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1 чайная ложка соли
варим 3 яйца в крутую
варим 3 картошки и 2 морковки
нарежьте всё на маленькие кусочки
400 - 500 грамм колбасы
2 огурца
немного зелени
посолить по вкусу
200 грамм зелёного горошка
майонез или сметана по вкусу
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Arabic:
إذا كنت من محبي حزمة تتبع شيلبي هذه
التصميم وتريد راحة مسبقة
جزء ، ثم يجب عليك التحقق من ذلك
سبيدفورم GT350 نمط سبويلر الخاص بك
2015 وأحدث S550 موستانج.
الآن ، يتم إنشاء خيار SpeedForm من
دائم ABS البلاستيك وتقدم في فقط
عن كل لون من الألوان المتاحة للمصنع
400 دولارات
الآن ، سيذهب التثبيت الخاص بك أحد اثنين مختلفة
طرق.
إذا كان لديك جناح في المصنع مثبت ، فأنت كذلك
النظر في وظيفة واضحة تتطلب ذلك
لا الحفر على الإطلاق.
من ناحية أخرى ، إذا كنت لا حاليا
لديك مفسد أو جناح ملحق ، سوف يكون هناك
يكون بعض الحفر المعنية.
لذلك ، وبسبب ذلك ، سنذهب واحدة من كل ثلاثة
مفاتيح للخيار ألف واثنين من أصل ثلاثة
الشدات إذا كان لديك لحفر.
وتأكد من التسكع في نهاية
هذا الفيديو لجولة مفصلة من
وظيفة.
الآن ، فئة المخرب هي كبيرة نوعا ما
واحد وسوف يضم بعض الأشياء الخفيفة مثل
English:
If you're a fan of that Shelby track pack
styling and want the convenience of a pre-painted
part, then you should definitely check out
the SpeedForm GT350 Style Spoiler for your
2015 and newer S550 Mustang.
Now, SpeedForm's option is constructed from
durable ABS plastic and is offered in just
about every factory color available for around
400 bucks.
Now, your install will go one of two different
ways.
If you have a factory spoiler installed, you're
looking at a straightforward job that requires
no drilling whatsoever.
On the other hand, if you do not currently
have a spoiler or wing attached, there will
be some drilling involved.
So, because of that, we'll go one out of three
wrenches for option A and two out of three
wrenches if you have to drill.
And be sure to hang out towards the end of
this video for a detailed walkthrough of the
job.
Now, the spoiler category is a rather large
one and will feature some mild stuff like
French:
Si vous êtes un fan de ce pack de pistes Shelby
style et veulent la commodité d'un pré-peint
partie, alors vous devriez certainement vérifier
le Spoiler Style SpeedForm GT350 pour votre
2015 et plus récent S550 Mustang.
Maintenant, l'option SpeedForm est construite à partir de
plastique ABS durable et est offert en seulement
à propos de toutes les couleurs d'usine disponibles pour environ
400 dollars.
Maintenant, votre installation ira l'un des deux différents
façons.
Si vous avez un spoiler d'usine installé, vous êtes
regarder un travail simple qui nécessite
pas de forage du tout.
D'un autre côté, si vous ne le faites pas actuellement
avoir un spoiler ou une aile attachée, il y aura
être un forage impliqué.
Donc, à cause de cela, nous allons aller un sur trois
clés pour l'option A et deux sur trois
clés si vous devez percer.
Et assurez-vous de sortir vers la fin de
cette vidéo pour une présentation détaillée de la
emploi.
Maintenant, la catégorie des spoilers est plutôt grande
un et mettra en vedette des choses douces comme
Spanish:
Si eres fanático de ese paquete de pistas de Shelby
estilo y quiere la conveniencia de un prepintado
parte, entonces definitivamente deberías echarle un vistazo
el Spoiler SpeedForm GT350 Style para su
2015 y más nuevo S550 Mustang.
Ahora, la opción de SpeedForm se construye a partir de
plástico ABS duradero y se ofrece solo
sobre cada color de fábrica disponible para alrededor
400 dólares.
Ahora, su instalación será una de dos diferentes
formas.
Si tienes un spoiler de fábrica instalado, estás
mirando un trabajo sencillo que requiere
ninguna perforación en absoluto.
Por otro lado, si no lo hace actualmente
tiene un spoiler o ala adjunto, habrá
ser un poco de perforación involucrado.
Entonces, debido a eso, iremos a uno de tres
llaves para la opción A y dos de tres
llaves si tienes que perforar.
Y asegúrese de pasar el rato hasta el final de
este video para un recorrido detallado de la
trabajo.
Ahora, la categoría de spoiler es bastante grande
uno y contará con algunas cosas suaves como
German:
Wenn Sie ein Fan von diesem Shelby Track Pack sind
styling und will den Komfort eines vorlackierten
Teil, dann solltest du definitiv auschecken
der SpeedForm GT350 Style Spoiler für Ihren
2015 und neuer S550 Mustang.
Jetzt ist SpeedForms Option aus konstruiert
langlebiger ABS-Kunststoff und wird nur angeboten
über jede verfügbare Fabrikfarbe für herum
400 Dollar.
Jetzt wird Ihre Installation eine von zwei verschiedenen gehen
Wege.
Wenn Sie einen Fabrikspoiler installiert haben, sind Sie
auf einen einfachen Job schauen, der erfordert
überhaupt kein Bohren.
Auf der anderen Seite, wenn Sie derzeit nicht
einen Spoiler oder Flügel angebracht haben, wird es geben
etwas Bohren beteiligt sein.
Deshalb werden wir jeden dritten gehen
Schlüssel für Option A und zwei von drei
Schraubenschlüssel, wenn Sie bohren müssen.
Und achten Sie darauf, sich gegen Ende abzuhängen
Dieses Video für eine detaillierte Walkthrough der
Job.
Jetzt ist die Spoiler-Kategorie eher groß
ein und wird einige mildes Zeug wie
Chinese:
如果你是Shelby追踪包的粉丝
造型，并希望预先绘制的方便
部分，那么你一定要退房
SpeedForm GT350风格扰流器适合您的
2015年和更新的S550野马。
现在，SpeedForm的选项是从
耐用的ABS塑料，并提供正义
关于每种工厂颜色可供选择
400块钱。
现在，您的安装将会变成两种不同的方式之一
方法。
如果您安装了工厂扰流器，那就是
看着需要的简单工作
没有任何钻井。
另一方面，如果你目前没有
有一个扰流板或翼附加，会有
参与一些钻探。
所以，正因为如此，我们会选择三分之一
选项A的扳手和三分之二的扳手
如果您需要钻孔，请使用扳手。
并且一定要在最后结束
这个视频为了详细的演练
工作。
现在，剧透类是一个相当大的
其中一个将会展示一些温和的东西
English:
the factory blade-type spoilers all the way
down the line to the gnarly carbon fiber GT350R
stuff and everything in between.
Now, the option we are talking about here
today is another factory-inspired part, and
one that I think will live somewhere in the
middle of the pack in regards to overall size
and styling impact.
And that is, of course, the standard GT350
track pack spoiler.
Now, for those who don't know, Ford released
two versions of the non-R variant of the GT350,
and that was the tech pack and also the track
pack.
Now, the tech pack had a very basic, unassuming
blade style spoiler, which was very subtle,
almost too subtle for the car, in my opinion.
Now, the track pack, on the other hand, had
a spoiler that fit the car perfectly and offered
a good amount of aggressiveness, if you will,
for a spoiler.
Now, sure, it's not gonna be nearly as radical
as the GT350R option, but let's be honest
here guys, that spoiler is a little much for
most casual Mustang owners out there.
German:
die Fabrik-Schaufel Spoiler den ganzen Weg
auf dem Weg zum knorrigen Kohlefaser GT350R
Sachen und alles dazwischen.
Nun, die Option, über die wir hier sprechen
heute ist ein anderer Fabrik-inspirierter Teil, und
eine, von der ich denke, dass sie irgendwo in der Welt leben wird
Mitte der Packung in Bezug auf die Gesamtgröße
und Styling Wirkung.
Und das ist natürlich der Standard GT350
Track Pack Spoiler.
Jetzt, für diejenigen, die es nicht wissen, Ford veröffentlicht
zwei Versionen der Nicht-R-Variante des GT350,
und das war das Tech-Pack und auch die Strecke
Pack.
Jetzt hatte das Tech-Pack ein sehr einfaches, anspruchsloses
Blade Style Spoiler, der sehr subtil war,
fast zu subtil für das Auto, meiner Meinung nach.
Nun, das Track-Pack hatte es auf der anderen Seite
Ein Spoiler, der perfekt zum Auto passt und angeboten wird
eine gute Menge an Aggressivität, wenn du willst,
für einen Spoiler.
Nun, sicher, es wird nicht annähernd so radikal sein
wie die GT350R Option, aber seien wir ehrlich
hier Jungs, der Spoiler ist ein bisschen viel für
lässigste Mustang-Besitzer da draußen.
Arabic:
المفسدين نوع شفرة المصنع على طول الطريق
أسفل الخط إلى ألياف الكربون gnarly GT350R
الاشياء وكل شيء بينهما.
الآن ، الخيار الذي نتحدث عنه هنا
اليوم جزء آخر مستوحى من المصنع ، و
واحد أعتقد أنه سيعيش في مكان ما في
وسط حزمة فيما يتعلق بالحجم الكلي
وتأثير التصميم.
وهذا هو ، بالطبع ، GT350 القياسية
جناح حزمة المسار.
الآن ، بالنسبة لأولئك الذين لا يعرفون ، أفرجت فورد
نسختين من البديل غير R من GT350 ،
وكان ذلك حزمة التكنولوجيا والمسار أيضًا
حزمة.
الآن ، كانت حزمة التكنولوجيا بسيطة للغاية ومتواضعة
المفسد نمط شفرة ، والتي كانت دقيقة للغاية ،
تقريبا دقيق جدا للسيارة ، في رأيي.
الآن ، حزمة المسار ، من ناحية أخرى ، كان
المفسد الذي يناسب السيارة بشكل مثالي وعرضت
كمية لا بأس بها من العدوانية ، إذا صح التعبير ،
لالمفسد.
الآن ، بالتأكيد ، لن يكون الأمر متطرفًا
كخيار GT350R ، ولكن دعونا نكون صادقين
هنا يا شباب ، هذا المفسد هو القليل
معظم أصحاب موستانج عارضة هناك.
French:
les spoilers de type lame d'usine tout le chemin
en bas de la ligne à la GT350R de fibre de carbone gnarly
choses et tout le reste.
Maintenant, l'option dont nous parlons ici
aujourd'hui est une autre partie d'inspiration d'usine, et
celui que je pense va vivre quelque part dans le
milieu de la meute en ce qui concerne la taille globale
et l'impact de style.
Et c'est, bien sûr, la norme GT350
spoiler de paquet de voie.
Maintenant, pour ceux qui ne le savent pas, Ford a publié
deux versions de la variante non-R de la GT350,
et c'était le pack technique et aussi la piste
pack.
Maintenant, le pack technique avait un très basique, sans prétention
spoiler de style de lame, qui était très subtile,
presque trop subtile pour la voiture, à mon avis.
Maintenant, le pack de piste, d'autre part, avait
un spoiler qui correspond parfaitement à la voiture et offert
une bonne dose d'agressivité, si vous voulez,
pour un spoiler.
Maintenant, bien sûr, ça ne sera pas aussi radical
comme l'option GT350R, mais soyons honnêtes
ici les gars, ce spoiler est un peu beaucoup pour
La plupart des propriétaires occasionnels Mustang là-bas.
Spanish:
los spoilers de fábrica tipo cuchilla hasta el final
en la línea de la fibra de carbono Gnarly GT350R
cosas y todo lo demás.
Ahora, la opción de la que estamos hablando aquí
hoy es otra parte inspirada en la fábrica, y
uno que creo que vivirá en algún lugar del
mitad del paquete en lo que respecta al tamaño total
y impacto de estilo.
Y eso es, por supuesto, el estándar GT350
alerón del paquete de la pista.
Ahora, para aquellos que no saben, Ford lanzó
dos versiones de la variante no R del GT350,
y ese era el paquete tecnológico y también la pista
paquete.
Ahora, el paquete de tecnología tenía una muy básica, sin pretensiones
spoiler de estilo de hoja, que era muy sutil,
casi demasiado sutil para el automóvil, en mi opinión.
Ahora, el paquete de la pista, por otro lado, tenía
un alerón que se ajusta perfectamente al automóvil y se ofrece
una buena cantidad de agresividad, si se quiere,
por un alerón.
Ahora, claro, no será tan radical
como la opción GT350R, pero seamos honestos
aquí chicos, ese spoiler es un poco para
la mayoría de los propietarios casuales de Mustang.
Chinese:
工厂的刀片式扰流板一路发展
向粗糙的碳纤维GT350R下线
东西和其中的一切。
现在，我们在这里讨论的选项
今天是另一个工厂风格的部分，和
我认为我会住在这个地方的某个地方
在整体大小的中间包
和造型的影响。
当然，这就是标准的GT350
追踪包扰流器。
现在，对于那些不知道的人来说，福特发布了
GT350的两个版本的非R版本，
这是技术包和赛道
包。
现在，这个技术包有一个非常基本的，不起眼的
刀片风格的扰流板，这是非常微妙的，
在我看来，这款车几乎太微妙了。
另一方面，现在，轨道包拥有了
一个完美匹配汽车并提供的扰流板
如果你愿意的话，
为扰流板。
现在，当然，这不会像激进一样
作为GT350R的选择，但让我们诚实
这里的家伙，这个剧透有点多
大多数休闲野马的老板都在那里。
German:
Konzentrieren wir uns auf den Track-Pack-Style-Spoiler
ein kleines bisschen mehr.
Und auf der Oberfläche, Leute, wirst du haben
ein sehr haltbarer und leichter ABS-Kunststoff
mit dem gleichen Detail bauen wie die
OE Shelby Option.
Ich weiß, es ist ein bisschen schwierig, hier zu sehen
auf Schwarz, aber nimm mein Wort dafür, du bist
viele gleiche Ausschnitte und Markierungen bekommen
oder Detail dieses Fabrikspoilers, aber für
weit weniger Teig als der Kauf des OE Teils aus
Ford.
Außerdem, Jungs, bekommst du auch
die Fähigkeit, die Farbe des Spoilers anzupassen
zu Ihrer Fahrt direkt aus der Box.
So, auf diese Weise, wenn es zu Schiffen kommt, zeigt es sich,
Sie ziehen es einfach aus der Box, schlagen Sie es
auf deiner Fahrt, und du bist gut zu gehen.
Keine Reisen in die Lackiererei und letztendlich
kein Stress.
Dazu unsere Techniker in der Lackierkabine
hier bei AM Spray mit der gleichen Basis und klar
Mantel, den Ford für seine Mustangs verwendet
führt zu einer sehr konsistenten Farbabstimmung zu
Deine Fahrt zu Hause.
Jetzt, wieder, zur Zeit dieses Videos, wir
biete fast jede Fabrik Mustang an
Farbe erhältlich für den S550 Mustang.
Arabic:
دعونا نركز على المفسد نمط حزمة المسار
اكثر قليلا.
وعلى السطح ، يا رفاق ، سيكون لديك
دائم ABS وخفيفة الوزن من البلاستيك
بناء مع الكثير من التفاصيل نفسها
عمر الفاروق شيلبي الخيار.
أعلم أنه من الصعب قليلاً رؤيته هنا
على أسود واحد ، لكن خذ كلامي من أجله ، أنت
الحصول على الكثير من نفس القواطع والعلامات
أو التفاصيل عن جناح المفسد هذا ، لكن لـ
العجين أقل بكثير من شراء جزء OE من
فورد.
علاوة على ذلك ، يا رفاق ، أنت أيضا تحصل
القدرة على الحصول على اللون المفسد المتطابقة
لركوب الخاص بك الحق في الخروج من منطقة الجزاء.
لذلك ، عندما تشحن ، تظهر ،
أنت ببساطة تسحبه خارج الصندوق ، صفعه
على رحلتك ، وأنت على ما يرام.
لا توجد رحلات إلى متجر الطلاء ، وفي النهاية ،
بدون مشاكل.
علاوة على ذلك ، لدينا التكنولوجيا في كشك الطلاء
هنا في رذاذ AM مع نفس القاعدة واضحة
معطف التي يستخدمها فورد على موستنغ الخاصة بهم ، والتي
يؤدي إلى تطابق لون متناسق مع
رحلتك في المنزل.
الآن ، مرة أخرى ، في وقت هذا الفيديو ، نحن
لا تقدم فقط عن كل مصنع Mustang
لون المتاحة ل S550 موستانج.
Spanish:
Vamos a centrarnos en el alerón del estilo del paquete de pista
un poco más.
Y en la superficie, chicos, van a tener
un plástico ABS muy durable y liviano
construir con un montón de los mismos detalles que el
Opción OE Shelby.
Sé que es un poco difícil de ver aquí
en negro, pero toma mi palabra, eres
obteniendo muchos recortes y marcas iguales
o el detalle de ese alerón de fábrica, pero por
Mucho menos dinero que comprar la parte OE de
Vado.
Además de eso, muchachos, también están recibiendo
la capacidad de hacer coincidir el color del spoiler
a su viaje nada más sacarlo de la caja.
Entonces, de esa manera, cuando se envía, aparece,
simplemente sácalo de la caja, abrázalo
en tu viaje, y eres bueno para ir.
No hay viajes a la tienda de pintura, y en última instancia,
Sin molestia.
Además de eso, nuestros técnicos en la cabina de pintura
aquí en aerosol AM con la misma base y claro
abrigo que Ford usa en sus Mustangs, que
conduce a una coincidencia de color muy consistente para
tu viaje en casa
Ahora, nuevamente, en el momento de este video,
ofrecen casi todos los Mustang de fábrica
color disponible para el S550 Mustang.
French:
Concentrons-nous sur le spoiler style piste
un tout petit peu plus.
Et en surface, les gars, vous allez avoir
un plastique ABS très durable et léger
construire avec beaucoup du même détail que le
Option OE Shelby.
Je sais que c'est un peu difficile à voir ici
sur le noir, mais croyez-moi, vous êtes
obtenir beaucoup des mêmes découpes et marques
ou des détails de ce spoiler d'usine, mais pour
beaucoup moins de pâte que d'acheter la partie OE de
Gué.
En plus de cela, les gars, vous obtenez également
la possibilité de faire correspondre la couleur du spoiler
à votre tour dès la sortie de la boîte.
Donc, de cette façon, quand il expédie vers, il se présente,
vous le sortez simplement de la boîte, le frappez
sur votre trajet, et vous êtes bon à faire.
Aucun voyage à l'atelier de peinture, et finalement,
sans tracas.
En plus de cela, nos techniciens dans la cabine de peinture
ici à AM pulvérisation avec la même base et claire
manteau que Ford utilise sur leurs Mustangs, qui
conduit à une correspondance de couleur très cohérente à
votre trajet à la maison.
Maintenant, encore une fois, au moment de cette vidéo, nous
offrir à peu près toutes les usines Mustang
couleur disponible pour le S550 Mustang.
Chinese:
让我们专注于追踪包风格的扰流板
多一点。
表面上，伙计们，你会有的
一个非常耐用和轻便的ABS塑料
建立与许多相同的细节
OE Shelby选项。
我知道这里有点难以看到
在黑色的一个，但请听我的话，你是
得到很多相同的剪影和标记
或该工厂扰流器的细节，但是
比购买OE零件少得多
福特。
最重要的是，伙计们，你也越来越多了
使扰流颜色匹配的能力
开箱即用。
所以，这样，当它出现时，它就会出现，
你只需将它从箱子里拿出来，拍打它
在你的旅程中，你很好走。
没有前往油漆店，最终，
没有麻烦。
最重要的是，我们的技术人员在油漆展台
在这里AM喷雾与相同的基础和清晰
福特在野马上使用的外套
导致非常一致的颜色匹配
你在家里骑。
现在，再次，在这个视频时，我们
提供几乎所有的工厂野马
S550 Mustang的颜色。
English:
Let's focus in on the track pack style spoiler
a little bit more.
And on the surface, guys, you're gonna have
a very durable and lightweight ABS plastic
build with a lot of the same detail as the
OE Shelby option.
I know it's a little difficult to see here
on black one, but take my word for it, you're
getting a lot of the same cutouts and marks
or detail of that factory spoiler, but for
far less dough than buying the OE part from
Ford.
On top of that, guys, you're also getting
the ability to have the spoiler color matched
to your ride right out of the box.
So, that way, when it ships to, it shows up,
you simply pull it out of the box, slap it
on your ride, and you are good to go.
No trips to the paint shop, and ultimately,
no hassle.
On top of that, our techs in the paint booth
here at AM spray with the same base and clear
coat that Ford uses on their Mustangs, which
leads to a very consistent color match to
your ride at home.
Now, again, at the time of this video, we
do offer just about every factory Mustang
color available for the S550 Mustang.
English:
But again, just to be on the safe side here,
guys, it's not a bad idea to check the availability
for your color on the product page before
pulling the trigger.
We do offer a complete list of colors per
year that are currently available.
And, at the end of the day, if you do wanna
save a few bucks on this thing and you either
have a paint hook up or you spray yourself,
you could always grab the SpeedForm option
here minus the paint for about 100 bucks less
than the pre-painted option.
But, let's get into the installation with
the SpeedForm spoiler.
And again, it's gonna go down one of two different
ways.
If you have a factory spoiler installed, there
will be no drilling necessary.
On the other hand, if you do not have a factory
option, there will be some drilling involved.
And to give you a better idea of how this
spoiler is gonna get in place, here is a detailed
walkthrough.
All right.
First thing we're gonna do is open our trunk
up and take our clip remover tool here, and
French:
Mais encore une fois, juste pour être du bon côté ici,
les gars, ce n'est pas une mauvaise idée de vérifier la disponibilité
pour votre couleur sur la page du produit avant
tirant sur la gâchette.
Nous offrons une liste complète de couleurs par
année qui sont actuellement disponibles.
Et, à la fin de la journée, si vous voulez
économiser quelques dollars sur cette chose et vous soit
avoir un crochet de peinture ou vous pulvériser,
vous pouvez toujours saisir l'option SpeedForm
ici moins la peinture pour environ 100 dollars de moins
que l'option pré-peinte.
Mais, entrons dans l'installation avec
le spoiler SpeedForm.
Et encore une fois, ça va descendre l'un des deux différents
façons.
Si vous avez installé un spoiler d'usine,
il n'y aura pas de forage nécessaire.
D'un autre côté, si vous n'avez pas d'usine
option, il y aura un certain forage impliqué.
Et pour vous donner une meilleure idée de comment cela
spoiler va se mettre en place, voici un détail
procédure pas à pas.
D'accord.
La première chose que nous allons faire est d'ouvrir notre coffre
et prenez notre outil de suppression de clip ici, et
Chinese:
但是，为了在这里安全起见，
大家，检查可用性是一个不错的主意
为您的产品页面上的颜色
拉动扳机。
我们确实提供了完整的颜色列表
当前可用的年份。
而且，在一天结束时，如果你想要
在这件事情上你也可以省下几块钱
有一个油漆挂钩或你自己喷洒，
你总是可以抓住SpeedForm选项
这里减去约100块钱的油漆
比预先绘制的选项。
但是，让我们进入安装
SpeedForm扰流板。
再一次，它会下降到两个不同的其中一个
方法。
如果您安装了工厂扰流板，那么
将不需要钻探。
另一方面，如果你没有工厂
选项，将会涉及一些钻探。
并给你一个更好的想法
扰流板会到位，这里是一个详细的
演练。
好吧。
我们要做的第一件事是打开我们的箱子
拿起我们的夹子去除工具在这里，和
German:
Aber noch einmal, um hier auf der sicheren Seite zu sein,
Leute, es ist keine schlechte Idee, die Verfügbarkeit zu überprüfen
für Ihre Farbe auf der Produktseite vorher
den Abzug betätigen.
Wir bieten eine vollständige Liste der Farben pro
Jahr, die derzeit verfügbar sind.
Und am Ende des Tages, wenn Sie wollen
Sparen Sie ein paar Dollar für dieses Ding und Sie auch
einen Farbanschluss haben oder dich selbst besprühen,
Sie können immer die SpeedForm-Option greifen
hier minus die Farbe für etwa 100 Dollar weniger
als die vorlackierte Option.
Aber lass uns mit der Installation beginnen
der SpeedForm-Spoiler.
Und wieder wird es eine von zwei verschiedenen gehen
Wege.
Wenn Sie einen Fabrikspoiler installiert haben, dort
Es wird kein Bohren notwendig sein.
Auf der anderen Seite, wenn Sie keine Fabrik haben
Option, es wird einige Bohrungen beteiligt sein.
Und um dir eine bessere Vorstellung davon zu geben, wie das geht
Spoiler wird an Ort und Stelle, hier ist eine detaillierte
Walkthrough.
Gut.
Als erstes werden wir unseren Koffer öffnen
und nimm unser Clip Remover Tool hier und
Spanish:
Pero nuevamente, solo para estar seguros aquí,
chicos, no es una mala idea verificar la disponibilidad
para su color en la página del producto antes
apretando el gatillo.
Ofrecemos una lista completa de colores por
año que están actualmente disponibles.
Y, al final del día, si quieres
ahorre unos dólares en esto y usted tampoco
ten un gancho de pintura o te rocías,
siempre puedes tomar la opción SpeedForm
aquí, menos la pintura por unos 100 dólares menos
que la opción prepintada.
Pero, entremos a la instalación con
el spoiler SpeedForm.
Y de nuevo, bajará uno de dos diferentes
formas.
Si tiene un alerón de fábrica instalado, hay
no será necesario perforar.
Por otro lado, si no tienes una fábrica
opción, habrá un poco de perforación involucrada.
Y para darle una mejor idea de cómo esto
spoiler se va a poner en marcha, aquí hay un detallado
tutorial.
Todo bien.
Lo primero que vamos a hacer es abrir nuestro baúl
y tomar nuestra herramienta removedor de clips aquí, y
Arabic:
ولكن مرة أخرى ، فقط لأكون في الجانب الآمن هنا ،
يا رفاق ، انها ليست فكرة سيئة للتحقق من توافر
للونك على صفحة المنتج من قبل
سحب الزناد.
نحن نقدم قائمة كاملة من الألوان لكل
العام المتاحة حاليا.
وفي نهاية اليوم ، إذا كنت تريد ذلك
حفظ بضعة دولارات على هذا الشيء وأنت إما
لديك خطاف للطلاء أو رش نفسك ،
يمكنك دائمًا الحصول على خيار SpeedForm
هنا ناقص الطلاء لحوالي 100 دولارات أقل
من خيار ما قبل الطلاء.
ولكن ، دعونا ندخل في التثبيت مع
جناح سبيدفورم.
ومرة أخرى ، سوف ينزل أحد اثنين مختلفين
طرق.
إذا كان لديك جناح مصنع مثبت ، هناك
لن يكون الحفر اللازمة.
من ناحية أخرى ، إذا لم يكن لديك مصنع
الخيار ، سيكون هناك بعض الحفر المعنية.
ولإعطائك فكرة أفضل عن كيفية هذا
سوف تحصل على المفسد في المكان ، وهنا مفصل
تجول.
حسنا.
أول شيء سنفعله هو فتح جذعنا
لأعلى وأخذ أداة مزيل القصاصة هنا ، و
Arabic:
سنقوم بسحب كل المقاطع التي تحملها
السجاد على سطح لوحة الغطاء ، وهذا ما يحدث
للكشف عن البراغي التي تحمل مصنعنا
المفسد في المكان.
وسنقوم بإزالة هذين الصدمين المطاطيين
توقف ، فإنها انفك.
English:
we're going to pull all the clips that hold
the deck lid panel carpet on, and that's going
to reveal the screws that hold our factory
spoiler in place.
And we're gonna remove these two rubber bump
stops, they unscrew.
French:
nous allons tirer tous les clips qui retiennent
le tapis de panneau de couvercle de pont sur, et ça va
pour révéler les vis qui retiennent notre usine
spoiler en place.
Et nous allons enlever ces deux bosses en caoutchouc
s'arrête, ils se dévissent.
Spanish:
vamos a sacar todos los clips que sujetan
la alfombra del panel de la cubierta, y eso va
para revelar los tornillos que sostienen nuestra fábrica
alerón en su lugar.
Y vamos a eliminar estos dos golpes de goma
se detiene, desenroscan.
Chinese:
我们将拉取所有的剪辑
行李箱盖板地毯上，这是
揭示我们工厂的螺丝
扰流板到位。
我们要去除这两个橡胶凹凸
停下来，他们拧开。
German:
Wir werden alle Clips ziehen, die halten
der Deckendeckel Teppich auf, und das geht
um die Schrauben zu enthüllen, die unsere Fabrik halten
Spoiler an Ort und Stelle.
Und wir werden diese beiden Gummi-Beulen entfernen
stoppt, sie schrauben sich ab.
Chinese:
接下来，我们要拉两个工厂的垫圈
在这里的行李箱盖。
这里的内容是10毫米
坚果，另一边有另一个
这里。
而且，还有2个10毫米的坚果
这里也是如此。
这是我们需要的总共四个坚果
删除将工厂扰流器关闭。
好的。
我在这里得到了我的10毫米插座，而我
我们会把甲板的盖子稍微放下
不要把我们的螺母放在行李箱盖上。
如果你这样做，这不是什么大问题，因为这个
新的扰流板配有新的硬件。
尽量避免丢弃它。
English:
Next, we're gonna pull the two factory grommets
in the deck lid here.
Inside of here is gonna be a 10-millimeter
nut, there's another one on the other side
here.
And also, there's 2 10-millimeter nuts in
here as well.
That's a total of four nuts that we need to
remove to pull the factory spoiler off.
Okay.
I got my 10-millimeter socket here, and I'm
gonna hold the deck lid slightly down so we
don't drop our nut in the deck lid.
If you do, it's not a big deal because the
new spoiler comes with new hardware.
Just try to avoid dropping it.
Spanish:
A continuación, vamos a sacar las dos arandelas de fábrica
en la tapa de la cubierta aquí.
Dentro de aquí va a haber un 10 milímetros
nuez, hay otro en el otro lado
aquí.
Y también, hay 2 tuercas de 10 milímetros en
aquí también.
Eso es un total de cuatro nueces que necesitamos
quitar para quitar el spoiler de fábrica.
Bueno.
Tengo mi enchufe de 10 milímetros aquí, y estoy
va a mantener la tapa de la cubierta un poco hacia abajo para que podamos
no deje caer nuestra tuerca en la tapa de la plataforma.
Si lo haces, no es un gran problema porque el
nuevo alerón viene con nuevo hardware.
Solo trata de evitar tirarlo.
French:
Ensuite, nous allons tirer les deux oeillets d'usine
dans le couvercle du pont ici.
A l'intérieur d'ici va être un 10-millimètre
écrou, il y en a un autre de l'autre côté
ici.
Et aussi, il y a 2 écrous de 10 millimètres
ici aussi.
C'est un total de quatre noix dont nous avons besoin pour
retirer pour retirer le spoiler d'usine.
D'accord.
J'ai ma douille de 10 millimètres ici, et je suis
va tenir le couvercle du pont légèrement vers le bas afin que nous
Ne laissez pas tomber notre écrou dans le couvercle du coffre.
Si vous le faites, ce n'est pas un gros problème parce que le
nouveau spoiler est livré avec un nouveau matériel.
Essayez juste d'éviter de le laisser tomber.
German:
Als nächstes werden wir die zwei Fabrik-Ösen ziehen
im Kofferraumdeckel hier.
Im Inneren von hier wird ein 10-Millimeter sein
Nuss, da ist noch eine auf der anderen Seite
Hier.
Und es gibt auch 2 10-Millimeter-Nüsse in
hier auch.
Das sind insgesamt vier Nüsse, die wir brauchen
entfernen, um den Werksspoiler abzuziehen.
Okay.
Ich habe meine 10-Millimeter-Steckdose hier, und ich bin
werde den Deckendeckel ein wenig nach unten halten, damit wir
Lass unsere Mutter nicht in den Kofferraumdeckel fallen.
Wenn Sie das tun, ist es keine große Sache, weil die
Neuer Spoiler kommt mit neuer Hardware.
Versuche es einfach zu vermeiden.
Arabic:
بعد ذلك ، سنقوم بسحب جهازي المصنع
في غطاء سطح السفينة هنا.
داخل هنا سيصبح 10 ملم
الجوز ، هناك واحد آخر على الجانب الآخر
هنا.
وأيضا ، هناك 2 المكسرات 10 ملم في
هنا أيضا.
هذا ما مجموعه أربعة المكسرات التي نحتاج إليها
إزالة لسحب المفسد المصنع قبالة.
حسنا.
حصلت على مأخذ بلدي 10 ملم هنا ، وأنا
سيعقد غطاء سطح السفينة قليلا إلى أسفل حتى نحن
لا تسقط الجوز في غطاء سطح السفينة.
إذا قمت بذلك ، ليست صفقة كبيرة لأن
المفسد الجديد يأتي مع الأجهزة الجديدة.
فقط حاول تجنب إسقاطها.
Chinese:
好吧。
所以，我关闭了箱子。
这会帮助我们获得更多的杠杆作用
关闭工厂扰流器。
我在这里也有一个塑料撬工具
会帮助我们分开工厂3M胶带。
French:
D'accord.
Donc, j'ai le coffre fermé.
Cela va nous aider à obtenir un peu plus de levier
pour retirer le spoiler d'usine.
J'ai un outil de levier de plastique ici qui est aussi
va nous aider à séparer la bande 3M d'usine.
Arabic:
حسنا.
لذلك ، لدي الجذع مغلق.
وهذا سيساعدنا في الحصول على المزيد من النفوذ
لسحب مصنع المفسد.
لدي أداة نقب من البلاستيك هنا أيضًا
سنساعدنا على فصل الشريط مصنع 3M.
German:
Gut.
Also, ich habe den Kofferraum geschlossen.
Das wird uns helfen, ein wenig mehr Hebelkraft zu bekommen
den Fabrikspoiler abziehen.
Ich habe hier ein Plastik-Brechwerkzeug
werde uns helfen, das 3M Band der Fabrik zu trennen.
English:
All right.
So, I have the trunk closed.
That's gonna help us get a little more leverage
to pull the factory spoiler off.
I have a plastic pry tool here that's also
gonna help us separate the factory 3M tape.
Spanish:
Todo bien.
Entonces, tengo el baúl cerrado.
Eso nos va a ayudar a obtener un poco más de apalancamiento
desconectar el spoiler de fábrica
Tengo una herramienta de palanca de plástico aquí que también es
nos ayudará a separar la cinta 3M de fábrica.
Arabic:
أنا فقط سأبدأ بالتسجيل في الزاوية
هنا بلطف.
لذلك ، ما زلت أحاول عمل بعض من 3M
الشريط للحصول عليه فضفاضة.
بمجرد أن تفقد زواياك ، فأنت تريد ذلك
سحب بالتساوي على كلا الجانبين لمحاولة إطلاق سراحهم
بقية 3M ، ويجب أن تؤتي ثمارها.
عليك أن تضغط على بعض
لاستخلاص هذا الشيء من هنا.
German:
Ich fang einfach an, an der Ecke zu stehen
hier sanft.
Also versuche ich immer noch, etwas von der 3M zu arbeiten
Band, um es zu lösen.
Sobald du deine Ecken gelöst hast, willst du
Ziehen Sie gleichmäßig auf beiden Seiten, um zu versuchen und zu lösen
der Rest der 3M, und es sollte abgehen.
Du wirst etwas Druck machen müssen
es um dieses Ding von hier abzuziehen.
Chinese:
我会开始在角落里撬动
这里轻轻地。
所以，我仍然在努力工作一些3M
磁带让它松动。
一旦你的角落松动，你想
均匀拉起双方试图释放
3M的其余部分，它应该脱落。
你将不得不施加一些压力
它把这件事从这里拉下来。
French:
Je vais juste commencer à tirer sur le coin
ici doucement.
Donc, j'essaie toujours de travailler certains des 3M
bande pour le libérer.
Une fois que vous avez perdu vos coins, vous voulez
tirer uniformément des deux côtés pour essayer de libérer
le reste de la 3M, et il devrait sortir.
Vous allez devoir mettre de la pression sur
C'est de tirer cette chose d'ici.
Spanish:
Voy a comenzar a curiosear en la esquina
aquí suavemente
Por lo tanto, todavía estoy tratando de trabajar algunos de los 3M
cinta para soltarse.
Una vez que tienes las esquinas sueltas, quieres
tire hacia arriba de manera uniforme en ambos lados para tratar de liberar
el resto de 3M, y debería salir.
Tendrás que presionar un poco
para sacar esto de aquí.
English:
I'm just gonna start prying up on the corner
here gently.
So, I'm still trying to work some of the 3M
tape to get it loose.
Once you got your corners loose, you wanna
pull up evenly on both sides to try and release
the rest of the 3M, and it should come off.
You are gonna have to put some pressure on
it to pull this thing off of here.
English:
The next step is going to be to remove all
the 3M tape that's on that deck lid panel.
There's a couple different ways you can do
this.
I have a rubber eraser wheel, really speeds
things up a bit.
You're gonna wanna take some patience.
And if you don't have this, you can use your finger to peel it off.
Or you can get some 3M adhesive remover and a rag.
WD-40 also works well.
We're going to use this rubber eraser wheel to get this off.
Chinese:
下一步将是删除所有
那个盖子盖板上的3M胶带。
有几种不同的方式可以做
这个。
我有一个橡皮擦轮，真的很快
事情有点。
你会想要耐心一点。
如果你没有这个，你可以用你的手指将它剥离。
或者你可以得到一些3M胶去除剂和抹布。
WD-40也运作良好。
我们将使用这款橡皮擦轮来解决这个问题。
Spanish:
El siguiente paso será eliminar todo
la cinta de 3M que está en el panel de la tapa de la plataforma.
Hay un par de maneras diferentes en que puedes hacer
esta.
Tengo una rueda de borrador de goma, realmente acelera
las cosas un poco.
Vas a tomar un poco de paciencia.
Y si no tienes esto, puedes usar tu dedo para despegarlo.
O puede obtener un removedor de adhesivo 3M y un trapo.
WD-40 también funciona bien.
Vamos a usar esta rueda de goma para borrar esto.
German:
Der nächste Schritt wird sein, alle zu entfernen
das 3M-Band, das sich auf diesem Deckel befindet.
Es gibt ein paar verschiedene Möglichkeiten, die Sie tun können
Dies.
Ich habe ein Radiergummi Rad, wirklich Geschwindigkeiten
Dinge ein bisschen.
Du wirst etwas Geduld brauchen.
Und wenn Sie das nicht haben, können Sie es mit Ihrem Finger abziehen.
Oder Sie können einige 3M Klebstoffentferner und einen Lappen bekommen.
WD-40 funktioniert auch gut.
Wir werden dieses Gummiradierrad verwenden, um das zu entfernen.
French:
La prochaine étape va être d'enlever tout
la bande 3M qui se trouve sur le panneau du couvercle de la platine.
Il y a plusieurs façons de faire
ce.
J'ai une roue en caoutchouc efface, accélère vraiment
les choses un peu.
Tu vas vouloir prendre un peu de patience.
Et si vous ne l'avez pas, vous pouvez utiliser votre doigt pour l'enlever.
Ou vous pouvez obtenir un dissolvant d'adhésif 3M et un chiffon.
WD-40 fonctionne également bien.
Nous allons utiliser cette roue en caoutchouc pour l'enlever.
Arabic:
الخطوة التالية ستكون إزالة الكل
الشريط 3M الموجود على لوحة غطاء السطح.
هناك عدة طرق مختلفة يمكنك القيام بها
هذه.
لدي عجلة ممحاة مطاطية ، سرعات حقا
الامور قليلا.
ستحتاج أن تأخذ بعض الصبر.
وإذا لم يكن لديك هذا ، فيمكنك استخدام إصبعك لتقشيره.
أو يمكنك الحصول على بعض مزيل 3M لاصقة وقطعة قماش.
WD-40 يعمل أيضا بشكل جيد.
سنستخدم عجلة الممحاة المطاطية هذه.
German:
Gut.
Der nächste Schritt ist sehr wichtig.
Wir werden die Oberfläche so vorbereiten, dass die 3M
haftet richtig.
Wir verwenden die mitgelieferte Alkoholvorbereitung
Pads, gefolgt von dem Haftvermittler von 3M.
Gut.
Als nächstes werden wir den Haftvermittler verwenden.
Alles klar, wir sind jetzt bereit, unsere zu installieren
Flügel.
Was ich tun werde, ist, dass ich die Ecken beginnen werde
des 3M Bandes.
Ich werde es nicht bis zum Ende durchziehen.
Gut.
Also machen wir eine Seite nach der anderen.
Ich werde den Spoiler auf den Kofferraumdeckel legen
sehr sanft.
French:
D'accord.
La prochaine étape est très importante.
Nous allons préparer la surface pour que le 3M
colle correctement.
Nous allons utiliser la préparation d'alcool fourni
des tampons suivis du promoteur d'adhérence 3M.
D'accord.
Ensuite, nous allons utiliser le promoteur d'adhérence.
Très bien, nous sommes maintenant prêts à installer notre
aile.
Ce que je vais faire, c'est que je vais commencer les coins
de la bande 3M.
Je ne vais pas tout retirer.
D'accord.
Donc, on va faire un côté à la fois.
Je vais placer le spoiler sur le couvercle du pont
Très doucement.
Spanish:
Todo bien.
El siguiente paso es muy importante.
Vamos a preparar la superficie para que los 3M
se pega apropiadamente
Vamos a usar la preparación de alcohol suministrada
almohadillas seguidas por el promotor de adhesión 3M.
Todo bien.
A continuación, usaremos el promotor de adhesión.
De acuerdo, ahora estamos listos para instalar nuestro
ala.
Lo que voy a hacer es comenzar las esquinas
de la cinta 3M.
No voy a sacarlo del todo.
Todo bien.
Entonces, vamos a hacer un lado a la vez.
Voy a colocar el alerón en la tapa de la cubierta
muy gentil.
English:
All right.
The next step is very important.
We're gonna prep the surface so that the 3M
sticks properly.
We're gonna use the supplied alcohol prep
pads followed by the 3M adhesion promoter.
All right.
Next, we're gonna use the adhesion promoter.
All right, we're now ready to install our
wing.
What I'm gonna do is I'm gonna start the corners
of the 3M tape.
I'm not gonna pull it all the way off.
All right.
So, we're gonna do one side at a time.
I'm gonna place the spoiler on the deck lid
very gently.
Chinese:
好吧。
下一步是非常重要的。
我们要准备表面，让3M
正确粘贴。
我们要使用提供的酒精准备
然后是3M粘合促进剂。
好吧。
接下来，我们要使用助粘剂。
好的，我们现在准备安装我们的
翅膀。
我要做的是我要开始角落
的3M胶带。
我不会一直拖下去的。
好吧。
所以，我们会一次做一个方面。
我要把扰流板放在甲板上
非常温和。
Arabic:
حسنا.
الخطوة التالية مهمة جدا.
سنقوم بإعداد السطح بحيث يكون 3M
العصي بشكل صحيح.
سنستخدم إعداد كحول المقدمة
منصات تليها المروج التصاق 3M.
حسنا.
بعد ذلك ، سنستخدم مروج التصاق.
حسنًا ، نحن الآن جاهزون لتركيب
جناح.
ما سأفعله هو أنني سأبدأ الزوايا
من الشريط 3M.
لن أخرجه على طول الطريق
حسنا.
لذا ، سنفعل جانبًا واحدًا في كل مرة.
سأضع المفسد على غطاء السطح
بلطف جدا.
English:
I'm gonna open up the deck lid while we're
trying to find our hole there for our first
screw.
It helps if you have a magnetic tip screwdriver.
All right.
We got one screw in the right side of the
spoiler.
I'm gonna peel the rest of the 3M off now
and we're gonna get our second screw started.
All right.
The center two screws are slightly tough to
get to here.
All right.
Chinese:
我们要打开甲板盖
试图在我们的第一洞找到我们的洞
拧。
如果您有磁性螺丝刀，它会有所帮助。
好吧。
我们在右边有一个螺丝
扰流板。
我现在要剥掉剩下的3M
我们将开始我们的第二个螺丝。
好吧。
中间的两个螺丝稍微有点硬
到达这里。
好吧。
German:
Ich werde den Deckdeckel öffnen, während wir sind
versuchen, unser Loch dort für unser erstes zu finden
Schraube.
Es hilft, wenn Sie einen Magnetspitzenschraubendreher haben.
Gut.
Wir haben eine Schraube in der rechten Seite der
Spoiler.
Ich werde jetzt den Rest der 3M abziehen
und wir werden unsere zweite Schraube bekommen.
Gut.
Die mittleren zwei Schrauben sind etwas zäh
komm hier her.
Gut.
Arabic:
سأفتح غطاء السطح بينما نحن
في محاولة للعثور على وجود لدينا حفرة لدينا لأول مرة
برغي.
يساعد إذا كان لديك مفك براغي مغناطيسي.
حسنا.
حصلنا على المسمار واحد في الجانب الأيمن من
المفسد.
أنا سأقشر بقية 3M قبالة الآن
وسنبدأ في تشغيل المسمار الثاني.
حسنا.
مركز اثنين من البراغي صعبة بعض الشيء
اذهب الى هنا
حسنا.
French:
Je vais ouvrir le couvercle du pont pendant que nous sommes
essayer de trouver notre trou là pour notre premier
vis.
Cela aide si vous avez un tournevis à pointe magnétique.
D'accord.
Nous avons une vis dans le côté droit de la
becquet.
Je vais enlever le reste du 3M maintenant
et nous allons commencer notre deuxième vis.
D'accord.
Les deux vis centrales sont légèrement difficiles à
arriver à ici.
D'accord.
Spanish:
Voy a abrir la tapa de la plataforma mientras estamos
tratando de encontrar nuestro agujero allí para nuestra primera
tornillo.
Ayuda si tienes un destornillador de punta magnética.
Todo bien.
Tenemos un tornillo en el lado derecho de la
alerón.
Voy a pelar el resto de los 3M ahora
y vamos a empezar nuestro segundo tornillo.
Todo bien.
Los dos tornillos centrales son ligeramente resistentes a
llegar a aquí.
Todo bien.
German:
Wir haben alle vier unserer Schrauben begonnen.
Ich werde den Rest der 3M beenden
Klebeband jetzt abziehen.
Und wir haben ein Stück auf der Rückseite.
Gut, wir können jetzt die vier straffen
Schrauben für unseren Spoiler.
Sobald wir fertig sind, straffen wir
Ich werde den Kofferraumdeckel schließen und einfach etwas drauflegen
leichten Druck darauf, um das 3M Klebeband zu setzen.
English:
We got all four of our screws started.
I'm gonna finish pulling the rest of the 3M
backing tape off now.
And we got one piece on the back.
All right, we can now tighten up the four
screws all the way down for our spoiler.
Once we're done tightening them up, we're
gonna close the deck lid and just put some
light pressure down on it to seat the 3M tape.
French:
Nous avons commencé nos quatre vis.
Je vais finir de tirer le reste de la 3M
backing tape maintenant.
Et nous avons un morceau sur le dos.
D'accord, nous pouvons maintenant resserrer les quatre
vis tout le chemin vers le bas pour notre spoiler.
Une fois que nous avons fini de les resserrer, nous sommes
va fermer le couvercle du pont et juste mettre un peu
appuyez légèrement dessus pour installer la bande 3M.
Arabic:
حصلنا على أربعة من البراغي.
أنا ذاهب لإنهاء ما تبقى من 3M
دعم الشريط قبالة الآن.
وقد حصلنا على قطعة واحدة على الظهر.
حسنا ، يمكننا الآن تشديد الأربعة
مسامير على طول الطريق لأسفل لدينا المفسد.
بمجرد الانتهاء من تشديدهم ، نحن
ستغلق غطاء سطح السفينة ووضع بعض فقط
ﺿﻐﻂ ﺿﻮﺋﻲ إﻟﻰ أﺳﻔﻞ ﻋﻠﻰ ﻣﻘﻌﺪ ﻟﺸﺮﻳﻂ 3M.
Spanish:
Tenemos nuestros cuatro tornillos comenzados.
Voy a terminar de sacar el resto de los 3M
cinta de respaldo ahora.
Y tenemos una pieza en la parte posterior.
Muy bien, ahora podemos ajustar los cuatro
tornillos hasta abajo para nuestro spoiler.
Una vez que terminamos de apretarlos, estamos
va a cerrar la tapa de la plataforma y simplemente poner un poco
presión ligera hacia abajo para asentar la cinta 3M.
Chinese:
我们开始了全部四个螺丝。
我要完成拉3M的其余部分
现在就关闭磁带。
我们在背上拿到一块。
好的，我们现在可以收紧四个
一路下来，我们的扰流板。
一旦我们完成了收紧，我们就是
要关闭甲板盖，只是放一些
轻轻压在3M胶带上。
Arabic:
حسنا.
يمكننا أن نضع سجادة غطاء لوحة الظهر مرة أخرى
في مكان الآن.
Spanish:
Todo bien.
Podemos volver a colocar la alfombra del panel de la tapa de la plataforma
en su lugar ahora.
German:
Gut.
Wir können unseren Deckendeckelteppich zurückstellen
jetzt an Ort und Stelle.
Chinese:
好吧。
我们可以把我们的行李箱盖板地毯放回去
现在就到位。
French:
D'accord.
Nous pouvons remettre notre tapis de panneau de couvercle de coffre
en place maintenant.
English:
All right.
We can put our deck lid panel carpet back
in place now.
English:
All right, guys.
That's gonna wrap up our review and install.
Be sure to check out more at americanmuscle.com.
French:
D'accord, les gars.
Cela va conclure notre examen et installer.
Soyez sûr de vérifier plus à americanmuscle.com.
Arabic:
حسناً يا شباب.
هذا سوف يختتم استعراضنا وتثبيته.
كن متأكدا من إطلاعك على المزيد في americanmuscle.com.
Spanish:
De acuerdo, chicos.
Eso va a concluir nuestra revisión e instalación.
Asegúrate de ver más en americanmuscle.com.
German:
Alles klar, Leute.
Das wird unsere Überprüfung abschließen und installieren.
Weitere Informationen finden Sie unter americanmuscle.com.
Chinese:
好的，伙计们。
这将结束我们的审查和安装。
请务必在Americanmuscle.com查看更多信息。
| {
"pile_set_name": "YoutubeSubtitles"
} |
English:
I have an equation right here.
It's a second degree equation.
It's a quadratic.
And I know its graph is
going to be a parabola.
Just as a review, that means it
looks something like this or it
looks something like that.
Because the coefficient on the
x squared term here is positive,
I know it's going to be an
upward opening parabola.
And I am curious about the
vertex of this parabola.
And if I have an upward
opening parabola,
the vertex is going to
be the minimum point.
If I had a downward
opening parabola,
then the vertex would
be the maximum point.
So I'm really trying
to find the x value.
I don't know actually where
this does intersect the x-axis
or if it does it all.
But I want to find
the x value where
this function takes
on a minimum value.
Now, there's many
ways to find a vertex.
Probably the easiest,
there's a formula for it.
And we talk about where that
comes from in multiple videos,
where the vertex of a
parabola or the x-coordinate
Serbian:
...
Имам једну једначину овде.
То је једначина другог степена.
Она је квадратна.
И знам да ће њен график бити парабола.
Само као подсећање, то значи да ће она изгледати некако овако, или
ће изгледати некако тако.
Пошто је коефицијент код члана х на квадрат овде позитиван,
знам да ће то бити парабола окренута на горе.
И занима ме теме ове параболе.
А ако имам једну параболу отворену на горе,
теме ће бити тачка минимума.
Да сам имао параболу отворену на доле,
тада би теме било тачка максимума.
Дакле, у суштини, покушавам да одредим х вредност.
Не знам заправо где ово сече х-осу
и да ли је уопште сече.
Али желим да одредим х вредност где
ова функција достиже минималну вредност.
Сада, постоји много начина да одредимо теме.
Вероватно најлакши, постоји формула за то.
И говорили смо о томе одакле она долази у више снимака,
одакле теме параболе, или х координата
Georgian:
მაქვს განტოლება.
ეს განტოლება მეორე რიგისაა,
ანუ კვადრატულია.
ვიცით, რომ მისი გრაფიკი
წარმოადგენს პარაბოლას.
გაგახსენებთ, პარაბოლა გამოიყურება ასე
ან ...
ასე.
რადგან კოეფიციენტი x-ის კვადრატთან
დადებითია,
ამ პარაბოლას შტოები
ზემოთ იქნება მიმართული.
მაინტერესებს ამ პარაბოლას წვერო.
და რადგან შტოები ზემოთაა მიმართული
წვერო იქნება მინიმუმის წერტილი.
პარაბოლაში შტოებით ქვემოთ
წვერო იქნებოდა მაქსიმუმის წერტილი.
სინამდვილეში, მე ვეძებ
x-ის მნიშვნელობას.
არ ვიცი, სად კვეთს ეს პარაბოლა x-ღერძს
ან კვეთს თუ არა საერთოდ.
მაგრამ ვეძებ x-ის ისეთ მნიშვნელობას,
რომლისთვისაც ეს ფუნქცია მინიმალურ
მნიშვნელობას იღებს.
წვეროს პოვნის ბევრი გზა არსებობს.
ალბათ, ყველაზე მარტივი გზაა
ამისთვის გამოვიყენოთ ფორმულა.
რამდენიმე ვიდეოში გეტყვით,
როგორ გამოგვყავს ეს ფორმულა,
პარაბოლას წვერო,
German:
Hier ist eine quadratische Gleichung zweiten Grades.
