ?
- Go.
- Eecom ?
- Go.
- Fido ?
- Go.
- Explosifs ?
- Go.
- Inco ?
- Go.
- Chirurgien ?
- Go.
- Capcom ?
- Go.
Italian:
una nuova procedura,
denominata 2-2-1-baker.
Grazie
Peter, posso?
Puoi mettermi in collegamento
con Prospect, Capcom?
Vorrei che vi fermaste tutti un attimo
a pensare all'incredibile
onore che ci e' stato concesso
nel far parte di questo storico evento.
Ricordatevi questa sensazione.
Buon viaggio Prospect-1.
Grazie per gli auguri.
E grazie per il vostro contributo nel
portarci quassu', grazie a tutti.
Peter,
vorresti dire qualcosa?
No, penso che ci sara' tutto
il tempo per i discorsi dopo.
Facciamo un giro completo:
Ok / Ko per lo sgancio.
- Retro?
- Ok.
- Guido.
- Ok.
- Telmu?
- Ok.
- GNC?
- Ok.
- Eecom?
- Ok.
- Fido.
- Ok.
- Carico?
- Ok.
- Inco.
- Ok.
- Chirurgo.
- Ok.
- Capcom.
- Ok.
Spanish:
con un nuevo procedimiento,
nombre: 221b
Gracias.
Peter, ¿puedo?
¿Control, puede ponerme con el
Prospect?
Quiero que todos os toméis un segundo
y penséis en el increíble
honor que representa
ser parte de este evento histórico.
Recordad qué se siente.
Suerte, Prospect-1.
Gracias por los buenos deseos.
Y gracias a todos por vuestro papel
en traernos hasta aquí arriba.
Peter.
¿Querrías decir algo?
No, tendremos tiempo de
sobra para discursos luego.
Comprobemos:
Preparado o No para desenganche.
- ¿Retro?
- Preparado.
- Guido.
- Preparado.
- ¿Telmu?
- Preparado.
- ¿GNC?
- Preparado.
- ¿Eecom?
- Preparado.
- Fido.
- Preparado.
- ¿Control de Carga?
- Preparado.
- Inco.
- Preparado.
- Cirujano.
- Preparado.
- Central.
- Preparado.
English:
a new procedure,
marked two-two-one-baker.
Thank you.
Peter, if I may?
Can you patch me through
to Prospect, Capcom?
I want all of you to take a second
and realize the incredible
honor we've all been given
to be a part of this historic event.
Remember how it feels.
Godspeed Prospect-1.
We appreciate the good wishes.
And thank you for the part you played
in getting us here, all of you.
Peter,
would you like to say something?
No I think we'll have plenty
of time for speeches later.
Let's go around the room:
go/no-go for undocking.
- Retro?
- Go.
- Guido.
- Go.
- Telmu?
- Go.
- GNC?
- Go.
- Eecom?
- Go.
- Fido.
- Go.
- Payload?
- Go.
- Inco.
- Go.
- Surgeon.
- Go.
- Capcom.
- Go.
Spanish:
Podemos confirmar que el vehículo de
aterrizaje se ha separado ya del módulo principal
preparándose para la maniobra de descenso
que verá al vehículo iniciar su
bajada hacia la superficie del ateroide.
Eecom,
¿te preocupan esos niveles de presión?
Eecom a Vuelo. Aún estamos
entre los límites establecidos.
Recibido. ¿Échalo un ojo vale?
Entendido.
Vuelo a Control de Carga.
Te recibo, Vuelo.
¿Has revisado la 221b?
Afirmativo.
¿Estás a gusto con el procedimiento?
Afirmativo, Vuelo.
Vale.
Esperemos no tener que usarlo.
Afirmativo.
Esperad.
Controladores, esperad.
Algo ha pasado.
Tenemos confirmación de que un buque Chino
ha intercambiado disparos con el USS Stockdale
French:
Le véhicule d'atterrissage
s'est détaché du module principal
en préparation de la manoeuvre
de sortie d'orbite.
Il pourra ainsi entamer sa descente
vers la surface de l'astéroïde.
Flight à Eecom, les niveaux de pression
sont-ils inquiétants ?
Eecom à Flight.
On reste dans la norme.
Compris.
Surveillez ça quand-même.
Compris.
Flight à Explosifs.
A vous, Flight.
Avez-vous lu 2-2-1 Baker ?
Affirmatif.
Vous êtes à l'aise
avec cette procédure ?
Affirmatif, Flight.
Okay.
Espérons qu'on n'en aura pas besoin.
Je confirme.
Attendez.
Contrôleurs, attendez.
Il s'est passé quelque chose.
... un navire chinois a échangé
des tirs avec l'USS Stockdale
English:
We can now confirm that the landing
vehicle has separated from the crew module
in preparation for the deorbit maneuver,
which will see the lander begin its initial
descent toward the surface of the asteroid.
Flight Eecom, are those
pressure levels concerning you?
Eecom flight. We're
still within the norms.
Copy that. Keep an eye on it will you?
Copy.
Flight payload.
Copy, flight.
Have you reviewed two-two-one baker?
That's a firm.
You're comfortable with this procedure?
That's a firm, flight.
Okay.
Hopefully we won't have to go there.
Copy to that.
Hold on.
Hold controllers.
Something's happened.
Confirm that a Chinese vessel has
exchanged fire with the USS Stockdale
Italian:
Abbiamo conferma che il veicolo d'atterraggio
si e' separato dal modulo principale
in preparazione della
manovra di abbandono orbita
nella quale vedremo il modulo iniziare la
discesa verso la superficie dell'asteroide
Controllo a Eecom, quei livelli
di pressione ti preoccupano?
Eecom a Controllo,
siamo ancora nella norma.
Ricevuto, tienili d'occhio, ok?
Ricevuto.
Controllo a Carico.
Ricevuto, Controllo.
Hai verificato 2-2-1-baker?
Affermativo.
Sei a tuo agio con questa procedura?
Affermativo, Controllo.
Ok.
Si spera non debba servire.
Ricevuto.
Un momento.
Controllori, fermi.
E' successo qualcosa.
E' ufficiale: scambi di cannonate tra
una nave cinese e la USS Stockdale
English:
as it apparently attempted to break the
Chinese blockade in the Taiwan Strait.
There is no word regarding
casualties on either side.
It remains unclear if this
was a sanctioned attack
or a misunderstanding in
an already tense situation.
Further information as we receive it
in this unfortunate juxtaposition
with the Prospect-1 landing.
What does this do to us?
If we abort now we turn around.
That's mission rules.
I know, I wrote them.
What are you getting?
Peter?
It's your call.
Telmu. Position of Big Bad Wolf?
Nothing, flight. They must
still be on the far side.
- No line-of-site?
- No.
We are go for powered descent.
Capcom, tell the LP to begin his countdown.
Prospect, you are go
for powered descent.
Start count on your mark.
Five...
four...
three...
two...
descent engine fire.
Spanish:
cuando al parecer intentaba romper
el bloqueo Chino en el estrecho de Taiwan.
No hay información acerca
de las bajas en ninguno de los dos lados.
Sigue sin estar claro si
ha sido un ataque autorizado
o una confusión en una situación ya tensa de por sí.
Seguiremos informando
sobre esta desafortunada yuxtaposición
al aterrizaje del Prospect-1.
¿En qué nos afecta esto a nosotros?
Si abortamos ahora tenemos que darnos la vuelta.
Son las reglas.
Lo sé,
yo las escribí.
¿Qué tienes?
¿Peter?
Es decisión tuya.
Telmu. ¿Posición del Gran Lobo Feroz?
Nada, Vuelo. Deben
estar aún en la otra cara.
- ¿No hay línea de visión?
- No.
Luz verde para el descenso.
Control, que inicien la cuenta atrás.
Prospect, luz verde para
el descenso.
Empieza la cuenta atrás en la señal.
Cinco...
Cuatro...
Tres...
Dos...
Motor de descenso encendido.
French:
qui aurait tenté de briser le blocus
chinois dans le détroit de Taïwan.
On ne sait pas encore s'il y a
des victimes d'un côté ou de l'autre.
On ne peut pas dire si cette attaque
a été approuvée par l'armée
ou s'il s'agit d'un malentendu
dans une situation déjà tendue.
De plus amples informations
dès qu'on en sait plus
sur cette triste juxtaposition
avec l'atterrissage du Prospect-1.
Ca change quoi pour nous ?
Si on annule, on fait demi-tour.
C'est le protocole.
Je sais, c'est moi qui les ai écrits.
Ca donne quoi ?
Peter ?
C'est toi qui vois.
Telmu.
Position du Grand Méchant Loup ?
Rien, Flight. Ils doivent être
de l'autre côté.
- Pas en ligne de mire ?
- Non ?
Descente approuvée. Capcom, dites
au LP de lancer le compte à rebours.
Prospect, descente approuvée.
Compte à rebours
à votre signal.
Cinq.
Quatre.
Trois.
Deux.
Allumage des fusées de descente.
Italian:
pare mentre tentava di forzare il
blocco cinese nello stretto di Taiwan.
Non si hanno notizie di caduti
da nessuna delle due parti.
Non e' chiaro se si trattasse
di un attacco autorizzato
o un malinteso in una
situazione gia' tesa.
Vi terremo aggiornati
in questa sfortunata giustapposizione
con l'atterraggio del Prospect-1.
Cosa comporta per noi?
Se annulliamo ora torniamo indietro.
Regolamento della missione.
Lo so, l'ho scritto io!
Cosa le dicono?
Peter?
A te la decisione.
Telmu. Posizione del Lupo cattivo?
Niente, Controllo. Devono essere
ancora dalla parte opposta.
- Nessuna linea visiva?
- No.
Via libera per la discesa controllata.
Capcom, di' all'LP di iniziare il countdown.
Prospect, via libera per
discesa controllata.
Inizio conteggio al vostro via.
Cinque...
quattro...
tre...
due...
accensione motore di discesa.
English:
Guido, start your clock.
Hold flight.
Say again Fido?
I'm getting telemetry
again from Big Bad.
It looks like the Chinese have
undocked with their lander.
Confirm Fido. You're telling
me just their command module
is emerging from the
terminator? No lander?
Fido?
That's a firm.
Capcom: see if Prospect can get
visual confirmation on that.
Prospect, Capcom. Can you get
a visual on Big Bad Wolf?
Peter...
Payload, stand-by.
Flight, Capcom.
Prospect has a visual on Big Bad Wolf.
Command module only, no lander.
Capcom, have Alcala stand by on VOX.
Say again flight?
Get Alcala on VOX, damn it.
Prospect Capcom. Flight director requests
the Payload Specialist stand by on VOX.
- Guido, how's our burn?
- We're right on the money, flight.
Telmu, does Big Bad have a
line-of-sight on Prospect?
Stand by.
Talk to me Telmu.
Payload specialist is
standing by on VOX.
Peter. You have to do it.
Flight, Telmu.
Italian:
Guido, attiva il timer.
Attendere, Controllo.
Ripeti, Fido?
Aggiornamento telemetria
del Lupo cattivo.
Pare che i cinesi si siano
sganciati col modulo d'atterraggio.
Conferma Fido. Mi stai dicendo
che solo il modulo di comando
sta uscendo dal terminatore?
Non quello d'atterraggio?
Fido?
Affermativo.
Capcom: vedi se Prospect ci
puo' dare conferma visuale.
Prospect, Capcom.
Avete visuale sul Lupo cattivo?
Peter...
Carico, resta pronto.
Controllo, Capcom.
Prospect ha visuale sul Lupo cattivo.
Solo il modulo di comando,
non di atterraggio.
Capcom, mi serve Alcala al VOX.
Ripeti Controllo?
Mi serve Alcala al VOX, maledizione!
Prospect Capcom. Il controllore di volo
richiede lo specialista Carico al VOX.
- Guido, come va la propulsione?
- Tutto perfetto, Controllo.
Telmu, il Lupo cattivo ha
linea visiva su Prospect?
Attendere.
- Dimmi qualcosa Telmu.
- Lo specialista Carico e' al VOX.
Peter. Devi farlo.
Controllo, Telmu.
French:
Guido, lancez l'horloge.
Attendez, Flight.
Vous dites, Fido ?
J'ai une télémétrie
du Grand Méchant Loup.
Les chinois ont sorti
leurs trains d'atterrissage.
Confirmez, Fido. Vous dites que seul
leur module de commande
émerge du terminal ?
Pas d'autre véhicule ?
Fido ?
Affirmatif.
Capcom: demandez
à Prospect de confirmer.
Prospect, ici Capcom. Avez-vous
un visuel du Grand Méchant Loup ?
Peter...
Explosifs, tenez-vous prêt.
Flight, ici Capcom.
Prospect a un visuel
sur le Grand Méchant Loup.
Module de commande uniquement.
Pas d'engin d'atterrissage.
Capcom, dites à Alcala de se tenir sur VOX.
Répétez, Flight ?
Je veux Alcala en VOX, bordel !
Prospect, ici Capcom. Le directeur
demande le Spécialiste Explosif.
- Guido, on en est où ?
- Pile dans les temps, Flight.
Telmu, Grand Méchant Loup
a-t-il Prospect en ligne de mire ?
Patientez.
Répondez, Telmu.
Le Spécialiste Explosifs
est prêt en VOX.
Peter, tu dois le faire.
Flight, ici Telmu.
Spanish:
Guido, empieza a contar.
Esperad.
¿Repite Fido?
Estoy recibiendo nueva telemetría
del Gran Lobo Feroz.
Parece que los Chinos se están desacoplando.
Confirma, Fido. ¿Estás diciendo que
sólo su módulo de comando
emerge? ¿No hay vehículo de aterrizaje?
¿Fido?
Afirmativo.
Control: comprueba a ver
si Prospect puede confirmar.
Prospect, Control. ¿Puedes ver al Gran Lobo Feroz?
Peter...
Control de Carga, preparado.
Vuelo, Control.
Prospect puede ver al Gran Lobo Feroz.
Sólo el Módulo de Comando, sin
vehículo.
Control, que Alcalá se prepare en VOX.
¿Repite, Vuelo?
Que Alcala vaya a VOX, maldita sea.
Prospect, Control. El Director de Vuelo pide
que la Especialista de Carga esté preparada en VOX.
- Guido, ¿cómo estamos?
- Justo donde queremos, Vuelo.
Telmu, ¿tiene el Gran Lobo Feroz línea
de visión con Prospect?
Un momento.
Respóndeme Telmu.
La Especialista de Carga
está a la espera en VOX.
Peter. Tienes que hacerlo.
Vuelo, Telmu.
French:
Je confirme que Grand Méchant Loup
à Prospect en ligne de mire.
Ils ont changé de trajectoire
et semblent tenter une interception.
Peter. Prépare ces foutus lasers !
Non.
- Peter...
- Mr. Lacey !
Je ne serais pas responsable
de la première guerre spatiale.
Ce n'est pas cette Histoire-là
que nous écrivons.
- Mr. Lacey, je vous conseille...
- Général, c'est une opération civile.
A moins que vous ne m'arrêtiez,
sortez ou fermez-la !
- Il se passe quelque chose.
- Quoi ?
Une sorte de pic d'énergie.
Qu'est-ce que c'était ?
Contrôleurs !
Mon écran s'est éteint.
Je n'ai plus rien.
Comment ça, plus rien ?
Parlez-moi ! Capcom !
Rien que des parasites
venant des deux navettes, Flight.
Oh, mon Dieu !
Nous avons clairement
écrit l'Histoire.
Italian:
Posso confermare che il Lupo cattivo
ha linea visiva su Prospect.
Hanno acceso i motori e pare siano
in traiettoria d'intercettazione.
Peter. Attiva quelle cazzo di armi!
No.
- Peter...
- Signor Lacey!
Non saro' responsabile dell'avvio
della prima guerra nello spazio.
Non e' questa la storia
che stiamo facendo oggi.
- Signor Lacey le consiglio caldamente...
- Generale, questa e' un'operazione civile
e a meno che non voglia arrestarmi la
invito a lasciare la stanza o a tacere.
- E' successo qualcosa.
- Non dirmi qualcosa, che cosa?
Una specie di picco di energia.
Che cos'e' stato? Controllori?
Il mio pannello si e'
spento, li ho persi.
Come sarebbe persi?
Qualcuno mi dica qualcosa! Capcom?
Ho solo interferenze da
ambedue le astronavi, Controllo.
Oh, mio dio!
Abbiamo fatto di certo la storia oggi.
English:
I can confirm that Big Bad Wolf does
have a line-of-sight on Prospect.
They've initiated a burn and appear
to be on an intercept trajectory.
Peter. Arm the damn guns.
No.
- Peter...
- Mr. Lacey!
I will not be responsible for starting
the first shooting war in space.
That's not the kind of
history we're making today.
- Mr. Lacey I strongly advise...
- General this is a civilian operation
and unless you intend to arrest me I invite
you to leave the room or shut your mouth.
- Something's happening.
- Don't give me that, what?
Some kind of power spike.
What was that? Talk to me controllers.
My board went down. I've lost them.
What do you mean lost?
Somebody talk to me! Capcom?
Nothing but static from
either spacecraft, flight.
Oh, my god!
We certainly made history today.
Spanish:
Puedo confirmar que el Gran Lobo Feroz
tiene línea de visión con Prospect.
Han iniciado los motores
y parecen estar en trayectoria de intercepción.
Peter. Prepara las malditas armas.
No.
- Peter...
- ¡Sr. Lacey!
No seré el responsable de iniciar
el primer tiroteo en el espacio.
No es ése el tipo de historia que vamos a hacer hoy.
- Sr. Lacey le recomiendo...
- General ésta es una operación civil
y a menos que no pretenda arrestarme le
invito a salir de aquí o cerrar la boca.
- Algo pasa.
- ¿No me digas eso, qué?
Algún tipo de pico de energía.
¿Qué era eso?
Contestad.
Mi pantalla está en negro. Los he perdido.
¿Qué quieres decir con perdido?
¡Decidme algo! ¿Control?
Sólo recibo estática, Vuelo.
¡Oh, Dios mío!
Está claro que hemos hecho historia hoy.
Spanish:
Acabas de matar a Prospect-1.
Subtítulos Español:
Ignacio Bats
::Italian Subs Addicted::
[www.italiansubs.net]
English:
You just killed Prospect-1.
Subtitles:
Francesco "zefram cochrane" Bavastro
::Italian Subs Addicted::
[www.italiansubs.net]
French:
Vous venez de tuer Prospect-1.
Adaptation :
Matthias Delobel
::Italian Subs Addicted::
[www.italiansubs.net]
Italian:
Ha appena ucciso Prospect-1.
Subtitles:
Francesco "zefram cochrane" Bavastro
Massimiliano "javawarrior2003" Curcio
Kim "FallenKyra" Turconi
::Italian Subs Addicted::
[www.italiansubs.net]
| {
"pile_set_name": "YoutubeSubtitles"
} |
- Hello and goodbye forever
on "Junk Drawer Magic."
- Today is a special "Spirit
Riding Free"-themed episode
and, wait.
Did you say "Goodbye forever?"
- Yep, I watched all eight
seasons of "Spirit Riding Free,"
and now I found my
new true calling.
Incredible horse-riding.
(adventurous music)
- Whoo!
- Yep, I'm headed out west
to meet my new best friend,
a horse named El Pollo
Loco, meaning brave horse.
- Okay, first, el pollo loco
does not mean brave horse.
And second, you're a magician.
You don't know how
to ride a horse.
- Akira, do not
step on my dreams.
You're being a real
Grayson right now.
Grayson's a really mean guy.
- Okay, Walker, I really think
you should stick to magic.
How about a trick that's
in the spirit of "Spirit"?
Check out my magic lasso.
- Um, that's just
a piece of string.
- Oh, I wouldn't be so sure.
Here, check out my
deck of "Spirit" cards.
I've got Spirit, and
Chica Linda, Boomerang.
Here. Oh, and would you mind
cutting the deck for me?
- Sure.
- All right.
Can I borrow your cowboy hat?
- Okay, but please don't put
nacho cheese in it this time.
- No promises.
All right.
So here's your card.
- [Walker] Okay.
- Put this back in.
You can shuffle the
deck if you want.
And now I'm just
gonna take the cards
and sprinkle them into the hat.
Take my magic lasso.
I'm gonna try to
lasso your card.
I think I got something.
Did you pick Boomerang?
- Yeah, I did.
Whoa!
Okay, I won't run away.
For now.
- And we'll teach you how
to do this trick right now.
Let's go to the junk drawer.
For this trick, you'll
need a thin cotton rope,
two small round magnets,
a deck of playing cards,
I'm using "Spirit Riding
Free" cards that I designed,
"Spirit Riding Free" toys,
a cowboy hat, Super Glue,
Elmer's Glue,
scissors, and a napkin.
First, we're gonna
make our magic lasso.
Tie a rope around Boomerang.
Then, cut that
rope smaller here.
Cut a long piece
of rope, like this.
Then, take the
long piece of rope
and open up the end, like this.
Put a small dab of Super
Glue inside the end.
Then, place a
magnet on top of it.
Place dabs of Elmer's Glue
around the edge of the magnet.
Use the napkin to clean
off the excess glue.
Then, with scissors, carefully
snip the end of the rope
so that the end is clean.
Use the Elmer's Glue again
on the outside of your rope.
That way, the end of
your rope won't fray.
Again, use the napkin to
clean off the excess glue.
Now you'll add a magnet
to your smaller rope,
following the same
steps as before.
Remember to fix your frayed end
the same way you did
on the last rope.
You want this magnet to
attract to the magnet
on the other rope.
Finally, retie the smaller
rope around Boomerang.
Place Boomerang
inside the cowboy hat.
And that's all the prep.
Now for the trick.
Start by using the criss
cross force on your audience.
Place your Boomerang card
on the bottom of your deck
and ask your audience
to cut the deck.
They'll take off the
top, set it on a table,
and you can show
them the bottom card,
which is always going
to be Boomerang.
After that, set the deck aside
and move on to your cowboy hat.
Take the deck and sprinkle
your cards into the cowboy hat.
This will also cover Boomerang.
Take your long
rope, reach it in,
and really act like
your lassoing something,
making sure that the two
magnets stick together.
Pull up on your long rope,
use your thumb and index finger
to cover up the point
where the ropes meet,
and reveal Boomerang!
And that's the trick.
- Cool. I'm ready to try it.
(upbeat music)
- Thanks for watching
"Junk Drawer Magic."
And make sure to check out
"Spirit Riding Free" on Netflix.
- Hey, Akira.
I'm back from my adventures.
Ooh.
- You were gone
for five minutes.
- Yeah, I don't want
to be a cowboy anymore.
It's rough out west.
- Out west?
- Yeah, I was at the
bus stop west of here.
And I ran into a masked bandit
who lassoed me and
stole all my money.
- Wow, that sounds rough.
She sounds like a
really mean bandit.
- I never said the
bandit was a girl.
- No, you know, you did.
Yeah, right?
I wasn't there.
- Huh.
Okay.
I'm gonna go rest up.
Oh!
Ah, ah, no, not again!
It was you!
| {
"pile_set_name": "YoutubeSubtitles"
} |
Shumian and Professor Ioannis, thank you for
joining us. Shumian, congratulations on winning
this year's Best Paper Award at CVPR.
Thank you. Thank you for inviting me
for this interview.
Thank you for inviting me.
We’re delighted that both of you can join
us today. Can you briefly introduce yourselves?
Yeah, sure. I'm Shumian. I'm a second year
PhD student at Carnegie Mellon University
Robotics Institute. I work with Srinivasa
and Ioannis on NLOS (non-line-of-sight) imaging.
That's what this paper is about.
Hi, everyone. I'm Ioannis Gkioulekas. I am
an assistant professor at Carnegie Mellon
University Robotics Institute. I've been there
for a couple of years. And I work on computational
imaging and computer vision.
So the paper today that won the award is called
“A Theory of Fermat Paths for Non-Line-of-Sight
Shape Reconstruction”. Can you give us a
quick summary of your paper?
Okay. So the problem we want to solve in this
work is to reconstruct objects that is blocked
by some occluders, and out of the field of
view of the camera or the sensor. So the way
we do it is that we will look at some other
surfaces like a wall and that wall is going
to give us some information through reflections
of that wall, it's going to give us some information
about the non-line-of-sight object, then we
use a time-of-flight sensor to collect data
from there, and we use those kind of time-of-light
information to reconstruct the NLOS shape.
How long did it take you to work on
this paper with your team?
I've been working on this problem for two
years. But during the two years, we tried
different kinds of things. And this is what
we current come up with. And I will continue
working on this problem for a while.
So what are the most important
contributions from this work?
The quality of reconstructions of the none-line-of-sight
object that we have, I would say pretty close
to the reconstruction, you would get from
line-of-sight settings, where your camera
can directly see your object. So it's pretty
exciting to see those none-line-of-sight reconstructions
are starting to look like line-of-sight reconstruction.
It's as if we are making the entire world
specular or like a mirror so that we can reconstruct
every object from everywhere.
And can you tell us about some real life applications
where this work can be evidence?
Sure. There are a lot of critical applications
that this NLOS techniques can be done.
For example, for medical applications, we can
use this kind of techniques to do minimally
invasive surgery. For example, for doctors
who want to look inside your body, it might
be possible just to shine light to your throat,
and then the photons will travel through your
body and comes back. And then you measure
that, it might give some information about
what's inside your body.
And also in autonomous driving. Your car is
driving one way, but it's critical to know
what's happening on that side of the road
and around the corner. It would be great
if you can know in advance
what is happening there.
And also in some disaster environment, there's
a fire happening. This kind of technique can
be used for searching and rescuing, like what's
happening on the other side of the corridor
if there is a fire blocking your view.
So they're pretty significant use cases. That’s
very exciting work. And what inspired you
to work on such an interesting topic?
Yeah. So I mean, those exciting potential
applications that I've mentioned, obviously
this work is - and also I think it's interesting,
because it's like magic at first, because
what's happening around the corner, so that's
like - all of us are curious about what's
happening around corner. But before this kind
of technique - actually in ICCV 2009, Ramesh
Raskar’s group from MIT, they did the first
NLOS reconstruction to show us the potential
like the possibility of doing this kind of
work, seeing around the corner. And currently
the entire computational imaging field is
just pushing this technique to another level.
I want to be a part of that, so I joined
this team to do that.
It sounds like it's a great step towards the
next level as well. And there have been many
research studies using LiDAR to solve similar
problems. So why did you pick a different
method to address this issue?
Actually, the method that we're using is not
dramatically different from LiDAR, in a sense
that LiDAR uses the first returning photon
to estimate depth. But the way we do it is,
we use some subsequent photons from the
time-of-flight information that we collect,
to do NLOS reconstruction.
Because, for example, we are directly looking
at a wall, if you only use the first returning
photon as the LiDAR does, we're only going
to reconstruct that wall. But what's interesting
is around that corner, you have to use some
subsequent photons that's coming indirectly
from those subjects back to your sensor, you
have to use those kind information to do the
reconstruction. And similar to LiDAR, they
use only the time information to do depth
estimation, because time multiplied by the velocity
of light is the path length. And for us,
we also only use the time information, so we
can directly reconstruct the shape of those objects.
Professor, for you observing the progress
on this research, how was that for you from
your experience?
So it's pretty interesting to be doing research
in non-line-of-sight imaging, because as Shumian
mentioned, there is a pretty large part of
the computational imaging community working
on this problem. And there have already been
a few amazing achievements in this area by
other groups like Matthew Toole, and Gordon Wetzstein
in Stanford and Andreas Velten in Wisconsin,
and so on. So all of these provided us with
a lot of inspiration about how to continue
pushing forward in this problem. So it's been
pretty exciting to watch over the years and
see how much we can add to
these with our own paper.
And given what you know today, where would
both of you or what would your perspective
be on what the next stage of
development needs to be?
I mean, the main problem in NOLS
imaging is signal to noise ratio,
so we're trying to measure some photons
that bounce several times is times on the walls,
go to other parts of the scene and come back
to us. There are very few of those photons.
We're measuring 10 to 15 photons, that's about
the level of signal we have. So a thing that
we will need to really push forward in terms
of increasing that signal in order to make
all of these applications as Shumian mentioned
earlier very practical. So I think that we
are not a pretty good place as far as if we
can find the signal to reconstruct something
out of it. So now we need to work on the first
part, how do we enhance the signal, so we
can try to use it in much more uncontrolled
settings than what we're doing right now.
Shumian, fom your perspective, is there anything
additional you'd like to add as well?
I wish I can add to what Ioannis said.
You're all good to go with that? That’s
excellent. So and again, this question is
for both of you. The paper has six authors
from three Institutes. Can you tell us more
around - certainly from your perspectives, Shumian -
around the teamwork and the collaboration?
How was that experience for you?
Yeah, so Ioannis and Srinivasa are both my
PhD advisors and the three of us, we have
weekly meetings to discuss this. But actually,
the initial idea about this work, the very
initial thoughts about this kind of algorithm
are from the discussion between Ioannis and
Aswin. Aswin did contribute a lot intellectually
to this work. And we also have very useful
discussions with Kyros. Kyros also
put a lot of efforts in this. And they provided
us with the initial hardware setups at University
of Toronto, and Sotiris did all of the tedious
experimental work at first. Without Sotiris
and Kyros and their hardware stuff,
none of this could actually be applied to real results.
When you work in such a collaborative environment,
how do you communicate with each other on
a daily basis? Like how does that teamwork
come together and form as well?
Mainly I will communicate maybe with Ioannis
daily, but Srinivasa - Joannis and I will have
weekly meetings twice a week, and Srinivasa
always drops by my office and says “What's
happening?” “What's going on?” And I
will explain to him what is happening today
and what I plan to do next. And with Kyros,
Aswin and Sotiris, we might discuss things
that I'd have at high level and to see if
this is the correct direction to go.
Do you ever have differing opinions
on the way forward?
That’s right. That's how research is done.
Different people, they have different opinions.
And I will try out some of those ideas to see which
things work and to verify all of those ideas.
So it's a constant reiteration.
Yes, exactly. I think that's how
each paper is done.
And Professor, from your perspective, then
from the university’s point of view,
how was the collaboration as well?
Yeah, it's been a pretty interesting collaboration.
Kyros and Srinivasa are both very senior
people in our field, and therefore, they always
bring a lot of wisdom in these problems.
As Shumian mentioned,
Aswin and I originally were
discussing the first steps towards this
idea. And we were working towards solving
some mathematical problems, and then again
Shumian said that we recently, thanks to Sotiris
from University of Toronto, we got the first
measurement that showed that what the argument
came up would actually work. So it
was a pretty significant team effort.
That sounds great. So where do you go next
from here, Shumian? What are your next steps?
Yeah, I really appreciate this award. It's
a great encouragement. And currently, I'm
a second year PhD student, so this motivates
me to work harder and pushes my own boundaries
even further away. And I encourage everyone
who is interested in computational imaging,
this is an interesting and exciting field.
And if you're interested in physics, optics,
computer vision, it's really like a cross-section
of everything, so working in this field is
really exciting.
That's awesome. And Professor, from your perspective
as well, how does it feel to see Shumian get
this achievement today,
the award of the team as well?
Yeah, it's great. As Shumian said, it's nice
to see computational imaging as a smaller
part of the computer vision community right
now be recognized. And hopefully this will
encourage others to also work in this area.
It's also great to see female students receive
this award. And we have a lot of issues with
diversity in STEM. So I hope that this can
also help in that direction.
Very encouraging, very inspiring for everyone
out there. That's awesome. And I really love
the applications that you talked about. They're
very real life significant challenges in our
world today. So I want to thank you both for
joining us. It's been our pleasure to have
you with us today. And congratulations again.
It's such a great achievement.
Thank you.