Hier ist eine quadratische Gleichung zweiten Grades.
Hier ist eine quadratische Gleichung zweiten Grades.
Das sagt uns, dass der Graph eine Parabel sein muss.
Eine Parabel sieht entweder so oder so aus.
Eine Parabel sieht entweder so oder so aus.
Weil der Koeffizient von x zum Quadrat positiv ist, ist die Parabel oben offen.
Weil der Koeffizient von x zum Quadrat positiv ist, ist die Parabel oben offen.
Wir wollen den Scheitelpunkt der Parabel herausfinden.
Bei einer nach oben offenen Parabel ist der Scheitelpunkt am niedrigsten Punkt.
Bei einer nach oben offenen Parabel ist der Scheitelpunkt am niedrigsten Punkt.
Wäre es eine nach unten offene Parabel, wäre der Scheitelpunkt am höchsten Punkt.
Wäre es eine nach unten offene Parabel, wäre der Scheitelpunkt am höchsten Punkt.
Was ich also suche, ist x.
Ich weiß nicht, wo es die x-Achse schneidet, oder ob es das überhaupt tut.
Ich weiß nicht, wo es die x-Achse schneidet, oder ob es das überhaupt tut.
Aber ich will den x Wert finden, an dem diese Funktion am Kleinsten ist.
Aber ich will den x Wert finden, an dem diese Funktion am Kleinsten ist.
Es gibt mehrere Wege, einen Scheitelpunkt zu finden.
Der Einfachste ist per Formel.
Diese Formel wird in anderen Videos besprochen.
Diese Formel wird in anderen Videos besprochen.
Korean:
여기 방정식이 하나 있습니다
이차방정식인데요
이것의 그래프는 포물선이 되겠죠
복습차원에서, 포물선은 이렇게 생겼거나
이렇게 생긴 것입니다
x^2의 계수가 양수이기 때문에
아래로 볼록한 포물선이 되겠죠
이 포물선의 꼭짓점을 알아내고 싶은데요
아래로 볼록한 포물선의 경우
꼭짓점은 최소점이 되겠죠
위로 볼록한 포물선의 경우에는
꼭짓점이 최대점이 되구요
x의 값을 알아내고 싶은데요
이게 어디서 x축과 만나는지
모릅니다
하지만 저는 이 함수의 최소점의
x값을 알아내고 싶습니다
꼭짓점을 찾는 여러 방법들이 있는데요
가장 쉬운, 공식이 있습니다
여러 동영상에서 그 공식이
포물선의 꼭짓점이나
Bulgarian:
Имам едно уравнение тук.
То е уравнение от втора степен.
Квадратно уравнение е.
И знам, че неговата графика ще
бъде парабола.
Само като преговор, това означава, че
тя изглежда по подобен начин,
или прилича на нещо като това.
Тъй като коефициентът на члена х^2 тук е положителен,
знам, че това е парабола, отворена нагоре.
Любопитен съм за върха
на тази парабола.
Ако имам парабола, отворена нагоре,
върхът е
минималната точка.
Ако имам парабола, отворена надолу,
тогава върхът е
максималната точка.
Така че аз всъщност се опитвам
да намеря стойността х.
Не знам в действителност къде
графиката пресича оста х
или дали изобщо го прави.
Но искам да намеря
стойността х, при която
тази функция има
минимална стойност.
Има много
начини да намерим върха.
Вероятно най-лесният –
има формула за него.
Ние говорихме как се
получава тази формула
в много клипове, как се намира върхът на параболата
Czech:
Mám tady rovnici.
Je to rovnice druhého stupně.
Rovnice je kvadratická.
A vím, že její graf je parabola.
To znamená, že vypadá
přibližně takhle
nebo takhle.
Protože je koeficient x nadruhou kladný,
vím, že to bude parabola
rostoucí nahoru.
A mě zajímá vrchol této paraboly.
Pokud je rostoucí
orientovaná nahoru
vrchol bude nejnižší bod
Kdybych měl klesající parabolu,
vrchol by byl nejvyšším bodem.
Takže se snažím zjistit hodnotu x.
Představte si osu x.
Nevím, kde parabola protíná osu x,
jestli vůbec,
ale chci najít hodnotu x,
kde má tato funkce nejmenší hodnotu.
Existuje mnoho způsobů, jak zjistit vrchol
a pro ten asi nejjednodušší je vzorec.
O tom jsme se bavili
už v několika videích.
Vrchol paraboly nebo
x-souřadnice vrcholu paraboly
Georgian:
ანუ მისი x-კოორდინატი,
ანუ პარაბოლას წვეროს x-კოორდინატი
უდრის მინუს b–ს განაყოფს ორ a-ზე.
მინუს b–ს რომ ვამბობთ,
იგულისხმება კოეფიცინენტი –
b პირველი რიგის წევრის კოეფიციენტია,
ანუ x-ის კოეფიციენტი.
ხოლო a არის x–კვადრატის კოეფიციენტი.
ამ შემთხვევაში, b უდრის ოცს
ანუ მინუს მინუს 20
გაიყოფა ორჯერ a-ზე
ანუ ორჯერ ხუთზე.
ეს იქნება ოცი 20 10-ზე,
რაც უდრის ორს.
წვეროში y-ის მნიშვნელობის საპოვნელად
ჩავსვათ მიღებული მნიშვნელობა
განტოლებაში.
y-ის მნიშვნელობა იქნება
ხუთჯერ ორის კვადრატი
მინუს 20-ჯერ ორი, პლუს 15,
რაც უდრის
Korean:
꼭짓점의x좌표에서 사용된다고 말했었죠
꼭짓점이 x좌표는
-b/2a
-b
일차항의 계수입니다
x항의 계수이죠
a는 x^2의 계수입니다
그러니 이건
-20/2곱하기5 가 되겠네요
정리하면 20/10이 되죠
2입니다
꼭짓점의 y좌표를 구하기 위해
방정식으로 돌아가 봅시다
y의 값은 5×2^2
-20×2+15입니다
Czech:
se rovnají (minus b) děleno (2 krát a)
a minus 'b' (bavíme se teď o koeficientu)
nebo 'b' je koeficient
výrazu prvního stupně
je koeficientem výrazu x.
A a je koeficient x nadrouhou.
Takže b se bude rovnat minus 20.
Takže to je (minus minus 20) děleno (2 krát 5)
Tohle se bude rovnat plus 20
děleno 10, což se rovná 2.
Takže abychom našli hodnotu y
musíme ji nahradit zpět v rovnici
Hodnota y se bude rovnat 5 krát 2 nadruhou
minus 20 krát 2 plus 15, což se rovná
German:
Diese Formel wird in anderen Videos besprochen.
Die x-Koordinate des Scheitelpunktes ist also gleich minus b geteilt duch 2a.
Die x-Koordinate des Scheitelpunktes ist also gleich minus b geteilt duch 2a.
Minus b wäre also der Koeffizient des Terms ersten Grades.
Minus b wäre also der Koeffizient des Terms ersten Grades.
Minus b wäre also der Koeffizient des Terms ersten Grades.
Und a der Koeffizient des Terms zweiten Grades.
b ist also minus 20.
Es ist also minus 20 geteilt durch 2 mal 5.
Es ist also minus 20 geteilt durch 2 mal 5.
Das ergibt plus 20 geteilt durch 10, also 2.
Das ergibt plus 20 geteilt durch 10, also 2.
Um den y-Wert des Scheitelpunktes herauszufinden, setzen wir in die Gleichung ein.
Um den y-Wert des Scheitelpunktes herauszufinden, setzen wir in die Gleichung ein.
Der y-Wert ist also 5 mal 2 zum Quadrat minus 20 mal 2 plus 15.
Der y-Wert ist also 5 mal 2 zum Quadrat minus 20 mal 2 plus 15.
Bulgarian:
или координатата х на върха на параболата.
Координатата х на върха
е просто равна на –b/2a.
'–b' е просто коефициентът,
или 'b', е коефициентът на
члена на първа степен,
коефициентът на
члена 'х'.
А 'a' е коефициентът на члена х^2.
Така че това е равно на
'b' и е –20.
Това е –20 върху
2 по 5.
Това е равно на плюс 20
върху 10, което е равно на 2.
И за да намерим координатата у
на върха,
просто заместваме
обратно в уравнението.
у стойността ще бъде
5 по 2 на квадрат,
минус 20 по 2, плюс 15,
което е равно на... да видим...
Serbian:
темена параболе.
Дакле, х координата темена
је једнака минус b кроз 2а.
А минус b, говорите о коефицијенту,
или b је коефицијент монома првог степена,
јесте коефицијент код х члана.
А а је коефицијент код х на квадрат члана.
Дакле, ово ће бити једнако, b је минус 20.
Значи то је минус 20 кроз 2 пута 5,
кроз 2 пута 5.
Добро, ово ће бити једнако плус 20
кроз 10, што је једнако 2.
И онда, да одредимо у вредност темена,
само заменимо назад у једначину.
у вредност ће бити 5 пута 2 на квадрат
минус 20 пута 2 плус 15, што је једнако, да видимо.
English:
of the vertex of the parabola.
So the x-coordinate
of the vertex
is just equal to
negative b over 2a.
And the negative b, you're just
talking about the coefficient,
or b is the coefficient
on the first degree term,
is on the coefficient
on the x term.
And a is the coefficient
on the x squared term.
So this is going to be
equal to b is negative 20.
So it's negative
20 over 2 times 5.
Well, this is going to
be equal to positive 20
over 10, which is equal to 2.
And so to find the y
value of the vertex,
we just substitute
back into the equation.
The y value is going
to be 5 times 2 squared
minus 20 times 2 plus 15,
which is equal to let's see.
English:
This is 5 times 4, which is 20,
minus 40, which is negative 20,
plus 15 is negative 5.
So just like that, we're able
to figure out the coordinate.
This coordinate right over here
is the point 2, negative 5.
Now it's not so
satisfying just to plug
and chug a formula like this.
And we'll see where
this comes from when
you look at the
quadratic formula.
This is the first term.
It's the x value that's
halfway in between the roots.
So that's one way
to think about it.
But another way to do
it, and this probably
will be of more lasting
help for you in your life,
because you might
forget this formula.
It's really just try to
re-manipulate this equation
so you can spot
its minimum point.
And we're going to do that
by completing the square.
So let me rewrite that.
And what I'll do is out
of these first two terms,
I'll factor out a 5, because I
want to complete a square here
and I'm going to leave
this 15 out to the right,
because I'm going to have
to manipulate that as well.
Georgian:
ხუთჯერ ოთხს, ესეც 20, მინუს 40 –
გამოდის მინუს 20. დავამატოთ 15
გამოვიდა მინუს ხუთი.
ასე შეგვიძლია გამოვითვალოთ
კოორდინატები.
ამ წერტილის კოორდინატები იქნება
ორი და მინუს ხუთი.
არ არის საკმარისი, რომ ფორმულაში
უბრალოდ ჩავსვათ რიცხვები
და ასე მივიღოთ პასუხი.
ვნახავთ, როგორ გამდინარეობს ეს
კვადრატული განტოლებიდან
ეს იქნება პირველი წევრი.
ეს არის x-ის მნიშვნელობა,
რომელიც არის ამონახსნების შუაში.
ეს ერთი ვარიანტია, როგორ შევხედოთ წვეროს.
მაგრამ არის სხვა გზაც, რომელიც, ალბათ,
უფრო დიდხანს გამოგადგებათ ცხოვრებაში,
იმიტომ რომ ეს ფორმულა
შეიძლება დაგავიწყდეთ
ვეცდებით გადავწეროთ ეს განტოლება ისე,
რომ მარტივი იყოს მისი მინიმუმის
წერტილის პოვნა.
და ამას ვიზამთ სრულ კვადრატამდე შევსებით.
გადავწერ ამ განტოლებას.
y უდრის --
ამ ორი წევრიდან ფრჩხილებს
გარეთ გავიტან ხუთს.
ეს მინდა სრულ კვადრატამდე შევავსო.
და ამ 15 დავტოვებ მარჯვნივ,
მასაც რამე უნდა მოვუხერხო.
Bulgarian:
Това е 5 по 4, което е 20,
минус 40, което е –20,
плюс 15, е –5.
Ето така можем да
намерим координатата.
Тази координата тук е
точката (2; –5).
Но не е достатъчно
просто механично
да използваме дадена
формула по този начин.
Ще видиш от къде идва
това, когато
погледнеш формулата за намиране на решения на квадратно уравнение.
Това е първият член.
Това е стойността х, която
е средно аритметично на корените.
Това е единият начин
да мислим за нея.
Но друг начин да го направим
и вероятно това
ще ти бъде от помощ през живота,
защото може да
забравиш тази формула...
Той е просто да се опиташ да
преработиш отново това уравнение,
така че да може да забележиш
неговата минимална точка.
И ние ще направим това чрез
допълване на квадрата.
Нека напиша това отново.
И така, имаме у е равно на...
Това, което ще направя, е
от тези два първи члена,
ще изнеса 5, защото искам
да допълня квадрата тук
и ще оставя това 15
отдясно,
защото ще преработя
това също.
German:
Der y-Wert ist also 5 mal 2 zum Quadrat minus 20 mal 2 plus 15.
Das ergibt minus 5.
So haben wir die Koordinate herausgefunden.
Diese Koordinate hier ist am Punkt 2, minus 5.
Diese Koordinate hier ist am Punkt 2, minus 5.
Es ist aber nicht genug, einfach die Formel einzusetzen.
Es ist aber nicht genug, einfach die Formel einzusetzen.
Es kommt von der Quadratformel.
Es kommt von der Quadratformel.
Das ist der erste Term.
Es ist der x-Wert in der Mitte zwischen den beiden Strichen.
Es gibt noch einen anderen, besseren Weg, das zu beschreiben, falls man die Formel vergisst.
Es gibt noch einen anderen, besseren Weg, das zu beschreiben, falls man die Formel vergisst.
Es gibt noch einen anderen, besseren Weg, das zu beschreiben, falls man die Formel vergisst.
Es gibt noch einen anderen, besseren Weg, das zu beschreiben, falls man die Formel vergisst.
Man verändert die Gleichung, um ihr Minimum zu finden.
Man verändert die Gleichung, um ihr Minimum zu finden.
Das machen wir, indem wir das Quadrat freistellen.
Das machen wir, indem wir das Quadrat freistellen.
Das machen wir, indem wir das Quadrat freistellen.
Ich hebe aus den ersten zwei Termen 5 heraus, damit das Quadrat freisteht.
Ich hebe aus den ersten zwei Termen 5 heraus, damit das Quadrat freisteht.
15 lasse ich frei, weil es auch noch verändert wird.
15 lasse ich frei, weil es auch noch verändert wird.
Czech:
Tohle je 5 krát 4, což je 20,
minus 40, to se rovná minus 20
plus 15 se rovná minus 5.
Takto jsme schopni vypočítat souřadnice.
Tyto souřadnice jsou body 2 a minus 5.
Dosazování do vzorečku není úplně zábavné.
Trochu ale připomíná vzoreček
pro kvadratickou rovnici.
Tohle je první podmínka
Hodnota x je v půlce mezi kořeny.
To je jeden pohled na věc.
Ale jiný - jednodušší,
protože byste mohli
zapomenout tento vzorec
je zkusit předělat tuto rovnici.
takže uvidíte její nejnižší bod.
A to tak , že doplníme čtverec.
takže to přepíšu.
takže mám 'y' se rovná
Z těchto prvních dvou hodnot
vytknu 5, protože
chci doplnit čtverec tady
a nechám těchto 15 napravo
protože s tím budu muset také manipulovat.
Korean:
이것의 값은
-5이죠
이렇게 우리는 좌표를 알아 낼 수 있습니다
꼭짓점의 좌표는 (2,-5)입니다
이렇게 하는 게 그다지
만족스럽지 않은데요
이제 이차방정식에서또 다른 방법을
봅시다
이게 첫번째 항입니다
두 근 사이에 있는게 x의 값입니다
그게 다른 방법 중 하나이구요
다른 방법은 아마
오랫동안 유용하게 지속될겁니다
공식을 까먹을 수도 있으니까요
이 방정식을 그냥 다시 조작하는 겁니다
최소점을 찍을 수 있게 말입니다
이차항을 완전제곱으로 바꿀겁니다
다시 적읍시다
제가 할 것은 이 두 항에서
5를 분해하는 겁니다
그리고 15도 조작해야 하기 때문에
여기 남겨둘겁니다
Serbian:
Ово је 5 пута 4, што је 20, минус 40, што је минус 20,
плус 15 је минус 5.
Па, попут тога, у стању смо да одредимо координате.
Ове координате овде, то
је тачка 2, минус 5.
Сада, није превише угодно памтити
формулу попут ове.
А видећемо одакле она долази када
посматрате формулу за решавање квадратне једначине.
Ово је прва координата.
То је х вредност која је на половини између корена.
Дакле, то је један начин да посматрате то.
А други начин да решите то и ово ће вероватно
бити од трајније помоћи у вашем животу,
пошто можете заборавити ову формулу.
Односи се на покушај да трансформишете ову једначину
тако да увиђате њену тачку минимума.
А урадићемо то комплетирањем квадрата.
Па, дозволите ми да препишем то.
Имамо у је једнако... И сад ћу, овде...
И оно што ћу урадити јесте извући заједнички чинилац из ова прва два члана.
Извући ћу 5, јер желим да комплетирам квадрат овде и
оставићу ово 15 на десној страни,
пошто ћу морати да манипулишем са тим, такође.
English:
So it is 5 times x
squared minus 4x.
And then I have
this 15 out here.
And I want to write this
as a perfect square.
And we just have
to remind ourselves
that if I have x plus
a squared, that's
going to be x squared
plus 2ax plus a squared.
So if I want to turn something
that looks like this, 2ax,
into a perfect
square, I just have
to take half of this coefficient
and square it and add it
right over here in order
to make it look like that.
So I'm going to do
that right over here.
So if I take half of negative
4, that's negative 2.
If I square it, that is
going to be positive 4.
I have to be very careful here.
I can't just willy nilly
add a positive 4 here.
I have equality here.
If they were equal
before adding the 4,
then they're not going to
be equal after adding the 4.
So I have to do proper
accounting here.
I either have to add 4 to both
sides or I should be careful.
I have to add the same
amount to both sides
Korean:
5(x^2-4x )
그리고 여기 15가 있구요
전 이것을 완젠 제곱식으로 적고 싶습니다
우리는 이걸 알아둬야 합니다
만약 (x+a)^2가 있다면
그것은 x^2+2ax+a^2와 같다는 것을요
이렇게 생긴 것들을 완전 제곱식으로
변형하고 싶다면
이 계수의 반을 제곱해서 여기에 더하면 됩니다
이렇게 변형하기 위해서요
여기에 해보겠습니다
-4의 반은 -2이죠
제곱하면 4가 되겠네요
여기서 매우 조심해야 합니다
여기에 그냥 마음대로 4를 더할 수는 없습니다
여기에도 똑같이 해줘야죠
4를 더하기 전에 이것들이 같았다면
4를 더한 후에는 같지 않겠죠
그러니 여기도 더해줘야 하죠
양변에 4를 더해주는겁니다
양변에 같은 걸 더해줘야 합니다
German:
y ist also 5 mal x zum Quadrat minus 4x plus 15.
y ist also 5 mal x zum Quadrat minus 4x plus 15.
Ich will das als perfekten quadratischen Term anschreiben.
Wie in der binomischen Formel steht, ergibt x plus a zum Quadrat x zum Quadrat plus 2ax plus a zum Quadrat.
Wie in der binomischen Formel steht, ergibt x plus a zum Quadrat x zum Quadrat plus 2ax plus a zum Quadrat.
Wie in der binomischen Formel steht, ergibt x plus a zum Quadrat x zum Quadrat plus 2ax plus a zum Quadrat.
Wenn wir also etwas wie 2ax in einen perfekten quadratischen Term umschreiben möchten,
Wenn wir also etwas wie dies in einen perfekten quadratischen Term umschreiben möchten,
Müssen wir die Hälfte des Koeffizienten nehmen, es quadrieren und hier addieren.
Müssen wir die Hälfte des Koeffizienten nehmen, es quadrieren und hier addieren.
Müssen wir die Hälfte des Koeffizienten nehmen, es quadrieren und hier addieren.
Die Hälfte von minus 4 ist minus 2.
Quadriert ergibt das plus 4.
Aber ich kann nicht einfach vier addieren, weil es ja eine Gleichung ist.
Aber ich kann nicht einfach vier addieren, weil es ja eine Gleichung ist.
Aber ich kann nicht einfach vier addieren, weil es ja eine Gleichung ist.
Wenn beide Seiten gleich waren, bevor ich vier addiert haben, müssen sie auch danach noch gleich sein.
Wenn beide Seiten gleich waren, bevor ich vier addiert haben, müssen sie auch danach noch gleich sein.
Wenn beide Seiten gleich waren, bevor ich vier addiert haben, müssen sie auch danach noch gleich sein.
Ich könnte auf beiden Seiten vier addieren oder den gleichen Betrag wieder abziehen.
Ich könnte auf beiden Seiten vier addieren oder den gleichen Betrag wieder abziehen.
Bulgarian:
И така, това е 5 по х^2
минус 4х.
И след това имам това
15 тук отвън.
Искам да напиша това
като точен квадрат.
И просто трябва да си
спомним,
че ако имам (х + а)^2, това е
х^2 + 2ax + a^2.
Ако искам да превърна
нещо, което изглежда така,
в пълен квадрат, просто
трябва
да взема половината от този коефициент,
да го повдигна на квадрат и да го прибавя
тук, за да го направя да
изглежда по този начин.
Ще направя това тук.
Ако взема половината от –4, това е –2.
Ако го повдигна на квадрат,
ще бъде плюс 4.
Трябва да бъда много
внимателен тук.
Не мога просто да
прибавя плюс 4 тук.
Имам равенство тук.
Ако те бяха равни преди
да прибавим 4,
тогава няма да са равни
след като прибавим 4.
Така че трябва да го
изчисля точно тук.
Или трябва да прибавя 4 от
двете страни, или трябва да внимавам.
Трябва да добавя една и съща
сума от двете страни
Georgian:
გამოვიდა ხუთჯერ x–ის კვადრატი მინუს ოთხი x
გარეთ 15 დაგვრჩა
და მინდა გადავწერო ეს როგორც
სრული კვადრატი.
გავიხსენოთ:
თუ გვაქვს x პლუს a კვადრატში
ეს უდრის x-ის კვადრატი პლუს ორი ax
პლუს a–ს კვადრატი.
თუ რამე მსგავსი
სრულ კვადრატად მინდა გადავწერო
უნდა ავიღო ამ კოეფიციენტის ნახევარი,
ავიყვანო კვადრატში და დავუმატო აქ
რომ გამოვიდეს იგივე, რაც ფორმულაში.
ამას ქვემოთ ვიზამ.
ავიღოთ მინუს ოთხის ნახევარი,
ანუ მინუს ორი.
ავიყვან კვადრატში – გამოვა ოთხი.
აქ ყურადღებით უნდა ვიყო.
არ შემიძლია აქ უბრალოდ ოთხი დავამატო.
აქ გვაქვს ტოლობა.
თუ აქამდე ტოლები იყვნენ
ოთხის დამატების შემდეგ აღარ იქნებიან.
ასე რომ სწორად უნდა ვიანგარიშო.
ან ორივე მხარეს ოთხი უნდა დავუმატო,
უფრო სწორად
ან ორივე მხარეს უნდა დავუმატო
იგივე რიცხვი
Serbian:
Дакле, то је 5 пута х на квадрат минус 4х.
И онда имам ово 15, овде испред.
И желим да запишем ово као потпуни квадрат.
А треба само да се подсетимо
да, ако имам х плус а на квадрат, то ће
бити х на квадрат плус 2ах плус а на квадрат.
Значи, ако желим да добијем нешто што личи на ово 2ах,
потпуни квадрат, само треба
да узмем половину овог коефицијента и квадрирам га и додам то
овде у циљу да постигнем да то изгледа тако.
Па, урадићу то овде.
Значи, ако узмем пола од минус 4, то је минус 2.
Ако квадрирам то, то ће бити плус 4.
Морам бити веома пажљив овде.
Не могу само ћирибу ћириба додати плус 4 овде.
Имам овде једнакост.
Ако је то било једнако пре додавања 4,
тада неће бити једнако након додавања 4.
Значи морам да поступам рачунски исправно овде.
Или треба да додам 4 обема странама, или треба да будем веома опрезан.
Треба да додам исту вредност обема странама,
Czech:
Takže to je
5 krát ('x' nadruhou minus 4 krát 'x')
A pak tu mám těchto 15
a chci to napsat jako přesný čtverec
Musíme si připomenout,
že pokud máme ('x' plus 'a') nadruhou
'x' nadruhou plus 2 krát 'a' 'x' plus 'a' nadruhou
takže jestli chci, aby 2 krát 'a' 'x'
vypadalo jako čtverec
musím vzít půl koeficientu nadruhou
a přidat sem aby to vypadalo takhle.
takže to udělám tady.
Když vezmu půl z minus 4, dostanu minus 2
Když to dám nadruhou, bude to 4
Musím být opatrný
Nemůžu sem jen tak přidat 4.
Mám tu rovnost.
Jestli se to rovnalo
před přidáním 4,
nebudou se rovnat potom co 4 přidám
Takže to zde musím vyrovnat
Buď musím přidat 4 na obou stranách,
nebo musím být opatrný.
Musím přidat stejně na obou stranách
Georgian:
ან დამატებული რიცხვი ისევ გამოვაკლო.
აქ ყურადღებით იმიტომ ვიყავი, რომ
არა უბრალოდ დავამატე ოთხი
განტოლების მარჯვენა მხარეს
არ დაგავიწყდეთ, ოთხი მრავლდება ხუთზე
მარჯვენა მხარეს დავუმატე 20.
ასე რომ, ბალანსის შესანარჩუნებლად,
თუ მინდა, რომ ტოლობა ისევ სრულდებოდეს
ან 20 უნდა დავუმატო y-ს
ან გამოვაკლო 20 მარჯვენა მხარეს.
ამას ვიზამ:
გამოვაკლებ ოცს მარჯვენა მხარეს.
მე დავამატე ხუთჯერ ოთხი.
ამას თუ გაშლით, დაინახავთ.
შემეძლო უბრალოდ მეთქვა,
–აი აქ დავამატებ 20
და გამოვაკლებ 20.
ზუსტად იგივე გავაკეთე აქ.
თუ გაშლით ამას, გამოვა:
ხუთჯერ x–ის კვადრატი მინუს ოცი x
პლუს 20 პლუს 15 მინუს 20.
ზუსტად იგივე, რაც აქ წერია.
ეს ყველაფერი იმიტომ ვქენით,
რომ ახლა შემიძლია
განტოლება ასე გადავწერო:
y უდრის ხუთჯერ x-ს მინუს ორს კვადრატში,
Serbian:
или одузмем исту вредност поново.
Сада, разлог зашто сам овде био опрезан је
што нисам само додао 4 десној страни једначине.
Запамтите, 4 се множи са 5.
Додао сам 20 десној страни једначине.
Дакле, ако желим да одржим ово једнаким,
ако желим да једнакост и даље буде тачна,
или треба да сада додам 20 на у, или
треба да одузмем 20 од десне стране.
Па, урадићу то.
Одузећу 20 од десне стране.
Значи, додајем 5 пута 4.
Ако бисте измножили ово, видећете то.
Могу дословно, овде горе, рећи хеј, додајем 20
и одузимам 20.
Ово је потпуно исто као што сам урадио овде.
Ако увучете 5, то постаје 5х на квадрат минус 20х
плус 20 плус 15 минус 20.
Тачно шта је овде горе.
Цела сврха овог је да сада
могу записати ово на интересантан начин.
Могу записати ово као у је једнако са 5 пута х минус 2 на квадрат,
German:
Ich könnte auf beiden Seiten vier addieren oder den gleichen Betrag wieder abziehen.
Man muss hier vorsichtig sein, weil man nicht nur vier dazugefügt hat, sondern vier mal fünf.
Man muss hier vorsichtig sein, weil man nicht nur vier dazugefügt hat, sondern vier mal fünf.
Man muss hier vorsichtig sein, weil man nicht nur vier dazugefügt hat, sondern vier mal fünf.
Ich habe also 20 dazuaddiert.
Um die Gleichung also auszubalancieren, muss ich entweder 20 zu y addieren
Um die Gleichung also auszubalancieren, muss ich entweder 20 zu y addieren
Um die Gleichung also auszubalancieren, muss ich entweder 20 zu y addieren,
Oder ich ziehe 20 von der rechten Seite ab.
Oder ich ziehe 20 von der rechten Seite ab.
Oder ich ziehe 20 von der rechten Seite ab.
Ich habe 5 mal 4 addiert und wieder abgezogen, was keinen Unterschied macht.
Ich habe 5 mal 4 addiert und wieder abgezogen, was keinen Unterschied macht.
Ich habe 5 mal 4 addiert und wieder abgezogen, was keinen Unterschied macht.
Ich habe 5 mal 4 addiert und wieder abgezogen, was keinen Unterschied macht.
Ich habe 5 mal 4 addiert und wieder abgezogen, was keinen Unterschied macht.
Wenn man die 5 hier wieder dazufügt, wird es zu 5x zum Quadrat minus 20x plus 20 plus 15 minus 20.
Wenn man die 5 hier wieder dazufügt, wird es zu 5x zum Quadrat minus 20x plus 20 plus 15 minus 20.
Das ist genau dasselbe wie oben.
Der Punkt ist, dass man es jetzt anders anschreiben kann.
Der Punkt ist, dass man es jetzt anders anschreiben kann.
Ich kann es als y gleich 5 mal x minus 2 zum Quadrat minus 5 anschreiben.
Bulgarian:
или да извадя отново
същата сума.
Причината, поради която
внимавах там е, че
аз не просто добавих 4 от дясната
страна на уравнението.
Не забравяй, че 4
е умножено по 5.
Аз прибавих 20 от дясната
страна на уравнението.
Така че, ако искам да
запазя този баланс,
ако искам уравнението все
още да бъде вярно,
или трябва сега да прибавя
20 към у, или
трябва да извадя 20 от
дясната страна.
Така че, ще направя това.
Ще извадя 20 от
дясната страна.
Прибавих 5 по 4.
Ако умножиш по
това, ще го видиш.
Тук мога буквално да кажа,
хей, прибавям 20
и изваждам 20.
Това е точно същото нещо,
което направих тук.
Ако умножа по 5, това
става 5х^2 – 20х
плюс 20, плюс 15, минус 20.
Точно което е тук.
Целият смисъл на това
е, че сега
мога да го напиша по
интересен начин.
Мога да напиша това като:
у = 5(х – 2)^2.
English:
or subtract the
same amount again.
Now, the reason why I
was careful there is I
didn't just add 4 to the right
hand side of the equation.
Remember, the 4 is
getting multiplied by 5.
I have added 20 to the right
hand side of the equation.
So if I want to make
this balance out,
if I want the equality
to still be true,
I either have to
now add 20 to y or I
have to subtract 20 from
the right hand side.
So I'll do that.
I'll subtract 20 from
the right hand side.
So I added 5 times 4.
If you were to distribute
this, you'll see that.
I could have literally, up
here, said hey, I'm adding 20
and I'm subtracting 20.
This is the exact same
thing that I did over here.
If you distribute the 5, it
becomes 5x squared minus 20x
plus 20 plus 15 minus 20.
Exactly what's up here.
The whole point of
this is that now I
can write this in
an interesting way.
I could write this as y is equal
to 5 times x minus 2 squared,
Korean:
아니면 같은 수를 빼 주던가요
자, 조심해야 하는 이유는
제가 그냥 4를 더한게 아니기 때문입니다
보세요, 4가 5로 곱해집니다
그러니 우변에 20을 더해야 합니다
방정식이 같기를 원한다면,
y에 20을 더하거나
우변에서 20을 빼야합니다
해보겠습니다
우변에서 20을 빼겠습니다
그리고 5곱하기 4를 더한거죠
이걸 분배해보면 알겁니다
여기를 보면 제가 여기에 20을 더했고
또 20을 뺐습니다
제가 여기서 한것과 일치하는 겁니다
5를 분배하면 5x^2-20x+20
+15-20이 되는 거죠
여기서 한것과 완전히 같은 겁니다
중요한 건 제가 이제
이것을 다르게 쓸 수 있다는 겁니다
y=5(x-2)^2-5로
Czech:
nebo znovu odebrat stejnou hodnotu.
Důvod, proč jsem byl tady opatrný je,
že jsem jen nepřidal 4 na pravou stranu
Pamatujte, 4 je násobeno 5
Na pravou stranu jsem přidal 20.
Takže jestli chci rovnici vyrovnat,
aby rovnice stále platila,
musím buď přidat 20 k y nebo
musím odečíst 20 z pravé strany.
To udělám.
Odečtu 20 z pravé strany
Přidal jsem 5 krát 4
Kdybyste toto rozdělili, viděli byste,
že zde přidávám 20.
a zde odečitám 20.
Přesně to, co jsem udělal tady.
Když roznásobíte 5, stane se z toho
5 x nadruhou minus 20 x
plus 20 plus 15 minus 20
Přesně co je tady.
Důvod tohohle všeho je,
že teď to můžu napsat zajímavěji.
Můžu to napsat jako y se rovná
5 krát (x minus 2 nadruhou)
English:
and then 15 minus 20 is minus 5.
So the whole point of this is
now to be able to inspect this.
When does this equation
hit a minimum value?
Well, we know that this
term right over here
is always going to
be non-negative.
Or we could say
it's always going
to be greater than
or equal to 0.
This whole thing is going
to hit a minimum value
when this term is equal
to 0 or when x equals 2.
When x equals 2, we're going
to hit a minimum value.
And when x equals
2, what happens?
Well, this whole term is 0
and y is equal to negative 5.
The vertex is 2, negative 5.
Georgian:
პლუს 15 მინუს 20, ანუ მინუს ხუთი.
ახლა შეგვიძლია დავაკვირდეთ,
რა გამოგვივიდა
როდის აღწევს ეს განტოლება
მინიმალურ მნიშვნელობას?
ვიცით, რომ ეს წევრი
ყოველთვის იქნება არაუარყოფითი.
ანუ, ყოველთვის იქნება მეტი ან ტოლი ნულზე
მთლიანად ეს მიაღწევს მინიმუმს
როცა ეს წევრი იქნება ნული,
ანუ როცა x იქნება ორის ტოლი
როცა x უდრის ორს, ჩვენ ვაღწევთ
მინიმალურ მნიშვნელობას.
და რა ხდება, როცა x უდრის ორს?
ეს წევრი მთლიანად ხდება ნული,
y კი გამოდის მინუს ხუთი.
წვეროს კოორდინატებია ორი და მინუს ხუთი.
Serbian:
и онда 15 минус 20 је минус 5.
Дакле, сва поента овог је да сада можемо очитати ово.
Када ова једначина достиже минималну вредност?
Па, знамо да ће овај члан овде
увек бити ненегативан.
Увек ће бити ненегативан.
Или можемо рећи да ће он увек бити
већи или једнак 0.
Ово све достиже минималну вредност
када је овај овде члан једнак 0, или када је х једнако 2.
Када је х једнако 2, достићи ћемо минималну вредност.
А кад је х једнако 2, шта се дешава?
Па, ово све буде 0 а у је једнако минус 5.
Теме је 2, минус 5.
Bulgarian:
И след това 15 минус 20
е –5.
Така че целият смисъл на това е, че
сега мога да разгледам внимателно това.
Къде това уравнение достига
минимална стойност?
Знаем, че този член тук
винаги ще бъде неотрицателен.
Винаги ще бъде положителен.
Или можем да кажем, че
той винаги ще
бъде по-голям от или равен на 0.
Цялото това нещо ще
достигне минималната стойност,
когато този член е равен
на 0 или когато х = 2.
Когато х = 2, ние
ще достигнем минимална стойност.
А когато х е равно на 2,
какво се случва?
Целият този член е 0,
а у = –5.
Върхът е (2; –5).
Korean:
적을 수 있죠
이제 이걸 점검할 수 있습니다
언제 이 방정식이 최소값이 될까요?
우리는 여기 이 항이
항상 음이 아니라는 걸 알죠
다르게 얘기하면
항상 0이상이죠
이 값은 최소값이 될겁니다
이 항이 0이 되거나 x가 2가 될때요
x가 2일 때, 최소값이 됩니다
x가 2일 때, 무슨일이 일어날까요?
이 모든 항이 0이 되고, y는 -5가 되죠
꼭짓점은 (2,-5)입니다
German:
Ich kann es als y gleich 5 mal x minus 2 zum Quadrat minus 5 anschreiben.
Jetzt können wir es genauer anschauen.
Wann erreicht die Gleichung ihr Minimum?
Wir wissen, dass dieser Term immer positiv ist.
Wir wissen, dass dieser Term immer positiv ist.
Wir wissen, dass dieser Term immer positiv ist.
Oder wir könnten sagen, dass er immer größer als oder gleich 0 ist.
Oder wir könnten sagen, dass er immer größer als oder gleich 0 ist.
Die Gleichung erreicht ihr Minimum, wenn dieser Term gleich 0 ist, oder wenn x gleich 2 ist.
Die Gleichung erreicht ihr Minimum, wenn dieser Term gleich 0 ist, oder wenn x gleich 2 ist.
Die Gleichung erreicht ihr Minimum, wenn dieser Term gleich 0 ist, oder wenn x gleich 2 ist.
Und was geschieht dann?
Dieser Term ist gleich 0 und y ist gleich minus 5.
Der Scheitelpunkt ist 2, minus 5.
Czech:
a potom 15 minus 20 se rovná minus 5.
Pointa tohohle je, že jsem
teď schopný kontrolovat.
Kdy má rovnice nejmenší hodnotu?
Víme, že podmínka tady
bude vždy kladná.
Nebo, můžeme říct, že bude
vždy větší nebo rovna 0.
Tohle bude mít nejmenší hodnotu
když tato podmínka bude
rovna 0, nebo x je rovno 2.
Když se x rovná 2,
máme nejnižší hodnotu
A když se x rovná 2?
No, tato celá podmínka je 0
a y se rovná minus 5.
Vrchol je [2, minus 5]
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QATAR HAS DECIDED TO CONVICT A
DUTCH WOMAN WHO WAS THERE
ON HOLIDAY AFTER THE 22-YEAR-OLD
WAS SLIPPED A ROOFIE IN HER
DRINK AND SHE WAS RAPED.
AFTER SHE WENT TALK TO THE
AUTHORITIES, THE FIRST
THING THEY DID WAS PUNISH HER
FOR HAVING SEX OUTSIDE OF
HER MARRIAGE.
KEEP IN MIND THIS IS A DUTCH
WOMAN IN QATAR ON VACATION
AND SHE HAS TO ABIDE BY THE SAME
RIDICULOUS RELIGIOUS RULES
THAT ARE IN THE COUNTRY.
RIGHT NOW SHE CAN'T LEAVE THE
COUNTRY BECAUSE THEY WILL
NOT ALLOW HER TO LEAVE
UNTIL SHE PAYS THE FINE.
REPRESENTATIVES FROM HER OWN
COUNTRY ARE FIGHTING TO GET
HER OUT OF THERE AS
SOON AS POSSIBLE.
NOW
HERE'S THE THING, WHY WOULD
A DUTCH WOMAN GO TO THE
AUTHORITIES AND TELL SOMEONE
SHE HAS BEEN RAPED WHILE ON
VACATION AND LIE ABOUT IT?
I DON'T UNDERSTAND WHY SOMEONE
WOULD DO THAT, ESPECIALLY
IN A COUNTRY LIKE QATAR.
>> THIS SIMPLE TAKE AWAY FOR ME
WAS IF I GO TO QATAR AND I
AM RAPED, DON'T REPORTED TO THE
AUTHORITIES BECAUSE I WILL
BE PUNISHED TOO.
WHAT A HORRIFIC
THING TO SAY OUT LOUD.
ALL YOU WANT IS JUSTICE.
CAN YOU IMAGINE THE COURAGE IT
TAKES FOR HER OR ANY VICTIM
TO COME FORWARD, AND FOR HER
TO DO THIS IN A FOREIGN
COUNTRY, AND THEN ALSO DEALING
WITH THE GRIEF THAT SHE
MUST BE DEALING WITH FROM
THE INCIDENT ITSELF?
I CANNOT IMAGINE WHAT SHE MUST
STILL BE GOING THROUGH.
>>I AM GOING TO BE A DEVILS
ADVOCATE ON THIS.
IN QATAR AND A LOT OF THESE
MIDDLE EASTERN COUNTRIES
THEY HAVE EXTREMELY STRICT LAWS.
WHEN YOU GO INTO THAT TERRITORY
[VIDEO BUFFERING] I
HAVE
BEEN TO DUBAI, AND
DUBAI IS THE SAME WAY.
IF YOU ARE NOT MARRIED, YOU
CAN'T HOLD THAT PERSON'S HAND.
WHEN YOU ARE IN THESE COUNTRIES,
I STOPPED BEING SHOCKED AT
THE LAWS.
YOU HAVE TO JUST
UNDERSTAND THAT THAT IS THE LAW.
I HAD A FRIEND THAT WAS
DETAINED IN THE UAE BECAUSE OF
ANOTHER SITUATION.
HE WAS DETAINED FOR
SIX OR SEVEN MONTHS.
THESE ARE THE LAWS OF
THESE COUNTRIES.
WHEN YOU GO TO THESE COUNTRIES ñ
IT'S THE SAME WHEN YOU GO
TO SINGAPORE, YOU CAN CHEW
GUM ON THE STREET.
IT SOUNDS RIDICULOUS.
BUT YOU HAVE TO UNDERSTAND WHEN
YOU'RE IN THESE COUNTRIES ñ
OBVIOUSLY SHE WOKE UP SOMEWHERE
WHERE SHE DIDN'T KNOW WHERE
SHE WAS SO HER FIRST THOUGHT
WAS TO GO AND REPORTED.
I'M NOT SAYING SHE NEEDS TO READ
THE LAW BOOK, BUT WE CAN
SIT HERE AND LOOK AT IT AND SAY
WE ARE REALLY MAD ABOUT
WHAT IS GOING ON.
I SAY THAT BECAUSE I WAS
DETAINED IN AUSTRIA.
I CALLED MY LAWYERS HERE AND
THEY SAID YOU DO REALIZE
YOU ARE NOT IN THE
UNITED STATES.
>> WHAT DID YOU DO?
>> I WAS IMPEDING ON AN
INVESTIGATION THAT WAS
GOING ON WITH A CLIENT I
WAS WORKING WITH.
I JUST KEPT ASKING FOR PAPERWORK
AND SAYING YOU NEED A
WARRANT FOR THIS OR THAT.
I WAS JUST GOING OFF THE TOP OF
MY HEAD TRYING TO STALL
BECAUSE I KNEW SOMETHING HAD
HAPPENED, BUT I WAS TRYING
TO GET OUT OF THE SITUATION.
THEY ASKED ME TO COME DOWN TO
THE STATION AND I SAT THERE
FOR A FEW HOURS.
>> I THINK YOU MAKE A GOOD POINT
WHERE IF YOU GO TO CERTAIN
COUNTRIES YOU SHOULD UNDERSTAND
THAT THEY ARE GOING TO BE
DIFFERENT FROM OUR OWN COUNTRY.
THEIR CULTURE WILL BE DIFFERENT,
THEIR LOSS, AND THE WAY
THAT THEY REACT ARE DIFFERENT.
AT THE SAME TIME, YOU DON'T HAVE
TO RESPECT THEIR LAWS OR
LIKE THEM.
THE WAY YOU CAN DISRESPECT THEIR
LAWS IS BY NOT GIVING THEM
ANY OF YOUR HARD-EARNED MONEY BY
TRAVELING THEREFORE VACATION.
I'M SORRY, I KNOW THAT THERE
ARE LOTS OF PEOPLE THAT SAY
DUBAI IS AWESOME.
FUCK THAT.
I HAVE NO INTEREST IN
DUBAI, THE UAE, OR QATAR.
THE MAIN REASON WHY IS BECAUSE
OF THEIR HUMAN RIGHTS ISSUES.
I HAVE MY MAN, IF I'M GOING TO
VACATION WITH HIM, I LOVE PDA.
NO ONE IS GOING TO TELL ME ON
VACATION THAT I CAN'T DO PDA.
FUCK OFF.
I'M TRYING TO SAY, UNDERSTAND
HOW THEY TREAT PEOPLE THERE
AND AVOID GOING THERE.
DON'T BE ATTRACTED TO THEIR
SHINY BUILDINGS.
WE HAVE SHINY BUILDINGS AS WELL.
GO TO OTHER PLACES WHERE YOU ARE
NOW GOING TO HAVE TO WORRY
ABOUT YOUR FREEDOM
BEING VIOLATED.
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| {
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- A common question I get is
are we going into a recession?
Recession does not equal housing crisis.
According to Doug Brien, CEO
of Mynd Property Management,
he stated, "with the
exception of two recessions
"from 2007 to 2009
"and the golf war recession
from 1990 to 1991,
"no other recessions have
impacted the US housing market,
"according to Freddie
Mac home price index data
"collected from 1975 to 2018."
Here is an example of a
graph from information
from CoreLogic that shows just that.
Obviously, the last crash on
the housing market in 2008
saw a devastating decrease in home prices
because of what was
happening back in 2008.
In 2008, loans were rated as D loans
and were being sold as A loans.
Also back then, we had stated income loans
which is where people could
just say what they made
as far as income without
actually proving it.
Therefore, many couldn't
afford the payments
which led to many
mortgage defaults in 2008.
Also back then, homes were
selling a few months later
would appraise for tens of
thousands of dollars more
than the previous month.
That just doesn't make sense
and should have never happened.
This was just another thing
that led to the 2008 housing crash.
What happened in 2008 is vastly different
than what is happening right now.
Same amount of parts of the
economy are under pressure
such as airlines, leisure, hospitality,
restaurants and entertainment.
All those services are currently on pause
as people are sheltering in place.
So if we compare this to
9/11 and the dot com crash,
we see the stock market
dropping drastically
from September 2000 to October 2002.
However, at the same time,
we see an increase in
annual home appreciation
ranging from 6.6% to 8.6%.
I'm Joe Keegan, your local realtor
and I'm just sharing my
opinion on the market
and sharing with you what
the experts are saying
and I thought it'd be good
information for you to have.
Feel free to reach out to
me as I am here to help.
I know there's a lot
to deal with right now.
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so today is the day we're going to be
talking about my wardrobe
you can call it a capsule wardrobe a
minimalist wardrobe whatever you want to
say
if you notice i pretty much wear the
same outfits and all of these youtube
videos
and it definitely extends outside of
youtube here my wardrobe is pretty
inexpensive and simple
and to be frank a little boring but i
suppose that's kind of the point with a
minimalist wardrobe or capsule wardrobe
you know it's efficient and simple and
stylish
and effective so i figured now would be
as good a time as ever to talk about my
wardrobe and why i dress the way i do
and to kind of showcase all of the
simple pieces i own
and before we get into the meat of the
video here if you're wondering where
this sweet watch came from
a few of you already have been in the
recent weeks i've been wearing it
today's video is sponsored by nordgreen
they make really great scandinavian
minimalist
style watches i'll be talking a little
bit more about them at the end of the
video so stay tuned for that
but let's get into the wardrobe i have
eight t-shirts four black and four gray
two button-up shirts to be dressed up or
down
three pair of jeans black dark blue and
gray
three crew neck sweatshirts one black
one gray and a lightweight
heather for my activewear i have two
pairs of shorts for around the house
two for exercising and going out and two
pair of sweatpants
for my formal wear i have a gray
three-piece suit i bought for my wedding
along with a white dress shirt and a
charcoal blazer for outerwear i have a
rain jacket
heavyweight winter jacket and a zippered
sweatshirt my footwear includes black
dress shoes for formal occasions brown
boots that can work with a suit or a
t-shirt
beat up sneakers for hiking and outdoor
projects and my nike kill shots that i
generally wear every day
i also have a black and brown belt a
gray tie
a black tie and a few pocket squares to
add some interest for formal outfits
next is my mask my black five panel cap
along with my nord green watch and a
timex weekender
so the main idea for my wardrobe and
really any capsule
or minimalist style wardrobe is just to
be simple
and efficient and anyone that's not
familiar a capsule wardrobe
is essentially the idea that every piece
of clothing that you own
is going to work and match with every
other piece so it's a great way to
maximize the amount of combinations and
outfits
with a pretty minimal amount of clothing
so generally when i'm buying something
new i want to make sure that it works
with basically everything that i own
the last few years i've been really
leaning back into
more of a gray and black color scheme
right when i lost weight in 2015 and
2016
i had done a lot of fashion
experimentation
i was really heavy for most of my life
and couldn't fit into a lot of the
clothes i wanted to so
i had this rapid surge of trying new
styles and colors
and a few years later i've kind of
resorted back to my blacks and grays
that i grew up with in my teenage years
if i did my edit the way i planned on
you've already seen my whole wardrobe so
most of the clothes that i own were
either thrifted
second hand or from just really basic
places like amazon or target for a lot
of my basic
t-shirts ideally with my fuel items i
would have
all high quality top-notch stuff i do
have a few really nice pieces but the
majority of everything i own
is pretty basic or was used when i
bought it i think that's an important
thing to remember for anyone that
is you know idolizing a capsule wardrobe
or wishing they could have that you know
sweet minimalist design
aesthetic you don't have to spend a ton
of money
you really don't need to be buying
everything all at once you know i've
slowly morphed into this capsule
wardrobe over the course of many
years figure out what brands and fits
and styles that really
work and fit best into your life before
you make the plunge
and buy multiples i am someone that's
never
in a big rush for the clothes i buy i
get a lot of questions about the hat
that i wear
in these videos i wear this hat pretty
much everywhere nowadays
i spent over a year casually looking at
thrift stores before i found the hat
that i wanted to buy
make sure when you're buying something
the fit is perfect
and you absolutely love it because if
there are any flaws in that piece of
clothes that you're about to buy
you're probably going to wear it once or
twice and it's just going to sit in the
back of your closet collecting dust
make sure that you're going slowly and
intentionally with
building your wardrobe you know a lot of
this is
against that fast fashion mentality and
i know i'm a little bit guilty with my
cheap shirts here
long term as these wear out i would
obviously prefer
to get higher quality more ethically
sourced material brands
but in the meantime i'm just going to
make sure that i'm not buying in excess
you know i don't need a lot of clothes
and i'm in an especially great scenario
now personally with doing a lot of work
from home
you know my needs for clothing diversity
aren't that big and
even when i did work in a regular
workplace before i went full time with
my videography
and youtube you don't really need that
many different pieces of clothing
to get a good amount of outfits for a
proper workplace or
for casual nightly outings think also
too
with the capsule wardrobes it just
allows you to have these nice little
accent pieces
and focus on more subtleties with your
fashion
like different textures and fabrics and
finishes
and accessories like hats and watches
and things like that i'm a big fan
of you know accessorizing because the
wardrobe is more simple
you can do more things like pocket
squares with formal wear
you know watches with a t-shirt you know
nice hats things like that
another aspect i wanted to touch on is
just the efficiency of knowing that
everything that you own matches with
everything else
you don't need to waste a lot of your
brain power
on dressing yourself every day i know it
sounds simple but
i am a big fan and advocate of that you
know steve jobs uniform mentality i
think there's something to be said with
just the efficiency
of not really needing to think or worry
about what you're wearing every day and
you can free up your minds for bigger
and better and more meaningful things
before we go any further i wanted to
talk about today's sponsor that is
nordgreen they make these awesome
watches it's a minimalist scandinavian
design
i'm all about this sort of aesthetic
obviously and i'm sure a lot of you
if you're watching this channel are too
they reached out a little while ago and
asked if they could send me out a watch
to try and to sponsor one of the videos
and
after looking through their website and
catalog it was a resounding
yes for me all the watches looked really
really great and they were in a pretty
reasonable price point
most of them are going to be between 100
and 300 dollars so definitely not too
bad for a higher quality watch but
outside of the
cool aesthetics they really have some
good practices
in terms of their company they use all
recycled packaging for their watches but
then they also have a
give back program when you purchase a
watch you get a few different options
to help different parts of the world so
the first option have is to donate clean
water to a family in africa for two
months
or you have the option of providing
education for a child in
india for one month or third you can
donate to have 200 square feet
of the amazon rainforest preserved they
did actually provide me with a coupon
code it's josh
f j o s h f you get 15
off your watch if you choose to buy one
i've been really happy with mine the
last few weeks so i'd strongly encourage
if you do need to watch
go check it out so thank you to
nordgreen for helping support the
channel
and making this video possible in
summary with everything you know when
you're building a capsule wardrobe make
sure that you're going slow
and being intentional with your
purchases
you don't need to overhaul your entire
wardrobe and cull out everything with
color in it
take it slow take it easy you'll learn
what works
and fits best into your life you also
want to make sure and check your thrift
stores
you never know what gems you're going to
find this hat
was 80 new or something when i looked it
up and i think i paid 15
for it which was even expensive for a
second hand pickup but it was perfect
i know that because i waited over a year
to find the perfect hat so
go slow and be intentional and make sure
that you're checking those second hand
stores
and embrace that uniform mentality
reduce some of that decision fatigue in
your life
and i really hope that you enjoy you
know a capsule wardrobe like i have
i would love to talk to all of you about
it more in the comments
so let me know down below do you have a
capsule wardrobe or
what do you like about your wardrobe
what do you think could use improving
let's have a discussion and get that
going but thank you all so much for
watching
i'll talk to you in the next one
you
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Female Speaker:
It's challenging to get people totally psyched
up to think about statistics for two hours,
and I'm very glad that you were game to do
so.