Thank you very much.
| {
"pile_set_name": "YoutubeSubtitles"
} |
English:
hey folks were back Chris Garlock with
Michael Redmond our latest AlphaGo
against the world we are rapidly closing
in on the halfway mark we of course are
gonna be doing all 60 of these amazing
games and Michael I believe we have a
new player today is that right yes
today's player is Mi Yuting he's a nine
dan and he's about 20 years old at the
time of this game and he was a nine dan
I think was promoted in 2013
mm-hmm when he won the MLily cup so
he became a world champion in 2013
basically so in China they promote you
to nine dan for that -mm-hmm he was how
old when he became a world champion like?-
that
would be three years before this so
17 -so young -yeah they're young and he's
famous for a complicated version of the
Japanese:
クリス・ガーロックと
マイケル レドモンドで最新の
AlphaGo対世界、半分近くまで来たよ
60局まで解説するよ
今日の相手は新しいね？
今日の選手は羋 昱廷九段です
当時二十歳
2013年に九段に昇段した
夢百合杯で世界チャンピオンになって
九段になった。
ー何歳で世界チャンピオンに？ー
これの3年前なので
17歳か-若いね-そう、そして彼は
三々入り定石の
Japanese:
複雑な変化を打ち出したことで有名です
私の定石解説動画ではあえて解説しなかった変化です
ー今日はその変化が出るのか？ー
今回はナダレ定石です
羋 昱廷は黒です
AlphaGoの好きな布石を逆に使った
通常alphagoは右上に星を打っていたので、
上下逆ですが
同じことです
AlphaGoのケイマシマリは意外
こう打つと思った
English:
three three the direct 3-3 joseki so
he he sort of invented the most
complicated variation of it which is the
one that I did not do a video about -and
we're not going to see that today are we?-
no, but he's gonna play the avalanche joseki
of course everybody's playing
avalanche it's why not -so Mi Yuting has the
black stones you can see he's playing
the opening that Alphago likes -yes- it's
sort of inverted from usually alphago
starts with the star point in the upper
right corner right so it's it's it's
backwards like the upper half of the
board and the lower half are backwards but
that's okay and AlphaGo
plays a knight's shimari, that's sort of
interesting because I thought AlphaGo was
gonna play it this way so
English:
it's it's different and okay black if
you have a computer program maybe it's
gonna tell you to jump in here or black
could play something like this this is a
common move that human players play also but
Mi Yuting tried the shoulder hit
and I think already he has the idea that
he's going to try to force the
Nadare because I'm actually going back
a long ways for alphago if we go back to
the game AlphaGo played against Fan Hui
the european go champion hmm
there was a variation of the avalanche
joseki in which some people including
myself thought that maybe alphago have
trouble with these complicated josekis
look like alphago might have made a
mistake but that was for alphago that
was even before the Lee Sedol version
so it's a long time in the past of
alphago's development but maybe
Japanese:
コンピュータプログラムを使っていればここで黒の三々入りと出るだろう
あるいはこのように打っても普通
羋 昱廷はカタツキを打った
彼の考えは
ナダレ定石に導こうとしている
だいぶん前の話ですが、AlphaGoはFan Huiと対戦しました
欧州囲碁チャンピオンです
その一局で
ナダレ定石の変化があって
alphagoは複雑な定石を苦手としているという印象があった
それはalphagoが李セドルと戦う前のバージョンだから
alphagoとすれば大昔の話だが
Japanese:
羋 昱廷はAlphaGoの理解を試す考えがあったのではないか
ナダレ定石
実際ニューラルネットワークシステムを使用するAIは
部分的な結果に関しては曖昧
結果を示さない
全局的な判断で評価値を出すから
部分的な戦いはどうだったのか
理解するのが比較的難しい
コンピュータが間違っている意味ではない
-ブラックボックスのようだ-さて、
白は三々に飛び込んだ
この碁は珍しく
English:
Mi Yuting had the idea that he could test
test alphago's understanding of the
avalanche joseki because we already had
the idea at that time that maybe
alphago maybe computer programs in
general using this neural network system
were having trouble focusing on local
variations and it's actually true to a
certain extent we do have trouble
getting local answers out of the
computers because they always deal in
full board positions they always give
the score according to the full board
position sometimes it's pretty hard to
get the message as to what was good or
bad about a local fight, doesn't mean
that the computers don't understand it
means it's hard to decipher basically
- a bit of a black box - yeah
white jumps into the 3-3 point so
actually in this whole series this is
going to be a very unusual game firstly
Japanese:
alphagoは序盤早々から地を取る
黒も大ゲイマで三々入りを誘導した
そして黒、つまり人間が、
評価値が高い
高いといってもほぼ互角という意味ですが
黒ツギ、白ハイ、黒ハネ
これはは当時の流行。
今は黒ハイが主流かな
白2線オサエを打たせない意味です
このようになって
白は隅に一手かけるだろう
English:
because alphago is going for territory
here also very early in the game and
also and black is sort of inviting that
with this move the large knight's move here
and also there's the fact that the black
player the human player is going to have
fairly good winning percentage, in that I mean about even, it doesn't get so
good for the human but it's gonna be
about even for a long time into the game
a relatively long time so Black
connected here white crawled and black
played the hane this is a variation of the
joseki that was played a lot at the time
in modern games you often see black crawl
instead of connecting and that's to stop
white from at some point playing
covering on the second line so if black
crawls then something like this could
happen and then white would probably go
back to the corner anyway because
covering at this point would be a very
Japanese:
黒からオサエが大きいから
古い定石はこれだが
白は2線にオサエて問題です
だから黒ハネ、白ブツカリとなって
人間の間で流行っていた手順です
黒の厚みが右辺に向かっている
白はキカシを打ってから
昔からあった大ゲイマシマリ対策です
囲碁AIはこのツケをよく打つ
AlphaGoも後で打つようになる
このマスターというバージョンは
呉清源が使った打ち方です
English:
big move for black to play next in the
game he just connected white crawled and so
if black does continue with the old
joseki which is this one and white would
be able to to cover here and maybe make
some trouble with this kind of fighting
in into the side so he plays this hane
white bumps against black and here this
is exactly the same as the humans were
playing it at the time and black has
this nice influence pointing towards
the right side of the bord or towards
upper side depending on how you view it
white plays these forcing moves and
we're gonna see an old-fashioned way to
deal with the large Knights corner
enclosure because we have been seen a
lot of computer programs play this right
and we've been seeing in the later
versions of alphago we saw AlphaGo
playing this move too but in this master
version AlphaGo was actually going to
play the move that was this is a move
that Go Seigen liked to play so it's
Japanese:
何十年にもわたって
使われてきた白の打ち方です
形を決めて辺のヒラキを打つ
一応機能している
32手目ですが黒の評価値は48.5％
KataGoによるとその数値になった
半目か、1目半の差です
細かい
他の碁と比べて32手まで細かい
善戦している
ー私がAIと打つときの目標は
少しでも細かい碁にしようと、
English:
been around for decades it's an
old-fashioned variation where white
place these forcing moves and then can
extend on the side and you can see it is
functioning fairly well for white towards
the right side at this point we are 32
moves into the game and blacks winning
percentage is 48.5%
according to KataGo at least the time I
did it and that's like maybe he's going
to win by half a point or one and a half
points I mean maybe he's gonna lose by a
point or one and a half once it's that
close
it's very close this is the closest that
any of the games of been at 32
moves into the game so this is pretty
impressive I think -yeah yeah I mean when
when I when I play the AI my goal is
just to keep it close as long as
Japanese:
最後は負けてしまうがー
ここで羋 昱廷はナダレ定石を意識しているようだ
alphagoがナダレ定石に対応できるか試そうとしている
カカリから黒オサエなら普通だった
つまり全体を見ると
右上の黒は固い構えで
白は右辺を荒らして
碁盤の右側は
大場を打ち終わって価値が低い
急な攻めもないし非
だから左辺が焦点です
右上の黒が固いから
English:
possible I know I'm gonna lose but keep
it close- so now he pushes and this is
where Mi Yuting is seems to be trying to
set up the avalanche I think he's trying to
test alphago and see if it can deal with
the avalanche because otherwise but he could
have just played an approach move here
and covered this would be the more
normal way of playing since in this game
the reason I say this is normal is
because black has this very solid
position in the upper right corner and a
strong position here too while white has
split the right side if we look at the
right half of the board in general the
value of this whole area of this whole
area here it has been reduced by the
fact that it's pretty much filled with
stones and none of them are really that
much in danger and so it would be very
normal for black to be focusing on the
left side of the board just the fact
that these stones pointing out here are
so solid the upper side is not as
English:
important and so with this move in itself I
don't really like the direction of
blacks play which is heading towards the
upper side which black could have given
to white with little loss just the
fact that black is so solid here it
means that black could have allowed
white to play in that direction and if
White's moves in that direction would not
have been so effective so that's why I'm
suggesting it's more natural for black
to be playing this way on the left side
of the board not something like this
this is what I would like to play and I
think it was getting a good score with
the computer programs too but I think he
just wanted to test alphago's
understanding of the avalanche joseki
and AlphaGo could have avoided
the complicated variations by playing
for instance something like this but it
turns out AlphaGo went right into the
most complicated avalanche joseki so we
thought we're gonna see if it knows how
Japanese:
石の方向としては
右辺に向かうのは疑問
右上の黒が固くて
白は上辺を打っても効果が少ない
上辺を白に与えても損が少ない
だからさへんを囲えば自然だと感じる
私ならこう打つ
囲碁AIの評価値もよかった
だから彼はalphagoをナダレ定石で試そうとしたのではないか
そしてAlphaGoも簡明に打つなら
こういう手もあった
しかし難解定石に突入した
Japanese:
そしてすぐに
alphagoは定石から外れた
定石よりいい手を打った
当時は定石を知らないのかと思っていたが
実は定石を超える手だった-Wow-
白のハネは
シチョウに取らせない工夫
白ハイとなって
黒は今のところ
この石をシチョウに取る手はない
白のこの一手は簡単に取らせない意味だった
この変化は
以前あったナダレ定石の変化
100年近く前に
English:
to deal with them and almost immediately
alphago is gonna play a move that is not
the joseki -oh yeah- and it turns out this
is probably better than the joseki- oh no
I was thinking oh it doesn't know that
joseki after all and I think he had made
a mistake but no this looks like it's
better than the joseki -Wow-
so white plays here this is to stop
Black from capturing this stone in a
ladder so White's gonna play this one
forcing move here -mmm- and black jumps out
white plays the forcing move here
and went white crawls you can see for
the time being black has no way to
capture this stone in a ladder so that's
that's what that white stone here is
doing is it's making it a bit more
difficult for black to capture that
stone and this is actually a variation
it's very similar to a variation of the
Avalanche joseki that came out at the
beginning like almost a hundred years
ago it was a bit less than a hundred
Japanese:
呉清源がナダレの新変化を打っていた
まだ定石がなかった
呉清源の新手に対していくつかの変化が生まれた
そしてそのうち今の定石になった
これは消えた変化の一つで
私たちは白失敗だと思っていた
しかしこの局面では有効です
隅の白地が大きい
黒の中央は発展しない
白の評価値は60％
黒40％
盤面で黒2、3目勝ちか
English:
years ago when Go Seigen started playing
these variations and no one knew how to
play it and they were inventing all
these new josekis to deal with this
innovation that Go Seigen had done and
so there were a number of variations of
the avalanche joseki that finally settled
down into a set joseki
that we everyone plays now and so this
is very similar to one of those but we
didn't think it was so good with white
crawling so much on the second line it
turns out in this board position at
least it's pretty good for white the
corner territory here is pretty
important and blacks not gonna get
enough out of the center so yeah that
was a big surprise at this point of the
game white is more like is pretty close
to sixty percent actually so it is
getting good for white so black is
somewhere around forty percent only
winning by two or three points
on the board and in his next move he's
English:
gonna make what I'm gonna call the
losing mistake actually this game I
think it went to a half point so this
was a half point game in which alphago
was way ahead but it gave away most of
its lead in the end game and so that was
I was very annoyed about that at the
time I think this might have been one of
the games that I did a commentary for
you -hmm
and on the aga website I mean the
YouTube site but this was a point where
when black extended and white got to
extend here putting pressure on these
black stones here this was a point where
White's lead is expanding its it's very
close on the board Black has 37% when you
present it's according to Katago
so what black should have done is black
should have played this and this is
something that people picked on picked
up immediately like this was obvious to
people watching the game and in the after
game analysis we didn't need a computer
program to tell us about this move
actually
Japanese:
黒の敗着を見せよう
実は半目になったんだけど
終盤でAlphaGoが大損をするのです
当時私はイラついた記憶がある
私が解説したかと思う
AGAのYouTubeチャンネルで
黒単ノビだったので
ここのノビを打って白優勢が拡大した
盤面勝負で、黒の評価値が37％
黒はアテを打つべきだった
当時も皆気が付いていた
生で見ている人も、局後の研究でも
AIに頼るまでもなく分かっていた
Japanese:
-mmm-hmm-この交換は黒の権利です
それだけ打ってここにノビがよかった
白はもう一回ハイを打って、
白は2線をたくさん打っている
当時は黒がいいかと思っていたが
実は少し白有利です
盤面で黒2、3目です
私は計算できなかったが
KataGoを信じます
白はノビを先手で打てたのです
変化では上に黒石が並んで
白は2線を打たされていた
English:
-mmm-hmm- Black can play this exchange it's
gonna be forcing white has to answer and
then black can extend here so it would have been better for black to have that
exchange in White will probably crawl
once more and you can see black is
forcing white to crawl a lot on the
second line on the side so we thought
this was gonna be okay for black it
turns out the overall position is
slightly better for white and so alphago
is saying that black can only win by two
or three points on the board it's not
something that I can calculate so I'm
gonna I mean KataGo was saying that I'm
willing to believe it but I it's not
something that I would be calculating
during the game in the actual game when
white gets to extend here black had to
answer that and just at that difference
there were in the variation I was
showing you with a line of black stones
and with white being forced to play on
the second line in this case white is up
Japanese:
外の黒の厚みが
だいぶん違います
盤面勝負だから黒は苦しい
さっき言ったように、、AlphaGoはヨセでリードの大部分を返した
難しかったのは
逆転のチャンスがあったのか？
実際はAlphaGoが終始優勢だったようです
最後に何目も損をする
ー楽しかった
よくそこまで研究した
AlphaGoの新手が出たし
素晴らしい！
皆様楽しかったか？
English:
on the third and fourth line there's
just a significant difference there in
the strength of black's outside thickness so
the game continued like this but it was
already very difficult for Black
now it's very close on the board but as
I was saying alphago gave most of it
back in the endgame and so this is the
one one of the games were it's sort of
complicated trying to figure out whether
the human actually had a winning chance
because it did end up being a half point
but I think that alphago stayed ahead
throughout the game when they entered
the endgame it was like it was close
before komi but AlphaGo gave most of
that away -this is this is really cool I
mean to see you know I just like you
that is so you know so well know so well
researched and alphago coming up with a
you know a different move that actually
adds to that that's that's pretty cool
that's gonna excite you as a go
historian yeah excellent well folks that
Japanese:
この後も見てください
60の対局を全部解説します
ご視聴有難うございました
English:
was a real treat hope you enjoyed that
stick with us and of course we'll be
doing the entire sixty game series so we
will see you next time thanks so much
for watching
| {
"pile_set_name": "YoutubeSubtitles"
} |
Romanian:
romana
German:
MOSFILM
Filmkonzern MOSFILM
Produzentengesellschaft
von Alexander Litwinow
Mit finanzieller Unterstützung
des Kulturministeriums
der Russischen Föderation
und Russische Militärhistorische
Gesellschaft
präsentieren
ZWEI IN DER STEPPE
Nach der Novelle von E. Kasakewitsch
"Zwei in der Steppe"
und den Kriegstagebüchern von K. Simonow
Hauptdarsteller:
Juri Borissow, Amir Abdykalykow
Spanish:
Consorcio de cine
MOSFILM
Compañía productora de
Alexándr Litvínov
Con el apoyo financiero
del Ministerio de Finanzas
de la Federación Rusa
La sociedad histórico-militar
de Rusia
presentan
EL CAMINO
PARA BERLÍN
Sobre la base de la novela
de E. Kazakévich y los diarios
de guerra de K. Símonov
En papeles principales -
Yúri BORÍSOV
Amír ABDIKALÍKOV
Italian:
MOSFILM
Il Consorzio Cinematografico
“MOSFILM”
La Compagnia di Produzione di
Alexander Litvinov
Col sostegno finanziario del Ministero
della Cultura della Federazione Russa
La Società storico-militare russa
presentano
LA STRADA PER BERLINO
Tratto dal racconto di E.Kasakevich
“Due nella steppa”
e dai diari di guerra di K.Simonov
Con
Yury Borisov e Amir Abdykalykov
English:
MOSFILM
MOSFILM CINEMA CONCERN
PRODUCTION COMPANY
OF ALEKSANDR LITVINOV
With financial support from
the Ministry of Culture
of the Russian Federation
The Russian Military-Historical Society
Present
ON THE ROAD TO BERLIN
Based on the story by E. Kazakevich
“Two in the Steppe” and
the war diaries of K. Simonov
Serbian:
Slovak:
Pro www.titulky.com
Časování, Korekce a Překlad do CZ: KUBA2000
Cesta na Berlín
Spanish:
Consorcio de cine
MOSFILM
Compañía productora de
Alexándr Litvínov
Con el apoyo financiero
del Ministerio de Finanzas
de la Federación Rusa
La sociedad histórico-militar
de Rusia
presentan
EL CAMINO
PARA BERLÍN
Sobre la base de la novela
de E. Kazakévich y los diarios
de guerra de K. Símonov
En papeles principales -
Yúri BORÍSOV
Amír ABDIKALÍKOV
Polish:
polski polski
French:
Mosfilm
Les Studios Mosfilm
La société de production
d’Alexandre Litvinov
avec le soutien financier
du ministère russe de la Culture
et l’Association russe
d’histoire militaire
présentent
EN ROUTE VERS BERLIN
D’après la nouvelle d’E. Kazakevitch
« Deux hommes dans la steppe » et
le journal de C. Simonov
Avec : Youri Borrisov,
Amir Abdykalykov
Vietnamese:
MOSFILM
Tập đoàn điện ảnh “MOSFILM”
Hãng sản xuất của Alexander
Litvinov
Với sự tài trợ của
BỘ VĂN HÓA LB NGA
Cộng đồng lịch sử-quân sự Nga
Giới thiệu:
ĐƯỜNG TỚI BERLIN
Dựa theo truyện vừa
“Hai người trong thảo nguyên”
của E.Kazakevich
và nhật ký chiến trường của K.Simonov
Đóng vai chính:
Yuri Borisov, Amir Abdykalykov
Serbian:
English:
Starring:
Yuriy Borisov
Amir Abdykalykov
Producers:
Aleksandr Litvinov
Karen Shakhnazarov
Screenplay: Evgeniy Nikishov
Go!
Directed by: Sergey Popov
Director of Photography:
Shandor Berkeshi R.G.C.
Designers:
Sergey Fevralev
Irina Ochina
Composer: Roman Dormidoshin
Costumer: Gyulyumzhan Bejshenova
Make-up: Sofia Bulychyova
Go!
Sound: Olga Serdyukova
Editor: Olga Kolesnikova
Director:
Natalya Lyashchenko
Executive Producers:
Olga Golomovzyuk
Maksim Zolotov
Project Idea and
Artistic Director:
Karen Shakhnazarov
Italian:
Produttori:
Alexander Litvinov
Karen Shakhnazarov
Sceneggiatura di
Evgheny Nikishov
Dai, muoviti.
Regia di
Sergey Popov
Direttore della fotografia –
Shandor Berkeshi R.G.C.
Scenografia:
Sergey Fevralev
Irina Ochina
Musiche di
Roman Dormidoshin
Costumi – Ghyulyumzhan Beyshenova
Trucco – Sofia Bulychova
Forza, muoviti!
Fonico – Olga Serdyukova
Montaggio – Olga Kolesnikova
Regia – Natalya Lyaschenko
Produttori esecutivi:
Olga Golomovzyuk
Maxim Zolotov
Idea e direzione artistica di
Karen Shakhnazarov
Spanish:
Productores -
Alexándr LITVÍNOV
Karén SHAJNAZÁROV
Guión -
Yevguéni NIKISHÓV
Director de escena -
Serguéi POPÓV
Cámara de escena -
Shandór BERKESHI R.G.C.
Pintores de escena -
Serguév FEVRALIÓV
Irína ÓCHINA
Música -
Román DORMIDÓSHIN
Trajes -
Giuliumzhán BAISHÉNOVA
Maquillaje -
Sofía BULICHÓVA
¡Dale ya!
Sonido -
Olga SERDIUKÓVA
Montaje -
Olga KOLÉSNIKOVA
Director -
Natalia LIASHÉNKO
Productores ejecutivos -
Olga GOLOMOVZIÚK
Maxím ZÓLOTOV
Autor de la idea
y director artístico
Karén SHAJNAZÁROV
French:
Production : Alexandre Litvinov,
Karen Chakhnazarov
Scénario : Yevgueni Nikichov
Allez, hue !
Un film de Serguei Popov
Directeur de la photographie :
Sandor Berkesi R.G.C.
Décors : Serguei Fevraliov,
Irina Otchina
Musique : Roman Dormidochine
Costumes : Guioulumjan Beïchenova
Maquillage : Sofia Boulytchova
Allez, on y va !
Son : Olga Serdioukova
Montage : Olga Kolesnikova
Assistante réalisatrice :
Natalia Liachtchenko
Producteurs exécutifs :
Olga Golomovziouk, Maxime Zolotov
D’après une idée de
Karen Chakhnazarov, directeur artistique
German:
Produzenten:
Alexander Litwinow, Karen Schachnasarow
Drehbuch: Jewgeni Nikischow
Hü! Vorwärts!
Regie: Sergej Popow
Kamera: Sándor Berkesi R. G. C.
Spielleiter:
Sergej Fewraljow, Irina Otschina
Musik: Roman Dormidoschin
Kostüme: Gjuljumschan Bejschenowa
Make-Up: Sofja Bulytschewa
Hü!
Tonregie: Olga Serdjukowa
Schnittregie: Olga Kolesnikowa
Regie: Natalja Ljaschtschenko
Exekutivproduzenten:
Olga Golomowsjuk, Maxim Solotow
Idee und künstlerische Leitung:
Karen Schachnasarow
Vietnamese:
Nhà sản xuất:
Alexander Litvinov
Karen Shakhnazarov
Tác giả kịch bản: Evgeni Nikishov
Thôi, đi nào.
Dựng phim: Sergei Popov
Quay phim:
Sandor Berkeshi R.G.C.
Họa sĩ:
Sergei Fevralev
Irina Ochina
Âm nhạc:
Roman Dormidoshin
Trang phục:
Gyulyumzhan Beyshenova
Hóa trang:
Sofia Bulycheva
Nào, ta đi thôi!
Phụ trách âm thanh:
Olga Serdyukova
Biên tập:
Olga Kolesnikova
Đạo diễn: Natalya Lyatshenko
Điều hành sản xuất:
Olga Golomovzyuk
Maxim Zolotov
Tác giả ý tưởng và chỉ đạo nghệ thuật:
Karen Shakhnazarov
Slovak:
No, jeď!
Tak jeď!
Spanish:
Productores -
Alexándr LITVÍNOV
Karén SHAJNAZÁROV
Guión -
Yevguéni NIKISHÓV
Director de escena -
Serguéi POPÓV
Cámara de escena -
Shandór BERKESHI R.G.C.
Pintores de escena -
Serguév FEVRALIÓV
Irína ÓCHINA
Música -
Román DORMIDÓSHIN
Trajes -
Giuliumzhán BAISHÉNOVA
Maquillaje -
Sofía BULICHÓVA
¡Dale ya!
Sonido -
Olga SERDIUKÓVA
Montaje -
Olga KOLÉSNIKOVA
Director -
Natalia LIASHÉNKO
Productores ejecutivos -
Olga GOLOMOVZIÚK
Maxím ZÓLOTOV
Autor de la idea
y director artístico
Karén SHAJNAZÁROV
Spanish:
EL FRENTE SUR, 1942
¡Alerta aérea!
¡Todos al refugio!
¡Alerta aérea!
Slovak:
Jižní fronta
Rok 1942
Nálet!
Schovejte se!
Nálet!
English:
The Southern Front 1942
Air! Everyone, head for shelter!
Air!
German:
Südliche Front, 1942
- Luftalarm.
- Versteckt euch alle!
Luftalarm!
Vietnamese:
Mặt trận phía Nam năm 1942
- Báo động!
- Tất cả vào nơi trú ẩn!
Báo động.
Spanish:
EL FRENTE SUR, 1942
¡Alerta aérea!
¡Todos al refugio!
¡Alerta aérea!
Serbian:
Italian:
Fronte Meridionale
1942
- Aereo.
- Tutti nei rifugi!
Aereo.
French:
Front Sud. 1942
- Attaque aérienne !
- Tout le monde à l’abri !
Raid aérien.
Spanish:
¡Jefes y soldados del Ejército Rojo!
¡Su jefe político miente!
¡En la prisión alemana no les
torturan ni matan,
sino les tratan bien!
¡Soldados rojos,
pasen al lado nuestro!
- ¿Por qué cambiado la ropa?
- ¿Cómo?
¿Para que has cambiado
la ropa tú, fascista?
Déjame.
¡Sálvense! ¡Fascistas nos rodearon!
¡Sálvense!
- ¡Dame el fusil!
- ¡Atrás!
¿Por qué han cambiado
la ropa, fascistas?
De todo modo
los conozco a todos.
¿Por qué han cambiado
la ropa? ¡Les voy a matar!
Vietnamese:
- Mày thay đổi quần áo làm gì?
- Anh sao vậy?
Mày thay quần áo làm gì, tên phát-xít kia?
Mày thay quần áo làm gì hả?
Thôi đi.
Cứu với! Bọn phát-xít
bao vây ta rồi! Cứu với!
- Trả súng đây!
- Lùi! Lùi lại!
Chúng mày thay đổi quần áo à, lũ phát-xít
kia? Đằng nào tao cũng nhận ra bọn mày.
Thay đổi quần áo làm gì?!
Tao giết! Giết hết!
Serbian:
Komandiri i borci Crvene Armije!
VAŠE RUKOVODSTVO VAS LAŽE
U nemačkom zarobljeništvu vas ne muče
i ne ubijaju. Postupaju s vama dobro.
CRVENOARMEJCI, PREĐITE NA NAŠU STRANU!
Zašto si se preobukao?
-Molim?
Zašto si se preobukao, fašisto?
Tašto si se preobukao?
Ostavi me na miru!
Spašavajte se! Fašisti su nas opkolili!
Spašavajte se!
Daj pušku!
–Nazad!
Nazad!
Zašto ste se preobukli, fašisti!
Prepoznao sam vas.
Zašto ste se preobukli
Pobiću vas! Sve ću vas pobiti!
Spanish:
¡Jefes y soldados del Ejército Rojo!
¡Su jefe político miente!
¡En la prisión alemana no les
torturan ni matan,
sino les tratan bien!
¡Soldados rojos,
pasen al lado nuestro!
- ¿Por qué cambiado la ropa?
- ¿Cómo?
¿Para que has cambiado
la ropa tú, fascista?
Déjame.
¡Sálvense! ¡Fascistas nos rodearon!
¡Sálvense!
- ¡Dame el fusil!
- ¡Atrás!
¿Por qué han cambiado
la ropa, fascistas?
De todo modo
los conozco a todos.
¿Por qué han cambiado
la ropa? ¡Les voy a matar!
Slovak:
Velitelé a vojáci Rudé armády!
POLITRUK LŽE
V německém zajetí nejste mučení,
Zachází se s vámi dobře.
RUDOARMĚJCI, PŘEJDĚTE K NÁM!
Proč jsi se převlékl?
- Co?
Proč jsi se převlékl, fašisto?
Proč jsi se převlékl?
Nech mě v klidu!
Zachraňte se! Fašisté nás obklíčili!
Zachraňte se!
Dej sem pušku!
– Vrať ji!
Zpátky!
Poznám vás i tak, fašisti!
French:
- Pourquoi tu as changé d’uniforme ?
- Quoi ?
Pourquoi tu t’es changé, nazi ?!
Laisse-moi.
Sauve qui peut !
Nous sommes encerclés par les nazis !
- Donne-moi le fusil !
- N’approchez pas !
Pourquoi vous êtes-vous changés, nazis ?
Je vous reconnaîtrai quand même.
Pourquoi vous changer ?
Je vous tuerai tous !
Italian:
- Perché ti sei cambiato?
- Cosa?
Perché ti sei cambiato, fascista?!
Perché ti sei cambiato?
Lasciami in pace.
Scappate! Siamo circondati dai
fascisti! Scappate!
- Dammi il fucile!
- Indietro! Indietro!
Perché vi siete cambiati, fascisti?
Tanto vi riconosco ugualmente.
Perché vi siete cambiati?!
Vi ammazzo! Ammazzo tutti!
English:
- Why did you change?
- What are you talking about?
Why did you change your clothes,
you fasсist? Why’d you change?
Just leave me alone.
Hit the dirt! Fasсists.
They’ve got us surrounded! Run for it!
- Give me back my rifle.
- Get back!
Why’d you change clothes, fasсists?
I recognize all of you anyway.
Why’d you change clothes?!
I’ll kill you! I’ll kill you all!
German:
- Warum hast du dich verkleidet?
- Was willst du von mir?
Warum hast du dich verkleidet,
du Faschist?
Lass mich in Ruhe.
Rettet euch!
Die Faschisten haben uns umzingelt!
- Gib das Gewehr her!
- Zurück! Zurück!
Warum habt ihr euch verkleidet,
ihr Faschisten?
Ich erkenne euch sowieso.
Ich bring euch alle um!
Italian:
Stava provocando il panico, dannato!
Portatelo via!
Tenente! Hai una contusione?!
Signornò. Tenente Ogarkov, assegnato
alla divisione 114 per il collegamento.
Hai armi?
Ce l’ho.
- Ecco.
- Carica?
- Signorsì… Carica.
- Perché non hai sparato?
French:
Il a failli provoquer la panique,
le salaud !
Tirez-le d’ici.
Lieutenant ! Tu es commotionné ?
Non. Lieutenant Ogarkov, nommé officier
de transmission dans la 114e division.
Vous avez une arme ?
Oui.
- Voici.
- Il est chargé ?
- Oui.
- Pourquoi tu n’as pas tiré ?
Slovak:
Já vás poznám.
Proč jsi se převlékl!
Pobiju vás! Všechny vás pobiju!
Nedovolím dělat paniku.
Odneste ho!
Poručíku...
Jste zraněný?
Nejsem. Poručík Ogarkov,
styčný důstojník pro 114. divize.
Zbraň máte?
Mám!
Tady!
Je nabitá?
– Samozřejmě, nabitá.
Proč jste nestřílel?
Spanish:
Por poco armó el pánico,
canalla!
Llevelo.
¡Teniente!
¿Eres contusionado, o qué?
No. Soy el teniente Ogárkov.
designado de oficial de enlace
a la División 114.
¿Tienes armas?
Sí.
- He aquí.
- ¿Está cargado?
Así es. Cargado.
Entonces,
¿por qué no disparaste?
Spanish:
Por poco armó el pánico,
canalla!
Llevelo.
¡Teniente!
¿Eres contusionado, o qué?
No. Soy el teniente Ogárkov.
designado de oficial de enlace
a la División 114.
¿Tienes armas?
Sí.
- He aquí.
- ¿Está cargado?
Así es. Cargado.
Entonces,
¿por qué no disparaste?
German:
Der Mistkerl hat beinahe Panik ausgelöst.
Schleppt ihn weg.
Leutnant! Bist du bekloppt?
Nein. Mein Name ist Ogarkow, ich bin
Verbindungsoffizier der 114. Division.
Hast du eine Waffe!?
Ja.
- Das ist meine Waffe.
- Ist sie geladen?
- Jawohl, sie ist geladen.
- Und warum hast du nicht geschossen?
English:
He almost caused a panic, the rat.
Take him away.
Lieutenant! Are you shell-shocked
or something?
No, sir. Lieutenant Ogarkov,
assigned to the 114th division.
Do you have a weapon?
Yes.
- Here.
- Is it loaded?
- Yes, sir, it’s loaded.
- Then why didn’t you shoot?
Vietnamese:
Tí thì gây hoang mang đấy, đồ loạn óc!
Đem nó đi.
Trung úy! Choáng hay sao?
Không sao. Tôi là trung úy Ogarkov
được phân công làm sĩ quan
liên lạc ở sư đoàn 114.
Có vũ khí không?
Có.
- Đây
- Nạp đạn chưa?
- Đúng vậy…Đã nạp đạn.
- Thế sao không bắn?
Serbian:
Stvara paniku, gad!
Nosite ga odavde!
Poručniče...
Jesi li ti kontuzovan?
Nisam. Poručnik Ogarkov,
oficir za vezu 114-te divizije.
Imaš li oružje?
Imam!
Evo!
Je li napunjen?
–Naravno, napunjen je.
Zašto nisi pucao?
English:
The evacuation will end at 5 PM.
- You’ll answer for this personally.
- Yes, sir!
Do you know why there aren’t
any craters from shells in the road?
Why?
Fritz’s orders - don’t bomb
the roads or highways.
Then they can use them themselves.
Comrade officers! You need to leave
immediately for your divisions
and deliver these orders.
Thousands, even tens of thousands
of lives depend on you!
Ogarkov?! Our divisions are next
to each other.
We can ride together
as far as Pavlovsky farm.
Yes? I’ll get the horse.
Spanish:
Terminar la evacuación
para las 17.00.
- Por su responsabilidad.
- Así es.
¿Sabes por qué en la carretera
no hay huecos?
- ¿Por qué?
- Hay orden alemana de no
bombearlos, ya que quieren
usarlos ellos mismos.
¡Compañeros oficiales!
Uds. tienen que irse de inmediato
y llevar s sus unidades la orden
de combate. ¡De cada
uno de Uds. dependen decenas
de miles de vidas!
¡Ogárkov! Nuestras Divisiones
son vecinas,
así que hasta el caserío
de Pavlovski iremos juntos.
Está bien. Ahora yo con caballo...
Italian:
Concludere l’evacuazione alle 17.00.
- Risponderà personalmente.
- Agli ordini.
Sai perché per la strada non
ci sono buche fatte dai proiettili?
Perché?
Un ordine per i cruchi – non
bombardare strade e autostrade.
Siccome poi ci dovranno
passare loro.
Compagni ufficiali! Dovete andare
subito nelle vostre divisioni
e portare l’ordine.
Ora da voi dipendono migliaia,
forse decine di migliaia di vite!
Ogarkov?! Le nostre divisioni
sono vicine
perciò fino al cascinale Pavlovsky
andiamo insieme.
Ah, sì? Subito.
Il cavallo… subito…
Spanish:
Terminar la evacuación
para las 17.00.
- Por su responsabilidad.
- Así es.
¿Sabes por qué en la carretera
no hay huecos?
- ¿Por qué?
- Hay orden alemana de no
bombearlos, ya que quieren
usarlos ellos mismos.
¡Compañeros oficiales!
Uds. tienen que irse de inmediato
y llevar s sus unidades la orden
de combate. ¡De cada
uno de Uds. dependen decenas
de miles de vidas!
¡Ogárkov! Nuestras Divisiones
son vecinas,
así que hasta el caserío
de Pavlovski iremos juntos.
Está bien. Ahora yo con caballo...
Slovak:
Pozor!
Dvojřad nastoupit!
Odpovídáte za to osobně!
– Rozumím!
Víš, proč je silnice
téměř bez děr od bomb?
Proč?
- Rozkaz Frickum.
Nezničte silnice,
které by jsme mohli použít.
Soudruzi důstojníci,
vraťte se do svých divizí,
Serbian:
Mirno!
Postrojte se u kolonu po dvojica!
Lično mi odgovaraš!
–Razumem!
Znaš li zašto po putu gotovo da i nema
rupa od bombi?
Zašto?
-Fricevi su dobili takvo naređenje.
Da ne razore puteve,
da bi ih posle oni mogli koristiti.
Drugovi oficiri, treba da se
vratite u svoje divizije,
da bi odneli naređenja.
Od svakog od vas zavise životi hiljadu,
ako ne i deseci hiljada života.
–Ogarkov!
Ogarkov,naša divizija je tu pored.
Do Pavlovska ćemo ići zajedno.
Vietnamese:
Kết thúc sơ tán vào lúc 17-00
- Các anh sẽ trả lời trực tiếp…
- Rõ.
Mà cậu biết tại sao trên đường
gần như không có hố bom?
Vì sao?
Bọn Đức được lệnh không ném
bom xuống đường và xa lộ
Bảo là, giữ đường để sau
chính bọn chúng sẽ đi
Các đồng chí sĩ quan! Các đồng
chí cần lập tức về sư đoàn của mình
và truyền đạt mệnh lệnh chiến đấu.
Bây giờ có hàng ngàn,
thậm chí là hàng chục ngàn sinh
mạng phụ thuộc vào mỗi đồng chí!
Ogarkov?! Sư đoàn của
chúng ta bố trí liền nhau,
cho nên ta sẽ đi cùng đến thôn Pavlovsk
Vậy hả? Tôi lấy ngựa…Ngay đây…
German:
Die Evakuierung muss
um Punkt 17 Uhr beendet sein.
- Dafür sind Sie persönlich
verantwortlich. - Jawohl.
Weißt du, warum es hier fast keine
Granattrichter gibt?
Warum?
Den Deutschen wurde befohlen,
Autostraßen nicht zu bombardieren.
Bald sollen sie selbst
die Autostraßen befahren.
Genossen Offiziere!
Fahren Sie sofort in Ihre Divisionen,
um den Gefechtsbefehl zuzustellen.
Von jedem Offizier hängen jetzt
Zehntausende Menschenleben ab!
Ogarkow?! Unsere Divisionen sind
nahe beieinander stationiert,
deshalb fahren wir zusammen
zum Bauernhof Pawlowski.
Ja? Moment. Mein Pferd… Moment...
French:
Achever l’évacuation à 17h00.
- Vous en assumez la responsabilité.
- A vos ordres.
Tu sais pourquoi il n’y a presque pas
de trous de bombe sur la route ?
Pourquoi ?
Les Fritz ont ordre de ne pas
bombarder les routes.
Ils prévoient d’y circuler eux-mêmes.
Camarades officiers ! Vous devez vous
rendre immédiatement dans vos divisions
avec cet ordre.
De chacun de vous dépendent des milliers,
des dizaines de milliers de vies !
Ogarkov ?! Nos divisions stationnent
à côté.
On ira ensemble jusqu’à Pavlovski.
D’accord. Un instant. Le cheval…
English:
Look over there.
- What’s your name?
- Sergey.
- Why don’t you have an orderly?
- They didn’t give me one.
How can a communications
officer get by without an orderly?
Say something happens to you
on the road, who will help you,
make a report to your superior officer?
You head to the right here.
See you.
German:
- Guck, was dort ist.
- Ja.
- Wie heißt du?
- Sergej.
- Warum hast du keine Ordonnanz, Sergej?
- Man hat mir keine gegeben.
Keine? Kann denn ein Verbindungsoffizier
ohne Ordonnanz fahren?
Wer hilft dir,
wenn dir unterwegs etwas passiert?
Wer benachrichtigt deinen Vorgesetzten?
Nun musst du nach rechts gehen.
- Tschüss.
- Mach's gut.
Spanish:
Mira, qué hay allí.
- ¿Cómo te llamas?
- Serguéi.
¡Por qué no tienes al ordenanza?
- No sé. No me lo han dado.
- No lo han dado.
¿Acaso el oficial de enlace puede
ser sin un ordenanza?
Si suceda algo contigo
en el camino,
¿quién te ayudara,
e informara al jefe?
En adelante vas solo,
a la derecha. Suerte.
Spanish:
Mira, qué hay allí.
- ¿Cómo te llamas?
- Serguéi.
¡Por qué no tienes al ordenanza?
- No sé. No me lo han dado.
- No lo han dado.
¿Acaso el oficial de enlace puede
ser sin un ordenanza?
Si suceda algo contigo
en el camino,
¿quién te ayudara,
e informara al jefe?
En adelante vas solo,
a la derecha. Suerte.
Slovak:
pro další rozkazy.
Každý z vás zodpovída za životy tisíců,
ne-li desítek tisíců životů.
Ogarkov!
Ogarkov, naše divize tu je hned.
Do Pavlovska jdeme spolu.
Hned! Na koně!
Jedem, jedem...
– Rychleji!
Podívej se, co se děje!
Jak se jmenuješ?
- Sergej.
Proč nemáš pomocníka, Sergeji?
Nevím. Nedali mi ho.
- Nedali ti ho?
Může byt styčný důstojník bez pomocníka?
Co když se ti něco stane?
Kdo ti pomůže?
Kdo podá zprávu?
Dál jeď sám. Jeď vpravo!
Měj se!
French:
- Va jeter un coup d’œil.
- Bon.
- Tu t’appelles comment ?
- Sergueï.
- Pourquoi tu es sans ordonnance ?
- On ne m’en a pas donné.
Est-ce qu’un officier de transmission
peut se passer d’ordonnance ?
S’il t’arrive quelque chose,
qui t’aidera ?
Qui informera les supérieurs ?
Allez, tu continues seul, à droite.
- Salut.
- Bon.
Vietnamese:
Này, ngó xem, cái gì đằng kia.
- Cậu tên gì?
- Sergei.
- Sao không có cần vụ, Sergei?
- Tôi chả biết, người ta không cho
Không cho. Chẳng nhẽ sĩ quan
liên lạc mà không có cần vụ?
Ngộ nhỡ trên đường có chuyện
gì xảy ra với cậu, thì ai giúp,
và báo cáo với cấp trên?
Tự đi tiếp nhé, cần rẽ phải
Phóng đi.
Italian:
Guarda, cosa c’è.
- Come ti chiami?
- Sergey.
- Perché senza l’attendente?
- Non so, non me l’hanno dato.
Come fa un ufficiale di collegamento
non avere l’attendente?
Se per strada ti succede qualcosa,
chi ti aiuta,
chi lo riferisce ai capi?
Ora vai da solo, a destra.
Statti bene.
Serbian:
Hajde, hajde...
–Življe!
Pogledaj šta se tamo dešava!
Kako se zoveš?
-Sergej.
Zašto nemaš pomoćnika, Sergej?
Ne znam. Nisu mi ga dodelili.
-Nisu ti ga dodelili?
Zar oficir za vezu može bez pomoćnika?
Ako mu se nešto desi?
Ko će mu pomoći?
Ko će da javi komandi. Dalje moraš sam.
Idi desno!
Živ bio!
Spanish:
Ocupar la posición. ¡Rápido!
¡Se dispongan
a la izquierda!
En esta dirección.
Vamos, muchachos...
Serbian:
Brže, brže!
Zauzmite položaj!
Raširite se, raširite se!
Više u levo!
Tamo!
Hajde, momci!
Spanish:
Ocupar la posición. ¡Rápido!
¡Se dispongan
a la izquierda!
En esta dirección.
Vamos, muchachos...
Vietnamese:
Lẹ lên, lẹ lên, về vị trí.
Xoay đi, xoay đi,
sang trái nữa, hướng kia kìa.
Nào, nào các chiến hữu…
French:
Allez, plus vite, prenez position.
Retournez le canon. Sur cet axe.
Allez, les gars…
English:
Look lively, hold your position.
Turn around - more to the left.
That’s it.
Italian:
Muovetevi, sulla posizione.
Girate, girate, più a sinistra,
questa è la direzione.
Forza, forza, ragazzi…
German:
Schnell, beeilt euch,
bezieht schnell die Position.
Entfaltet euch zum Gefecht!
Nach links, in diese Richtung!
Zack, zack, Jungs...
English:
Let’s go, guys.
- Is this Aprelevka?
- No!
- Do you know where the 341st division is?
- What division, damn it?
The Germans have broken through
our defense. Get out of here!
Dig in deeper, deeper. Don’t slack off.
Comrade Captain, I’m a communications
officer. I have an order,
I need to deliver it to the division.
Look here, we are here.
The Germans broke through here.
The division you need
is located in this area.
There’s nothing else I can tell you.
Belousov! Damn you, I told you
to the left! Well, that’s the direction.
- Sir!
- Bring those branches over here.
Brace the mounts!
Tanks from the right!
Turn your weapon around!
Italian:
- Questa è Aprelevka?
- No!
- Sa dov’è la divisione 341?
- Ma che diavolo di divisione?
I tedeschi hanno sfondato
la difesa. Vada via da qua!
Scavate, scavate di più,
non battete la fiacca.
Compagno capitano, sono un ufficiale
di collegamento. Ho un ordine.
Lo devo consegnare alla divisione.
Guardi. Noi ci troviamo qua.
I tedeschi hanno sfondato qui.
La divisione che cerca si trova
in quella zona.
Non posso dirle nulla
di più preciso.
Belousov, accidenti, ti ho detto
più a sinistra… ecco la direzione.
- Agli ordini!
- Portate qui i rami.
Fissate al basamento.
I carri armati a destra!
Gira!
Slovak:
Rychleji, rychleji!
Zaujmout pozici!
Otočte se!, rozložit!
Více doleva!
Rychle! Tím směrem!
No tak, chlapi!
Štáb je na kopci?
– Ne.
Víte, kde je 341. divize?
Jaká divize, sakra!
Němci prorazili obranu. Vypadněte odsud!
Hlouběji, neflákat se!
– Soudruhu Kapitáne,
jsem styčný důstojník. Mám rozkazy.
Musím je dostat k divizi.
Podívejte! Jsme zde...
Němci prorazili tady.
Divize kterou hledáte
se nachází v této oblasti.
Nemohu vám říct nic přesnějšího.
Belousove, ne tam...
Vietnamese:
- Cho hỏi, đây là làng Aprelevka à?
- Không phải!
- Thế anh biết sư đoàn 341 ở đâu không?
- Sư đoàn quái nào ở đây?
Bọn Đức phá vòng vây rồi.
Biến khỏi đây mau!
Đào sâu hơn, sâu nữa vào,
không lý sự gì hết
Đồng chí đại úy,
tôi là sĩ quan liên lạc. Tôi có lệnh.
Tôi cần mang lệnh tới sư đoàn.
Nhìn đây. Ta đang ở chỗ này.
Bọn Đức phá ở đây
Sư đoàn mà cậu cần thì đang ở khu vực này.
Tôi không thể nói rõ hơn được.
Belousov, tiên sư cậu, tôi đã bảo cậu lệch
sang bên trái nhiều hơn…đấy, cứ hướng ấy.
- Rõ!
- Mang cành cây đến đây.
Gia cố càng pháo cho chắc vào.
Có xe tăng bên phải!
Quay pháo!
Serbian:
Vitja, na ono brdo?
–Ne.
Znate li gde je 341-va divizija?
Kakva divizija, dođavola!
Nemci su probili odbranu. Sklonite se odavde!
Kopaj dublje, ne zabušavaj!
–Druže kapetane,
ja sam oficir za vezu. Imam naređenje.
Moram ga odneti u diviziju.
Pogledajte! Mi smo ovde...
Nemci su ovde probili.
Divizija koju tražite se nalazi u ovom rejonu.
Ne mogu vam reći ništa preciznije.
Belousov, ne tamo...
Rekao sam malo više ulevo! U onom pravcu!
-Razumem!
Donesite ovamo to granje!
Ojačajte bedem!
Tenkovi s desne strane!
French:
- S’il vous plaît, c’est Aprelevka ?
- Non !
Vous ne savez pas où est
la 341e division ?
Diable, quelle division ? Les Allemands
ont percé nos défenses. Partez !
Creusez plus en profondeur,
ne glandez pas.
Camarade capitaine,
je suis transmissionniste.
J’ai un ordre à remettre à la division.
Regardez, nous sommes ici.
Les Allemands ont percé là.
La division que vous cherchez
se trouve dans ce secteur.
Je ne peux rien vous dire de plus.
Belooussov, merde, j’ai dit
plus à gauche… voici l’axe.
- A vos ordres !
- Amenez des branches.
Fixez l’affût.
Des chars à droite !
Retournez le canon !
German:
- Heißt diese Ortschaft Aprelewka?
- Nein.
Wissen Sie vielleicht,
wo die 341. Division ist?
Was heißt hier Division?
Die Deutschen sind durch
die Verteidigung durchgebrochen.
Fahren Sie weg!
Verschanzt euch! Tiefer!
Nicht faulenzen!
Genosse Hauptmann,
ich bin Verbindungsoffizier.
Ich muss einen Befehl
in die Division bringen.
Schauen Sie mal. Wir sind hier.
Der Gegner ist hier durch
die Verteidigung durchgebrochen.
Die Division, die Sie brauchen,
ist in diesem Gebiet.
Ich kann dazu nichts Genaueres sagen.
Beloussow, ich hab dir doch gesagt:
Nach links, in diese Richtung!
- Zu Befehl!
- Bringt Zweige!
Befestigt die Gestelle.
Rechts sind Panzer!
Geschütze drehen!
Spanish:
- Dígame, ¿es Aprélevka?
- ¡No!
¿Ud. no sabe, ¿dónde está
la 341 División?
¿Qué diablos? Alemanes han roto
la defensa. ¡Váyase!
- ¡Atrincheramos más!
- Soy el oficial de enlace.
Tengo la orden y debo llevarla
a la División.
Mire. Estamos aquí.
Alemanes se irrumpieron aquí.
Su División está en esta zona.
No puedo decirle nada más exacto.
Beloúsov, ..tu madre..,
te dije, más a la izquierda.
- En esta dirección.
- ¡Está bien!
Traigan ramas para acá.
Ajústenlos.
¡Tanques de la derecha!
Spanish:
- Dígame, ¿es Aprélevka?
- ¡No!
¿Ud. no sabe, ¿dónde está
la 341 División?
¿Qué diablos? Alemanes han roto
la defensa. ¡Váyase!
- ¡Atrincheramos más!
- Soy el oficial de enlace.
Tengo la orden y debo llevarla
a la División.
Mire. Estamos aquí.
Alemanes se irrumpieron aquí.
Su División está en esta zona.
No puedo decirle nada más exacto.
Beloúsov, ..tu madre..,
te dije, más a la izquierda.
- En esta dirección.
- ¡Está bien!
Traigan ramas para acá.
Ajústenlos.
¡Tanques de la derecha!
English:
Aim for the one in front.
Take your positions.
- Set your sights at 20.
- Shell.
Аn armor-piercing shell. Load!
Fire!
More to the left,
Belousov, damn you!
Why are you sprawled out!
Load.
Load! Fire. Fire, I said!
Aim constant. Three rounds,
continuous fire.
Serbian:
Okrenite oružje!
Gađajte prvog!
Zauzmite pozicije!
Cilj - 20!
–Granatu!
Protivoklopnu... Nišani!
Pali!
Levo, levo!
Gađaj kupolu, ne oklop!
Zašto ste zalegli?
Hajde, puni! Hajde!
Cinj 18...
Nišani! Pali!
Pali, rekao sam!
Daljina je dobra!
Tri hica!
Prvi... Pali!!
4 tenka! Gađajte višlje,
u kupolu, majku vam vašu!
Spanish:
¡Vuelvan la pieza!
Apuntar al primero.
Ocupar las posiciones.
- Puntería 20.
- Carga.
¡A cargar el proyectil perforante!
¡Fuego!
¡Más a la izquierda, Beloúsov,
...tu madre!
¿Qué esperan! ¡Dale... caray!
¡A cargar!
A cargar... ¡Fuego!
¡Fuego, te he dicho!
Puntería permanente.
Tres proyectiles.
¡Fuego graneado!
¡Apúntalo más arriba,
...su madre!
Vietnamese:
Nhắm vào đầu
Vào vị trí
- Thước ngắm 20
- Nạp đạn
Xe bọc thép. Nạp đạn!
Bắn!
Sang trái, sang trái nữa,
Belousov, tổ sư cậu!
Sao cứ ườn xác ra thế!
Nào, mẹ chúng mày! Nạp đạn mau!
Lên đạn! Bắn!
Bắn, tôi đã bảo rồi!
Giữ nguyên thước ngắm!
Ba quả đạn…Bắn ngay!
Nhắm cao hơn, cao hơn mặt cắt,
mẹ chúng mày chứ!
Nạp đạn!
German:
Geschütze richten!
Den Spitzenpanzer beschießen!
Positionen beziehen!
- Erhöhung 20.
- Ladung.
Panzergeschoß! Laden!
Feuer!
Nach links, nach links, Beloussow!
Warum liegt ihr hier? Ihr musst laden!
Laden! Feuer! Feuer!
Ständige Erhöhung!
Drei Geschoße... Lauffeuer!
Höher, höher, hol euch der Teufel!
Laden!
Italian:
Puntamento diretto.
In posizione.
- Puntamento 20.
- Carica.
Perforante! Carica!
Fuoco!
Più a sinistra, Belousov,
accidenti!
Ma che fate! Forza, dannazione!
Carica!
Carica! Fuoco!
Fuoco, ho detto!
Alzo a zero!
Tre proiettili… fuoco!
Prendi più in alto,
ad angolo, dannazione!
Carica!
Spanish:
¡Vuelvan la pieza!
Apuntar al primero.
Ocupar las posiciones.
- Puntería 20.
- Carga.
¡A cargar el proyectil perforante!
¡Fuego!
¡Más a la izquierda, Beloúsov,
...tu madre!
¿Qué esperan! ¡Dale... caray!
¡A cargar!
A cargar... ¡Fuego!
¡Fuego, te he dicho!
Puntería permanente.
Tres proyectiles.
¡Fuego graneado!
¡Apúntalo más arriba,
...su madre!
French:
Braquez-le !
Occupez vos positions !
- Angle de visée – 20.
- Obus.
Obus perforant. Chargez !
Feu !
Plus à gauche, plus à gauche,
Belooussov, merde !
Levez-vous ! Allez, bon sang ! Chargez !
Chargez ! Feu ! J’ai dit : feu !
Maintenez l’angle de visée.
Trois obus… Tir rapide, feu !
Vise plus haut, plus haut, bon sang !
Chargez !
Slovak:
Řekl jsem víc doleva! Tímto směrem!
- Rozumím!
Přineste sem větve!
Zakryjte postavení!
Tanky z prava!
Otočte dělo!
Střílejte první!
Zaujmout pozice!
Cíl - 20!
– Granát!
Protitankový... Namiřte!
Pal!
Doleva, doleva!
Tref kopuli, ne pancíř!
Co se kryjete?
Jen do toho, plnou! No tak!
Serbian:
Nišani!
Ni korak nazad!
Ne čujem ništa...
–Idemo, brže!
Nazad!
Rekao sam, nazad!
Nazad, majku vam vašu!
Ustaj! Dolaze Nemci!
Beži, beži!
Kuda ste krenuli!
Nazad!
Rekao sam... Nazad!
Svi ćete na vojni sud!
Nazad!
Plašljiva pseta!
Nazad... Kukavice!
French:
Ne reculons pas d’un pas !
Revenez !
J’ai dit : revenez !
Revenez, bon sang !
Reste pas là ! Les Boches ! File, file !
Revenez tous ! Revenez, j’ai dit !
Je vous traduirai devant un tribunal
militaire ! Revenez !
Salauds, revenez, j’ai dit… lâches…
Vietnamese:
Không lui một bước!
Trở lại.
Trở lại, tao bảo!
Nào, quay lại, mẹ chúng mày!
Nằm chết dí thế à? Bọn Đức đấy,
chạy đi, chạy mau!
Tất cả quay lại! Quay lại, tao lệnh!
Tất cả ra tòa án binh! Quay lại!
Lũ khốn, quay lại, tao bảo…bọn hèn nhát…
German:
Keinen Schritt zurück!
Zurück.
Zurück, sage ich!
Zurück, hol euch der Teufel!
Warum liegst du hier?
Die Deutschen! Lauf weg!
Zurück! Alle! Zurück, sage ich!
Zurück! Sonst kommen
alle vor das Tribunal!
Zurück, sage ich... feige Hunde...
English:
Go higher, higher, damn it!
Load!
No retreat!
Back!
Back, I said.
Go back, damn it!
Why are you lying here!?
Germans! Run, run!
Back, I said! Back everyone!
Back, I said!
You’ll all be court marshalled.
Spanish:
A cargar.
¡Ni un paso atrás!
Atrás.
¡He dicho, atrás!
¿Rápido atrás:
...su madre!
¿Por qué estás aquí?
Vienen alemanes. Córrete.
¡Todos váyanse atrás!
¡He dicho, atrás!
Todos a los tribunales.
¡Atrás, canallas!
¡He dicho, atrás, cobardes!
Spanish:
A cargar.
¡Ni un paso atrás!
Atrás.
¡He dicho, atrás!
¿Rápido atrás:
...su madre!
¿Por qué estás aquí?
Vienen alemanes. Córrete.
¡Todos váyanse atrás!
¡He dicho, atrás!
Todos a los tribunales.
¡Atrás, canallas!
¡He dicho, atrás, cobardes!
Italian:
Non un passo indietro!
Indietro.
Indietro, ho detto!
Indietro, dannazione!
Cosa fai? I tedeschi!
Scappa!
Tutti indietro! Indietro, ho detto!
Vi mando in tribunale!
Indietro!
Carogne, indietro, ho detto…
vigliacchi…
Slovak:
Cíl 18...
Namiřte! Pal!
Pal, řekl jsem!
Vzdálenost je dobrá!
Tři výstřely!
První... Pal!!
4 tanky! Střílejte výše,
na kupole, matko boží!
Namiřte!
Ani jeden krok zpět!
Nic neslyším...
– No tak, rychleji!
German:
Zurück...zurück... zurück.
Spanish:
Atrás.
Serbian:
Kukavice!
Nazad! Nazad!
Slovak:
Zpátky!
Řekl jsem, zpátky!
Zpátky, matko boží!
Vstávej! Němci se blíží!
Běž, běž!
Kam jdete?
Zpátky!
Řekl jsem... Zpátky!
Půjdete před vojenský soud!
Zpátky!
Zbabělí psi!
Zpátky... Zbabělci!
Zbabělci!
Zpátky! Zpátky!
Spanish:
Atrás.
Italian:
Indietro… indietro… indietro…
Vietnamese:
Quay lại…quay lại…quay lại
French:
Revenez… revenez…
English:
Bitches, back I said! Cowards!
Back! Back!
Spanish:
Su nombre, apellido.
Ogárkov, Serguéi Leonídovich.
- ¿Su edad?
- Veinte años.
¿El grado militar?
Teniente.
¿El cargo?
Oficial de enlace del Estado Mayor
de la División.
¿Nivel de enseñanza?
Diez años de escuela
y el colegio químico-militar.
¿Ud. sabía, qué orden lleva
a la División?
- Si.
- Pregunto de su contenido.
¿Ud. sabía el contenido
de la orden?
Vietnamese:
Họ, tên, phụ danh?
- Ogarkov Sergei Leonidovich.
- Tuổi?
- 20 tuổi.
- Quân hàm?
- Trung úy
- Chức vụ?
Sĩ quan liên lạc thuộc
ban tham mưu quân đoàn.
Học vấn?
Tốt nghiệp phổ thông
và trường sĩ quan hóa học
Anh biết mang mệnh
lệnh nào đến sư đoàn chứ?
- Vâng
- Tôi hỏi nội dung lệnh.
Italian:
Cognome, nome, patronimico?
- Ogarkov Sergey Leonidovich.
- Età?
- Vent’anni.
- Grado?
- Tenente.
- Incarico?
Ufficiale di collegamento presso
lo stato maggiore.
Titolo di studio?
Scuola media e istituto chimico militare.
Sapeva quale ordine portava
alla divisione?
- Sì.
- Chiedo del contenuto.
Spanish:
Su nombre, apellido.
Ogárkov, Serguéi Leonídovich.
- ¿Su edad?
- Veinte años.
¿El grado militar?
Teniente.
¿El cargo?
Oficial de enlace del Estado Mayor
de la División.
¿Nivel de enseñanza?
Diez años de escuela
y el colegio químico-militar.
¿Ud. sabía, qué orden lleva
a la División?
- Si.
- Pregunto de su contenido.
¿Ud. sabía el contenido
de la orden?
French:
Vos nom et prénom ?
- Ogarkov Sergueï.
- Quel âge ?
- Vingt ans.
- Votre grade ?
- Lieutenant.
- Vos fonctions ?
Officier de transmission auprès
de l’état-major de l’armée.
Votre formation ?
Lycée et école militaire-chimique.
Vous étiez au courant de l’ordre
à la division ?
- Oui.
- Je parle du contenu.
German:
Name, Vorname, Vatersname?
- Ogarkow Sergej Leonidowitsch.
- Alter?
- Ich bin 20 Jahre alt.
- Dienstgrad?
- Leutnant.
- Dienstposten?
Verbindungsoffizier beim Armeestab.
Ausbildung?
Hm, Mittelschulbildung
und militärchemische Fachschule.
Wussten Sie, was für einen Befehl Sie
zustellen mussten?
- Ja.
- Wussten Sie, worum es ging?
English:
Your full name.
- Ogarkov, Sergey Leonidovich.
- Age?
- Twenty years.
- Rank?
- Lieutenant.
- Position?
Communications Officer at
the staff headquarters of the Army.
Education?
Ten years in school,
then the military chemical college.
Did you know what order you
were taking to the division?
- Yes.
- I'm talking about its content.
Serbian:
Prezime, ime i očevo ime.
–Ogarkov, Sergej Leonidovič.
Koliko godina?
–20.
Čin?
Poručnik.
Dužnost?
–Oficir za vezu pri štabu.
Obrazovanje?
-Gimnazija i vojnohemijska škola.
Jeste li znali kakva naređenja ste
nosili u diviziju?
Da.
–Pitam, da li ste znali za sadržaj poruke?
Spanish:
- ¡Sí!
- ¿Por qué no lo ha llevado?
No pude pasar a la División.
Allí hubo tanques...
Muchos tanques alemanes.
Y la División, parece,
se retiró tras el rio.
No lo sé,
no pude pasar a ella.
¿Quién fue su padre,
Ogarkov?
¿Por qué fue? Es vivo.
Es ingeniero en una fábrica
en Górki.
¿Por qué fue?
Nos separamos con el teniente
Ogárkov en caserío.
¿Cómo se portó en el camino?
Temía un poco. Pero yo pensaba
que es por inexperiencia.
Es joven todavía.
- ¿Y Ud. cuántos años tiene?
- Veinte y dos.
Vietnamese:
Anh biết nội dung lệnh chứ?
- Báo cáo, rõ!
- Vậy sao không mang đến nơi?
Tôi không thể đến gần đơn vị.
Đằng ấy có tăng, nhiều…
nhiều tăng Đức lắm ạ
Còn sư… sư đoàn có lẽ đã
lui sang bên kia sông
Tôi không biết,
tôi không thể đến gần được
Ông bố quá cố của anh là ai, Ogarkov?
Sao lại quá cố ạ? Ông ấy còn sống
Cha tôi là kỹ sư. Kỹ sư trong xưởng
máy ở Gorky. Sao lại quá cố chứ?
Chúng tôi chia tay với trung
úy Ogarkov ở gần làng Pavlovsky.
- Trên đường đi anh ta thế nào?
- Hơi nhát một tí.
Nhưng tôi nghĩ
Chỉ là do thiếu kinh nghiệm, còn non mà…
- Thế đồng chí bao nhiêu tuổi?
- 22 tuổi.
Czech:
ttttt
titulky
Spanish:
- ¡Sí!
- ¿Por qué no lo ha llevado?
No pude pasar a la División.
Allí hubo tanques...
Muchos tanques alemanes.
Y la División, parece,
se retiró tras el rio.
No lo sé,
no pude pasar a ella.
¿Quién fue su padre,
Ogarkov?
¿Por qué fue? Es vivo.
Es ingeniero en una fábrica
en Górki.
¿Por qué fue?
Nos separamos con el teniente
Ogárkov en caserío.
¿Cómo se portó en el camino?
Temía un poco. Pero yo pensaba
que es por inexperiencia.
Es joven todavía.
- ¿Y Ud. cuántos años tiene?
- Veinte y dos.
Slovak:
Celé jméno i po otci.
– Ogarkov, Sergej Leonidovič.
Kolik let?
– 20.
Hodnost?
Poručík.
Zařazení?
– Styčný důstojník štábu.
Vzdělání?
- Vysoká škola a vojenskochemická škola.
Věděli jste,
jaké příkazy jste nesl k divizi?
Ano.
– Jste si vědom obsahu zprávy?
Věděl jste co se psalo ve zprávě?
Samozřejmě.
- Tak proč jste ji nedoručil?
Nemohl jsem se dostat skrz.
Tam...
Tam byly tanky.
Mnoho německých tanků.
Divize pravděpodobně přešla přes řeku.
Nevím...
Nemohl jsem se probít.
French:
Vous saviez le contenu de l’ordre ?
- Oui.
- Pourquoi ne l’avez-vous pas remis ?
Je n’ai pas pu arriver jusqu’à eux.
Il y avait des chars, non…
plein de chars allemands.
La division s’est sans doute retirée
derrière la rivière.
Je ne sais pas, je n’ai pas pu y arriver.
Qui était votre père, Ogarkov ?
Pourquoi « était » ? Il est.
Il est ingénieur dans une usine de Gorki.
Pourquoi « était » ?
On s’est séparés avec le lieutenant
Ogarkov près de Pavlovski.
- Comment était-il en route ?
- Il avait un peu les boules.
J’ai pensé que c’était à cause de
son manque d’expérience, il est jeune.
- Et vous, quel âge avez-vous ?
- Vingt-deux ans.
German:
Wussten Sie,
worin der Inhalt des Befehls bestand?
- Jawohl! - Warum haben
Sie den Befehl nicht zugestellt?
Ich konnte die Division nicht erreichen.
Dort waren Panzer...
Sehr, sehr viele deutsche Panzer.
Und die Division war
vielleicht jenseits des Flusses.
Ich weiß nicht.
Ich konnte sie nicht erreichen.
Wer war Ihr Vater, Ogarkow?
Was heißt hier war? Er lebt noch.
Er ist Ingenieur in einem Werk in Gorki.
Warum sagen Sie "war"?
Leutnant Ogarkow und ich gingen in der
Nähe des Bauernhofs Pawlowski auseinander.
- Wie benahm er sich unterwegs?
- Er hatte ein bisschen Angst.
Ich dachte, er habe Angst,
weil er jung und unerfahren sei...
- Und wie alt sind Sie?
- 22.
English:
Did you know the content of the order?
- Yes, sir!
- Then why didn’t you deliver it?
Well, I couldn’t get through to them.
There were tanks, well,
many German tanks.
And the division had probably
crossed over beyond the river.
I don’t know, and I couldn’t
get through to them.
Who was your father, Ogarkov?
Why was? He’s still alive.
He’s an engineer. At a factory
in Gorky. Why the past tense?
Ogarkov and I split up
near the Pavlovsky farm.
- How was he acting?
- A bit cowardly.
But I thought it was a lack
of experience, he’s still young.
- And how old are you?
- Twenty-two.
Italian:
Conosceva il contenuto dell’ordine?
- Signorsì!
- Perché allora non l’ha portato?
Non sono riuscito a raggiungerli.
C’erano i carri armati…
tanti carri armati tedeschi.
E la divisione sarà passata
al di là del fiume.
Non so, non sono
riuscito a raggiungerli.
Chi era suo padre, Ogarkov?
Perché “era”? È vivo.
È ingegnere. Alla fabbrica di
Gorky. Perché era?
Col tenente Ogarkov ci siamo
separati al cascinale Pavlovsky.
- Come si è comportato per strada?
- Aveva un po’ di fifa.
Pensavo che fosse così perché
è giovane, inesperto…
- Lei quanti anni ha?
- Ventidue.
Serbian:
Jeste li znali šta piše u poruci?
Naravno.
-Zašto je onda niste doneli?
Nisam uspeo da se probijem.
Tamo...
Tamo su bili tenkovi.
Mnogo nemačkih tenkova.
Divizija je verovatno otišla preko reke.
Ne znam...
Nisam uspeo da se probijem.
Ko vam je bio otac, Ogarkov?
Zašto "bio"?
Još uvek je.
On je inžinjer, inžinjer u fabrici " Gorki".
Zašto "bio"?
S poručnikom Ogarkovim smo se rastali
nedaleko od sela Pavlovsko.
Kako se ponašao?
Bio je malo uplašen.
Nisam pridavao tome važnost.
Suviše je mlad.
A koliko vi imate godina?
22.
French:
Il était sans ordonnance.
Mais il a eu peur quand même. Il était
juste à côté de l’état-major de division.
L’ennemi a percé cette nuit
notre défense à plusieurs endroits.
Notre retrait se complique du fait de
la perte de toute communication.
Et des ordres de redéploiement ont été
envoyés à toutes les divisions.
Pour la 341ème division…
Il semble que nous l’ayons perdue.
Serioja !
Serioja !
Que fais-tu, chenapan ?
J’ai dit de ne jamais venir ici.
Spanish:
Además, no le han dado
a un ordenanza.
De todo modo, se asustó.
Estaba junto a la División.
Por la noche, el enemigo
rompió nuestra defensa
en varios puntos a la vez.
La retirada se dificulta por
la falta de comunicaciones.
Debido a eso, a todas
las divisiones fueron enviadas
las ordenes sobre el reemplazo.
Y de la 341 División,
parece, que la hemos perdido.
¡Seriózha!
¡Seriózha!
¡Seriózha! Pero,
¿qué haces, maldito?
Te dije que no te acerques
nunca acá.
Slovak:
Kdo byl váš otec, Ogarkove?
Proč "byl"?
Pořád je.
Je inženýr, inženýr v továrně "Gorki".
Proč "byl"?
S poručíkem Ogarkovem
jsme se rozešli u obce Pavlovskova.
Jak se choval cestou?
Měl trochu strach.
Nebral jsem to jako důležité.
Je příliš mladý.
A kolik je vám let?
22 let.
Neměl přiřazeného pomocníka.
V každém případě, byl vyděšený
a měl jít do štábu divize.
Serbian:
Nisu mu dodelili ni pomoćnika.
U svakom slučaju, bio je uplašen,
a trebao je ići u Štab divizije.
Te noći je neprijatelj probio našu odbranu
istovremeno na više mesta.
Povlačenje je otežano zbog
pokidanih veza komunikacije.
Zato je svim jedinicama bilo poslato naređenje
za dislokaciju.
Što se tiče 341-ve divizije...
...izgleda da smo je izgubili.
Serjoža!
Serjoža!
Serjoža, zašto viriš?
Jesam li ti rekla da ne ideš tamo?
Zašto se praviš da ne čuješ...
English:
They hadn’t given him an orderly.
Still, he was a bit cowardly. After all,
he was right by the staff of the division.
Tonight the enemy broke through
our defenses in a few places.
A move to the rear is complicated
by the loss of the communication.
Orders for the re-deployment
were sent to all divisions.
As for the 341st division...
It seems we’ve lost them.
Seryozha!
Seryozha!
What are you up to, you scamp?
What did I say about coming here?
German:
Er hatte keine Ordonnanz.
Und er hatte Angst.
Er war unweit vom Divisionsstab.
Heute Nacht ist der Gegner durch
unsere Verteidigung durchgebrochen.
Der Rückzug wird dadurch erschwert,
dass wir die Verbindung verloren haben.
Deshalb wurden Befehle zur Umdislozierung
an alle Divisionen geschickt.
Was die 341. Division betrifft,
so haben wir sie wahrscheinlich verloren.
Serjoscha!
Serjoscha!
Was treibst du für Unfug? Ich hab
ja gesagt, dass du nicht hingehen darfst.
Spanish:
Además, no le han dado
a un ordenanza.
De todo modo, se asustó.
Estaba junto a la División.
Por la noche, el enemigo
rompió nuestra defensa
en varios puntos a la vez.
La retirada se dificulta por
la falta de comunicaciones.
Debido a eso, a todas
las divisiones fueron enviadas
las ordenes sobre el reemplazo.
Y de la 341 División,
parece, que la hemos perdido.
¡Seriózha!
¡Seriózha!
¡Seriózha! Pero,
¿qué haces, maldito?
Te dije que no te acerques
nunca acá.
Italian:
Non gli hanno dato l’attendente.
Lo stesso ha avuto fifa. Era vicino
allo stato maggiore della divisione.
Stanotte i nemici hanno sfondato
la nostra difesa in diversi punti.
La ritirata è difficile anche
perché manca il collegamento.
Per questo a tutte le divisioni è stato
mandato l’ordine di ridislocazione.
Riguardo alla divisione 341…
Pare che l’abbiamo persa.
Seryozha!
Seryozha!
Cosa combini, disgraziato?
Ho detto che non devi andare là.
Vietnamese:
Cậu ấy còn không có cần vụ
Dù sao cũng nhát gan.
Vì ban tham mưu sư đoàn ở ngay cạnh.
Đêm qua địch phá vỡ vòng
vây của ta luôn mấy chỗ
Rút quân gặp khó khăn vì mất liên lạc
Do đó đã gửi lệnh cho tất cả
các sư đoàn phải chuyển vị trí.
Còn về sư đoàn 341…
Xét mọi việc thì chắc
là ta mất sư đoàn này rồi…
Seriozha!
Seriozha!
Mày quậy gì thế, thằng chảy thây kia?
Mẹ đã bảo là không được đến đấy kia mà!
Spanish:
Tras analizar los materiales
del sumario, y escuchar
las explicaciones del
acusado y de los testigos,
el Tribunal militar
se dispuso:
"por la cobardía, deserción
la traición del juramento,
condenar al ex teniente del
Ejército Rojo,
Ogárkov Serguéi,
acorde con el párrafo 193, punto 2,
a la pena capital, el fusilamiento.
Soldad Dzyurbáev, quite de
él los signos de distinción.
Vete a la salida.
Dale, dale rápido.
Déjalo el capote,
ya no lo necesitaras más.
Slovak:
Tu noc, nepřítel prorazil naší obranu
současně na několika místech.
Stažení je obtížné
vzhledem k rozbité komunikaci.
A tak do všech divizí
byly zaslány příkazy k dislokaci.
Co se týče 341. divize...
...zdálo se, že jsme ji ztratili.
Serjožo!
Serjožo!
Serjoža, co tam děláš?
Řekla jsem ti, abys tam šel?
Proč předstírat, že neslyšíš...
Po přezkoumání skutečností,
a výslechu obžalovaného i svědků...
Vojenský soud vydal rozhodnutí:
"Za projev strachu,
dezerce a pohrdáním přísahy,
bývalý poručík Rudé Armády
Ogarkov Sergej Leonidovič,
se odsuzuje na základě článku 193, ods. 2
Italian:
Visti i materiali dell’inchiesta
e ascoltate le spiegazioni
dell’imputato e dei testimoni,
il Tribunale militare delibera:
“Per la codardia, la diserzione,
per aver tradito il giuramento,
condannare l’ex tenente dell’Armata
Rossa Ogarkov Sergey Luonidovich
in base all’articolo 193 punto 2…
alla pena capitale, alla fucilazione.
Soldato Dgiurabaev tolga
al condannato le decorazioni.
Dai, esci.
Dai, dai, perché tiri per le lunghe.
Togliti il pastrano, che te ne fai?
Serbian:
Nakon sagledavanja činjenica
i saslušanja okrivljenog i svedoka...
Vojni sud je doneo rešenje:
"Za ispoljeni strah, dezerterstvo i
nepoštovanje date zakletve,
bivši poručnik Crvene Armije
Ogarkov Sergej Leonidovič,
se osuđuje po članu 193, tačka 2
na najtežu kaznu - streljanje".
Vojniče Džurabajev, skinite osuđenom činove!
Hajde, izlazi!
Hajde, hajde...
Šta se vučeš?
Skini šinjel!
Više ti neće trebati.
German:
Aufgrund der Ermittlungsmaterialien,
der Erklärungen des Angeklagten
und der Zeugenaussagen
hat das Militärtribunal BESCHLOSSEN:
Den ehemaligen Leutnant der Roten Armee
Ogarkow Sergej
für Feigheit,
Fahnenflucht und Pflichtverletzung
laut Artikel 193, P. 2
zur Todesstrafe durch
Erschießen zu verurteilen.
Soldat Dschurabajew, nehmen Sie dem
Verurteilten die Dienstabzeichen weg.
Geh raus.
Geh, beeile dich, trödele nicht so rum.
Wirf den Soldatenmantel ab,
du brauchst ihn nicht mehr.
French:
Ayant examiné le dossier
et entendu l’accusé et les témoins,
le tribunal militaire
rend l’arrêt suivant :
pour lâcheté, désertion et trahison
du serment,
condamner l’ex-lieutenant de
l’Armée Rouge Ogarkov Sergueï
à la peine capitale
selon le chapitre 2 de l’article 193…
Soldat Djourabayev, enlevez les insignes
de grade du condamné.
Allez, sors.
Allez, plus vite.
Enlève ta capote, tu n’en as plus besoin.
Spanish:
Tras analizar los materiales
del sumario, y escuchar
las explicaciones del
acusado y de los testigos,
el Tribunal militar
se dispuso:
"por la cobardía, deserción
la traición del juramento,
condenar al ex teniente del
Ejército Rojo,
Ogárkov Serguéi,
acorde con el párrafo 193, punto 2,
a la pena capital, el fusilamiento.
Soldad Dzyurbáev, quite de
él los signos de distinción.
Vete a la salida.
Dale, dale rápido.
Déjalo el capote,
ya no lo necesitaras más.
English:
Having considered
the investigation materials
and heard the explanations
of the accused and witnesses,
The Military tribunal decrees:
For exhibiting cowardice,
desertion and betraying the oath,
we sentence former Red Army
lieutenant Ogarkov Sergey Leonidovich,
in accordance with statute 193,
to the highest extent of the law –
death by firing squad.
Corporal Dzhurabaev, strip the condemned
man of the signs of his rank.
Come on out.
Come on, what are you waiting for?
Take off your coat, you won’t need it.
Vietnamese:
Sau khi xem xét tài liệu điều tra
nghe giải trình của bị cáo và
nhân chứng
Tòa án quân sự phán quyết:
“vì bộc lộ sự hèn nhát,
đảo ngũ và phản bội lời thề,
kết án cựu trung úy Hồng quân
Ogarkov Sergei Leonidovich
Chiểu theo điều 193 mục 2…
Mức trừng phạt cao nhất – xử bắn.
Binh nhì Jurabaev,
tước hết phù hiệu của phạm nhân.
Nào, lên đi.
Mau lên, gì mà lờ đờ thế
Áo khoác thì cởi ra,
mày cần áo làm gì nữa?
Spanish:
Vaya, mire,
compañero teniente...
¿Tal vez, a este también?
Ya tendrás tiempo.
Manos a la espalda.
Vete.
¡Vete, te digo!
Entra.
Italian:
Oh, guardi, compagno tenente…
forse insieme anche questo?
C’è tempo.
Le mani dietro.
Cammina. Cammina.
Entra.
German:
Sehen Sie, Genosse Leutnant,
wir können auch
diesen Kerl gleichzeitig...
Es hat Zeit.
Hände hinter dem Rücken halten!
Geh! Geh!
Geh dorthin.
Spanish:
Vaya, mire,
compañero teniente...
¿Tal vez, a este también?