I'd like to introduce Dr. Sam Woolford, who
is a consultant to Abt Associates, which is
our statistical consulting company.
Sam has worked with both Bentz [spelled phonetically]
and I on -- working on the validity and reliability
of new scales that we've developed to do a
variety of different things.
And he is here today, in particular -- this
is the second workshop he's done.
He came two years ago?
Sam Woolford:
No, it was way longer than that --
Female Speaker:
It was way longer than that?
Sam Woolford:
Yeah.
Female Speaker:
At least six years.
And he taught us structural equation modeling,
which I can still say today, I can't do, but
I understand [laughs], which is really a nice
feeling.
So, this time, a research team -- and some
of them may be on the phone -- that I was
working with, and I was asked what the difference
between an exploratory factor analysis and
principal components analysis.
And I sort of answered boldly, like I knew.
And then we started looking it up, because
people weren't sure that was actually a distinction.
And in fact, we found discrepancies everywhere
we looked.
People were saying, you only use one in one
case.
And only one in another.
Then, it seemed to be a disciplinary difference.
And then, that fell apart.
And all of a sudden, we realized they were
described to be different things, but we had
no idea, really, what the argument or logic
was about when you would choose to use one
over another.
So, it was a very humiliating experience.
And we decided we need an expert to kind of
set ourselves straight.
So, that's the history of how Sam got here.
And so, we're really glad you're here.
And we desperately need you.
Sam Woolford:
Well, thank you.
Female Speaker:
So, thank you.
Sam Woolford:
Thank you.
Might be nice -- can we just go around the
room?
You can -- I promise I probably won't remember
your names, but it's just nice to have that
familiarity while we're together.
Male Speaker:
Hi, I'm Joel [spelled phonetically].
Sam Woolford:
Joel.
Female Speaker:
I'm Ruka.
Sam Woolford:
Ruka.
Female Speaker:
I'm Laurie.
Sam Woolford:
Okay.
Female Speaker:
Sophia.
Sam Woolford:
Sophia.
Female Speaker:
Janine.
Sam Woolford:
Janine.
Female Speaker:
Megan.
Female Speaker:
Allie.
Female Speaker:
Becksy [spelled phonetically].
Female Speaker:
Melissa.
Sam Woolford:
Melissa?
Female Speaker:
Angel.
Sam Woolford:
Angel.
[unintelligible]
Female Speaker:
Sharine [spelled phonetically].
Sam Woolford:
Sharine?
And we've got --
Male Speaker:
William.
Male Speaker:
Jeff.
Sam Woolford:
Okay.
I do this with my students every semester.
It takes me at least four or five weeks to
remember all the names and faces.
But, it's always a nice thing to at least
be able to talk to people.
So, what I did was take some of my own lectures
and pull them together to try and answer this
question, which I transformed into -- for
those of you, as I'm looking, are maybe old
enough to remember the movie -- was a Billy
Crystal movie called "Analyze This".
Which -- taking a little license on that one,
okay?
[laughter]
At any rate, there is a lot of confusion.
My students -- I mean, I've been teaching
this now for at least the last 10 years.
And this is a very hard differential for most
students to understand, because it's a little
bit nuanced.
And there's enough similarity in what goes
on when you do a principal component analysis
versus an exploratory factor analysis that
we lose track of what is the difference.
And maybe, the true difference is never really
set in until you start using it, and then
you forgot what those are.
So, let's make this as informal as possible.
I don't know exactly how long this is going
to take.
But what I've done is I'm going -- I'm calling
it an overview, but what I'm really going
to do is kind of walk through a lot of the
components of factor analysis that are common
to both principal components and exploratory
factor analysis.
Now, this is going to get even more confusing
because another common term for exploratory
factor analysis is common factor analysis,
okay?
So -- but that's not common, because it doesn't
apply to principal components.
So, we'll try and keep that straight.
If you get confused, again, stop me.
Let's talk about it, whatever.
But ask questions as we go through the material,
so that you make sure you get them answered.
I'm going to cover kind of the similarities
first.
And then, I'm going to look at some of the
specifics for both -- for each of principal
components and exploratory factor analysis.
And then, I've brought an example that's a
little bit -- it's not totally contrived,
because the data's real -- but it's contrived
in the sense that you probably wouldn't use
both of these methods on it.
But it provides a great example of what happens
if you use the different methodologies, and
you can really see how things are different,
which, hopefully, will resonate a little bit
better than if we tried something a little
bit closer to your world, okay?
And then, I'll summarize some of these similarities
and differences.
And then, if we have time -- which I'm not
sure we will -- but we can touch a little
bit to confirmatory factor analysis, which
is related, in a way.
But that's kind of a separate discussion,
okay?
All right.
So, just to get started, let's take a test,
okay?
So, let's just -- again, don't feel embarrassed.
Just, I'm going to ask you some situations,
and have you indicate whether you think this
is a situation for principal components, or
a situation where you'd use exploratory factor
analysis, okay?
So, if we wanted to reduce a large number
of variables to a smaller number of factors
that we were going to use in analysis later,
how many people think that's principal components?
Okay.
How many think that's exploratory factor analysis?
Oh, come on.
Everybody has to vote, now.
[laughter]
You can't have this --
Female Speaker:
I don't know.
Sam Woolford:
Okay.
How about reallocating the variation in a
large number of variables?
How many would think that was principal components
analysis?
How many would think that's exploratory factor
analysis?
Okay.
Female Speaker:
No one's voting.
No, we're getting some -- everybody's sneaking
one up, you know.
They don't want to show anybody else, but
they're letting me see it.
Okay.
How about creating an orthogonal representation
of the original variables?
Principal components analysis?
Okay.
Exploratory factor analysis?
Okay.
And that can solve problems with multi-collinearity.
Identifying underlying dimensions in the data,
such as constructs.
Principal components analysis?
Okay.
Exploratory factor analysis?
Okay.
And the rest of you are not making a commitment
here, one way or the other.
Okay.
Regression with many correlated variables.
Principal components analysis?
Okay.
Exploratory factor analysis?
Okay.
Creating a hypothesis for a confirmatory factor
analysis.
Principal components analysis?
Okay.
Exploratory factor analysis?
Okay.
That's probably the one we got closest to
getting correct.
Okay.
So, let's -- I mean, that's good, because,
you know, clearly there's some difference
of opinion here.
And that always makes for a more interesting
discussion.
So, for -- both of them work to reduce large
number of variables to a smaller number of
factors.
So, that could be principal components or
exploratory factor analysis.
Doesn't really differentiate.
Reallocating the variation of large number
of variables.
That is much more oriented towards principal
components analysis, okay?
And we'll talk about why.
Creating orthogonal representations of the
original variables.
Well, without the subheading there of solving
problems with multi-collinearity -- actually,
both of them do that depending on the rotation
that you might employ.
But really, principal components analysis,
the basic algorithm for that is really that's
part of the orientation of that algorithm,
okay?
So, it's a little bit more toward principal
components, but it also tends to happen with
exploratory factor analysis, okay?
Where are we?
I -- underlying dimensions and data constructs.
Most of you said exploratory factor analysis.
And that is probably why you would be driven
toward exploratory factor analysis.
Regression with many correlated variables.
That would be principal components analysis,
okay?
Again, regression is a variance based methodology.
You're trying to capture as much of the variations
as possible, and that's really what principal
components does.
And lastly, creating a hypothesis for a confirmatory
factor analysis?
Again, that's much more oriented toward exploratory
factor analysis.
Probably wouldn't use principal components
for that.
Okay?
But these are the questions that trip us up.
These are the situations.
So, let's try and figure out why this would
be the case.
And oh, we should say that factor analysis
in general -- both principal components and
exploratory factor analysis -- it's an exploratory
technique.
It's not a confirmatory or -- there's no significance
testing associated with it.
It is exploratory, the same way descriptive
statistics are.
So, what you get at the end is not that, “Okay,
this is the answer.”
What you get is something that you feel confident
that you can interpret, okay?
So there's no right or wrong here.
But ideally, what you're trying to do is reduce
the dimensionality of your data.
So, you're trying to take large numbers of
variables and reduce it to some smaller set
that you can then work with, okay?
All right.
So, overview.
So, these are common elements.
These are some of the key things that are
common to both principal components and exploratory
factor analysis.
So, you're always going to start off with
some number of variables.
So, these are the observed variables that
we get, whether it's from a survey or however
we generated them, okay?
Now, if there's no correlation between these
variables, there's no reason to do any kind
of factor analysis.
So, there has to be some sort of inherent
correlation.
And typically, each variable here, that you're
using in some sort of factor analysis should
have, at least, a correlation of some -- and
these are rules of thumb.
These aren't -- there's no theory behind this.
But typically, you want, at least, a correlation
of .3 with at least one other variable, okay?
Otherwise, probably that variable is going
to drop out in the analysis, somewhere along
the way, because it's not going to factor
well, okay?
So, we're starting off with some group of
correlated variables.
Ideally, we'd like to have some sort of conceptual
framework.
It is possible to go into a factor analysis
saying, “I really have no idea what variables
should, you know, kind of hang together here,
or what they should represent.”
If you're doing that, there's a good chance
you're going to end up with something that
is not justifiable, not supportable.
When you come out of a factor analysis, you're
going to come out with something that you
feel is interpretable, and you want it to
be something that you feel there's some justification
for besides the data, okay?
So you want to be able to point to some literature.
Point somewhere, say, you know, “This is
what kind of literature says should've happened,”
or “This is what some other study kind of
found, and we just added a little bit more
to it,” et cetera, so you have something
to hang your results on, besides just “I
think this sounds good, so I like this result.”
Okay?
So, you don't always have that.
Obviously, you also want to think through
some other issues that could impact the results.
So, if you have other extraneous variables
such as gender or some other kind of criteria
that might affect your data.
Might affect the factor analysis.
So, factor analysis might be different for
males and females.
Well, if you lump them together, you may not
get a definitive factor analysis.
It's kind of like dealing with a bimodal distribution
and saying, “Let me take the mean.”
Well, the mean doesn't represent either of
the populations that created the two, you
know, lumps in the data.
So, you end up somewhere that -- it's not
really part of either set.
And the same thing can happen with factor
analysis.
So, you do have to kind of think through,
what are some of the other variables that
could impact the results that you're going
to get, and “Do I need to have enough data
to be able to run them separately, so I can
tell whether that's a problem or not?”
Okay?
That's true, again, of either principal components
or exploratory factor analysis.
Sample size.
This is always an interesting topic.
There is, again -- it's not theoretically
determined.
These are rules of thumb, okay?
From people who had done lots of these.
Typically, if you're doing a factor analysis,
you want something like five to 10 observations
per variable, at a minimum.
These are all minimums, not maximums, okay?
Why is that?
Well, you're going to come up with some sort
of loading for each variable, on a factor.
So, the fewer observations you have in your
data set, both overall and per variable, the
more -- the less stable that loading's going
to be.
You'll still going to get a loading.
It will still run.
You'll still get an analysis.
But you have to ask yourself, how reliable
is that result?
So, these are all issues with the reliability
of whatever analysis you're running here.
I usually use somewhat the same four regressions.
So, if you're doing regression analysis, you
might want to think about having -- I usually
the 10 number, not the five.
But I've seen five to 10.
But if you're doing a regression, you know,
typically, you want something like 10 observations
per independent variable.
Now, if you have lots of independent variables
and not a lot of data, you start to run thin
pretty quick.
I've seen limits that say you want to have
at least 50 observations overall, but I've
also seen them that say you shouldn't run
a factor analysis with less than 200.
So, there's not a lot of consensus here.
But again, the range affects the reliability
of the overall model that you're creating.
So, the first number of observations, reliability
of the parameters that you're estimating.
Total number of observations is the reliability
of the overall model that you end up with.
And then, lastly, there's some suggestion
that you want to have somewhere between two
and five variables per factor that you have
in mind.
So, if you have an underlying idea, all of
the conceptual kind of foundation, that you're
looking for somewhere between three and five
factors, then, you might want to be thinking
about, “I want enough variables for each
of those factors, so that I get a stable factor
measurement.”
Okay?
Too few, you may not be capturing the essence,
the true nature of the underlying factor.
Too many, you can always throw some out, okay?
So, these are just -- yeah.
Male Speaker:
You said, for the 200, you heard that you
shouldn't run a factor analysis if you don't
have at least 200?
Sam Woolford:
I've seen suggestions that you want to have
at least 200, okay?
I'm giving you the range.
Again, it's going to depend how many variables
you have, and, you know, how many factors
you're using, et cetera.
There's -- that impacts the number as well.
But it's a little bit like power, if you're
familiar with statistical power.
If you really want to be able to identify
a pattern, if there is one, then you want
to have enough data to be able to get it accurately.
Since we aren't doing any statistical testing,
you don't have the same requirements for sample
size that you were going to do a T test, or
something like that, where you say, “Okay,
I need at least 30 to, you know, assume normality,”
or something along those lines, okay?
So, it's a little bit more variable, okay?
Any questions?
All right.
Oh -- I just went backward I think.
Right.
All right.
So, this is a little bit of a technical issue,
which you probably don't think about a whole
lot, because you just hit the button and run
your factor analysis.
But underlying the factor analysis, there
is the factor analysis uses the data in a
certain way.
And there are some impacts.
You have choices.
So, you can run it on a correlation matrix,
or you can run it on a covariance matrix.
Covariance matrix just means the data is centered.
It's not normalized.
So, it doesn't have standard deviations one.
Correlation matrix means they do, okay?
Now, if you use standardized variables, and
this has more of an impact on -- well, it
has an impact on both.
If you use a correlation matrix, all your
variables have, essentially, the same starting
weight, okay?
Because it's -- they've all been standardized.
If you use covariance matrix, variables that
have more variance associated with them are
going to have more weight in the factor analysis.
So, they're going to orient the results toward
those variables that have higher variation.
And you're going to see different loadings.
You do have this option.
And it is something that we will come back
to, when we look at the differences between
principal components and exploratory factor
analysis because this is where the change
is made to run the algorithms.
So, if you're using SPSS -- well, we'll talking
about it when we get there.
There are ways around it.
Okay.
So, I just want to point this out here that
you do need to be aware that you need to at
least think of when you go to run either principal
components or exploratory factor analysis,
do I want correlation matrix based or covariance
matrix based?
Okay?
And you can always run them both ways, and
see what happens with the results, okay?
Yes?
Female Speaker:
What are some reasons why you might choose
one over the other?
Sam Woolford:
Variables that don't have a lot of variation,
oftentimes, you're not all that interested
in.
And so, you don't want to make them have the
same weight as a variable that does have a
lot of variation.
Because there's -- variation is information,
okay?
Think of it this way.
If I have a variable, and every observation
is the same, doesn't really tell you anything,
right?
Because you only need one observation, and
you know everything.
But a variable that takes on a range of observations
has more variability.
You're going to learn more about, you know,
how does it change?
What's its relationship to other variables?
Et cetera.
So, there's more information in that variable
that there is in one that has a very small
variation.
As soon as you go to a correlation matrix,
you've eliminated that difference in information.
Now, they all have the same.
Female Speaker:
So, why would you do that?
Sam Woolford:
Why would you do it?
Well, in most of the studies that, you know,
I worked on with folks here, you aren't starting
out saying, “I have” you know, “I give
a survey.
Okay.
And I've got it planned out on a one to 10
scale.”
And I'm not expecting that necessarily, and
Barb can attest to this, because I always
tell her which variables don't have a lot
of range to them.
And oftentimes, we kick those out of the analysis.
But typically, you're expecting respondents
to answer across the range, and the range
is limited because you've defined your scale
in a limited way.
And so, you don't have a difference in range
on those kinds of responses.
Where you're more likely to see it would be
if you're taking blood pressure and heart
rate, okay?
Blood pressure has a longer scale, right?
So, it has more variability associated.
So, if you were looking for a factor that
was more oriented toward blood pressure, if
you standardize it with heart rate, then they're
going to be treated the same, and have the
same influence on the factor.
Versus if you deal with their covariance,
then it's more likely that blood pressure's
going to separate, to some extent, from heart
rate.
Does that help?
Female Speaker:
Yeah.
Sam Woolford:
Okay.
All right.
So, another area of consistency across these
is, how do you measure where your results
are reasonable?
Now, I didn't say whether they're significant,
because we can never test that, okay?
But we can at least talk about, did they satisfy
some general characteristics that we would
expect for data that would be useful to factor?
So, there are a couple of measures that are
commonly used.
One is Bartlett's test of sphericity.
So, most of your outputs will come up with
this.
How many people are familiar with this?
Okay.
So, Bartlett's test of sphericity is kind
of a -- it is a significance test that looks
at the correlation matrix and says, “Are
there any off-diagonal elements?”
So, you want to fail this test because it's
basically saying, it's your correlation matrix
and identity matrix.
If it is an identity matrix, right, then there's
no correlation.
So, there's no factor analysis.
So, this is a test of -- the null hypothesis
here is the correlation matrix and identity
matrix?
The alternative is if it's not.
So, you want to fail this, because you want
a matrix that has covariance in it, or correlations
in it.
That's one of the first things we said we
want to have in our variables, right?
So, if you've done this visually -- if you
looked at the correlation matrix, and you've
checked that all the variables have at least
a correlation of .3 or more with at least
one other variable, you should fail this test
without any problem.
So, this is just a double check.
Yes?
Go ahead.
Female Speaker:
If the null hypothesis is that it's an identity
matrix, then you're saying you want to fail
--
Sam Woolford:
You want to reject the null.
Female Speaker:
-- you want to reject it?
Sam Woolford:
Yeah.
Female Speaker:
Yeah.
Sam Woolford:
Right.
Female Speaker:
Well, I was just thrown off --
Sam Woolford:
Yes.
Female Speaker:
-- it's like the [unintelligible]
Sam Woolford:
Okay.
Yeah, no.
You want to reject, okay?
I have to be careful about my language.
All right.
There's some other measure that are also useful.
There's something measure of sampling adequacy.
How many of you are familiar with this one?
Okay, good.
So, there are two places where you want to
look for this.
So, there's an overall measure.
This is also the KMO, which is -- stands for
the -- I think Kendall something Olgram [spelled
phonetically], sometimes called the KMO, which
is three guys' names, and they took the first
initial of each of them.
At any rate, there's an overall measure which
says, as a data set, how well is your data
set oriented toward factoring?
Okay?
Again, rules of thumb.
These are not statistical tests.
Rules of thumb are that if you're at least
.6, it's adequate; ideally, you'd like it
to be higher, okay?
Won't go up above one.
So, it's kind of like correlation matrix measure,
okay?
But there're also measures for individual
variables.
Yes?
Male Speaker:
[unintelligible] what does the number one
[spelled phonetically] actually mean?
Sam Woolford:
Might mean that you've got a couple variables
that are really highly correlated.
I'm not sure.
I've never seen one that's above .9, I don't
think.
Male Speaker:
Just like theoretically, what would that --
Sam Woolford:
Yeah, I don't know.
Male Speaker:
Okay.
Sam Woolford:
Okay.
Each variable has an associated sampling adequacy
measure.
And again, you want to look at individual
variables the same way.
But you're going to run into problems, typically,
if you see any of those having a value of
less than .5.
And what is typically recommended is that
you take out the lowest one -- the one that
has the lowest value, just take that variable
out.
It's not going to work.
You're going to get low commonalities.
You're going to get low loadings.
It's just not going to fit anywhere.
It's going to probably screw up some other
things.
Take it out.
Rerun this part.
Get to this, and see if there are any more
less than .5.
If there are, take the next lowest one out.
So, you work at this one at a time.
You do not take out -- if you see four of
them less than .5, don't take out all four,
because you may be throwing out good data.
So, every time you take one out, all these
measures get recalculated.
And ones that had been lower than .5 may rise
above .5, okay?
So, it's an iterative exercise.
So, these are just measures that you always
want to look at and check to say, “Do I
see any problems", before you ever get into
rotations or extractions, or any of that stuff,
okay?
And it doesn't measure whether it's PCA or
exploratory factor analysis, okay?
So, again, what happens when you do one of
these analyses?
Typically, you want to think about the factors
and which ones you want to keep, right?
That's what we mean by factor extraction.
You have this issue in both.
So, the first is, how many factors do you
keep?
Right?
And there are typically three ways -- well,
let me step back and do one thing before we
talk about that.
There's also an issue of variability and how
you're measuring that.
So, when you think about correlation -- correlation
is shared variance, right?
If you think about a simple regression, one
independent variable.
If you run that on standardized variables,
what's the coefficient that you get?
What does that represent?
Anybody know?
It's the correlation between the independent
variable and the dependent variable.
So, your beta.
Your slope, all right?
If you standardize variables, there's no intercept.
So, all you get is a slope.
That slope is just a correlation between X
and Y, all right?
So, that correlation is -- we called shared
variance, and if you want to know how much
variance is shared, you square it.
And what does that equal?
It's your R squared, right?
It's the variance explained in the dependent
variable that's explained by the independent
variable, right?
Same idea here is that we've got correlation
in these variables.
That correlation represents shared variance.
The loadings that you get out of a factor
analysis represent correlations.
You square those, they represent components
of variance that is shared with the factor.
Same idea as regression.
No different, okay?
But you have to understand, when we get to
differentiating principal component and exploratory
factor analysis that there are different pieces
of variance.
So, there is common variance, and that's the
variance that you're saying is common between
the variable that you're measuring, and the
factor that you're computing.
There's also unique variance.
And that's variance that's specific to the
variable you've measured.
So, if you think about measuring intelligence,
okay?
We don't know how to measure it.
We have lots of variables that we use to get
an observation on it, so we could do an IQ
test.
We could do an SAT test.
We could look at your grade point average.
All those would be measures of intelligence.
And we would typically put those together
in a factor analysis, and hopefully, they
would all be measures of intelligence, okay?
We would come up with some new factor called
intelligence, all right?
That would be the idea.
But each of those variables has variance that
could be what we call common variance that's
shared with intelligence.
And in fact, if you've followed the literature
on some of these tests, if you've gone through
college, et cetera, you probably have seen
some of this discussion, that when you take
an SAT test, it's measuring socioeconomic
issues.
It's measuring all kinds of other things beyond
just intelligence.
So, if you're trying to measure the intelligence
factor construct, there's common variance,
which is common to intelligence.
There's unique variance, that's unique to
the SAT test that doesn't relate to intelligence,
okay?
But it causes the measure to vary.
Causes the SAT score to vary, independent
of how intelligent someone is, okay?
Now, there's a third set of variance, which
is also a measurement variation, which says,
you know, if I give the same person the same
SAT test, you know, and it's raining one day
and sunny the next day, they might get different
scores.
And that's just measurement error.
Oftentimes, you can't really differentiate
between unique variance and measurement error.
So, those are typically lumped together, okay?
But it's important to keep in mind these different
components of variance, because this is one
of the key differences that comes up to differentiate
principal components analysis and exploratory
factor analysis.
It's, what is the variance that you're really
measuring, okay?
And also, you need to keep in mind the objective
of the analysis.
So, principal components and exploratory factor
analysis both are based on measuring some
part of variance.
It's just whether it's the common variance
or all the variance.
And that's really one of the key differences.
Yes?
Female Speaker:
So, you're saying that factor analysis is
-- it will tell you the common variance definitively
[spelled phonetically]?
Sam Woolford:
Well, hold that question.
Once we look at the models behind each of
these techniques, it will become very clear
exactly what they're measuring.
You'll see it, okay?
But I just wanted to set the stage here by
saying, when you think about the variables
that you're measuring, and you're trying to
set up, in the background, some sort of factor
analysis, there is this sub-setting of the
variance within each of those measured variables,
okay?
Okay.
I think we might have missed something here.
Let me just -- no, I guess not.
Okay.
All right.
So, when we get to principal components, principal
components assumes that all the variation
is common, okay?
So, it's assuming that the unique variance,
the measurement variance, and the common variance
is all getting lumped together, and it's calling
all that just common variance.
So, all that is considered variance that it
shares with the factor, okay?
And in that case, and I'm just making this
point, that the diagonal of the correlation
matrix in the analysis that you run in principal
components is taken to be one, because that
is the proper variance in a -- if you standardize
the variables, right?
So, you're putting all the variance -- variance
of one -- into the analysis.
So, just keep that thought floating in the
back, because it's not important that you
understand, theoretically, what's going on,
but just that there is a difference somewhere,
and this is one of those places.
So, the assumption in principal components
is just that we can represent all the variation
in our measured variables through the factors,
okay?
And typically, then, the objective for principal
components analysis is going to be find the
minimum number of factors that capture the
maximum amount of variation.
So, the objective, typically, in a principal
components analysis is variance adjustment,
if you will.
It's moving the variance on the factors, trying
to get the smallest number of factors that
account for the largest amount of variance,
okay?
Now, when we get to exploratory factor analysis
-- yes, go ahead.
Female Speaker:
Sorry, this is from the last slide.
I'm just a little stuck on the assumption
that the factors can represent the variation
and the variables exactly.
What --
Sam Woolford:
Hold that question.
You're my best straight man, okay?
Just -- you're raising great questions.
As soon as I show you the model, it's going
to be really easy for you to see how this
happens.
Female Speaker:
Okay.
Sam Woolford:
Okay.
So, I'm just whetting your appetite.
So, exploratory factor analysis.
If we look at that -- also known as common
factor analysis, because it only looks at
the common variation, okay?
Or principal factor analysis is another term
that's often used.
And this leads to the confusion.
Because when you see principal factor analysis
versus principal components analysis, you're
going to say, “What's the difference?”
And this is why a lot of people don't fully
appreciate that there are two different models
in the background that are going on here.
So with this one, we're assuming that the
factors explain only the common or shared
variance.
So, it's assuming that you have unique variance
that is separately dealt with.
Principal components analysis lumps it all
together.
Says it's all the same.
We don't care to differentiate.
We're going to just move as much of it as
we can onto as small a number of factors as
we can.
Exploratory factor analysis says we understand
that there are different components to the
variance, and we only want to align the common
variance with our factors.
The unique variance and measurement error,
we're going to separate out and deal with
them separately, okay?
But our factors are only going to represent
that common variation.
Think of, now, come back to regression, okay?
Simple linear regression.
What do you have at the end?
I have Y equal beta naught plus beta one X
plus what?
Multiple Speakers:
Error?
Sam Woolford:
Error, right?
Epsilon.
So, what would that be more like?
Principal components?
Or would it be more like exploratory factor
analysis?
Multiple Speakers:
Exploratory.
Sam Woolford:
Right.
Because what's it doing?
It's separating out the unique variance, right?
Because that -- Epsilon represents a unique
variance that's not common to X and Y.
It's measure -- in that case, we call it,
typically, measurement error, but if you remember
your textbook, it also accounted for any X's
that you didn't include in the model, right?
So, in some sense, there's error there that
isn't part of what's in the X, okay?
Same thing.
Exploratory factor analysis is kind of saying
the same thing.
We're treating the factor as your Y variable,
in some sense, okay?
And we're saying well, we have all these measurement
variables that has variance in common with
the factor, but then, there's also some other
variance which, you know, we aren't trying
to say is part of the factor.
Principal components?
No.
It's saying, all the variation is part of
the factor, okay?
Measurement error, variable error, whatever,
okay?
All right.
So, keep that in mind.
Now, difference in exploratory factor analysis.
Remember I said that in the correlation matrix,
we put ones on the diagonal.
If you're going to look at exploratory factor
analysis, we do not.
We put a measure of the communality.
Communality is the common variance.
So, if you have standardized variables, variance
of each measured variable is one, right?
If not all that is being shared with the factor,
then some value less than one is the common
variance, right?
Everybody follow?
So, therefore, the diagonal -- if you put
the communalities there, the diagonal's measures
are going to be all less than one.
So the matrix that you're using to do the
analysis in an exploratory factor analysis
is not a correlation matrix, exactly.
It's actually, once you put those communalities
on there, it's equivalent to using the covariance
matrix, okay?
Pretty tricky.
Again, source of confusion.
Now, why do you need to know this?
Well, if you run SAS, and you want to run
exploratory factor analysis, you need to tell
it to put this on the diagonal.
If you don't, you get a principal components
matrix by default.
You get a principal components analysis by
default.
In SPSS, if you just run it without choosing
an extraction method, you're going to get
principal components analysis.
That is the default.
You don't have to worry about what's on the
diagonal because SPSS is just a little bit
nicer, and it allows you to just choose an
extraction method that takes care of all that
for you.
SAS is just a little uglier, okay?
All right.
But, it's at least something that you have
to think about.
Now, what's the objective intent here?
Typically, with exploratory factor analysis,
your intent is you're trying to look for some
sort of latent constructs.
Now, it's not always easy to define, what's
the difference between a latent construct
and a factor that would be a principal components
factor, okay?
Let me give you an extreme example.
Consumer price index is a principal components
analysis, all right?
Why?
What are they trying to do?
They're looking at price changes -- variation,
across lots of -- a market basket of foods,
right?
And they're combining all that to give you
one index that represents how variability
-- how much variability there is in all those
foods.
So, what do they do?
They took all the variation from all those
foods, pushed it all onto one factor, calls
it an index, becomes a CPI.
Now, what have we noticed recently, if you
follow any economic data?
When they report the CPI, they don't just
report one index anymore.
They kind of report several.
So, there's like a food CPI, and a total CPI,
and a fuel CPI.
Why?
Because it doesn't all come out on one factor
anymore, all right?
So, you have kind of some variables, like
the change in fuel prices, in heating oil,
and stuff like that.
Loads on a different factor, so it's a different
index, right?
Make sense?
So, you would use principal components for
that, because you're trying to push all that
variation in the prices onto as few a number
of factors as possible.
You're not trying to understand the essence
of a shopping basket, okay?
Now, the work that you guys do is more oriented
toward constructs.
You're looking at kind of concepts that can't
directly measured, but that we feel theoretically
are out there.
Intelligence.
Worry.
Hope.
You know?
Great concepts.
How do you measure them?
Who knows?
But you're not looking for an index, typically.
Now, you could be.
And if you are, then you're going to change
your mind and say, “Principal components
should be the way I go, because I'm trying
to create a hope index,” for instance.
For those of you who have used the depression
scale, which I know is pretty common, you
know, there are people that use that as an
index.
You'd analyze it differently.
You should analyze it differently, okay?
Not everybody does.
That's one of the problems.
I mean, you guys shouldn't feel that your,
you know, misconceptions about either of these
is unique to this room.
You can find it in literature, all over the
place, okay?
So, objective here, a little bit different.
Oftentimes, with exploratory factor analysis,
also, you're looking for kind of the input
to a confirmatory factory analysis.
So, ultimately, you want to go down that path,
you're typically not going to be using principal
components to get there, okay?
And in fact, principal components may lead
you down a false trail that may not work out.
Okay.
All right.
Now, last piece of commonality here is that
oftentimes, if you have lots of variables,
you'll get very similar results out of principal
components analysis and exploratory factor
analysis.
There are cases where your data set is set
up -- the data comes in in a way that if you
ran it either way, you'd get -- you know,
pretty much mirrored results.
And you'd say, “Well, why would I do it
one way over the other?”
And that's one of the reasons why people get
confused.
Because I've run a certain data set, and maybe
I didn't know what I was doing.
Maybe I did, I ran it both ways, and I still
got kind of the same interpretation.
That often happens.
But it's because the data set you're using,
not because the methodologies are the same,
okay?
So, you have to keep that in mind.
And confirmatory analysis -- factor analysis,
I just mentioned this now, is not an exploratory
technique.
So, remember, what you've done -- what we're
doing in PCA and EFA is exploratory.
We're trying to get a better understanding
of how the data hangs together.
If we really believe that we've got something
there that means something.
So, if we really think we're coming up with
a measure for intelligence, we need to shift
over to confirmatory factor analysis, and
do a different type of analysis where we can
actually do some statistical tests that say,
“This is a valid measure.”
Okay?
So, I'm just putting that in as a touchstone,
because we're not going to talk much about
it today, but that's kind of the next step,
after you've done either -- typically, an
exploratory factor analysis, okay?
All right.
So, let's look at where they're different.
So, now, we're going to look at the actual
models, okay?
So, let's look at the model for principal
components.
So, the idea behind principal components is
you're trying to find a linear combination
of the X's, the measured variables.
The X's, remember are the ones we said, these
are the ones you get survey measures on, or
whatever.
So, we want to find a set of coefficients.
Oh, I do want to make one comment, just because
I run into this too much.
This is not to you [spelled phonetically],
but others as well.
If you are thinking that you're going to do
a factor analysis at the end of the day, okay,
and you're doing a survey, the more levels
you can include on your survey, the more powerful
your scale is going to be at the end of the
day.
So, if you look at the literature for market
research, which oftentimes, you know, surveys
much of the -- many of the same characteristics
you do.
They've all moved to a 10 point scale.
They don't try and define every point on the
scale.
They may still only use five, you know, measured
points.
But A, it's even scale.
There's an even number.
So, somebody can't just go down the middle
all the time, okay?
They have to kind of register one side or
the other.
But also, you get much more variation.
Remember, we're talking about variation here.
If you only have four items on the scale,
it's really hard for people -- people may
be willing to differentiate their views, but
you haven't given them an opportunity to do
that.
And so, it all gets lumped together.
You've lost variance.
If you think about taking a variable like
temperature and saying, “I'm going to make
temperature into five buckets.”
Well, okay.
I've taken zero to 212.
And I've got five buckets.
So it's what, 30 degrees whatever in each
bucket.
So, I tell you you're in bucket one.
You don't know what the temperature is.
Same thing with Likert scales.
If you use a five point Likert scale, you're
saying, “Well, I could've used a 10, but
I really collapsed them, and so, I really
don't know whether you're a one, two, three,
four, five, six, seven, eight, nine, or 10.
I only know whether you're one through five.
And I don't know which ones got collapsed,
so I've lost a lot of information.”
Now, there's always a trade off with, you
know, beating people up and making them answer
tough scales, but, you know, you should start
thinking about making sure that you have enough
points in your scales.
Female Speaker:
So, that's really at odds with a lot of the
movement in social science --
Sam Woolford:
Yes.
Female Speaker:
-- right now.
Female Speaker:
Yeah.
Female Speaker:
And that's because it's hard for people to
understand a construct, in a way that they
can differentiate those degrees.
So, the argument -- the other argument -- nobody
would argue with the statistical argument,
because we want variance, is that you get
less meaningful data.
Because we can't really discriminate if we're
an eight or a seven, when we're trying to
figure out how hopeful we are, or how much
we trust something.
Something that's a very sort of mushy gut-level,
as much emotion as it is cognition, concept.
It may not be reliable to discriminate those
things.
Sam Woolford:
The -- well, typically, on the -- when you
ask your respondents, you aren't asking them
to say how hopeful are you?
You're asking them a whole series of smaller
questions --
Female Speaker:
Yeah.
Sam Woolford:
-- which is usually for a respondent to make
a judgment on.
So, whether -- you know, all I'm suggesting
is, think about it in whether you go to a
-- it seems to be we're standardizing our
scales at a smaller number.
And the rest of the --
Female Speaker:
Part of it is because of the studies where
people say they couldn't tell --
Sam Woolford:
And that's fine, because that is measurement
variation --
Female Speaker:
Yeah.
Sam Woolford:
-- versus if you lump it all together, you
don't know what's the signal, and what's the
error.
So, it's harder to differentiate.
Female Speaker:
I have a quick question --
Female Speaker:
[unintelligible] I just want to echo what
Barb is saying, because it is true that in
survey methodology, we place a lot of emphasis
on trying to be able to label the points on
the scale, so that -- what's a two to you
might be a three to you might be a four to
another person, if there are no labels.
But really, we're the same on the construct.
It's just that you interpret a two as what
I think of as a three.
And so, I encounter this a lot, a whole lot,
this tension between sort of, the statistician
says, “More points on the scale, more points
on the scale!”
And I'm saying, “But make sure they're meaningful
points, on the scale.”
So, I just really want to put a plug in for,
you have to balance those two things.
Sam Woolford:
No, and I would certainly agree with that.
But I think there's a lot of research, as
well, on consumer research, where it's pretty
much asking people for similar thoughts about
products, et cetera, where the scales are
not any better defined than a five point Likert
scale.
You know, so there are points that don't have
specific definitions associated with them.
And they're getting much better results.
So, you know, I'm just saying, there's research
out there.
Might want to take a look at it, and see what
some of the theory there is, or what some
of the experience there has been, and see
how it might work into what you're doing.
Female Speaker:
I just want to ask, so if we have a scale
that has been, you know, validated in the
literature, using a mid-point and a five point
Likert scale, is it acceptable to stretch
it out to a 10 point, in our own research?
Sam Woolford:
That's -- I mean, that's a good question.
I mean, at a pilot stage, might be something
you might look at.
The other thing is, you can always collapse
it.
You know, if you start out with 10, you can
always collapse back to five.
So, you're not -- it's not like you have to
-- you know, you're --
Female Speaker:
Use it?
Sam Woolford:
Right.
I mean, you can bring it back to the way it
has been used.
I would also suggest that even if you have
a scale that's been verified, unless you're
using it in almost the same situation, you
ought to be running confirmatory analysis
anyway, to make sure that it still holds,
right?
Because otherwise, you know, if you're applying
someone else's scale that they verified in
a very unique situation, it's not -- you can't
necessarily assume that that scale is going
to hold, in an experimental situation it wasn't
necessarily tested in.
So, and we have some experience here in the
room with exactly that happening.
So, yeah.
All right.
So, that was my own plug for -- because typically,
factor analysis is -- assumes that you're
dealing with quantitative variables.
So, a Likert scale, I think the common assumption
now, if you have a Likert scale with five
or less points on the scale, it's considered
discreet.
It's not considered continuous.
And we've been getting pushed back on reviewers.
Did we get a review -- did that come back
on our paper?
I can't remember.
But I know it did on one of ours, where the
reviewer came back and said, “You can't
run this using standard factor analysis.
You need to use a different type of software
that treats -- actually measures the correlations
in a different way.”
It does not assume that you can compute them
the same way you would with continuous data.
So, this is another thing to think about,
is that as you use these smaller scales, if
you're running exploratory factor analysis
through SPS and SAS, reviewers are getting
more savvy.
They're going to reject the paper, and say
you didn't do this right.
So, that's not a statistician's view.
In fact, I tend -- no, actually, we found
some significant differences, too.
If you run a five --
Female Speaker:
[unintelligible] Can I --
Sam Woolford:
Yeah?
Female Speaker:
-- can I ask a question?
And this, the whole polychoric versus sort
of a [unintelligible] correlation --
Sam Woolford:
Yes.
Female Speaker:
-- question?
Sam Woolford:
Yes.
Female Speaker:
Okay.
Sam Woolford:
And you do get different results.
Female Speaker:
Some -- yeah.
And on this situation that Barb and I had.
You can manipulate SAS to create polychoric,
and then run it on it, but you have to specifically
compute them, and then run it.
Sam Woolford:
Yeah, it's ugly.
There's other software that's more effective,
if --
Female Speaker:
Right.
Sam Woolford:
-- you want to do that.
But -- okay.
So, we're getting a little bit off track,
but good discussion.
All right.
So, anyway.
For principal components, notice this is a
set up that has all the X's on the right.
Your factor is on the left, right?
There's no error term involved here, so this
does not look like a regression equation.
And the idea is that you're estimating two
things here.
This is kind of interesting.
Factor analysis -- both exploratory and principal
components, both have a flavor of this.
So, you're -- in a typical regression, you
have your X's and your Ys, right?
Here, you've got equations that you're estimating
the coefficients for, but you only have X's.
So, not only are you estimating the Ys, you're
also estimating the slopes at the same time.
So, this is pretty slick.
So, if you didn't fully understand the slickness
behind factor analysis, this is pretty neat
stuff.
You're essentially running regressions here
where you don't have a dependent variable.
Now, you'll also notice something else in
this model.
This would look just like a regression model,
except for what?
There's no error term.
Because we said, with principal components,
all the error is captured in the X's.
It's all shared.
There's no unique variance, right?
So, there's no error term.
It gets measured exactly, okay?
Now, the way the algorithm for principal components
works is that the reason you can do all this,
you have to put other constraints on the way
that you do these estimations.
If you just went to do this like a regression,
you couldn't solve it.
So, you put some other conditions on.
Those conditions have to do with the variation.
So, the first one is -- the first component
you estimate, you pick the direction, which
means the A's, so that you maximize the amount
of variance in the X's that you share with
that Y one, okay?
So, the first component captures the maximum
amount of variation in the X's that it can
share, okay?
Then you go to the next component or factor,
and you choose the direction for that one
to capture as much of the remaining variability.
So, I've captured a certain amount of the
variability of the X's in my first factor.
So, I have some left.
I pick my next factor to be perpendicular
to the first one, and capture as much of the
remaining variance as possible.
So, again, I don't get it all, but I get as
much as I can.
I choose the A's, so that I do that, while
at the same time, giving me a direction in
space -- kind of the XY coordinate system,
that's perpendicular to the first factor,
okay?
So, this is my orthogonal factors.
Then, I keep going.
And I can keep doing this.
And then I do the third factor, the fourth
factor.
And in fact, I can get exactly P factors.
So, if I start out with P measured variables,
I can generate P factors, and account for
all the variance.
So, if I have five variables that I measure,
I can get five factors.
Those five factors will account for exactly
the same variance as I had in the first five
variables.
Now, the trick is, if I keep all five of those,
I haven't done anything, right?
I've gone from five variables to five variables.
So, ideally, I want to get less.
So, I got to choose which ones do I keep,
okay?
But that's the idea behind the model here.
So, all the variance in the X's is transferred
to the factors.
Now, interesting problem here.
If you started out with independent variables
-- so, if your X's were independent -- what
would happen if you ran the factor analysis?
The first variable, or the first factor, would
be equal to the variable that had the highest
variation.
The next one would be equal to the variable
that had the second highest variation, so
you’d just be equating your factors to the
variable, and this is why you don’t do factor
analysis since you’ve got independent variables,
because you don’t learn anything.
Nothing aggregates.
Okay?
So, all right.
Now, there’s one possible issue you may
run into, and that’s if you have very highly
correlated variables in your dataset, that
may impact the way this runs or the results,
so you also want to be aware of that.
There are different things you can do.
You might drop one, because if they’re very
highly correlated, then they’re probably
measuring the same thing.
Alternatively, you can average them, whatever.
You’re capturing all the common information.
So there are easy ways around that.
Okay?
So once we’ve got -- we run this, we understand
the model, now we have to analyze the factors.
This is where we look at how many factors
do we keep.
Yes?
Female Speaker:
Sorry --
Sam Woolford:
You want me to go back?
Female Speaker:
-- model.
Well actually, two questions.
Sam Woolford:
Yes.
Female Speaker:
The first is just a clarification.
You said you don’t do factor analysis when
your X’s are independent.
Sam Woolford:
That’s right.
Female Speaker:
You don’t do the whole component?
Sam Woolford:
You don’t do any kind of factor analysis.
Female Speaker:
Because --
Sam Woolford:
If they aren’t correlated, there’s not
going to be any shared variance.
Female Speaker:
I see.
Sam Woolford:
So there won’t be any common variance, so
you’ll still get -- you’ll be like running
regressions essentially.
Female Speaker:
Okay.
And then also, so given that the factors -- well,
I would assume that most of the time your
factors in a scale are not going to be orthogonal,
right?
Like if you’re doing a measure of hope,
then your different factors for hope realistically
are going to be correlated, right?
Sam Woolford:
Could be.
Female Speaker:
So then I don’t understand how -- wouldn’t
there then be an order effect if you’re
making them orthogonal, meaning like the first
component that it’s making would have higher
variance given just that it came first as
opposed to the next one?
Sam Woolford:
Well yeah.
Well first of all, if you’re doing something
like hope, you wouldn’t be using principal
components, okay?
So -- I mean this model wouldn’t be the
one we would be applying anything and so this
algorithm wouldn’t be used either.
Female Speaker:
Is it for that reason?
Because --
Sam Woolford:
Well, that’s a very good reason why you
wouldn’t use this.
Because when you’re trying to do hope, your
goal is not to move the variance.
It’s not to shift as much variance as you
can onto a smaller number of factors.
You’d be more oriented toward an exploratory
factor analysis where you’re trying to define
a construct which is only sharing common variance
with some of the X’s.
Now we’re going to have the same issue there,
so I’m not saying that you’re not going
to run into that problem, so let me deal with
your question you asked.
Is all of these algorithms that you’re running
in factor analysis, and there’s a whole
bunch of them, and I’m just giving you the
model and telling you what happens when you
run the base kind of default.
But we get an option to rotate, right?
The rotations can either be orthogonal or
non-orthogonal.
And those rotations, what they do is shift
the variance around, and they shift it around,
they capture the same level of variance and
they shift it around based on how you define
you want it, whether you want it orthogonal,
non-orthogonal, whatever.
So yes, there’s a very good argument why
you wouldn’t want orthogonal factors in
many analyses that you run.
From the point of view of developing a scale,
this is purely exploratory to give you a hypothesis
as to what you might push into a confirmatory
factor analysis.
Because one of the other things you’re getting
out of whether you run exploratory or principal
components, every measured variable has a
weight on every factor.
Even though your interpretation only looks
at the high weights, right?
All the other variables still have weights
on that.
When you want to shift over to a scale, you
want to get rid of all those small ones.
So when you go to a confirmatory factor analysis,
you’re only loading the high ones on the
factor.
So now you’ve got a completely different
problem than what you’re getting out of
exploratory factor analysis.
This is purely descriptive.
You can’t be basing, you know, selling the
farm for a scale based on the results you
get out of exploratory factor analysis.
That’s not what it’s built for.
It just gives you an idea as to which variables
might aggregate on factors that you might
be able to interpret in a way that makes sense
in terms of, you’re ultimately moving to
a confirmatory factor analysis.
So it’s a step in the process.
It’s not a definitive, "Yeah, I need this
result, and it has to be exact and," you know,
"it can’t be orthogonal," whatever.
There’s no way to test what’s right here.
You can run every different rotation you want
here, whether it be orthogonal, non-orthogonal,
with the idea of, am I able to interpret the
factors I get out of this better?
And if you can, then you’re going to say,
“Yeah, I like this one better.”
It doesn’t prove that it’s the right one.
There’s no proof in this analysis, that
whatever you come out with is the state of
nature.
It’s what you can build an argument for.
Okay?
So all these are tools.
They’re not answers.
You still have to create the answer out of
the output that you get.
So it’s not pushing a button and taking
a result.
It’s pushing lots of buttons, looking at
lots of results and trying to say, what makes
sense?
And we’ll look at an example so, you know,
this will become clear maybe in a few minutes.
Okay?
All right.
So, we have to figure out how many of these
factors do we keep?
We said if we run all the factors, you know,
if we have P variables, we get P factors.
We captured all the variance, but we’ve
still got the same number of variables.
Well I’d like a smaller number, please.
So I need to figure which ones to keep.
Three standard ways that people look at this.
Either you look at the variance of the factors
that you get, and you pick any factor that
has a variance greater than one.
Why one?
Anybody know?
Male Speaker:
One is how much variance there is in a single
variable --
Sam Woolford:
Right.
Male Speaker:
-- so it’s less than.
Sam Woolford:
So you want the factor to at least have more
variance than is in any one of the measured
variables that you’re using.
Remember, they’re standardized, so the variance
is one.
So ideally, you’d only -- you know, factors
less with variance less than one means I might
as well just use the variable, the measurement
variable, because I got more variance in that
then I do in the factor.
Okay?
That’s a very common one.
Oftentimes, people look at the percentage
of variance explained by the factors and say,
"Well, I want to make sure that I have at
least some valid percentage of the variance
captured, so I might keep a factor that has
a variance less than one because of that."
That could be a criteria I could use.
There is something called a Scree test which
I don’t pay a lot of attention to.
It’s a plot that you can look at that oftentimes
people use.
I think it’s oftentimes misleading.
Typically, I would argue that the variance
of the factors is probably the one that most
people would look to first.
So the next -- so, first idea, how many factors
do I keep?
Once I decide how many factors I keep, now
I can start thinking about how do I rotate
them?
Female Speaker:
Can I ask a quick question before you go on?
Sam Woolford:
Yep.
Female Speaker:
You mention percent of variance explained
as a possible.
Do you personally have any rule of thumb about
what’s a good enough percentage to force
retaining?
Sam Woolford:
Well this, again, depends a little bit on
the area of application.
So, you know, in social science research,
probably if you’re capturing something like
60 percent, you can make an argument for it.
If you start to capture less than 50 percent,
then you have to somehow work around the argument
that there’s more variance that you’re
not capturing in the factors than you are
capturing, and so the question is, what are
you throwing away?
But I haven’t -- there’s no -- I mean,
it’s all rule of thumb stuff.
So the higher it is, the more confident you
can be that, you know, the variables that
you’re using are measuring something relevant.
In the factors that you’re keeping, if there’s
a lot of variance that you’re throwing away
in the factors that you’re throwing away,
then you have to at least look at them and
say, “Do I not care about what’s represented
by those factors and they aren’t really
relevant for what I’m doing?”
Female Speaker:
So is that looking at total variance across
all the factors or per factor?
Sam Woolford:
Well, I mean the total variance across all
the factors is going to be 100 percent.
So, if you look at most outputs that you get
from principal components analysis, you’ll
see that the factors get defined and are lined
up in terms of the first factor and it will
show you how much variance and what percentage
of the total that is.
So it’s the percentage -- if you have 10
variables, the total variance is 10, because
each variable has variance one.
So if the first factor, you know, explains
three variance units, then that’s roughly
30 percent of the variance.
If the next factor, you know, explains two
variance units, then in those two factors,
you’ve got 50 percent of the variance.
If you feel like that’s not enough, then
you look at the next one.
If the next one has at least one unit of variance
in it, then it still meets the variance of
the factor being greater than one, and now
you’re up to 60 percent.
The next one is going to be less.
So, if you were hoping to get 70 percent of
the variance, you’re going to have to start
dipping into factors that have variances less
than one to start with.
Does that help?
Female Speaker:
That makes sense.
Sam Woolford:
Okay.
All right.
When you get your initial results -- so when
you say, “I only want to look at three factors,”
okay -- oftentimes those factors, you can’t
make any sense out of them, because maybe
every variable loads on the first factor,
and every variable loads on the second factor
and you’ve got all kinds of cross loadings
between factors, and you just say, “Well,
you know, I can’t interpret this.”
So we start rotating.
We rotate because once you’ve said, “I
want three factors,” you’ve set the communality.
So you’ve set here’s the common -- this
is the amount of variance of all these factors,
of all these variables that I’m capturing
in these, let’s say, three factors, which
is less than the total now.
So all these rotations keep the communality
values the same.
In other words, it keeps the amount of variance
explained in each of the variables common
to everything else.
That stays fixed.
But there are more than one solution that
will give you those communalities.
So all the rotations are doing is giving you
different solutions where either the factors
aren’t orthogonal, or they are devised in
a different way other than that algorithm
that I showed you that says pick the first
one, put the max amount of variance on that
one, and make it orthogonal to the next one,
put the maximum what’s left on that one.
So every different rotation is just a variation
on that algorithm, and it’s a variation
which says, all right, maximize the -- so
for instance, I think quartimax is something
like -- well, varimax says maximize the variation
of each variable so it only appears on one
factor, so it kind of maximizes on one.
That’s why people tend to use varimax rotation,
because each variable only loads highly typically
on one factor.
So it makes that factor a little bit easier
to understand and explain.
It’s not the only one.
There are other ones.
There’s quartimax, there’s -- I don’t
know, there’s about six or eight of them.
Some are orthogonal, and some are non-orthogonal.
Male Speaker:
And so just to be clear, with those rotations,
are the individual factors still orthogonal
to one another, or is it possible to make
them --
Sam Woolford:
If you use an orthogonal rotation, they stay
orthogonal.
If you use a non-orthogonal rotation, then
you give up on that.
Okay?
And so you built in -- you know, if you believe
that the factors you’re dealing with should
be correlated, you might be better off with
a non-orthogonal rotation, but you’d be
doing it in an exploratory factor analysis,
not principal components.
Okay?
For most of the work you guys do, okay?
All right.
So if you really want to explore those, most
of the documentation for whatever software
you’re using, somewhere in it has an explanation
of those algorithms and what the intent is,
okay?
Or you can probably Google and find it as
well.
Okay.
So we’re still doing analysis of factors.
The next step of this is really the interpretation.
So, we had to pick how many factors do we
keep in principal components?
We had to say, how do we rotate them?
We rotate them because we want to interpret
them.
Okay?
That’s the whole goal, is you want a set
of interpretable -- a smaller number of interpretable
factors from the dataset that you started
with.
Okay?
So typically, we look at the factor loading.
So now we’ve rotated it, okay?
And so now we look at what variables have
high loadings on which factor, and we tend
to define that factor in terms of those variables.
So that gives us some way of trying to build
a story for each of the factors.
And that’s all it is, is a story.
It’s your story, what you think that factor
represents.
Okay?
Plus or minus .5, some of that is dependent
on how big your sample size is.
Higher sample sizes, you’d want it to be
higher.
Smaller sample sizes, you have maybe .5, something.
You’ll find a range in the literature.
But the loadings you’re looking at -- I’m
sorry, did you have a question?
Female Speaker:
Oh, you might be answering it right now.
Sam Woolford:
Okay, so the loadings that you’re looking
at are just the correlations between the variables
that you’ve measured, your observed variables,
and the factor.
So when you say that the -- you’re saying,
you know, if you’re cutting off at .5 you’re
saying any -- I just need a correlation of
.5 or higher, and I’m going to include that
variable in my interpretation of that factor.
But if it gets lower than that, then I’m
going to say well it’s not really a high
enough correlation.
I’m going to assume that it doesn’t really
have a meaning here.
That’s interpretation.
It’s rules of thumb.
There’s nothing significant, statistically
significant about that number.
There is a suggestion that .7 or greater,
plus or minus, is maybe a better measure to
use, assuming your sample size is high enough,
because being a correlation, if you square
it, it’s shared variance.
So if you square .7, you get .49, which is
roughly .5.
So you’re saying I’m roughly sharing half
the variance of this variable with my factor.
Okay?
So that means that they’re really kind of
-- that measured variable means something
about that factor.
Again, it’s a rule of thumb.
It’s not a hard and fast issue.
So the communalities that you pick up, the
communalities are just the squared correlations,
squared loadings added up, give you the shared
variance between the observed variables and
a given factor and I’ll show you an example
of that.
Okay?
Now one of the things you may decide to do
is that if you have a variable that has low
communality, meaning it’s not sharing a
lot of variance with any of the factors, it
may not be worth keeping it in the analysis.
So again, this might be a point at which you
say, I’m going to take that variable out,
re-run my analysis, see if I get a clearer
picture, because it’s still taking up space.
The same way, if you don’t re-run a regression
with, you know, once you’ve decided the
variable is not significant, right?
If you take it out and re-run the regression,
you get all different estimates for all the
other variables.
Right?
If you leave it in, it’s taking up oxygen
from the other variables, so you may not be
getting a true read of the coefficients.
Okay?
Same deal here.
Yes?
Female Speaker:
So you said before you used varimax correlation
[spelled phonetically], and then it automatically
will be clear which one is like --
Sam Woolford:
I didn’t say it will automatically be clear.
[laughter]
Female Speaker:
But there will be a larger -- you know, there
will be like the largest --
Sam Woolford:
The tendency with varimax is to try and only
load each variable highly on one factor.
Female Speaker:
Okay.
Sam Woolford:
Okay?
Female Speaker:
Okay.
Sam Woolford:
It doesn’t always work.
Female Speaker:
So there might not be any that are lower than
.5?
Sam Woolford:
Yeah.
Well, if there aren’t, then you’ve got
other problems, okay?
[laughter]
Female Speaker:
Because -- okay.
Sam Woolford:
Okay?
Female Speaker:
Okay.
Sam Woolford:
All right.
So now let’s look at the difference in exploratory
factor analysis.
So here, remember we said that the variance
of the variables can be decomposed.
So here, exploratory factor analysis tries
to account for that.
So it looks -- deals with the common variance
separately from the error variance.
Okay?
And so it’s only trying to model really
the communality.
And here’s the model.
Now, notice how different this model looks
from the last model?
First of all, the thing that you might notice,
the observed variant in the principal components
model, factor was on the left, the observed
variable is on the right.
Okay?
This simple thing to point to on this one,
observed variables are on the left and the
factors are on the right.
Okay?
So here we’re saying, we’re measuring
each of the measured variables that we observed.
So the X’s are what we observe, and we’re
saying we can come up with some smaller number
of factors which we don’t know, right?
We haven’t measured them.
But through this analysis, we can get values
for them in a way that they will add up to
all the individual variables that we already
have.
Notice that there an error term on the right.
This looks more like a regression equation,
right?
There’s an epsilon which accounts for all
the unique variance in the X.
Same way in a regression, the epsilon accounted
for the unique variance in the Y, right?
So these -- does everybody see the difference
in these models?
Completely different.
So when you’re using them, you’re getting
something very different, depending on which
one you use.
Principal components versus exploratory factor
analysis.
You get different results because you’re
measuring something different.
Okay?
Now, so there are some -- what you get out
of exploratory factor analysis is you’re
actually reconstructing all the co-variances
between the X’s.
So that’s an actual outcome and that’s
how the coefficients are determined here.
So under these assumptions -- and again, these
should look somewhat like regression-type
assumptions, so the X’s and the epsilons
standardized.
Okay, that just takes out an intercept terms.
We’re assuming that the epsilons have mean,
zero, and uncorrelated with any of the X’s,
right?
Standard assumption and regression.
We’re also assuming that the epsilons are
uncorrelated between X’s.
Standard assumption, right, in regression.
So I mean, we’re not pulling in anything
that you haven’t seen before but it’s
a very different model here.
Okay?
So you’re finding the same set of epsilons,
or same set of zetas, the factors, same set
of factors are working in all these regressions.
So it’s kind of, again, a really interesting
thing to think about to say that when we do
regression, we have X’s and Y’s.
Well here, we only have Y’s, and somehow
we’re estimating the X’s and the coefficients.
So that’s kind of cool.
So all the correlation that you get between
the X’s is mirrored -- is what is driving
the estimation of the parameters here, which
is not what drove the principal components
analysis.
It was all variance driven, not correlation
driven.
Okay?
So the objective here, find a small number
of common factors that explain the correlation
between the original variables.
Not the same as what we had as the objective
for principal components.
Okay?
So, the way we get that is instead of putting
ones on the correlation matrix, we take the
ones out and we put in the communalities,
estimates of the communalities.
And as you go through the algorithm to estimate
these parameters, it keeps replacing the diagonal
in that matrix with better estimates of the
communality as it refines the estimates of
the factors.
Okay?
And in SPSS, this is known as principal axis
factoring.
So when you get to that table, and I’ll
show it to you in a minute, when you pull
down and say, "What’s my extraction method,"
you have to go to the dropdown list and you
have to find principal axis factoring if you
want to run exploratory factor analysis.
If you just run it as is, you’re getting
a principal component analysis.
If you want to do it in Sass [spelled phonetically],
you actually have to put in an option for
a prior.
So you have to put in prior equal squared
correlation -- I forget, SC something or other.
Female Speaker:
Is it SMC, the squared multiple correlation?
Sam Woolford:
Yes, thank you.
Squared multiple correlation.
So you have to put prior equal SMC to get
the exploratory factor analysis results, not
the principal components analysis.
Okay?
So we call it exploratory, which could also
comply to principal components because we
oftentimes don’t really have a hypothetical
model in mind.
We’re trying to see what comes out, and
use that as guidance to create a hypothetical
model.
There are arguments around that, but that’s
not unusual.
Okay?
Recognize the difference between this and
a confirmatory factor analysis, though.
When you run exploratory factor analysis,
every variable has a loading on every factor.
Okay?
When you run confirmatory factor analysis,
you’re eliminating that from the situation.
So you’re saying I only -- I’m hypothesizing
that I can measure each factor with only the
important variables for that factor, and I
don’t have to use the rest.
And then what you test in a confirmatory factor
analysis is whether the statistics bear out
whether that worked or not.
Okay?
All right.
So, for the analysis -- and this is again,
a point of confusion -- once you get to saying,
okay, I ran exploratory factor analysis, the
things you do are exactly the same.
You still have to pick out, how many factors
do I keep?
Okay?
I used the same methods to determine how many
factors I should keep.
I still have rotations that I can use to help
me identify a better definition of my factors
or make it clearer.
Use all the same rotations.
All you’re doing here is trying to come
up with an interpretation that you can make
sense out of.
So you’re looking for, which one can I build
a story around best?
Okay?
Whether hopefully your story has some basis
in theory, but --
Female Speaker:
Sam, could I ask a question on the determining
number of factors thing?
This is actually kind of related to what I
was asking before.
When you’re looking at choosing number of
factors by percent variance explained, but
in this case the variance is not going to
be the total variance.
It’s not going to be sort of thinking about
.6 out of the total of 1.
Am I correct about that?
Sam Woolford:
Correct.
Female Speaker:
And so do we have sort of criteria or rules
of thumb?
Sam Woolford:
Well, you’ll still have a total amount of
communal variance.
And so, when you keep a certain number of
factors, you’ll still be keeping a certain
percentage of that communal variance.
Female Speaker:
Okay.
That’s been my confusion --
Sam Woolford:
Yes.
And so that’s what that is measuring in
this case.
Female Speaker:
So that still makes sense as a criteria, even
though you’re not explaining all variance?
Sam Woolford:
Right.
Okay?
So again, the rotations basically do the same
thing.
You have the same rotations to choose from,
and your interpretation, all done the same
way.
So once you’ve run whichever one you want,
the stuff you do after that is all the same,
whether you’re using principal components
or exploratory factor analysis.
Okay?
No difference there.
Okay.
So let’s look at an example.
I’m just going to run through an example
using SPSS, so you can kind of see how things
differ.
And while it’s still fresh in your minds,
and so I’m going to switch out of this presentation,
and we’re going to go over here to -- so
here’s a dataset that is actually prices
for bread, burgers, hamburger, milk, oranges,
and tomatoes in 23 cities --
Female Speaker:
We can’t see it.
Sam Woolford:
Oh, okay.
What did I have to do?
Female Speaker:
I think it’s on the other model.
Female Speaker:
Display?
Female Speaker:
-- PowerPoint in a slide?
I think it’s how you programmed it for it
to work.
Sam Woolford:
I didn’t.
Male Speaker:
Can you mirror it in the desktop?
Sam Woolford:
Okay, so we’ve got to do that again.
Female Speaker:
Mirror display.
Sam Woolford:
Okay.
I can see it fine.
Female Speaker:
Can you drag it across, like past your screen,
to either side?
Sam Woolford:
I don’t know.
All right.
Female Speaker:
It might be a second screen [spelled phonetically].
Female Speaker:
Yeah, there it is.
Sam Woolford:
Oh.
So what do I do?
Female Speaker:
Drag it.
You can change your display settings.
Sam Woolford:
All right.
Somebody guide me here.
Male Speaker:
Can you just pull on the top and drag it to
the right.
Sam Woolford:
Oh, okay, all right.
So open the SPSS screen.
Okay.
So let’s do that.
So we’ll do this one.
Click and hold and drag to the right.
Male Speaker:
Maybe the left.
Sam Woolford:
Left?
[laughter]
Sam Woolford:
Stand up, sit down, fight, fight, fight.
[laughter]
Female Speaker:
It's there.
Sam Woolford:
Yep.
Female Speaker:
The only reason I know is because I did this
very recently.
Sam Woolford:
Feel free.
Female Speaker:
Okay.
Female Speaker:
This is what they had to help me with yesterday.
Female Speaker:
Okay, it's there.
Sam Woolford:
Wow.
You got that up a lot faster than I would
have.
Yeah, we did this earlier.
Female Speaker:
So we don’t want to extend it anymore.
Sam Woolford:
No, right.
Duplicate.
Female Speaker:
There we go.
Sam Woolford:
Yup.
And then apply.
We had to do that for the -- yeah, let’s
keep changes.
Yes.
Okay.
So does that work?
Okay.
All right.
So here’s the data.
So this is just prices in some measures for
these five items in 23 cities.
Okay?
Now what I’m going to do is run this analysis
as a principal components analysis, then run
it as an exploratory factor analysis.
You can see how they differ.
You probably would never use this in an exploratory
factor analysis, but it’s useful to see
it demonstrates the broad difference.
All right.
So I’m just going to also, since I have
some cheat notes.
So if we go to run this, so in SPSS you’d
go down here to dimension reduction in factor,
and we’d pick these variables.
Okay.
Now -- so I’m going to go through the various
options here.
So we might want correlation -- well, we definitely
want a correlation coefficient, significant
levels.
Here’s our KMO and Bartlett’s test of
sphericity.
We also want the anti-image, and I’m going
to ask for the reproduced because we’ll
look at that in a while.
The anti-image of the correlation matrix is
where you get the individual variable sampling
adequacies, measures of sampling adequacy.
Okay?
So we’ll do that.
Now, let’s look at the extraction.
Notice the method up here.
Default, principal components.
If I want to run exploratory factor analysis,
here it is down here, principal axis factoring.
Okay?
[laughter]
So, I’m going to use the correlation matrix.
We’ll take a look at the Scree plot.
I’m going to -- initially, because we’re
doing principal components, and I want to
make a point, I’m going to use all five
-- there are five variables, so I’m going
to get five factors.
Okay?
So, we’ll continue.
Rotation, I’m not going to do any rotations
right now.
We’ll add that in.
I’m not going to save the scores.
I can do that.
I am going to sort the loadings by size, which
just makes them easier to read.
And so let’s run this.
Okay.
All right.
So here’s our correlation matrix.
What’s the first thing you check?
Female Speaker:
Whether or not our variables are correlated.
Sam Woolford:
Right.
So you’d want to just check across and make
sure that burgers are correlated with at least
one other variable at .3 or higher, same for
the rest.
So oranges is starting to look a little iffy,
right?
Just sneaking over .3 with tomatoes, but the
rest of them seem like we’re probably okay.
All right?
Milk also is maybe a little bit low.
So right off the bat, you should be kind of
identifying I could have some problems coming
up, and those are the variables you’d want
to keep track of, okay?
Here’s your Kaiser-Meyer-Olkin.
Yes.
I knew Olkin was the last one.
[laughter]
The KMO sampling adequacy, okay?
We said it should be at least .6.
It’s .66 so it’s adequate.
Okay?
Not great.
And here’s our test of sphericity, and we’re
going to reject at .05.
So that at least is doing what we had hoped.
All right.
Here’s your anti-image matrix.
So this anti-image correlation, the diagonal
elements here are your measures of sampling
adequacy for each variable.
So we said those should be .6 or greater as
well, right?
So you see, they all are.
If one of these had been below .5 -- well
we said they really need to be above .5, right?
-- If one of those was below .5, rather than
going any further, we should go back and take
it out.
It’s not help -- it’s not going to help
our analysis.
It may screw it up.
Okay?
So you want to do all this.
This is all kind of upfront.
Make sure, you know, you’ve got a decent
set of data to work with.
Okay.
Here’s our communalities.
The initial communality that’s used in the
analysis and how much was extracted in the
factors.
Now, remember I used five factors.
I had five variables.
So the factors are mirroring all the variance,
so that’s why these are all ones.
They should be all ones.
Okay?
And here’s the variance for your first factor.
Okay?
It’s 2.4.
The second one is 1.1.
The third one is .7.
The fourth one is .4.
The last one is .2.
If you all these up, what do you think they
add up to?
Female Speaker:
Five.
Sam Woolford:
Five, yeah.
Okay?
Because that’s what -- when you standardize
these variables, and add up all the variances,
you get five.
Right?
I’ve kept all the factors.
They should capture all the variance.
So if you add these numbers up, they add up
to five.
Okay?
And this shows you the cumulative percentage
represented.
So the first factor counts for almost 50 percent
of the variance in all five variables.
The first two captures roughly 71 percent.
After that, you’ve got to make an argument.
You know, you could argue, “Hey, I’d like
to keep 85 percent, even though one of my
factors isn’t capturing at least as much
of the variance as any one of the variables
did.”
It’s an argument that you can make.
It’s justifiable.
Okay?
And again, if you can -- it if helps the interpretation
at the end, you may decide absolutely I’m
going to keep it.
If it hurts the interpretation, you’re going
to decide absolutely I’m going to throw
it out.
Okay?
Because it’s all based on what you can interpret
in the output.
It’s not what any of these measures are
at this point.
So, this is what the Scree plot looks like.
There’s an argument that says you look -- a
good Scree plot has an elbow, right?
So if you looked at this, elbow is kind of
like right here.
So you take the number of factors up to the,
and including the elbow, and drop the ones
after that.
This is just a plot of the variance of the
factors against the factor number.
Okay?
So this is showing you where the factor variance
starts to level off, and it’s not very big.
These are the kind of bigger ones.
All right?
That’s the logic behind it.
If you’re dealing with a lot of factors,
oftentimes these Scree plots are really useless,
because they’ve got multiple elbows, and
they, you know, they move around and they’re
really hard to interpret.
Okay.
So here’s our loadings.
Okay?
And if you look at, for instance, this gives
you the loadings on factor one.
They call it component one because you’ve
run a principal component analysis, so they’re
trying to help you.
Remember what you’re looking at.
[laughter]
Okay?
It won’t say the same thing when you run
exploratory factor analysis.
So the correlation between burger and component
1 is .89, pretty high.
And if I get that out of there, .78, almost
.8 for tomatoes, almost .8 for bread.
So this looks like bread, tomatoes, and burger.
Okay?
You might say, “Well how would I interpret
that?”
Well if I told you this data was captured
by, let’s say, McDonald’s, okay?
So they may be tracking these food prices,
which have an impact on their business.
So this might make a lot of sense for them,
because this is kind of like the lunchtime
food index.
Right?
Then you’d say, "Well okay, what about oranges
and milk?"
Well oranges you get kind of mediocre loading
on one, and you get a big loading on two and
you don’t get much else loading on factor
two.
Right?
So factor two looks like an oranges factor.
So maybe that’s the breakfast index.
And then milk, well, you know, that covers
a wide range.
That’s breakfast, lunch, whatever, milkshakes,
all that kind of stuff.
So that’s on the third factor.
So it looks like we have three factors.
But if you look at it a little bit closer,
you see that, well this kind of cross-loads,
so I’ve got tomatoes on four and one, and
that’s kind of ugly, because I don’t know
how to deal with that and you might say this
is kind of a cross-load, but in opposite directions.
So it’s not quite as pretty an interpretation
as we might have thought.
Okay?
Now I'll show you one other -- so that’s
our interpretation.
Remember, we didn’t do a rotation.
We kept all the factors.
So this was all we had left was to interpret
the result.
I’ll show you one other piece here.
These are the reproduced correlations.
Yes, question?
Male Speaker:
On a per-variable basis, it’s all the variance
of each variable contained across the five
--
Sam Woolford:
Yes.
Male Speaker:
Okay.
You squared all those correlations?
Sam Woolford:
You’d add up to -- yes.
Okay.
Good question, and thank you for asking it.
I meant to say it.
If you look at the reproduced correlations,
notice that we were using the correlation
matrix.
We’ve kept all five factors, so we’ve
kept all the variances.
And if you look at the residuals here from
the original correlation matrix, there aren’t
any.
This only works because we kept all five factors.
Okay?
So we’ll look at the difference that happens
when we only keep the ones we want.
All right?
So, we’ve looked at this.
What conclusion might we draw here on how
many factors we might want to keep?
What do you think?
How many say two?
Notice how I led you in.
How many want three?
The twos have it.
Okay?
[laughter]
There’s just more to think about.
So let’s look at what happens if we only
keep two, all right?
So that would be equivalent to saying we’re
just using the eigenvalues here.
Okay?
So, I’ll let you -- I can send the data
and you guys can play with this at home if
you want to try the three-factor solution.
So let’s go back to what we ran.
Okay?
And the only thing we’re going to do here
is going to change the extraction.
So we’re going to base it on eigenvalues.
So if the eigenvalue is greater than one,
we’ll keep it.
And, I’m also going to rotate the result,
okay?
And I’ll just use the varimax rotation.
We’ll see what we get.
Okay?
You probably guessed, I’ve looked at this
before, so -- it’s a good lawyer that never
asks a question he doesn’t already know
the answer to.
Okay.
Now, notice up front here, did any of this
change?
Why?
Female Speaker:
This is a correlation.
Sam Woolford:
What does it depend on?
It only depends on the measured variables.
It doesn’t depend at all on what type of
factor analysis you’re doing, or how many
factors you keep or what rotations you run
or anything.
All these things that we looked at up here
apply to all the measured variables, so they
aren’t going to change.
When you change your extractions and all that
kind of stuff, they all kind of stay the same.
So we don’t need to look at that again.
Oh, I’m looking at -- sorry, I’ve got
to come down --
Female Speaker:
I think you forgot to save.
Sam Woolford:
Did I?
Okay.
Thank you.
See how it all looks the same?
[laughter]
So let’s see, let’s make sure.
All right.
So we did this.
So we need to just say --
Female Speaker:
Extraction.
Sam Woolford:
Oh, did -- well I was --
Female Speaker:
When you --
Sam Woolford:
Oh, I didn’t save.
Oh, okay, okay, okay.
All right.
So let’s go back.
All right.
So let’s look at extraction.
Yes.
Thank you.
Continue, and okay.
All right.
So all this stuff stayed the same.
So now look at -- when you look at communalities,
all right, why are these communalities less
than one now?
Because we’re thrown away some factors.
Okay?
So this is all the variance that’s measured
across those variables in those two factors
that we’re keeping.
Okay?
If we look at -- let me move this over.
Can you -- yeah, okay.
So, this is the same picture that we saw before,
right?
This was the same result that we had for the
first two factors when we looked at all five
factors.
But now, because of the rotation, what we
get is we’re shifting variance across the
factors, so we’ve extracted them, so we’ve
kept the same amount of variation in these
first two factors.
But now what the rotation does is it shifts
it to satisfy the algorithm in that rotation.
So now you see more variation is going into
the second factor, and we’re losing some
out of the first factor, in the hope that
we can interpret the factors better.
Okay?
And notice that the cumulative percent, because
it’s based -- the communalities stay the
same.
So the cumulative percent stays the same.
It’s still 70.1, same as we have right here,
in the first two factors, right?
The only thing that’s changing is where
that variation ends up.
Scree plot looks the same.
So the only thing, this is the same component
matrix that we saw before, but it’s just
the first two columns of it.
So this is the same as the five one, but we’re
just throwing away the first three.
Okay?
So all these numbers here, all these loadings
are exactly the same as the ones we saw, when
we ran all five.
Where it changes, are in these two.
So here’s our rotated components.
So now what we’ve got -- notice these are
now different than the ones above.
So we’ve still got bread, burger, and milk,
but we’ve also got tomatoes.
Okay?
Now it might even better represent burgers,
because what do you put on a burger?
You put a tomato on it, right?
Female Speaker:
[affirmative]
Sam Woolford:
And then you have over here oranges very highly
loading on the second factor, but you’ve
still got this cross-loading here on tomatoes,
so it’s not great.
It still could be -- we might try some other
rotations, and see if we can get rid of the
cross-load, okay?
Otherwise we’ve got to build a story for
it.
So I’ve built a story for you.
I’m a McDonald’s statistician, and I just
came up with a way to understand my first
factor and a way to understand my second factor.
Female Speaker:
They put tomatoes in the orange juice.
Sam Woolford:
They could.
They could.
I mean, you’d look at their menu and say,
"Why is this happening," and maybe you’d
come up with something.
But it’s all based on the story.
It’s based on the interpretation.
There’s nothing in the statistics here that
says any one of these rotations is any better
than one of the others.
Okay?
Now -- so if I do this now and I still have
-- if I square these and add them up, I’m
going to get the new variance for the first
factor, and if I square it up here, I get
the new variance for the second factor.
If I square them and add them this way across,
I’m going to get the communality for bread.
If I square them and add them across the factors,
I get the communality for burger, et cetera.
So everything that’s up higher, you can
generate out of this matrix.
Okay?
All right.
So now, let’s say what happens to this solution
if I run it as an exploratory factor analysis?
So let’s come down.
So I’m going to run exactly the same analysis,
but I’m going to change my extraction method.
So instead of doing principal components,
I’m going to use principal axis factoring,
which is my exploratory factor analysis.
Okay?
So let’s see how everything changes for
this same dataset.
And I do want to point out on other output
that I just -- so if I just go back up here
first, I wanted to look at this reproduced
correlations.
Okay?
Remember the one above we reproduced when
we had all the factors.
We could reproduce the correlations exactly,
right?
If I only keep two of the factors, notice
what happens.
Okay?
My residuals start to be sizable for some
of these.
And so, we find out that there’s 70 percent
of these residuals have absolute values greater
than .05, which is an indication that you’re
not capturing the covariance.
When you run principal components, you don’t
care because you’re not trying to capture
the covariance.
I just wanted to show you what happens.
Okay?
Now, it’s going to be important to us when
we run exploratory factor analysis because
we are trying to capture the covariance.
So again, we want these numbers to be smaller
if we run it through exploratory factor analysis.
Okay?
So now we go down.
Here’s the exploratory factor analysis.
Notice again, the top three outputs, so the
KMOs, the Bartlett’s test, the correlations,
the MSAs all stay the same.
They aren’t dependent upon what you’re
running.
They’re just dependent upon the data you’re
using.
So we’re using the same independent -- the
same variables.
Communalities -- now, notice the communality
here.
Initial communalities, that’s -- remember,
the other one started with ones, because it
was using the correlation matrix.
This takes the correlation matrix and replaces
the diagonal with an initial estimate of the
communality.
So it’s not ones now for the initial communality.
But this is the final communality, okay?
And if you notice, these numbers are a lot
smaller than the ones that we saw right up
here.
So, keep these in mind, .7, .8, .5, .8, .7.
All right?
So the lowest one was milk, about .5.
We’re thinking that’s still roughly enough
to keep it.
If we come down here and we ran this as an
exploratory factor analysis, look what happens
to milk.
Milk is so low you’d probably delete it
immediately, because you’re not measuring.
It’s not sharing anything with your result.
You’ve got 1.8.
The rest are, you know, you’ve got a couple
0.6’s and the rest -- you know, this one’s
pretty -- oranges is pretty low, too.
Okay?
Now, why is that happening?
It’s happening because exploratory factor
analysis only looks at the communal variance.
It only looks at the variance in common.
Principle takes the total variance, and shifts
it.
This is only trying to find factors associated
with the common variance.
The common variance is less.
Each of these variables have unique variance
associated with it.
That’s what’s not getting measured here.
That’s not what’s not getting included.
Okay?
So that’s why these numbers are all less
than one.
So if we look down here at the factors, again,
you notice that we kept the first two.
In this case, the second one doesn’t even
have an eigenvalue greater than one.
So we’ve kept one that -- it actually -- this
was the same as what you ran the principal
components, right?
So that’s your initial starting point.
But once you start running the principal axis
factoring algorithm, okay, this is what you
end up with.
The second one doesn’t have an eigenvalue
greater than one, so you might not keep this.
You might only use one in this case, or it
might be telling you that you just haven’t
measured this factor or this second factor
very well.
You need more variables.
Cumulative percentage is down to 50 percent
now.
Notice the rotated amount is still exactly
the same because the rotation doesn’t affect
the communalities.
It just shifts the variance around.
So in the rotated version, we get a little
bit closer to one, because we’ve stolen
some variance out of the first factor.
Now again, if I was doing this, I would run
every rotation I could to see if I could get
a result that might look better.
Okay?
But typically you find the other rotations
oftentimes are even more difficult to try
and interpret so -- but it’s worth a try.
Scree plot stays the same.
If we now go over and look at the loadings,
okay, you notice they’re different as well.
Now it’s called a factor matrix, by the
way, as opposed to the component matrix.
So there are some hints here, to try and make
you realize which one you’ve run.
Okay?
But you see that now we’ve got -- we’ve
still got a bread, burger, and tomato -- now,
well, it’s different.
Before we had -- well yeah, these are the
ones we had before, I think.
We don’t really have anything loading very
highly on the second factor, so the second
factor you could almost argue here is not
measuring anything.
You could make an argument, it would be a
pretty weak one, for oranges, because the
loading is so low.
Okay?
I mean, you’re rounding it.
You get to .5.
But, you know, it might be good for exploratory
research purposes but it’s probably not
going to get you a paper.
Okay?
So you can see the drastic difference in the
two ways that you run this.
Now which one would be more -- oh, and then
if we look at the reduced correlations, remember
what happened when we had only the two factors
in the principal components, and we had 70
percent of the correlations were not reproduced
well.
Right?
Look at it here.
When you run exploratory factor analysis,
none of them, none of the residuals are greater
than 0.05.
So again, different model, different objective.
We’re reproduced all the co-variances here
in exploratory factor analysis.
We didn’t come close in principal components.
Completely different result.
Okay?
And here’s your rotated factor matrix which
is loadings if you rotate it.
And all this does for us is again makes tomatoes
look like it’s almost cross-loading, but
gives us a hint of a factor for fruit and
vegetables.
Well, it’s actually fruit because tomato
is a fruit and not a vegetable.
And then it has, you know, a hamburger factor.
Okay?
So the reason I did this was so that you could
see at the same time because typically you
would never do this, because you have in your
mind, when you start an analysis, which of
these two methods you’re going to use.
But I wanted to give you a picture of how
different the results are.
So if you’re trying to build a scale, you
do not want to be using principal components
analysis, because that’s probably not what’s
going to drive a confirmatory factor analysis.
You really want to understand the common variance
that’s in the latent constructs that you’re
trying to measure.
So that’s why oftentimes, if you use principal
components and you expect the results to look
a certain way, and then you put it in the
confirmatory factor analysis based on that,
and you find out it falls apart, and it’s
not supported, and you think, “Oh, what
the hell did I do?” and that’s the reason,
is you ran the wrong analysis to generate
your hypothesis, so your hypothesis didn’t
hold when you got to the confirmatory factor
analysis.
Okay?
So I’m going to stop here because I know
you guys are all probably fading into oblivion
and -- because I only had a few more slides
on just tying this to confirmatory factor
analysis, but we can -- I’m sure you’ve
heard enough for now.
So any questions that we haven’t hit along
the way?
Anybody?
It’s all clear now, right?
Clear as mud.
Yes.
Male Speaker:
Will we get a copy of the slides?
Sam Woolford:
I can provide a copy of the slides, absolutely.
Female Speaker:
That’d be particularly helpful for Holly
and Theresa on the phone.
Sam Woolford:
Okay, yep.
No, I will email those to you.
You can distribute them.
Okay?
Great.
Thank you guys all for being here.
[applause]
Now if I can get my computer to ever work
the same as it did when I walked in here today.
[laughter]
There are some other issues if you try and
use -- SAS has some ugly output for, I think,
exploratory factor analysis.
You get negative eigenvalues and things that
you have to interpret.
So I think the SPSS output is a lot easier
to kind of get in line with.
But if all you have is SAS, read the documentation.
[laughter]
That’s all I’m going to tell you.
It’s there somewhere.
Male Speaker:
Can I ask a question?
Sam Woolford:
Yes.
Male Speaker:
Explain to me AMOS [spelled phonetically].
Sam Woolford:
Well, AMOS is a component now -- it always
was a component, I think, of SPSS.
When SPSS owned it, you had to buy it separately.
You still buy it separately, but it’s all
through IBM, and they’ve actually embedded
it on the analysis dropdown, the analyzed
dropdown -- yeah -- and you can still use
it independently.
I’m not sure if you need the base SPSS system
to hold the data file.
Typically, AMOS is oriented more toward confirmatory
factor analysis and structural equation modeling
so typically what AMOS is very facile for
is that if you have, let’s say, the output
of an exploratory factor analysis.
So you’ve done -- you’ve collected your
data.
One of the other things we didn’t talk about,
but if you’re going to move to confirmatory
factor analysis, there are constraints on
the number of variables that you need for
each factor so if your initial analysis, or
if your initial data collection, if you said,
"Well I’ve got this factor that I think
I’m just going to measure it with two variables,
and then I want to create a scale," you may
be shooting yourself in the foot, because
you may get to confirmatory factor analysis,
and there’s a condition under identifiability,
where you don’t have enough measured variables,
indicators for all the factors to estimate
all the parameters, because basically when
you get to confirmatory factor analysis, what
you’re doing is equating the covariance
matrix.
So now we’re not doing correlation matrices
anymore.
We’re into covariance matrices, and you’re
linking the model that you hypothesize so
that creates a theoretical set of covariance
matrix, and you’re equating that to the
actual covariance matrix from the data, and
that’s how you estimate all your parameters.
So if you don’t have enough indicators for
each of the factors, you may have created
a situation where it can’t estimate them
all.
So you won’t be able to get a scale.
Assuming that you have all that, it’s easy
to build that model in AMOS, because it has
a gooey interface where you can actually draw
out your model, put in all your indicators,
easily attach the data from your data file
into that to make sure you’ve got your model
specified correctly, and then it goes through
all the different -- now we’re into a statistical
model as opposed to a descriptive model, and
when you get into confirmatory factor analysis,
there are statistical tests.
There are also a lot of rules of thumb, because
normally the statistical test isn’t satisfied.
That’s another discussion.
[laughter]
But you still get a number of tests on parameters
and things like that that you don’t get
in factor analysis.
And what you do, you might take the result
of an exploratory factor analysis.
When you move it to confirmatory, each factor
in exploratory analysis has every individual
variable loading on that factor.
When you move it to confirmatory factor analysis,
you are definitely making a hypothesis that
I only need to keep some smaller group of
those variables on the first factor, and that’s
going to measure the first factor well enough
for me, and I can put a different set on a
second factor and third factor, and I can
let them all be correlated, whatever, and
that will all be supported by the data.
So you’re really doing a test in confirmatory
factor analysis to say, does the data really
support a more definitive model than what
you’re generating in a pure factor analysis.
Okay?
Female Speaker:
Great.
Thank you all very, very much.
Male Speaker:
Thank you.
Female Speaker:
We are going to literally put this up eventually
on Genome News, where there’s educational
prompts and things, so if you want to go back
to it and listen to it, it will be freely
available --
[end of transcript]
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>> Andy: FUTURE OF SPACE IS
>> Andy: FUTURE OF SPACE IS
LOOKING BRIGHT AFTER A
SUCCESSFUL TEST LAST NIGHT BY
SPACEX.
>> Lisa: TEST INVOLVES
SUCCESSFUL HOP.
CHANNEL 2 WAS ONLY HOUSTON
STATION THERE TO WITNESS IT.
CATHY HERNANDEZ IS LIVE AT
JOHNSON SPACE CENTER.
WHAT DOES THIS TEST MEAN FOR THE
PROJECT?
>> Reporter: IT MEANS A LOT.
IT WAS THE TINY HOP BUT HUGE
STEP FORWARD TO SENDING TOURISTS
TO SPACE.
>> HISTORY!
>> Reporter: HISTORY SPACEX
SUCCESSFULLY COMPLETED ITS
HIGHLY ANTICIPATED STARSHIP,
PROTOTYPE 150-METER HOP TEST
YESTERDAY.
PEOPLE IN BOCA CHICA AND SOUTH
TEXAS WATCHED ANXIOUSLY.
>> IT GOT SO QUIET AND THERE’S
ONE GUY TO MY RIGHT, HE SAID --
[INDISCERNIBLE]
>> Reporter: THE PROTOTYPE WHICH
LOOKS LIKE A TIN CAN HOPPED
NEARLY 500 FEET IN THE AIR
BEFORE COMING BACK DOWN LANDING
ON ITS LEG.
ON ITS LEG.
IT WAS POWER POWERED BY A SINGLE
ENGINE.
>> NOW THIRD TIME THE CHARM.
IT’S UNREAL.
>> Reporter: THIS TEST SHOWS
OPTIMISTIC FUTURE TAKING PEOPLE
TO THE MOON, MARS AND BEYOND.
THE FOUNDER OF SPACEX, ELON MUSK
SAYING MARS IS LOOKING REAL.
PEOPLE ARE TAKING IN EVERY
MOMENT.
>> WE TOOK ANOTHER HOP IN
HISTORY.
>> Reporter: WHEN WE SAY TINY,
WE WANT TO GIVE YOU AN IDEA.
IT WILL TAKE 35 MILLION MILES TO
TRAVEL TO MARS.
STILL THERE’S HOPE AND THE
MISSION CONTINUES.
REPORTING LIVE AT THE JOHNSON
SPACE CENTER, CATHY HERNANDEZ,
KPRC CHANNEL 2 NEWS.
>> Andy: AS LONG AS THERE’S
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So, aunt. Where's your Arnav?
Aditya.
Exactly. Where does he live?
In my heart.
Great! Does he go for latrine
in your heart?
You won't wear anything
that will expose your body.
You're overreacting.
Because you've become over-smart.
We should be confident enough.
So much?
To hell with the world.
I don't have much time to waste.
He will leave you.
"Like the Boomerang.."
"..that moves fast."
"Like the Boomerang.."
"..that rewinds."
"Like the Boomerang.."
"It also come back.."
Why did you take so long
to pick up the phone?
- "..to the disco again and again."
- What's your problem?
That you're a girl.
"To hell.."
"..with you.."
"These drunkard girls are so freakish."
"Number one trickster they are."
Aaditya and I always met in here.
And then he proposed me
on the night of 31st.
And he screwed you on that night.
Emotions overpowered us..
..and we lost our self-control.
You can never control your heart.
She has made you ashamed.
An hour..
She has been crying past one hour.
Leave it, aunt. Leave that topic.
Mati. Never be selfish in friendship.
Find the meaning of that friendship.
There's a cage in which we are caged.
And there's another cage in which
we've entered on our own.
If we are caged, break that cage.
And if we've entered on our own
then we must leave that cage.
"It's the girls' time now."
"Boys have gone haywire."
"Look at the new leadership of woman now."
This is the first beer of my life.
I'm very much excited.
"Listen to them quietly.
This behaviour is just not right."
"All you boys, just get this straight."
Mom got angry.
Who did you say mom?
To you.
"Do not comment without any reason."
This will happen if we enter..
..in each other's space.
Have you ever fallen in love?
This is my freaking life.
"Listen to them quietly.
This behaviour is just not right."
Boys tag labels to such girls
who like sleeping.
Boys, whose intellect and size are small,
tag such labels.
"I'm a stylish image."
"My DP gets thousands of likes."
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Hey guys, it's Olivia here from Olivia's Catastrophe. Today I'm so excited because I'm
here to give you my Australian book haul.
So while I was in Australia I was still
on my year-long buying ban. So I didn't
actually buy any of these books myself
but lots of publishers and lots of you
guys were really nice to me so thank you.
And I can't wait to talk about these
books because I'm so excited! I've read a
few of them as well. So first of all we have Children of
Virtue and Vengeance by Tomi Adeyemi. And this was gifted to me by Madisyn
from Madisyn Green. She is a great booktuber and a good friend of mine so thank
you so much Madisyn for getting this for
me for my birthday. Because that's one I
really wanted but I was on my buying ban.And I read
it and I loved it! In the first book we
find out that we're in this world where
magic no longer exists. It was killed out
by this king who was reigning over the
land and is abusing a minority who used
to have magic. But there is a chance that
magic has come back and it falls to this
one girl to maybe change the paths of
everything. It's such a good series. I
definitely recommend it and I just loved
this sequel so much. Then I was kindly
sent two books by Sydney from Sydney
stories so thank you so much Sydney. As
well, again, another good friend of mine. And she got me A Sorcery of Thorns by
Margaret Rogerson which is very shiny,
and I'm currently reading this now if
you can't see that bookmark there. So I
can't really tell you much of what it's
about because I kind of wanted to go in
know nothing seeing as I loved this
authors debut novel so much. And all I
know is that we live in this world where
books come to life and they have their
own consciousness. And they are very very
dangerous. There's magicians who live in this world
as well sorcerers, I believe. And
everybody thinks they're very evil and
dangerous and should not be messed with. We have our main character, Elizabeth, who
is a 16 year old girl who wants to
become a warden. Who basically looks
after the books and protects them. But
when something happens she has to pair
up with a sorcerer so that they can do
something... I think it's a quest. I don't
really know, I didn't want to know too
much which is why I don't really know.
She also got me Rebel by Marie Lu and
this one is a continuation spin-off
series to the Legend series by Marie Lu
which I absolutely raced through and
really enjoyed. So in this one we
follow Day's younger brother,
and he is in Antarctica. And that's all I
know.
I really don't look at synopses when it's a
spinoff of a series that I like, or by an
author who I like the other book by. Just
because I want to go in knowing as
little as possible and be surprised. And
then I entered Jenniely's giveaway and I
won Six of Crows by Leigh Bardugo. I'm
glad I finally won this one because it
means I can finally get to my copies of
Crooked Kingdom and King of Scars
because I totally bought this series out
of order. All I know about this book is
that it has a wonderful array of
characters who are underdogs and not
actually the ones you should be rooting
for. And they are trying to pull off a
heist together. It's still set in the
Grishaverse. Not sure about where in the
timeline, but again, it sounds like it's
gonna be a lot of fun. And I'm hoping to
read it in April. Then while I was in
Australia I made a connection with
Bloomsbury publishing, and they very
kindly sent me quite a few review copies.
So let's talk about those books and the
first of which that they sent me was A
Heart So Fierce and Broken by Brigid Kemmerer. This is -- just -- it meant so much to
me because I read and absolutely loved A Curse so Dark And Lonely which I buddy read
with Jade from Jaded Reader. Bloomsbury Australia
came through for me and I read this book
in December. It made my favourites of 2019
lists and I have not stopped shouting
about this series. I absolutely adore it. It's a beauty in the beasts retelling
series and it starts in the first book
where we follow Rhen and Harper. Rhen is a
prince who is cursed to turn into a
beast every season, and he can only
break the curse by falling in love with
this girl -- a girl. However, it's not really
working out for him and he sends his
guard over to the real world, because he
lives a fantasy world, to kidnap a girl
to come back and see if it will go well.
He ends up trying to kidnap someone else,
ending up with Harper. And that's the way
this story begins. It just goes from there
and it's absolutely fantastic. Then they
also sent me the entire miniature
edition of the Throne of Glass series
and I have been reading them and feeling
some type of way about them. But mostly,
mostly good. I have my review thoughts for
Throne of Glass up in a video where we
play Ember of Ashes and also discussed five reasons to
read the book. I've read Crown of Midnight and Heir of Fire. And you'll see my
thoughts of Heir of Fire in my March wrap-up.
I still need to get to Queen of Shadows,
The Assassin's Blade, Empire of Storms, Tower of Dawn and Kingdom of Ash. Quite a
big series but I actually really love
these cute little miniature editions.
Next up we have the illustrated edition
of Harry Potter and the Goblet of Fire.
If you're new to this channel we know how
I feel about Harry Potter around here...
It's not too positive. But I will look
through the pictures and then probably
find a home for this with someone who's
going to love it more than me. But thank
you Bloomsbury very much for sending it my way. Then Bloomsbury asked me if I do read
middle grade and I in fact do, but I try
to stick to only diverse middle grade.
And they sent me Some Places More Than
Others by Renee Watson and also The
Space We're In by Katya Balen. Both of
which were new favourites for me. Five
stars. So Bloomsbury definitely did very
well with giving these ones to me. So
Some Places More Than Others follows
this young girl and she has a project to
learn more about her family. She has a
sister on the way and she also wants to
go to New York with her dad and just
explore the city. However, she finds out
that her dad and her granddad don't talk
anymore and they stopped talking on the
day she was born. So she feels like she
could have something to do with it. And
when her dad agrees to take her to New
York with him she wants to try and get
them to reconcile their friendship, their
camaraderie. I really liked how this was
such a celebration of black history and
black culture and black themes. And if I
grew up with this book I would have been
so so happy. And then we have to talk
about The Space We're In by Katya Balen
which was an emotional turmoil of a read
for me. In this one we follow Frank who
is this 10 year old boy and he has a
younger brother called Max, who is a
severely autistic. Max can't deal with
certain colours, foods textures, sounds. So
the whole family is kind of catered
towards caring for Max. But Frank as an
older brother still has needs and also
needs attention. The mum is a
stay-at-home mum and you see her very
frazzled by needing to care for her son
all the time. And then the dad is off of
work. However, tragedy strikes the family and
it's about them trying to
deal and cope with that. It was a
phenomenal book. It's beautifully written. It's got some lovely illustrations and
after the halfway point I was an
emotional mess throughout the whole
thing. Something happy happened, I was an
emotional mess. Something sad happened, I
was an emotional mess. I was just all
over the place. Definitely, definitely
recommend this one. In January and
February I went through my nonfiction
phase and that's when they sent me A Woman Like Her by Sanam Maher. And then
also Rage Inside the Machine which is
by Robert Elliot Smith. So A Woman Like
Her follows this beauty youtuber who was
talking -- who was Muslim and talking a lot
about beauty standards and feminism. And
she was killed by her family members
because they said that she was bringing shame on the
family. And then this one is all about AI technology and where we're going in
the future. Whether that's a good thing
or a bad thing. We don't know. So this one
sounds like it's gonna be very emotional
when I get to it. I'm looking forward
to it but I'm also trying to be in a
good place before I read it 'cause I know
I'm gonna feel angry. I know I'm
gonna feel emotional. And then this one...
I'm also reading it because of my
writing project which involves AI and
technology. So I've been reading quite
a few of that. And I'm looking forward to
getting to this, to help me with my
writing. So there's two books. And then
the last one sent to me by Bloomsbury is
A Guinea Pig's Nutcracker which is just a
cute little picture book about guinea
pigs retelling the story of the
Nutcracker. It was so adorable. Right
before I left I started to form a
connection with Panmacmillan Australia
and I would like to talk about the four
books that they sent me. So the first one
they sent me was The Other Bennet Sister
by Janice Hadlow. And this was a book
I was very excited to read as anything
Jane Austen inspired I am so so so
intrigued by. This one follows Mary
Bennet who is the last sibling to be in
the Bennet house but unmarried. And she
is trying to find her own romantic story
and her own happy ending. I did talk
about this one in my March wrap-up so if
you want more of my thoughts on the book
please do you head over there. They also
gifted me at The Mercies by Kiran
Millwood Hargrave which is a witchy,
witchy trials book. Which is set in the
past in Norway and
Finland. And it's about these two women
who are caught up as these men try to
find all the witches in that small
little village. I, again, talked about this
one more in my March wrap-up so if you
want to hear about the past two books
that's where you really need to be. After
this video of course. On the day that I
left Australia The Sin Eater by Meghan
Campisi came through. And it's an
absolutely beautiful book and it follows
this character who lives in this world
where she commits a crime and she has
been deemed as the villages Sin Eater. They are exiled from the town and they
eat the sins of the town. That's... that's
what I have heard about this book. And
she gets to hear everybody's sins, I
believe. And when she's doing that she
figures out there's a bigger conspiracy
underlying this community than she
expected. That's what I've gone from it so far. I
am very much intrigued. I'm looking
forward to giving it a go. And lastly
unsolicited they sent me Ember Queen by
Laura Sebastian. I do wanna mention it's
unsolicited because I have not read Ash Princess or Lady Smoke and I do not own
them. I'm now in a non-English speaking
country so I don't know when I will be
able to get to them but I will at some
point and try this series. 'Cause it did-- it
was on my radar but I just haven't
had the chance to go on that
journey yet. Next up I like to talk about
some books that were gifted to me by
friends of mine. And the first is Beloved
by Toni Morrison which was gifted to me
by Fey. Fey is a good friend of mine and
we kind of bonded while I was in
Australia but they also go to my
University. They feature in my five
reasons to read Throne of Glass ft
playing Ember of Ashes video so definitely
check that out if you want to put a face
to the name. But yes, they got me Beloved
for my birthday. Again, I didn't read up
too much on this one but I know it's set
in the mid-1800s and it follows this
couple who are about to have their whole
world torn apart as a tragedy
occurs to them. And that's all I know.
That's all I want to know because I
haven't read a Toni Morrison book before
but I know I know that I need to! Then we
have No Friend But The Mountain by
Behrouz Boochani. And this was gifted
to me by the au pair family I worked for
as it was my 21st birthday when I was
with them.
This is a nonfiction that follows
Behrouz himself, it's autobiography. And
it's about him as he attempts to enter
Australia as an immigrant and is denied entry. Not
denied entry but is just straight away
placed in a detainment prison. And it's
about his life there and his experiences,
and the abuse that all the prisoners
receive in those conditions. It was a
hard-hitting book and it melded prose
and poetry very well to tell this story. There were so many aspects of it that I
really did enjoy and I'll link the
correct wrap-up... I believe it's my February
wrap-up... where I talk about this one more. Might be my January wrap-up. Who knows?!
And then last but not least we have
Stories From Arendelle: A Frozen story.
These were gifted to me by the
three-year-old child that I was looking
after as an au pair. He got home from
school that day and he gave me this book.
He'd gone to the free little library
because he knew that I loved reading, and
chosen out a book to give me on my
departure day. And that was the sweetest
thing ever. So thank you Clancy. Then we
have two indie authors who sent me their
books for review. The first one is
Odell's Fall by Norman Bacal. And
I've already read this and talked about
this in another wrap-up. But I rated this
one 5 stars. It's an Othello retelling
set in the modern day, and set in a law
firm. I feel like it did a very good job
of retelling the story of Othello and
keeping the familiar storylines, tropes
and elements to the book. While also
taking it in a new direction and making
it entirely its own. So it was
unpredictable. It was such a good
thriller. I was excited all the way
through. And I just needed to know where
this book was gonna go. So so so good. I
will again link my review also on my
blog for that too. And then I also had
That Asian Kid by Savita Kalhan. And I
have another review for this on my blog. It
is in -- it is set in a secondary school
and it follows our Indian protagonist
who is used to getting good grades but
there is this one English teacher who
gives him bad grades. And he believes
that she is racist and nobody else quite
believes him. But when he's walking in
the woods one day he finds that teacher
doing something compromising and he
films it on his camera. He then has the
important decision that he has to make
for himself: whether he should expose his
teacher and
we get her fired or if he should
continue to bear the brunt of this
racism that nobody else believes is
happening except himself. It was a very
good exploration of racism and how it
might manifest in the modern day, in
other ways and what it's like with the
teacher / child dynamic. I feel like it did
that very well and we've got some very
good discussions of representation going
on here too. And then last but not least
we have three books that I had to buy
for classes this year. Buying ban...
required reading for uni doesn't count. The first is The Art of Fiction by David
Lodge and I had to buy this for my short
story writing class. I've read snippets
of it because we just have to read
different chapters every week out of
order. But I have heard that this is one
lots of writers say is so beneficial to
them so I'm actually glad I have it. And
for every chapter that I read I learn
something new about writing that I think
it's actually quite key to know. So I do
recommend it and I do think it's gonna
help me with my writing a lot. Then we
have Australian poetry and this is just
a big anthology that has been composed
by John Kinsella. And I do like
Australian poetry, so far what I read of
it and I need to read most of this big
chunk for class. So we'll see how that
goes. And last but not least we have Joe Cinque's Consolation by Helen Garner.
Which I have already talked about
extensively in my March wrap-up so I'll
leave it there. It wasn't quite one for
me. It's a true crime based on this
horrific crime that happened in
Australia. And it was quite a shock to
read about and learn about. But yeah,
don't quite recommend it but I do
recommend finding out more about the
case. Whoa! There we have it. Those are the
30 books that I got while I was in
Australia. Please let me know in the
comment section down below what is the
latest book you've bought, received or
acquired recently. Please give this video
a thumbs up if you enjoyed it, hit the
subscribe button if you want to see more
and don't forget to hit that
notification bell to be updated every
time I have a new video. And you know
what they say: onwards and upwards. Excelsior! In this one we follow... Whoa, let me
just organise this... I still need to get
to Queen of Shadows, The Assassin's Blade...
Excuse me, I'm trying to film here. So rude!
I didn't even count, guys. 1, 2, 3, 4, 5, 6, 7...
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(Marcia does all the talking here)
Einstein, what color?
Green.
Green.
What color?
Red.
Red.
What color?
Orange.
Orange.
Orange.
Red.
What color?
Red.
What color?
Yellow.
Ooops. You´re a good boy.
What color?
Green.
What color?
Green.
What color? Look here. What color?
Purple.
Purple.
Purple.
Good!
What else do we have over here.
Orange.
What color?
Orange.
Orange.
All done?
You´re all done with colors?
All done?
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Peter Singer: Because the majority of you are here
because you have a concern with people
with cognitive disabilities, those
who are working with people with
cognitive disabilities, or those who
are the care or the relatives of
people with cognitive disabilities
will say, "well, that's not like the
people I work with or care for". That's
true. And obviously the questions
get more complicated once we move to
issues about mild disability and so
on. But, let me say, these are the
people that I'm focusing on when I'm
talking about those with cognitive
disabilities. For the moment, I have in
mind those with profound mental retardation
as defined here and later we will have
time for discussion.
It's simply speciesism in nicer terms
to say, "Just being a member of the
species homo sapiens, just being born
with human parents, gives you moral
worth and dignity." I don't see that
the argument is really different from
a white racist saying, when it comes
to a question about how one should
treat people of different races,
"well, whose side are you on? We're the
ones who are doing the judging here.
Why don't we simply prefer our kind
because it is our kind?" I don't
think we can rest on species membership
and such, and say that's some sort
of biological thing that we all have in
common and that's why we're entitled
to give ourselves a superior status
to those who are not members of our species.
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English:
Salut YouTube today I have got a
special guest with me my lovely friend
Daniel from Colombia! We're coming
at you today with an interesting video
which is ten tips for working in France
with French colleagues we've a lot of
industry experience let's say between us I've done videos on culture shocks
and in the workplace and stuff but in
this video it's really about like ten
practical tips that we can give you that
will make working with French colleagues
a lot easier. So the first thing would be
hierarchy, a huge concept here in France
something we need pay attention to so
the first thing is be careful about VOUS
vs. TU - here in France this is very
important it's a good thing I would say
don't get too familiar with people too
quickly just give them some time like if
you see a senior manager in the hallway
you're not you're definitely gonna be
French:
Salut Youtube! Aujourd'hui j'ai un invité spécial avec moi, mon charmant ami Daniel de Colombie.
Nous vous présentons aujourd'hui une vidéo
sur les 10 conseils à suivre pour travailler en harmonie avec vos collègues français.
Nous avons tous les deux une expérience en la matière. J'ai déjà fait des vidéos sur les chocs culturels
et au travail mais cette vidéo est vraiment focalisée sur les 10 astuces pratiques que
nous pouvons vous donner pour vous permettre de travailler avec des collaborateurs français plus facilement.
La première chose à appréhender ici est la hiérarchie. Un véritable concept ici en France
auquel il faut prêter attention. La première chose à faire est de faire attention au vouvoiement.
C'est très important en France.
Ne soyez pas trop familier avec vos homologues trop vite. Donnez leur du temps.