Ya tendrás tiempo.
Manos a la espalda.
Vete.
¡Vete, te digo!
Entra.
Slovak:
k nejvyššímu trestu - zastřelení".
Vojáku Džurabajeve,
vezměte odsouzenému hodnosti!
Tak vylez!
Dělej, dělej...
Na co čekáš?
Sundej si kabát!
Nebudeš ho potřebovat.
Podívejte!
Soudruhu poručíku!
Kdo je to tam vzadu?
Ještě vyčkáme...
Serbian:
Pogledajte!
Druže poručniče!
Možemo i ovog, kad smo već počeli.
Doći će red i na njega.
Ruke na leđa!
Kreni!
Kreni!
Kreni!
English:
Comrade Lieutenanat,
and maybe this at the same time?
No rush.
Hands behind your back.
Get a move on. Go.
Go in.
French:
Regardez, camarade lieutenant…
Celui-là aussi, peut-être ?
Tu auras encore le temps.
Les mains derrière le dos.
En avant. En avant.
Entre.
Vietnamese:
Ồ, nhìn xem, đồng chí trung úy…
Có lẽ mần luôn cả tên này nữa?
Còn kịp.
Đưa tay ra sau.
Đi! Đi!
Chun vô.
Vietnamese:
Ê, mở ra!
Mở ra, tôi cần nói
Ê, mở ra. Tôi…cần…cần giải thích tất cả…
Ê!
Ê, mở ra nào…
Hãy mở đi, tôi cần giải thích với họ…
Mở ra, tôi cần giải thích
với họ mọi sự, mở ra.
Mở ra!
French:
Eh, ouvre.
Ouvre, je dois te dire quelque chose.
Ouvre. Je… Je dois tout leur expliquer.
Eh !
Mais ouvre !
Ouvre, je dois leur expliquer.
Ouvre, je dois tout leur expliquer.
Ouvre.
Ouvre !
German:
Öffne die Tür.
Öffne die Tür, ich muss was sagen.
Mach die Tür auf. Ich...ich muss...
ihnen alles erklären.
Hey du!
Mach doch die Tür auf.
Öffne die Tür,
ich muss ihnen alles erklären.
Ich muss ihnen alles erklären!
Öffne die Tür!
Mach die Tür auf!
Spanish:
Oye, abre.
Abre, debo decir algo.
Abre. Tengo que e
xplicarles todo.
Abre.
Abre, les debo
explicar todo...
Abre, tengo que
explicarles todo.
Abre.
Italian:
Ehi, apri.
Apri, devo dire una cosa.
Ehi, apri. Io… devo spiegare tutto.
Ehi.
Ehi, ma apri.
Apri, deve spiegare loro tutto…
apri, devo spiegare tutto, apri.
Apri!
Spanish:
Oye, abre.
Abre, debo decir algo.
Abre. Tengo que e
xplicarles todo.
Abre.
Abre, les debo
explicar todo...
Abre, tengo que
explicarles todo.
Abre.
English:
Hey! Open up.
I’ve got something to say.
Hey, open up. I’ve got...
I need to explain something to them.
Hey.
Open up.
Open up. I need to explain...
Open up, I need to explain it all.
Open up!
Slovak:
Ruce za záda!
Jdi!
Jdi!
Zalez!
Serbian:
Ej, otvori! Otvori!
Moram im reći...
Hej, otvori!
Moram im sve objasniti.
Hej, otvaraj!
Otvaraj!
Moram im objasniti!
Otvaraj! Moram im sve objasniti!
Otvaraj!
Otvaraj!
Spanish:
Tú no tienes derecho,
soy un hombre soviético.
¡Oyes, tú!
Hermano.
¿Estás aquí?
¡Alto! ¿Quién va?
Mire, centinela, debo entregar
al condenado
la copia de la sentencia.
Soy secretaria del tribunal.
Debe con cabo de guardia.
El cabo de guardia está
en el Estado Mayor.
¿Acaso o me conoce Ud.?
Debe con cabo de guardia.
Vietnamese:
Mày… không có quyền, tao là người
xô-viết. Nghe rõ chưa, thằng kia?
Ê, người anh em
cậu ở đó hả
Đứng lại! Ai?
Đồng chí cảnh vệ, tôi cần trao
trích lục bản án cho phạm nhân
Tôi là thư ký Tòa án binh.
Cần giao liên.
Giao liên bây giờ đang ở ban
tham mưu trong làng
Đồng chí không biết tôi sao?
Cần giao liên.
French:
Tu n’as pas le droit,
je suis un Soviétique. T’entends ?
Frérot,
tu es ici ?
Halte ! Qui va là ?
Camarade sentinelle, je dois remettre
une copie du verdict à l’accusé.
Je suis la secrétaire du tribunal.
Vous devez venir avec le soldat de garde.
Il est à l’état-major, au village.
Vous ne me connaissez pas ?
Il faut le soldat de garde.
English:
You don’t have the right.
I’m a Soviet citizen. Do you hear?
Hey, brother,
are you here?
Stop. Who goes there?
Comrade, I need to give
the condemned a copy of the sentence.
I’m the secretary of the tribunal.
The corporal of the guard
must be with you.
The corporal of the guard is
at staff headquarters in the village.
Don’t you know who I am?
The corporal of
the guard must be with you.
Slovak:
Hej, otevři! Otevři!
Musím jim něco říct...
Hej, otevři!
Musím jim vše vysvětlit.
Hej!
Hej, otevři!
Otevři!
Musím vše objasnit!
Otevři! Musím jim něco říct!
Otevři!
Otevři!
Nemáš... Nemáš právo.
Jsem sovětský člověk...
Slyšíš?
Italian:
Non hai… il diritto, sono
un cittadino sovietico. Hai capito?
Ehi, amico,
sei lì?
Alt! Chi va là?
Compagno sentinella, devo dare al
condannato una copia della condanna.
Sono la segretaria del tribunale.
Ci vuole il capoguardia.
Il capoguardia è ora al paese,
allo stato maggiore.
Ma come, non mi conosce?
Ci vuole il capoguardia.
German:
Dazu hast du kein Recht,
ich bin ein Sowjetmensch. Hörst du mich?
Hey Bruder!
Bist du hier?
Halt! Wer da?
Genosse, ich muss dem Verurteilten
eine Kopie des Urteils aushändigen.
Ich bin die Sekretärin des Tribunals.
Dafür brauche ich den Aufführenden.
Der Aufführende ist im Dorf,
wo der Stab ist.
Kennen Sie mich denn nicht?
Ich brauche den Aufführenden.
Serbian:
Nemaš pravo...
Ja sam sovjetski čovek...
Čuješ li me?
Brate...
Jesi li ovde?
Stoj!
Ko ide?
Druže vojniče, treba da predam osuđeniku
kopiju presude.
Ja sam sekretar Suda.
Trebao je doći razvodnik.
Razvodnik je trenutno u selu u Štabu.
Zar me ne prepoznajete?
Mora doći razvodnik.
Spanish:
Tú no tienes derecho,
soy un hombre soviético.
¡Oyes, tú!
Hermano.
¿Estás aquí?
¡Alto! ¿Quién va?
Mire, centinela, debo entregar
al condenado
la copia de la sentencia.
Soy secretaria del tribunal.
Debe con cabo de guardia.
El cabo de guardia está
en el Estado Mayor.
¿Acaso o me conoce Ud.?
Debe con cabo de guardia.
English:
Svetochka, what brings you here?
That guard of yours.
He’s a complete idiot. A dolt!
That’s the way he is.
Woudn’t let his own mother through.
Right, Dzhurabaev?
I need to give you a copy of the sentence.
Here, take it
Italian:
Svetochka, come mai da
queste parti?
La vostra sentinella è proprio
un idiota. È imbambolato!
È proprio così…
Non farebbe passare nemmeno
sua madre. Vero, Dgiurabaev?
Devo consegnarle
la copia della condanna.
Ecco, tenga.
German:
Oh, Sweta, was machen Sie hier?
Dieser Wachmann ist ein wahrer Idiot.
Ein Klotzkopf!
Ja, dieser Kerl würde sogar
seine eigene Mutter nicht durchlassen.
Habe ich recht, Dschurabajew?
Ich muss Ihnen eine Kopie des
Urteils aushändigen.
Bitte, hier ist sie.
Spanish:
Svetlána, ¿cómo es que
Ud. está aquí?
Este su centinela es un estúpido.
¡Vaya tipo es!
Este es así...
Ni a su madre dejará pasar.
¿Verdad, Dzhurabáev?
Tengo que entregarle
la copia de la sentencia.
Téngala,
Spanish:
Svetlána, ¿cómo es que
Ud. está aquí?
Este su centinela es un estúpido.
¡Vaya tipo es!
Este es así...
Ni a su madre dejará pasar.
¿Verdad, Dzhurabáev?
Tengo que entregarle
la copia de la sentencia.
Téngala,
Vietnamese:
Svetochka, số mệnh nào đưa cô đến đây thế?
Gã lính canh này của các vị.
Đần độn chính cống. Cứ như phỗng đá ấy!
À, cậu này là thế…
Đến mẹ đẻ mà không có lệnh cũng
chẳng cho qua. Tớ nói đúng chứ, Jurabaev?
Tôi cần trao cho anh trích lục bản án.
Đây, anh cầm lấy.
Slovak:
Bratře...
Jsi tam?
Stůj!
Kdo jsi?
Soudruhu vojáku, mám dát
odsouzenému kopii rozsudku.
Jsem sekretář soudu.
Poslíček je kde?
Poslíček je teď ve vesnici u Štábu.
Copak mě nepoznáváš?
Jen poslíček.
French:
Svéta, quel bon vent vous amène ?
Votre sentinelle, c’est un idiot,
une statue figée !
Ah, lui, oui.
Il ne fera pas exception même pour
sa mère. Hein, Djourabayev ?
Je dois vous remettre une copie
du verdict.
Tenez.
Serbian:
O, Svetočka!
Kako ste?
–Ovaj vaš stražar
je pravi idiot.
Stoji tamo kao kip!
Ma, nije on takav.
Ni rođenu majku ne bi pustio.
Je li tako, Džurabajev?
Moram vam uručiti kopiju presude...
Uzmite!
Spanish:
y, por favor, fírmalo aquí.
Tómelo.
Fírmalo aquí.
Gracias.
Mire, no se amargue mucho,
hay esperanza todavía,
ya que la sentencia
la debe aprobar el Consejo Militar.
Sin esto no se puede.
¿Ud. no quiere escribir
una carta?
La enviaría.
Spanish:
y, por favor, fírmalo aquí.
Tómelo.
Fírmalo aquí.
Gracias.
Mire, no se amargue mucho,
hay esperanza todavía,
ya que la sentencia
la debe aprobar el Consejo Militar.
Sin esto no se puede.
¿Ud. no quiere escribir
una carta?
La enviaría.
Serbian:
Potpišite, molim vas, da ste je primili.
Uzmite!
Evo, ovde!
Ovde.
Hvala.
Slušajte...
Ne očajavajte...
Još uvek ima nade, zato što
presudu mora potvrditi Vojni savet.
Bez njihove potvrde, presuda je ništavna.
Želite li možda da napišete pismo?
Ja ću ga poslati.
Italian:
E firmi, per favore, che l’ha ricevuta.
Ecco.
Grazie.
Senta, non si tormenti,
una speranza c’è, ci vuole
la conferma del Consiglio Militare.
Senza la sua conferma non si può.
Vuole scrivere una lettera?
Io la mando.
English:
and sign for it.
There.
Thank you.
Listen, don’t worry,
there’s still hope because the Military
council has to confirm the conviction.
They can’t enforce it otherwise.
Maybe you’d like to write a letter?
I’ll mail it for you.
French:
Et signez l’accusé de réception,
s’il vous plaît.
Tenez.
Merci.
Ecoutez, gardez espoir
parce qu’il faut avoir encore
l’approbation du Conseil militaire.
Obligatoirement.
Vous voulez peut-être écrire une lettre ?
Je pourrais la poster.
Slovak:
O, Svetočka!
Kde se tady bereš?
– Ta vaše stráž
je skutečný idiot.
Nechce mě tam pustit!
No, on je už takový.
Vlastní matku by nepustil.
Správně, Džurabajeve?
Mám vám dát kopii rozsudku...
Prosím!
Podepište, prosím převzetí.
Vietnamese:
Làm ơn ký nhận
Anh cầm lấy đi.
Cảm ơn.
Nghe này, anh đừng lo,
vẫn còn hy vọng, vì cần chờ
Hội đồng Quấn sự phê duyệt.
Thiếu phê duyệt của
Hội đồng là không được.
Có lẽ anh muốn viết thư?
Tôi sẽ gửi hộ
German:
Bestätigen Sie den Empfang.
Bitte.
Danke.
Seien Sie nicht nervös.
Es besteht noch Hoffnung.
Das Urteil unterliegt der Genehmigung
des Militärrates.
Ohne seine Genehmigung wird nichts getan.
Wollen Sie vielleicht
einen Brief schreiben?
Ich kann ihn senden.
German:
Ich habe keine Lebensmittel für
den Verurteilten mit.
Ich dachte ja, ihn wird man sowieso
bald erschießen.
Dschurabajew!
- Sind deine Schuhe nicht zu eng?
- Nein.
Ich könnte dir helfen,
neue Schuhe zu bekommen.
Nein.
Das Urteil unterliegt der Genehmigung
des Militärrates im Armeestab.
Hören Sie mich?
Wenn ihm etwas passiert,
tragen Sie Verantwortung.
Siehst du, Dschurabajew,
welch schlechten Ruf du mit deinem
Tun und Treiben erlangt hast.
Geh. Am Abend bringe
ich dir einen Ablöser.
Hüte den Verurteilten
wie deinen Augapfel. Klar?
Nehmen Sie bitte Platz, Sweta,
er ist ja nur ein Wachmann.
Solche Leute wie er können
mit ruhiger Hand töten.
Was Sie nicht sagen!
Wissen Sie, ich mache mir Sorgen um Sie.
Der Krieg ist nicht für
junge Mädchen wie Sie.
French:
Je n’amène pas de bouffe pour l’accusé.
Je pensais que c’était déjà fait ou
que ça allait être fait.
Djourabayev,
- les chaussures ne te serrent pas ?
- Non.
Sinon je peux en demander
de nouvelles pour toi.
Non.
Le verdict doit être approuvé par
le Conseil militaire à l’état-major.
Vous m’entendez ?
S’il lui arrive quelque chose,
vous en assumerez la responsabilité.
Tu vois, Djourabayev,
la réputation que tu t’es faite par
ton morne comportement.
Va. Je t’amènerai un remplaçant le soir.
Tiens à l’accusé comme à la prunelle
de tes yeux, vu ?
Je vous en prie, Svéta, asseyez-vous,
ce n’est qu’une sentinelle.
Il pourrait tuer.
Mais non !
Vous savez, je me fais toujours
du souci pour vous.
Les femmes ne doivent pas se trouver
à la guerre, vous comprenez ?
Serbian:
Osuđeniku nisam doneo hranu.
Mislio sam da su ga već...
Evo, za tebe!
Džurabajev...
Džurabajev, ne žuljaju te cokule?
Ne.
–Pomislio sam...
Mogu da ti sredim da ti daju nove.
Ne.
Presuda mora biti potvrđena od Vojnog savete
u Štabu armije. Jeste li čuli?
Bićete lično odgovorni ako se ovom
čoveku nešto desi pre toga.
Vidiš li ti Džurebajev
kakvu si reputaciju
stekao svojim savesnim radom?
Idi!
Uveče ću ti dovesti smenu.
Pazi na osuđenika kao zenicu oka!
Jesi li razumeo?
Šta je bilo, Svetočka?
Penji se! On je samo stražar.
–Takav kao on može hladnokrvno da ubije.
Bez da trepne okom.
–Ma nemoj!
Znate li vi da sam ja svo vreme
zabrinut za vas?
Vama devojkama nije mesto ovde, u ratu.
Razumete li?
Spanish:
La comida para el condenado
no la he traído,
pensé que ya es ejecutado,
o está por ser ejecutado.
Dzhurabáev.
Oye, Dzhurabáev,
¿no te aprietan las botas?
- No.
- Bueno, como quieres.
Podría ayudarte de obtener
unas nuevas.
No.
La sentencia la debe aprobar
el Concejo militar.
Si con este hombre suceda algo,
Ud, va a responder
por esto.
Ya ves, Dzhurabáev, qué
reputación ganaste
con esta tu conducta triste.
Vete.
Por la tarde te traeré el relevo.
Cuida al condenado como a niña
del ojo. ¿Has entendido?
Por favor, Svetlána,
siéntese,
es solo un centinela.
Un tipo así puede incluso
matar sin pensar mucho.
¿Qué va?
Y yo siempre me preocupo
por Ud., ¿sabe?
Eso no es un lugar para muchachas,
Spanish:
La comida para el condenado
no la he traído,
pensé que ya es ejecutado,
o está por ser ejecutado.
Dzhurabáev.
Oye, Dzhurabáev,
¿no te aprietan las botas?
- No.
- Bueno, como quieres.
Podría ayudarte de obtener
unas nuevas.
No.
La sentencia la debe aprobar
el Concejo militar.
Si con este hombre suceda algo,
Ud, va a responder
por esto.
Ya ves, Dzhurabáev, qué
reputación ganaste
con esta tu conducta triste.
Vete.
Por la tarde te traeré el relevo.
Cuida al condenado como a niña
del ojo. ¿Has entendido?
Por favor, Svetlána,
siéntese,
es solo un centinela.
Un tipo así puede incluso
matar sin pensar mucho.
¿Qué va?
Y yo siempre me preocupo
por Ud., ¿sabe?
Eso no es un lugar para muchachas,
Italian:
Al condannato non ho
portato il rancio,
pensavo che fosse già stato…
o fosse prossimo.
Dgiurabaev,
- le scarpe non ti sono strette?
- No.
Come vuoi. Potrei chiedere che
te ne diano un paio nuovo, vuoi?
No.
La condanna deve essere
convalidata dal Consiglio Militare.
Mi sente?
Se gli succede qualcosa
sarà lei a rispondere.
Vedi, Dgiurabarv,
che reputazione ti sei fatto
con la tua balorda condotta.
Vai. Alla sera sarai sostituito.
Abbi cura del condannato come
della pupilla dell’occhio, chiaro?
La prego, Svetochka, si sieda.
È solo una sentinella.
Uno come lui può uccidere con
facilità e non succede niente.
Ma cosa dice?
Sa io soffro sempre per lei.
Voi, ragazze, non dovete essere
alla guerra, mi capisce?
English:
I didn’t bring the convict any grub,
cause I figured they would’ve already…
Dzhurabaev,
- your boots aren’t too tight are they?
- No.
As you wish. Or I could try
to rustle you up some new ones.
No.
The conviction must be confirmed
at the Army staff headquarters.
Do you hear?
If anything happens to this man,
you’ll answer for it.
You see, Dzhurabaev.
You’ve got quite
the reputation for being sombre.
Go on.
I’ll bring you relief in the evening.
Guard the convict like he’s the apple
of your eye, got it?
Sveta, please, sit down.
He’s just a sentry.
He’s the kind who would
take him out and kill him.
What? No.
You know, I’m always worried about you.
Slovak:
Prosím.
Tady.
Děkuji.
Poslouchejte...
Nezoufejte...
Ještě naděje je, protože...
rozsudek musí potvrdit vojenská rada.
Bez toho to nejde.
Pomohu vám dopis napsat?
Pošlu ho.
Pro odsouzeného jídlo nemám.
Vietnamese:
Tớ không mang đồ ăn cho phạm,
Vì tớ nghĩ chắc đã xong
đời rồi hay cũng sắp sắp…
Jurabaev,
- đôi bốt có làm cậu tức chân không?
- Hông.
Xem đi. Tớ có thể chạy chọt tí,
người ta cấp cho đôi mới?
Hông.
Bản án cần được Hội đồng Quân sự
phê chuẩn tại Ban tham mưu quân đoàn
Anh nghe rõ chưa?
Nếu có chuyện gì xảy ra với anh ta,
thì anh sẽ phải chịu trách nhiệm…
Thấy chưa, Jurabaev…
cậu kiếm được cái danh
tiếng đáng buồn quá rồi
Thôi đi đi. Tối tớ đưa người
đến đổi gác cho cậu.
Bảo vệ phạm nhân như con
ngươi của mắt mình, hiểu chửa?
Thôi xin cô, Svetochka,
cậu ta chỉ là lính canh.
Đấy, cứ thế mà bắt và giết,
từ đấy mà ra cả
Cô nói gì chứ?
Còn tôi thì lúc nào cũng
lo thay cho cô đấy
Đàn bà con gái như cô là không nên
ở đây, ở chỗ chiến trận, cô hiểu chưa?
German:
Der Krieg ist so ein Ding...
Hier kann man Sie töten,
den Faschisten ist es egal,
dass Sie ein Mädchen sind.
Slovak:
Myslel jsem, že ho už...
Tady, pro tebe!
Džurabajeve...
Džurabajeve, žádné otlaky z bot?
Ne.
– No podívej...
Mohu zařídit, aby ti dali nové.
Ne.
Rozsudek musí být potvrzeny
vojenskou radou Štábu armády. Slyšels?
Budete osobně zodpovědný,
pokud se něco tomu muži stane dřív.
Tak vidíš Džurebajeve jakou reputaci jsi
získal za svědomitou práci?
Jdi!
Večer ti přivezu střídaní.
Hlídej odsouzeného jako oko v hlavě!
Rozumíš?
Co ti je, Svetočka?
Sedni si! Je to jen stráž.
– Jako je on může zabít chladnokrevně.
Bez mrknutí oka.
– Neříkej!
Víš, že mám pořád o tebe strach?
Vy holky nemáte místo tady, ve válce.
Rozumíš?
Vietnamese:
Chiến tranh là cái thứ chỉ có bắn với giết
Thậm chí còn chả thèm đếm xỉa rằng cô
là nữ nhi, bọn phát-xít ấy, cô hiểu chưa?
Italian:
La guerra è fatta così,
possono uccidervi
e non penseranno che siete delle
ragazze, sono fascisti, capisce?
Spanish:
aquí es la guerra, ¿entiende?
La pueden matar aquí,
a pesar de que Ud. es una muchacha.
Son fascistas, ¿entiende?
Serbian:
Rat je nezgodna stvar.
Možete poginuti.
Niko neće gledati da li ste žena ili niste.
Fašisti su to. Razumete?
French:
A la guerre, vous pourriez être tuée.
Personne ne fera attention
à ce que vous êtes une femme.
Ce sont des nazis, vous comprenez ?
Spanish:
aquí es la guerra, ¿entiende?
La pueden matar aquí,
a pesar de que Ud. es una muchacha.
Son fascistas, ¿entiende?
English:
You women shouldn’t be here
in the war, you understand?
This war, they’d shoot you and
wouldn't even notice that you're a girl.
They’re fascists, after all.
You understand?
English:
Get out.
Move.
Spanish:
Sal de allí.
Vete.
Vietnamese:
Ra đi.
Đi.
Slovak:
Válka je citlivé téma.
Můžeš umřít.
Nikdo nesleduje, že jsi děvče,
Fašisté jsou tu.
French:
Sors.
Avance.
German:
Komm heraus.
Geh.
Serbian:
Izlazi!
Kreni!
Italian:
Esci.
Cammina.
Spanish:
Sal de allí.
Vete.
French:
Allez, avance.
Arrête-toi !
Ça suffit, tire.
On file, on file !
English:
Move, move!
Stop!
Just shoot me already!
We’re leaving!
Spanish:
Vete, vete.
¡Alto!
Dispárate ya.
Vamos; vamos de aquí.
Italian:
Cammina, cammina.
Fermo!
Ma dai spara!
Andiamo, andiamo.
Serbian:
Idi, idi!
Stoj!
Hajde, pucaj već jednom!
Bežimo, bežimo!
German:
Geh, geh.
Halt!
Ja, schieß doch endlich.
Wir gehen fort.
Spanish:
Vete, vete.
¡Alto!
Dispárate ya.
Vamos; vamos de aquí.
Slovak:
Vylez!
Jdi!
Vietnamese:
Đi, đi.
Đứng!
Nào, bắn đi chứ.
Rời đây, rời đi thôi
Slovak:
Jen jdi!
Stůj!
Tak střílej už!
Utíkej, utíkej!
Italian:
- Dammi il fucile…
- No.
- Dammi il fucile.
- No, non si può.
- No.
- Lo ammazzo.
Andiamo.
Andiamo.
German:
- Gib das Gewehr her...
- Nein.
- Gib das Gewehr her.
- Nein, das geht nicht.
- Nein.
- Ich erschieße ihn.
Wir gehen fort.
Wir gehen fort.
Spanish:
- Dame el fusil.
- No.
No, no se puede.
No se puede.
- Le voy a matar.
- No.
Vamos de aquí.
Vamos.
English:
- Give me your rifle.
- No.
- Give me your rifle.
- No, it’s forbidden.
- No.
- I’ll shoot him.
Let’s leave.
Let’s leave.
Vietnamese:
- Đưa súng đây
- Hông!
- Đưa súng đây …
- Hông, hông được. Hông được.
- Hông.
- Tao sẽ bắn nó.
Rút mau.
Rút.
Serbian:
Daj pušku! Daj pušku!
Ne smem! Ne!
–Ubiću gada!
Bežimo odavde!
Bežimo odavde!
French:
- Donne-moi le fusil.
- Non.
- Donne-moi le fusil.
- Non. Je ne peux pas.
- Non.
- Je le tuerai.
On s’en va.
On s’en va.
Spanish:
- Dame el fusil.
- No.
No, no se puede.
No se puede.
- Le voy a matar.
- No.
Vamos de aquí.
Vamos.
Vietnamese:
Này, cậu ngủ đi tí
tôi không chạy đâu, hứa đấy.
- Sao cậu cứ im thít vậy?
- Vì mày - là kẻ thù
Italian:
Ma dormi,
non scappo, te lo prometto.
- Perché non dici niente?
- Perché sei un nemico.
English:
Go to sleep already.
I won’t run off, I promise.
- Why don’t you say anything?
- Because you’re the enemy.
Spanish:
Pues, duérmete ya,
no voy a huir.
Te lo prometo.
¿Por qué callas?
Porque eres enemigo.
German:
Leg dich endlich schlafen,
ich werde nicht weglaufen,
das verspreche ich dir.
- Warum schweigst du?
- Weil du ein Feind bist.
Serbian:
Legni da spavaš.
Neću da pobegnem.
Obećavam!
Zašto ćutiš?
-Zato što si neprijatelj.
Slovak:
Dej mi zbraň! Dej mi tu zbraň!
Nesmím! Ne!
– Zabiju parchanta!
Vypadneme!
Vypadneme!
Spanish:
Pues, duérmete ya,
no voy a huir.
Te lo prometo.
¿Por qué callas?
Porque eres enemigo.
French:
Dors un peu.
Je ne m’enfuirai pas, je te le promets.
- Pourquoi tu ne dis rien ?
- Parce que tu es un ennemi.
English:
Ogarkov!
Stop! Lower your weapon.
Who are you? Your documents.
You’re also trying
to get through the blockade?
You’ll go under my command.
- No, It’s forbidden.
- Why?
I’ve got orders. We’re to go
to Army headquarters.
Why?
Even rhynos are smarter than you!
Why couldn’t we just go with the Captain?
Nobody asked for me to be let go.
Vietnamese:
Ogarkov!
Đứng yên. Bỏ súng xuống.
Các người là ai? Giấy tờ đâu?
Cũng từ vòng vây thoát ra à?
Các anh sẽ đi theo lệnh tôi.
- Hông. Hông được.
- Tại sao không?
Có mệnh lệnh. Cần ban tham mưu quân đoàn.
Tại sao cơ chứ…
đến con tê giác cũng hiểu khá hơn
Tại sao không đi cùng với đại úy chứ?
Nào có ai bảo thả tôi ra đâu
Spanish:
- ¡Ogárkov!
- ¡Alto!
Baja el fusil.
¿Quiénes son?
Muestren sus documentos.
¿También salen del cerco?
Van bajo mi mando.
- No. No se puede.
- ¿Por qué?
Tengo la orden. Vamos a Estado
Mayor del Ejército.
¿Por qué?
Un rinoceronte comprende
más que tú.
¿Por qué no iríamos
con el capitán?
Nadie te pidió a liberarme.
Spanish:
- ¡Ogárkov!
- ¡Alto!
Baja el fusil.
¿Quiénes son?
Muestren sus documentos.
¿También salen del cerco?
Van bajo mi mando.
- No. No se puede.
- ¿Por qué?
Tengo la orden. Vamos a Estado
Mayor del Ejército.
¿Por qué?
Un rinoceronte comprende
más que tú.
¿Por qué no iríamos
con el capitán?
Nadie te pidió a liberarme.
French:
Ogarkov !
Halte. Baisse ton fusil.
Qui êtes-vous ? Vos papiers.
Vous sortez vous aussi
de l’encerclement ?
- Vous serez sous mon commandement.
- Oui.
- Non, on ne peut pas.
- Pourquoi ?
J’ai un ordre. Rejoindre l’état-major
de l’armée.
Pourquoi mais…
Les rhinocéros pigent mieux.
Pourquoi ne pas avoir suivi
le capitaine ?
Personne ne te demandait de me relâcher.
Serbian:
Ogarkov!
–Ne mrdaj!
Baci pušku!
Ko ste vi?
Dokumenta!
Povlačite se iz okruženja?
Od sada ste pod mojom komandom.
Ne možemo.
-Zašto?
Imam naređenje.
Moramo u Štab armije.
NAREĐENJE br.456
...da se strelja poručnik Ogarkov...
Zašto?
Nosorozi bi lakše shvatili nego ti.
Ne možemo nastaviti s kapetanom.
Niko te nije terao da me pustiš.
German:
Ogarkow!
Halt. Gewehr senken.
Wer sind Sie?
Zeigen Sie Ihre Papiere vor.
Suchen Sie auch einen Ausweg
aus der Einkesselung?
Nun sollen Sie unter meinem
Befehl stehen.
- Nein. Das dürfen wir nicht.
- Warum?
Wegen meines Befehls.
Ich muss zum Armeestab.
Warum bist du so?
Sogar ein Nashorn ist nicht so schwer
von Begriff wie du.
Warum konnten wir nicht mit
dem Hauptmann gehen?
Niemand hat dich gebeten,
mich auf freien Fuß zu setzen.
Slovak:
Nespal jsi dlouho.
Nikam neuteču.
Slibuji!
Proč mlčíš?
- Protože jsi nepřítel.
Italian:
Ogarkov!
Fermo. Abbassa il fucile.
Chi siete? I documenti.
Pure voi cercate di uscire
dall’accerchiamento?
- Venite sotto il mio comando.
- Certo.
- No. Non si può.
- Perché?
Ho un ordine. Devo andare
allo stato maggiore.
Perché, come…
i rinoceronti sono più intelligenti.
Perché non andare col capitano?
Nessuno ti ha chiesto
di lasciarmi andare.
Spanish:
Podríamos simplemente
irnos con el capitán,
por una carretera igual
que esta, juntos,
bajo la lluvia, pero con el capitán,
que sabe,
cómo, para dónde
y para qué ir.
¡Incluso para un estúpido está claro,
que el Estado
Mayor de la División
no está en el cerco!
¿O para ti eso no está claro?
¿Por qué callas?
¿Entiendes lo que te digo?
Bueno, cállate más,
un bobo de Coria.
Pero de todos modos,
huiré, ¿entendido?
Te romperé la cabeza y
huiré con tu fusil.
- Entra.
- Cómo no,
vanos a sentarnos,
esperando a alemanes.
Dale, ciérrala.
Crees que no huiré
de este cobertizo.
Ahora vas a dormir y yo
huiré, ¿entendido?
Haré una zapa.
O a través del techo.
Pon allí la cerradura,
o incuso clávame aquí,
trae los troncos y ciérrame
con barricadas.
Huiré de todos modos.
Spanish:
Podríamos simplemente
irnos con el capitán,
por una carretera igual
que esta, juntos,
bajo la lluvia, pero con el capitán,
que sabe,
cómo, para dónde
y para qué ir.
¡Incluso para un estúpido está claro,
que el Estado
Mayor de la División
no está en el cerco!
¿O para ti eso no está claro?
¿Por qué callas?
¿Entiendes lo que te digo?
Bueno, cállate más,
un bobo de Coria.
Pero de todos modos,
huiré, ¿entendido?
Te romperé la cabeza y
huiré con tu fusil.
- Entra.
- Cómo no,
vanos a sentarnos,
esperando a alemanes.
Dale, ciérrala.
Crees que no huiré
de este cobertizo.
Ahora vas a dormir y yo
huiré, ¿entendido?
Haré una zapa.
O a través del techo.
Pon allí la cerradura,
o incuso clávame aquí,
trae los troncos y ciérrame
con barricadas.
Huiré de todos modos.
Slovak:
Ogarkove!
– Nehýbejte se!
Polož tu zbraň!
Kdo jste?
Dokumenty!
Teď opouštíte oblast?
Jste teď pod mým velením.
To nemůžeme.
- Proč?
Mám rozkazy.
Musíme do Štábu armády.
Italian:
Potevamo andare col capitano
seguendo questa stessa strada.
Tutti e due, sotto la pioggia,
ma col capitano
che sa dove andare, come
andare e perché andare.
Anche il più scemo capisce che
lo stato maggiore non è circondato,
o tu non lo capisci?
Perché non dici niente?
Capisci almeno quello
che ti dico?
Taci, taci, balengo. Tanto
scapperò, hai capito?
Do un colpo alla tua capoccia
e ti prendo il fucile.
- Entra.
- Ma certo, certo…
Aspettiamo che vengano i tedeschi.
Chiudi. Forza, chiudi!
Chiudi, pensi che non possa
scappare da questo ripostiglio.
Ora ti addormenti e io scappo.
Scavo e scappo.
O attraverso il tetto.
Chiudi col chiavistello,
forza, puoi anche inchiodarmi.
Porta dei tronchi, sbarra tutto
ed io scappo ugualmente.
Serbian:
Mogli smo jednostavno nastaviti s kapetanom.
Sve bi bilo isto.
Nas dvojica, po kiši...
Ali, s kapetanom.
On zna gde da idemo, kako i zašto.
I poslednjoj budali je jasno da Štab armije
nije u okruženju.
Zar ti to nije jasno?
Zašto ćutiš?
Razumeš li ti o čemu ja pričam?
Dobro, dobro...
Samo ćuti. Panj...
Svakako ću ti pobeći. Jesi li me razumeo?
Tresnuću te po glavi i pobeći ću.
I pušku ću ti uzeti.
-Ulazi!
Hajde, sešćemo malo.
Sačekaćemo Nemce. Zatvaraj!
Hajde, zatvaraj!
Zatvaraj, baraka služi za to!
Pobeći ću ti kad zaspiš.
Jesi li me razumeo?
Iskopaću rupu, pa ću pobeći.
Ili preko krova.
A... Ovo može i da se zaključa?
Hajde, zaključaj!
Zakucaj i eksere...
I dobro veži konopcem.
Možeš sve da zabarikadiraš.
Svakako ću ti pobeći.
Vietnamese:
Ta có thể cứ đi cùng đại úy,
cũng theo đúng con đường như vậy,
hai ta đi, dưới trời mưa,
nhưng mà cùng với đại úy,
ông ấy biết đi đâu,
đi thế nào và để làm gì.
Đến thằng ngu nhất quả đất cũng hiểu
là Ban tham mưu quân đoàn không bị vây
hay là cậu không hiểu gì, hả?
Sao cứ câm như hến ấy hả?
Cậu hiểu tôi nói gì không nào.
Được rồi, cứ im đi, cứ việc im, đồ ngốc.
Đằng nào tao cũng thoát khỏi mày, rõ chưa?
Tao táng vào cái đầu đất nhà mày
rồi tao chuồn, tao lấy súng theo
- Chun vô.
- Được, được, tất nhiên rồi…
Bây giờ ta cứ ngồi yên mà chờ
bọn Đức. Đóng cửa vào. Nào, đóng đi!
Cứ đóng cửa đi, tao chẳng chạy
khỏi được cái nhà kho này đâu
Bây giờ mày ngủ gục là tao sẽ chuồn.
Đào hầm rồi chuồn.
Hay là chui qua mái nhà.
Cứ cài then cho chắc vào,
lấy đinh mà đóng nữa,
lôi gỗ đến mà chặn hết đi.
Đàng nào tao cũng chuồn thôi
French:
On pouvait simplement aller avec
le capitaine, suivre le même chemin.
Tous les deux sous la pluie, mais avec
le capitaine
qui sait où aller, comment et pourquoi.
Même le dernier des cons comprend
que l’état-major n’est pas
dans l’encerclement. Toi pas ?
Tu ne dis rien ?
Tu comprends ce que je te dis ?
Bon, ne dis rien, imbécile.
Je m’échapperai quand même.
Un coup sur ta tête et je m’enfuis
avec ton fusil.
- Entre.
- Oui, bien sûr…
On va s’installer et attendre
les Allemands. Ferme ! Allez !
Enferme-moi. Si tu crois que je
ne m’échapperai pas de la remise.
Tu vas t’endormir et je m’enfuirai.
Je creuserai un tunnel et je m’enfuirai.
Ou alors par le toit.
Ah oui, n’oublie pas la poutre.
Condamne la porte,
barricade tout avec des rondins,
je m’enfuirai quand même.
English:
We could have simply gone with
the Captain, on the same road,
side-by-side, in the rain,
but with the Captain
who knows the way and how and why.
Any idiot should know the Army staff
headquarters is not in the blockade.
Or do you not understand that?
Why don’t you say anything?
Can you understand what I’m saying?
Go on, be silent, you dolt.
I’ll escape from you all the same.
I’ll knock you out,
take your rifle and run away.
- Go in.
- Sure, sure, of course.
Let’s sit a bit and wait for the Germans.
Close it, sure, close it.
You think that’ll keep
me from running away?
You fall asleep and I’m gone, understand?
I’ll dig my way out and run away.
Or maybe through the roof.
Go ahead latch the door.
Nail me in,
get a log and barricade me in.
I’ll still run away.
German:
Wir könnten ja denselben Weg
mit dem Hauptmann gehen -
zu zweit, im Regen,
aber mit dem Hauptmann,
der weiß, wohin,
wie und wozu man gehen sollte.
Der Armeestab kann nicht im Kessel sein,
das versteht sogar der Dümmste.
Und du, verstehst du nicht?
Warum schweigst du?
Verstehst du überhaupt,
was ich dir sage?
Schweig, schweig, du Dumpfbacke.
Ich werde sowieso weglaufen.
Ich werde dir eins auf die Birne
geben und mit deinem Gewehr weglaufen.
- Geh in die Scheune.
- Ja, ja, genau...
Hier können wir sitzen und auf die
Faschisten warten. Mach die Tür zu!
Mach sie zu! Denkst du etwa,
dass ich aus der Scheune nicht weglaufe?
Sobald du einschläfst, laufe ich weg.
Ich werde eine Höhle graben.
Oder durchs Dach fliehen.
Ja, ja, verriegel die Tür,
du kannst sogar Nägel in die Tür schlagen,
Baumstämme holen, um mich hier
einzusperren. Nichts hilft!
Slovak:
VÝPIS Z PROTOKOLU č. 456
...zastřelit poručíka Ogarkova...
Proč?
Nosorožci než tebe by bylo snadnější rozumět.
Nemůžeme pokračovat s kapitánem.
Nikdo tě nenutil abys mě pustil.
Mohli jsme prostě jít s kapitánem.
Stejně jako teď, tou stejnou cestou.
Ve dvou, v dešti...
Ale s kapitánem.
On ví, kam jít, jak a proč.
Přece i největší idiot ví,
že štáb armády není v ohrožení!
Čemu nerozumíš?
Proč mlčíš?
Rozumíš tomu co ti říkám?!
Dobře, dobře...
Buď zticha.
Stejně ti uteču. Rozumíš mi?
Praštím tě do hlavy, a uteču.
I pušku ti vezmu.
- Schovej se!
Jo tak, sedneme si na chvilku.
Počkáme na Němce. Zavři!
No tak dělej, zavři!
Zavři tu boudu!
Arabic:
العربية
Slovak:
Ale jak usneš, tak uteču!
Rozumíš mi?!
Podkopu se a uteču.
Nebo přes střechu.
A... Zajisti to!
Zamkni!
Hřebíky zatluč...
Klínem zapři.
Zabarikáduj mě tu.
I tak ti uteču.
Spanish:
Hay que buscar un vado.
Vamos a cruzarlo nadando.
No.
English:
We’ve got to find a place to cross.
Let’s swim across.
No.
Vietnamese:
Cần tìm chỗ nông.
Ta bơi chứ.
Hông.
Serbian:
Moramo potražiti neki čamac.
Hajde da preplivamo.
Ne.
German:
Wir brauchen eine Furt.
Wir können doch schwimmen.
Nein.
French:
Il faut trouver un passage à gué.
Traversons à la nage.
Non.
Italian:
Bisogna cercare un guado.
Si può a nuoto.
No.
Spanish:
Hay que buscar un vado.
Vamos a cruzarlo nadando.
No.
German:
Kannst du nicht schwimmen?
Nein.
Ist das dein Ernst?
Kannst du nicht schwimmen?
Er sagte mir: Wetten, dass du durch
die Wolga nicht schwimmen kannst.
In einer Stunde habe ich das andere
Ufer der Wolga erreicht!
Und Wolga ist ja ein großer Fluss -
nicht wie die kleine Sytwa.
- Weißt du, wie breit Wolga ist?
- Ruhe!
French:
Tu ne sais pas nager ?
Non.
T’es sérieux ? Tu ne sais pas nager ?
Il me dit : « Parions que tu ne
traverseras pas la Volga. » Je parie.
Une heure plus tard,
j’étais sur l’autre rive.
Et la Volga, c’est pas une quelconque
Sytva, c’est la Volga.
- Tu connais la largeur de la Volga ?
- Silence.
Spanish:
¿Acaso no sabes nadar?
No.
¿En serio?
¿No sabes nadar?
Me dice: apostamos que
no cruzaras el Volga nadando.
Está bien, dije. En una hora
estuve ya en otra orilla.
Pero es Volga,
y no un desconocido Sítva.
¡Alto! Silencio.
Vietnamese:
Cậu bơi hay không?
Hông.
Thật hả? Không biết bơi hả?
Nó bảo: Thách đấy, mày không bơi nổi qua
sông Volga đâu. Còn tớ nói, được, cuộc nhé
Sau một giờ tớ đã ở bên kia sông,
sau một giờ thôi nhé
Mà đấy là Volga chứ không phải
sông Sytva vớ vẩn nào đâu nhé
- Cậu biết Volga rộng bao nhiêu không
- Im.
Italian:
Non sai nuotare?
No.
Dici sul serio?
Non sai nuotare?
Dice: scommettiamo che non attraversi
il Volga a nuoto. Scommettiamo.
Un’ora dopo ero già sull’altra
riva. Un’ora dopo.
Poi è il Volga, non è
il Sytva, un fiumiciattolo.
- Sai quant’è largo il Volga?
- Piano.
English:
What? Can’t you swim?
No.
Are you serious? You can’t swim?
He says, I bet you can’t swim across
the Volga. I says, you’re on.
In an hour I was on
the other side. An hour.
And that was the Volga not this…
That was the Volga.
- Do you know how wide the Volga is?
- Quiet.
Spanish:
¿Acaso no sabes nadar?
No.
¿En serio?
¿No sabes nadar?
Me dice: apostamos que
no cruzaras el Volga nadando.
Está bien, dije. En una hora
estuve ya en otra orilla.
Pero es Volga,
y no un desconocido Sítva.
¡Alto! Silencio.
Serbian:
Ne umeš da plivaš?
Ne.
Stvarno?
Ne umeš da plivaš?
On kaže:
"Da se kladimo?"
"Volgu ne možeš da preplivaš."
A ja kažem: "Da se kladimo!"
U trenutku sam bio na drugoj strani.
U trenutku. A to je bila Volga.
Nije to nekakva Sidma, to je Volga.
–Stani!
Znaš li ti kako je široka Volga?
-Tišina!
French:
- Une vache.
- Vous la tuerez ?
Pourquoi on la tuerait ?
Maman a dit que les Allemands
tueraient la vache, les nôtres aussi.
- Tu la caches ici ?
- Il n’y a pas d’autre endroit.
- Il y a un passage à gué ?
- Non.
Il y avait un pont,
mais il a été dynamité par les Allemands.
- Il n’y a pas de barque non plus ?
- Il y a un radeau.
Un radeau ?
- Tu peux le montrer ?
- C’est vrai que vous êtes des nôtres ?
Oui.
Vous pourriez prendre avec vous
le pilote ?
Slovak:
Musíme najít loď.
Přeplaveme.
Ne.
Neumíš plavat?
Ne.
Opravdu?
Plavat neumíš?
Víš, ty ji nikdy nepřeplaveš.
Chceš se vsadit?
Volhu nemůžeš přeplavat.
Chceš se vsadit!
Už dávno bych byl na druhé straně.
Už dávno. A to je Volha.
To není nějaká řeka, to je Volha.
– Přestaň!
Víš jak je široká Volha?
- Ticho!
Serbian:
Krava!
–Hoćete li je ubiti?
Zašto bi je ubili?
–Mama je rekla da će je Nemci ubiti
kada dođu.
I naši isto.
Kriješ je ovde?
–Nemam gde drugde.
Postoji li ovde neki brod?
Nema broda,. Postojao je jedan most,
ali su ga Nemci srušili.
Nema ni čamca?
–Postoji splav.
Splav!
Hoćeš li nam pokazati gde je?
–Jeste li vi stvarno naši?
Jesmo.
–Hoćete li onda povesti sa sobom i pilota?
Spanish:
- Una vaca.
- ¿La van a matar?
¿Por qué crees
que la matemos?
Mamá dijo que vengan alemanes
y la mataran,
- los nuestros también.
- ¿Aquí la escapas?
No hay otro lugar.
¿Aquí hay vado?
No. Hubo un puente allí.
Alemanes lo destruyeron.
¿No hay lancha?
- Hay una balsa.
- Balsa.
- ¿La mostrarás?
- Pero, ¿Uds.son nuestros?
Sí.
Entonces, ¿tal vez tomaran
consigo al piloto.
Spanish:
- Una vaca.
- ¿La van a matar?
¿Por qué crees
que la matemos?
Mamá dijo que vengan alemanes
y la mataran,
- los nuestros también.
- ¿Aquí la escapas?
No hay otro lugar.
¿Aquí hay vado?
No. Hubo un puente allí.
Alemanes lo destruyeron.
¿No hay lancha?
- Hay una balsa.
- Balsa.
- ¿La mostrarás?
- Pero, ¿Uds.son nuestros?
Sí.
Entonces, ¿tal vez tomaran
consigo al piloto.
Italian:
- Una mucca.
- La uccidete?
Perché dobbiamo ucciderla?
Mamma dice, vengono i tedeschi
l’ammazzano e pure i nostri.
- La nascondi qui?
- Non ho altri posti.
- C’è un guado da queste parti?
- Non c’è.
C’era un ponte oltre Lugovaya,
i tedeschi l’hanno fatto saltare.
- Una barca c’è?
- C’è la zattera.
La zattera?
- Fai vedere?
- Siete veramente dei nostri?
Veramente.
Forse prendete con voi l’aviatore?
German:
- Eine Kuh.
- Werdet ihr sie töten?
Wozu denn?
Mutti sagt, die Deutschen
würden sie töten, die Unsrigen auch.
- Versteckt du sie hier?
- Es gibt kein anderes Versteck.
- Klar. Und gibt es hier eine Furt?
- Nein.
- Früher gab es hier eine Brücke.
Sie wurde von den Faschisten gesprengt.
- Und gibt es ein Boot?
- Es gibt ein Floss.
Ein Floss?
- Zeigst du es uns?
- Seid ihr wirklich unsere Soldaten?
Ja.
Könnt ihr vielleicht einen verletzten
Flieger mitnehmen?
English:
- A cow.
- Will you kill it?
Why would we kill it?
Mom said that the Germans would
come and kill her. Our guys, too.
- And you’ve hidden her here?
- There’s nowhere else.
- I see. Is there a place to ford here?
- No.
There used to be a bridge over there,
but the Germans blew it up.
- Any boats?
- There’s a raft.
A raft?
- Would you show us?
- You’re really our guys?
Really.
Then maybe you could
take the pilot with you.
Vietnamese:
- Con bò
- Các chú sẽ giết nó?
Giết bò làm gì?
Mẹ bảo là bọn Đức đến sẽ giết hết,
người mình cũng thế.
- Cháu giấu nó ở đây à?
- Chả có chỗ nào nữa
- Ở đây có quãng nào nông không?
- Không có chỗ nông đâu
Đàng kia có cầu ngoài Lugova,
bọn Đức nổ mìn phá rồi
- Không có thuyền à?
- Có cái bè đấy.
Bè á?
- Cho xem nào?
- Các chú người mình thật à?
Thật.
Thế hay là các chú mang chú phi công theo?
French:
Il est blessé à la tête et aux jambes.
On lui a fait un pansement.
Nina l’a fait,
car sa mère est médecin, elle sait
comment faire.
- Quand l’avez-vous trouvé ?
- Ça fait trois jours.
Le premier jour il a beaucoup gémi,
on a pensé qu’il allait mourir.
Maman dit que si les Allemands
le trouvent,
ils nous buteront tous.
Aide-moi.
Mais impossible de monter à deux
sur ce radeau.
On a essayé avec Micha,
mais le radeau se retournait toujours.
- Vous savez quoi ?
- Oui ?
Slovak:
Kráva!
– Zabijete ji?
Proč ji zabíjet?
– Máma říkala, že když Němci přijdou
tak zabíjou naše taky.
Schováváš ji tady?
– Nemám kde jinde.
English:
He’s wounded in the head and the leg.
We bandaged him up, well Nina did.
Her mom’s a medic.
She knows how to do it.
- Has he been here long?
- Three days already.
He moaned a lot the first day.
We all thought he’d croak.
Mom says that if any Germans find him here
they’ll do us all in.
Help me.
This raft won't carry two people.
Misha and I tried it once,
but it tipped over immediately.
- You know how to do it?
- How?
Spanish:
Está herido en cabeza
y en pies.
Le vendamos.
Verdad que lo vendó Nina.
Su mamá es médica, y ella sabe,
como vendar.
- ¿Cuándo le encontraron?
- Ya hace 3 días.
El primer día gemía mucho,
pensábamos que va a morir.
Mamá dice que si alemanes
lo encuentren aquí,
nos van a matar a todos.
Ayúdame.
En esa balsa dos no caben.
Lo probamos con Mísha,
pero siempre nos volcábamos.
- Lo haremos ¿sabe cómo?
- ¿Cómo?
Serbian:
Ranjen je u glavu i u nogu.
Previli smo ga.
Tačnije Ninka ga je previla.
Majka joj je doktorka.
Ona zna kako se to radi.
Kada ste ga pronašli?
–Pre tri dana.
Prvog dana je jako stenjao.
Mislili smo da će umreti.
Mama je rekla da će nas Nemci sve streljati
ako ga pronađu ovde.
Pomozi mi!
Dvojica ne mogu odjednom na taj splav.
Miška i ja smo probali
ali smo se odmah prevrnuli.
Znate li kako treba?
–Kako?
Vietnamese:
Chú ấy bị thương vào đầu với vào chân nữa.
Chúng cháu băng bó cho chú ấy,
đúng ra là cái Ninka làm
Mẹ nó là thầy thuốc, nó biết cách
- Tìm thấy chú ấy lâu chưa?
- Ba ngày trước ạ
-Hôm đầu chú ấy rên dữ lắm ạ,
tất cả đều nghĩ là chú ấy chết mất
Mẹ cháu bảo nếu bọn Đức tìm thấy chú ấy,
thì bọn nó giết cả làng ngay lập tức
Giúp tớ nào.
Thật đấy, hai người trên bè này
chả bơi được đâu
Cháu với thằng Mishka đã thử rồi
nhưng bị lộn tùng phèo luôn.
- Chú biết phải làm thế nào chứ?
- Thế nào?
Italian:
È ferito alla testa e alle gambe.
Lo abbiamo fasciato,
lo ha fasciato Ninka,
ha la mamma che sa di medicina.
- L’avete trovato da tanto tempo?
- Da tre giorni.
Il primo giorno si lamentava
molto, pensavamo che morisse.
La mamma dice che
se i tedeschi lo trovano qui
subito ci fanno fuori tutti.
Aiutami.
Su questa zattera in due
non si può.
Abbiamo provato con Mishka,
ma subito cadevamo.
- Sapete come bisogna fare?
- Come?
German:
Er hat Kopf-
und Beinverletzungen erlitten.
Wir haben seine Wunden verbunden.
Ninas Mutter ist Ärztin,
sie weiß, wie man Wunden verbindet.
- Wann habt ihr ihn gefunden?
- Vor 3 Tagen.
Am ersten Tag stöhnte er so,
wir dachten, er stirbt.
Mutti sagt, dass die Deutschen
uns alle umbringen,
wenn sie ihn hier finden.
Hilf mir.
Zu zweit kann man auf diesem
Floss nicht schwimmen.
Mischka und ich, wir versuchten es,
aber das Floss kippte um.
- Wisst ihr, wie man richtig schwimmt?
- Wie?
Spanish:
Está herido en cabeza
y en pies.
Le vendamos.
Verdad que lo vendó Nina.
Su mamá es médica, y ella sabe,
como vendar.
- ¿Cuándo le encontraron?
- Ya hace 3 días.
El primer día gemía mucho,
pensábamos que va a morir.
Mamá dice que si alemanes
lo encuentren aquí,
nos van a matar a todos.
Ayúdame.
En esa balsa dos no caben.
Lo probamos con Mísha,
pero siempre nos volcábamos.
- Lo haremos ¿sabe cómo?
- ¿Cómo?
Italian:
Uno sta sulla zattera e l’altro
nuota accanto tenendosi.
Allora va bene.
Guarda, facciamo così.
Porto l’aviatore sull’altra riva,
lo lascio là e torno
per prendere te.
E andiamo insieme, sì?
Forza.
Cosa c’è?
Hai paura che scappi?
Va bene, guarda.
Questo orologio è di mio nonno,
la cosa più cara che ho.
Leggi, leggi cos’è scritto.
Ogarkov è mio nonno. Tieni.
Forza.
German:
Der erste Mann sitzt auf dem Floss,
der zweite schwimmt neben ihm.
- Das geht.
- Moment mal...
So erledigen wir die Sache:
Ich bringe den Flieger
auf das andere Ufer,
lasse ihn dort liegen und kehre zurück,
um dich abzuholen.
Dann schwimmen wir zusammen.
So geht's.
Was ist mit dir los?
Hast du Angst, dass ich weglaufe?
Na gut. Guck mal.
Das ist die Uhr meines Großvaters,
das teuerste Ding, das ich besitze.
Lies, was hier geschrieben steht:
Ogarkow, der Name meines Opas. Nimm.
Ich gehe.
Slovak:
Je tu někde brod?
Není tu brod. Byl tu most,
ale Němci ho rozbili.
Ani loď ne?
– Jen vor.
Vor!
Ukážeš?
– Opravdu jste naši?
Opravdu.
– Můžete pak sebou vzít i pilota?
Byl raněn do hlavy i nohou.
Ošetřili jsme ho.
Přesněji, Ninka ho ovázala.
Její máma je doktorka.
Ona ví jak.
Kdy jste ho našli?
– Před třemi dny.
První den opravdu sténal.
Mysleli jsme, že zemře.
French:
L’un monte dessus et l’autre nage à côté
en se tenant au radeau.
- Comme ça, tout ira bien.
- Un instant…
Ecoute ce qu’on va faire.
Je vais traverser la rivière
avec le pilote,
le laisser et revenir
pour te prendre.
Et nous traverserons ensemble, hein ?
Allez.
Qu’est-ce que t’as ?
T’as peur que je prenne la fuite ?
Bon, regarde.
C’est la montre de grand-père,
la chose la plus chère que j’aie.
Regarde, c’est écrit : Ogarkov.
C’est mon grand-père. Tiens.
Bon, allez.
English:
Put one guy on the raft and
the other will swim alongside holding on.
Then it’ll work.
Look. Let’s do it like this.
I’ll go with the pilot,
I’ll take him to the other side.
I’ll leave him there and come back
for you,
and together we can cross, OK?
Come on.
What?
You’re afraid I’ll run off?
OK, look.
This watch was my Grandfather’s.
My most prize possession.
Look, read it. There it says - Ogarkov,
that’s my Grandad. Take it.
That’s it. Let’s go.
Spanish:
Que uno esté en la balsa,
y el otro nade al lado, agarrándose
a ella.
- Entonces todo estará bien.
- Momento.
Mira, lo haremos así.
Ahora yo llevo al piloto
a otra orilla,
lo dejaré allí, regresaré
por ti,
y después iremos juntos.
¿Sí? Vamos.
¿Qué te pasa?
¿Temes que voy a huir?
Bueno, mira.
Este reloj es de mi abuelo,
lo más caro, que tengo.
Léelo. Esta escrito - Ogárkov,
es mi abuelo.
Tómalo. Ya, vamos.
Vietnamese:
Thế này nhé, một người trên bè,
người kia bơi bên cạnh, bám vào bè ấy.
Thế thì bình thường.
Xem bọn ta làm thế nào nhé
Bây giờ tôi đưa tay
phi công sang bờ bên kia
để ở đó, rồi quay lại
đón cậu.
Ta sẽ cùng bơi, thế nhé?
Nào, bắt đầu.
Cậu sao vậy?
À, sợ tớ trốn hả?
Được, xem này.
Đây là cái đồng hồ,
thứ quí giá nhất mà tớ có.
Này, đọc đi, có chữ khắc đấy -
Ogarkov, đấy là ông tớ. Giữ lấy.
Xong rồi, đi nào.
Spanish:
Que uno esté en la balsa,
y el otro nade al lado, agarrándose
a ella.
- Entonces todo estará bien.
- Momento.
Mira, lo haremos así.
Ahora yo llevo al piloto
a otra orilla,
lo dejaré allí, regresaré
por ti,
y después iremos juntos.
¿Sí? Vamos.
¿Qué te pasa?
¿Temes que voy a huir?
Bueno, mira.
Este reloj es de mi abuelo,
lo más caro, que tengo.
Léelo. Esta escrito - Ogárkov,
es mi abuelo.
Tómalo. Ya, vamos.
Serbian:
Jedan treba da je na splavu,
a drugi da pliva držeći se za splav.
Onda mogu dvojica.
–Odmah se vraćam.
Tako...
Evo kako ćemo...
Prvo ću da prebacim pilota na drugu stranu.
Ostaviću ga tamo, pa ću se vratiti po tebe.
Ne možemo odjednom svi.
Može?
Hajde!
Šta je?
Bojiš se da ću pobeći?
Dobro...
Gledaj!
Ovo je sat koji mi je deda poklonio.
Nešto najdragocenije šta imam.
Čitaj!
Čitaj! Piše - Ogarkov.
To mi je deda. Uzmi ga!
Hajde!
Spanish:
¿Qué te pasa?
Tú cre...
Si, huiría, pero, ¿cómo voy
a llevar al piloto sin ti?
¿Eso tú puedes entender?
¿O crees que lo abandonaré?
¿Realmente lo crees, sí?
Vaya, dime.
Responde.
Pues, él es nuestro, ¿no?
Italian:
Cosa c’è?
Forse scapperei, ma come faccio
a portarlo senza di te?
Questo almeno lo capisci?
O pensi che lo lascio là?
Pensi che io possa
lasciarlo là, è così?
Parla. Rispondi!
È uno dei nostri, vero?
Uno dei nostri?
English:
You… what?
Yeah, I could run off, only how
then could I drag him there without you?
Do you get it?
Or do you think that
I’d leave him there?
You think I’d leave him?
Well, say something. Answer me!
German:
Was ist mit dir los?
Wie kann ich wegrennen? Wie kann ich ihn
alleine ohne dich mitschleppen?
Verstehst du das?
Denkst du etwa,
ich wolle ihn dort verlassen?
Denkst du, ich sei bereit,
ihn zu verlassen und wegzulaufen?
Schweige nicht. Antworte!
Er ist ja unser Kamerad, oder?
French:
Qu’est-ce que t’as ?
Je me serais peut-être enfui,
mais comment le traîner sans toi ?
Ça, tu le comprends ?
Ou tu crois peut-être que je vais
l’abandonner ?
Tu crois que je vais l’abandonner,
c’est ça ?
Allez, dis-le. Réponds-moi !
Il est des nôtres ? Hein ?
Vietnamese:
Sao nữa?
Ừ thì tớ có thể chuồn đấy, nhưng mà thiếu
cậu thì tớ làm sao tha anh ấy đi nổi?
Cậu có hiểu tí gì không nào?
Hay cậu nghĩ tớ sẽ bỏ anh ấy lại, hả
Sao, cậu nghĩ là tớ bỏ
mặc anh ấy được, hả?
Nói đi. Trả lời mau!
Chú ấy cũng là người mình ạ?
Đúng người mình chứ ạ?
Slovak:
Máma říkala, že jestli ho Němci
tady najdou tak nás všechny zastřeli.
Pomož mi!
Ve dvou nemůžete na ten vor.
Miška a já jsme se pokusili
ale převrátili jsme se.
Víš, jak s tím?
– Jak?
Jeden je na voru,
druhý plave a drží se voru.
To se potom da!
– Hned se vrátím.
Lepší by byla loďka...
Nejprve převezu pilota na druhou stranu.
Nechám ho tam a vrátím se pro tebe.
Spanish:
¿Qué te pasa?
Tú cre...
Si, huiría, pero, ¿cómo voy
a llevar al piloto sin ti?
¿Eso tú puedes entender?
¿O crees que lo abandonaré?
¿Realmente lo crees, sí?
Vaya, dime.
Responde.
Pues, él es nuestro, ¿no?
Serbian:
Šta je?
Jesi li ti glup!
Čak i da pobegnem,
kako ću ga nositi bez tvoje pomoći?
Možeš li ti to da razumeš?
Možda misliš da ću ga ostaviti tamo?
Šta ti je?
Misliš li da ću ga tamo ostaviti?
Hajde, reci!
Odgovori mi!
German:
Der Strom hat mich mitgerissen.
Gib her.
Slovak:
Ve dvou se to nedá.
Dobře?
Pojď!
Co je?
Bojíš se, že zběhnu?
Dobře... Podívej!
Mám hodinky, dal mi je můj děda.
To je nejcennější co mám.
Čti! Je tam napsáno - Ogarkov.
To je můj děda. Podrž je!
Dobře!
Co je?
Neblbni.
I když uteču,
jak to zvládnu bez tvé pomoci?
Chápeš to?
Myslíš si, že ho tam nechám, co?
Spanish:
Se llevó con el corriente.
Vamos.
Italian:
La corrente l’ha portata via.
Forza.
Spanish:
Se llevó con el corriente.
Vamos.
Serbian:
Je li ovaj naš?
Je li naš?
Voda me je odnela.
Hajde!
Vietnamese:
Bị dòng nước chảy cuốn xa quá
Nào, đi thôi.
English:
He’s ours, isn’t he? Isn’t he ours?
The current carried us away.
Come on.
French:
J’ai été emporté par le courant.
Allez.
Slovak:
Tak co?
Myslíš si, že ho tam nechám?
No tak, mluv!
Odpověz!
On je náš?
Ano? Je náš?
Spanish:
Alto.
Spanish:
Alto.
English:
Stop, stop!
Italian:
Fermi, fermi!
Vietnamese:
Đứng im! Đứng!
German:
Halt, halt!
Serbian:
Stoj! Stoj!
French:
Stop, arrête-toi !
German:
Wir sind Sowjetsoldaten!
- Liebe Leute...
- Halt! Hände hoch!
Liebe Leute, ich bin kein Feind.
Wir tragen einen verletzten Flieger!
Ihm geht es sehr schlecht...
er kann nicht mehr stöhnen.
Helft uns, Brüder. Nehmt uns mit.
Um Verletzte werden wir
uns später kümmern,
Vietnamese:
Quân ta, quân ta!
- Anh em, anh em ơi…
- Đứng yên! Giơ tay lên!
Các anh em, tôi là người mình. Chỗ chúng
tôi có đồng chí phi công bị thương!
Người của cậu hoàn toàn tồi tệ rồi…
chẳng thấy rên gì nữa.
Các anh em ơi, giúp với nào.
Nào, chúng tôi tiếp nhận. Thế nhé…
Thương binh thì sau chúng ta sẽ chữa,
Spanish:
Somos nuestros...
¡Nuestros!
- Hombres.
- ¡Alto!
- ¡Manos!
- ¡Soy el nuestro!
Sí, es verdad.
¡Allí tenemos un piloto herido!
El suyo es muy malo,
ni gime ya.
Muchachos,
vamos a llevarlo.
A los heridos los vamos a
curarlos después, y ahora
Italian:
Sono i nostri!
- Gente, gente…
- Fermi! Le mani?
Gente, sono dei nostri!
Abbiamo un aviatore ferito!
Il vostro è proprio malandato…
non si lamenta nemmeno.
Amici, aiutateci, forza.
Forza, prendiamolo.
I feriti li curiamo dopo,
Serbian:
Naši!
Naši! Naši!
Naši! Ljudi! Momci! Ljudi!
Stoj! Ruke u vis!
–Naš sam, naš...
Pored reke imamo ranjenog pilota.
Sergejev!
Drži to!
–Ovaj vaš nije baš dobro.
Teško će se oporaviti.
Sergejev, pomozi!
Sergejev!
Vodjanov, gde si?
-Tu sam!
Braćo, pomozite!
Hajde, podignimo ga!
Kako mu je?
–Ranjenicima ćemo pomoći posle.
English:
They’re ours, they’re ours!
- Our guys…
- Halt! Hands up!
Guys. I’m one of us! Hey, guys,
we’ve got a wounded pilot over there.
Your guy’s in bad shape.
He doesn’t even moan anymore.
Guys, help me. Let’s move him.
We’ll tend to the wounded later.
Slovak:
Proud mě odnesl.
Pojď!
French:
Les nôtres !
- Les mecs, les mecs…
- Halte ! Haut les mains !
Les mecs, je suis des nôtres.
Nous avons un pilote blessé !
Il est au plus mal…
Il ne gémit même plus.
Frérots, allez, aidez-nous.
On le soulève.
On soignera les blessés plus tard.
Spanish:
Somos nuestros...
¡Nuestros!
- Hombres.
- ¡Alto!
- ¡Manos!
- ¡Soy el nuestro!
Sí, es verdad.
¡Allí tenemos un piloto herido!
El suyo es muy malo,
ni gime ya.
Muchachos,
vamos a llevarlo.
A los heridos los vamos a
curarlos después, y ahora
Spanish:
todos, quienes son capaces
de tomar armas, al combate.
¡A cumplir!
Y yo tengo mi orden:
romper el cerco de enemigo
y sacar el personal con mínimas
pérdidas.
- Estado Mayor debo ir.
- ¡Lo recalcas como un loro!
Estado Mayor está en retaguardia.
Aquí mando yo.
Los capaces de tener armas,
mañana van al combate.
- Compañero mayor...
- ¡Alto!
¡Firmes!
Según la instrucción 260, Ud.
junto con su arrestado
queda en mi disposición
hasta que salgamos del cerco.
¡Y después te dejo el campo libre!
- ¿Está claro esto?
- Así es.
Al piloto le preparan para
la operación quirúrgica.
Vietnamese:
nhưng bây giờ, ai còn cầm được
vũ khí, thì ra trận. Chấp hành đi.
Nhưng tôi có mệnh lệnh riêng.
Chọc thủng vòng vây và đưa
mọi người ra với thương vong tối thiểu
- Hông được. Cần Ban tham mưu!
- Gì mà cứ lải nhải mãi thế!
Ban tham mưu ở đàng kia, ở hậu phương!
Còn ở đây tôi chỉ huy!
Và ai còn cầm được vũ khí
thì mai ra trận đánh nhau.
- Đồng chí thiếu tá…
- Dừng lại!
Nghiêm!
Theo chỉ thị 2-6-0
đồng chí cùng với phạm nhân
thuộc quyền chỉ huy của tôi
cho đến khi ra khỏi vòng vây.
Còn sau đó đi đâu tùy ý!
- Hiểu cả chưa, chiến sĩ?
- Báo cáo, rõ!
Đàng ấy đang chuẩn bị làm
phẫu thuật cho anh phi công
Spanish:
todos, quienes son capaces
de tomar armas, al combate.
¡A cumplir!
Y yo tengo mi orden:
romper el cerco de enemigo
y sacar el personal con mínimas
pérdidas.
- Estado Mayor debo ir.
- ¡Lo recalcas como un loro!
Estado Mayor está en retaguardia.
Aquí mando yo.
Los capaces de tener armas,
mañana van al combate.
- Compañero mayor...
- ¡Alto!
¡Firmes!
Según la instrucción 260, Ud.
junto con su arrestado
queda en mi disposición
hasta que salgamos del cerco.
¡Y después te dejo el campo libre!
- ¿Está claro esto?
- Así es.
Al piloto le preparan para
la operación quirúrgica.
Serbian:
Sada, ko može da drži oružje, u borbu!
Na zadatak!
Ja imam svoja naređenja.
Da izvedem ljude iz okruženja
sa minimalnim gubicima.
Ne možemo! U Štabu armije...
–Što si ti zapeo kao lud?
Štab armije je tamo, u pozadini!
Ovde ja komandujem
Svako ko može da drži oružje
će sutra u bitku.
Druže majore...
-Ostav!
Mirno!
Po direktivi 260,
vi i vaš zarobljenik ste pod mojom komandom
do izlaska iz okruženja.
Posle možeš da ideš
na sve 4 strane.
Je li vam to jasno, vojniče?
-Jasno!
1204.
–Prezime...
Pilota spremaju za operaciju.
French:
Ceux qui sont en état de tenir
une arme vont au combat. C’est un ordre.
Moi, j’ai mon ordre à moi.
Percer l’encerclement et faire sortir
les hommes avec des pertes minimales.
- Je dois aller à l’état-major !
- Arrête de le répéter, idiot !
L’état-major est à l’arrière !
Ici c’est moi qui commande !
Chacun qui peut tenir une arme
ira combattre demain.
- Camarade commandant…
- Non !
Fixe !
Selon la directive 2-6-0,
vous et le prisonnier, vous êtes
sous mes ordres
jusqu’à la sortie de l’encerclement.
Après, allez aux quatre coins du monde !
- C’est clair, soldat ?
- Oui.
Le pilote va subir une opération.
Slovak:
Zastav! Stůj!
Naši!
Naši! Naši!
Naši! Lidi! Kluci! Lidi!
English:
For now, anyone who can
hold a weapon, we’re going to battle.
I’ve got my own orders.
Break through the ring and get
the people out with minimal losses.
- Can’t. We’re going to Army headquarters.
- What are you harping on about!
The staff headquarters is back
there in the rear! Here I’m in command.
And anyone who can carry
a gun tomorrow is going to fight.
- Comrade…
- Drop it!
Attention!
In accordance with directive 2-6-0,
you and your prisoner are under
my jurisdiction
until we’ve broken through the blockade.
And then go wherever the hell you want!
- Got it, private?
- Yes, sir.
They’re prepping
the pilot for his operation.
Italian:
ora chi sa tenere un’arma
in mano, a combattere. Eseguite.
Io ho il mio ordine.
Sfondare l’accerchiamento e
possibilmente con meno perdite.
- Non si può. Allo stato maggiore!
- Ma se proprio balordo!
Lo stato maggiore è nelle retrovie!
Qui comando io!
E chi sa tenere in mano un’arma
domani combatte.
- Compagno maggiore…
- Silenzio!
Attenti!
Secondo la direttiva 2-6-0,
con l’arrestato passate
a mia disposizione
fino all’uscita dall’accerchiamento.
E poi vai dove ti pare e piace!
- Ha capito, soldato semplice?
- Signorsì.
L’aviatore lo preparano all’operazione.
German:
und jetzt muss jeder kämpfen,
wer eine Waffe tragen kann.
Ich habe meinen eigenen Befehl.
Ich und meine Leute müssen mit minimalen
Verlusten dem Kessel entkommen.
- Ich darf nicht. Ich muss zum Armeestab!
- Du Sturkopf!
Der Armeestab ist hinter der Front!
Und hier befehle ich!
Jeder, wer eine Waffe tragen kann,
zieht morgen ins Gefecht.
- Genosse Major...
- Abstellen!
Stillgestanden!
Gemäß der Weisung Nr. 2-6-0
sollen Sie und der Sträfling unter
meinem Befehl stehen,
solange wir hier im Kessel sind.
Und danach gehen Sie, wo Sie hinwollen!
- Alles klar, Soldat?
- Jawohl.
Der Flieger wird gleich operiert.
Serbian:
Rekli su da ima gangrenu i da moraju da
mu amputiraju nogu. Imaš li cigaretu?
Ne pušim.
Potpiši...
–A ja pušim.
1842.
– Prezime...
Jesi li bio komsomolac?
–Potpiši...
Jesam.
–1021.
Prezime...
–Idi!
Sam moraš da se pobrineš za oružje.
Moramo se probiti iz okruženja.
–420.
Prezime...
-Dmitrijev.
Potpiši...
–Idi!
1879.
–Prezime...
Selivanov.
German:
Wegen der Gangrän müssen seine
Beine dringend amputiert werden.
- Möchtest du eine Zigarette?
- Nein, ich rauche nicht.
Und ich rauche.
Warst du Komsomolze?
Ja...
Geh,
Waffen muss man selbst nehmen.
Den Kessel muss man durchbrechen.
Geh.
Slovak:
Stůj! Ruce vzhůru!
– Jsem váš! Váš...
Máme tam pilota, je zraněny.
Držte ho!
– Nevypadá to s ním dobře.
Bude těžké se zotavit.