Si vous voyez un manager un peu senior dans un couloir, on ne s'attend pas à ce que vous lui disiez
English:
like hey Mark, how was your weekend? How are the kids? Like no no no. Never speak
about personal matters, at least not at the beginning. Also, before getting connected or introduced with other
people just ask your manager this
authorization it's like when you're
sending an email in France they may not
respond to you if they don't know who
you are and you don't have someone with
more power and heirarchy in copy
Just respect that there's hierarchy and keep the distance accordingly. So the second
one which is a struggle for me is about speaking during meetings
meaning basically the rule is that if
you don't speak during meetings you
don't exist. With the French like love of
discussion
and debate in meetings and stuff if you don't raise your voice if
you don't have an opinion if you don't
like put your idea out on the table you
might as well not even be in the meeting
I remember one of the first managers I
French:
"Hey Marc! C'était bien ton week-end? Comment vont tes enfants?" Jamais! Ne parlez
pas de choses personnelles, au moins au début. De plus, avant d'être présenté à quelqu'un,
demandez à votre manager son autorisation.
Quand vous envoyez un emai en France, les gens de ne vous répondront pas forcément si ils ne savent pas qui
vous êtes et si quelqu'un de plus important n'est pas en copie de l'email.
Respectez la hiérarchie et gardes vos distances en conséquence.
Le deuxième point qui était difficile pour moi était de parler en réunion.
La règle est que si vous ne parlez pas pendant un meeting, vous n'existez pas.
Comme les français adorent les discussions et les débats
en réunion, si vous n'intervenez pas,
si vous n'avez pas d'opinion, si vous ne mettez pas vos idées sur la table,
vous feriez aussi bien d'être transparent.
Je me souviens d'un de mes managers
English:
have here in France that said once well
if you don't speak if you don't ask
questions during a meeting then you were not part of this meeting - you weren't even there
So the third thing is definitely
respect the line between personal life
and professional life you have to keep
the conversation very factual you maybe
you talk about how you get to work or
you talk about the weather or general
politics or current events but you
definitely just don't go in there and
ask your boss or your colleagues like
are you married you have children like
you know this kind of things that can
be seen as very personal and you've
got to respect that in also which is
really surprising here in France that
you never invite colleagues to your home
True! In the last four years
I can't even remember how many times
I've been to actually invited around to
a colleague's house maybe twice
you were lucky, once in my case and I've been here longer than you!
French:
que j'ai eu en France qui m'a dit que si on ne dit rien et ne pose pas de question
pendant un meeting, alors on n'en fait pas partie, on n'est même pas là.
Le troisième point à respecter
est la frontière entre la vie perso et la vie pro.
Il est de bon ton de garder
sa conversation très factuelle. Vous pouvez parler de comment vous vous rendez au travail,
ou de la météo, ou de politique assez général, des évènements en cours,
mais il est beaucoup moins bien vu de demander à votre chef ou à vos collègues
si ils sont marriés et ont des enfants, ou ce genre de choses qui sont
considérées comme très personnelles. Il faut respecter ça.
Ce peut être assez déroutant en France, mais on n'invite jamais ses collègues à la maison.
Oui c'est vrai! En quatre ans, je ne me souviens même pas d'avoir
été invitée plus de deux fois chez un collègue.
Tu as de la chance! Dans mon cas ça n'est arrivé qu'une seule fois et je suis là depuis deux fois plus longtemps!
English:
The point here is basically don't
take offense if people don't seem
interested in your personal life and
don't maybe ask them too many questions
and don't expect you know for your
colleagues to come right to your house
and for the two worlds to overlap like they may do in your culture because here
it's not really the done thing and it's
quite exceptional
So relationships here in France may take
some time so please take advantage of
every single free minute you have to
approach people and to build a relationship
with them. So typically here in France we
have the pause cigarette which is
a break whee people go outside o smoke
so if you're a smoker please do that
and enjoy it - go! - because this is the time to get to know other people
We have the pause déjeuner which is the lunch break and also pause café
coffee break so these are good
opportunities to connect people that
this is actually work time yeah exactly
like every minute that you invest in
French:
Mon propos est qu'il ne faut pas être offensé par le fait que les gens ne sont pas intéressés
par votre vie personnelle et ne posent peut être pas trop de questions.
Et ne vous attendez pas à ce que vos collègues viennent chez vous tout de suite et à ce que les
mondes personnels et professionels ne fassent qu'un comme ça pourrait être le cas dans d'autres cultures.
Ce n'est pas ce qui se fait en général et c'est assez exceptionnel.
Les relations en France prennent du temps donc profitez de chaque
occasions que vous avez de connaître quelqu'un un peu mieux pour construire une relation avec eux.
Ici en France, il y a la pause cigarette
pendant laquelle les gens vont à l'extérieur pour fumer. Si vous fumez allez-y!
C'est un bon moyen de connaître les autres.
Il y a aussi la pause déjeuner et la pause café.
Ce sont toutes de bonnes opportunités de connecter avec les gens
- pendant le temps de travail.
- Exact! Chaque seconde investie
French:
dans une relation rendra vtre vie plus simple à l'avenir
lorsque vous aurez besoin de collaborer sur quelque chose ou d'assistance sur un point en particulier.
Si vous ne connaissez pas quelqu'un, il peut être très difficile
de collaborer et de leur faire sacrifier leur temps de travail pour vous aider.
Mais si la personne vous connaît, si vous avez déjà établi un lien assez fort,
ce sera beaucou plus facile.
Il faut gagner la confiance des gens.
Le prochain point que nous voulions aborder est celui de l'ambiguité, du manque de clarté, comment le gérer.
Ca se révèle particulièrement pendant les réunions en France.
Les choses ne sont pas aussi claires qu'on le souhaiterait ici. A la fin d'une réunion, vous pouvez
vous demander ce qui s'est vraiment passé. Le processus de prise de décision semble peu clair,
vous pouvez vous sentir perdu à propos du sujet exact de la conversation. On peut avoir l'impression
d'aller à une réunion pour parler de A et de faire une parenthèse tellement énorme
qu'on se retrouve à parler de Z. Ce sentiment de frustration à la fin de la réunion:
English:
to a colleague will make your life
easier in the future because you'll be
able to ask them to collaborate
with you on something or to help you
with something at work. Here if you
don't know someone it can be really hard
to get them to collaborate with you
sacrifice some of their time to help you out
on something but if they know you
and you've got a strong relationship
with them then it will be so much easier
you need to earn their trust so the next
point on the concept of ambiguity and
things not being clear and just having
to deal with it and the classic
experience of this is the French meeting
Well, things are never clear here. You're
at the end of the meeting and you're
like what just happened? Decisions seem
unclear processes seem undclear
You can easily feel very lost in what are we actually talking about? It seems like
you go to a meeting to talk about A and you
go on such a big tangent you end up
speaking about Z like this feeling of
frustration after every single meeting
French:
Mais qu'est-ce qu'on a décidé en fait? C'était quoi l'intérêt de cette réunion?
Et puis dans les décisions, je sais qu'il y a beaucoup d'expatriés américains
qui viennent en France et qui en deviennent malades.
Ils trouvent que les choses ne sont pas organisée. Où sont les lignes directrices? Les méthodologies?
Et la réponse est souvent qu'il n'y en a pas!
Préparez-vous à vous défendre! Il est important celui-là!
Chaque fois que vous avez un projet à présenter ou des gens à convaincre,
soyez sûrs d'avoir préparé toutes les réponses à toutes les objections qui pourraient survenir
parce qu'il y en aura beaucoup. On plonge directement dans le commentaire négatif!
"D'où vient ce chiffre? Qu'est-ce qui te fait dire ça? Franchement, j'y crois pas. etc."
Et puis ils se mettront à en discuter et débattre, et vous vous retrouvez à vouloir dire
- "Je n'ai que 10 minutes pour présenter!"
- Oui, il faut être prêt à avoir ses réponses
rapides et concises parce qu'elle seront mises à l'épreuve.
Si vous pouvez répondre efficacement
vous allez pouvoir continuer à présenter. Vous allez aussi devoir, comment dire,
English:
like what did we actually
decide? What was the point of that
meeting? And then even in processes I know that a lot of my American
expats that come to work in France that drives him crazy
because things are disorganized, like
where's the policy where's the process?
And we're like well we don't really have one!
Prepare to defend! This is a key one!
Whenever you have a project to present or people to convince
make sure you have prepared all the
answers to any objections you may have
because there will be too many it's
straight into the negative feedback yeah
where did you get that number from what
makes you say that I'm not sure about
that and then they'll start discussing it
and debating it and you're like guys
I've got ten minutes present yes you've
got to be prepared to have like your
answers and quick and snappy because
they're gonna challenge
you on different points and if you can
answer them short sharp then you can
keep moving on and you've also got to
kind of it's hard to say that like
English:
harden up because if you're sensitive and you're someone that takes things
really personally that will be hard
because there is such a focus on like
challenging you. I just feel like you
always have to fight for your idea and
your project. But if we look at things
positively they realize that you can get
skills especially negotiation and also
convincing people and how to manage your
influence to get things done
yeah that's definitely true
Also know that here in France
you need to seek for consensus
especially when developing a new idea or implementing a new project meaning
that you will need the approval by every single person - by EVERYONE - if you haven't spoken 100 people
about it, don't even try to launch it! You have to get their validation
his/her validation before you can really start actually.
Don't think that you can do
everything on your own because that won't work you need to support and also as I say
French:
être fort, parce que si vous êtes sensible et prenez les choses personnellement,
ça va être dure puisque lees français mettent un point d'honneur à mettre vos idées à l'épreuce.
J'ai l'impression qu'il faut toujours se battre pour sa position et son projet.
Mais en regardant les choses du bon côté, ça vous apprend des compétences
comme la négociation, comment convaincre et comment gérer les influences
- pour que les choses se fassent.
- oui ça c'est vrai!
Sachez aussi qu'ici en France il faut savoir trouver des consensus,
en particulier quand vous développez de nouvelles idées ou implémentez de nouvelles choses.
Je veux dire par là qu'il va falloir que tout le monde soit d'accord. Et par TOUT LE MONDE, si vous n'en avez pas parlé
à 100% des gens, ne le faites pas! Vous devez devez toujours obtenir validation
avant de pouvoir démarrer en fait. Ne pensez pas pouvoir tout faire
tout seul parce que ça ne marchera pas. Vous avez besoin du support
English:
the approval from your stakeholders, so managing your stakeholders when managing
a project is key otherwise you won't
succeed
exactly it comes back to that
relationship stuff we were talking about
before like your stakeholders your
relationship your network such a huge
skill in France. You have to let go of the
objectivity what I mean by that you have
to let go of strict KPI's objectives measurable outputs like
don't get me wrong we set objectives in
my workplace but not so black and white
Personally I think that you are never good enough
here so you can never be hundred
percent it's not about it was only of
corporate culture but also if you
look in the school system the scoring
system at school you can never be 20
out of 20 because that doesn't exist
perfection doesn't exist. It's still a
measure, it's still an indicator but no
French:
et de la validation de toutes les parties prenantes. Les gérer quand vous gérer un projet
est essentiel. Sans ça, vous échouerez.
C'est vrai, on en revient à l'importance des relations dont on parlait:
les différentes parties, les relations, les réseaux, à ne pas néglifer en France.
Parfois il faut laisser tomber l'objectivité.
Je veux dire par là que
vous pouvez parfois oublier les indcateurs de performances clefs, les choses mesurables.
Attention, on met bien des objectifs en place là où je travaille, mais c'est pas si blanc ou noir.
Personnellement j'ai l'impression de ne jamais faire assez bien.
Ici, vous n'avez jamais tout fait à 100%.
Ce n'est pas qu'en entreprise,
si vous jetez un oeil au système de notation à l'école,
on ne peut jamais avoir 20 sur 20, ça n'existe pas,
la perfection n'existe pas. La mesure existe, il y a une indication, mais personne n'a jamais 20.
English:
one is 20 they will always find a reason, a subjective reason, coz that's the way they've grown up in their
education system to always do better and better and better
I've got quite a few Expat friends and
colleagues who say I've lost a
lot of confidence working over here you
know because I kind of feel like my
flaws are revealed and my strengths
aren't really celebrated and you've just
got to kind of realize that it's just a
different mindset so you've got to do
some work on yourself to know be sure of
yourself and what your strengths are
because you know your flaws will be
exposed, so don't get too upset in the
workplace wing the same kind of rules
apply - they don't hate you you're not doing
a bad job it's just a way of measuring
performance and another point that I
wanted to kind of bring up as well let's
just make sure you adapt to the office
hours because I know in some countries
like in New Zealand for example you can
kind of adapt to your own schedule like what my brother does because he has 2
young girls he gets into work super
early eats lunch at his desk in 20
minutes and then goes home you can't
really do stuff like that here it would
French:
Il y a toujours une raison, parfois subjective, parce que c'est comme ça que les petits français ont grandi.
Dans leur système d'éducation, il faut toujours faire mieux et mieux et mieux.
J'ai pas mal d'amis expatriés et collègues qui disent qu'ils ont beaucoup perdu
confiance en eux en travaillant ici parce qu'ils trouvent
que leurs faiblesses sont révélées au grand jour et que leurs points forts ne sont pas considérés.
Il faut juste réaliser que c'est un état d'esprit différent. Il faut donc travaillez
sur soi pour être sûr de soi-même et de ses forces.
Vos points faibles seront exposés, n'en soyez pas trop affectés.
Au travail c'est pareil. Ils ne vous détestent pas, vous ne faites pas du mauvais travail,
c'est juste une autre manière de quantifier la performance.
Autre chose que je voulais mentionner: faites attention à bien vous adapter aux horaires de votre bureau.
Je sais que dans certains pays comme en Nouvelle-Zélande par exemple,
vous pouvez vous adapter à votre propre emploi du temps. Par exemple, mon frèe qui a deux jeunes filles
part travailler très tôt, mange à son bureau en 20 minutes
et rentre chez lui. On ne peut pas vraiment faire ça ici en France.
French:
- Ce serait un peu mal vu je crois. Il faut faire acte de présence.
- Je suis d'accord.
En parlant de ça, travailler de chez soi est quelque chose qui n'est pas
très courant dans les grandes entreprises par lesquelles nous sommes passés, pour un pays comme
la France, aussi développé que beaucoup de pays, notamment anglo saxons.
Il y a de gros groupes qui n'ont aucune politique de travail chez soi.
Oui c'est vrai.
Un autre chose à faire
partout dans le monde et pas qu'en France est d'observer la manière dont les gens se comportent.
Oui, avant de faire quoi que ce soit, en particulier dire bonjour tous les matins,
Je sais que dans certaine entreprises en France,
les gens se font la bise.
Dans une de mes anciennes entreprises, c'était pas
facile tous les matins d'avoir à faire la bise à tout l'étage avant de commencer à travailler.
English:
be quite poorly seen I think you have to
be present I agree with you and
especially speaking about the Home
Office is something which is not really
developed in some companies for a
country like France which is at the same
level all the countries or anglo-saxon
countries is not the case in all the
companies, there are some big groups that do not have any home office policy developed
Yeah that's true.
Something you need to be very careful with
with anywhere in the world and not specifically in France is observing the way
people behave yeah before proceeding
especially when saying good morning every
time you get into the office I know in
some companies in France people do
double kiss on each cheek in one of my
former company's it was really such a
struggle every morning to have to kiss
everyone on the floor before starting your work
English:
It takes so much time right!
Because France is such a culture where a
lot of things go unsaid but there's lots
of little social rules that's a perfect
example like observe the rituals that
happen
do people kiss each other on the cheek
every morning before they start working
do you say bonjour to everyone in the office? And usually yes
How do they say good morning? When do they take a coffee? Go with them to take
the coffee you know, when do they have a lunch break? How long do they take?
and really adapt yourself to that way of
life because if you stand out you can be
perceived as not wanting to try to
integrate yourself
A bonus tip for you because we haven't
covered that yet speak French if you
don't speak French like at the coffee
breaks in lunch time and you don't try to
speak a little bit in meetings you can
really be perceived as this typical like
foreigner that's not trying to adapt. Yes we're in international environments and
French:
Ca prend du temps non?!
Parce que dans la culture française,
beaucoup de règles ne sont pas énoncées de manière explicite, il y a beaucoup de conventions sociales à prendre en compte.
C'est un bon exemple. Observez les rituels autour de vous.
Est-ce que les gens s'embrassent tous les matins avant de travailler?
Faut-il dire bonjour à tous le monde au bureau? Et souvent c'est le cas.
Comment se disent-ils bonjour? Quand prennent-il leur café? Allez-y avec eux.
Quand déjeunent-ils? Combien de temps ça prend?
Essayez vraiment de vous adapter à leur train de vie parce que si vous ne vous y tenez pas,
certains peuvent penser que vous ne voulez pas vous intégrer.
Une astuce en plus que nous n'avons pas couverte: parlez français!
Si vous ne le faites pas aux pauses café, au déjeuner, si vous n'essayez pas
de parler un peu en réunion, vous pouvez être perçu comme cet étranger classique
qui n'essaie pas de s'adapter. Oui vous pouvez travailler danss un environnement international,
English:
yes you can find jobs in English and everything but
honestly like it's social suicide I
think if you don't try to learn the
language. It's just a matter of principle
to speak to them in their own language and communicate with them
in the language they use.
yeah cool so I hope you guys found this
video useful especially expats for
people that have projects or plans to
come to France for work yeah I hope you
guys liked it and if you have any other
questions whatsoever ask us down in the
comment section below we will be
checking and we'll be responding to all
of your questions so feel free to do
that and if not until the next video see
you next time
à bientôt, bye bye!
French:
oui vous pouvez trouver des postes en anglais et tout ce qui va avec,
mais honnêtement c'est un suicide social si vous n'essayez pas d'apprendre la langue.
C'est une question de principe de parler aux français
en français et de communiquer avec eux dans la langue qu'ils utilisent.
Bon super, j'espère que vous avez trouvé cette vidéo utile,
en particulier les expats qui ont des projets ou envies
de venir en France pour travailler.
J'espère que vous avez apprécié.
Si vous avez tout autre question, n'hésitez pas si dessous dans les commentaires.
On les regardera et y répondra.
Sinon, je vous vois à la prochaine vidéo et vous dis
- à bientôt!
- bye bye!
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Hi, my name is Elle O'Gorman.
I am 14 years old.
I like to go shopping at the mall.
I have two brothers named Cole and Carter.
[ Music ]
Hi, my name is Jill O'Gorman, and
my daughter is Elle O'Gorman.
She is 14 years old and diagnosed
with cerebral palsy.
>> Elle O'Gorman: This is my Dynavox.
I use it to talk.
>> Jill O'Gorman: The Dynavox is an augmentative
communication device that helps her communicate
with us and her peers and at school.
>> Elle O'Gorman: When I look at a picture
using my head mouse, the Dynavox talks for me.
>> Jill O'Gorman: Without the Dynavox, she was,
had a difficulty communicating
what her needs were.
People tend to underestimate her ability or what
she understood and what she was able to express.
>> Elle O'Gorman: I like to
write e-mails with my Dynavox.
Before I had my Dynavox, I used a laptop.
>> Jill O'Gorman: We started out with
just a simple book chart that was broken
into categories, and she would eye gaze
towards the pictures that she wanted.
From there, we advanced to trying out a
Pathfinder, which had too many buttons for her
and was a little bit frustrating for her.
So we went to a laptop with
a communication software.
From there, we went to the Dynavox.
>> Elle O'Gorman: I am learning to use more
buttons to tell people what I am thinking.
>> Jill O'Gorman: The school played a
role in helping us find the Dynavox.
The assistive technology specialist
who's been helping of the district
who helps Elle was very instrumental
in helping us.
Elle is on an IEP, and so
it was an IEP team decision
to determine what device
would work best for her.
So they helped select the Dynavox
trial it, and then helped with funding.
We contacted Dynavox first and
did a I believe a six-week trial.
During that trial period, we
had to write an extensive amount
of monitoring to give detail about the trial.
The speech pathologist along with the assistive
technology specialist from the district helped
in writing all of that up,
and then we had to submit it
to insurance to see if it would be approved.
>> Elle O'Gorman: My teachers
helped me with my Dynavox.
>> Jill O'Gorman: We've all had
training from Dynavox and, again,
the assistive technology
specialist has trained her IEP team.
So modifications and additions
and stuff were added by,
at school and sometimes I add
them at home as I think of things.
So it's really a team approach.
>> Elle O'Gorman: At school, I can chat
with friends, interact with my teachers,
and practice my letters and numbers.
>> Jill O'Gorman: The Dynavox has really
opened up a lot of doors for Elle in terms
of just being able to tell us everything that
she wants and needs and as well as helped
with school in communicating with her peers and
could, and some social opportunities for her,
and so we will continue to, you know,
explore future technology options to see
if there's anything new and improved and
better, which I'm sure there will in the future.
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Chomsky: Faurisson was a professor of French literature at Lyon University
he published a few private pamphlets denying the existence of gas chambers
He was then suspended from teaching on the grounds that he could not be protected from violence
He was then at that point..
He was then brought to trial for falsification of history. The book that you're referring to is entitled
Memoir in Defense Against Those Who Accuse Me of Falsification of History on a matter of gas chambers.
It was in fact submit --
I didn't know if its existence,
But it was submitted to the tribunal, basically, the court for which he was tried for falsification of history and later condemned
How did I get involved in this?
Well, some stage along the line,
I was asked to sign a civil rights petition, as I do thousands of times.
As I do for Salman Rushdie, which no doubt enrages the Ayatollah Khomeini.
[mumbling, talking over eachother]
Here's a case where a price wasn't put on his head, he was actually punished.
There's lots of differences
I do believe in freedom of speech
I realized that's not a popular position around here, but I believe in it.
Bolkestein: I share that opinion, so don't be afraid
Chomsky: Just as I defended people like, say, Henry Kissinger and Walt Rostow,
although I despise what they stand for, when Walt Rostow -- one of the plan --
a real war criminal in my view, when he came back to try to get a position back at MIT in 1969,
I was in fact the spokesman for a group of students, radical students,
who said that if he is being denied this position on political grounds,
we're going to protest and demonstrate about it.
Because we think this war criminal has a right to teach.
Bolkestein: Would you have quit?
Chomsky: If he had been turned down on political grounds, I might have.
Because I don't believe that people should be turned down on political grounds
But my point is -- that's a really controversial position, incidentally, the war was going on,
we were talking about a man who was a war criminal, and was going to continue research, which he'd be using
Let's go back to Faurisson
There's a very clear academic freedom issue -- very clear -- a man is
Prevented from teaching French literature because he wrote a pamphlet about gas chambers.
That is outrageous
It couldn't have happened in the United States, I should say.
He was then brought to trial for falsification of history, which is even more outrageous
He was actually condemned which is even worse
I signed a petition
Calling on the tribunal to defend his civil rights. I was one of the 500 signers
At that point, the French press, which apparently has no conception of freedom of speech,
Concluded that since I had called for his civil rights, I was therefore defending his theses
I was -- which is absurd, of course, anyone who knows anything about civil rights knows that you're defend -
Typically, defending freedom of speech for views you detest there's no other point to it.
I was then asked by the person who organized the petition to write a statement on freedom of speech.
Just banal comments about freedom of speech pointing out the difference between
defending a person's right to express his views and defending the views expressed.
So I did that, I wrote a rather banal statement called Some Elementary Remarks on Freedom of Expression.
And I told him: do what you like with it.
At that point, Faurisson was writing his memoir in defense,
unknown to me, and my statement was added as a [?] as an opinion
It was attached to this
statement in which he defended himself.
Bolkestein: Which was asked from you before?
Chomsky: No, but in fact, see I can't -- really, I told him do what you like with it
I didn't know about the book but
actually, I think it's completely --
like for example, if Henry Kissinger was brought to trial for freedom of -- for falsification of history,
I would have no objection to having something I wrote on freedom of speech attached to a memoir in which he defends himself from the charge.
--- but I'm saying but you know I mean -- freedom of speech issues are important, crucial, in fact.
Some of the most crucial issues. So when I learned -- now those are the facts --
Bolkestein: There's one one simple question:
Didn't you ask yourself afterwards whether it was very wise of you on your part?
To act at least like you were defending him
instead of the right of free speech?
Chomsky: No, because I never acted that way. I never defended him as a person.
I realized as soon as I signed the petition
That this is going to be interpreted by people who have not yet reached the Enlightenment. We're still in the Middle Ages
It's going to be interpreted as a defense of his views of course
I realized that, I understand the world. but freedom of speech issues are important, and I'm perfectly willing to face that
Bolkestein: But why did you try at the last moment to get it back from him?
Chomsky: That's the one thing I'm sorry about ---
In fact I tried to retract it. ---
I wrote a letter, which was then publicized, in which I said, look
Things have reached the point where the French intellectual community
Simply is incapable of understanding the issues at this point, It's just going to confuse matters even more if my
comments on freedom of speech
Happen to be attached to this book which I didn't know existed. So just to clarify things I better separate them
Now in retrospect, I think I probably shouldn't have done that I should have just said fine
then let it appear because it ought to appear, but that's
apart from that I
regard this as not only trivial, but as compared with other positions I've taken on freedom of speech
invisible this doesn't begin to
compare
With defending the rights of American War criminals to do their work while that work is being used to murder and destroy
It doesn't begin to compare with dozens of other cases where I defended freedom of speech
Bolkestein: Why didn't it occur to you that maybe his facts were wrong? ---
Chomsky: Of course they're wrong
I can't even understand this question
Why didn't it occur to me that maybe his views are wrong? Of course it occurred to me.
I knew it. You know if you want to
Read what I said that --- the reason I retracted it was quite different
It was that I realized at some point the French intellectuals cannot make the distinction between -- [who cares?]
I agree and that's why I say I shouldn't have even retracted.
Everything -- as I said -- that's the one thing that I regret
well
I regret the fact that I tried to accommodate to the medieval character of the French intellectual
And I should have not done that I should have simply said: look, if you can't understand it, That's your problem
Now, that's a very difficult position to make in Europe
I should say that an issue like this is almost inconceivable in the United States in fact
There are examples very similar to Faurisson. There's a professor of engineering at
Northwestern University, a major university, who writes books denying that the Holocaust took place I mean if he were
Deprived of the right to teach and brought to trial for the falsification of history
there'd be a huge uproar across the country
Because there's a commitment to freedom of speech and that means freedom of speech for views that you detest
That's the only time when the issue arises. Now if a person can fail to
Distinguish between defending rights and defending the theses expressed, they have to go back to the Middle Ages and start all over again
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泣きそうだよ
この曲は
最後の曲はかつて
僕たちを台湾の最高点に連れて行ってくれました
今日はこの歌で
今のところ
人生の中での最高点である台北アリーナを終わりにしましょう
一緒に歌ってください
大志若魚
僕には100個の偉大な考えがある
まだやり方が見つからず僕が成長するのを待っている
魚の卵がまだ孵化しないみたいに
僕は一作の詩画を作り、一枚の絵を描く
一曲の歌で一つの国を支配する。
僕はこの地球を爆発させるのだ
手足がないような夢はただ退化するのを待つだけ
僕はこすれて最後砂になるだけの石にはなりたくない
明日僕が挑戦する海に
何が起きるのかは想像もつかない
水は下に向かって流れるけど、僕は逆らって上へ向かうよ
たとえ最後バカみたいに終わったとしても
僕は他の人と同じようにはなりたくない
なぜだ？僕の道がないなんて
なぜだ？君の道を歩くなんて
なぜだ？こんなで満足するなんて
君は君がなりたくなかった人に変わってしまった
それなのに僕を君がなりたかった人に変えようとしている
人が植えた木は僕がほしかった木ではない
僕はただあのウサギを待ちながら木を守っていたくない
池の中の幸せには僕が探している出口はない
どんなに完璧な将来でも最後は塵に戻るよ
明日僕が挑戦する海に
何が起きるのかは想像もつかない
水は下に向かって流れるけど、僕は逆らって上へ向かうよ
たとえ最後バカみたいに終わったとしても
僕は他の人と同じようにはなりたくない
同じように
同じように
同じように
波がない海
どんな風も僕の方向を変えることはできない
水は下に向かって流れるけど、僕は逆らって上へ向かうよ
たとえ最後バカみたいに終わったとしても
僕は他の人と同じようにはなりたくない
じゃあもう一度
今日のビッグバンドにステージに上がってもらって
一緒にこの曲を完成させよう
みんなでこの曲を完成させよう
ようこそ パーカッションCody
キーボード Elin
哈管幫 阿暉老師 Nicol Andy
君たちも最後まで一緒に歌えますか
最後にもう一回バンド紹介
方Q
ギター 阿奎
ドラム 小胖 ボーカル 小玉
僕たちは
僕たちは宇
僕たちは宇宙
僕たちは宇宙人
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Throughout 2015, Iran has been working with
the global community to implement nuclear
development standards.
But although the US government is in support
of comprehensive reform, Israel’s Prime
Minister has said that a nuclear Iran would
threaten Israel’s very existence.
Iranian leaders have opposed Israel’s statehood,
and repeatedly threatened to annihilate the
country.
With tensions sky-high, we wanted to know;
what would happen if Israel and Iran went
to war?
Well, first and foremost, the big issue at
hand is the potential for nuclear war.
Currently, Israel is thought to be considerably
farther ahead in nuclear proliferation than
Iran.
Although Israel is NOT one of five countries
allowed to possess nuclear weapons, they maintain
what is called “nuclear ambiguity”.
Some sources estimate that Israel has at least
80 nuclear weapons.
Meanwhile, Iran is said to be nearing the
capability to produce their first nuclear
weapon.
However, evidence as to whether this is true,
or even possible, is the source of much debate.
Iran has been sanctioned for violating nuclear
guidelines, and been accused of developing
weapons grade uranium.
Still, no matter how far along Iran actually
is, there is little doubt that Israel’s
ambiguous nuclear arsenal is considerably
more powerful.
But outside of nuclear war, how do these militaries
stack up?
Well, both are relatively strong, ranking
within the top 25 most powerful world militaries.
In terms of manpower, Iran takes a significant
lead.
While both countries have mandatory conscription,
Iran’s population is ten times that of Israel’s.
So while Israel has about 800,000 available
troops, Iran has closer to 2 and a half million.
Iran is also about 8 times larger than Israel,
making it considerably harder to invade.
However, Iran falls short in nearly every
other military category.
Israel is one of the world’s biggest arms
producers, and develops a considerable amount
of military technology.
Iran lost western military support during
the Iran-Iraq war, leading them to rely on
Russia, China, and North Korea.
Israel also spends roughly 17 billion dollars
a year on its military, while Iran only spends
about a third of that.
Overall, there is no comparison between the
size and scope of Israel’s advanced arsenal,
and Iran’s outdated and outsourced military
capabilities.
Israel is also well known for having one of
the most highly trained defense forces in
the world.
But all that aside, experts point out that
neither country has much of a geographic reach
into the other.
The two are just, too far apart for a conventional
war.
Instead, some point to their involvements
in regional proxy wars to assert dominance.
Iran and Israel may be sworn enemies, but
Iran’s biggest threat comes from the United
States, which has troops in neighboring Afghanistan
and Iraq.
Thus, with the US backing Israel’s powerful
army, Iran would have a lot of trouble winning
any kind of direct conflict.
One of Iran’s only direct supporters, North
Korea, is always on the brink of war.
To find out how a war between North and South
Korea would turn out, check out this video.
Thanks for tuning into TestTube!
Make sure to like and subscribe for new videos
every day!
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"pile_set_name": "YoutubeSubtitles"
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Crime. What is it? Where does it come from?
How many has Donald Trump committed?
The Victorian government recently released a
bunch of statistics about crime in our
state and there's been some crazy
conclusions. Turns out from April last
year April this year there's been a 4%
increase in crime across the state, and
there's been a 20% increase in robbery.
So I guess the real question is;
What's going on in Victoria?
All right, well, we know crime is a
problem. How do we solve it?
Now both parties in Victoria, they have
their own solutions. The Labour Party?
They want to introduce tougher restrictions
on bail. That'd mean people who've committed
violent offences can't be given bail.
The Liberal Party? They have their own solution.
They want to introduce something called
"mandatory minimum sentencing."
We're sitting here with Michael Sharpley.
Michael is a lawyer who's been practicing in the
criminal field for 35 years and he's also
the grandfather of my girlfriend.
So we've sat down with him today to talk
crime and make a good impression.
Would you mind explaining briefly
what a mandatory minimum is?
Well mandatory minimum requires that if
you commit a designated offense,
if you commit a rape for example,
no matter what kind of rape,
and no matter in what circumstances, you
receive a particular minimum penalty.
Well I think they're a dreadful idea.
I've always thought they're a dreadful
idea and I've been fulminating against
them for many years actually. I mean the
whole point of it is, you appoint judges
and magistrates, you pay them a lot of
money and then you effectively say, "Well
you're incapable of making a proper
decision so we're taking it
away from you."
So maybe you're thinking, "All right
David. You seem like a pretty cool guy.
"You look like someone recycles."
Thank you. I do. But do I even know anything
about crime? You're probably wondering,
"Have I even met a criminal before?"
Look at me, I'm wearing a tie, I clearly went to
private school. I know a lot of criminals.
I mean they are all white-collar criminals
but, you know, embezzlement takes work.
We're here with Doug Chappell. Doug's a comedian.
He's also got a master's in psychology.
Well I always had a passion for sort of
helping people I think. I grew up in a
sort of a working-class area. I think
I'm sort of drawn to the people you
grew up with and you seen a cycle continue so
you're sort of, if you can, you want to
help break that that cycle.
Well I think, A) How do we how do you break
that cycle and, B) I mean what is it about these
areas that leads to such so much criminality?
I think that the main thing
is if you get people when they're sort
of younger and have programs and have
sort of things we can intervene.
Alright, so we've got changes to our bail act,
we've got mandatory minimum sentencing.
I guess the real question is does any of
this tough on crime stuff actually work?
The Law Institute of Victoria; now this
is an advisory body for the government.
They released a report and the
conclusion they came to was a mandatory
minimums increased crime. And the reason
is actually pretty simple when you think
about it. See, you get these people who've
committed like one crime in their whole lives.
You bring a mandatory minimum in, those people
have to go to prison, and once they're in prison,
they meet people who sometimes are lifetime
offenders. They start swapping war stories, they
learn things about one another and something
you've got all these new people with
newfound information about crime back in
the population ready to commit more
crime. So, you know, it's criminal fads
popping up everywhere. It's like the
crime version of fidget spinners.
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English:
Deleuze: You have selected a
format as an ABC primer,
you have indicated to me
some themes,
and in this, l do not know exactly
what the questions will be,
so that l have only been able to think a bit
beforehand about the themes
For me, answering a question without
having thought about it
a bit is something
inconceivable.
What saves me in this is
the particular condition:
should any of this be at all useful, all of it
will be used only after my death.
So, you understand, l feel myself
being reduced to the state
of a pure archive for Pierre-André
Boutang, to a sheet of paper,
so that lifts my spirits and
comforts me immensely,
and nearly in the state of pure spirit,
l speak after my death,
Spanish:
Haz elegido un abecedario,
me anunciaste los temas,
y bueno, no
conozco las preguntas con precisión,...
... así que pude reflexionar
un poco sobre los temas.
Responder a una pregunta sin haber
reflexionado antes,...
Para mí es algo
inconcebible.
Lo que me salva es la cláusula.
La cláusula es: todo esto será utilizado,
si es que es utilizable,...
sólo se utilizará
después de mi muerte.
Así que, tú comprenderás,
A esta altura, me siento reducido al estado
de puro archivo de Pierre-André Boutang,
de foja de papel, y eso me me reconforta
mucho, ...me consuela mucho,
casi al estado de espíritu puro.
Me refiero a después de mi muerte,...
... y sabemos bien que un espíritu puro, basta
con sacudir un poco la mesa para
saber,...
English:
and we know well that a pure spirit
if you've made tables turn.
But we know as well that a pure spirit
is not someone who
gives answers that are either very
profound or very intelligent.
They can be cursory.
So anything goes in this, let's begin,
A-B-C, whatever you want.
Parnet: We begin with "A,'"
and "A'" is "Animal.'"
We can cite, as if it were you saying it,
a quote from W.C. Fields:
"A man who doesn't like animals or
children can't be all bad.'"
We'll leave aside the children for
the moment, but domestic animals,
l know that you don't care
for them much.
And in this, you don't even accept the
distinction made by Baudelaire
and Cocteau--cats are not any
better than dogs for you.
On the other hand, throughout your work,
there is a bestiary that is quite repugnant;
that is, besides deers that are noble
animals, you talk copiously of ticks,
Spanish:
... que un espíritu puro, no es alguien
capaz de dar respuestas profundas
o demasiado inteligentes,...
... es bastante naif. Entonces,
todo está bien, me place.
Empecemos, A,B, C,D... lo que quieras.
Bueno, comencemos por la A. A de animal...
Podría recordarte en ese sentido,
la frase de W.C. Fields:..
"Un hombre al que no le gustan ni los niños
ni los animales
no puede ser completamente malo".
Por el momento dejemos de lado los niños,
los animales de compañía ya se sabe
que no te gustan mucho,...
... en fin, no se sabe,
pero yo sé que no te gustan mucho,
e ignoras
la distinción de Baudelaire o de Cocteau...
para ti los gatos no son mejores
que los perros,
sin embargo hay un bestiario
a través de tu obra...
... que es más bien repugnante, es decir,
que aparte de las bestias salvajes, que son
animales nobles,...
Spanish:
... hablas mucho de las garrapatas, piojos,
y otros bichos diversos,
igualmente repugnantes.
Y lo que me gustaría añadir
es que, además,
los animales
te sirvieron mucho desde el Anti-Edipo,...
... un concepto que se ha convertido
en un eje de tu obra
como lo es el devenir animal
así que me gustaría saber más claramente
cuál es tu relación con los animales?
Los animales no son...
sí, lo que has dicho...
sí, tiene una relación
con los animales domésticos,...
... no es un animal domesticado o salvaje,
no es lo que me preocupa;...
... son los gatos, los perros, el problema es
que ellos son los animales del círculo familiar.
Y la verdad es que los animales familiares,
domesticados o no, no me gustan.
En cambio, los animales domesticados,
no familiares
English:
of fleas, of a certain number of
repugnant little animals of this kind.
What l want to add is that animals have
been very useful in your writings,
starting with Anti-Oedipus, through a
concept that has become quite important,
the concept of "becoming-animal'"
So l would like to know a bit more clearly
what is your relationship to animals.
Deleuze: What you said there about my
relation with domestic animals. . .
lt's not really domestic, or tamed,
or wild animals that concern me,
or cats or dogs . . .
The problem, rather, is with animals
that are both familiar and familial.
Familiar or familial animals, tamed and
domesticated, l don't care for them,
whereas domesticated animals that are
not familiar and familial, l like them fine
English:
because l am quite sensitive to
something in these animals.
What happened to me is what
happens in lots of families,
there is neither dog nor cat,
and then one of our children,
Fanny's and mine, came home with a
tiny cat, no bigger than his little hand,
that he found out in the country
somewhere, in a basket or somewhere,
and from that fatal moment onward,
I have always had a cat around the house.
What do l find unpleasant
in these animals--
although that certainly was no
major ordeal--l can handle it.
What do l find unpleasant? l don't like
things that rub against me . . .
and a cat spends its time
rubbing up against you.
l don't like that, and with dogs,
it's altogether different:
Spanish:
me gustan porque soy sensible a algo en ellos,
y lo que ocurrió
en mi caso es lo que sucede en muchas familias.
No tenía ni un gato ni un perro, y un día, u
no de nuestros hijos trae en sus manitas...
un gato que no era más grande
que su pequeña mano.
Estábamos en el campo,
lo había encontrado en un rellano o algo así
y a partir de ese momento fatal
siempre he tenido un gato en casa.
Pero, qué es lo que no me gusta
de estas criaturas?
Bueno, en fin, no fue un calvario,
puedo soportarlo, pero...
¿Qué es lo que no me gusta?
De repente, no me gustan los restregadores;
un gato pasa el tiempo a frotarse contra uno,
y eso no me gusta.
Un perro es diferente,
English:
what l fundamentally reproach them
for is always barking.
A bark really seems to me
the stupidest cry. . .
There are animal cries in nature,
a variety of cries,
and barking is truly the shame
of the animal kingdom.
Whereas l can stand much better ( on the
condition that it not be for too long a time)
the howling at the moon,
a dog howling at the moon. . .
Parnet: . . . at death. . .
Deleuze: . . . At death, who knows?
l can stand this better than barking.
And since l learned quite recently
that cats and dogs were cheating
the Social Security system, my antipathy
has increased even more.
What l mean is. . . What l am going
to say is completely idiotic
because people who really like cats
and dogs obviously do have
Spanish:
lo que yo reprocho fundamentalmente
a los perros es que ladren,
el ladrido me parece
la forma más estúpida de gritar.
Dios sabe que hay gritos en la naturaleza,
una inmensa variedad de gritos,
pero el ladrido
es sin duda la vergüenza del reino animal.
En cambio, soporto mejor,
siempre y cuando no dure mucho, el grito...
...no sé cómo se dice, el aullido a la luna.
Un perro aullando a la luna
lo soporto mejor, que...
El aullido de la muerte,
a la muerte o yo qué sé,
lo soporto mejor que un ladrido.
Además, desde que me enteré recientemente...
... que los perros y gatos defraudan
a la Seguridad Social
mi aversión ha aumentado aún más.
Lo que quiero decir es que, y al mismo tiempo
lo que digo no tiene ningún sentido...
... porque las personas que realmente
aman a los gatos y los perros...
Spanish:
Está claro que tienen una relación
con ellos que no es humana.
Ellos tienen con los perros y los gatos,
por ejemplo,
los niños, los niños tienen
una relación con el gato...
... que no es una relación humana
es una relación bastante infantil...
... lo importante es tener
una relación animal con el animal.
...en qué consiste tener una relación animal
con el animal? Por empezar, no es hablarle...
... en cualquier caso, lo que no puedo soportar
es la relación humana con el animal.
Yo sé lo que digo porque vivo
en esta calle, un poco desierta...
en la que la gente
saca sus perros a pasear y...
Lo que oigo desde mi ventana
es realmente espantoso,
.espantosa la manera
en que les hablan a sus animales,
et incluso el psicoanálisis, fíjate,
... el psicoanálisis está tan obsesionado
con los animales domésticos, que todo lo...
English:
a relationship with them
that is not human.
For example, you see that children
do not have a human relationship
with a cat, but rather an infantile
relationship with animals.
What is really important is
for people to have
an animal relationship
with an animal.
So what does it mean to have an animal
relationship with the animal?
lt doesn't consist of talking to it. . .
but in any case,
l can't stand the human
relationship with the animal.
l know what l am saying because
l live on a rather deserted street
where people walk their dogs,
and what l hear from my window
is quite frightening, the way that
people talk to their animals.
Even psychoanalysis
notices this!
Psychoanalysis is so fixated on
familiar or familial animals,
English:
on animals of the family, that any
animal, in a dream, for example,
is interpreted by psychoanalysis
as being an image of the father,
mother, or child, that is,
an animal as a family member.
l find that odious, l can't stand it,
and you only have to think
of two paintings by the
Douanier Rousseau,
the dog in the cart who is
truly the grandfather,
the grandfather in
a pure state,
and the war horse is a veritable
beast. So the question is,
what kind of relationship
do you have with an animal?
lf you have a human relationship
with an animal . . .
But again, generally people
who like animals don't have
a human relationship
with animals, they have
an animal relationship with the animal,
and that's quite beautiful.
Even hunters--and
l don't like hunters--
but even hunters have an astonishing
relationship with the animal. . .
And you asked me also . . .
Well, other animals,
Spanish:
...que toca al tema animal
en un sueño por ejemplo,
el psicoanálisis lo interpreta como
una imagen del padre, la madre o del hijo.
Es decir, el animal
como un miembro de la familia.
Esto para mí, es odioso, no lo puedo soportar.
Hay que pensar en las dos obras maestras
de Douanier Rousseau:
"El perro en la carreta",
que es en realidad el abuelo,
el abuelo al estado puro, y luego,
"caballo de guerra".
... El caballo de la guerra,
que es una verdadera bestia.
La pregunta es,
¿cuál es su relación con el animal?
Si usted tiene una relación humana con el animal,
pero una vez más las personas
que generalmente aman a los animales
no tienen
una relación humana con el animal,
sino que tienen una relación animal
con el animal,
lo cual es muy bonito,
incluso los cazadores,
... aunque no me gustan,
no me gustan los cazadores,
pero incluso los cazadores tienen una relación
sorprendente con el animal.
Creo que me pediste también...
oh sí, los otros animales,
English:
it's true that l am fascinated by animals
like spiders, ticks, fleas . . .
They are as important as
dogs and cats.
And there are relationships
with animals there,
someone who has ticks, who has fleas,
what does that mean?
These are relationships with
some very active animals.
So what fascinates me
in animals?
Because really, my hatred for certain
animals is nourished by
my fascination with many
other animals.
lf l try to take stock
vaguely of this,
what is it that impresses me
in an animal?
The first thing that impresses
me is the fact that
every animal has a world,
and it's curious because there
are a lot of humans,
a lot of people who do not
have a world.
They live the life of everybody, that is,
of just any one and any thing.
Animals, they have worlds.
What is an animal world?
Spanish:
es cierto
que me fascinan los insectos como...
... arañas, garrapatas, piojos, todos
tan importantes como perros y gatos.
Y eso también son relaciones con los animales,
alguien que tiene garrapatas, piojos...
¿Qué significa esto? Estas son relaciones
con animales muy activas.
Entonces ¿Qué es lo que me fascina en el animal?
Porque verdaderamente...
mi odio por ciertos animales es alimentado
por mi fascinación por muchos animales.
Y si intento resumir, darme cuenta vagamente
de qué es lo que me choca en un animal,
... la primera cosa que me sorprende es el hecho
de que cada animal tiene un mundo...
... y es curioso porque hay una gran cantidad
de personas que no tienen "un mundo",
viven la vida de todo el mundo,
es decir, de cualquiera, de todo.
Los animales tienen mundos.
English:
lt's sometimes extraordinarily limited,
and that's what moves me.
Finally, animals react to very few things. . .
Cut me off if you see that . . .
Deleuze: Yes, so, in this story of the
first characteristic of the animal,
it's really the existence of specific,
special animal worlds.
Perhaps it is sometimes the
poverty of these worlds,
the reduced character of these worlds,
that impresses me so much.
For example, we were talking earlier
about an animal like the tick.
The tick responds, reacts to three things,
three stimuli, period, that's it,
Spanish:
Un mundo animal "¿qué es?
A veces es muy limitado.
Y es eso lo que me toca.
Los animales, al fin y al cabo, reaccionan
à muy pocas cosas, de toda suerte...
¡Eh, tú, me cortas si ves que...
Sí, esta historia, ese primer
rasgo característico animal,
es la existencia de mundos animales
específicos, particulares...
y quizás a veces es la pobreza
de esos mundos, la reducción...
el carácter restringido de esos mundos,
lo que me impresiona mucho.
Por ejemplo, hablábamos antes de animales
como la garrapata;...
la garrapata reacciona o responde a tres cosas,
a tres excitantes,
Spanish:
tres incentivos solamente, en una naturaleza
que es inmensa, tres, nada más,
tiende hacia la punta de una rama
de árbol atraída por la luz,
en la punta de la rama, puede esperar
años sin comer, sin nada,
completamente amorfa, espera a que
un rumiante, un herbívoro, un animal,...
pase debajo de su rama,
luego entonces, se deja caer.
Ahí tenemos el primer incentivo:
el olfato.
Ella huele, huele el animal que pasa
por debajo de su rama,
y éste es el segundo incentivo...
luz y luego el olor, después, cuando ha caído
sobre el lomo del pobre animal
comienza a buscar la zona menos
poblada de pelo,
he aquí el tercer incentivo: el tacto,
y se hunde debajo de la piel.
El resto, si podemos
decirlo así, no le importa en absoluto.
English:
in a natural world that is immense,
three stimuli, that's it:
that is, it tends toward the
extremity of a tree branch,
it's attracted by light, it can wait
on top of this branch,
it can wait for years without eating,
without anything,
in a completely amorphous state.
lt waits for a ruminant, an herbivore,
an animal to pass under its branch,
it lets itself fall. . .
lt's a kind of olfactory stimulus. . .
the tick smells,
it smells the animal that passes
under its branch,
that's the second stimulus:
light first, then odor.
Then, when it falls onto the back of the
poor animal, it goes looking for
the region that is the least
covered with hair. . .
So, there's a tactile stimulus, and
it digs in under the skin.
For everything else,
if one can say this,
for everything else, it does
not give a damn. . .
English:
That is, in a nature teeming [with life],
it extracts, selects three things.
Parnet: And is that your life's dream?
That's what attracts you to animals?
Deleuze: That's what constitutes a world,
that's what constitutes a world.
Parnet: Hence, your animal-writing
relationship, that is,
the writer, for you, is also
someone who has a world. . .
lt's more compl--Yes, l don't know,
because there are other aspects:
it is not enough to have a world
to be an animal.
What fascinates me completely
are territorial matters.
With Félix [Guattari], we really
created a concept,
nearly a philosophical concept,
with the idea of territory.
Animals with territory--ok, there are
animals without territory, fine--
but animals with territory,
it's amazing
because constituting a territory is,
for me, nearly the birth of art.
Spanish:
En un ámbito natural exuberante,
ella selecciona sólo tres cosas.
133
00:10:11,280 --> 00:10:11,040
Y es ése el sueño de tu vida?
Es eso lo que te interesa de los animales?
Es eso lo que hace un mundo,
es lo que constituye un mundo...
De ahí tu relación animal-escritura,
es decir que para ti el escritor es también
alguien que tiene un mundo.
Es un poco más complicado, no sé,
hay otros aspectos,
no basta con tener un mundo para ser un animal.
Lo que me fascina completamente,
son las cuestiones de territorio, y con Felix
elaboramos un concepto, casi un concepto
filosófico con la idea de territorio.
Los animales territoriales, los hay sin,
pero los animales territoriales son prodigiosos,
Porque la constitución de un territorio,
para mí es prácticamente
English:
How an animal marks its territory,
everyone knows,
everyone always invokes stories
of anal glands, of urine, of. . .
with which it marks
the borders of its territory.
But it's a lot more than that: what
intervenes in marking a territory
is also a series of postures,
for example,
lowering oneself/lifting oneself up;
a series of colors,
baboons, for example, the color
of buttocks of baboons
that they display at
the border of territories. . .
Color, song, posture: these are the
three determinants of art:
l mean, color and lines--animal postures
are sometimes veritable lines--
color, line, song--that's art
in its pure state.
Spanish:
el nacimiento del arte.
Cuando miramos cómo un animal
marca su territorio, todo el mundo sabe,...
todo el mundo invoca siempre
lo de las glándulas anales
de la orina con la que marcan
los límites de su territorio.
Pero la cosa va mucho más allá, si.
Intervienen en el marcado de un territorio
también una serie de posiciones,
tales como agacharse, levantar...
una variedad de colores como los babuinos,
los colores de las nalgas de los mandriles,
que ponen de manifiesto
la frontera del territorio,
entonces: color, ámbito - postura,...
... son los tres determinantes del arte,
es decir, color, líneas,...
... las posturas animales
son a veces verdaderas líneas,
color - línea ámbito,
es el arte en estado puro.
English:
And so, l tell myself that when
they leave their territory or return
to their territory, it's in the domain
of property and ownership.
lt's very curious that it is in the domain of
property and ownership, that is,
"my properties,'" in the manner
of Beckett or Michaux.
Territory constitutes the properties of
the animal, and leaving the territory,
they risk it, and there are animals
that recognize their partner,
they recognize them in the territory,
but not outside the territory.
Parnet: Which one?
Deleuze: That's what
l call a marvel. . .
l don't recall which bird, you have
to believe me on this. . .
So, with Félix--l am leaving
the animal subject,
l pass on to a
philosophical question
because we can mix all kinds
of things in the Abécédaire.
Spanish:
Y entonces pienso, cuando salen de su territorio
cuando regresan a su territorio,
el territorio es el dominio del tener,
y luego es curioso que sea en el tener,
es decir, de mis propiedades,
a la manera de Beckett, o a la de Michaux...
los territorios son las propiedades del animal,
y salir del territorio es aventurarse;
hay animales que reconocen
su cónyuge, en el territorio,
pero no lo reconocen fuera del territorio...
Eso es maravilloso!
- Cuáles, por ejemplo?
Hay un ave, no me acuerdo cuál,
pero créeme,
y luego, bueno, con Félix, y aquí de repente
abandono el caso animal,
planteo un problema filosófico,...
porque en el alfabeto se mezcla
un poco de todo lo que pienso.
A veces se critica a los filósofos
English:
l tell myself: philosophers sometimes get
criticized for creating barbaric words.
But, put yourself in my place:
for certain reasons,
l am interested in reflecting on
this notion of territory,
and l tell myself, territory is
defined in relation to
a movement by which
one leaves the territory.
So, to address this, l need a word
that is apparently "barbaric.'"
Henceforth, with Félix,
we constructed a concept that
l like a lot, the concept of
"deterritorialization.'"
We've been told that it's a hard
word to pronounce,
and then asked what it means,
what its use is. . .
So this is a beautiful case of a
philosophical concept that can only
be designated by a word that
does not yet exist,
even if we later discover that there
are equivalents in other languages.
For example, l happened
to notice that in Melville,
Spanish:
por crear palabras
muy raras, pero yo..., ponte en mi lugar...
... por alguna razón pienso
en esta noción de territorio
Y me digo, que el territorio vale en relación
a un movimiento por el cual se sale de él.
Guardemos eso entonces.
Necesito entonces, una palabra
aparentemente más rara,
partiendo de ello con Félix,
construimos un concepto que me gusta mucho,
la desterritorialización.
Y nos dicen: es una palabra
difícil de pronunciar,
y también qué quiere decir, ¿Es necesaria?