Sergejeve, pomoz!
Vodjanove, kde jsi?
- Tu jsem!
Bratři, pomožte!
Dělejte, vezměte ho!
Jak mu je?
– Je zraněn do hlavy...
Teď, kdo může držet zbraň do bitvy!
Provést!
Mám své rozkazy.
Přerušit obklíčení a vyvést lidi ven
s minimálními ztrátami!
Musíme do Štábu armády...
– Proč lezeš zamnou jak pes?!
Spanish:
Dicen que ya comenzó
la gangrena.
Van a amputar las piernas.
¿Vas a fumar?
No, no fumo.
Pero yo fumo.
¿Fuiste miembro
de Juventud Comunista?
Sí.
Vete,
hay que mismo arma tomar.
Salir vamos del cerco.
Vete.
French:
Il a la gangrène.
Il sera amputé des deux jambes.
- Tu fumes ?
- Non.
Et moi si.
Tu as été membre des
jeunesses communistes ?
Oui.
Alors va,
tu dois prendre l’arme toi-même.
On va essayer de percer l’encerclement.
Vas-y.
Spanish:
Dicen que ya comenzó
la gangrena.
Van a amputar las piernas.
¿Vas a fumar?
No, no fumo.
Pero yo fumo.
¿Fuiste miembro
de Juventud Comunista?
Sí.
Vete,
hay que mismo arma tomar.
Salir vamos del cerco.
Vete.
Italian:
C’è un inizio di gangrena.
Gli devono amputare le gambe.
- Vuoi fumare?
- No, io non fumo.
E io invece fumo.
Sei stato nel Komsomol?
Sì.
Vai,
bisogna prendere le armi.
Usciamo dall’accerchiamento.
Vai.
English:
They said gangrene has set in.
They’ll have to amputate his leg.
- Wanna smoke?
- No, I don’t smoke.
Well, I do.
Were you a Komsomolets?
Yeah.
Go,
you have to go get your weapon yourself.
We’re going to break through the blockade.
Go.
Vietnamese:
Họ bảo là bắt đầu hoại thư rồi.
Phải cưa chân.
- Hút không?
- Hông, tui hông hút.
Còn tớ sẽ hút.
Trước cậu là Đoàn viên Cộng sản rồi chứ?
Ừ…
Đi đi,
cần tự kiếm vũ khí.
Chúng ta sẽ ra khỏi vòng vây.
Đi đi mà.
Spanish:
Tómalo, soldado,
cinturón, gorro.
Pon tu firma.
Oye...
- ¿Aquí?
- Sí.
- ¿No tienes botas?
- Botas no las hay.
Hay peales, botones.
¿Los necesitas?
- No.
- Entonces perdone.
- Compañero cabo...
- Cinco...
- Seis.
- Buen reloj tienes.
- ¿Te gusta?
- Sí.
Es de trofeo.
- ¿Coleccionas?
- ¿Y qué? Tengo derecho.
Entonces... Siete...
French:
Tiens, combattant,
la ceinture et le calot. Signe.
Dis… Ici ?
- Ici.
- Tu n’as pas de bottes ?
Non. J’ai des chaussettes russes et
des boutons. Tu en as besoin ?
- Non.
- Alors, excuse, frérot.
- Camarade adjudant…
- Cinq… Six.
Tu as une belle montre.
- Elle te plaît ?
- Oui.
- Prise à l’ennemi.
- Tu les collectionnes ?
J’en ai le droit. Bon… sept.
German:
Nimm, Soldat,
nimm den Gurt und die Mütze.
Bitte hier unterschreiben.
Hier?
- Ja, genau.
- Hast du vielleicht Stiefel?
Nein. Ich habe Wickelgamaschen, Knöpfe...
- Nein, danke. - Entschuldige,
dass ich keine Stiefel habe.
- Genosse Feldwebel...
- Fünf... sechs...
Eine schöne Uhr.
- Gefällt sie dir?
- Ja.
- Ich habe sie erbeutet.
- Sammelst du Uhren?
Warum nicht? Ich habe ja ein
Recht darauf. Sieben...
Serbian:
Uzmi, vojniče!
Opasač, kapa...
Potpiši!
Ovde?
-Ovde!
Ima li čizama?
-Nema.
Ima čarapa, dugmad...
Treba ti?
Ne.
Onda, izvini, brate.
Druže zastavniče!
-Pet... Molim?
Šest...
–Imaš lep sat.
Sviđa ti se?
–Da.
To je trofej.
Kolkekcionar si?
–Zašto? Zar nemam pravo?
Tako... Sedam...
Spanish:
Tómalo, soldado,
cinturón, gorro.
Pon tu firma.
Oye...
- ¿Aquí?
- Sí.
- ¿No tienes botas?
- Botas no las hay.
Hay peales, botones.
¿Los necesitas?
- No.
- Entonces perdone.
- Compañero cabo...
- Cinco...
- Seis.
- Buen reloj tienes.
- ¿Te gusta?
- Sí.
Es de trofeo.
- ¿Coleccionas?
- ¿Y qué? Tengo derecho.
Entonces... Siete...
Slovak:
Štáb armády je tam, v tylu!
Tady velím já!
Každý, kdo může držet zbraň
jde zítra do boje.
Soudruhu majore...
- Přestaň!
Pozor!
Podle směrnice 2.6.0,
vy a váš zajatec jste pod mým velením!
Do ukončení obklíčení.
A potom jdi!
Na všechny čtyři strany.
Je to jasné, vojáku?
- Jasné!
1204.
– Papíry...
Pilota připravuji na operaci.
Říkali, že má gangrénu,
budou amputovat. Chceš kouřit?
Ne nekouřím.
Já zakouřím.
Italian:
Tieni, combattente.
La cinghia, la bustina, firma.
Ascolta… Qui?
- Qui.
- Hai un paio di stivali?
Gli stivali non ci sono. Ci sono
pezze da piedi, bottoni. Li vuoi?
- No.
- Scusami, amico.
- Compagno maresciallo…
- Cinque… no… sei.
Hai un orologio molto bello.
- Ti piace?
- Sì.
- Un trofeo di guerra.
- Li collezioni?
Beh, ne ho il diritto.
English:
Here, take it, soldier,
a rifle sling, a cap, sign for it.
Listen… Sign here?
- Here.
- Don’t you have any boots?
No boots. We’ve got foot
cloths and buttons. Need any?
- No.
- Then sorry, buddy.
- Comrade.
- Five… six.
Is your watch any good?
- Like it?
- Yeah.
- It’s a trophy.
- Do you collect them?
What of it? I’ve got a right.
Vietnamese:
Nào, nhận đi, chiến sĩ,
Thắt lưng, mũ calo, ký nhận nhá.
Nghe này…Ký vào đây hả?
- Chỗ này
-Thế anh có giầy không?
Giầy không có, chỉ có vải quấn
chân, có cúc áo. Lấy không?
- Không…
- Thôi thế xin lỗi nhá, người anh em.
- Đồng chí chuẩn úy…
- 5….à…6
Đồng hồ anh tốt đấy.
- Thích không?
- Thích.
- Đồ chiến lợi phẩm đấy.
- Anh sưu tầm à?
Ừ thì tớ có quyền vậy mà
French:
- Avant l’offensive.
- Pour moi, moins épaisse, frérot.
Tu veux rien d’autre ? Allez, va.
L’offensive…
Ce sont tes chaussures, soldat ?
Comment iras-tu à l’attaque, hein ?
Ou bien tu n’y vas jamais ?
Allez, va vite à la tente de l’intendant.
Il y reste une paire de bottes de
ta pointure. Cours-y.
Nous serons dans la 3ème compagnie.
- On part bientôt.
- Je dois avoir des bottes.
Dis, mec, c’est toi qui as amené
le pilote ?
- Oui.
- Je peux avoir son parachute ?
English:
- Next.
- And for me more broth, guy.
You want zilch? Move on.
Next.
What’s with your shoe, soldier?
You going to attack like that?
Or you do not go in attack?
Head over to the supply tent.
I’ve got a pair of boots
left in just your size. Run.
We were allocated to the third company.
- We’ll move out soon.
- I’ve got to get boots. Just a minute.
Hey, guy. Was it you who brought
the pilot to the infirmary?
German:
- Der Nächste...
- Und ich mag dünne Suppe.
Pustekuchen! Geh. Der Nächste!
Was ist mit deinen Schuhen los, Soldat?
Wie kannst du in solchen Schuhen
ins Gefecht ziehen?
Oder ziehst du gar nicht ins Gefecht?
Geh schnellstens zum Intendanten.
Er hat ein Paar Stiefel für dich. Schnell!
Nun sind wir Soldaten der 3. Kompanie.
- Bald gehen wir.
- Moment, ich muss mir Stiefel besorgen.
Hast du heute einen Flieger
ins Lazarett gebracht?
- Ja, das war ich.
- Darf ich seinen Fallschirm nehmen?
Italian:
- Avanti…
- Dal fondo, con più brodo.
Un corno spalmato lo vuoi?
Passa. Avanti…
Cos’hai ai piedi, soldato?
Come pensi di andare
all’attacco?
O non ci vuoi andare?
Svelto nella tenda dell’intendente.
Là è rimasto un paio di stivali
della tua misura. Corri.
Ci mandano nella
terza compagnia.
- Cominceremo tra poco.
- Subito, devo prendere gli stivali.
Ragazzo, sei stato tu a portare
l’aviatore all’ospedale da campo?
- Sì.
- Posso prendere il suo paracadute?
Spanish:
- Siguiente...
- A mí de más espeso, amigo.
¿Y una higa no quieres?
Vete. El siguiente...
¿Y qué te pasa con calzado,
soldado?
¿Cómo te vas al ataque en esto?
¿O tú no andas al ataque?
Vete rápido a la casa
de campaña del intendente.
Allí hay un par de botas de
tu número. Vete corriendo.
Nos incluyeron
en la tercera compañía.
- Salimos pronto.
- Mi debe tomar botas.
¿Fuiste tú, quien trajo al polito
al hospital?
- Sí.
- Dame su paracaídas.
Spanish:
- Siguiente...
- A mí de más espeso, amigo.
¿Y una higa no quieres?
Vete. El siguiente...
¿Y qué te pasa con calzado,
soldado?
¿Cómo te vas al ataque en esto?
¿O tú no andas al ataque?
Vete rápido a la casa
de campaña del intendente.
Allí hay un par de botas de
tu número. Vete corriendo.
Nos incluyeron
en la tercera compañía.
- Salimos pronto.
- Mi debe tomar botas.
¿Fuiste tú, quien trajo al polito
al hospital?
- Sí.
- Dame su paracaídas.
Vietnamese:
- Người tiếp theo… - Cho tớ miếng cháy
dưới đáy nồi ấy, đồng hương thân mến ơi.
Phần có hạt anh túc không muốn à?
Xong. Người tiếp theo…
Giầy của cậu kiểu gì thế, anh lính?
Đi giầy như thế này mà
xông lên tấn công hả?
Hay là cậu định chân trần ra trận?
Phi đến lều quân nhu ngay.
Vừa may đằng ấy có đôi giầy
cỡ chân cậu sót lại đấy. Khẩn trương!
Ta được phiên chế vào đại đội 3
- Sắp hành quân rồi.
- Ngay bây giờ cần đi lĩnh giầy
Chàng trai, đấy là cậu hôm nay giao
viên phi công cho trạm quân y hả?
- Đúng.
- Tớ lấy cái dù của anh ta được không?
Serbian:
Sledeći!
–A meni, sa dna, zemljače.
Ma nemoj?
Hajde, briši! Sledeći!
Kakva ti je to obuća, vojniče?
Kako ćeš u ovome u borbu?
Ili možda ti ne misliš da ideš u borbu?
Ja radim kao intendant!
Ostao nam je par čizama. Baš tvoj broj.
Trčećim korakom!
Hajde, hajde!
Uzmi!
–Rasporedili su nas u treću četu.
Uskoro krećemo.
Odmah ću. Samo da uzmem čizme.
Sačekaj.
Momče, jesi li ti doneo pilota u bolnicu?
Da.
–Mogu li da uzmem njegov padobran?
Slovak:
1842.
– Papíry...
Komsomolec jsi byl?
Ano.
Jdi.
Zbraň si sám musíš vzít.
Musíme se dostat z obklíčení.
Jdi!
Ber si to, vojáku!
Vietnamese:
Cái dù đàng nào cũng rách
mướp lại đầy máu me
Chờ anh ta tỉnh lại rồi
đến mà hỏi xin anh ấy.
Nhưng anh ta, cái này, từ lúc…
Vừa hồi tỉnh sau ca phẫu thuật,
nhìn thấy không còn chân cẳng gì nữa,
thế là cho ngay phát đạn vào mồm rồi...
Đại đội ba!
Dóng hàng đôi!
Cho nên, cái dù còn để làm gì nữa?
Cái dù ấy mà, tớ hỏi cậu, còn để làm gì?
Nhanh lên, cho luôn đi.
Chú ý!
Dóng hàng! Nghiêm!
Bên phải, quay!
Đi đều, bước!
Italian:
Tanto è tutto strappato
e macchiato di sangue.
Quando si riprenderà,
lo chiederai a lui.
Ma lui è già…
Si è ripreso dopo l’operazione,
ha visto che non ha le gambe,
si è sparato in bocca.
Terza compagnia!
In due righe!
Allora… col paracadute?
Ti sto chiedendo del paracadute?
Svelti, forza.
Sbrigatevi.
Allineamento! Attenti!
A destra!
Avanti, march!
Spanish:
De todo modo es roto
y ensangrentado.
Pregunta al piloto, cuando
él vuelva en sí.
Pero él, esto... cuando
volvió en sí tras
la operación, al ver que
le amputaron las piernas...
pegó una bala a la boca.
¡Tercera compañía!
¡A formarse en dos filas!
Pues, con la paracaídas, ¿qué?
¿Con la paracaídas,
digo, cómo será?
¡Rápido!
¡Rápido!
¡Alineación derecha, mar!
¡Firmes!
¡Derecha, mar! ¡De frente, mar!
French:
De toute façon, il est déchiré et taché
de sang.
Tu lui demanderas quand il reprendra
conscience.
Mais il…
Quand il est revenu à lui et a vu
qu’il était amputé des jambes
il s’est tiré une balle dans la bouche.
Troisième compagnie !
Rangez-vous sur deux files !
Alors… Pour le parachute ?
Dis, pour le parachute ?
Allez, plus vite !
Plus vite !
Alignement ! Fixe !
A droite !
En avant !
Spanish:
De todo modo es roto
y ensangrentado.
Pregunta al piloto, cuando
él vuelva en sí.
Pero él, esto... cuando
volvió en sí tras
la operación, al ver que
le amputaron las piernas...
pegó una bala a la boca.
¡Tercera compañía!
¡A formarse en dos filas!
Pues, con la paracaídas, ¿qué?
¿Con la paracaídas,
digo, cómo será?
¡Rápido!
¡Rápido!
¡Alineación derecha, mar!
¡Firmes!
¡Derecha, mar! ¡De frente, mar!
German:
Er ist ja sowieso zerrissen
und mit Blut beschmiert.
Frage ihn selbst.
Er ist schon tot.
Nach der Operation kam er zu sich,
sah, dass er keine Beine hat,
und schoss sich in den Mund.
Dritte Kompanie!
In Linie zu zwei Gliedern antreten!
Und der Fallschirm...
Darf ich ihn nehmen?
Was sagst du dazu?
Schnell, schnell.
Schneller!
Richt euch! Stillgestanden!
Nach rechts!
Im Gleichschritt marsch!
Serbian:
Poderan je i krvav.
–Pitaj ga kada dođe k svesti.
Ma on je...
Kada se probudio posle operacije
i video da nema noge...
Ispalio je sebi metak u usta.
Treća četa!
U dva reda, postroj se!
-Postrojavanje!
Ustaj, ustaj!
-Kreni!
Življe, življe!
-Onda, šta ćemo s padobranom?
Pitam za padobran?
–Brže, hajde!
Življe to malo!
Življe!
Ravnjs! Mirno!
Nadesno!
Napred marš!
Slovak:
Opasek, čepice...
Podepiš se!
Poslouchej... Tady?
- Tady!
Máš boty?
- Nemám boty.
Ponožky jsou, onuce jsou.
Potřebuješ?
Ne.
- Tak nezdržuj, bratře.
Soudruhu praporčíku!
- Pět... Co?
Šest...
– Máš pěkné hodinky.
Líbí se?
– Ano.
Trofejní.
Zbíraš je?
– Proč, nemam právo?
Tak... Sedm...
English:
- Yes.
- Could I have his parachute?
It’s all torn and covered in blood, it is.
Once he wakes up, ask him.
Well, he…
when he came to after the operation
and saw he didn’t have legs,
he shot himself in the mouth.
Third company!
Fall in to two files!
So what about the parachute?
So what about the parachute?
Faster, double time. Look lively.
Lively!
Line up! Attention!
Right face!
Forward march!
French:
A l’attaque !
En avant ! Hourra !
Slovak:
Další!
– A mě, ze dna, kámo.
A fíky s mákem nechceš?
Jdi. Další!
Máš dobré boty, vojáku?
Jak v tom chceš bojovat?
Nepůjdeš snad do bitvy?
Mazej do stanu skladníka!
Tam si vyber pár bot v tvém čísle.
Poklusem!
Zařadili nás do třetí roty.
Odcházíme brzy.
Počkej. Jdu si pro boty.
Počkej.
Chlapče...
Ty jsi přinesl pilota do nemocnice?
Ano.
– Mohu mít jeho padák?
Je potrhaný a krvavý.
English:
To the assault!
Forward! Hoorah!
Italian:
All’attacco!
Avanti! Urrà!
Serbian:
U napad!
-Ura!
Spanish:
- ¡Al ataque!
- Adelante.
Spanish:
- ¡Al ataque!
- Adelante.
German:
Zum Sturm!
Vorwärts! Hurra!
Vietnamese:
Tấn công!
Xông lên! Hura!
Spanish:
Oye, amigo.
- ¿Por qué estás acostado?
- Pues, matarán.
¿Y qué? Es la guerra.
Dale, levántate.
No. Me matarán.
Si quedaras acostado,
sin falta te matarán
Es más complicado apuntar,
cuando nos movemos.
Dale, levántate.
Slovak:
Zeptejte se ho, když se probere.
No, ale ten...
Když se probudil po operaci
a své nohy neměl...
Vpálil si kulku do úst.
Třetí rota!
Dvoj řad, nastoupit!
- Seřadit!
Vstávej, vstávej!
- Jděte!
Jedeme, jedem!
- Tak co uděláme s padákem?!
Ptám se co s tím padákem?
– Rychleji, dělejte!
Dělejte!
Rychleji!
Vyrovnat! Pozor!
Vpravo bok!
Pochodem chod!
Serbian:
Ura!
Ura!
Zemljače, ej zemljače!
Zašto ležiš?
Ubiće me!
–Pa šta ako te ubiju. Rat je.
Hajde, ustaj!
Ako ostaneš da ležiš, sigurno ćeš poginuti.
Ako trčiš, teže će te pogoditi.
Hajde, ustaj, hajde!
Italian:
Avanti!
- Compaesano!
- Ah!
- Perché te ne stai coricato?
- Ma ammazzano.
Anche se ti ammazzano, siamo
in guerra. Alzati.
No, mi uccidono.
Se resti coricato, ti uccidono di sicuro.
Quando ci muoviamo è più
difficile colpirci. Dai, alzati.
Vietnamese:
Xung phong!
- Đồng hương!
- A!
- Này đồng hương. Sao nằm đấy?
- Nó réo ghê quá.
Còn gì nữa, chiến tranh thì
đạn réo chứ sao. Đứng lên đi.
Không, nó réo ác quá…
Nhưng nằm đấy - chắc chắn bị giết
Di chuyển thì khó bắn trúng hơn.
Nào, dậy đi.
English:
Forward!
- Brother!
- Yeah!
- Hey, brother. Why are you lying here?
- They’ll kill me.
Well, so what if they kill you,
it’s war. Get up.
No, they’ll kill me.
If you’re lying down,
they’ll definitely kill you.
Harder to hit a moving target. Get up.
Spanish:
Oye, amigo.
- ¿Por qué estás acostado?
- Pues, matarán.
¿Y qué? Es la guerra.
Dale, levántate.
No. Me matarán.
Si quedaras acostado,
sin falta te matarán
Es más complicado apuntar,
cuando nos movemos.
Dale, levántate.
French:
En avant !
- Eh, l’ami !
- Oui ?
- L’ami. Pourquoi tu restes couché ?
- Je vais être tué.
Et alors ? C’est la guerre. Lève-toi.
Non, je vais être tué.
Si tu restes couché, c’est sûr que
tu seras tué.
On est plus difficile à atteindre
quand on court. Allez, lève-toi.
German:
Vorwärts!
- Kamerad!
- Ah!
- Kamerad! Warum liegst du da?
- Man wird mich töten.
So ist der Krieg, hier tötet man.
Steh auf.
Oh nein, man wird mich töten.
Wenn du liegst, wird man dich
ganz bestimmt töten.
Wenn wir schnell laufen,
trifft uns keine Kugel. Steh auf.
Serbian:
Ubiće me!
–Gledaj, i ja ustajem. Ustaj i ti.
Nišani!
Pali!
Napred, braćo!
Napred!
Ura!
Snajperista!
Italian:
- Mi uccidono.
- Vedi, mi alzo. Alzati pure tu.
Carica! Fuoco!
- Avanti, fratelli! Urrà!
- Urrà!
Un tiratore!
Slovak:
Poplach!
Do útoku!
French:
- Je vais être tué.
- Regarde, moi, je me lève. Lève-toi.
Chargez ! Feu !
- En avant, frérots…
- Hourra !
Un tireur d’élite !
German:
- Man wird mich töten.
- Ich stehe auf, steh auch auf.
Laden! Feuer!
- Vorwärts, Brüder! Hurra!
- Hurra!
Ein Scharfschütze!
Spanish:
- Me matarán.
- Yo me levanto, tú también.
¡A cargar! ¡Fuego!
Adelante, hermanos...
¡Un francotirador!
English:
- They’ll kill me.
- Look, I’m standing up, you get up, too.
Load. Fire.
- Forward, brothers! Hooray!!!
- Hooray!
A sniper!
Spanish:
- Me matarán.
- Yo me levanto, tú también.
¡A cargar! ¡Fuego!
Adelante, hermanos...
¡Un francotirador!
Vietnamese:
- Réo ghê quá… - Nhìn này,
tớ đứng lên rồi cậu cũng nhỏm dậy nhé.
Nạp đạn! Bắn!
- Anh em, xông lên! Hura!
- Hura!
Xạ thủ bắn tỉa!
Spanish:
¡Alto! ¿Adónde vas?
¡No! Francotirador
ver y disparar nosotros.
English:
Stop! Where are you going?
Don’t! The sniper will see you and shoot.
German:
Halt! Wo willst du denn hin?
Der Scharfschütze kann uns erblicken
und beschießen!
Serbian:
Stoj!
Gde si krenuo?
Nemoj, snajperista će da puca!
French:
Stop ! Où vas-tu ?
Le sniper te verra et tirera !
Italian:
Fermo! Dove vai?
Non si può! Il tiratore vede, spara.
Spanish:
¡Alto! ¿Adónde vas?
¡No! Francotirador
ver y disparar nosotros.
Vietnamese:
Đứng lại! Chạy đâu?
Hông được! Xạ thủ nó bắn đấy!
Slovak:
Poslouchej, hej slyšíš!
Proč tu ležíš?
Zabijou mě!
– No tak zabijí. Na to je válka.
Dělej, vstávej!
- Ne! Ne!
Slovak:
Pokud zůstanete ležet, umřeš.
Kličkuj, bude těžší tě zasáhnout.
Dělej, vstávej, dělej!
Zabijou mě!
– Podívej, já vstanu. Vstaň i ty.
Namířit!
Pal!
Vpřed, bratři!
Vpřed!
Odstřelovač!
Serbian:
Napred, momci!
–Napred!
Ogarkov! Ogarkov!
Ogarkov!
Jesi li živ?
Ogarkov, jesi li živ?
Samo bi mi još to falilo
da presudu sovjetskog suda
izvrši fric.
French:
- En avant, les mecs !
- Hourra !
Ogarkov…
Ogarkov…
Ogarkov, tu es en vie ?
Ogarkov, tu es en vie ?
Il ne manquait plus qu’un Boche
exécute le verdict
d’un tribunal soviétique.
Spanish:
Adelante, muchachos...
Ogarkov...
Ogarkov, ¿eres vivo?
¿Eres vivo, Ogarkov?
Lo único que faltaba,
que la sentencia
del tribunal soviético
la ejecutara un "fritz".
English:
- Forward, guys.
- Hooray!
Ogarkov!
Ogarkov!
Ogarkov, are you alive?
Ogarkov, are you alive?
Damn if the directive of
the Soviet tribunal
was fulfilled by the Krauts!
Vietnamese:
- Các bạn ơi, xung phong!
- Hura!
Ogarkov…
Oragkov…
Ogarkov, cậu sống chứ?
Ogarkov, cậu còn sống không?
Thật chỉ thiếu điều là tòa
án binh xô-viết tuyên án
còn bọn Đức thi hành án
Italian:
- Avanti, ragazzi!
- Urrà!
Ogarkov…
Ogarkov…
Ogarkov, sei vivo?
Ogarkov, sei vivo?
Ci manca solo che la condanna
del tribunale sovietico
venga eseguita da un cruco.
Spanish:
Adelante, muchachos...
Ogarkov...
Ogarkov, ¿eres vivo?
¿Eres vivo, Ogarkov?
Lo único que faltaba,
que la sentencia
del tribunal soviético
la ejecutara un "fritz".
German:
- Vorwärts, Jungs! Hurra!
- Hurra!
Ogarkow...
Ogarkow...
Ogarkow, lebst du noch?
Lebst du noch?
Das fehlte uns noch: Ein Fritz exekutiert
einen vom sowjetischen Tribunal
zum Tod durch Erschießen
verurteilten Mann.
Vietnamese:
Nào, nào…Xong rồi, tôi lắp phim rồi
Đấy, cuối cùng cũng ổn rồi.
Thế, thế, các đồng chí,
Ta sẽ lấy nền là cái xe quân sự.
Rất chuẩn.
Lui một tí. Sang trái. Thế, được rồi.
Chuẩn bị.
Chú ý…một hai ba…cười lên,
cười nào,
Được rồi. Khi nào báo ra tôi
sẽ gửi ảnh cho các cậu.
Cảm ơn. Ta đánh nhau gan lắm,
đồng chí đại úy nhỉ.
- Ừ, thì thế.
- Bọn ta là những người can đảm!
Tớ với cậu là người can đảm, Jurabaev.
Cậu biết không, tất cả những ai vượt khỏi
vòng vây đều được đề nghị khen thưởng.
German:
Ja, gut, los...Ich habe ihn hergeholt.
Endlich!
Ja, Kameraden,
ein Foto vor dem Kampffahrzeug.
Sehr gut.
Ein bisschen zurück…
ein bisschen nach links... Gut.
Fertigmachen!
Achtung... Lächeln Sie,
lächeln Sie.
Gut. Wenn die Zeitung erscheint,
schicke ich Ihnen das Foto.
Danke. Es war ein gutes Gefecht,
Genosse Hauptmann.
- Oh ja.
- Wir sind furchtlose Menschen!
Wir sind furchtlose
Menschen, Dschurabajew!
Alle, die dem Kessel entkommen sind,
bekommen Auszeichnungen.
Serbian:
Hajde, hajde... Evo, doveo sam ga.
–Napokon.
Hajde, drugovi.
Stanite pored tenka!
Jako dobro.
Malo nazad...
Malo levo...
Spremite se...
Pažnja!
Osmeh, osmeh...
Gotovo!
Poslaću vam primerak kada izađe u novinama.
Hvala! Živi bili pa da još dugo ratujemo,
druže kapetane.
Još kako ćemo!
–Mi smo neustrašivi!
Nas dvojica smo neustrašivi, Džurabajev.
Znaš li ti da će predložiti za odlikovanje
sve koji su uspeli da se probiju iz okruženja?
Italian:
Forza, forza… L’ho portato.
Finalmente.
Così, compagni, sullo
sfondo del carro armato.
Benissimo.
Un po’ più indietro.
Più a sinistra. Così.
Pronti.
Attenzione… un sorriso…
sorridete.
Fatto. Quando esce il giornale,
vi mando la foto.
Grazie. Abbiamo combattuto
bene, compagno capitano.
- Ma certo.
- Siamo gente senza paura.
Siamo gente senza paura
con te, Dgiurabaev.
Chi è uscito dall’accerchiamento
sarà decorato.
Spanish:
Dale. Bueno, ya lo traje.
Al fin.
Bueno, lo haremos frente
de un carro de combate.
Muy bien. Un poco atrás.
A la izquierda.
Prepárense.
Una sonrisa.
Hecho.
Cuando saldrá el diario,
le enviaré una foto.
Gracias. Combatimos bien,
¿verdad, compañero capitán?
- Bueno. Sí.
- Somos una gente intrépida.
Tú y yo, Dzhurabáev,
somos intrépidos.
Sabes, que a todos,
que saliesen del cerco,
les presentaran a la condecoración.
French:
Allez, allez… Le voici.
Enfin.
Camarades, à côté d’un véhicule
militaire.
Très bien.
Reculez un peu. Plus à gauche. Oui.
Attention.
Le petit oiseau va sortir.
Souriez.
Voilà. Quand le journal sera publié,
je vous enverrai la photo.
Merci. On a bien combattu,
hein, camarade capitaine ?
- C’est vrai.
- Nous sommes des intrépides !
On est intrépides
tous les deux, Djourabayev.
Tu sais, chacun qui est sorti
de l’encerclement aura une décoration.
English:
I brought him.
Well, about time.
So, comrades, lets’ put the artillery
in the background.
That’s good.
Backup a bit. Now to the left.
Ready.
Here we go...
Say cheese.
Got it. When the paper comes out,
I’ll send you the picture.
Thanks. We sure gave it
to them, Captain.
- Well, yeah and how!
- We are fearless people.
You and I are fearless, Dzhurabaev.
And you know, everyone who came out
of the encirclement will get medals.
Spanish:
Dale. Bueno, ya lo traje.
Al fin.
Bueno, lo haremos frente
de un carro de combate.
Muy bien. Un poco atrás.
A la izquierda.
Prepárense.
Una sonrisa.
Hecho.
Cuando saldrá el diario,
le enviaré una foto.
Gracias. Combatimos bien,
¿verdad, compañero capitán?
- Bueno. Sí.
- Somos una gente intrépida.
Tú y yo, Dzhurabáev,
somos intrépidos.
Sabes, que a todos,
que saliesen del cerco,
les presentaran a la condecoración.
Slovak:
Stůj! Kam...
Nic nedělej, odstřelovač tě vidí,
bude střílet!
Slovak:
Vpřed, chlapci!
– Vpřed!
Ogarkove! Ogarkove!
Ogarkove!
Jsi živí?
Ogarkove, jsi naživu?
To by chybělo,
Serbian:
Šta ti je, Džurabajev?
Moramo u Štab armije.
Vietnamese:
Cậu sao thế, Jurabaev? Nào …
Cần Ban tham mưu quân đoàn.
Spanish:
¿Qué te pasa, Dzhurabaév?
Hay que ir Estado Mayor
Ejército.
Italian:
Cosa c’è, Dgiurabaev? Ma…
Bisogna andare
allo stato maggiore.
English:
What’s wrong, Dzhurabaev?
We need to go to
the Army staff headquarters.
Spanish:
¿Qué te pasa, Dzhurabaév?
Hay que ir Estado Mayor
Ejército.
German:
Was sagst du, Dschurabajew?
Wir müssen zum Armeestab.
French:
Qu’est-ce que t’as, Djourabayev ?
Il faut aller à l’état-major.
German:
Ogarkow,
Ogarkow...
Kannst du schreiben?
Serbian:
Ogarkov!
Ogarkov!
Hoćeš li da napišeš?
Italian:
Ogarkov,
Ogarkov…
Puoi scrivere?
Spanish:
Ogarkov,
Ogarkov...
¿Sabes escribir?
Slovak:
aby rozsudek sovětského soudu
jim splnil fric.
No tak, dělej... Už jsem ho přivedl.
No konečně.
Dělejte, soudruzi.
Postavte se před tank!
Velmi dobře.
Trochu dozadu...
Výborně...
Připravit...
Pozor!
Usmívat se, usmívat se.
English:
Ogarkov,
Ogarkov,
can you write?
French:
Ogarkov,
Ogarkov…
Tu sais écrire ?
Spanish:
Ogarkov,
Ogarkov...
¿Sabes escribir?
Vietnamese:
Ogarkov,
Ogarkov, dậy đi…
Viết được không?
German:
Schreiben? Was denn?
Kannst du einen Brief schreiben?
An wen?
An den Armeestab?
"Warten Sie, bald kommen wir"?
Nein. Nach Hause, an die Mutti.
Was soll ich schreiben?
Schreib, dass wir gegen
die Deutschen kämpfen.
Das weiß sie ohnehin.
Ein Soldat sollte etwas
Heldenhaftes beschreiben.
Was?
Etwas Heldenhaftes.
Schreiben wir, dass du Begleitmann bist.
Serbian:
Šta da napišem?
Hoćeš li da napišeš pismo?
Kome?
Uskoro ćemo stići u Štab armije.
Ne.
Treba da pišeš mojima kod kuće.
Mojoj majci.
Šta da napišem?
Napiši:
"Ratujemo s Nemcima."
To i sama zna.
Svojima treba da pišeš o svom heroizmu.
Molim?
Nešto herojsko.
Napisaću
da si vođa konvoja.
English:
Write what?
Can you write a letter?
Where?
To the staff headquarters?
Wait, we will be with you soon?
No. I need to write home, to my mother.
What do you want to write?
Write that we’re fighting the Germans.
She knows that.
From the war you need
to write something heroic.
What?
Heroic. Say, write that you’re a convoy.
Vietnamese:
Viết gì chứ?
Cậu viết thư được chứ?
Viết đi đâu?
Viết cho Ban tham mưu quân đoàn à?
Đợi đi, sắp đến nơi rồi mà?
Hông. Viết thư về nhà, cho mẹ.
Viết gì?
Viết đi, chúng con oánh bọn Đức.
Thì mẹ cũng biết thế rồi mà
Từ chiến trận phải viết cái
gì đó oách tí chứ.
Như nào?
Có vẻ oai hùng ấy. Nào,
ta sẽ viết rằng cậu là chiến sĩ áp tải
Slovak:
Hotovo!
Když novin vyjdou, tak fotku pošlu.
Děkuji! To je ve válce
moc dlouhá cesta, soudruhu kapitáne.
Ano, to je!
– Jsme nebojácní!
Jsme nebojácní, Džurabajeve.
A víš, že ti co se dostali
z obklíčení dostanou odměnu?!
Co ti je, Džurabajeve? No?
Musíme do Štábu armády.
Spanish:
Escribir, ¿qué?
¿Una carta puedes escribir?
¿A dónde?
¿Al Estado Mayor del Ejército?
¿Espérennos, sí?
No. Hay que escribir a casa,
a mamá.
¿Qué quieres escribir?
Escribe que combatimos alemán.
Pero ella lo sabe sin cartas.
De la guerra hay que escribir
algo heroico.
¿Qué?
Heroico. Vamos a escribir
que eres el escolta.
Spanish:
Escribir, ¿qué?
¿Una carta puedes escribir?
¿A dónde?
¿Al Estado Mayor del Ejército?
¿Espérennos, sí?
No. Hay que escribir a casa,
a mamá.
¿Qué quieres escribir?
Escribe que combatimos alemán.
Pero ella lo sabe sin cartas.
De la guerra hay que escribir
algo heroico.
¿Qué?
Heroico. Vamos a escribir
que eres el escolta.
French:
Ecrire quoi ?
Tu peux écrire une lettre ?
A qui ?
A l’état-major ?
Attendez-nous, on arrive?
Non, chez moi. A maman.
Lui écrire quoi ?
Qu’on combat les Allemands.
Elle le sait.
D’ici, il faut écrire quelque chose
d’héroïque.
De quoi ?
D’héroïque. Ecrivons-lui que
tu es soldat d’escorte.
Italian:
Cosa devo scrivere?
Puoi scrivere una lettera?
A chi?
Allo stato maggiore? Aspettateci,
presto saremo da voi?
No. Bisogna scrivere a casa,
alla mamma.
Cosa scrivere?
Scrivi che combattiamo coi tedeschi.
Questo lei lo sa.
Dalla guerra bisogna scrivere
qualcosa di eroico.
Cosa?
Qualcosa di eroico. Scriviamole
che sei un soldato di scorta.
Vietnamese:
- Sao?
- Chiến sĩ áp tải.
Áp tải tớ, thực hiện trách
nhiệm theo mệnh lệnh.
Hông. Người ta nghĩ hông tốt,
hông phải mặt trận mà làm cai tù.
Thế không viết cho mẹ nữa,
mà cần viết cho bố.
Bố sẽ hiểu.
Bố chết rồi
ngoài mặt trận.
Ngay năm bốn mốt.Ở Klyazma.
Hãy viết về thảo nguyên đi.
Gì?
Rằng ở đây thảo nguyên
giống như ở quê nhà…
Italian:
- Come?
- Un soldato di scorta.
Fai la guardia a me, un ordine
che esegui con responsabilità.
No. Penserà male, che non sono
al fronte, ma lavoro in un carcere.
Quindi bisogna scrivere non
alla mamma, ma a tuo padre.
Tuo padre capirà.
Mio padre è morto
in guerra.
Già nel quarantuno. A Klyazma.
Scrivile della steppa.
Cosa?
Qui la steppa è così come
a casa nostra…
French:
- Quoi ?
- Soldat d’escorte.
Tu m’escortes, tu accomplis un ordre
important.
Non. Tout le monde pensera que je fais
mon service dans une prison.
Parce qu’il faut écrire non à ta mère,
mais à ton père.
Ton père comprendra.
Mon père a été tué
au front.
En 1941. Près de Kliazma.
Parle de la steppe.
Quoi ?
Ici la steppe ressemble à celle
de chez moi.
German:
- Wie bitte?
- Begleitmann.
Du begleitest mich, erledigst eine
verantwortungsvolle Aufgabe.
Nein. Man wird denken, ich sei nicht an
der Front, sondern im Gefängnis.
Nicht an die Mutter, sondern
an den Vater muss man schreiben.
Er versteht alles.
Der Vater ist tot.
An der Front gefallen.
Im Jahr 1941, am Fluss Kljasma.
Beschreibe die Steppe.
Was?
Die Steppe ist hier wie
bei uns zu Hause...
Spanish:
- ¿Cómo?
- Escolta.
Me escoltas, cumpliendo
una orden importante.
No. Pensarán mal, que mi
no está en frente,
que mi sirve en prisión.
Hay que escribir no a mamá,
sino a papá. Él comprenderá.
Padre murió
en el frente.
Todavía en 1941.
En Kliázma.
Escribe de la estepa.
¿De qué?
Estepa aquí parece mucho
a la nuestra.
Spanish:
- ¿Cómo?
- Escolta.
Me escoltas, cumpliendo
una orden importante.
No. Pensarán mal, que mi
no está en frente,
que mi sirve en prisión.
Hay que escribir no a mamá,
sino a papá. Él comprenderá.
Padre murió
en el frente.
Todavía en 1941.
En Kliázma.
Escribe de la estepa.
¿De qué?
Estepa aquí parece mucho
a la nuestra.
Serbian:
Šta?
-Vođa konvoja.
Vodiš mene.
Ispunjavaš važan zadatak.
Ne, pogrešno će da shvati.
Misliće da sam govno koje nije na frontu.
Zašto pišeš samo majci?
Piši ocu, on će razumeti.
Otac mi je poginuo.
Na frontu.
Još 1941-ve.
Kod Vjazme.
Napiši nešto o stepi.
Šta?
Napiši da je stepa ista kao kod nas.
English:
- A what?
- A convoy.
You are conveying me, you are fulfilling
a very important order.
No. They’ll think it’s bad, that
I’m serving in a prison, not the front.
That’s because you need to write
to your father, not mother.
The father will understand.
My father died
at the front.
In ’41.
Write about the steppe.
What?
The steppe here looks a lot like at home…
Italian:
Steppa… vento…
Slovak:
Ogarkove!
Ogarkove!
Ty psát můžeš.
Co psát?
Dopis můžeš napsat.
Kde?
Do Štábu armády? Už tam brzy budeme.
Ne.
Domu napiš.
Mámě.
Co mám psát?
Spanish:
Estepa y viento...
French:
La steppe… Le vent…
Vietnamese:
Thảo nguyên bao la…và gió thổi…
English:
the steppe… and the wind…
Serbian:
I stepa, i vetar...
Spanish:
Estepa y viento...
German:
Die Steppe... und der Wind...
Serbian:
Goša!
Slovak:
Napiš:
"S Němci Bojujeme."
To i tak ví.
O hrdinovi budu psát.
Jakém?
O hrdinství.
Napíšu,
že jsi vůdce eskorty.
Jak?
- Eskorta.
Eskortuješ mě...
Plníš důležitý úkol.
Ne, špatně to pochopí.
Ne vpředu, ale vzadu jsem.
Proč psát jen matce?
A co otec, pochopí?!
Otec zahynul.
Na frontě.
Už v 1941.
Ve Vjazme.
Spanish:
Combatientes, soy el teniente
Prisiazhniúk,
de la comandancia
de la ciudad. Sus documentos.
Le repito, raso Dzhurabáev,
Ud. cumplió la tarea.
- Regrese a su unidad.
- ¡No. Tengo la orden!
- Debo ir a Estado Mayor.
- ¡No me enchiches!
- ¡Tengo mucho trabajo!
- Compañero comandante,
hay que papel a tribunal
militar escribir.
Raso Dzhurabáev, le repito,
Ud. hizo su trabajo.
Váyase.
Compañero comandante,
así no. ¡Tengo la orden!
En el tiempo de guerra,
puedo resolver
tales cosas yo mismo.
¿Está claro eso?
¡Ischenko!
Acompañe al soldado
para la salida.
Siéntate, abuela, siéntate.
Ya. Le llamaré.
Ahora estoy ocupado.
French:
Camarades, lieutenant Prissiajnuk,
du bureau de garnison.
Vos papiers.
Je répète, soldat Djourabayev,
vous pouvez disposer.
- Retournez dans votre unité.
- J’ai un ordre.
- Je dois allez à l’état-major.
- Ne me bourre pas le mou !
- J’ai autre chose à faire !
- Camarade commandant,
il faut signer le papier pour le tribunal
militaire.
Soldat Djourabayev, vous vous êtes
acquitté de votre mission.
Camarade commandant, j’ai un ordre !
En temps de guerre,
j’ai le droit de régler ces questions
moi-même. C’est clair ?
Ichtchenko !
Accompagnez le soldat jusqu’à la sortie.
Bouge pas, grand-mère.
Je vous convoquerai.
Je n’ai pas le temps.
Italian:
Compagni, tenente Prisyazhnyuk,
comando militare della città.
I vostri documenti.
Ripeto, soldato semplice
Dgiurabaev, può andare.
- Torni nella sua formazione.
- Non posso. Ho l’ordine!
- Allo stato maggiore!
- Non rompermi le scatole!
- Ho mille cose da fare!
- Compagno comandante,
devo firmare un documento
al tribunale militare.
Soldato semplice Dgiurabaev,
ripeto, ha fatto tutto, vada.
Compagno comandante, così
non si può. Ho un ordine!
In tempo di guerra
simili questioni le posso
risolvere da solo. Ha capito?
Ischenko!
Accompagna il soldato
fino all’uscita.
Resta seduta, donna, stai lì.
Basta. Vi faccio chiamare.
Non ho tempo.
Spanish:
Combatientes, soy el teniente
Prisiazhniúk,
de la comandancia
de la ciudad. Sus documentos.
Le repito, raso Dzhurabáev,
Ud. cumplió la tarea.
- Regrese a su unidad.
- ¡No. Tengo la orden!
- Debo ir a Estado Mayor.
- ¡No me enchiches!
- ¡Tengo mucho trabajo!
- Compañero comandante,
hay que papel a tribunal
militar escribir.
Raso Dzhurabáev, le repito,
Ud. hizo su trabajo.
Váyase.
Compañero comandante,
así no. ¡Tengo la orden!
En el tiempo de guerra,
puedo resolver
tales cosas yo mismo.
¿Está claro eso?
¡Ischenko!
Acompañe al soldado
para la salida.
Siéntate, abuela, siéntate.
Ya. Le llamaré.
Ahora estoy ocupado.
Slovak:
Napiš o stepi.
Co?
Tady step... je stejná jako doma.
Step, i vítr...
Serbian:
Drugovi borci...
Poručnik Prisnažnjuk, gradska komanda.
Vaša dokumenta!
Ponavljam vam, vojniče Džurabajev, možete ići.
Slobodni ste. Idite u svoju jedinicu!
Ne mogu u jedinicu. Imam naređenje.
Moram u Štab armije.
Ne punite mi glavu svojim problemima!
Imam ja svog posla do guše.
Druže komandante, Vojni tribunal treba
da potpiše dokumenta.
Vojniče Džurabajev, ponavljam vam još jednom:
Uradili ste svoj posao. Možete ići!
Druže komandante, ne može to tako.
Ja imam naređenje.
Za vreme ratnog stanja, ovakve stvari
imam pravo rešavati samostalno.
Jasno?
Iščenko!
Odvedite vojnika do izlaza!
Samo da pitam...
–Sačekaj, bako, sačekaj...
Jesam li vam rekao?
Nemam vremena!
German:
Genossen, ich bin Leutnant Prissjaschnjuk
von der Kommandantur.
Zeigen Sie Ihre Papiere vor.
Ich sage Ihnen nachdrücklich,
Dschurabajew, dass Sie frei sind.
- Gehen Sie zu Ihrem Truppenteil.
- Ich befolge meinen Befehl!
- Ich muss zum Armeestab!
- Lassen Sie mich in Ruhe!
- Ich habe alle Hände voll zu tun!
- Genosse Kommandant!
Es ist notwendig, das Papier
des Tribunals zu unterschreiben.
Dschurabajew, Sie haben alles
Notwendige gemacht. Sie dürfen gehen.
Genosse Kommandant, das geht nicht!
Mein Befehl!
Unter den Kriegsbedingungen darf ich
über solche Angelegenheiten selbstständig
entscheiden. Haben Sie mich verstanden?
Ischtschenko!
Zeigen Sie dem Soldaten, wo die Tür ist.
Bleib sitzen, Oma.
Ich werde Sie später herbestellen.
Ich habe keine Zeit.
English:
Comrade soldiers, I’m lieutenant
Prisyazhnyuk, the commandant of the town.
Your documents.
Again, private Dzhurabaev,
you're free to go.
- Head back to your unit.
- Can’t go back. I have an order!
- I need to go to the staff headquarters.
- Back off!
- I have more than enough to do!
- Comrade commandant,
the tribunal papers
need to be confirmed.
Private Dzhurabaev, I tell you again,
you’ve completed your mission. Go.
Comrade commandant, I can’t.
I’ve got an order.
In conditions of war
I can decide such questions myself. Clear?
Ishenko!
Escort the private to the exit.
Sit down, granny, sit down.
I’ll call you.
I’ve got no time right now.
Vietnamese:
Các đồng chí chiến sĩ, trung úy
Prisyazhnyuk, Ban quân quản thành phố
Cho xem giấy tờ.
Tôi nhắc lại, binh nhì Jurabaev,
đồng chí được tự do.
- Lên đường về đơn vị của mình.
- Hông được. Tôi có mệnh lệnh.
- Cần Ban tham mưu quân đoàn!
- Đừng làm rối óc tôi nữa!
- Việc ngập tận cố đây này!
- Đồng chí quân quản,
cần ký tờ giấy tòa án binh
Binh nhì Jurabaev, tôi nhắc lại lần nữa, -
cậu đã làm xong việc của mình rồi, đi đi.
Đồng chí quân quản, hông được thế.
Tôi có mệnh lệnh!
Trong điều kiện thời chiến
tôi đây có thể chủ động giải quyết
những vấn đề như vậy. Rõ chưa?
Ishenko!
Đưa tay lính này ra cửa.
Ngồi đấy, bà kia, cứ ngồi đấy.
Xong rồi. Tôi sẽ gọi cậu.
Không có thời giờ đâu nữa.
Vietnamese:
Bước lên trước.
English:
Go straight ahead.
Spanish:
Dale adelante.
Spanish:
Dale adelante.
Serbian:
Hajde, kreni!
Italian:
Forza, avanti.
French:
En avant.
German:
Vorwärts.
Italian:
Allineamento!
Pronti!
Carica!
Puntamento!
- Ogarkov! Ogarkov!
- Fermi!
Compagno tenente,
Ogarkov dal comandante.
Chi è Ogarkov?
Mira.
Fuoco.
Spanish:
¡A formarse!
¡Prepárense!
¡A cargar!
¡Apuntar!
¡Ogárkov!
- Alto!
- Compañero teniente,
a Ogárkov al comandante.
¿Quién es Ogárkov?
Apuntar.
Fuego.
German:
Stellen Sie sich auf!
Fertigmachen!
Laden!
Anvisieren!
- Ogarkow! Ogarkow!
- Abstellen!
Genosse Leutnant,
Ogarkow muss zum Kommandanten.
Wer ist Ogarkow?
Anvisieren.
Feuer.
French:
A vos rangs !
Prêts ?
Chargez !
En joue !
- Ogarkov ! Ogarkov !
- Arrêtez !
Camarade lieutenant, le commandant
demande Ogarkov.
Qui est Ogarkov ?
En joue !
Feu !
Spanish:
¡A formarse!
¡Prepárense!
¡A cargar!
¡Apuntar!
¡Ogárkov!
- Alto!
- Compañero teniente,
a Ogárkov al comandante.
¿Quién es Ogárkov?
Apuntar.
Fuego.
English:
Attention!
Ready!
Load!
Aim!
- Ogarkov! Ogarkov!
- At ease!
Comrade Lieutenant,
I’m to take Ogarkov to the commandant.
Who’s Ogarkov?
Aim.
Fire.
Serbian:
Postrojte se!
Spremite se!
Napuni!
Nišani!
Ogarkov! Ogarkov!
-Ostav!
Druže poručniče, komandant zove Ogarkova.
Ko je Ogarkov?
Nišani!
Pali!
Slovak:
Soudruzi bojovníci...
Poručík Prisnažnjuk z velitelství města.
Vaše dokumenty!
Opakuji vám, voják Džurabajeve, můžete jít.
Vraťte se ke své jednotce!
Nemohu k jednotce. Mám rozkaz.
Musím do Štábu armády.
Nezatěžuj mi hlavu svými problémy!
Svých mám dost.
Soudruhu veliteli, vojenský soud
by měl dokument podepsat.
Vojáku Džurabajeve, ještě jednou!
Udělal jste svou práci. Jděte!
Vietnamese:
Dóng hàng!
Chuẩn bị!
Lên đạn!
Ngắm trúng mục tiêu!
-Ogarkov! Ogarkov!
-Dừng lại!
Đồng chí trung úy,
lệnh gọi Ogarkov đến Ban quân quản.
Ai là Ogarkov?
Ngắm.
Bắn!
German:
Du hast deinem Kasachen dein
Leben zu verdanken.
Wenn er das Papier nicht gebracht hätte...
Nimm.
Laut diesem Dokument bekommst
du den Orden des Roten Sterns.
Was nun?
Keine Ahnung...
Im Armeestab wird man entscheiden,
Slovak:
Soudruhu veliteli, tak to nejde.
Mám rozkaz.
Během války, se tyto věci
mohou řešit samostatně.
Jasné?
Odveďte vojáka k východu!
Jen se ptám...
– Počkej, babi, počkej...
Už jsem ti řekl!
Nemám čas!
French:
Tu es maintenant l’obligé à vie de
ton Kazakh.
S’il n’avait pas apporté ce papier…
Tiens.
Tu te vois attribuer l’ordre de l’Etoile
Rouge.
Et maintenant ?
Je ne sais pas.
C’est à l’état-major d’armée de voir.
Italian:
Col tuo kasakho sarai
in debito tutta la vita.
Se non avesse portato
questo documento…
Tieni.
È per la tua medaglia
“Stella Rossa”.
E ora?
Non so…Che decidano
allo stato maggiore.
English:
You now owe your life to your Kazakh.
If he hadn’t brought that paper…
Take it.
This is your citation for
the order of the Red Star.
What happens now?
I don’t know…
Let the staff headquarters decide.
Spanish:
Tienes que agradecer a tu kazajo
hasta la muerte.
Si él no hubiera traído
este papel...
Toma.
Es el documento para tu condecoración
con la orden de Estrella Roja.
¿Y qué debo hacer ahora?
No lo sé.
Que lo resuelvan ahora
en el Estado Mayor del Ejército,
Serbian:
Tvom Kazahu bi trebalo da budeš zahvalan do groba.
Da nije doneo ovaj papir...
Uzmi!
Predložen si za dobijanje ordena
"Crvena zvezda".
I šta sad?
Ne znam.
Neka u Štabu armije reše
Spanish:
Tienes que agradecer a tu kazajo
hasta la muerte.
Si él no hubiera traído
este papel...
Toma.
Es el documento para tu condecoración
con la orden de Estrella Roja.
¿Y qué debo hacer ahora?
No lo sé.
Que lo resuelvan ahora
en el Estado Mayor del Ejército,
Vietnamese:
Cậu bây giờ nợ ơn tay Kazak này
đến lúc xuống mồ đấy nhé…
Nếu cậu ta không kịp mang
tờ giấy này đến thì…
Cầm lấy.
Đây là phần thưởng của cậu -
kèm với huân chương Sao Đỏ.
Bây giờ thì sao ạ?
Không biết nữa…Thôi cứ để Ban
tham mưu quân đoàn quyết định
Slovak:
Dělej, jdi!
Seřaďte se!
Připravit!
Nabít!
Namířit!
Italian:
Fucilarti o decorarti…
Ischenko!
Forza… fallo uscire.
Perché hai deciso di salvarmi?
Vietnamese:
Xử bắn cậu hay là khen thưởng cậu
Ishenko!
Nào, đưa cậu ấy ra.
Sao cậu lại quyết định cứu tớ?
Spanish:
fusilarte o condecorar.
¡Ischenko!
Llévalo para la salida.
¿Por qué has decidido
a salvarme?
English:
Shoot you or give you the award.
Ishenko!
That’s all. Escort him out.
What made you decide to save me?
Spanish:
fusilarte o condecorar.
¡Ischenko!
Llévalo para la salida.
¿Por qué has decidido
a salvarme?
French:
S’il faut t’exécuter ou te décorer.
Ichtchenko !
Accompagne-le jusqu’à la sortie.
Pourquoi tu as décidé de me sauver ?
Serbian:
da li će te streljati ili odlikovati.
Iščenko!
Hajde, vodi ga do izlaza!
Zašto si rešio da me spaseš?
German:
ob man dich erschießt oder
mit dem Orden uszeichnet.
Ischtschenko!
Zeig ihm, wo die Tür ist.
Warum hast du dich dafür entschieden,
mich zu retten?
German:
Du hast den Brief
nicht zu Ende geschrieben.
Du rauchst ja nicht.
Ja, ich rauche nicht.
- Guten Tag...
- Zwei Soldaten?
Für zwei habe ich genug Platz.
Spanish:
Pues, no has terminado
escribir la carta.
Pero, si tú no fumas.
Sí, no fumo.
Buenas...
¿Son dos?
Para los dos encontraré lugar.
Vietnamese:
Cậu viết chưa xong lá thư.
Cậu không hút thuốc cơ mà.
Ừ, hông hút.
- Chào ạ…
- Các anh hai người hả?
Tôi sẽ kiếm chỗ cho hai người.
Slovak:
Ogarkov! Ogarkov!
- Pohov!
Soudruhu poručíku, Ogarkov k velitel.
Kdo je Ogarkov?
Namířit!
Pal!
Kazachu svému budeš vděčný až do hrobu.
Kdyby tento papír nepřines.
Spanish:
Pues, no has terminado
escribir la carta.
Pero, si tú no fumas.
Sí, no fumo.
Buenas...
¿Son dos?
Para los dos encontraré lugar.
Italian:
Non hai finito di scrivere la lettera.
Ma non fumi.
Sì, non fumo.
- Buona sera…
- Siete in due?
Per due il posto lo trovo.
French:
Tu n’as pas fini la lettre.
Tu ne fumes pas, il me semble.
Je ne fume pas.
- Bonjour.
- Vous êtes deux ?
Je trouverai deux places.
Serbian:
Nisi mi završio pismo.
Ti ne pušiš.
Da, ne pušim.
Dobar dan!
Dvojica ste?
Naći ću mesta za dvojicu.
English:
You never finished the letter.
You don’t smoke.
Yes, I don’t smoke.
- Hello.
- There are two of you?
I can find a place for two.
French:
Venez.
Tiens.
Maria !
Ce sont tous des nôtres. Tiens.
Vous voulez dormir ?
Non, merci.
German:
Komm mit.
Nimm!
Marija!
Da hast du's. Nimm.
Wollen Sie schlafen?
Nein, danke.
Spanish:
Vamos.
Toma.
¡María!
Todos son nuestros.
Tómalo.
¿Tal vez, van adormir?
No, gracias.
Slovak:
Tu máš!
Jsi navržen na medaili
"Červená hvězda"!
Co teď?
Nevím.
Ať to ve Štábu armády rozhodnou.
Zastřelit tě nebo pustit.
Dělej, doveď ho ven!
English:
Come.
Take it.
Maria!
Everyone is ours. Here take it.
Maybe you’d like to sleep?
No, thank you.
Spanish:
Vamos.
Toma.
¡María!
Todos son nuestros.
Tómalo.
¿Tal vez, van adormir?
No, gracias.
Vietnamese:
Đi nào
Cầm lấy.
Maria!
Tất cả của nhà hết. Cầm lấy đi.
Anh ngủ đi chứ?
Không, cảm ơn.
Serbian:
Idemo!
Drži!
Marija!
Naši su.
Evo, uzmi!
Hoćete li da spavate?
Hvala.
Italian:
Andiamo.
Tieni.
Maria!
Tutti gente nostra. Tieni.
Vuole dormire?
No, grazie.
Slovak:
Proč jsi mě zachránil?
Dopis jsi nedopsal.
Ty nekouříš.
Jo, nekouřím.
English:
My husband was killed last
year right at the beginning.
He was stationed
at the border, in Bessarabia.
He was a lot like you,
a city boy,
from Maikop.
- Hello, Aunty Masha.
- Hi.
Spanish:
Mi marido murió el mismo inicio
de la guerra.
Pasaba el servicio en la frontera,
en Besarabia.
Era como Ud., ...
pueblero,
de Maikop.
- ¡Buenas, tía Másha!
- Buenas...
Italian:
Mio marito è stato ucciso
l’anno scorso all’inizio.
Era di servizio sulla frontiera,
in Bessarabia.
Era così come lei…
un abitante di città,
era di Maykop.
- Buon giorno, zia Masha!
- Buon giorno.
Vietnamese:
Chồng tôi năm ngoái
bị giết ngay lúc đầu tiên
Anh ấy phục vụ ở biên giới, ở Bessarabya.
Trông cũng giống như anh,
dân thành phố
từ Maikop.
- Chào cô Masha ạ!
- Xin chào.
German:
Mein Mann ist im vorigen
Jahr im Krieg gefallen.
Er war Grenzsoldat in Bessarabien.
Er war wie Sie...
ein Städter...
er stammte aus Maikop.
- Guten Tag, Tante Mascha!
- Tag.
Spanish:
Mi marido murió el mismo inicio
de la guerra.
Pasaba el servicio en la frontera,
en Besarabia.
Era como Ud., ...
pueblero,
de Maikop.
- ¡Buenas, tía Másha!
- Buenas...
Serbian:
Muž mi je poginuo prošle godine.
Na samom početku rata.
Služio je na granici s Basarabijom.
Bio je kao i vi...
Gradski momak.
Iz Majkopa.
Dobar dan, teta Maša!
-Dobar dan!
French:
Mon mari a été tué l’année dernière,
au tout début.
Il faisait son service à la frontière,
en Bessarabie.
Il était comme vous…
Un citadin,
de Maïkop.
- Bonjour, Macha !
- Bonjour.
Vietnamese:
Đợi tí.
- Xin cảm ơn chị.
- Hãy trở lại đây khi nào đó,
hãy ghé về đây,
nếu anh còn nhớ.
Spanish:
Momento.
Gracias a Ud.
Al regreso visítennos,
si nos recordaran.
Spanish:
Momento.
Gracias a Ud.
Al regreso visítennos,
si nos recordaran.
French:
Un instant.
- Merci.
- Quand vous reviendrez,
passez me voir.
Si vous vous souvenez encore de moi.
German:
Moment mal.
- Danke.
- Wenn Sie zurückkehren,
kommen Sie mal vorbei,
wenn Sie mich nicht vergessen.
English:
Here.
- Thank you.
- When you come back -
drop by
if you remember.
Slovak:
Zdravím!
Jste dva?
Pro dva místo najdu.
Jdeme!
Serbian:
Dolazim odmah.
Hvala vam!
Navratite ponekad ako budete prolazili ovuda.
Ili ako se setite.
Italian:
Un attimo.
- La ringrazio.
- Quando torna,
venga a trovarmi,
se si ricorderà ancora.
Slovak:
Vezmu to.
Marija!
Naši.
Konečně!
Můžete jít spát?
Děkuji.
Mého muže zabili v loňském roce.
Na samém počátku války.
French:
Lève-toi, lève-toi.
- Ça va ?
- Oui.
Vérifiez les effectifs.
Il y a des blessés ?
Un homme est blessé.
Il faut un infirmier.
Un infirmier,
- vite, vite.
- Ecartez-vous.
- Allez, aidons-le.
- Mais pourquoi ?
Un instant.
Enlève tes mains ! Enlève tes mains !
- Enlève tes mains !
- Calme-toi.
Courage, ce sera vite fait.
Passe-moi un chiffon.
Serbian:
Majku mu!
–Ustaj, ustaj!
Kako si? Jesi li živ?
-Sve je u redu.
Proverite lični sastav!
Ima li ranjenih?
Jedan vojnik je ranjen!
–Zovite bolničara!
Zovite bolničara!
Brže, brže!
–Napravite mesta!
Da pomognemo?
–Kako je ovo moguće?
Podigni ga!
–Odmah ću.
Oporaviće se on.
Ne diraj ga!
Ne diraj ga! Ne diraj ga!
–Smiri se!
Odmah ću ja...
Odmah...
–Ulazite u kamion!
Izdrži!
Daj krpu!
Izdrži, odmah ću ja...
English:
Get up, get up.
- Are you alive?
- Yeah, everything’s OK.
Check the personel.
Anyone wounded?
A soldier’s wounded. Call the medic.
Get a medic here.
- Quick, quick.
- Go away, go away.
- Let us help.
- How?
Now, now.
Get your hands off him!
- Get your hands off him!
- Calm down.
Now, now, now. Hold on.
Give me a rag.
Italian:
Alzati, alzati.
- Come va, sei vivo?
- Tutto bene.
Controllate l’effettivo.
Ci sono dei feriti?
Un soldato è stato ferito.
Un portaferiti qua.
Un portaferiti qua,
- svelti, svelti.
- Scostatevi, scostatevi.
- Aiutiamo.
- Ma com’è successo?
Subito, subito.
Le mani! Le mani!
- Le mani!
- Ma calmati.
Subito, subito, pazienta…
Dai uno straccio.
Vietnamese:
Đứng dậy, đứng dậy.
- Cậu sao, còn sống chứ?
- Tất cả bình thường.
Kiểm tra cơ số đơn vị.
Có ai bị thương không?
Một chiến sĩ bị thương. Gọi y tá đến đây.
Cứu thương đến đây mau,
- Nhanh lên, nhanh lên…
- Tránh ra, tránh ra.
- Đưa chúng tôi giúp.
- Vâng, sao lại thế cơ chứ?
Ngay đây, ngay đây.
Bỏ tay ra! Bỏ tay ra!
- Bỏ tay ra nào!
- Được, cậu bình tĩnh đi.
Ngay đây, ngay đây, cố chịu nhé…
Đưa khăn đây.
Spanish:
Levántate, levántate.
- ¿Eres vivo?
- Todo está bien.
Averiguar el personal.
¿Hay heridos?
- Un soldado herido.
- Llamen al camillero.
Al camillero acá.
- Vivo...
- Apártate...
Vaya, ¿cómo es?
Ahora mismo...
¡Quítate las manos!
- ¡Quítate las manos!
- Pero, tranquílate.
Momento...
Momento, resístelo...
Dame la venda.
Vaya, resístela...
Spanish:
Levántate, levántate.
- ¿Eres vivo?
- Todo está bien.
Averiguar el personal.
¿Hay heridos?
- Un soldado herido.
- Llamen al camillero.
Al camillero acá.
- Vivo...
- Apártate...
Vaya, ¿cómo es?
Ahora mismo...
¡Quítate las manos!
- ¡Quítate las manos!
- Pero, tranquílate.
Momento...
Momento, resístelo...
Dame la venda.
Vaya, resístela...
German:
Steh auf, steh auf.
- Bist du in Ordnung?
- Alles ganz normal.
Es gilt zu prüfen,
ob alle in Ordnung sind.
Gibt es Verletzte?
Ein Soldat wurde verletzt.
Wir brauchen einen Sanitäter.
Einen Sanitäter!
- Sofort!
- Geh zur Seite.
- Wir helfen.
- Wie konnte das passieren?
Moment, wir schaffen's gleich.
Hände weg! Hände weg!
- Hände weg!
- Sei doch ruhig.
Moment, Moment... Bitte gedulde dich...
Gib mir einen Lappen.
German:
Moment, gedulde dich...
Ich helfe dir gleich... gedulde dich...
- Nimm. Geht das?
- Moment...
Gedulde dich...
Geh fort.
-Wo kann ich Hände waschen?
- Ich zeige Ihnen.
Moment, Moment...
- Wie steht es um ihn?
- In einer knappen Stunde ist er tot.
Gedulde dich... Moment...
Die Sti... Stiefel...
Wasser!
Stiefel? Was?
Stiefel...
- Deutsche...
- Deutsche? Was willst du sagen?
- Behalte die Stiefel...
- Stiefel? Ja... sei ruhig...
Vietnamese:
Xong ngay đây, cố chịu nhé…
Bây giờ, tớ sẽ giúp, cố chịu nhé,
- Cái này được không?
- Một chút thôi…
cứ cố chịu đựng một chút…
Tránh ra.
- Rửa tay ở đâu?
- Đây, ở đây ạ…
Bây giờ, ngay bây giờ…
- Cậu ấy thế nào?
- Chả sống qua được một giờ nữa đâu…
Chịu đựng đi, gắng chịu…
Già…giầy
Giầy gì?
Giầy…
- cho quân Đức…
- Đức…gì cơ…?
- Giầy…giầy
- Ừ thì giầy, cố chịu đi…
Spanish:
Tranquilo...
- Resístela.
- ¿Este sirve?
Ahora... resístela...
Vete de aquí.
- ¿Dónde lavo las manos?
- Lo mostrare.
Momento... momento...
- ¿Cómo está él?
- Ni una hora vivirá.
Resístela, momento...
¡Échalo!
- Botas...
- Botas... resístelo...
- Alemán...
- Alemán... ¿Qué?
- Botas...
- Botas... resístelo...
- No las des...
- No las daré...
French:
Attends, courage.
Attends… Tiens bon.
- Voilà. Ça ira ?
- Attends,
courage…
Laisse-moi faire.
- Où me laver les mains ?
- Je vais vous montrer.
Attends, attends.
- Comment il va ?
- Il ne tiendra pas une heure.
Courage, tiens bon…
Les… les bottes.
Verse.
Quoi les bottes ?
Les bottes…
- A l’Allemand…
- L’Allemand ?
- Les… bottes…
- Les bottes… Courage…
Serbian:
Sad ću da pogledam...
Izdrži...
Odmah ću ja...
Izdrži!
–Može li ovo?
Odmah ću ja...
Hajde, izdrži!
Odmah ću ja...
Izdrži, izdrži...
–Skloni se!
Gde mogu oprati ruke?
–Odmah ću vam pokazati.
Sad će ona...
–Kako mu je?
Neće izdržati ni sat vremena.
-Izdrži, izdrži... Sad će ona...
Sipaj vodu!
Čizme... Šta?
Zaboravio si čizme?
–Skini...
Izdrži!
–Ne treba...
Šta ne treba?
–Čizme...
Čizme? Izdrži!
Ne daj...
–Neću dati.
Spanish:
Tranquilo...
- Resístela.
- ¿Este sirve?
Ahora... resístela...
Vete de aquí.
- ¿Dónde lavo las manos?
- Lo mostrare.
Momento... momento...
- ¿Cómo está él?
- Ni una hora vivirá.
Resístela, momento...
¡Échalo!
- Botas...
- Botas... resístelo...
- Alemán...
- Alemán... ¿Qué?
- Botas...
- Botas... resístelo...
- No las des...
- No las daré...
Slovak:
Sloužil na hranici s Basarabijou
Byl stejný jako vy...
Nesmělý.
Z Majkopu.
Dobrý den, teto Mašo!
- Máš se!
Italian:
Subito, pazienta…
Subito, ora ti faccio… pazienta.
- Ecco. Può andare?
- Subito…
pazienta…
Vai via.
- Dove lavarmi le mani?
- Faccio vedere.
Subito, subito…
- Come sta?
- Ha meno di un’ora di vita…
Fatti forza, fatti forza…
Gli sti… vali…
Gli stivali, cosa?!
Gli stivali…
- al tedesco…
- Al tedesco… cosa?
- Gli sti… vali…
- Gli stivali… pazienta…
English:
There now, hold on.
I’ll take care of you. Hold on.
- Here. Will this work?
- Now, now,
hold on.
Get out.
- Where can I wash my hands?
- I’ll show you.
Now, now…
- How is he?
- He won’t last an hour.
Hold on, hold on…
Boots…
Boots, what?
Boots…
- for the German…
- The German… what?
- Boots…
- Boots… Hold on…
English:
- Don’t give them away…
- I won’t give them away… Hold on.
What was his name?
Private Dzhurabaev.
Slovak:
Chvilku.
Děkuji vám!
Když se někdy vrátíte... Stavte se.
Když si vzpomenete.
Serbian:
Izdrži...
Samo malo...
VOJNIK DŽURABAJEV
Kako mu je bilo ime?
Vojnik Džurabajev.
German:
- Deutsche dürfen sie nicht wegnehmen...
- Ich behalte sie... sei ruhig.
Wie hieß er?
Soldat Dschurabajew.
Spanish:
Resístela.
SOLDADO DZHUBÁEV
¿Cómo le llamaban?
Soldado Dzhubáev.
French:
- Ne les donne pas…
- Je ne les donnerai pas… Tiens bon.
Comment il s’appelait ?
Soldat Djourabayev.
Spanish:
Resístela.
SOLDADO DZHUBÁEV
¿Cómo le llamaban?
Soldado Dzhubáev.
Vietnamese:
- Đừng cho…
- Tớ không cho đâu…gắng chịu nhé…
Tên cậu ấy là gì?
Binh nhì Jurabaev.
Italian:
- Non darli…
- Non li do… fatti forza…
Come si chiamava?
Soldato semplice Dgiurabaev.
Spanish:
¿Y su nombre?
Su guerrera está
en la sangre. Voy a lavarla..
Vietnamese:
Còn tên là gì?
Áo va-rơi của anh đầy máu,
đưa tôi giặt cho.
Italian:
E il nome?
Ha l’uniforme sporca di sangue,
la lavo.
Serbian:
A ime?
Bluza vam je krvava.
Dajte da vam je operem!
French:
Et son prénom ?
Votre vareuse est en sang.
Laissez-moi la laver.
German:
Und wie hieß er mit Vornamen?
Ihre Feldbluse ist mit Blut beschmiert,
ich kann sie waschen.
English:
And his first name?
You’ve got blood on your tunic.
I’ll wash it for you.
Spanish:
¿Y su nombre?
Su guerrera está
en la sangre. Voy a lavarla..
Slovak:
Sakra!
Jak je? Žiješ?
- Jsem v pořádku.
Zkontrolujte stav!
Ranění?
Voják je zraněn!
– Zavolejte zdravotníka!
Volejte zdravotníka!
Rychle, rychle!
– Pusťte mě!
Dělej pomůžeme mu!
– Jak je to možné?
Zvedněte ho!
– Hned.
Uzdraví se.
Nedotýkejte se ho!
Ruce pryč! Ruce pryč!
– Uklidni se!
Hned to bude.
Hned...
Vydrž!
Dej hadřík!
Vydrž...
Teď se podívám...
Vydrž...
Spanish:
No para mi
vendrá la primavera.
¡No para mí el Don se desbordara!
Y el corazón
de la muchacha bella
no latirá alegre para mi...
Es Mikóla, nuestro vecino.
No voy, dice, tras el río,
Vietnamese:
Đó là Mikola, hàng xóm của chúng tôi.
Tôi sẽ không ra sông,
bảo rằng xong hết rồi,
English:
That’s Mikola, our neighbor.
He says, he’s not going across the river.
Slovak:
To jsem já...
Vydrž!
– Může být?
To jsem já...
No tak, vydrž!
To jsem já...
Vydrž, vydrž...
– Pozor!
Kde si mohu umýt ruce?
– Ukážu vám.
Jak mu je?
Víc jak hodinu nepřežije.
- Vydrž, vydrž...
Lej!
Pamatuješ boty... Co?
Zapomněl jsi své boty?
– Stáhnout...
Vydrž!
– Nepotřebuji...
Co netřeba?
– Boty...
Boty? Vydrž!
Dal jsi mu hodinky.
– Jo dal.