Y éste es un caso extraordinario en el que
un concepto filosófico no puede ser nombrado
sino por una palabra que no existe todavía,
incluso si luego descubrimos
que existen equivalentes en otros idiomas,
por ejemplo, me di cuenta
English:
there appears all the time "outlandish'"--
l pronounce poorly,
you can correct it yourself--but
"outlandish'" is precisely
the equivalent of "the deterritorialized,'"
word for word.
So, l tell myself that for philosophy--
before returning to animals--
for philosophy, it is quite striking:
it is sometimes necessary to invent
a barbaric word to account for a notion
with innovative pretensions:
the notion with innovative pretensions
is that there is no territory,
without a vector of exiting
the territory;
there is no exiting the territory,
that is, deterritorialization,
without at the same time an effort of
reterritorializing oneself elsewhere,
on something else.
All this functions with animals,
and that's what fascinates me.
Spanish:
de que en Melville se repetía siempre
la palabra "outlandish"...
...et le "outlandish" quiere decir:
el desterritorializado,...
... literalmente, palabra por palabra.
Entonces, digo que para la filosofía,...
... antes de regresar a los animales, es muy
sorprendente que deba inventarse una palabra,...
... algo brutal, para dar cuenta de una noción
con nuevas implicaciones,...
... y esa noción nueva es la idea de que
no hay un territorio sin un vector de salida,
y no hay un medio de
... desterritorialización, sin que al mismo tiempo
un haya esfuerzo por reterritorializarse
... en otro lugar.
Todo eso es primordial en los animales
y eso me fascina.
English:
What is fascinating generally is
the whole domain of signs.
Animals emit signs, they
ceaselessly emit signs,
they produce signs. That is, in the double
sense, they react to signs--
for example, a spider, everything
that touches its web,
it reacts to anything, reacts to signs--
and they produce signs--
for example, the famous sign,
is that a wolf sign,
a wolf track or something else?
l admire enormously people who know
how to recognize [tracks],
for example, hunters--real hunters,
not hunt club hunters,
but real hunters who can recognize
the animal that has passed by.
At that point, they are animal,
they have with the animal
an animal relationship. That's
what l mean by having
an animal relationship
with an animal.
Parnet: And this emission of signs,
this reception of signs,
is there a connection with writing
and the writer, and the animal?
Spanish:
Lo que me fascina grosso modo,...
es el dominio de los signos o señales,
los animales emiten señales,...
no dejan de producir signos en el doble sentido
de la reacción a las señales,
por ejemplo una araña...
todo lo que toca su tela, es decir no reacciona
a cualquier cosa,
reacciona a las señales,...
y deja también señales, produce señales,
por ejemplo los rastros:
Es un lobo o otra cosa?
Admiro muchísimo
las gentes que saben reconocer los signos,
tales como los cazadores,
no los cazadores de asociaciones de caza...
pero los cazadores de verdad que saben
cómo reconocer el animal que ha pasado.
En ese momento los cazadores son animales,
tienen una relación animal con el animal...
Es eso tener una relación animal
con el animal. Y es formidable,...
entonces es esta emisión de signos
o señales, y esta recepción de señales,
que acerca a los animales con la escritura,
con el escritor.
English:
Deleuze: Of course. lf someone were to
ask me what it means to be an animal,
l would answer: it's being on the lookout.
lt's a being fundamentally on the lookout.
Parnet: Like the writer?
Deleuze: The writer, well, yes, on the
lookout, the philosopher, on the lookout,
obviously, we are on the lookout.
For me, you see, the ears
of the animal: it does nothing
without being on the lookout,
it's never relaxed, an animal. lt's eating,
[yet] has to be on the lookout
to see if something is happening behind
its back, on either side, etc.
lt's terrible, this existence
"aux aguets.'"
So you make the connection
with the writer,
what is the relation between
the animal and the writer. . .?
Parnet: . . . you made it before l did. . .
Deleuze: That's true... One almost
has to say that, at the limit. . .
Awriter, what is it? He writes,
he writes "for'" readers, of course,
but what does "for'" mean?
lt means toward them,
Spanish:
Si, seguro. Y si me preguntas
qué es para mí un animal?
Respuesta: Es estar al acecho,
es un ser fundamentalmente al acecho.
Como el escritor?...
...si, el escritor está al acecho,
el filósofo está al acecho,
Para mí el animal...,
¿viste las orejas de un animal?
El no hace nada sin estar al acecho.
... el animal nunca está tranquilo, él come,
pero debe vigilar sus espaldas,
de los costados, etc.
...es terrible esta existencia al acecho...
entonces si se establece una relación
con el escritor, ¿
Cuál es la relación entre el animal y el escritor?
Pues hay que decir
que en última instancia casi
¿Qué es un escritor?
El escritor escribe. Sí, claro.
Escribe, por supuesto, escribe para los lectores,
pero ¿qué significa "para"?
Spanish:
Esto significa "a la atención de",
un escritor escribe "a la atención"
de sus lectores, "para" sus lectores
Pero también hay que decir que el escritor
escribe a los no lectores,
es decir, no "para" los lectores,
sino "en lugar de" los lectores
"para "quiere decir dos cosas:
"a la atención de"
y también "en lugar de".
Artaud escribió páginas
que todo el mundo conoce
"Escribo para los analfabetos",
"escribo para idiotas",
Faulkner escribe para idiotas,
lo que no quiere decir que los
idiotas van a leer, o los analfabetos,
significa más bien
"en lugar de" los analfabetos,
como puedo decir que "escribo en lugar
de salvajes","escribo en lugar de las bestias".
¿Entonces qué significa eso?
Porqué nos atrevemos a decir algo así?..
"Escribo en lugar
de analfabetos, de idiotas, de las bestias".
English:
A writer. . . He writes toward
his readers, in a way,
he writes "for'" readers. But one has
to say that the writer writes also
for non-readers, that is, not intended
for them, but "in their place.'"
So "for'" means two things: intended
for them and in their place.
Artaud wrote pages that
nearly everyone knows,
"l write for the illiterate,
l write for idiots.'"
Faulkner writes for idiots.
That doesn't mean
so that idiots would read,
that the illiterate would read,
it means "in the place of'"
the illiterate. l mean,
l write "in the place of'" barbarians,
l write "in the place of'" animals.
And what does that mean?
Why does one dare say
something like that,
l write in the place of idiots,
the illiterate, animals?
Spanish:
Y bueno, porque es eso lo
que hacemos cuando escribimos
Cuando uno escribe,
no se trata de un pequeño asunto privado,
es la idiotez, la abominación,
la mediocridad literaria de todos los tiempos
pero sobre todo en la actualidad,
que le hace creer a la gente que
para hacer una novela, por ejemplo,
basta con disponer de
un pequeño asunto privado,
un poco su propia
historia: la abuela que murió de cáncer
o su propia historia de amor y
ya está, y entonces ya tenemos una novela,
¡Es una vergüenza! ¡Es una vergüenza pensar así!
La escritura no es la cuestión privada de nadie.
Es embarcarse en un asunto universal
tanto en la literatura
como en la filosofía .
Entonces, ¿qué significa eso?..
entonces este escribir para, es decir,
la atención de, en lugar de
English:
Because that is what one does,
literally, when one writes.
When one writes, one is not pursuing
some private little affair.
They really are stupid fools;
really, it's the abomination of
literary mediocrity, in every era,
but particularly quite recently,
that makes people believe that to
create a novel, for example,
it suffices to have some little private affair,
some little personal affair--
one's grandmother
who died of cancer,
or someone's personal love affair--
and there you go,
you can write a novel based on this.
lt's shameful to think things like that.
Writing is not anyone's private affair, but
rather it means throwing oneself into
a universal affair, be it a novel or
philosophy. Now what does that mean?
Parnet: So this "writing for,'" that is,
"intended for'" or "in the place of,'"
English:
it's a bit like what you said in
A Thousand Plateaus about
[Lord] Chandos by Hofmannstahl,
in the very beautiful phrase:
"the writer is a sorcerer because
he sees the animal as
the only population before
which he is responsible.'"
Deleuze: That's it, absolutely right.
And for a very simple reason,
l think it's quite simple. . . lt's not
at all a literary declaration
what you just read from Hofmannsthal,
it's something else.
Writing means necessarily pushing
language--and pushing syntax,
since language is syntax--
up to a certain limit,
a limit that can be expressed in several
ways: it can be just as well
the limit that separates
language from silence,
or the limit that separates
language from music,
or the limit that separates language
from something that would be,
Spanish:
es un poco lo que decías en Mil Mesetas
a propósito de Chandos y
Hofmannsthal en esta bella frase:
El escritor es un brujo porque vive
el animal como la única
población ante la cuál es responsable
Es absolutamente eso,
y por una sencilla razón.
Lo que acabas de leer de Hofmannsthal
no es una declaración literaria, es otra cosa,
La escritura es necesariamente
empujar la lengua, y la sintaxis,
porque el lenguaje es la sintaxis,
es empujar la sintaxis hasta un cierto límite
un umbral que puede expresarse
de varias maneras: en tanto que límite
que separa el lenguaje del silencio, como
el límite que separa el lenguaje de la música,
y el límite que separa el lenguaje de
algo que sería,
Spanish:
digamos, un "piar doloroso"
- Pero no un ladrido...
Ah no, para nada! Pero quién sabe,
puede que haya un escritor que lo consigue.
El "piar doloroso" y todo el mundo se
dice "pues sí, Kafka."
Kafka... la metamorfosis.
Es el gerente que exclama: "han oído?
Se parece a un animal" es el "piar doloroso"
de Gregorio en el pueblo de los ratones.
O bien uno escribe para el pueblo de los
ratones, para la gente de las ratas que mueren
en efecto,...
porque a diferencia de lo que se dice
no son seres humanos que
saben morir o que mueren,
son los animales.
Mientras que los seres humanos cuando mueren,
mueren como animales,
y aquí volvemos al gato, con respeto,
yo tuve, entre
tantos gatos que se han sucedido aquí,
hubo un gatito que murió muy pronto,
he visto, y tantas personas también han visto
como un animal busca un rincón para morir.
Si,
también hay un territorio para la muerte,
English:
what? Let's say, the wailing,
the painful wailing. . .
Parnet: But not the
barking, surely!
Deleuze: Oh, no, not barking,
although who knows?
There might be a writer who is capable. . ..
The painful wailing?
Well, everyone says, why yes,
it's Kafka, it's Metamorphosis,
the manager who cries out, "Did you
hear? lt sounds like an animal,'"
the painful wailing of Gregor.
Or else the mass of mice,
one writes for the mass of mice, the
mass of rats that are dying because,
contrary to what is said, it's not men
who know how to die, but animals,
and when men die,
they die like animals.
Here we return to cats, and
l have a lot of respect. . .
Among the many cats that
lived here, there was
that little cat who died rather quickly,
that is, l saw what a lot of people
have seen as well, how an animal
seeks a corner to die in. . .
Spanish:
hay una búsqueda del territorio de la
muerte, el territorio en el que uno puede morir.
Y este gatito que intentaba
meterse en una esquina, en un rincón,
como si fuera un buen lugar para él para morir,
sí, en ese sentido el escritor es bien
el que empuja el lenguaje hasta un límite,
una frontera que separa el
lenguaje de la animalidad, del grito, del canto.
En este punto hay que decir sí, el escritor
es responsable ante los animales que mueren,
es decir, responder
por los animales que mueren.
Escribir, bueno, quizá no para ellos,
de nuevo, no voy a
escribir para mi gato o mi perro,
pero sino escribir en lugar
de los animales que mueren, etc.
Eso es llevar el lenguaje a ese límite.
Y no existe literatura que no
lleve el lenguaje y la sintaxis
hasta el límite que separa
al ser humano de los animales.
English:
There is a territory for death as well,
a search for a territory of death,
where one can die. We saw
the little cat slide itself right
into a tight corner, an angle, as if
it were the good spot for it to die in.
So, in a sense, if the writer is indeed
one who pushes language
to the limit, the limit that separates
language from animality,
that separates language
from the cry,
that separates language
from song,
then one has to say, yes, the writer is
responsible to animals who die,
that is, he answers to
animals who die,
to write, literally,
not "for'"--again,
l don't write "for'" my
dog or for my cat--
but writing "in the place of'"
animals who die, etc.,
carrying language to this limit.
There is no literature that
does not carry language and syntax to this
limit that separates man from animal. . .
Spanish:
Hay que estar seguro de este límite.
Eso es lo que creo.
Incluso cuando hacemos filosofía
uno está en el límite que
separa el pensamiento del no-pensamiento
Siempre hay que estar en la
frontera que nos separa de la animalidad,
pero precisamente de tal
suerte que no nos separemos de ella.
Hay una inhumanidad inherente al
cuerpo humano y al espíritu humano.
Hay relaciones animales con los animales.
Bueno, no estaría mal si
terminamos con A...
Así podemos pasar a B,
y B es algo particular: es a propósito
de la bebida,
tú bebías y luego cesaste de beber,
English:
One has to be on this limit. . ..
That's what l think. . .
Even when one does philosophy,
that's the case. . .
One is on the limit that separates
thought from non-thought.
You always have to be at the limit that
separates you from animality,
but precisely in such a way that
you are no longer separated from it.
There is an inhumanity proper to the
human body, and to the human mind,
there are animal relations
with the animal...
And if we were finished with "A'",
that would be nice. . .
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hi thanks for being a patreon a flash
fiction online I'm Anna Yeatts the
publisher of flash fiction online and
today's staff interview is with me roughly
how many readers do you have so this
makes me so proud okay so at last check
the website flash fiction online.com
itself was bringing in over a half
million unique readers every year which
is so exciting but I never been steadily
increasing every year so I think that is
up to be like over forty five forty six
thousand per month is that a lot yeah
that's a lot can you pronounce horror
for horror horror horror or or poor
knocks up not the person who works on
the street horror for poor scary stuff
what equipment do you use to film your
videos so currently at this moment it's
a Canon Rebel T six I which is amazing a
DSLR camera which makes all the
difference in the world and a ring light
I'm not sure what brand it is but I can
leave that down the description it's
below a green screen everybody needs a
green screen which is probably not green
right now if you're watching this
hopefully it's something cool like I
don't know a cityscape or London Bridge
or something I don't know um I do my
editing on a little Mac laptop and then
most of my my video editing is with filmora
or are you the only one at
in producing this videos I would like to
see yes but actually my 14 year old
daughter is way more of a mad genius
when it comes to youtube than I am and
so I'm like could you come look at this
and tell me if it's to cringey she's
like mama okay what is the money that
you make on patreon go to so that my
name may go patreon it goes straight to
the authors really it comes in from
patreon generally on the 1st of the
month and then on the first the month I
turn around directly and out of my
people like out I pay the others so
they're saying thank you very much why
are you always selling things I'm always
selling things because I'm just trying
to pay the bills people how hard is it
to actually get published at flash
fiction online it's actually really hard
to get published a flash picture online
we get thousands of submissions every
month and we buy three original stories
and one reprint every month so if you
run those odds I'm trying to do the math
in my head and it's just not working
right now because I'm staring into the
ring light that's really bright the odds
are not in your favor you've got to get
out of slush pile you I should we get
through the winning round you have to
get through edits and rewrites if we ask
for those yeah it's tough
I'd like to think it's because we're
actually a paying market we're gonna pay
you in cold hard cash now to get a
little bit more personal do you have any
kid I do I have two kids I have a
fourteen-year-old daughter who is
actually helping me with this video
she's interviewing me by the way as
she's the genius behind everything
technical that happens here I flash
fiction online and then I have a seven
year old Sanchez like mama kindly led in
the Zelda with me does that include pets
I have a very old dog her name is Lucy
she's 17 and we need to put her in the
bedroom otherwise she'd be walking
around you could hear her nail clicking
on the floor what genre do you
prefer reading horror what do you write
horror in romance I'm actually going to
grad school right now and I'm on the
romance track because I heard that's
where the money was
what's your favorite book my favorite
book Fight Club but Chuck Palahniuk I can't
say his name Palahniuk the hardest
part of a writer is being on camera
and you have to say words like Chuck
plan yet what's your favorite color red
what's your favorite song
do you even listen to music anyways
favorite movie movie laughs favorite
author Nora Jemisin yeah or Chuck Palahniuk
or george RR martin is this the only job
that you work oh all right I've lost
track of how many jobs I have I think I
have like twelve jobs is this your
favorite job oh yeah of course
as it appears that you're really busy
how much free time do you have
Oh what's every time what's your
astrological sign I'm a virgo what do you
do for fun
Does wine count why do you move your
head so much when you're filling your
videos I don't know I don't know okay
okay get where those like Vice things
like that you like hold wooden and a
watch shop and I'm gonna put it through
the back of the screen and like is it
difficult to film videos because of your
kids and pets yes they're very loud I
love them how do you solve this problem
I lock them away the little cages and
then they shake the bars Mama do we
need to call Child Protective Services
Shh
all right I think that got to all the
questions that I have for you okay
thanks for being a patron of flash
fiction online we really couldn't do
it without you
I have to let my children out
now
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Valentine's Day is coming soon and instead of something light and fluffy,
it's a good a time as any to do a deep dive into intimate relationships. Social
connections and intimate relationships are the boogeyman for many people. Some
prefer being alone and others feel that intimate relationships are worth it,
even if there are a lot of conflicts. For them we are making social memories that
last a lifetime. Love is always worth it! Then there are another group of people
who treat it as a hobby and think that it's not worth taking seriously. It's a
cynical game where most of the fun is in the anticipation. Consummation leads to boredom.
Fond as Freud was of artists and their depictions of what love is
supposed to be, the important question still remained. What are the "necessary
conditions for loving?" As always the difficulty for analysands undergoing
psychoanalysis is how to...
In the world of love there's a no bigger gulf
than first dates. They often go nowhere, but some relationships begin here and radically
alter the life paths of each partner. One of the biggest stressors for any human
being is navigating between what people want and what is available. With "poetic license"
writers can contrive results, which has its own form of satisfaction
for the writer, who gets to write their dreams and fancies, and for the reader,
who gets to imagine a more interesting world than their own. In the real world
of love, contrivance is just a fancy word for manipulation. Most people loathe
manipulation, but find it hard to avoid completely.
Manipulation of others and of oneself is essentially conflict. In Freud's three
papers on the subject of Love, he moves in those directions that are more
unpleasant and these unpleasant situations are mostly absent in many
romantic novels. Of course the Neo-Freudian René Girard selected stories
for his analysis that buck the trend and illuminate how difficult it is to
maintain bliss in a real relationship. Freud warned that...
When we snap out of our romantic fog and use a scientific gaze,
unsettling details come into focus, and no one is exempt. The one leveling
feature of love is seeing patterns that can apply to...
Finding quality partners is difficult and conflict over scarcity is omnipresent in dating circles.
Regardless of status, everyone feels the internal command: "Act now, or else you'll miss out!"
It can lead to rash decisions, obsessive ambivalence, and a number of
other neurotic consequences. We follow the pleasure principle, but find pain instead.
Freud focused on men in his first paper of the love trilogy in A Special Type of Choice of Object by Men,
which has many patterns that can also be observed in
the modern world with women and others with different sexual orientations.
One of the first necessary conditions for love is envy. Like Girard emphasized,
Freud was aware of the herd mentality of humans. We need social proof for our
choices, even if we lose connection with facts, the only proof we actually need to
make a good choice. Through transference we all rely on self-anointed experts,
human idols and parental replacements to bless our decisions,
but the freest person focuses on objective markers that consistently appear in reality.
Whether the herd decides which properties to invest in, or which people
we should marry, both objects and people can be over or under-valued.
How this often appears in relationships is when couples are newly married. The social
gathering, the wedding party and the wedding ring itself, all symbolize
value to onlookers. Single people left on the side will never look as enticing as those already taken.
At some point somebody authentically chooses someone, and those who are
ignoring on the side become jealous, when before the choice was made the
third parties did not care enough to act. The scary thing is that this still applies
for the newlyweds as well. The choices we make with who we marry tend to sparkle
with all the excitement of marriage ceremonies. What is forgotten in all of
our excitement with all the socially blessed choices is that social
authorities are not living with these choices, we are. Social attention, what
Otto Fenichel called Narcissistic Supply, is not always available. When all the
chemical excitement of the marriage celebration and honeymoon dies away,
boredom rears its ugly head. Boredom can appear with the repeated procedures of
home-economics, that resemble many boring workplaces. Sex that was new, fails to
reveal mystery. Depending on how mismatched the couple is, many will quite
quickly seek for replacement excitements in the form of affairs.
Just like in a workplace, employers and employees can take each other for
granted. Exploitation can also follow boredom
when partners need more and more to stave off the empty feeling associated
with what is not mysterious anymore. Nothing is ever good enough and very
quickly over-valuation turns into under-valuation.
Partners are blamed for not succeeding in keeping the exciting chemicals flowing.
Quite naturally blame and cheating and a need to win, replace all
those beautiful vows that were made at the beginning. It's a great lesson at
match-making. Unless the match-maker actually knows a lot about the people
being matched, it's really just a guess. Intelligent partners work out
life negotiations before they marry. Predictable red flags can be assessed
before taking the plunge. A good meditation practice would be to watch
how objects and people increase in valence in your perception, or how things
standout, when social proof is being blessed on people or objects. The people
or objects shine in a way that can distort actual value.
The next precondition for lustul attraction comes from the first.
A lot of pleasure is the pleasure of winning, conquest and revenge. For many people conflict is a
sadistic spice that adds to the flavour of desire. It's an...
The sadistic motivation of rivalry is also boosted by jealousy
caused by the flirtatious target...
Here we have René Girard's triangular desire that he applies in all areas
where there is a mediator of desire, or role model, but his theory was inspired
by Freud's love triangle. Instead René transformed love into a transference and
with Girard transference worship is in any area where there's fandom.
Celebrity is simply celebrating role models. Social proof enhances people and objects.
This hints at the importance for social rewards for survival and procreation and
the mind is constantly searching for signs. We can own those signs, dress up
in them and marry them. When people share the same symbols then there's a hovering
and potential for conflict. It's both threatening and tantalizing.
Like the ancient tribes, being the hero that hunts and brings back the kill confers social
rewards so that the threat of conflict is offset by the promise of reward.
Sometimes Freud's third wheel sticks around longer than you would expect,
enjoying the excitement of the triangle.
This is the attractiveness of "sluts", as Serge Pankejeff called them in Part 3 of The 'Wolfman.'
This of course used to only apply to women, but men can be sluts too. These are the people who
manufacture intensity with flirtation. As you can see in my video of René Girard's theories,
possession kills intensity. Flirtatious people who are otherwise attached,
create the sense that they cannot be possessed.
This increases intensity so that partners must be won back over and over again.
It is why people can hover in toxic relationships, because the intensity
isn't always pleasurable and a lot of the pleasure comes from increasing
intensity to get a pay-off of relief with consummation; to manipulate how the brain
responds to conquests, to maximize the high of relief. This is how people can
hover in these relationships even if it looks torturous. In fact it has to be
torturous or there's no anticipation of relief. It's the typical stereotype of
men chasing and women trying to get more attention. The greater the high,
the greater the conditioning to repeat. It's often said that people leave toxic relationships
many times before they leave for good.
One of the quickest ways to get out of the cycle of abuse, which is all about
this manipulation of intensity, is to either cherish your alone time with
interesting projects to reconnect again with the lost self, or to find the
insight that peace away from all these ups and downs is happiness.
If intensity always falls into boredom or stress it's a never ending roller-coaster.
People can get fed up, and if they have found a calling elsewhere, then
the threat of loneliness that motivated desperate searches for a new
relationship disappears. People can feel just as lonely in relationships and that
realization leads one to make new choices with one's time. The lonely
feeling has more to do with having nothing meaningful to occupy your time,
not that you need a romantic partner.
When people lose their drug of choice,
and there's no replacement, it's easy to fall back on these dark relationships.
The social brain becomes a trap and the individual self starts to fall apart.
All their projects and goals take a backseat to the relationship,
and self-esteem reduces. For example, if the person is objectively young
and attractive, their allure increases with social competition.
They become lustfully irresistible. The hunger and yearning starts to animate
action that can often embarrass the pursuers as their self-esteem decreases
with all the debasing they do to win over their target. Debasing is the
abandoning of all one's self-goals in order to get a social reward.
Since self-esteem is modulated by social concerns, as Girard pointed out, the
hunter becomes masochistic and the hunted, narcissistic. Typically this was the male
chasing the female, but most modern people can detect this pattern in any
sexual combination. Some Girardians like Jean-Michel Oughourlian, actually are
tempted by the idea of increasing intensity with flirtation and threats to cheat.
The idea is that if it's done consciously, both partners can channel
their lustful hunger back to each other and remain in the relationship. Of course
this is not looking far enough down the road of consequences. Any intentional
flirting will increase the energy of the person flirting and decrease the energy
of the hapless target when they are no longer useful and discarded. That energy
exchange can create conflict because you are using others as a battery. Also the
brain knows which person is the old partner and who is the new target.
There's no guarantee that each individual will gain enough energy to
continue the old relationship. Hence many Narcissists move on to endless partners
until their social or objective value fades with age. Fidelity is rated so
highly by so many people, but in the end...
The blindness of each subjective point of view is perceptively seen by Freud. The attention is away from the trap of the
endless string of lovers and only focused on how to be of value to the next target.
Freud then goes back into the childhood of these men, and sees the Oedipus Complex again.
The 1st romantic triangle of rivalry with the father to obtain the mother.
"Mother-surrogates." In modern slang the term would be "Motherfuckers."
So the next time you see a conflict in a love triangle and someone is called
a motherfucker, they may not actually be wrong and both men may be implicated
depending on how similar the pursued female is to their mothers. You can catch
yourself being caught in the "motherfucker" template when you are
attracted to a woman that has a similar profession to your mother, or has looks
or body language that is familiar and comfortable like your mother.
Notice sexual feelings arising when this happens.
Familiarity reduces stress and increases sexual desire, and unfamiliarity
increases stress and reduces sexual desire. Mindfulness helps you catch these
embarrassing intentions. Now you don't have to avoid women who are in that template,
especially if they are good partners, but if it's an unhealthy template,
based on bullying and abuse, it's an opportunity to try and
appreciate women who might be better for you and move into a different trajectory in your life.
The new object-choice may provide fresh challenges and if a person
is secure if there is rejection and persistent in their search,
they may find what they really need. Some people need to divorce first before they
start considering more features of what they need in a partner than they did originally.
Freud goes back to the template of the Oedipus Complex, but Jean-Michel
focuses on a different angle. He calls it possession. When you want
your spouse back you are also wanting to be in the place of the new suitor.
You are possessed by their rival personality. There's a temptation to copy their
winning tactics. It's the main way people can get into your head, by taking your spot.
It's a territorial feeling, possibly connected with serotonin, where you
desire to be back in that good comfortable spot. Like a cat in a sunbeam,
or a bird perched up high above with a perfect view of the scenery and their prey.
Humans are also animals and want a nice spot in relationships and also the workplace.
Intensity is most felt when you are about to gain a spot or to lose one.
The corresponding need for revenge is powerful. Notice how you can be
obsessed with enemies in the workplace and catch yourself. Realize that you are
obsessed because you want a spot that others want, or they are in a spot you
used to have. Relief happens when you find a different spot that is open.
Being open to a variety of spots will reduce your neurosis over others.
Girard called it an "ontological disease", or a being disease when one can't help
but obsess about rivals. Knowing that having a spot kills intensity also helps with relief.
This means that the winner can only take pleasure in the conquest.
When the loser is no longer around for comparison pleasure, the winner has to
find new targets for competition to avoid boredom. A loser who is flexible
can also find undervalued people and situations which leads to a social
happiness that can be added to a meditation practice. This is a more
Christian meditation where the belief of a permanent spot for happiness is abandoned.
Winners are never completely satisfied. This is what allows for flexibility.
Coveted professions and romantic partners are a fools gold
leading to endless stressful conflict. It's possible for a winner to actually
be a loser in one's emotional life. The neurosis of chasing a perfect spot leads
to substitute pleasures in the form of addictions, entertainment, religion or
politics as a means of escape. This fits the pattern of people looking for
replacements when they lose their perch or valued partner. The so called "losers"
of society have to learn flexibility, sublimate or breakdown. This is seen very
acutely in bad economic times when lifestyles have to be curtailed.
People grieve and go through withdrawal symptoms of their old life and start
debasing themselves in preparation for blame and abandonment, when their
partners don't like the changes. The problem with The Spot, and why it goes
out of scope in this article and into another project on Group Psychology,
is that people either get bored with the spot and start searching out other spots,
mostly with an eye on a role model, and unconsciously, or in some cases
onsciously, this works to escalate conflict with the person already in The Spot.
A lack of appreciation for the current Spot can be a problem and so is
the blindness towards your new Spot that you want and the wrong belief that it
isn't already wanted by someone else. Again the Blue Ocean Strategy focuses
more on spots that are undervalued and the perception improves with that attitude.
Most people, like a stampeding herd, move into the most coveted spots
which so many vie for and don't realize the mental health problems they are
running into, including obsessive thoughts about
rivalry and PTSD. I've even run into random examples of
this in my own life. For example, at a seminar in Phoenix, I went to a really
good breakfast place. I was sitting next to another American and I casually
mentioned that I was Canadian. He eventually started talking about another
Canadian he knew.
The look on his face was a mild embarrassment mixed with envy and aggression. I felt like he was warning me.
Why envy is my favourite subject is that it's a taboo and people
react to those feelings but try to disguise them, yet body language starts
to betray them. Usually an embarrassed smile gives it away. I come from a
Conservative background but this kind of Conservative, ethnic entitled socialism,
is not for me. I responded that "Americans live in Canada and we try to treat them nicely.
We live in a global economy. Americans work around the world." Now this
isn't to pick on Americans, because this stuff is everywhere there are humans
vying for a Spot in life. An example I clearly remember in Canada was an
Accounting Seminar for a designation that I shall not name, where it was openly
discussed that to change your name to an Anglophone equivalent would increase
your chances of getting hired. The audience was depressed and murmuring,
but we were just to accept this. There are other examples I remember, but I've
linked to some intelligent ones below involving teaching in Vietnam and
people's experiences in Japan. The lesson is that one must eliminate any romantic
notions of different countries and what they can offer you.
Our standard of living is very interdependent on social hierarchies and
what they will allow you to have. And even if you get disgusted with
right wing politics, and you try the left, you will ultimately find the exact same concerns there.
Unions have to limit the supply of labour to increase the cost of
labour for their supporters. Hierarchies are there too.
To be a free thinker in the end is to be an independent politically, where you are
skeptical of power structures in any system. In the end all of us will end up
in a Spot that is a coffin or an urn. The Spot, or heaven doesn't exist on this planet,
and this insight will keep repeating.
Part of the difficulty in trying to move beyond relationship templates that are old and comfortable
is the stress of taking a risk. The biggest risk a person can make is choosing an
intimate partner, especially one that is more challenging in a good way. As Freud
pointed out in many different ways, our stress can repress our cravings or libido.
Some of the reasons for impotence are inferred by Freud to be unconscious obstacles.
These disturbances for Freud often started in childhood where the love and
lust aren't developed to a mature level.
Like a lot of Freud's theories there are libidinous currents that can ally together on an
object or split off with different objects.
Of course the path from child to marriage is fraught with obstacles and...
If you are mindful you can detect family templates being selected unconsciously and Freud here talks about these
unconscious templates and how they continue to operate.
It's easier to venture for a comfortable familiar target than it is to risk rejection on other paths.
In some cases rejection is total or very close to it. Freud describes what happens to
the mind when reality is unsatisfactory.
Because the sexuality has turned to imagination as a replacement, Freud worried that it would result in...
...in real sexual relations. Of course this doesn't mean
impotence in the sexual organs, but that new realistic healthy templates are not
approached. This can be seen in modern days with pornography inadequately
filling the gap left by broken relationships. Rampant divorce and fewer
people marrying have led to a dystopian sexual world. With sex dolls beginning to
enter the market, sex becomes an unrealistic template where a passive
partner just does whatever the excited customer wants in a one-sided way.
The affective current stays with childhood oedipal templates and lust moves in
different directions where there is no love.
The sensual and the affective become split.
For Freud the feature of how sexuality appears when sacred is separated from profane, consists in...
This for Freud leads to perversions because sexuality
is associated with the debased and the sacred locked in prohibition. It is why
higher and virtuous forms of love can appear unsexy to many people. So for
Freud the desire for mother from childhood and disgust in response to
these desires in adulthood, when unconscious desires become conscious, can
lead to being turned off. Debasing the partner becomes necessary to bring sexual desire back.
Modern man for Freud only...
For Freud, the awareness of the sacred mother figure
acceptance of incestual desires is actually the beginning of fusing
together the affectionate and sensual currents.
The new partner's countenance being like that of the mother is accepted,
but relief is also obtained because that person ultimately is not
the mother. The benefits of having sex with someone that is not a member of the
family can be joined with the benefits of harmony with someone who is
understood and familiar. This trap of separating debased objects from sacred
ones has its effect on women as well. Sex is considered dirty and not good, so good
girls remain chaste for too long. They become a wife where there is love but no lust,
and the wife is denied full passion.
Then when you add the prohibition of
sex aimed at women, especially in Freud's time,
The frigidity and debasing tendencies for Freud come from
This is a difficult problem for civilization, but Freud doesn't advocate complete sexual liberation.
Just like with Csikszentmihalyi's Flow, and
countless other theorists that are influenced by Freud, there's a sexual
Flow that can become boring.
A big part of the cycle of abuse is the debasing of objects to
breakdown boundaries, increase excitement and surmount obstacles to sex.
Milder forms of debasing appear in teasing and put-downs.
Ease of sex leads to boredom and signs pointing to that insight appear in history.
Freud then later compares the value of social barriers, like those imposed by religions, with alcoholics who
get a tolerance for their favourite wine but grow accustomed to it by habit
because barriers for other choices of wine are too steep, such as distance,
money and prohibition. If there's enough prohibition of sex,
including prohibition of infidelity, then available partners become habitual.
Freud compounds the lack of satisfaction that people
feel not just from external obstacles, but also internal ones. Freud surmises
that satisfaction can't be complete because many partners are surrogates for
childhood templates, and also because some perversions have to be repressed in
civilized society. Then he searches for more sexual limits in the human need for
complete sexual satisfaction, by surmising that if all sexual desires
could be satisfied completely, there would be no reason to develop culture.
Here I think Freud didn't explore enough avenues for why boredom exists. Humanity
has had to struggle against nature to survive for so long that too much
pleasure would weaken survivability.
Humans were so busy with survival that
it would be impossible to be copulating all the time, and indeed that was the case.
René Girard also focused on later conceptions of happiness that Freud
zeroed in on in his future On Narcissism, and the case study of The 'Wolfman.'
This is his perception that to be in a floating oceanic religious experience, like prayer
or meditation, is a re-creation of the womb. All needs are met there with no effort,
but all of our worldly responsibilities
make this impossible. All pleasure has a limit.
The famous rat experiment where the rat preferred addiction over food, is a clear
answer that too much pleasure interferes with survival. This supports Freud's
worry that too much copulation would lead to no development, but the rat in
this case had a tool put into it's head. Biology by itself will limit pleasure.
The closest comparison would be a drug addiction where the brain biology is hacked,
but even there one finds tolerance or overdose. The search for a
heaven of endless pleasure will always fail because there are consequences for
too much or too little pleasure. It all points to balance again.
This was a thread from the early to late Freud. Social goals and individual goals have always been a trade-off.
Conflicts over desire can manifest in civilization as macro
demands for collective survival with large organizations, or in micro demands with partners and families.
Naturally my next exploration will have to move onto
mimetics, groups and the herd mentality. Early psychological thinkers loved
staying with the forest and tantalizingly left the trees for other
thinkers to focus on. Errors are found in the trees and new theories developed, but
today we find ourselves lost in the trees and forget about the forest,
or the big picture. Both the trees and the forest are
important because as individuals we are still dependent on the stability of
everyone else in society. A lot of what interferes in relationships is exactly
that big picture of unforeseen influences. Oligarchies, politics,
economics and social climbing are chaotic traffic we have to navigate.
Girard said that...
In his literary studies he compared the story of Tristan and Isolde to the narcissism that couples force onto each other.
A lot of your attractiveness is not only if people are pursuing you for a romantic relationship,
but also being in demand in a career. If you are in demand in society
and the money is flowing then you become more attractive by proxy with your lifestyle.
This is part of the reason why royalty and celebrity is so attractive to people.
People can day-dream themselves into your lifestyle, that you are paying for, and get excited.
...which leads to...
Our attractiveness ebbs and flows with how our jobs change, age, health and also if
we have a tantalizing potential. True love in the end is when people love
their partner's personality and good intentions, even when there's little fanfare
and demand from society. Life is going to take everything away from us,
but we can still love what's left.
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Okay, so this is the new location
its a ghost town
would You look at this
It's crazy how it's still standing don't you think?
We got something up in that place
It's crazy how good they built it. I mean it's not falling or anything
Look at all that
Look at this road
yea since this was built on the mountain as you could see looks like this was most likely the only road you get up
Look at that
Got my quad right there. Didn't decided not to bring it up
Damn look at this
What was that?
That's crazy lookin looks like they had something
So you could see there's nothing around us
This looks like it was something definitely
yea Guys would you look at this
looks like they got wood stacked up
yeah it looks like they had something because look at that rock wall
It's crazy how they have this fenced off actually oh
This isn't a very famous place because their gold is like
It's all dug out and stuff
This says something
Okay, you can see people did get through
Let's take a look at this
Crazy lookin
yea this place is a good condition
Compared to a lot of places it's still standing
Like it's all that
So people must not go to this a whole lot
dang shelving
look at all those nails
Don't know if you could read that
That's crazy, I don't know how good that ground is
wanna watch out
Damn look at that
this is one creepy place keep hearing noises damn
So look at the walls they use like
newspapers and stuff, to
It's odd isn't it
You can see this looks like they use it for something
that was the view
Damn
is this glass? oh I'm no its not
damn
oh damn take a look at this
lets go in we didn't look at this side of the house yet
as you could see guy's had the walls this looks like it was a small room
You got that
Look at that
And they had this room that just goes into mountain so they dug this out
Otherwise it was maybe a mine that's connected to the house I don't know but look at all that rock
that like it's been
Let's get back in the house, I didn't show you guys this side, because I got distracted with that room
damn look at that
they had screens but I dont see any windows
No they got glass
All right, let's go to the next place
Yeah look at this
somehow this manages to stay up
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ground control to major tom
ground control to major tom
take your protein pills, and put your helmet on
ground control to major tom
commencing countdown engines on
check ignition, and may god's love be with you
this is ground control to major tom,
you've really made the grade
and the papers want to know who's shirts you wear,
now it's time to leave the capsule if you dare
this is major tom to ground control, i'm stepping through the door
and i'm floating in a most peculiar way,
and the stars look very different, today
for here, I am sitting in a tin can
far, above the world
planet earth is blue, and there's nothing I can do,
though i'm past one hundred thousand miles,
i'm feeling very still,
and I think my spaceship knows which way to go,
tell my wife I love her very much, she knows
ground control to major tom, your circut's dead, there's something wrong,
can you hear me major tom? can you hear me major tom?
here, I am floating round my tin can
far above the (moon*) world
planet earth is blue, and there's nothing I can do.
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- When I was growing up we
worked seven days a week.
Didn't make any difference
what day of the week it was,
why it was a work day.
- My first memory as a farmer
as a kid were driving combine
soon as school was out I
was headed home to the farm.
- I grew up here, so I
was born on the farm.
I grew up just in the house next door.
When I was growing up we
worked seven days a week.
You'd go back to school in the
fall and the teacher always
wanted you to write your first paper of
what did you do this summer?
I didn't have to write very
much, I was just like, work.
Worked every day and
that's just the way it was.
- [Man] My dad got started
farming when he was a senior in
high school, he was renting
about 150 acres and just kind of
started farming from there,
ended up going into venture
with some peppermint.
- The reason it's such an
honor for us to work with the
Brown family is because
they take such pride
in what they do, they
love growing peppermint,
they love harvesting peppermint.
You look at this distillery,
this is a state of the art distillery,
you won't find anything like this
anywhere else in the world.
- Soon as the trucks
start bringing in the tubs
we just watch for when
they're gonna hook 'um up and
make sure they get the steam going.
When the steam comes up to
pressure we've got different
buttons here to regulate the
steam and it's just a lot
of pacing back and forth in
here watching 16 different
bays and making sure it happens right.
- This year we're harvesting
520 acres of peppermint
and we're gonna plan on doing
that in eight and a half days.
We're cooking right now
about 102 to 103 tubs a day.
The Willamette Valley tends
to have have a more oil
that's more sought after than
other places in United States
or around the world and a
lot of it just has to do with
the climatic conditions here.
When the plant starts to
bloom the quality of the oil
starts to change, you don't
want to end up with oil that's
not of the consistency
that the consumer wants.
Although we could get more
oil by letting the plant
get more mature, there's a
certain time in there when
we have the best quality for the maturity.
- Because of the care
they put into their fields
in making sure they're free of weeds,
we get the finest peppermint in the world.
- We want to be the best in
whatever it is that we're doing
so I love it when the wellness
advocates come to visit
our mint still, it's such a
emotional experience to me,
to be able to talk about something
that we are so passionate
about, to see the impact of
our efforts, of our hard work
through the stories that
are then told to us.
I know it means a lot to
them and when they share with
others about peppermint oil,
they know exactly where it
came from and they can be
even a stronger advocate
for the use of peppermint oil.
And you think wow, we really
are making a difference.
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I came to California because I was traveling
For seven years, I trekked around the world
I went to America, New York a year;
and before that, I had been in Mexico;
and before that, in Greece
I was not interested in anything then
I was lost
I didnt know what to do with my life
I happened to be in Bolinas,
renting the house of a photographer
So there was material around, cameras, printing room
I went to the graveyard,
and I photographed two graves
and realized their strangeness
Because they didnt give a name of the person,
just said father, motheror was it brother, sister?
And I called my father,
who always told me that the day
I would know what to do with my life,
he would help me
And I said that I had been doing photos,
that I was in interested
And he said, Okay, come over to Paris
and I can give you a roof and food
So I went to Paris
But I didnt really know what I was doing,
so I made one or two projects,
more to keep busy,
not knowing where it was going
Until one year later, I did a project called
The Sleepers,
where I invited people to sleep in my bed
And one of the women I invited,
that I had met in the market, I think,
was the wife of an art critic
And she told him about this story,
he came to see me,
and invited me to show in the modern art museum
of Paris,
in a group show for young artists
And so he decided for me, in a way
My father was an art collector,
so there were works of art on the wall,
a lot of pictures with text, like Duane Michals
Image and text, I used in the beginning
maybe because my images were not that good
Ive always liked to write
So its this kind of element, you know,
doing pictures I liked,
having to obey to my fathers request,
the need of doing something,
the vision of someone else putting me in a show
all this made that I became an artist,
without really deciding it before
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.
ANOTHER SIGN L.A. RAMS
RAMPING UP PREPARATION FOR THE
RETURN TO SOUTHERN CALIFORNIA
CHEERLEADER TRITES UNDER WAY
AT USC KCAL9 JOY BENEDICT LIVE
FOR US THIS MORNING WHAT LOOK
AT HAS WHAT IS HAPPENING JOY?
.
REPORTER: THAT IS RIGHT THIS
IS EXCITING FUN MORNING WE ARE
LIVE INSIDE GALEN CENTER YOU
CAN SEE WE HAVE COUPLE HUNDRED
GIRLS ALREADY HERE 400 IN ALL
ARE EXPECTED THIS MORNING TO
TRY OUT TO BE AN L.A. RAMS
CHEERLEADER INCLUDING THIS
WONDERFUL YOUNG LADY WE HAVE
HERE JENNA, A VOLUNTEER TO
SPEAK TO US -- ARM-TWISTING
NO, SHE DIDN'T NEED ANY WHAT
MAKES YOU WANT TO TRY OUT.
GOSH I FEEL BEING L.A. RAMS
CHEERLEADER WOULD BE FUN.
EXCITEMENT IN CROWD DOING
ALL -- INVENTORIES FUN STUFF
WITH IT SEEMS LIKE, WHY NOT
WHAT A GREAT OPPORTUNITY.
YOU YOURSELF DANCING 20
YEARS.
YES.
AND REPUBLIC RECREATIONAL
YOU NAME IT I HAVE DONE IT, MY
PASSION.
ARE YOU A FOOTBALL FAN IF A
OBVIOUSLY, YES, I AM A RAMS
FAN L.A. RAMS FAN NOW THAT
THEY ARE HERE, OF COURSE, I AM
GOING TO SUPPORT THEM AMAZING.
I DON'T KNOW WHAT DO YOU
THINK TODAY'S PROCESS IS GOING
TO BE LIKE DOES IT MAKE
NERVOUS.
IT DOESN'T MAKE ME NERVOUS
MORE LIKE EXCITING, BECAUSE I
KNOW THAT THERE IS A LONG
PROCESS GOING TO BE A LOT OF
CUTS, YOU NEVER KNOW WHAT HERE
IN LOOKING FOR YOU COULD BE
PERFECT AND SOMETHING HAPPENS
WHO KNOWS YOU CAN'T TAKE IT
PERSONALLY JUST HAVE FUN, AND
ANXIOUSNESS I GUESS.
A PROFESSIONAL DANCER YOU
DON'T ALWAYS GET EVERYTHING.
NOW DON'T, YOU DON'T GET
MOST THINGS, WHICH IS THE
TOUGH PART YOU KEEP TRIALING
HAVE FUN.
WE HAVE HIGH HOPES FOR YOU.
THANK YOU.
THANK YOU SO MUCH FOR
JOINING US HERE THIS MORNING,
GOOD LUCK TO YOU.
THANK YOU SO MUCH.
I KNOW, MAYBE ON SIDELINES
COME FORMALLY.
HOPEFULLY.
SOUNDS GOOD -- THIS IS JUST
FIRST STEP AS WE MENTIONED
THIS IS FIRST ROUND GOING TO
HAVE A COUPLE CUTS HOPING TO
NARROW DOWN TO 150 GIRLS TO
START FINAL PROCESS BEGINS
LATER THIS WEEK INTERVIEWS,
FINALIZE, ABOUT 35 TO WHO
GIRLS APRIL 17 STILL LOOKING
FOR SIGNATURE MOVE SHOOU
SOMETHING LIKE THIS.
PERFECT.
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- Hey guys how you doing?
My name is Robby. And
recently I put a poll up
on my channel asking you guys what color
should I dye my hair next?
And you guys definitely answered.
So here it is. Are you ready?
One... Two... and... Woo!
I'm a pink and blue buy.
And then depending how I feel that day
I can make my hair more
pink. See? I can be
more pink or I can be
like nah I don't want that
Be more blue boy with
a little pink accent.
Isn't that fun?
You guys like it? Let me know down in the
comments down below. So anyway as you guys
probably know, my good buddy Chris AKA
Hair Jordan recently
moved into our office.
And boy we have been having some real fun
with these crazy pranks.
- [Chris] Dude I'm so sorry.
- [Ry] Stupid pranks!
- [Chris] What are you doing?
What the heck
Chris!
- [Ry] And Chris got me back really hard
last time. So I think it's time I get
him back again.
(Evil laugh)
Lets do this.
- [Woman] If you can catch this with your
forehead without using your
hands then ill give you
(inaudible speaking)
Three two one
- [Ry] Oh Hair Jordan!
- [Chris] Yeah dude?
- Hey how you doing?
- Good man. What's up?
- I didn't even see you there.
Do you like (inaudible speaking)
- Yeah they're all right.
- But I know you've been having a lot
of problems with your car lately right?
- Hmm.
Yeah you could say that.
- Well I got this Jiffy
lube gift card here
it's a hundred dollars. So all you have
to do to get this gift card is when I drop
the card off the wall you have to try
to catch it with your head.
- Okay.
- Okay you ready?
- Hundred bucks dude
I got this. All right.
- Hundred dollars. You ready?
Three... two... one...
(smack noise)
(humorous sound effects)
- [Ry] You hit your head
really hard there buddy.
Are you good?
Chris come on.
- Did I win?
- [Ry] No you lost you've been pranked.
- What? Was it not a Jiffy Lube gift card?
- [Ry] No it was a real
Jiffy Lube gift card.
I just taped it to the wall there no
way you could've gotten it.
- Oh then that means...
Do I win? I win?
(inaudible speaking)
- [Ry] No come back!
- Thanks dude you're the best.
- Okay well I guess it looks like I'm out
a hundred dollars.
Okay guys so I'm actually
waiting for Chris to use
the bathroom. Oh I hear him.
(Laugh) Here's our snake.
Oh hey Chris what you doing?
I just wanted to show you my snake.
(Smack noises)
Where are you getting
all these Tobys from?
Where are you getting
all these Tobys from?
- [Chris] Oh my god.
- Chris! You've been pranked dude!
- What the heck was that?
- [Ry] It was a prank snake.
- Oh my god are you kidding me?
What happened here?
- [Ry] That was you. Where did you get
all these Tobys from?
- I don't know. I wasn't throwing them.
We have a plumbing problem.
Okay get out. Get out.
- Well guys I guess we're
going to have to say
that this one works.
- [Man] Grandma did you know that if you
put salt on top of
ketchup it makes in warm?
- [Woman] Salt?
- Yo that's crazy. Put your hand.
You feel it?
- Oh Hair Jordan.
Hey I want to show you a cool trick.
- Okay.
- I just saw this one on TikTok.
It's really awesome. So you just get
some ketchup. Right. Basic ketchup.
- Uh huh.
- Then you get yourself some salt.
It's like hot. It makes the ketchup hot.
Isn't that crazy? Feel it.
(Smack noise)
- (screams)
- I got you.
- Dude what the heck.
What is your problem?
- You've been pranked.
- Why would you do this? Why?
- [Ry] Got you.
- That was cheap.
- Well guys I guess we
could say that this one
works. See you later Chris. Have fun
cleaning that up.
- [Person] Prank time.
- [Man] (Screams)
- [Ry] Okay guys. Chris is just
chilling on the couch watching Avatar.
I think he's about to sleep.
Here's our rope.
Okay. Are you guys ready for this?
- (Screams)
Dude what the heck.
- [Ry] I got you.
You've been pranked.
- Home here. Home here.
(inaudible speaking)
- [Ry] You've been pranked.
- [Chris] I got it off.
- Well guys I guess you can say that
this one works. Oh god.
- [Woman] Cam get out
of the fridge I'm making
dinner. Cam what are you doing?
Get out of the fridge.
(screams)
- Okay guys so I actually don't have any
sweatshirts here. I don't have hoodies.
[Ry] I live in Las Vegas
and it's literally a
hundred and seven degrees
outside. So we're going
to go ahead and go over
to Chris' office and see if he has any.
Oh Hair Jordan.
Oh you're down in the kitchen?
Oh okay. I was just seeing where you were.
I'm gonna use the bathroom.
Dude. Awesome.
He's just right over there making
some coffee. It's time to do this.
(dramatic music)
Oh hey Chris.
- Robbie? Are you wearing my hoodie?
- You've been pranked.
- Uh. I'm a little confused here.
Wait you just trashed the kitchen.
Robbie!
- [Ry] (laughing)
- What're you doing man.
- [Ry] I swear I didn't mean to do this.
- This wasn't the prank?
Did you go in my room?
- Well guys I guess we're
going to have to say that
this one works.
- [Man] I just feel like you could've
been nicer to me.
- [Woman] Oh my gosh well I feel like
you could've done eighty more things
today than you did. I feel like
I woke up, and I cleaned our room, and I
did our bed, I cleaned the sheers, I did
the laundry, I put your clothes away.
I come in the kitchen. Nothing's done, so
I do everything. Then
I make you breakfast.
Then I get the baby ready. Then I get
myself ready. And what do you do Michael?
You just tell me I could've been nicer.
That seems pretty nice
to me. And you thought
I was pretty nice last
night. Super nice. Woo.
- [Man] Damn.
- Oh hey Chris what you doing?
- Just making you some food.
- Oh dude that's super
nice thank you so much.
- Yeah no problem.
- Hey so I have something
to tell you Chris.
- What?
- I know you're making me food and stuff.
And you do all this stuff for me
I feel like you could've
been nicer to me today.
- Dude.
- Yeah.
- I could've been nicer?
- Yeah.
- After you ruined my coffee. After you
tied me to the couch. Dude you threw a
snake on me. Dude are you kidding me?
I think I could've been nicer? And now I'm
the one making- why am
I even making you food?
I should (inaudible speaking)
You know what? That's fine. You can just
Here's your food. Just like you asked.
Maybe next time I will
be nicer I don't know.
- Well guys I guess you can say this one
fricking works.
It was a prank I'm sorry. Wait Chris
come back. Chris It was a prank.
Chris no come back. No dude it was a joke.
Like that TikTok have you not seen that.
No Chris come back.
I'm sorry.
- [Man] (screaming)
- [Chris] Okay guys so
here are our hot dogs.
Just one of these bad boys out.
Oh yeah that definitely
looks like a finger.
Hot dog finger look exactly the same.
So now we just gotta cut this bad boy
in half.
Perfect.
Fun Fact my buddy Rusty actually cut off
two of his fingers with this knife.
Okay so once we do that we get our
shish kabob and just oh yes. Perfect.
I think it's a little long.
Cut it down a little bit.
Oh my finger!
Chris I stabbed myself in the finger.
Then we go ahead and get our ketchup.
Oh gosh. Squirt it on there. Oh perfect.
And just rub it into our finger.
Wipe this off.
That looks pretty legit.
Lets go test this out
on Chris.
Oh my god! Hair Jordan.
I shish kabobed my finger. Oh my god.
(inaudible screaming)
- Settle down I have to fix your finger.
Let me see it.
(scream)
- Chris it was a prank.
Stop it was a prank Chris.
You've been pranked.
- Oh. Dude.
- Chris did you really have to punch me?
- Oh my gosh.
- I got you.
- What are you doing?
- You've been pranked.
- You really scared me.
- Chris it was a prank the whole time.
- Dude. Dude that's it. I'm leaving.
- What?
- I can't take this
anymore. I'm outta here.
Too much.
- Wait Chris what?
No Chris.
Oh man I better go (inaudible speaking)
Wait Chris. Chris where are you going?
- I'm leaving. I'm leaving dude.
I've had enough.I've had enough.
- [Ry] What?
- [Chris] Goodbye.
- [Ry] Chris no.
- [Chris] NO.
- [Ry] Chris stop.
- [Chris] Goodbye.
- [Ry] What the heck.
Oh my gosh.
Chris.
Chris where are you going?
Chris. Chris.
Stop don't go!
Chris.
Stop. No. Chris!
Come back. Chris no.
No Chris!
Oh well guys I guess you can say that
this one... this one works?
Uh that was a little intense.
I really hope Chris
isn't actually that mad.
Well guys if you like
the video make sure to
give a thumbs up like this
right down there.
If you guys like this video if you want to
watch me do even more
funny pranks on Chris
I have a whole playlist of me doing that
right here.
If you guys are new make sure to hit that
subscribe button. If you guys want to
subscribe to Chris wherever he may be
you can click right here. Okay guys
love you so much. I'll see you guys again
real soon. Peace, love, and wifi.
Okay Okay bye. (screams)
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hi everyone and welcome to my channel
after I have posted my first nutella
video many of you asked how you can turn
the Nutella into keto friendly Nutella
so I'm gonna show you how and I've also
changed a few things over the past few
months which I'm gonna share with you as
well let's start by roasting some raw
hazelnuts this is important because
roasting enhances the hazelnut flavor
and allows any excess water to evaporate
of course if you want to keep this
Nutella raw just skip the roasting and
use raw hazelnuts the bonus of roasting
hazelnuts is that you can then also
remove the somewhat better hazelnut
skins I usually roast the hazelnuts at
350 degrees Fahrenheit for about 15
minutes or until the skins have darkened
and are starting to peel away from the
nut to remove the skins transfer the
roasted hazelnuts onto a clean kitchen
towel gather the corners and closing the
hazelnuts and then wrap the hazelnuts
for one to two minutes until the skins
have fallen off don't worry about the
skins that do not come off and just add
the hazelnuts into a heavy-duty food
processor now there's more than one way
to peel hazelnuts you might have heard
about boiling hazelnuts in water and
baking soda but it's not ideal for this
recipe because the less moisture we have
the better I will explain why in a
little bit process the hazelnuts for a
few minutes until they turn into a
completely smooth hazelnut butter a good
way to tell you're at the right
consistency when processing the nuts is
when the nut butter starts having an
almost oily sleek or shiny surface
depending on your food processor this
should take anywhere from 5 to 15
minutes if you have a high speed blender
like Vitamix you can use that as well I
just find that in the initial stages of
making nut butter using a food processor
is a bit easier when your hazelnut
butter is ready add some cashews you can
skip the cashews but since there is
milk in the original nutella recipe you
want to bring some of the creaminess
back cocoa powder and a powdered
sweetener I'm using powdered monk fruit
sweetener which works so well in this
recipe you want to use powdered
sweetener because sugar doesn't dissolve
in fact nut butters included so you'll
know teller will only be as smooth or
grainy as the sweetener you use as far
as liquid sweeteners go such as maple
syrup I don't recommend using them in
this recipe the reason is that nut
butters are fat based whereas liquid
sweeteners are water based since oil and
water do not mix well the addition of a
liquid sweetener causes the nut butter
to seize up the last ingredient is
sunflower lecithin the reason I'm using
it in this recipe is number one to boost
the nutritional value of this recipe
because sunflower lecithin has lots of
health benefits but even more
importantly sunflower lecithin keeps all
the ingredients from separating as the
nutella sets in the fridge and it also
increases smoothness once all the
ingredients are in the food processor
blend again if you don't add any other
ingredients in this recipe the Nutella
will be quiet thin if you want the
texture to be thicker like store-bought
Nutella you will need to add a few
tablespoons of coconut oil and also
melted dark chocolate I add both these
ingredients when I make this for my
husband because they do thicken the
nutella if you're wondering about the
exact amounts of ingredients i'm using i
will have a link to the recipe in the
description box below this video and
that's it homemade nutella that is not
only begin and keto friendly but also
incredibly delicious
you
this little recipe is one of those
recipes where Tanner and I don't agree
on the final result so I prefer to tell
out with a little bit less sweetener
less cocoa powder because I can detect
the hazelnut butter more and I love
hazelnut butter
Tanner prefers and sell out with more
sweetener and more cocoa powder more
coconut oil because it resembles the
original nutella recipe a little more
you put this on some of the Nana's work
great for pancakes this is really thin
pancakes and typically I would buy this
for my sister-in-law except her sister
and then eat the whole jar so I would
not be able to distinguish putting this
and the other new tell mmm maybe that's
not true I think that this is thicker
than the original a Nutella the original
hotel kind of like smooths out
thins out as it goes across your palate
this is thick all the way through and
it's delicious
so me all right so I hope you enjoy this
video if you did please give me thumbs
up comment below subscribe to my channel
and I'll see you next time
you
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99 TOTS DE BRUYNE IN 195 FUT DRAFT! FIFA 20
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[MUSIC]
Erik Weitkamp: Hello, everyone.
Today, I want to give you a quick overview of a few features
that are included in the 2020 release wave 1.
In industry excellence, we'll look at improvements in site
development and task management.
And in the unified commerce section, we'll look at improvements
in promotions, refund payments, and peripheral health checks.
In industry excellence, we've made a number of improvements to
low and no code site styling, including the use of publishing
groups to allow you to prepare for and schedule multiple
updates of your website.
We've also improved our use of CSS to quickly update site
styles and task management at the store, team, and individual
level is better supported from both HQ and the point of sale
devices.
Let's see how this works.
We start with using publish groups to prepare for and schedule
updates to your website.
Here's the Fabrikam website showing the winter collection.
But we need to prepare for the spring collection.
In Commerce, we see that the components that make up the live
site, pages, products, URL, etc.
And we've expanded the pages on our site.
To add pages to our spring website, we start by selecting a
page in the live site or any other group.
In this case, we'll select the home page.
Select copy, publish group at the top, and choose which publish
group to add it to.
And we get a notification that we were successful.
We'll also add the header fragment from the website that says
which collection we're showing.
When we go to our spring collection publishing group, we see
only the items we've copied over.
But we can also add new pages to this publish group using other
pages as templates.
Let's go back to our header in page fragments.
The old header says, winter collection, and we want to update
that to spring collection.
So, we edit the text and then select finish editing to change
this header just within the context of this publishing group.
Now that we've made changes, we go back to our publish groups
page to schedule the spring publish group.
We edit the schedule and set the date.
And our website will now automatically update to show the
spring collection header.
Now, let's look at how we can change the look of the website
immediately by updating the CSS.
We start at site settings, design.
Here, you can upload CSS files, preview them against your
existing site, and also make them active on your site.
If you have developer tools, you can go right in and edit the
CSS for this font and background color.
And when you're happy with your changes, you copy and paste
into a CSS file and then save.
Now, you upload your new CSS file, preview on any page and
localized version, and if you like it, share the URL with your
reviewers who are authenticated into the site.
Once you're happy, select activate.
For companies with point of sale devices, you can use commerce
to assign one time or repeating tasks at the group, store, or
individual employee level.
Let's see how that works.
We're going to start by going to the task management
administration screen that would be used by headquarters.
This is where you can setup tasks and lists of tasks.
These can be repeating tasks like a monthly sales report or a
one-time task like this holiday season preparation.
We'll dive into the task for doing an inventory on cowboy
boots, add a couple notes, and link the task to the POS
operation product search, so it shows up in the appropriate
area.
Now that the task list is ready, we name it and set a target
date and select the stores that we want to assign it to and the
individual workers.
We could make it repeat, but this is a one-time task.
That's the headquarters view.
Now, let's take a look at what the store manager sees.
Here's the task list assigned to my store.
The holiday season preparation task list is due February 12th.
And it's in progress.
Diving into this task list, we see the five tasks included in
this list, the due date.
Well, I can set the status of the tasks.
And I'll assign one of these tasks individually to Alexander.
I'll also create a task for Andrew.
And then verify that I have one task for Alexander and three
for Andrew.
These tasks will show up on any device that they're using that
runs Commerce-the point of sale device, a tablet, or even their
phones.
And I can link these tasks to a specific POS operation.
In the unified commerce area, we've made a number of
improvements in the 2020 wave 1 that will help with your entire
system.
Let's take a closer look at some of these improvements in
promotions, refund payments, and peripheral health checks that
you can now do directly from the point of sale devices.
Promotions and health checks are designed to help your store
associates learn and verify their equipment during store
startup or in any quiet time.
Let's start by seeing how upsell and cross sell promotions
work.
We'll start with the sales associate, using their quiet time
to learn about available promotions from the Fabrikam point
of sale main menu. We've named this tab view promotions,
but you can rename to whatever term your company uses.
And we see the list of promotions that are available in this
store.
Some are straight discounts while others require multiple
purchases or a value threshold.
And some require coupons but all have a timeframe and the
option to include additional restrictions and details.
We can filter by type or do a keyword search as we review the
discounts that are available in this store.
During a purchase, the sales associate will be reminded of
these discounts.
Let's see how that works.
We'll purchase a pair of shoes, add the item to the cart, and
select discounts.
And we see that we have a number of discount options here.
Buying two or more gives us 25% off or we can give a 20% off
the entire bill.
With this guidance, your sales associate can offer the best
discount for the customer.
Let's look at the backend of the discount system to see how we
set this up.
Here, you see the student discount for jeans that we saw
earlier.
The name of the discount will show up in the list of discounts
and on the sales receipt.
And everything you need to implement this discount is right
here in one form.
Sometimes a purchase doesn't turn out as well as the customer
had hoped.
And they need to return items that were paid for with cash,
checks, credit or a loyalty card.
With the 2020 wave 1 Release, we can more easily set up
policies, such as how to refund customers when they return
products.
We start in the module for Retail Commerce, dive into feature
management and then channel return policy.
On the left, we have the payment methods and, on the right,
the allowed return payment options.
In the case of payment by check, we only have the option to
refund in cash but not everyone wants a lot of cash.
So, we'll add the option to refund with a card.
And once we define the return policy, we'll assign it to our
stores. In this case, San Francisco.
And this is where the power of this tool shows itself.
Instead of accepting my choice and overriding any existing
policies, I'm flagged that San Francisco already has an
assigned return policy.
And now, I need to decide whether to overwrite the existing
policy or leave San Francisco as is.
Now that we've set up the policies for our stores, let's look
at this from the sales associate's point of sale device.
Here, we have two products that were purchased for $316.
And my options are to refund in cash or on a card.
The customer wants to do some more shopping, so I'm going to
refund $100 in cash.
And you can see that it's now only giving me the option of $216
on a card.
And it gives me the option to swipe the card and complete the
refund.
Another thing that you can now do from a point of sale device
is a health check on all the devices in the store.
You can add this to your startup process or run the diagnostic
at any time you're concerned about the health of a device.
Selecting health check gets us a list of all the devices in
the store with their health check status.
We could also add to this list with services, such as a serial
number or tax service and then build our own health test to
verify its status.
We can review the devices like this printer one at a time to
see their status and run the health test on just that one
peripheral to see that there are no current errors.
But we expect people to use test all probably as part of the
store opening procedures.
Health check can be run from a point of sale device or it could
be in a startup process.
The idea is to find any issues before there's a customer
standing there waiting.
As you've seen, there are a number of new features in the
Dynamics 365 Commerce 2020 wave 1 update.
We looked at improvements in site development and task
management that are part of industry excellence and we also
looked at improvements in promotions, refund payments, and
peripheral health checks that are part of unified commerce.
For more information, use these specific links or go to the
release overview guide.
[MUSIC]
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The last British royal wedding
between Prince William
and Kate Middleton brought
together 1,900 guests,
many of whom were pretty
high-profile people.
Footballer David Beckham was
there with his wife
and fashion designer,
Victoria Beckham.
Elton John was there, too,
but this photo might be the most
impressive of all,
because this is the Queen of Spain
and the Prince of Spain
next to the Princess of Sweden.
The former King of Greece
is behind them,
and way back there is
the former king of Romania.
They were invited
because they're all related to
Prince William's great-great-great-
great-grandmother, Queen Victoria.
Over the course of her 63-year
reign, she strategically planned
marriages to place her descendants
in royal families all over
Europe and, in doing so,
created one of the most remarkable
royal families in history.
By the early 19th century,
Europe had been at war for decades.
After the French Revolutionary
and Napoleonic Wars killed millions,
European leaders came together to
restore peace
by reshaping major states for a new
balance of power.
Great Britain went on to become one
of the strongest states
and, years later, Queen Victoria
and her husband Albert came up
with a plan to maintain that
political power -
they'd marry their children to
monarchs across Europe.
And at that time, you know,
all royal marriages were
fundamentally about dynastic
unions,
about cementing political
allegiances,
about building new
political alliances.
It started with their daughter
Vicky, the eldest of nine children.
She married the heir to the
Prussian throne,
the largest and most powerful of the
German states.
Albert's vision had always been -
and Victoria shared it -
that Prussia, of all the German
states, was the one that
would end up leading the way towards
a great, unified Germany.
They wanted to build strong
connections with Germany
and see them as being a force
for good
and constitutional, benign
monarchy across Europe.
Their children - Alice, Beatrice,
Helena, Leopold and Arthur -
also married German royalty.
Their eldest son,
Prince Albert Edward,
married a Danish princess whose
brother was the King of Greece,
two more important European states.
But when their son wanted to marry
the daughter of the Russian Tsar,
things became a bit more
complicated.
There was a long history about Queen
Victoria's deep, deep apprehensions
about Russia, for any of her
children marrying into Russia.
The Russian monarchy was
an autocracy,
whereas the British monarchy, as
such, was a constitutional monarchy.
There was a whole, long period
of Russophobia in Britain.
The two states were also
extremely competitive over
territory in Central Asia
and Eastern Europe,
where they fought a bloody
war in the 1850s,
but the marriage was allowed and,
by the 1880s, Queen Victoria's
children were in several important
branches of Europe's monarchies.
Not quite.
See, Germany did unify in 1871,
but it wasn't peaceful.
Prussia fought
a series of bloody wars
and consolidated the other
German states.
In Russia, the royal Romanov family
was losing its grip on power.
Members of the monarchy
were being hunted
and the Tsar was
assassinated in 1881.
The royal unions didn't play
out as Queen Victoria planned,
but she continued to make more
matches anyway.
She had 42 grandchildren in total
and these seven ended up
on royal thrones.
The eldest, Wilhelm II,
who was already in line to be
the next Emperor of Germany,
married a German princess in 1881.
The hope was that he would steer a
unified and powerful Germany
into an alliance with Great Britain.
George was in line to be
the King of Great Britain
and married a minor British
royal family member.
Alexandra married Nicholas, who was
related to George and Wilhelm,
and both became the Tsar and Tsarina
of Russia,
and four more granddaughters married
European royalty,
fulfilling Victoria's vision.
I mean,
when you look at Queen Victoria,
by the end of her life, she really
was the grandmother of Europe.
Take, for example, this family
photo, where Queen Victoria
is with her daughter and grandson,
the rulers of Germany.
Her son, Britain's next king,
and her granddaughters,
the future Tsarina of Russia
and the future Queen of Romania.
Here's the soon-to-be King of
England and his lookalike cousin,
the soon-to-be Tsar of Russia.
And here's some of the children
and grandchildren together.
Finally, this is King Edward
of Great Britain and his nephew,
Kaiser Wilhelm of Germany,
at Queen Victoria's funeral in 1901.
After her death, the family ties
that Queen Victoria had
strung around Europe would
not bring peace,
but the most destructive war
Europe had ever seen.
The Kaiser and the King make
ready to sweep the field.
The Tsar of Russia mobilises.
England joins the battle royal.
World War I broke out in 1914
and split this family apart.
Wilhelm's Germany, along with
Austria, Hungary
and the Ottoman Empire,
fought an alliance led by Britain,
Russia and France.
These countries were neutral.
Say Victoria had lived till we were
on the brink of war,
I think it would have broken her,
totally broken her heart,
to know that her grandchildren
ended up at war with each other.
The war killed
over 10 million people
and ended the era
of monarchy in Europe.
Wilhelm, Sophia and Marie were all
forced to abandon their thrones.
Revolution swept through Russia,
and Alexandra and Nicholas were
executed by communists.
The British monarchy survived,
but the war forced them
to rethink their political strategy.
George, King George V,
and his wife, Queen Mary,
were very, very astute.
They saw that the monarchy had to be
more people-friendly,
had to be more accessible, not just
sitting there in great robes
in glory, you know,
with their crowns on.
It had to be much more
out on the street, hands-on,
meet the people,
win their confidence,
the kind of monarchy
we now have with Queen Elizabeth.
That approach not only helped
modernise British monarchy over the
last century, but it also changed
the face of royal weddings forever.
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when you add a base.
Ends Labor Day.
♪ ♪
♪ ♪
>> THEY ARE LOOTERS AND WRITERS,
AND ANY HERE THE DEMOCRATS, THEY
NEVER SAY ANYTHING ABOUT THEM.
NEVER MENTIONING LAW AND ORDER
OR THE WORD POLICE.
>> THERE ARE A LOT OF FOLKS THAT
FELT THAT THE PRESIDENT HAS MADE
GREAT STRIDES WITH THIS -- LAW
AND ORDER STRIDE.
AND BOY, AFTER HIS CONVENTION,
HE REALLY -- WE REALLY MADE AND
ROADS.
HE HAS SENT.
NOT AT ALL.
I AM BEING SERIOUS.
THIS SHOULD GIVE YOU A LITTLE
BIT OF CONFIDENCE.
IN THE AMERICAN PEOPLE, THEY ARE
NOT BUYING IT.
>> Bret: JOE BIDEN IN KENOSHA,
WISCONSIN TODAY, THE FAMILY OF
JACOB BLAKE THROUGH
ATTORNEY GENERAL SAYING
VICE PRESIDENT BIDEN COMING AND
JILL BIDEN HAD AN IN PERSON
MEETING WITH THE FAMILY.
THEY WERE GRATEFUL AND IMPRESSED
THAT THEY WERE SO ENGAGED AND
WILLING TO REALLY LISTEN.
THEY TALK ABOUT THE CHANGING IN
THE TREATMENT OF MINORITIES AND
POLICE INTERACTIONS, THE IMPACT
OF SELECTING KAMALA HARRIS AS A
BLACK WOMAN AND RUNNING MATE,
AND VICE PRESIDENTS CHANGE.
IT WAS VERY CLEAR THAT BIDEN
CARED AS HE EXTENDED JACOB JR.
HUMANITY, AND WORTHY OF PRAYER,
TALKING DIRECTLY TO JACOB BLAKE
IN -- BY PHONE, LET’S BRING IN
THE PANEL, OPINION WRITER FOR
"THE WASHINGTON POST,"
KIMBERLEY STRASSEL, MEMBER OF
THE EDITORIAL BOARD, JONAH
GOLDBERG, EDITOR IN CHIEF OF THE
DISPATCH.
YOUR THOUGHTS ON FORMER
VICE PRESIDENT’S TRIP TODAY, AND
PERHAPS THE CONTRAST TO THE
PRESIDENT’S TRIP YESTERDAY.
>> WELL, TO ME IT IS NOTABLE
THAT HE IS IN WISCONSIN AND THAT
HE IS ADDRESSING THESE ISSUES,
BECAUSE THERE ARE TWO THINGS
THAT THE CAMPAIGN WAS NOT
WILLING TO DO A COUPLE OF WEEKS
AGO AND THEY HAD A VIRTUAL
CONVENTION AND THEY DID NOT
REALLY WANT TO TALK ABOUT THE
SUBJECT.
SO WHEN YOU CHANGE STRATEGY IT
MEANS THAT YOU ARE WORRIED AND
IN SOME WAY DESPITE JOE BIDEN
SAYING THAT HE DOES NOT THINK
THAT THE PRESIDENT IS MAKING
INROADS ON THE LAW AND ORDER
THING, THE FACT THAT HE IS OUT
THERE DOING IT SUGGEST THAT
DEMOCRATS ARE WORRIED.
AND WE WILL SEE WHERE THAT GOES,
BUT I THINK IT’S SOMETHING THAT
HE IS GOING TO HAVE TO ADDRESS,
BECAUSE PEOPLE KEEP WATCHING TV
AND THERE IS NO LONGER ANY MORE
DENYING THAT THIS IS BECOMING A
HUGE PROBLEM AND CITIES IN THE
SUBURBAN COMMUNITIES ACROSS THE
COUNTRY.
>> Bret: THE TRUMP CAMPAIGN’S
RESPONSE AND WRITTEN STATEMENT
SAYING JOE BIDEN MADE A
POLITICAL TRIP TODAY.
HIS FIRST VISIT TO WISCONSIN
AFTER MONTHS OF SAYING HE COULD
NOT TRAVEL BECAUSE OF THE
SCIENCE AND THE CORONAVIRUS PAID
WHAT CHANGE WAS POLITICAL
SCIENCE AS HE KNOWS HE IS IN A
SERIOUS DECLINE IN THE POLLS.
PEOPLE PARTICIPATING IN HIS
CHURCH MEETING WERE HANDED
SCRIPTS TO READ FROM DURING THE
PUBLIC PERIOD, PROVING THAT HIS
HANDLERS DO NOT TRUST HIM AND
UNCONTROLLED SITUATIONS.
NONETHELESS AMERICANS DID NOT
HEAR ANY DENUNCIATION OF ANTIFA
OR LEFT-WING AGITATORS WHO HAVE
RIOTED IN AMERICAN CITIES FROM
COAST TO COAST.
SAYING NOTHING ABOUT WISCONSIN
GOVERNORS EITHER TO QUELL THE
RIOTS AND DID NOT EXPLAIN THAT
HE OPPOSED CALLING IN THE
NATIONAL GUARD TO PROTECT
AMERICANS FROM VIOLENCE
LEFT-WING WRITERS.
HE MADE THE ABOVEGROUND
EXCURSION FROM HIS BASEMENT FOR
PURELY POLITICAL REASONS AND IT
SHOWS.
WE BOTH HAVE READ THOSE
STATEMENTS.
CHUCK, YOUR THOUGHTS.
>> THAT WAS A POLITICAL
STATEMENT.
I MEAN, THE PRESIDENT IS -- HAS
NOT BEEN EMPHATIC IN DENOUNCING
SORT OF THE RIGHT-WING PEOPLE AS
A WAY TO KIND OF -- YOU KNOW,
EXTENUATING THE SITUATION, BUT
LOOK, THIS IS AN ABSOLUTE --
HE STARTED WHICH WAS AS A
PEACEMAKER, REMEMBER, THE IMAGE
THAT HE POSTED IN
CHARLOTTESVILLE, THE TERRIBLE
VIOLENCE, HE THOUGHT THAT I WAS
THE WORST THAT IT COULD BE.
IT WASN’T.
THAT TERRIBLE CONFLICT, BETWEEN
RIGHT AND LEFT, ULTIMATELY SOME
OF THE PEOPLE ON THE LIBERAL
SIDE, ONE OF THEM WAS KILLED BY
A RIGHT-WING PERSON DRIVING A
CAR, AND SO, I THINK THAT IN HIS
VIEW IT’S THE STRENGTH OF HIS
CAMPAIGN.
HE IS VIEWED AS SOMEBODY WHO IS
MORE PEACEFUL, MORE UNIFYING,
MORE STABILIZING AND THAT’S HOW
HE GOT INTO THIS THING.
I THINK THAT THIS IS HIM TAKING
AN OPPORTUNITY TO GET BACK TO
HOW IT STARTED.
>> Bret: CLEARLY THE LAWN
ISSUE ORDER IN DIFFERENT
COMMUNITIES.
THERE HAS BEEN A SHIFT, BUT THE
POLLS ARE THE SAME PLACE THAT
THEY HAVE BEEN OVER ALL IF YOU
LOOK AT ALL OF THE KEY
BATTLEGROUND STATES.
>> YEAH, I MEAN, I AGREE WITH
BOTH KIM AND CHUCK AND DIFFERENT
ASPECTS.
LOOKING AT THE STATEMENT, OF
COURSE JOE BIDEN IS IN WISCONSIN
FOR POLITICAL PURPOSES, HE IS
RUNNING FOR PRESIDENT IN THE
UNITED STATES.
HE IS NOT GOING TO TRAVEL
ANYWHERE THAT IS NOT FOR A
POLITICAL PURPOSE RIGHT NOW.
AND NEITHER FRANKLY IS
DONALD TRUMP.
I DON’T THINK THAT THAT LANDS
TOO HARD, BUT WHERE I THINK KIM
IS RIGHT IS THAT THE LAW AND
ORDER MESSAGE HAS SOME PURPOSE.
AND NOT AS MUCH AS THE TRUMP
CAMPAIGN THINKS IT DOES, BUT THE
SIMPLE FACT IS THAT IT WAS --
THAT JOE BIDEN WAS A LITTLE SLOW
IN ANTICIPATING THAT THIS WAS
SOMETHING THAT HE WOULD HAVE TO
RESPOND TO.
AND I ACTUALLY THINK THAT HIS
STATEMENTS HAVE BEEN PRETTY GOOD
ON THIS STUFF, HE IS CONDEMNING
VIOLENCE.
HE IS NOT USING THE LANGUAGE
THAT THE TRUMP CAMPAIGN WANTS
HIM TO USE, NOR IS DONALD TRUMP
USING THE LANGUAGE THAT THE
BIDEN CAMPAIGN SAYS HE SHOULD
USE.
SO WHERE WE ARE IS THAT THIS HAS
BEEN ONE OF THE MOST STABLE
RACES IN MODERN MEMORY, THE LEAD
HAS BEEN REMARKABLY STABLE,
DONALD TRUMP’S BASE HAS BEEN
REMARKABLY STABLE, AND I REALLY
THINK AT THIS POINT THE ONLY
THING THAT WE CAN PLAN ON REALLY
SHAKING THE NUMBERS IN A
SIGNIFICANT WAY ARE THE DEBATES.
BECAUSE THE CONVENTION DID NOT
DO IT.
>> Bret: THE OTHER NEWS THAT
WAS A PART OF THE SLIDE IS THE
VACCINE TALK AND WHETHER THERE
WILL BE A VACCINE AT THE END
OF NOVEMBER OR OCTOBER BEGINNING
IN NOVEMBER, HERE IS THE
WHITE HOUSE AND TONY FAUCI,
KIMBERLY.
>> DR. FAUCI SAID THERE WAS NO
PRESSURE THAT I’VE SEEN TO MOVE
QUICKLY, THE PRESIDENT WANTS TO
BREAK THROUGH REGULATORY
BARRIERS TO GET TO THE AMERICAN
PEOPLE AS QUICKLY AS POSSIBLE
BECAUSE LIVES ARE AT STAKE.
>> THERE IS A KIND OF THING THAT
PEOPLE ARE CONCERNED ABOUT.
IT WILL BECOME PUBLIC SOONER OR
LATER.
SO I THINK THAT WE CAN HAVE SOME
CONFIDENCE AND HAVE FAITH IN
WHAT THE FDA IS SAYING.
THEY ARE SAYING VERY EXPLICITLY
THAT THEY ARE GOING TO BE MAKING
THE DECISION BASED ON THE
SCIENTIFIC DATA, AND WE HOPE
THAT THAT IS GOING TO BE THE
CASE.
>> Bret: BEING ASKED ABOUT THE
FACT WOULD THERE BE
CONSIDERATION GETTING THE
VACCINE OUT BEFORE ELECTION DAY,
KIMBERLY.
>> THIS COMES FROM THE THEORY
THAT YOU HAVE BEEN HEARING
INCREASINGLY ON THE LEFT THAT
THERE IS POLITICAL PRESSURE TO
RUSH THE VACCINE AND IT WILL NOT
BE SAFE.
THAT DOES NOT TAKE INTO ACCOUNT
THE FACT THAT THE VACCINES HAVE
BEEN THROUGH SAFETY TRIALS.
THIS IS LOOKING AT QUESTIONS OF
EFFICACY AT THIS POINT AND HOW
GOOD THEY ARE.
IS THERE POLITICAL PRESSURE TO
GET THIS OUT?
MOSTLY BECAUSE THEY ARE DEALING
WITH A PANDEMIC AND IT IS HAVING
A TERRIBLE CONSEQUENCE ON THE
ECONOMIC AND PERSONAL LIVES OF
MILLIONS OF AMERICANS.
WOULD IT BE POLITICALLY GOOD FOR
THE WHITE HOUSE TO ALSO HAVE IT
OUT SOONER RATHER THAN LATER?
YES, BUT AS DR. FAUCI HAS SAID
AND NO ONE HAS PROVIDED ANY
EVIDENCE OTHERWISE THAT THIS
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Welcome. This is James Corbett of The Corbett
Report with your Sunday Update from the Centre
for Research on Globalization at globalresearch.ca
on this 3rd day of July, 2011. And now for
the real news.
A series of disasters, potential disasters,
bad news and worrying studies over the course
of the past week have brought public attention
back to the issue of radiation and its attendant
health risks, and further exposed how governmental
agencies that are supposed to protect the
public have in fact knowingly put the public
at risk and even colluded with the very industries
they are supposed to be “regulating.”
Last Sunday, a wildfire started in New Mexico
that grew to a 162 square mile inferno and
came within 50 feet of the grounds of the
Los Alamos National Laboratory that was the
birthplace of the atomic bomb. The site is
an historical testing ground for nuclear weapons
and a storage area for about 20,000 barrels
of nuclear waste. The disaster exposed the
remarkable fact that this nuclear waste was
stored not in a secure containment facility,
or even in a solid building, but in a “fabric-type
building” that would be quickly consumed
by the fires.
In addition to the risk of the nuclear waste
burning up in the fire and sending radioactive
materials into the atmosphere, Joni Arends
of the Concerned Citizens for Nuclear Safety
has pointed out that the fire could stir up
the nuclear-contaminated soil on lab property
where nuclear experiments have long been conducted.
In either event, harmful radiation could pass
into the jet stream to be distributed across
the United States and beyond.
As a recent report from the Alliance for Nuclear
Accountability documented, the site has been
the disposal ground for some 18 million cubic
feet of radioactive and chemical solid wastes
since 1943, as well as 899,000 curies of so-called
transuranic waste, including plutonium. Liquid
wastes from the plant were discharged into
the canyons, initially with little treatment
whatsoever.
Winds have now shifted the fire away from
the facility and initial air samples from
the inferno have indicated there has so far
been no catastrophic release of radiation
in the area, but it is unclear why no basic
precautions were in place to secure the nuclear
waste at the facility prior to the fire or
what such measures, if any, are being contemplated
in the wake of this emergency.
Also last Sunday, flood waters from the Missouri
River reached the containment buildings of
the Fort Calhoun Nuclear Station. A levee
protecting the site's electrical transformers
gave way and the plant was forced to switch
on emergency generators in order to continue
cooling the nuclear reactor.
Although officials are maintaining that the
plant is still functioning and is not in meltdown,
the incident has raised serious questions
about the facility and its preparedness for
just such an event. Just last October, nuclear
regulators warned that the Fort Calhoun plant
“failed to maintain procedures for combating
a significant flood” and newly released
documents reveal workers were still scrambling
to plug holes where flood water could potentially
get into the facility as late as last week.
It is unclear what, if any, punitive actions
the plant's operator will face for their negligence,
or if the Nuclear Regulatory Commission is
even concerned. Commission director Gregory
Jaczsko said last week that “all the plants
in the U.S. have been been designed to deal
with historically the largest possible floods,”
seeming to imply that the Fort Calhoun situation
was not dangerous by definition and that the
NRC had full faith in the plant despite its
documented safety violations.
This is in line with an AP investigation last
month that found that American federal nuclear
regulators have been working with the nuclear
industry to ensure that reactors passed safety
inspections by repeatedly lowering safety
standards for the plants or failing to enforce
existing standards. The investigation showed
that a myriad of documented problems at nuclear
power plants across the country, from failed
cables and busted seals to broken nozzles,
dented containers and rusty pipes, were routinely
resolved by claiming that existing safety
standards were too conservative. When valves
were found to be leaking, for instance, the
standards were simply changed to allow for
more leakage, in some cases 20 times the original
limit.
Meanwhile in Japan, where three of the reactors
at the troubled Fukushima Daiichi nuclear
plant have been confirmed to have been in
full meltdown since the very first days of
the tsunami-induced disaster, the first series
of health checks of area residents are already
revealing suprising and troubling results
about radiation exposure in the area. Tests
of 15 Fukushima residents between the ages
of 4 and 77 have revealed radioactive cesium
and iodine in their urine.
[video]
The tests also indicate that residents have
been exposed to between 1 / 5 to 3 / 4 of
their yearly allowable radiation dose in just
two months.
Now, documents are beginning to surface confirming
what many have been alleging since the start
of this crisis: that governments the world
over have been conspiring with the nuclear
energy industry to downplay the significance
and ramifications of the Fukushima disaster.
Just last week, emails released under the
Freedom of Inforrmation Act show how the Departments
of Business and Energy in the UK government
were coordinating their response to the Japanese
disaster with companies like EDF Energy, Areva
and Westinghouse to ensure the accident did
not interfere with plans to build a new generation
of nuclear power plants in Britain.
The emails reveal how the Department of Business,
Innovation and Skills was emailing the nuclear
firms on the 13th of March, as the crisis
was still unfolding, to assure them that “radiation
released has been controlled – the reactor
has been protected,” a surprisingly definitive
description of the events at Fukushima that
have now been shown to have been categorically
wrong, as reactor 1 had in fact melted down
in the first 16 hours of the disaster, with
2 and 3 also melting down in the following
days.
They also show how the BIS intimated that
comments from the nuclear industry would be
worked into the departments briefs to ministers
and government statements: “We need to all
be working from the same material to get the
message through to the media and the public.”
In other radiation-related news, an entirely
different set of emails among government officials
obtained under the Freedom of Information
Act last week reveal that the National Institute
of Standards and Technology, the very same
organization that has refused to release the
data that its model for the collapse of World
Trade Center 7 was based on because it would
“jeopardize public safety,” has accused
the Department of Homeland Security of lying
about its findings on the safety of the full
body scanners being used in airport screening
by the TSA.
The email reveals how NIST rebuked DHS head
Janet Napolitano for claiming in a USA Today
op-ed that:
“AIT machines are safe, efficient, and protect
passenger privacy. They have been independently
evaluated by the Food and Drug Administration,
the National Institute of Standards and Technology
and the Johns Hopkins University Applied Physics
Laboratory, who have all affirmed their safety.”
According to the email, however, NIST was
angry at this mischaracterization of their
work, pointing out that “NIST does not do
product testing. [And] NIST did not test AIT
machines for safety.”
As it turns out, not only did Napolitano lie
about NIST's certification of the scanner
safety, but she also lied about the Johns
Hopkins backing of her position. An internal
document produced by Johns Hopkins for the
DHS shows that far from “affirming the safety”
of the technology, the University in fact
warned that the scanners as designed produces
an area around the machine that exceeds the
general public dose limit for radiation exposure.
Napolitano's op-ed was widely criticized at
the time because Dr. Michael Love, the head
of an X-ray lab at Johns Hopkins warned just
two days before the op-ed was published that
“statistically someone is going to get skin
cancer from these X-rays.”
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Traduttore: Nicol Tincani
Revisore: Nicoletta Pedrana
Buonasera.
(Applausi)
Se qualcuno di voi
ha letto "Il giovane Holden",
magari si ricorda la scena
in cui Holden parla con sua sorella
e immagina un enorme campo di segale
e dei bambini che giocano felici.
Alla fine del campo c'è un dirupo.
E a guardia del dirupo c'è lui, Holden,
che ha il compito di acchiappare i bambini
che, correndo distratti,
rischiano di cadere giù.
Lessi questo libro
durante gli ultimi anni di medicina
e decisi che nella vita
avrei voluto fare la stessa cosa:
Starmene a guardia del dirupo ad afferrare
le persone che rischiavano di cadere.
E così per quasi 20 anni
ho lavorato in terapia intensiva,
che per molte persone rappresenta
veramente l'ultimo baluardo
prima di morire.
Ma a forza di starmene
in questa frontiera tecnologica,
mi sono accorto che per espandere
ulteriormente i confini della medicina,
per migliorare la cura
dei nostri pazienti
dobbiamo intraprendere nuove rotte.
Così ve ne propongo tre
che sono legate alla mia esperienza.
La prima.
È vero: in terapia intensiva
salviamo molte vite.
Ma ci sono dei pazienti
che ci sfuggono di mano e muoiono.
Altri pazienti si salvano,
ma non guariscono.
Provo a darvi qualche numero
per essere più chiaro:
Su dieci pazienti
ricoverati in terapia intensiva
soltanto due muoiono.
Altri due muoiono in ospedale o a casa
o comunque entro un anno
dalla loro malattia.
Dei sei che si salvano,
solo tre tornano alla vita di prima.
Gli altri tre rimangono con dei problemi
che compromettono, poco o tanto,
una normale vita di relazione o di lavoro.
Poi c'è un peso per le famiglie dei
pazienti ricoverati in terapia intensiva.
E questo peso talvolta si trasforma
in malattia, ansia, depressione.
Famiglie che per star dietro ai loro cari
devono lasciare il lavoro,
o perdono il lavoro.
Famiglie che si separano.
Se uno guarda bene il percorso
durante e dopo la terapia intensiva,
vediamo che, in realtà, le istituzioni
sanitarie e il tessuto sociale
non sono assolutamente
preparati a rispondere
ai nuovi bisogni di cura che si creano.
Le malattie improvvise e inaspettate
accadono meno di quelle a lunga durata,
quelle croniche, che non guariscono,
che colpiscono persone
già malate o molto anziane.
La medicina che salva le vite,
la medicina che combatte la morte
con l'ardore del cavaliere medievale,
forse è meno efficace
di quello che vorremmo.
E allora all'azione bisogna
accostare la pianificazione.
E oltre alla via dell'emergenza,
dobbiamo iniziare
a percorrere la via della fragilità.
Seconda via.
Il 9 dicembre del 2013 al Children's
Hospital di Oakland, in California,
una ragazzina di 13 anni, Jahi McMath,
viene operata di tonsille.
Dopo l'operazione ha una terribile
emorragia e il suo cuore si ferma.
Viene subita soccorsa, rianimata
e portata in terapia intensiva,
ma i danni al suo cervello,
dovuti all'arresto cardiaco,
sono talmente gravi che...
...qualche giorno dopo
Jahi va in morte cerebrale.
La morte cerebrale, da un punto
di vista medico, scientifico e giuridico,
è riconosciuta equivalere
alla morte dell'individuo.
La famiglia di Jahi si oppone.
La madre s'appella al diritto di rifiutare
la morte encefalica su base religiosa.
E inizia un'agguerrita
battaglia contro l'ospedale.
Il 5 gennaio 2014 il coroner
emette il certificato di morte di Jahi.
Ma il giudice permette
alla famiglia di spostare Jahi,
ancora attaccata
al respiratore, in New Jersey,
dove la legislazione è diversa
e accoglie le istanze della famiglia.
Jahi rimane per oltre quattro anni
tracheoistomizzata,
attaccata ad un respiratore,
nutrita attraverso una sonda,
senza mai riprendere conoscenza
e migliorare neurologicamente.
Fino all'anno scorso quando
il suo cuore si ferma definitivamente.
La scienza e la tecnologia
hanno generato la storia di Jahi.
Ma i problemi, i dubbi, i drammi
che si sono verificati
non hanno trovato
risposte soddisfacenti nella scienza.
Jahi era viva o era morta?
Era viva per sua mamma,
ma morta per i medici e la medicina.
Era viva in New Jersey
e morta in California.
Che cosa non ha funzionato tra
la famiglia di Jahi e l'équipe sanitaria?
Che cosa si è rotto
tra la persona e la medicina?
Storie come quelle di Jahi
per fortuna sono poche.
Ma,
quotidianamente, in terapia intensiva
in Italia e nel mondo
la scienza ci pone
di fronte a dei problemi,
a delle situazioni,
che poi non è in grado di risolvere.
Quand'è che una cura diventa inutile,
irragionevole, dannosa?
Se io ho un paziente che ha
l'1% di probabilità di sopravvivere
devo andare avanti o devo interrompere?
E se ha lo 0,1%?
Chi è che traccia la soglia
tra speranza e illusione?
Chi è che deve stabilire questo limite?
Le risposte non le troviamo
in una medicina
che si basa esclusivamente sulla scienza.
Dobbiamo costruire un nuovo sapere
Un sapere che si fonda sui valori,
sulla cultura, sull'etica, sull'arte.
Un sapere che sia solido,
condivisibile e trasmissibile.
Abbiamo seguito la via della scienza.
Dobbiamo seguire la via dell'umanesimo.
La terza via non vi piacerà.
Ne sono sicuro.
Ma secondo me è quasi la più importante.
Ed è la via della mortalità.
Un po' di sere fa
stavo leggendo in soggiorno
e ad un certo punto
entra mio figlio di undici anni,
con l'aria piuttosto abbattuta.
Stava giocando ai videogiochi
e poteva continuare ancora un po',
quindi gli ho chiesto cosa fosse successo
e lui mi ha detto:
"Sono morto troppe volte
e mi sono stufato."
La morte è essenzialmente questo:
qualcosa che non ci appartiene.
Siamo bombardati da notizie,
informazioni e immagini sulla morte,
ma di fatto nessuna di queste
ci tocca minimamente.
Invece pensiamo alla vita come qualcosa
che ci appartiene, che è nostro,
che ci è dovuto.
La morte la consideriamo solo
quando riguarda qualcos'altro:
La morte delle foglie
che cadono nella terra
e insieme agli animali si decompongono
per permettere la crescita di nuovi
vegetali che vengono mangiati da animali,
e a loro volta uccisi e mangiati.
In questo ciclo, l'uomo non c'è.
L'uomo non muore mai.
La negazione della morte
ci ha portato
in una situazione nella quale noi
non sappiamo dare
alla morte nessun significato.
La morte ci fa paura, perché mai
o quasi mai si parla della morte.
Mai o quasi mai viviamo la morte.
Anche a chi muore, quasi mai è dato
il diritto di sapere che sta morendo.
Allora la medicina della mortalità
deve tirare di nuovo fuori la morte.
Riportarla nella nostra vita.
La medicina della mortalità deve aiutare
le persone e le persone malate
in un processo
di significazione della morte,
nella costruzione di un significato.
Fragilità.
Umanesimo.
e mortalità.
Tre vie che si possono seguire solo
se cambiamo il modo di vedere la cura.
Emergenza, scienza e vitalismo
hanno trasformato la cura in un oggetto,
di cui si fa mercato
per rispondere ai dei bisogni.
La cura, in realtà, è un processo
fondato essenzialmente sulle relazioni.
Le relazioni medico-paziente,
infermiere-paziente.
Le relazioni all'interno delle famiglie,
le relazioni fra colleghi.
Le relazioni tra famiglie,
operatori e istituzioni sanitarie,
tra persone e società.
È passato molto tempo
da quando ho letto "Il giovane Holden"
ma quell'immagine
del guardiano del dirupo è ancora lì
a dare significato
al mio fare ed essere medico.
E sono convinto che stia
anche illuminando queste tre vie,
che, se intraprenderemo, sono sicuro
ci porteranno ad una medicina migliore.
Grazie.
(Applausi)
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Portuguese:
Fique esperto Walter, achamos um novo anti-herói psicopata
E seu nome é Mario o encanador
Olá Internet
Bem-vindos ao Game Theory!
De nós nem o Super Mario escapa
Uh, espera aí, Super Mario?
Na verdade ele está mais para Super Vilão!
Por trás daquelas bochechas redondas, aquele nariz ridículo e seu bigode de ator porno dos anos 80
Está um verdadeiro vilão
E deixe-me ser claro. Não, isso não é uma piada
Isso não é uma "pegadinha do malandro" como nós fizemos no vídeo sobre as raízes comunistas do Mario
Indonesian:
Awas, Walter White, ada anti-pahlawan baru telah datang,
dan namanya adalah Mario "pelompat" Mario
[Musik Game Theory]
*Nama & tempat akan tetap berbahasa inggris, kata-kata kasar dihilangkan*
Halo, Internet
Selamat Datang di Game Theory!
Di mana kita menempatkan "O!" di Super Mario.
Huh, maaf, "Super" Mario?
Lebih seperti Super Jahat!
Karena di balik pipi montok, bahwa hidung bulat dan tahun 80an kumis bintang porno
adalah orang yang benar-benar jahat.
Dan biar aku jelaskan: tidak, itu bukan lelucon.
Ini bukan "tertipu kalian!" saat seperti yang kita lakukan saat menyanggah koneksi Mario sebagai komunis,
Norwegian:
Tre til side, Walter White, det er en ny anti-helt i byen
og navnet hans er Mario Jumpman Mario.
*(Game theory intro-musikk)*
Hallo, internett!
Velkommen til Game Theory!
Hvor vi putter "Oh!" i super mari"Oh!"
Ja, det stemmer! "Super" Mario?
Heller Super Skurk!
For bak bollekinnene, den runde nesen og pornostjernebarten fra 80-tallet
skjuler det seg en virkelig ond mann.
Og la meg gjøre det helt klart: Nei, det er ikke tull.
Dette er ikke en "ha, lurte dere"- spøk, som da vi motbeviste at Mario var kommunist.
Hungarian:
Félre az útból, Walter White, egy új anti hős érkezett a városba
és az ő neve Mario ugróman Mario
[Game Theory főcímdal]
Helló, Internet
Üdvözlet a Game Theory-ban!
Hol "O"-t teszünk a Szuper Mario-ra.
Huh, bocsi, "Szuper" Mario?
Inkább Szuper gonosztevő!
Mert azok a vízszerelő orcák, a gumós orr és a 80-as évek pornósztár bajusz mögött
egy igazi álnok ember van.
És hagyj fogalmazzak világosan: Nem, ez nem egy vicc.
Ez nem egy "megvagytok, becsaptalak titeket!" pillanat mint mikor megcáfoltuk Mario kapcsolatát a Kommunistákkal.
Spanish:
Muévete, Walter White, hay un nuevo anti-héroe en el pueblo,
Y su nombre es Mario Jumpman Mario
[Tema de Game Theory suena]
Hola, Internet
¡Bienvenidos a Game Theory!
Donde ponemos la "O!" en Super Mario.
Huh, perdón, "Super" Mario?
Mas bien Super Villano
Porque detras de esas mejillas regordetas, esa nariz bulbosa y ese bigote de estrella porno de los años 80
Hay un hombre realmente malo
Y déjame ponerlo en claro: no, no es una broma.
Esto no es un momento de "¡Los engañé!" como lo hicimos cuando estábamos desmintiendo las conexiones comunistas de Mario,
French:
Dégage de là, Walter White, un nouvel anti-héro a débarqué en ville
Et son nom est Mario "Jumpman" Mario
Intro de Game Theory
Salut, Internet !
Bienvenue dans Game Theory !
Où on ajoute le "O!" de Super Mario.
Euh, pardon ? "Super" Mario ?
Plutôt un Super méchant !
Car derrière ces joues dodues, ce nez globuleux et cette moustache digne d'un acteur de porno des années 80
se cache un homme véritablement démoniaque
Et pour que ça soit bien clair: non, je ne déconne pas.
Ce n'est pas une vidéo où je dirai "Haha, je vous ai bien eu !" à la fin comme après la vidéo parlant du rapport entre Mario et le communisme,
German:
Geh weiter, Walter White. Es gibt einen neuen Superschurken in der Stadt
und sein Name ist Marion "Jumpman"Mario
(Intro läuft)
Hallo Internet,
Willkommen zu Game Theory!
Wo wir das "O!" in Super Mario setzen.
Hm 'tschuldigung, "Super" Mario?
Eher Superschurke!
Weil hinter diesen dicken Wangen, der knolligen Nase und dem 80er-Pornstar Bart
steckt ein wahrhaft böser Mann.
Und lasst mich das klarstellen: Nein, das ist kein Scherz.
Das ist kein "Ha! Hab euch nur veräppelt!" Moment, wie als wir Marios Verbindung zum Kommunismus widerlegt haben,
English:
Move over, Walter White, there's a new anti-hero in town,
and his name is Mario Jumpman Mario
[Game Theory Theme Plays]
Hello, Internet
Welcome to Game Theory!
Where we put the "O!" in Super Mario.
Huh, sorry, "Super" Mario?
More like Super Villain!
Because behind those plump cheeks, that bulbous nose and that 80's pornstar mustache
is a truly evil man.
And let me make it clear: no, that's not a joke.
This isn't a "syke, fooled you guys!" moment like we did when we were disproving Mario's communist connections,
Spanish:
Hazte a un lado, Walter White, hay un nuevo anti-héroe en la ciudad
y su nombre es "Mario Jumpman Mario"
Teoría del juego
Hola, Internet
Bienvenidos a Teoría del juego
Donde ponemos la "¡Oh!" en Super Mario.
Bah, disculpa, "Super" Mario?
Suena mejor Super Villano !
Porque detrás de esas mejillas regordetas, esa rariz bulbosa y su bigote de estrella porno de los 80's
es un hombre realmente malvado.
Y quiero dejar claro: no, eso no es una broma.
Esto no es un momento "syke, los he engañado chicos!" como lo hicimos cuando estábamos desmintiendo conexiones comunistas de Mario,
Norwegian:
Det er heller ikke noe spekulasjon, som da vi så på seriens forbindelse med iscenesatt kidnapping.
Nei, etter mye undersøkelse er jeg overbevist om at denne såkalte "helten" i Mushroom Kingdom
egentlig er en morderisk, kvinnemanipulerende dyremishandler; en fæl, misantropisk sosiopat.
Har jeg oppmerksomheten deres nå?
forbered dere på å få verden snudd på hode, teoretikere,
for denne vil bli en tung en, som vil endre deres syn på videospillenes største maskot for alltid!
Varseltegnene var der helt fra starten,
med arkadespillet Donkey Kong, der Mario har sin første opptreden.
Men selv her i begynnelsen var det noe som var galt.
Historien, som vi kjenner den, går som dette:
En diger gorilla fanger Marios kjæreste, og denne heroiske italieneren må redde henne.
Det er alt.
Og det høres greit ut i teorien,
men har du noen gang spurt deg selv hvorfor Donkey Kong fanger jenta til å begynne med?
Selvsagt ikke.
Spanish:
ni es mera especulación como cuando nos fijamos en el enlace de la franquicia a los secuestros por etapas.
No, después de hacer la investigación Estoy convencido de que este llamado héroe del Reino Champiñón
es de hecho un asesino, mujeriego, abusador de animales; un sociópata misántropo cruel.
¿Tengo tu atención ahora?
Preparados para tener a los mundos sacudidos, teóricos,
Porque éste va a ser un doozy que cambiará para siempre lo que sientes por la mayor mascota del videojuego
Las señales de advertencia estaban presentes desde el principio:
Donkey Kong, el arcade que contó con la primera aparición de Mario,
pero incluso en aquellos primeros días, algo estaba mal.
La historia, tal como la conocemos, es la siguiente:
Un simio gigante roba la novia de Mario, y el heroico italiano debe conseguirla de vuelta.
Eso es.
Y suena bien en teoría,
¿pero alguna vez te has parado a considerar por qué Donkey Kong roba la chica en primer lugar?
Por supuesto que no.
German:
noch ist es eine Spekulation wie zu der Zeit,
als wir uns die Verbindung des Franchises zu vorgetäuschten Entführungen angesehen haben.
Nein, nachdem ich geforscht habe, bin ich überzeugt davon,
dass dieser so-genannte Held des Pilzkönigreichs
in Wirklichkeit ein mörderischer, frauenverachtender, Tiermissbrauchstäter ist; ein grausamer, menschenverachtender Soziopath.
habe ich jetzt eure Aufmerksamkeit?
Macht euch darauf gefasst, dass eure Welten erschüttert werden, Theoretiker,
denn das hier wird ein Prachtexemplar, dass eure Sicht auf das größte Spiele Maskottchen der Welt für immer ändern wird.
Die Warnschilder waren von Beginn an da:
Donkey Kong für die Spielhalle beinhaltete Marios Erstauftritt,
doch selbst in diesen frühen Tagen war irgendetwas nicht richtig.
Die Geschichte, wie wir sie kennen, geht so:
Ein Riesenaffe entführt Marios Freundin und der heldenhafte Italiener muss sie zurückholen.
Das war's.
Und theoretisch klingt das ganz gut,
doch habt ihr euch jemals gefragt, warum Donkey Kong das Mädchen überhaupt entführt?
Natürlich nicht.
French:
et ce n'est pas non plus de la simple spéculation, comme dans la vidéo où on parlait de simulation d'enlèvement dans les jeux
Non, après avoir fait mes recherches, je suis certain que ce soit-disant "Héro du royaume Champignon"
est en fait un sociopathe assassin, mysogyne, tortionnaire d'animaux, cruel et mysanthrope.
J'ai votre attention, maintenant ?
Préparez vous à voir votre monde trembler, théoriciens,
parce que cette théorie va changer à jamais votre opinion sur la plus grande icône du jeu-vidéo !
Les signaux d'alarme étaient là depuis le début:
le jeu d'arcade Donkey Kong est celui où Mario apparait pour la première fois,
mais même dans ses premiers temps, quelque-chose clochait.