Spanish:
No para mi
vendrá la primavera.
¡No para mí el Don se desbordara!
Y el corazón
de la muchacha bella
no latirá alegre para mi...
Es Mikóla, nuestro vecino.
No voy, dice, tras el río,
Serbian:
Ne za mene
će stići proleće...
Ne za mene
će Don da se izlije...
I srce devojke
će da kuca...
...od uzbuđenja.
Ali ne za mene...
Ne za mene
će biti sreće...
Ovo je Mikola, naš komšija.
Sve je izgubio.
German:
Das ist unser Nachbar Mikola.
Er sagt: "Ich gehe nicht fort von hier,
Italian:
È Mikola, il nostro vicino.
Dice che non vuole andare
al di là del fiume,
French:
C’est Mikola, notre voisin.
Il dit qu’il ne traversera
plus la rivière,
Slovak:
Vydrž...
Ještě chvilku...
VOJÁK DŽURABAJEV
Jak se jmenoval?
Voják Džurabajev.
Spanish:
ya, se acabó
la guerra para él.
Lo encontré en su guerrera.
¿Es Ud. es Ogárkov?
¿Es Ud. era condenado
al fusilamiento?
Sí.
¿Y este hombre
le escoltaba allá,
para el fusilamiento?
Sí.
Entonces, Ud. ahora
puede no ir por allá?
Así es, puedo no ir.
Vietnamese:
đã đánh nhau xong rồi.
Cái này tôi tìm thấy trong túi áo của anh.
Anh là Ogarkov à?
Anh bị tội xử bắn?
Đúng.
Còn người kia…
giải anh đến đó…
đến chỗ xử bắn?
Đúng thế.
Nhưng bây giờ thì anh chẳng
cần đi tới chỗ đó nữa chứ?
Đúng, tôi có thể không đi.
French:
qu’il ne combattra plus.
J’ai trouvé ça dans votre vareuse.
C’est vous, Ogarkov ?
Vous êtes condamné à être fusillé ?
Oui.
Et cet homme…
Il vous emmenait…
sur les lieux de l’exécution ?
Oui.
Maintenant vous pouvez ne plus y aller ?
Je le peux.
German:
ich hab genug vom Krieg."
Das habe ich in Ihrer Tasche gefunden.
Sind Sie Ogarkow?
Sind Sie zum Tode durch
Erschießen verurteilt worden?
Ja.
Und dieser Mann...
er wollte Sie dorthin bringen...
zur Hinrichtung, oder?
Ja.
Nun müssen Sie nicht hingehen, oder?
Ja, ich muss nicht hingehen.
Serbian:
Za njega je rat gotov.
Ovo sam pronašla u bluzi.
Jeste li vi Ogarkov?
Jeste li vi osuđeni na streljanje?
Da.
A onaj čovek
vas je vodio tamo?
Na streljanje?
Da.
Znači da sada možete i da ne odete tamo.
Da, ne moram da odem.
Italian:
non vuole più combattere.
L’ho trovato nella sua uniforme.
Lei è Ogarkov?
Lei è stato condannato
alla fucilazione?
Sì.
E questo uomo
la portava là…
alla fucilazione?
Sì.
Allora ora può non andarci?
Sì, posso non andarci.
Spanish:
ya, se acabó
la guerra para él.
Lo encontré en su guerrera.
¿Es Ud. es Ogárkov?
¿Es Ud. era condenado
al fusilamiento?
Sí.
¿Y este hombre
le escoltaba allá,
para el fusilamiento?
Sí.
Entonces, Ud. ahora
puede no ir por allá?
Así es, puedo no ir.
English:
He’s done with fighting.
I found this in your tunic.
Are you Ogarkov?
It’s you they’re going to shoot?
Yes.
And he...
he was taking you
to be shot?
Yes.
Well, so that means now
you don’t need to go there.
Yes, I could choose not to go.
Italian:
Ma lei ci va ugualmente?
Sì.
Vietnamese:
Nhưng dù sao anh vẫn cứ đi à?
Đúng.
German:
Aber Sie gehen sowieso hin?
Ja.
French:
Mais vous irez ?
Oui.
Serbian:
Ali ipak ćete otići.
Da.
Slovak:
A jméno?
Máš blůzu od krve.
Dej mi ji vyprat!
Spanish:
Pero, ¿de todos modos
se irá?
Sí.
Spanish:
Pero, ¿de todos modos
se irá?
Sí.
English:
But you’re going anyway?
Yes.
Slovak:
Ne pro mě
přijde jaro
Ani Don se nevzkypí
A srdce dívky
až budu doma...
...od nadšení.
Ale ne pro mě...
Ne pro mě
přijde jaro
Slovak:
To je Mikola, náš soused.
Nevezmu si ho.
Mám ho dost.
To jsem v kapse blůzy našla.
Ty jsi Ogarkov?
Rozkaz k zastřelení?
Ano.
A ten člověk...
tě tam vedl?
K zastřelení?
Ano.
Tak to vypadá, že odtud nemusíš odejít.
Vietnamese:
Đi nào!
Nào, mở ra!
Cảnh giới, đừng có ngủ.
- Chúc sức khỏe, đồng chí trung úy.
- Cái gì?
Không nhận ra ạ?
Phải Ogarkov không?
Spanish:
¡Vamos!
¡Dale, ábrelo!
- Guardia, no dormir.
- Así es.
- Salud, compañero teniente.
- ¡Cómo?
¿No me reconoce Ud.?
¿Ogárkov?
English:
Let’s move!
C’mon, open up!
No sleeping, sentry.
- Good health, Comrade lieutenant.
- What?
Don’t you recognize me?
Ogarkov?
German:
Los!
Mach auf!
Nicht schlafen!
- Guten Tag, Genosse Leutnant.
- Was wollen Sie?
Erkennen Sie mich nicht?
Ogarkow?
Serbian:
Kreni!
Hajde, otvaraj!
Ne spavaj!
-Razumem!
Dobar dan, druže poručniče.
-Molim?
Niste me prepoznali?
Ogarkov!
French:
En avant !
Allez, ouvre !
Sentinelle, ne dors pas !
- Bonjour, camarade lieutenant.
- Quoi ?
Vous ne me reconnaissez pas ?
Ogarkov ?
Spanish:
¡Vamos!
¡Dale, ábrelo!
- Guardia, no dormir.
- Así es.
- Salud, compañero teniente.
- ¡Cómo?
¿No me reconoce Ud.?
¿Ogárkov?
Italian:
Avanti!
Forza, apri!
Sentinella, non dormire.
- Buon giorno, compagno tenente.
- Cosa?
Non mi riconosce?
Ogarkov?
Spanish:
Pero, si a ti te...
¿Cómo?
- ¿Ud. va al Estado Mayor?
- Sí.
Entonces, somos compañeros
de viaje.
- Y, ¿qué tal allí?
- Todavía no está claro.
¿Qué no está claro¿ ¡Caray!
Él vino por su propia voluntad.
Qué formalistas son.
Él combatía en el cerco.
¿Lo han averiguado?
Sí, no te emociones tanto.
Nadie lo fusila todavía.
¡Ya voy!
Te llamaré del primer teléfono
que encuentro,
Para ver cómo está todo.
¿Estarás aquí?
¿Dónde más puedo estar?
- ¡Iván!
- ¿Qué?
Él escribió una carta.
Te pidió que la envíes.
Slovak:
Ano, nemusím.
No i tak půjdeš.
Ano.
English:
So you…
How?
Are you going to the staff headquarters?
Yes.
Then we’re both going the same way.
- Well, what’s over there?
- Still don’t know.
What’s there to know, geez!
He came himself.
Of his own will. Formalists.
And he fought. In the encirclement.
Did you make the inquiry?
I did. Don’t get worked up.
Nobody’s gonna shoot him just yet.
I’m coming!
I’ll call you from the nearest telephone
station, I’ll find out what’s up.
- You’ll be here?
- Where else would I be?
- Vanya!
- What?
He wrote a letter.
He asked to have you mail it.
Vietnamese:
Thế là cậu chưa…
Sao?
Anh không đến Ban tham mưu quân đoàn?
Đến đó.
Thế thì ta cùng đường.
- Nào, kể đi, đàng ấy có gì?
- Hiện tại chưa hiểu ra sao.
Quỉ tha ma bắt, chứ còn hiểu
cái gì nữa nào! Cậu ta tự tìm đến.
Tự nguyện. Những kẻ hình thức.
Mà nhân tiện phải nói luôn
là cậu ta đã chiến đấu.
Trong vòng vây.
Đã cho hỏi xác minh rồi chứ?
Vâng, làm rồi, làm rồi.
Đừng sôi sùng sục thế.
Đã ai bắn cậu ta đâu nào.
Tôi đi đây!
Tớ sẽ gọi điện cho cậu, từ trạm điện
thoại gần nhất, để biết tình hình ra sao.
- Cậu sẽ ở đây chứ?
- Vâng, thì còn ở đâu nữa.
- Vania!
- Gì nào?
Cậu ta viết thư này.
Nhờ cậu gửi đi.
Italian:
Ma tu dovevi…
Come?
Lei va allo stato maggiore?
Ci vado.
Allora andiamo insieme.
- Come va?
- Non si capisce ancora.
Ma cosa c’è da capire, dannazione!
È venuto da solo.
Di sua volontà. Formalisti.
Tra l’altro, ha combattuto.
Nell’accerchiamento. Avete chiesto?
L’abbiamo chiesto. Calmati.
Nessuno sta per fucilarlo.
Vengo!
Ti chiamo, dal punto più vicino
per sapere come va.
- Resti qua?
- E dove ancora.
- Vania!
- Cosa?
Ha scritto una lettera.
Ha chiesto che tu la mandi.
Serbian:
Šta je bilo s tobom?
Kako...
Idete li možda u Štab armije?
–Idem!
Onda idemo u istom pravcu.
Šta je bilo?
–Ništa mi nije jasno.
Šta ima tu da bude nejasno, dođavola?
Sam je došao.
Svojevoljno.
Formalnost!
Bio je u okruženju.
Jeste li proverili?
Jesmo, jesmo... Ne brini.
Neće ga niko streljati.
Dolazim!
Zvaću te.
Želim da znam šta se događa.
Bićeš ovde?
–A gde bi bio?
Nikolaj!
–Molim?
Napisao je pismo
Možeš li da ga pošalješ?
Kazahska SSR
Za Džurabajevu A.A.
French:
Tu devais être…
Comment ?
Vos n’allez pas à l’état-major
de l’armée ?
Si.
On fera la route ensemble.
- Alors ?
- Je ne sais pas encore.
Mais il n’y a rien à savoir, bon sang !
Il est venu.
Venu de son propre gré. Formalistes !
Et puis il a combattu.
Dans l’encerclement. Vous avez demandé ?
On a formulé une demande.
Ne t’emballe pas.
Personne ne le fusille encore.
Mais oui, j’arrive !
Je t’appellerai depuis le central le plus
proche pour demander des nouvelles.
- Tu seras ici ?
- Et où encore ?
- Vania !
- Oui ?
Il a écrit une lettre
et a demandé que tu la postes.
Spanish:
Pero, si a ti te...
¿Cómo?
- ¿Ud. va al Estado Mayor?
- Sí.
Entonces, somos compañeros
de viaje.
- Y, ¿qué tal allí?
- Todavía no está claro.
¿Qué no está claro¿ ¡Caray!
Él vino por su propia voluntad.
Qué formalistas son.
Él combatía en el cerco.
¿Lo han averiguado?
Sí, no te emociones tanto.
Nadie lo fusila todavía.
¡Ya voy!
Te llamaré del primer teléfono
que encuentro,
Para ver cómo está todo.
¿Estarás aquí?
¿Dónde más puedo estar?
- ¡Iván!
- ¿Qué?
Él escribió una carta.
Te pidió que la envíes.
German:
Du wurdest doch hingerichtet...
oder?
Gehen Sie vielleicht in den Armeestab?
Ja.
Dann gehen wir zusammen.
- Was nun?
- Die Sache ist noch unklar.
Was zum Teufel heißt unklar!
Er ist ja selbst gekommen.
Er hat's gewollt. Formalisten!
Er hat gekämpft. Er ist aus dem
Kessel usgebrochen.
- At man eine Anfrage gesendet?
- Ja, ja. Ärgere dich nicht.
Niemand lässt ihn erschießen.
Ich gehe schon!
Ich werde dich anrufen, um zu fragen,
wie es dir geht.
- Wirst du da sein?
- Natürlich!
- Wanja!
- Was willst du?
Er hat einen Brief geschrieben
und dich gebeten, ihn zu senden.
French:
Allemagne, 1945
- Tu en as pour longtemps ?
- Pour deux minutes.
German:
Deutschland, 1945
- Muss ich noch lange warten?!
- Zwei Minuten.
Spanish:
ALEMANIA. 1945
- ¿Cuánto más esperemos?
- Un par de minutos y ya.
Kopilóv, Ud. ya hace media
hora que tenía que
Serbian:
Nemačka
1945-ta godina
Odmah se vraćam.
English:
Germany
1945
- Is it going to be much longer?
- A couple of minutes.
Spanish:
ALEMANIA. 1945
- ¿Cuánto más esperemos?
- Un par de minutos y ya.
Kopilóv, Ud. ya hace media
hora que tenía que
Italian:
Germania
1945
- Ci vuole ancora tanto?
- Poco, due minuti.
Vietnamese:
Nước Đức 1945.
- Lâu nữa không?
- Xong ngay đây, 2 phút thôi.
French:
Kopylov, il y a une demi-heure que
vous deviez être sur les positions.
Le convoi doit être prêt au départ
dans cinq minutes.
- C’est clair ? Exécutez.
- A vos ordres, camarade capitaine.
- Ogarkov !
- Bonjour, camarade colonel !
Colonel ? Pas pour toi.
Tu ne me reconnais pas ?
Allez, Siniaev ! Tu y es ?
Salut !
Content de te voir, bon diable.
Je n’ai pas su quel était ton verdict !
J’ai été blessé. D’abord l’hôpital, puis…
Attends, regarde. Attends.
Tu ne me croiras pas.
Je l’ai sur moi depuis deux ans.
Kopylov ? Plus vite !
- Tiens.
- Qu’est-ce que c’est ?
Déplie-le. A l’intérieur.
Camarade colonel, tout est prêt.
Bon, salut, Sergueï.
Spanish:
- estar en las posiciones.
- Perdón, compañero capitán.
Dentro de 5 minutos
la columna debe estar lista.
Ogárkov.
- ¡Ogárkov!
- Salud, compañero coronel.
¡No soy ningún coronel
para ti! ¿No me reconoces?
Vaya, ¡Siniáev!
Ola.
Oye, tan alegre de verte, diablo.
No logré saber, qué sentencia
te dictaron.
Fui herido, después
hospital, bueno, y...
Un momento...
No lo creerás. Ya el tercer
año lo llevo consigo.
¿Kopilóv? Dale rápido.
- Tómalo.
- ¿Qué es eso?
Mira allí, adentro.
Compañero coronel,
podemos irnos.
Bueno; Serguéi, suerte.
German:
Kopylow, Sie sollten 30 Minuten früher
an Ort und Stelle sein.
In 5 Minuten muss die Kolonne bereit sein.
- Alles klar? Los!
- Zu Befehl, Genosse Hauptmann.
- Ogarkow!
- Guten Tag, Genosse Oberst!
Warum nennst du mich Genosse Oberst?
Erkennst du mich nicht?
Ich bin Sinjajew!
Hallo!
Ich bin froh dich zu sehen,
du Teufelskerl!
Ich weiß nicht einmal,
wozu man dich damals verurteilt hat!
Ich wurde damals verletzt,
hospitalisiert, und so weiter.
Moment, warte mal. Warte mal!
Du wirst es nicht glauben.
Fast 3 Jahre lang trage ich das Ding mit.
Kopylow? Schnell, schnell.
- Nimm.
- Was ist das?
Guck, was da drin ist.
Genosse Oberst, alles ist bereit.
Wir können losfahren.
Na gut. Mach's gut, Sergej.
Serbian:
Kopilov, još pre pola sata
ste trebali biti na poziciji.
Izvinjavam se! -Za pet minuta kolona mora
biti spremna za polazak.
Jasno?
–Ogarkov!
Na posao!
-Razumem!
Ogarkov!
–Dobar dan, druže pukovniče!
Kakav bre pukovnik?
Zar me ne prepoznaješ?
Siljajev.
Zdravo!
Slušaj brate, da ne čuje đavo!
Jedva sam te prepoznao.
Jesu li ti promenili presudu?
Bio sam ranjen, posle bolnica...
Sačekaj malo! Odmah se vraćam.
Sačekaj, sačekaj!
Nećeš mi verovati. Već 3 godine ih nosim sa sobom.
–Kopilov, brže, brže...
Uzmi!
-Šta je to?
Pogledaj unutra!
Druže pukovniče, gotovo je.
Možemo ići.
Dobro...
Srećno, Sergej!
English:
Kopylov, you were supposed
to be at your position a half hour ago.
I want everything ready so the column
can head out in five minutes.
- You understand? Carry it out.
- Yes, sir.
- Ogarkov.
- Good afternoon, comrade Colonel!
So now I'm just a colonel for you?
Don't you recognize me?
Sinyaev!
Hello!
I’m so happy to see you, you old devil.
I didn’t know what kind
of sentence they’d give you.
I got wounded
and then was in hospital.
Wait! Just a minute, wait.
This is the third year
I’ve been carrying it with me.
Kopylov? Look lively.
- Here, take it.
- What’s this?
There inside, look.
Comrade Colonel, everything’s ready.
We can head out.
Alright, fairwell, Sergey.
Vietnamese:
Kopylov, nửa giờ trước
cậu cần có mặt ở vị trí rồi.
Để sau 5 phút đoàn xe sẵn sàng lên đường.
- Rõ cả chưa? Thi hành đi!
- Báo cáo, nghe rõ, thưa đồng chí đại úy.
- Ogarkov!
- Chúc sức khỏe đồng chí đại tá!
Ồ, đại tá gì tôi với cậu?
Không nhận ra nhau à?
Này, Sinyaev đây! Thế nào?
Tuyệt quá!
Nghe này, rất mừng được
thấy cậu, tên quỉ này!
Tớ thế là vẫn không biết người
ta đã xóa án cho cậu!
Tôi hồi đó bị thương,
đi quân y viện, rồi thì…
À, đợi tí, đợi tí.
Ngay đây, đợi chút đã.
Chắc cậu không tưởng tượng được đâu.
Suốt ba năm nay tớ luôn mang theo
Kopylov á? Còn sống, còn sống.
- Này, cầm lấy.
- Gì thế này?
Bên trong ấy, xem đi.
Báo cáo đồng chí đại tá, tất cả sẵn sàng.
Chúng ta có thể lên đường.
Thôi nhé, tạm biệt, Sergei.
Spanish:
- estar en las posiciones.
- Perdón, compañero capitán.
Dentro de 5 minutos
la columna debe estar lista.
Ogárkov.
- ¡Ogárkov!
- Salud, compañero coronel.
¡No soy ningún coronel
para ti! ¿No me reconoces?
Vaya, ¡Siniáev!
Ola.
Oye, tan alegre de verte, diablo.
No logré saber, qué sentencia
te dictaron.
Fui herido, después
hospital, bueno, y...
Un momento...
No lo creerás. Ya el tercer
año lo llevo consigo.
¿Kopilóv? Dale rápido.
- Tómalo.
- ¿Qué es eso?
Mira allí, adentro.
Compañero coronel,
podemos irnos.
Bueno; Serguéi, suerte.
Slovak:
Tak jdi!
No tak, otevři!
Italian:
Kopylov, mezz’ora fa doveva
essere sulle posizioni.
Che tra cinque minuti la colonna
sia pronta per partire.
- Ha capito? Esegua.
- Agli ordini, compagno capitano.
- Ogarkov!
- La riverisco, compagno colonnello!
Ma che colonnello?
Non mi riconosci?
Sinyaev! Allora?
Salute!
Sono felice di vederti.
Non ho saputo a cosa ti
hanno condannato!
Sono stato ferito allora, sono
finito all’ospedale e così…
Un attimo, aspetta.
Un attimo, aspetta, aspetta.
Non ci crederai.
Me lo porto dietro da tre anni.
Kopylov? Svelto, svelto.
- Tieni, prendi.
- Cos’è?
Guarda dentro.
Compagno colonnello, è tutto pronto.
Possiamo partire.
Eh, va bene, buona fortuna, Sergey.
French:
Distribution
Ogarkov : Youri Borissov
Djourabayev : Amir Abdykalykov
Siniaev : Maxime Demtchenko
Maria : Maria Karpova
Italian:
Personaggi ed interpreti:
Ogarkov – YURY BORISOV
Dgiurabaev – AMIR ABDYKALYKOV
Sinyaev – MAXIM DEMCHENKO
Maria – MARIA KARPOVA
Serbian:
HRABROST I JUNAŠTVO NAŠIH BORACA
Borci Crvene Armije Džurabajev i Ogarkov
posle herojske bitke
SLAVORKC-KERESTUR
26. 05. 2015.
Preuzeto sa www.titlovi.com
English:
Starring:
Ogarkov - Yuriy Borisov
Dzhurabaev – Amir Abdykalykov
Sinyaev – Maksim Demchenko
Maria – Maria Karpova
German:
Darsteller:
Ogarkow - JURI BORISSOW
Dschurabajew - AMIR ABDYKALYKOW
Sinjajew - MAXIM DEMTSCHENKO
Marija - MARIJA KARPOWA
Spanish:
VALENTIA Y VALOR
DE NUESTROS COMBATIENTES
Spanish:
VALENTIA Y VALOR
DE NUESTROS COMBATIENTES
Vietnamese:
Đóng vai trong phim:
Ogarkov – YURI BORISOV
Jurabaev - AMIR ABDYKALYKOV
Sinyaev - MAXIM DEMCHENKO
Maria – MARIA KARPOVA
Slovak:
Stráž, nespi!
- Ne!
Dobrý den, soudruhu poručíku.
- Co je?
Nepoznáváte mě?
Ogarkov!
Přece tě... Jak.
A vy do Štábu armády?
– To jo!
Tak máme stejnou cestu.
Tak co?
– Ničemu nerozumím.
Čemu nerozumíš?
Přišel tu sám.
Ze své vůle.
Formalita!
Dostal se z obklíčení.
Podal jsi odvolání?!
Podal, podal... Neboj se.
Takový se nestřílí.
Už jdu!
English:
Crew:
Director – Sergey Popov
Scriptwriter – Evgeniy Nikishov
Cinematography – Shandor Berkeshi R.G.C.
Composer – Roman Dormidoshin
Scenic design – Sergey Fevralev
Irina Ochina
Director – Natalya Lyashchenko
Costume design – Gyulyumzhan Beishenova
Makeup – Sofia Bulycheva
Sound director – Olga Serdiukova
Director of editing – Olga Kolesnikova
Executive producers:
Olga Golomovziuk
Maksim Zolotov
Irina Zolotova
Producers:
Aleksandr Litvinov
Karen Shakhnazarov
French:
Fiche technique
Réalisation : Sergueï Popov
Scénario : Yevgueni Nikichov
Directeur de la photographie :
Sandor Berkesi R.G.C.
Musique : Roman Dormidochine
Décors : Sergueï Fevraliov
Irina Otchina
Assistante réalisatrice :
Natalia Liachtchenko
Costumes : Guioulumjan Beïchenova
Maquillage : Sofia Boulytchova
Son : Olga Serdioukova
Montage : Olga Kolesnikova
Producteurs exécutifs : Olga Golomovziouk,
Maxime Zolotov, Irina Zolotova
Producteurs : Alexandre Litvinov,
Karen Chakhnazarov
German:
Am Film haben gearbeitet:
Regie: SERGEJ POPOW
Drehbuch: JEWGENI NIKISCHOW
Kamera: SÁNDOR BERKESI R. G. C.
Musik: ROMAN DORMIDOSCHIN
Spielleiter:
SERGEJ FEWRALJOW, IRINA OTSCHINA
Regie: NATALJA LJASCHTSCHENKO
Kostüme: GJULJUMSCHAN BEJSCHENOWA
Make-Up: SOFJA BULYTSCHEWA
Tonregie: OLGA SERDJUKOWA
Schnittregie: OLGA KOLESNIKOWA
Exekutivproduzenten:
OLGA GOLOMOWSJUK,
MAXIM SOLOTOW, IRINA SOLOTOWA
Produzenten:
ALEXANDER LITWINOW, KAREN SCHACHNASAROW
Italian:
Al film hanno lavorato:
Regia di
SERGEY POPOV
Sceneggiatura di
EVGENY NIKISHOV
Direttore della fotografia –
SHANDOR BERKESHI R.G.C.
Musiche di
ROMAN DORMIDOSHIN
Scenografia:
SERGEY FEVRALEV
IRINA OCHINA
Regia –
NATALYA LYASCHENKO
Costumi – GHYULYUMZHAN BEYSHENOVA
Trucco –
SOFIA BULYCHOVA
Fonico –
OLGA SERDYUKOVA
Montaggio –
OLGA KOLESNIKOVA
Produttori esecutivi:
OLGA GOLOMOVZYUK
MAXIM ZOLOTOV
IRINA ZOLOTOVA
Produttori:
ALEXANDER LITVINOV
KAREN SHAKHNAZAROV
Slovak:
Zavolám ti.
Chci vědět jak to všechno dopadne.
Ty kde budeš?
– A kde bych byl?
Nikolaji!
Co je?
Napsal dopis.
Můžeš ho poslat?
Kazašská SSR
Pro Džurabajevu A.A.
Německo
1945
Vietnamese:
Tham gia làm phim này:
Dựng phim: SERGEI POPOV
Tác giả kịch bản: EVGENI NIKISHOV
Quay phim:
SANDOR BERKESHI R.G.C.
Âm nhạc – ROMAN DORMIDOSHIN
Họa sĩ:
SERGEI FEVRALEV
IRINA OCHINA
Đạo diễn – NATALYA LYATSHENKO
Trang phục:
GYULYUMZHAN BEYSHENOVA
Hóa trang:
SOFIA BULYCHEVA
Âm thanh – OLGA SERDYUKOVA
Biên tập – OLGA KOLESNIKOVA
Điều hành sản xuất:
OLGA GOLOMOVZYUK
MAXIM ZOLOTOV
IRINA ZOLOTOVA
Nhà sản xuất:
ALEXANDER LITVINOV
KAREN SHAKHNAZAROV
Italian:
© MOSFILM Cinema Concern, 2015
Traduzione di G.Germanetto
German:
Föderales Staatliches Einheitsunternehmen
Filmkonzern MOSFILM, 2015
English:
© Mosfilm Cinema Concern, 2015
French:
Studios cinématographiques Mosfilm, 2015
Vietnamese:
© Cơ sở quốc gia đơn nhất Liên bang -
Tập đoàn điện ảnh “Mosfilm”, 2015.
Người dịch - Đan Thi
Spanish:
Los subtítulos son de
MEGASUBTITR
www.megasubt.ru
Slovak:
Hned se vrátím.
Kopilove, vrať se zpátky
za chvíli se bude vyjíždět.
Promiňte! - Za pět minut,
bude kolona připravena k odchodu.
Jasné?
– Ogarkov!
Odchod!
- Rozumím!
Ogarkov!
– Dobrý den, soudruhu plukovníku!
Jaký plukovník?
Nepoznáváš mě?
No. Siljajev. No!
Nazdar!
Poslyš chlape, moc rád tě vidím!
Sotva jsem tě poznal.
Řekli ti, že změnili verdikt?
Byl jsem zraněn a pak v nemocnici...
Spanish:
Los subtítulos son de
MEGASUBTITR
www.megasubt.ru
Slovak:
Počkej chvíli! Budu hned zpět.
Počkej, počkej!
Neuvěříš. Tři roky to nosím s sebou.
– Kopilove, rychle, rychle...
Podrž!
- Co je to?
Tak se podívej!
Soudruhu plukovníku, už to je.
Můžeme jet.
Dobře...
Měj se, Sergeji!
ODVAHA A STATEČNOST NAŠICH VOJÁKŮ
Vojáci Rudé Armády
Džurabajev a Ogarkov po hrdinské bitvě
Slovak:
Pro www.titulky.com
Časování, Korekce a Překlad do CZ: KUBA2000
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The American Pronunciation Guide Presents "How to Pronounce Sufjan"
First of all, Chicago by Sufjan Stevens just like
by Sufjan Stevens is absolutely amazing.
Sufjan Stevens, Nico Muhly, Bryce. Basically, it's a collaborative album called Planetarium.
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Maori = 'He ao! He ao! Aotea! Aotearoa'
Its land, its land, its land through a long white cloud.
Māori come from a place called Hawaiki.
Our homeland to the northeast of here.
And it's where our first descendant by the
name of Kupe came from.
When Kupe and his entourage or his
as people arrived they saw this grassy
land or hills popping out through what
looked like a long white cloud.
Aotearoa
So that's the very first name of
New Zealand.
We are LeKi op Reis.
That's Dutch for
Léon and Kirsten on travel
And we travel the world to capture beautiful
destinations and extraordinary cultures.
Don't forget to subscribe to our YouTube channel.
And visit our Travel Blog
madefortravellers.com
Haka is a dance of a noble people.
Haka is an identity of Maori.
There are many different types of Haka.
There is the expressive haka which displays
anger.
Anger about the subject that we're
doing the haka about.
there's also other
Haka which talk about the histories of
the land.
Histories of different ancestors.
Battles of different ancestors
and Haka is an expressive
It's an expressive way for Maori to be able
to tell their story.
tell their story and let it all out.
Haka today has become a brand almost.
Before it only identified to Māori.
but now it identifies to New Zealand
The beauty of Haka is that you can design it specifically so that it suits you and
where you are.
And through a massive brand
like the All Blacks other teams have
picked it up and then you know schools
and kindergartens and what that's lead
onto as a learning of the language one
or two words at a time and now most
people would be able to translate the
haka word-for-word and they might know
another Haka or their school Haka and
that's more learning that goes with it
and so because of the beauty of haka and
everybody wanted to be a part of it.
I think that has helped to integrate it
into New Zealand society
So the Haka to me it means a part of
my cultural identity it is a part of my
customs my traditions and it was an
important ceremonial dance that was
passed down from my ancestors and we
still practice it today.
This is what I love.
I love being able to show my
culture off to the world it's the only
job in in the world we get to poke your
tongue out it your customers and you get
paid for it.
That's a good reason to do it.
very very proud actually to be able to
share our culture to the world and
people like yourself embraces it.
Embrace our culture and they
love it.
And do you think you can do this your entire life?
I'll keep on doing
it as long as I can as long as I can
stamp my feet and do the haka I'll keep
doing it
This is the Waitangi Treaty Grounds. New
Zealand's most historic place.
This is where on the 6th of February 1840 a treaty document was signed between the Māori people
my ancestors and the
British representatives.
We were the minority when these brash young European
or British sailors were coming in after
spending years out of out on sea and
then coming in coming into our countries
They mistreated our people. They mis
treated our woman. They mistreated
our children. They murdered our men. They murdered our kids for no reason
No reason whatsoever other than they've felt that they had the superiority over us.
we fought to
the bitter end
and it was because of the vision of our
many prophets, our many visionaries
that we had pre 1840 that foresaw this
happening was the very reason that they
wanted this treaty document this treaty
document came about as a request from
Maori so that we were able to move
forward as one people as one nation
Ta Moko is it's an identity print of
our people it tells the history the
genealogies and the stories of you as an
individual who wears the Ta Moko.
in short it's a tattoo but it tells your
whole story because prior to the pen and
paper our body was the paper the ink was
the pin.
the reason the old people had Moko
was to identify who they were it was to
also identify what they did where they
the standing in their tribe was.
Status you know, things like that.
And that's what it's still about and it's still about
identity the main part of it is all
about identity.
The client will come
in will we'll have a conversation and
from that conversation and then look
into our minds because
in our minds you know we have all the designs.
and then we utilize the right design to
get that story sort of understood on the
skin.
We do not draw the design before the client comes
For us it's best that
it comes directly after the conversation
because that's when you're at your freshest.
that's what makes it so unique.
Like today I had a idea in mind but then as
soon as I saw her back it changed just like that.
It looks totally different to
what I was going to initially do.
In the old days they utilize the
bone chisel. The chisel was actually you
know tapped on the face to split the skin
like cut the skin.
And if we take a look
behind me on this photograph here this
is one of our Māori kings his name was Tafia.
And if you can see like
the incisions were made on the skin so
you can actually see it was cut where I
was on my face the lines are like
drawing.
Yeah but these guys did it
the hard way.
British wanted Maori to cede all of our
rights and our sovereignty and ownership
over to the British.
Henry Williams who
translated the document from English
into the native tongue Te Reo Maori knew
full well that Maori would never ever
agree to those terms as set out in the
English Treaty documents.
he translated it in a
way whereby Maori would understand and
whereby Maori would agree to the terms
as set out in the Maori document.
From 1840 to today in fact it has always been
a contentious point of discussion
We arrived here from the Pacific and in the
Pacific they practice tattooing.
So we would have brought those skills here.
And then our designs changed as we arrived here because of our environment.
So the design of my tattoo is based on my 'iwi' (Tribe)
The 'awa' (river). The Whanganui awa (river).
And the design is that the ropes of the tide is coming into the rope that tie
all the different iwi (tribes) down the river together.
Beautiful. Did you knew when you came in here this morning how it would look like?
Not exactly.
I gave him free free will to do what he
wanted to do yeah. I trust in his design.
And you're very happy with it?
I love it.
Your Mãori as well.
yes
Are you hundred percent? Or how does it work?
I'm not sure on percentages but
My Whakapapa (genealogy) tells the story.
My mother is 'Pākehā' or English.
And my father is Māori.
And through him we go up.
So yeah.
I'm of Te Āti Awa, Tuwharetoa,
and Te Ati Ruanui iwi (tribes)
Oke. Cool!
So not everyone can get it a tattoo as you have because you're part of a tribe.
Can I get a similar tattoo?
You can get some a similar tattoo to my
understanding.
That's called 'Kirituhi' (non-maori) I think.
So it's the same sort of design, but not with the Whakapapa (genealogy), but your own story.
People that are outside of my tribe
they'll just see me as a Moko face but my
tribe knows what it means because I've
explained it to them and it's about my
guardian it's about a spiritual guardian
because we're big believers on that stuff
That we have tribal spiritual
guardians and that's what mine represents.
Nature is our everything
And when I talk
nature I talk the 'whenua' (lands)
I talk 'rākau' (the trees), the 'ngahengahe' (the forests).
I talk the 'moana' (lakes). Everything that's in the 'moana'.
that is our nature that is our world
everything has a lifeforce everything
has a heartbeat to Māori.
and we treat it with such respect.
and that is our
cultural upbringing that is our upbringing
and it's a part of our 'tikanga' (custom).
Our practices of we as Maori.
To be respectful to everything around us
Swimming in our 'awa' our river.
knowing that we're swimming in the
ancestral waters that our ancestors also
swam in.
'Wairua' (spirit) that spirituality of
our ancestor also cleanses us.
it cleanses us physically. It cleanses usmentally and it also cleanses us
spiritually.
'Te Reo' is the language simply translated.
It's the language of our people.
if our language dies
Our people die, our culture dies.
Without language we don't have an identity I believe.
You know everybody has an
identity as a Kiwi with the English language.
because that's what we're known
for apart from Haka.
But as Maori within our
own country we need that.
'Te Reo' goes way back to Hawaïki.
Te Reo was kept
alive through the traditional types of
songs that we sang. The haka.
We told our stories, histories and genealogies
through our 'whakairo' (carving) through our carvings and our meeting houses.
And so that's how we we communicated with one another.
It was our missionary brothers and sisters
that come over you know from
Great Britain from Europe and started to
record the language on paper.
Through the
diligence of people like Williams and
other dictionary writers hopefully with
the help of Maori that they recorded as
many words as they could and that's how
it become a written language.
And they used the alphabet of the English language to write the Maori language.
That's correct. Yes.
My grandparents were a part of that forbidden generation that weren't allowed to speak
the language and that came
down to ignorance from the non Māori
That were around at the time who felt threatened by the language because
they couldn't understand what our people
were saying.
They tried to outlaw in fact they did.
They passed a law that forbid
Maori to speak the native tongue and if
they did speak the native tongue they
were strapped for speaking the language
because of that ignorance it caused the
whole language to miss an entire
generation which was my parents
generation but in the past you know I
In the past I would say past 20 years a lot of work
has been done to revive 'Te Reo'.
We've got universities now providing Maori
language courses to help with the
revival of 'Te Reo' Maori.
Where things Maori
will push down then they re-emerging.
but their e-emerging with not only help. They re-emerging with funding
And they're e-emerging with love because our
politicians can look back and say okay
that was wrong we can't fix it from there.
But what can we do for now to help and
enhance this person's educational
experience and to help them get on their
way and to learn what they need to learn
yeah.
You know the acceptance of 'Te Reo' Maori
is starten to broaden and starting to
widen around our country and that's very
very encouraging I think.
it's good to hear that
If I see your Maori heart you might get a facial tattoo.
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