L'histoire, telle qu'on la connaît, est la suivante:
un singe géant enlève la petite amie de Mario, et l'italien héroïque doit la sauver.
Point-barre.
Et en théorie, ça sonne bien.
Mais vous-êtes-vous jamais demandé pourquoi Donkey Kong a enlevé la fille en premier lieu ?
Bien sur que non.
Indonesian:
atau spekulasi palsu seperti ketika kita melihat link untuk perencanaan penculikan.
Tidak, setelah melakukan penelitian aku yakin bahwa yang disebut pahlawan Mushroom Kingdom
sebenarnya adalah pembunuh, pemain perempuan, penyiksa hewan; kejam, sosiopat pembenci orang lain.
Apa aku mendapat perhatian kamu sekarang?
Siap-siap untuk membuat dunia Anda bergetar, theorist,
'Karena yang satu ini sangat luar biasa dan selamanya akan mengubah caramu berfikir tentang maskot terbesar di dunia game ini!
Tanda-tanda peringatan yang ada dari awal:
Permainan arcade Donkey Kong menampilkan kemunculan pertama Mario,
tapi bahkan dari dulu, ada sesuatu yang aneh.
Ceritanya, seperti yang kita tahu, berjalan seperti ini:
Sebuah kera raksasa menculik pacar Mario, dan pahlawan dari Itali itu harus mendapatkannya kembali.
Itu dia.
Dan itu terdengar bagus dalam teori,
tapi apakah kamu pernah berhenti untuk mempertimbangkan kenapa awalnya Donkey Kong menculik gadis itu?
Tentu saja tidak.
Hungarian:
sem mint mikor spekulálva megvizsgáltuk a franchise kapcsolatát az emberrablással.
Nem, a kutatás után teljesen meg vagyok győződve, hogy az úgynevezett Gomba királyság hőse
valójában egy vérengző, nőcsábász, állatbántalmazó, kegyetlen, embergyűlölő szociopata.
Felkeltetem az érdeklődésedet?
Készülj fel, hogy alapjaiban rázza meg a világodat, teoretikusok,
mert ez örökre megváltoztatja ahogy érzel a játékok legnagyobb ikonjáról!
A figyelmeztető jelek már a kezdetek óta ott voltak:
Donkey Kong az árkád attrakcióból Mario első megjelenése.
de még azokban a korai időkben is valami nem stimmelt.
A történet amit tudunk így ment:
Egy órás emberszabású majom elrabolta Mario barátnőjét és a hősies olasznak vissza kell szereznie.
Ennyi.
És elméletileg jól is hangzik,
de megálltál elgondolkodni, hogy miért rabolta el a lányt elsősorban Donkey Kong?
Persze, hogy nem.
Spanish:
ni es mera especulación como cuando vimos las conexiones de la franquicia a los secuestros por etapas.
No, después de investigacion, estoy convencido de que este tan llamado héroe del Mushroom Kingdom
es de hecho un asesino, mujeriego, abusador de animales; un cruel, sociópata misántropo.
¿Tengo tu atención ahora?
Prepárense para tener tus mundos alterados, Theorists
¡Porque esto va a ser algo único que cambiará por siempre lo que sientes por la mayor mascota de los juegos!
Las señales de advertencia estaban presentes desde el principio:
Donkey Kong para el arcade contó con la primera aparición de Mario,
pero incluso en aquellos primeros días, algo estaba mal.
La historia, tal como la conocemos, es la siguiente:
Un simio gigante roba la novia de Mario, y el heroico italiano debe traerla de vuelta.
Sólo eso.
Y suena bien en teoría,
pero ¿te has parado a considerar por qué Donkey Kong le roba la chica en primer lugar?
Por supuesto que no.
English:
nor is this mere speculation like when we looked at the franchise's link to staged kidnappings.
No, after doing the research I am convinced that this so-called hero of the Mushroom Kingdom
is in fact a murderous, womanizing, animal abuser; a cruel, misanthropic sociopath.
Do I have your attention now?
Get ready to have your worlds rocked, theorists,
'cause this one is going to be a doozy that will forever change how you feel about gaming's biggest mascot!
The warning signs were present from the very beginning:
Donkey Kong for the arcade featured Mario's first appearance,
but even in those early days, something was off.
The story, as we know it, goes like this:
A giant ape steals Mario's girlfriend, and the heroic Italian must get her back.
That's it.
And it sounds good in theory,
but have you ever stopped to consider why Donkey Kong steals the girl in the first place?
Of course not.
Portuguese:
Também não é mera especulação como a evidente encenação dos sequestros das princesas
Não, depois de muita pesquisa eu estou convencido de que o "Herói" do reino do Cogumelo
É na verdade um assassino, abusador de animais, mulherengo, misantrópico e cruel psicopata
Peguei sua atenção?
Prepare-se para ter seu mundo virado de ponta cabeça, teoristas
Porque depois desse vídeo você nunca mais verá o maior mascote da Nintendo da mesma forma!
Na verdade, houveram indícios disso desde o começo
O Arcade do Donkey Kong foi aonde Mario apareceu pela primeira vez
mas mesmo em sua origem, alguma coisa estava estranha...
A história, como nos é contada, é a seguinte:
Um macaco gigante rouba a namorada do Mario, e o herói italiano precisa resgatá-la
Só isso
E parece normal na teoria,
mas você já parou pra pensar porque Dokney Kong sequestrou a garota em primeiro lugar?
Claro que não
Norwegian:
Vi har sett filmer som King Kong og lest eventyr om jomfruer i nød,
så vi antar at vi er helten, som slåss mot den onde apen for å redde jenta.
Men vet du hva de sier om det engelske order "assume"?
"It makes an ASS out of U and ME"
Her er sannheten, eller egentlig resten av historien.
Visste du at Mario var Donkey Kongs eier?
At han mishandlet gorillaen,
hvilket er hvorfor D.K. stakk av og fanget Marios kjæreste;
for å ta igjen.
Jah, der har vi et faktum som Nintendo ikke vifter med rundt den rødkapsete pengekua si!
Nå ville det vært helt logisk hvis dere spurte meg:
"Så hvor står det at Mario var Donkey Kongs eier?"
Arkadespillet hadde ingen historie og versjoenen for Atari og Coleco Vision gir kun et vagt
"Mario må redde jenta"- plott
Andre kilder, som Cracked.com og Wikipedia, refererer til boken "Geektionary", som jeg tok en titt på,
men her i Game Theory vil vi ikke gi opp før vi finner primærkilder.
Så jeg gravde litt videre og fant dette.
English:
Raised on movies like "King Kong" and years of damsel-in-distress fairytales
we just assume we're the good guys, fighting the evil primate to save the girl.
But you know what they say about assuming, don't you?
It makes an ass out of you and me.
Here's the truth, or rather, the rest of the story.
Did you know that Mario was Donkey Kong's master?
That he abused the ape,
which is why D.K. broke free and stole away with Mario's GF.
To get even.
Yeah, that's a factoid you don't hear Nintendo trumpeting about their red-clad cash cow!
Now you would be one hundred percent correct in asking me:
"Well, where does it say that Mario was D.K.'s master?"
The arcade game didn't come with a story and ports to Atari and Coleco Vision give a vague
"Mario must save the girl" plot.
Other sources like Cracked.com or Wikipedia cite the book "Geektionary", which I checked out,
but here at GT we try not to to rest until we have primary sources.
So I dug a little deeper, and found this.
Portuguese:
Na nossa cultura de "King Kong" e anos e mais anos ovindo contos de donzelas em perigo
nós assumimos que somos os mocinhos, lutando contra o macaco mal para salvar a garota
Mas você sabia que dizem sobre assumir coisas, certo?
Isso nos faz parecer idiotas
A verdade é essa, na verdade, o resto da história é esse
Você sabia que o Mario era o dono do Donkey Kong?
Que ele abusava do macaco?
e que é por esse motivo que D.K escapou e sequestrou a namorada do Mario
para se vingar
Pois é, essa parte da história a Nintendo não gosta de contar!
Agora, você estaria 100% certo em me perguntar:
"Da onde você tirou que o Mario era o dono do D.K?"
O jogo arcade não veio com uma história, e pouco se sabia sobre os personagens
Era só mais uma história estilo "salve a princesa"
Outras fontes como Cracked.com ou Wikiédia mencionam o livro "Dicionário Geek", que eu li
mas aqui no Game Theorists nós não descansamos até termos fontes de primeira
Então eu pesquisei um pouco mais...
Spanish:
Criado en películas como "King Kong" y años de cuentos de damisela en apuros
asumimos que somos los chicos buenos, luchando contra el malvado simio para salvar a la chica.
Pero ya sabes lo que dicen de asumir, ¿verdad?
Nos hace unos tontos.
Aquí está la verdad, o más bien, el resto de la historia.
¿Sabías que Mario fue el maestro de Donkey Kong?
Que abusó del mono,
razón por la cual D. K. se liberó y se largó con la novia de Mario.
De empatar.
Sí, eso es un hecho del que no escuchas a Nintendo trompetear sobre su fuente de ingresos vestido de rojo!
Ahora, estarías 100% en tu derecho de preguntarme:
"Bueno, ¿dónde dice que Mario fue el maestro de D. K.?"
El juego de arcade no vino con una historia y puertos a Atari y Coleco Vision dan una vaga
"Mario debe salvar a la chica" trama.
Otras fuentes como Wikipedia o Cracked.com citan el libro "Geektionary", al que le eché un vistazo,
pero aquí en GT tratamos de no descansar hasta que tengamos fuentes primarias.
Así que cavé un poco más profundo, y encontré esto.
Spanish:
Criados en películas como "King Kong" y años de cuentos de la damisela en apuros
Nosotros sólo asumimos que somos los chicos buenos, peleando contra el malvado primate para salvar a la chica.
Pero ya sabes lo que dicen de asumir, ¿verdad?
Hace un "ass" de tú y de mí
Aquí está la verdad, o más bien, el resto de la historia.
¿Sabías que Mario fue el maestro de Donkey Kong?
Que abusó del mono,
razón por la cual D. K. se liberó y se llevo lejos a la novia de Mario.
Para compensar.
¡Sí, eso es un hecho que no se le oye a Nintendo alardear sobre su vaca de ingresos roja!
Ahora usted estaría cien por ciento correcto en preguntarme:
"Bueno, ¿dónde dice que Mario fue el maestro de D.K.?"
El juego de arcade no vino con una historia y las portaciones a Atari y Coleco Vision dan una vaga-
"Mario debe salvar a la chica" trama.
Otras fuentes como Cracked.com o Wikipedia citan el libro "Geektionary", el cual revise,
pero aquí en GT tratamos de no descansar hasta que tengamos fuentes primarias.
Asi que cavé un poco más profundo, y encontré esto.
Hungarian:
Felnőve filmeken mint "King Kong" és évekig hallgatva kisasszonyok szerencsétlenségéről a mesékben
mind azt feltételeztük mi vagyunk a jófiúk, harcolva a gonosz ellen, hogy megmentsd a lányt.
De tudod mit mondanak a feltételezésről?
[rossz vicc]
Itt van az igazság vagy inkább a történet többi része.
Tudtad, hogy Mario volt Donkey Kong gazdája?
Kit bántalmazott,
miért D.K, szökött meg és rabolta el Mario csaját.
Hogy egyenlítsen.
Igen, ez egy tény, miről nem hallasz Nintendo-tól a piros aranytojást tojó tyúkáról!
Most száz százalékig helyes lenne megkérdezni:
"Hát, hol mondja, hogy Mario D.K. gazdája volt?"
Az árkád játék nem jött történettel és a későbbi Atari és Coleco Vision is homályos
"Mario-nak meg kell menteni a lányt" cselekmény.
Más források mint a Crecked.com vagy a Wikipédia megemlít egy könyvet "Geektionary", mit lecsekkoltam.
de itt a DT-nél nem pihenünk, míg nem rendelkezünk elsődleges forrással.
Így mélyebbre ástam és ezt találtam.
French:
Ayant été élevés avec des films comme King Kong et des tonnes de contes parlant de demoiselles en détresse,
on en a déduit qu'on était les gentils, affrontant un singe diabolique pour sauver la fille.
Mais vous savez ce qu'on dit à propos de déduire à partir de rien, hein ?
ça nous fait tous passer pour des imbéciles.
Voici la vraie, ou plutôt, la suite de l'histoire:
Saviez-vous que Mario est le maître de Donkey Kong ?
Qu'il a maltraité le singe,
et que c'est pour ça que D.K. s'est échappé et a enlevé la copine de Mario.
Pour lui rendre la pareille.
Ouais, c'est un fait dont Nintendo n'aime pas vraiment se vanter à propos de sa vache à lait rouge !
Mais vous auriez tout à fait raison de me demander:
"Où est-ce écrit, que Mario était le maître de D.K?"
(à l'écran: t'as l'air gay)
Le jeu d'arcade ne racontait pas l'histoire et les supports de l'Atari et de la Coleco Vision donne un
vague scénario comme quoi "Mario doit sauver la fille".
D'autres sources comme Cracked.com ou Wikipédia citent le livre "Geektionary", que j'ai consulté
Mais ici, sur Game theory, nous n'arrêtons pas avant d'avoir les sources primaires.
Donc j'ai creusé un peu plus, et j'ai trouvé ceci:
Indonesian:
Dibesarkan oleh film seperti "King Kong" dan dongeng gadis yang lemah sejak dulu
kita hanya berasumsi bahwa kita orang-orang baik, memerangi binatang jahat untuk menyelamatkan gadis.
Tapi kamu tahu apa itu asumsi, ya kan?
Artinya adalah pantat(ASS) kamu(U) dan punyaku(ME).
Ini kenyataanya, atau lebih tepatnya, sisa ceritanya.
Apa kamu tahu kalau Mario adalah bossnya Donkey Kong?
Dia suka menyiksa si kera,
karena itu Donkey Kong kabur dan menculik pacarnya Mario.
Untuk balas dendam.
Ya, itu fakta yang tidak kamu dengar dari Nintendo tentang cash cow(sumber uang) berbaju merah mereka!
Sekarang kamu akan seratus persen bertanya padaku:
"Nah, di mana penjelasan bahwa Mario adalah boss dari D.K?"
Permainan arcade tidak ada ceritanya, Atari dan Coleco Vision memberikan penjelasan yang tidak jelas
Cerita tentang "Mario harus menyelamatkan gadis"
Sumber lain seperti Cracked.com atau Wikipedia mengutip dari "Geektionary", yang aku sudah periksa,
tapi di GT kami mencoba untuk tidak berhenti sampai kita memiliki sumber utama.
Jadi aku menggali sedikit lebih dalam, dan menemukan ini.
German:
Aufgewachsen mit Filmen wie "King Kong" und Jungfrau-in-Nöten-Märchen,
nehmen wir einfach an, dass wir die Guten sind, die den bösen Primaten bekämpfen, um das Mädchen zu retten.
Doch ihr wisst ja, was man über annehmen sagt, nicht wahr?
Es macht aus dir und mir einen Esel (Wortspiel).
Hier ist die Wahrheit, oder eher: Die ganze Geschichte.
Wusstet ihr, dass Mario Donkey Kongs Meister gewesen war?
Er hat den Affen missbraucht,
weswegen D.K. ausgebrochen und mit Marios Freundin abgehauen ist.
Um mit ihm quitt zu werden.
Ja, das ist ein Fakt, den man von Nintendo nicht hört, wenn sie über ihren Rotkäppchen-Goldesel reden!
Nun, ihr wärt 100 prozentig korrekt, wenn ihr fragen würdet:
"Nun ja, wo steht denn, dass Mario D.K.s Meister war?"
Das Arcade-Spiel hatte keine Geschichte
und Portierungen für Atari und Colce Vision gaben uns eine vage
"Mario muss das Mädchen retten" Geschichte.
Andere Quellen, wie Crack.com oder Wikipedia zitieren das Buch "Geektionary", was ich untersucht habe,
doch hier bei GT geben wir nicht auf, bis wir Primärquellen bekommen.
Also habe ich noch tiefer gegraben und fand dies.
Spanish:
Te doy: Donkey Kong Circo, del Game & Watch Gallery,
la precuela del original Donkey Kong en el que vemos el lado del negocio de Jumpman
donde él solo está llevando un show de circo
y la atracción estrella: Donkey Kong.
D. K. malabareando piñas y evitando bolas de fuegos.
todo mientras se balancea sobre un barril.
Hecho para parecer un tonto, obligado a quemarse las manos, regañado y siendo la risa cuando pierde una piña
Claramente, no es la mejor manera de tratar a un simio.
Un maestro que pone voluntariamente a su mascota en situaciones incómodas,
físicamente haciéndoles daño con fuego,
riéndose y humillándolos,
Mario tiene suerte de que el traje Tanuki es la única cosa que llamó la atención de PETA!
Ohoho, pero queridos teóricos. Solo hemos empezado
Si estamos hablando de la predilección de Mario por abuso animal,
ni siquiera necesitamos recorrer los tramos oscuros de Game & Watch Gallery-
Mario no hace mucho para ocultar sus tendencias violentas.
German:
ich präsentiere: Donkey Kong Circus, aus der Game&Watch Galerie,
dem Prequel zum ursprünglichen Donke Kong, indem wir Jumpmans Nebengeschäft sehen können,
indem er zufällig eine Zirkusshow laufen hat.
Die Starattraktion: Donkey Kong.
D.K. muss Ananas jonglieren und Feuerbällen ausweichen,
während er auch noch auf einem Fass balancieren muss.
Gezwungen, sich zum Deppen zu machen, die Hände zu verbrennen,
ausgeschimpft und verhöhnt, wenn er eine Ananas verfehlt,
wahrlich nicht die richtige Art, einen großartigen Affen zu behandeln.
Ein Meister, der absichtlich sein Haustier in unangenehme Situationen bringt,
sie mit Feuer physisch verletzt,
sie auslacht und verspottet.
Mario kann sich glücklich schätzen, dass nur der Tanuki-Anzug PETAs Aufmerksamkeit erregt hat.
Ohoho, aber meine lieben Theoretiker, wir haben gerade erst angefangen.
Wenn wir über Marios Vorliebe für Tieresmissbrauch reden wollen,
müssen wir nicht mal die obskuren Game&Watch Spiele herauskramen.
Mario gibt sich keine große Mühe, seine gewalttätigen Tendenzen zu verbergen.
Spanish:
Te doy: Donkey Kong Circus, de el Game & Watch Gallery,
la precuela del original Donkey Kong en el que vemos el trabajo secundario de Jumpman
donde resulta que el esta manejando un show de circo
y la atracción estrella: Donkey Kong.
D. K. haciendo malabares con piñas y evitando bolas de fuego
todo mientras se equilibra encima de un barril.
Hecho para parecer un tonto, obligado a quemarse las manos, siendo regañado y burlado cuando le falta una piña
claramente no es la manera correcta de ser tratado para un gran simio.
Un maestro que pone voluntariamente a su mascota en situaciones incómodas,
hiriéndolos físicamente con fuego,
riéndose y humillandolos,
Mario tuvo suerte de que el traje Tanooki es la única cosa que llamó la atención de PETA!
Ohoho, pero queridos theorists, apenas empezamos
Si estamos hablando de la predilección de Mario sobre abuso animall,
ni siquiera necesitamos recorrer los tramos oscuros del Game & Watch Gallery
Mario no hace mucho para ocultar sus tendencias violentas.
Portuguese:
Eu lhes apresento: O Circo De Donkey Kong, da galeria do Game & Watch,
O antecessor do jogo original do Donkey Kong, aonde vemos a parte escondida do encanador
aonde ele, por acaso, é o dono de um circo
e a atração principal é: Donkey Kong
D.K fazendo malabarismos e se desviando de oblas de fogo
tudo isso se balanceando em cima de um barril
Feito de idiota, forçado a queimar as mãos, sendo castigado e vaiado quando se atrapalhava na performance
claramente não é uma condição ideal para um macaco
Um dono colocando seu animal em situações difíceis
machucando-o com fogo
humilhando e rindo dele,
Mario tem sorte que a roupa de Tanooki foi a única alvo da PETA!
Ohoho, meus queridos teoristas, esse é só o começo
Se estamos falando de Mario e abuso de animais
nós nem precisamos ir tão longe
Mario não esconde muito bem sua tendências violentas
Hungarian:
Bemutatom neked: Donkey Kong Circus, a Game and Watch galériából,
az előzményét az eredeti Donkey Kong-nak, hol látjuk ugróman mellék állását.
Hol olyan boldog, hogy futtathat egy cirkusz műsort.
és sztár attrakció: Donkey Kong.
D.K. ananásszal zsonglőrködik és tűzgolyókat kerülget
miközben egy hordón egyensúlyozik.
Bolonddá téve, kényszeritve hogy megégesse a kezét, leszidja és nevet rajta mikor elvéti az ananászt
Nyilvánvaló, hogy nem így kell kezelni egy emberszabásút.
A gazda szándékosan kényelmetlen helyzetbe hozza kisállatát,
fizikai sebeket okoz nekik tűzzel,
nevet rajtuk és megalázza őket,
Mario szerencsére, hogy csak a tanuki öltözet vonta fel a PETA figyelmét.
Ohoho, de kedves teoretikusok, még csak most kezdtük el.
Ha csak Mario állatbántalmazási hajlamáról beszélnénk
Nem kell a Game & Watch galéria rejtett információi után kutatni.
Mario nem tesz sokat, hogy elrejtse az erőszakos természetét.
Indonesian:
Aku persembahkan: Donkey Kong Circus, dari Game & Watch Gallery,
prekuel ke Donkey Kong di mana kita melihat bisnis sampingan Si pelompat ini
di mana ia kebetulan menjalankan pertunjukan sirkus
dan atraksi utamanya: Donkey Kong.
DK akrobat menggunakan nanas dan menghindari bola api
sambil menjaga keseimbangan di atas sebuah tong.
Dibuat agar terlihat seperti orang bodoh, dipaksa untuk membakar tangannya, dimarahi dan tertawa pada saat nanasnya terlewat
jelas bukan cara yang tepat untuk memperlakukan si kera.
Pemilik yang sengaja menempatkan hewan peliharaannya ke dalam situasi yang tidak nyaman,
secara fisik melukai mereka dengan api,
menertawakan dan mempermalukan mereka,
Mario beruntung bahwa baju Tanooki adalah satu-satunya yang mendapat perhatian dari PETA!
Ohoho, tapi theorist tercinta, kita baru saja mulai.
Jika kita bicara hobby Mario karena menyiksa hewan,
kita bahkan tidak perlu menggali lebih dalam tentang Game & Watch Gallery-
Mario tidak berniat menyembunyikan sifat kekerasannya.
English:
I give you: Donkey Kong Circus, from the Game & Watch Gallery,
the prequel to the original Donkey Kong where we see Jumpman's side business
where he just so happens to be running a circus show
and the star attraction: Donkey Kong.
D.K. juggling pineapples and avoiding fireballs
all while balancing atop a barrel.
Made to look like a fool, forced to burn his hands, scolded and laughed at when missing a pineapple
clearly not the proper way for a great ape to be treated.
A master willfully putting his pet into uncomfortable situations,
physically injuring them with fire,
laughing at and humiliating them,
Mario's lucky that the Tanooki suit is the only thing that got PETA's attention!
Ohoho, but dear theorists, we've only just begun.
If we're talking Mario's predilection for animal abuse,
we don't even need to troll the obscure reaches of the Game & Watch Gallery-
Mario doesn't do much to hide his violent tendencies.
French:
Voici: "Donkey Kong Circus", de "Game and Watch Gallery,
le préquel du jeu Donkey Kong où on peut voir le boulot de Jumpman
qui semble gérer un numéro de cirque
dont la star est: Donkey-Kong.
D.K. jongle avec des ananas et évite des boules de feu
tout en gardant son équilibre sur un tonneau.
Ridiculisé, obligé de se brûler les pattes, grondé et moqué quand il laisse tomber un ananas
sûrement pas la meilleur façon de traiter un singe.
Un maître mettant volontairement son animal dans une situation difficile,
les blessant par le feu,
riant d'eux et les humiliant,
Mario a de la chance que la PETA n'ait remarqué que le costume de Tanuki !
Ohoho, mais, chers théoriciens, on ne fait que commencer.
Si on parle de la prédilection qu'à Mario à maltraiter les animaux,
pas la peine de troller les méthodes obscures de "Game and Watch Gallery"
Mario n'essaie pas de cacher ses tendances violentes.
Norwegian:
Jeg presenterer: Donkey Kong Circus, fra Game & Watch Gallery,
Forgjengeren til det første Donkey Kong der vi ser Jumpmans jobber på siden.
Her har han tilfeldigvis sitt eget sirkusshow
og hovedopptredenen: Donkey Kong.
D.K. som sjonglerer ananas og unngår ildkuler,
alt dette mens han balanserer på en tønne.
Donkey Kong blir ydmyket, tvunget til å brenne hendene sine, kjeftet på og ledd av når han mister en ananas
dette er særdeles ikke hvordan en ape skal behandles.
Dette er en eier som frivillig setter kjæledyret sitt i ukomfortable situasjoner,
fysisk skader det med ild
og ler og ydmyker det.
Flaks for Mario at Tanookidrakten er det eneste som PETA ble oppmerksom på.
Håhå! Men kjære teoretikere, vi har dette er bare begynnelsen.
Når vi snakker om Marios forkjærlighet for dyremishandling,
trenger vi ikke å lete gjennom det bortgjemte Game & Watch galleriet.
Mario prøver ikke særlig hardt å skjule sine voldelige tendenser.
Hungarian:
Donkey Kong nyomában, feldühödve, hogy kénytelen gerendákat mászni a nője miatt.
Mario bünteti a frissen elkapott főemlőst a következő játékban közösen: Donkey Kong Jr.
Hol elszakítja Donkey Kong-t a fiától, ketrecbe zárja és ostorral védi a díját.
A végső jelenetben, Mario a madarakat is ostorozza, hogy kövesék a parancsát!
De ami rosszabb a felnőtt Kong kezelésénél az a fiatal emberszabású bántalmazása.
Gondolkozó mit látunk itt:
Mario kényszerít egy baba majmot, hogy játssza ki a halált azért, hogy megmentse az apját.
Csak nézetek meg a szenvedést és a félelmet szegény fiatal majom arcán!
A harmadik jelenetben, egy kart használva próbálja megcsapni árammal D.K. Jr.-t.
Hadd ismételjem meg ezen a ponton: Mario, ez a játék ikon,
hősies mintakép,
Norwegian:
I sluttscenen i Donkey Kong er Mario irritert over å måtte klatre opp bjelker etter kjæresten sin,
så han straffer sin nyfangede gorilla i deres neste spill: Donkey Kong Jr.
Der skiller han Donkey Kong fra bort fra sønnen hans, burer ham inne, og holder sønnen hans unna med en pisk.
På slutten av spillet pisker han til og med fugler til å adlyde ordene hans!
Men det som er verre enn mishandlingen av den voksne gorillaen er mishandlingen av den yngre gorillaen.
Bare tenk på hva vi ser her:
Mario tvinger en babygorilla til å leke med døden for å redde faren dens!
Bare se på skrekkslagenheten og frykten i ansiktet til den stakkars ungen!
På det tredje brettet drar han i en spak for egenhendig å ta liv av D.K. Jr ved elektrisk sjokk.
La meg gjenta dette: Mario, videospillenes ikon,
et forbilde på heltedåd
Spanish:
En el despertar de Donkey Kong, molesto por haber sido obligado a subir las vigas por su chica,
Mario castiga a su mono recién capturado en su siguiente juego en conjunto: Donkey Kong Jr.
donde arranca a Donkey Kong lejos de su hijo, lo enjaula, y luego utiliza un látigo para defender su premio.
En la pantalla final, Mario incluso latiguea pájaros, a hacer su voluntad!
Pero lo que es peor que su tratamiento del adulto Kong es su abuso del simio más joven.
Piensa en lo que estamos viendo aquí:
Mario está obligando a un mono bebé para engañar a la muerte con el fin de rescatar a su padre!
¡Basta con mirar la angustia y el miedo absoluto en la cara del pobre jóven mono!
En la tercera pantalla, utiliza una palanca para tratar activamente de electrocutar a D. K. Jr.
Déjame reiterar ese punto: Mario, este icono de los videojuegos,
modelo de heroísmo,
French:
Dans la foulée du jeu Donkey-Kong, fâché d'avoir du escalader des poutres pour sauver sa copine,
Mario puni son singe fraîchement capturé dans leur jeu suivant: Donkey-Kong Junior
ou il arrache Donkey Kong a son fils, l'enferme, et utilise un fouet pour défendre son gain
Dans le dernier morceau, Mario fouette même des oiseaux pour qu'ils lui obéissent !
Mais pire encore que son attitude envers Donkey Kong est la maltraitance dont il fait preuve envers son fils.
Pensez à ce que vous voyez à l'écran:
Mario force un bébé singe à défier la mort pour sauver son père !
Regardez la détresse et la peur dans les yeux de ce pauvre petit singe !
Dans le troisième écran, il utilise un levier pour tenter d'électrocuter D.K.Junior.
Je répète: Mario, cette icône du jeu,
modèle d'héroïsme,
Spanish:
Como consecuencia de Donkey Kong, molesto por haber sido obligado a subir vigas por su chica,
Mario castiga a su mono recién capturado en su siguiente juego en conjunto: Donkey Kong Jr.
donde aleja a Donkey Kong de su hijo, lo enjaula, y luego utiliza un látigo para defender su premio.
En la pantalla final, Mario incluso le da latigasos a pájaros para que hagan su voluntad!
Pero lo que es peor que su tratamiento al Kong andulto, es su abuso del simio mas joven.
Piense en lo que estamos viendo aquí:
¡Mario está obligando a un mono bebé a engañar a la muerte con el fin de rescatar a su padre!
¡Sólo mira la angustia y el miedo absoluto en la cara de ese pobre mono pequeño!
En la tercera pantalla, el utiliza una palanca para tratar activamente de electrocutar a D.K. Jr.
Dejame reiterar ese punto: Mario, este icono de los videojuegos,
modelo de heroísmo,
Indonesian:
Dalam Donkey Kong, marah saat dipaksa untuk mendaki tangga untuk menyelamatkan pacarnya,
Mario menghukum kera yang baru ia tangkap bersama Donkey Kong Jr, di game selanjutnya.
di mana ia memisahkan Donkey Kong dari anaknya, mengurungnya di kandang, dan menggunakan cambuk untuk mempertahankan hadiahnya.
Pada saat terakhir, Mario bahkan menyambuk burung untuk melakukan perintahnya!
Tapi apa yang lebih buruk dari perlakuannya ke Kong adalah penyiksaan yang ia lakukan pada anaknya.
Pikirkan tentang apa yang kita lihat di sini:
Mario memaksa bayi kera untuk menghindari kematian untuk menyelamatkan ayahnya!
Lihatlah kesulitan dan ketakutan di wajah bayi kera itu!
Pada level ketiga, ia menggunakan tuas yang secara aktif mencoba untuk menyetrum DK Jr.
Biar aku tegaskan intinya: Mario, ikon dari game ini,
teladan kepahlawanan,
English:
In the wake of Donkey Kong, upset at being forced to climb girders for his girl,
Mario punishes his freshly captured ape in their next game together: Donkey Kong Jr.
where he tears Donkey Kong away from his son, cages him up, and then uses a whip to defend his prize.
In the final screen, Mario even whips birds to do his bidding!
But what's worse than his treatment of the adult Kong is his abuse of the younger ape.
Think about what we're seeing here:
Mario is forcing a baby monkey to cheat death in order to rescue his father!
Just look at the utter distress and the fear on that poor ape's young face!
In the third screen, he uses a lever to actively try to electrocute D.K. Jr.
Let me reiterate that point: Mario, this icon of gaming,
paragon of heroism,
German:
Als Folge von Donkey Kong, aufgebracht, dass er Träger emporklettern musste, um sein Mädchen zu retten,
bestraft Mario seinen frisch gefangenen Affen in ihrem nächsten gemeinsamen Spiel: Donkey Kong Jr.
In dem er Donkey Kong von seinem Sohn trennt, ihn einsperrt und dann mit einer Peitsche seinen Preis verteidigt.
In der Schlussszene peitscht Mario sogar Vögel aus, damit sie ihm gehorchen!
Doch noch schlimmer als seine Aktionen gegenüber dem erwachsenen Kong ist seine Misshandlung des jüngeren Affen.
Denkt mal darüber nach, was wir hier sehen:
Mario zwingt einen Babyaffen, den Tod zu überwinden , um seinen Vater zu retten!
Schaut euch nur die Pein und Angst auf dem Gesicht des armen jungen Affen an!
In dritten Bildschirm benutzt er einen Hebel, um aktiv zu versuchen, D.K. Jr. durch einen Stromschlag zu töten.
Lasst mich diesen Punkt bekräftigen: Mario, diese Ikone der Spiele,
der Inbegriff des Heldenmuts,
Portuguese:
No meio do jogo Donkey Kong, bravo por ter subido tudo aquilo pela garota
Mario tortura seu novo macaco no seu próximo jogo: Donkey Kong Jr.
aonde ele tira dos braços do D.K seu filho, coloca-o em uma gaiola, e usa um chicote para proteger seu prêmio
No final do jogo, Mario chicoteia até pássaros para que o obedeçam!
Mas o que é pior do que seu tratamento abusivo do macaco adulto é o abuso do macaco criança
Pense bem sobre o que estamos vendo aqui:
Mario está forçando um macaco bebê a lutar por sua vida para salvar seu pai!
Olhe para o coitadinho, imagine o medo e desespero que ele está sentindo!
Na terceira cena, ele usa uma alavanca para eletrocutar D.K Jr
Deixe-me deixar isso bem claro: Mario, esse ícone dos games,
Uma inspiração para heróis,
English:
tries to electrocute a baby monkey for rescuing his father,
a father who was put in danger and humiliated in a circus show run by a red-wearing carpenter
who wields a whip.
This is the behavior that we have ignored and overlooked, dear gamers.
And this is the information that Nintendo has been happy to silently sweep under the rug.
But wait, that's not all.
We're pulling all the skeletons out of the closet this time.
Mario is an equal opportunity animal abuser; he also hates insects.
Take, for instance, Wigglers.
Innocent, happy caterpillars that, across the Mario franchise,
show absolutely zero intentions of ever hurting Mario.
The have fu*ing daisies on their heads for crying out loud!
And what does our "hero" do?
He ruins their home not once, but twice, in both Super Mario 64 and Super Mario Sunshine.
Then, after trashing their homes, he proceeds to jump on them,
crushing them to death.
Spanish:
trata de electrocutar a un mono de bebé por rescatar a su padre,
un padre que fue puesto en peligro y humillado en un show de circo a cargo de un carpintero vestido de rojo
que usa un látigo.
Este es el comportamiento que hemos ignorado y pasado por alto, queridos gamers.
Y esta es la información que Nintendo ha estado dispuesto a barrer en silencio debajo de la alfombra.
Pero espera, eso no es todo.
Estamos sacando a todos los esqueletos fuera del armario esta vez.
Mario es un abusador de animales de iguales oportunidades; También odia los insectos.
Tomemos, por ejemplo, Wigglers.
Inocentes, orugas felices que, a través de la franquicia de Mario,
muestran absolutamente cero intenciones de alguna vez lastimar a Mario.
¡Ellos tienen malditas margaritas en sus cabezas!
¿Y qué hace nuestro "héroe"?
Él arruina su hogar, no una, sino dos veces, tanto en Super Mario 64 y Super Mario Sunshine.
Entonces, después de destrozar sus hogares, él procede a saltar sobre ellos,
aplastándolos hasta la muerte.
Norwegian:
Prøver å drepe en babygorilla via elektrisk sjokk for den vil redde faren sin,
en far som ble satt i fare og ydmyket på en sirkusforestilling drevet av en snekker i rødt
som slår med en pisk
Dette er oppførselen vi har ignorert og oversett, kjære spillere.
Og denne informasjonen har Nintendo med glede gjemt stille under teppet.
Men vent, det er ikke alt.
Vi legger ikke skjul på noe denne gangen.
Mario mishandler alle slags dyr, også innsekter.
Ta for eksempel Wigglers.
Wigglers er uskyldige, muntre larver som, gjennom Marioserien
ikke viser det minste tegn til å ville skade Mario.
De har f*** meg tusenfrydblomster på hodet, for svarte!
Og hva gjør "helten" vår?
Han ødelegger hjemmet deres ikke en gang, men TO ganger, både i Super Mario 64 og i Super Mario Sushine.
Og så, etter å ha gjort dette, hopper han oppå dem
og tramper dem i hjel.
Indonesian:
mencoba untuk menyetrum bayi monyet agar bisa menyelamatkan ayahnya,
seorang ayah yang berada dalam bahaya dan dipermalukan di acara sirkus yang dijalankan oleh seorang tukang kayu berbaju merah
yang memiliki cambuk.
Ini adalah perilaku yang kita abaikan dan tidak dipedulikan, gamer tercinta.
Dan ini adalah informasi yang telah senang hati disembunyikan oleh Nintendo.
Tapi tunggu, itu belum semuanya.
Kita mengeluarkan semua kerangka keluar dari lemari sekarang.
Mario adalah orang yang suka menyiksa hewan; ia juga membenci serangga.
Contohnya, misalnya, Wigglers.
Tidak bersalah, ulat yang ceria, dari seluruh game Mario,
tidak menunjukkan tanda-tanda untuk menyakiti Mario.
Mereka punya bunga daisy di kepala mereka!
Dan apa yang "pahlawan" kita lakukan?
Dia menghancurkan rumah mereka tidak hanya sekali, tapi dua kali, di Super Mario 64 dan Super Mario Sunshine.
Kemudian, setelah menghancurkan rumah mereka, lalu ia menginjak mereka,
menghancurkan mereka sampai mati.
Portuguese:
electrocuta um macaco bebê para que ele possa salvar seu pai
um pai que foi colocado em perigo e humilhado em um circo, cujo dono era nosso encanador de boina vermelha
que está usando um chicote
Esse é o comportamento que nós temos ignorado e passado por cima, queridos gamers
E essa é a história que a Nintendo esteve feliz em empurrar debaixo do tapete
Mas isso não é tudo
Vamos mostrar todas as provas agora
Mario é um abusador de animais, e ele também odeia insetos
Por exemplo, Wigglers
Uma lagarta feliz e inocente, que durante a franquia do Mario
nunca mostrou nenhum interesse em machucá-lo
Pelo amor de Deus, elas usam flores na cabeça!
E o que nosso "Herói" faz?
Ele arruína sua casa, duas vezes, em Mario 64 e Super Mario Sunshine
E depois de destruir suas casas, ele pula em suas cabeças
esmagando-as até sua morte
Spanish:
trata de electrocutar a un mono bebé por rescatar a su padre,
un padre que fue puesto en peligro y humillado en un espectáculo de circo a cargo de un carpintero vestido de rojo
que maneja un látigo.
Este es el comportamiento que hemos ignorado y pasado por alto, queridos jugadores.
Y esta es la información que Nintendo ha estado dispuesto a barrer debajo de la alfombra en silencio.
Pero espera, eso no es todo.
Estamos tirando todos los esqueletos fuera del armario este momento.
Mario es un abusador de animales de iguales oportunidades; también odia los insectos.
Tomemos, por ejemplo, Wigglers.
(Orugas Meneadores)
Inocentes, orugas felices que a través de la franquicia de Mario,
muestran cero intenciones de hacer daño a Mario.
La orugas ¡tienen una p*** margarita en la cabeza! ¡Por amor de Dios!
¿Y qué hace nuestro "héroe"?
El arruina su casa, no una, sino dos veces, tantas en Super Mario 64 y Super Mario Sunshine.
Entonces, después de destrozar sus hogares, procede a saltar sobre ellos,
aplastándolos hasta la muerte.
German:
versucht, einen Babyaffen durch Strom zu töten, weil dieser seinen Vater retten will.
Einen Vater, der in Gefahr gebracht und auf einer Zirkusshow erniedrigt wurde, die von einem Zimmermann in rot geschmissen wurde,
der eine Peitsche trägt.
Das ist das Verhalten, das wir ignoriert und übersehen haben, liebe Gamer.
Und das ist die Information, die Nintendo bisher fröhlich unter den Teppich gekehrt hat.
Doch wartet, das ist noch nicht alles.
Diesmal holen wir alle Leichen aus dem Keller.
Mario missbraucht Tiere gleichberechtigt: Er hasst ebenso Insekten.
Nehmen wir zum Beispiel: Wigglers.
Unschuldige, glückliche Raupen, die, im gesamten Mario Franchise,
genau 0 Absichten deutlich gemacht haben, jemals Mario verletzen zu wollen.
Sie haben verd*mmte Gänseblümchen auf ihrem Kopf, um Gottes Willen!
Und was tut unser "Held"?
Er ruiniert ihr Zuhause. Nicht einmal, sondern zweimal, sowohl in Super Mario 64, als auch in Super Mario Sunshine.
Dann, nachdem er ihr Zuhause demoliert hat, hüpft er auf ihnen herum,
und zerquetscht sie zu Tode.
Hungarian:
próbál sokkolni egy baba majmot, ki apját próbálja kiszabadítani,
az apja ki veszélyben és megalázva volt egy cirkusz műsorban, mit vezetett a piros ruhás ács
ki ostorozza őket.
Ezt a viselkedés, amit figyelmen kívül hagytunk és mi felett szemet hunytunk, kedves játékosok.
És ez az a információ, mit Nindendo boldogan a szőnyeg alá söpörne.
De várj csak ez nem minden.
Minden csontvázat előveszünk a szekrényből ezúttal.
Maria egy esélyegyenlőségi állatbántalmazó, a bogarakat is gyűlöli.
Vegyük például a Wigglers.
Ártatlan, boldog hernyók, kik átjárták a Mario franchise,
abszolút zéró érdeklődést mutatva, hogy bántsák Mario-t.
A fejükön lévő ki*szot margaréták hangosan kiabáltak!
És mit tesz a mi "hősünk"?
Tönkreteszi az otthonukat nem egyszer, de kétszer, mind a Szuper Mario 64-ben és a Szuper Mario Sunshine-ban is.
Azután, hogy tönkreteszi az otthonuk, tovább ugrik rajtuk,
halára nyomva őket.
French:
essaie d'électrocuter un bébé-singe qui essaye de sauver son père,
un père qui a été mis en danger et humilié dans un cirque géré par un charpentier habillé en rouge
qui manie un fouet.
Ceci est le comportement que nous avons ignoré et négligé, chers gamers.
Et c'est ce type d'infos que Nintendo a joyeusement tenté de dissimulé.
Mais attendez, ce n'est pas tout.
on va révéler tous les petits secrets, cette fois.
Mario est un tortionnaire d'animaux, mais un tortionnaire équitable: il déteste aussi les insectes.
Par exemple: les Wigglers.
D'innocentes, joyeuses chenilles qui, dans la franchise Mario,
n'ont jamais démontré une volonté de faire du mal à Mario.
Ils ont des p*tains de marguerites sur la tête, b*rdel !
Et que fait notre "héro" ?
Il détruit leur maison non pas une, mais deux fois, dans Super Mario 64 et Super Mario Sunshine.
Puis, après avoir détruit leurs maisons, s'applique à leur sauter dessus,
les écrasant jusqu'à ce que mort s'en suive.
Indonesian:
Binatang tak berdosa dan tidak bersalah yang hanya marah ketika rumahnya dilanggar.
Dari perspektif ini, Mario tidak lebih baik dari anak yang membakar semut dengan kaca pembesar.
menyiksa serangga kecil hanya untuk bersenang-senang.
Dan Wigglers hanya salah satu dari beberapa contoh.
Bahkan belum termasuk binatang seperti Cheep Cheeps, ikan yang hanya berenang di sekitar dengan tenang.
bahkan tidak menyerang Mario,
yang ditarget, dibakar hidup-hidup oleh dendam Mario yang kejam.
Tapi mari kita beri dia kesempatan.
Wigglers dan lainnya adalah "musuh" dalam game karena, kau tahu, Mario seharusnya adalah pahlawan.
yang tidak bisa dimaafkan, adalah perlakuan pada keluarga dan teman-temannya.
Contohnya, misalnya, Yoshi.
Kita tahu di awal Yoshi's Island bahwa dinosaurus lucu itu bertanggung jawab untuk menyelamatkan hidup Mario!
Untuk mengingatkan:
Hungarian:
Egy ártatlan teremtményt, ki nem tett semmi rosszat, de feldühödik mikor az otthonát terrorizálják.
Ebből a perspektívából, Mario nem jobb mint a gyerek ki nagyítóval éget hangyákat.
Kis bogarakat kínozni szórakozásból.
És a Wigglers csak egyike a rengeteg példának.
Nem is említve teremtményeket mint a Cheep Cheep, halak kik csak békében úszkálnak.
Nem is támadnak Mario-ra,
kik célpontok lettek, élve megsülnek Mario tüzes bosszúja által.
De adjunk a fickónak kis teret.
Wigglers és a többi "ellenség" a játékban, mert tudod Mario állítólag a hős és egyéb.
De ami megingatatlan az családjával ás szövetségeseivel való bánásmódja.
Vegyük például Yoshi-t.
Megtudtuk a Yoshi szigetének elején, hogy ezek az aranyos dinók felelősek Mario életének megmentéséért.
Összefoglalva:
English:
An innocent creature who did nothing wrong but get upset when his home was violated.
From this perspective, Mario is no better than a child burning ants with a magnifying glass.
torturing small insects just for fun.
And Wigglers are only one of multiple examples.
That's not even mentioning creatures like Cheep Cheeps, fish who are just swimming around peacefully
not even attacking Mario,
who get targeted, burned alive by Mario's fiery vengeance.
But let's cut the guy some slack.
Wigglers and the rest are "enemies" in the game because, you know, Mario's supposedly the hero and stuff.
What's inexcusable though, is his mistreatment of his family and his allies.
Take, for instance, the Yoshi.
We learn in the beginning of Yoshi's Island that these cute dinos are responsible for saving Mario's life!
To recap:
Spanish:
Una criatura inocente que no hizo nada más que enojarse cuando su casa fue violada.
Desde esta perspectiva, Mario no es mejor que un niño quemando hormigas con una lupa
torturando insectos pequeños sólo por diversión.
Y los Wigglers son sólo uno de los múltiples ejemplos.
Y eso sin mencionar las criaturas como Cheep Cheeps, peces que solo están nadando tranquilamente
Ni siquiera atacando a Mario,
Quienes son quemados vivos por la venganza de Mario
Pero vamos a quitarle un poco de peso al chico.
Wigglers y el resto son "enemigos" en el juego, porque, ya sabes, Mario supuestamente es el héroe y esas cosas.
Lo imperdonable sin embargo, es su maltrato de su familia y sus aliados.
Tomemos, por ejemplo, a Yoshi.
Aprendemos en el comienzo de Yoshi's Island, que, ¡estos dinosaurios lindos son responsables de salvar la vida de Mario!
Para recordar:
German:
Ein unschuldiges Geschöpf, das nichts falsch gemacht hat und erst wütend wurde, als ihr Zuhause demoliert wurde.
Aus dieser Perspektive gesehen ist Mario nicht besser, als ein Kind, das mit einer Lupe Ameisen verbrennt,
winzige Insekten nur aus Spaß foltert.
Und Wigglers ist nur eins von mehreren Beispielen.
Dabei haben wir noch nicht Geschöpfe wie Cheep Cheeps erwähnt, Fische, die einfach friedlich herumschwimmen,
dabei Mario nicht einmal angreifen,
die ins Ziel genommen und lebendig verbrannt werden, durch Marios feurige Vergeltung.
Doch, seien wir ein wenig nachsichtig mit ihm.
Wigglers und der Rest sind "Feinde" im Spiel,
weil Mario, ihr wisst schon, der Held sein soll und so.
Was jedoch nicht entschuldbar ist, ist seine Misshandlung von seiner Familie und Verbündeten.
Nehmen wir zum Beispiel die Yoshi.
Zu Beginn von Yoshi's Island lernen wir, dass diese süßen Dinos Mario das Leben gerettet haben!
Kurze Zusammenfassung:
Norwegian:
Et uskyldig vesen som ikke gjorde noe annet enn å bli sint når dets hjem ble ødelagt.
Fra dette perspektivet er ikke Mario noe bedre enn en unge som steker maur med forstørrelsesglass.
Han torturer innsekter kun for moro skyld.
Og Wigglers er kun et av mange eksempler,
for ikke å nevne skapninger som Cheap Cheeps, fisker som bare svømmer rundt for seg selv
og ikke angriper Mario,
som blir angrepet og brent levende av Mario og hans syke sadisme.
Men la oss være litt snille med ham.
Wigglere og andre dyr er "fiender" i spillet fordi, vel, Mario skal liksom være helten og greier.
Noe som derimot ikke kan unnskyldes, er måten han behandler sin familie og allierte på.
Ta for eksempel Yoshi.
I begynnelsen av Yoshi's Island får vi vite at disse skjønne dinosaurene en gang reddet Marios liv.
La oss oppsummere:
French:
Une créature innocente qui n'a rien fait de mal d'autre que s'énerver quand leur habitat a été dévasté.
De ce point de vue, Mario ne vaut pas mieux qu'un gamin brûlant des fourmis avec une loupe.
Torturant des petits insectes parce que c'est marrant.
Et les Wigglers ne sont qu'un exemple parmi tant d'autres.
On ne parle même pas des créatures comme les Aquazo, des poissons qui ne font que nager tranquillement
sans même attaquer Mario,
qui sont traqués, et brûlés vifs par le désir de vengeance brûlant de Mario.
Mais laissons-lui le bénéfice du doute.
Les wigglers et les autres sont des "ennemis" dans le jeu parce que, vous savez, "Mario est supposé être le héro" et blablabla...
Ce qui est inadmissible, par contre, est le traitement qu'il inflige à sa famille et ses alliés.
Par exemple, les yoshis.
On apprend au début de Yoshi's Island que ces adorables dinosaures ont sauvé la vie de Mario !
En résumé:
Spanish:
Una criatura inocente que no hizo nada malo más que molestarse cuando se violó la privacidad de su casa.
Desde esta perspectiva, Mario no es mejor que un niño quema hormigas con una lupa.
torturando insectos pequeños sólo por diversión.
Y Wigglers son sólo uno de los múltiples ejemplos.
Y eso sin mencionar las criaturas como Cheep Cheeps, peces que apenas están nadando tranquilamente
Ni siquiera con la intención de atacar a Mario,
que son quemados vivos por la fiera venganza de Mario.
Pero vamos a cortar el chico un poco de holgura.
Wigglers y el resto son "enemigos" en el juego, porque, ya sabes, Mario es supuestamente el héroe y otras cosas.
Lo imperdonable sin embargo, es el maltrato hacia su familia y aliados.
Tomemos, por ejemplo a Yoshi.
Aprendemos en el comienzo de la Isla de Yoshi que estos dinosaurios lindos son responsables de salvar la vida de Mario!
Recordar:
Portuguese:
Uma criatura inocente que não fez nada de errado além de ficar brava tendo sua casa violada
Dessa perspectiva, Mario não é melhor do que uma criança queimando formigas com uma lupa
torturando insetos por diversão
E os Wigglers são só um exemplo
Isso sem mencionar criaturas como os Cheep Cheeps, peixes que só ficam nadando por aí pacificamente
que sequer atacam o Mario
que viram alvos da vingança flamejante de Mario
Mas vamos dar a ele um pouco de crédito
Wigglers e os resto são "inimigos" no jogo porque Mario é supostamente o herói e blá blá blá
O que não tem desculpa, no entanto, é o como ele trata seus amigos e família
Por exemplo, Yoshi
Nós sabemos, devido à Yoshi's Island, que esses dinossauros fofinhos já salvaram a vida do Mario!
Para recapitular:
Norwegian:
En stork mister Babymario, som heldigvis for ham lander trygt på ryggen til en Yoshi.
Resten av spillet handler om at en gjeng Yoshier
Yoshii?
Yoshis?
Yoshier risikerer livet for å gjenforene ham med hans kidnappede bror,
for så å levere begge tilbake til foreldrene.
En fin fortelling, ikke sant?
Hjertevarmende.
Gir deg den følelsen.
Vel, spol fremover til når Mario er voksen
og nok en gang hopper opp på ryggen til sin trofaste lojale venn for å redde dagen og...
vent, han SLO ham!
Se igjen:
Mario slår til Yoshi for å få ham til å rekke ut tungen.
Du kan til og med se at Yoshi rykker til før det skjer!
Han skader dyret fysisk for å få det til å gjøre det han vil.
Og la oss ikke glemme at Mario lar Yoshi falle ned et stup uten å nøle,
bare for klare å hoppe noen ekstra centimeter.
Stup som igjen og igjen
har vist seg å resultere med døden.
For å si det igjen; vi ser ikke bare dyremishandling, men også familiemishandling.
Bare så vi ikke glemmer det, dette er Yoshi,
Spanish:
De una cigüeña cae bebé Mario, quien, por suerte caería de forma segura en la parte posterior de un Yoshi.
El resto del juego tiene un equipo de Yoshis
Yoshii?
Yoshis.
Yoshis arriesgando sus vidas para reunir al bebé con su hermano secuestrado,
y luego entregar a los dos de nuevo a sus padres.
Una linda historia, ¿verdad?
Reconfortante.
Os llegó ahí mismo
Pues bien, el avance rápido hasta el adulto Mario,
saltando cada vez más alto a su amigo de confianza y leal a salvar el día y . .
espera, acaba de darle un puñetazo.
Mirar de nuevo:
Mario golpea a los Yoshis para conseguir que extiendan su lengua.
Incluso se puede ver el estremecimiento de Yoshi antes de que suceda!
Él está batiendo físicamente este animal para conseguir que haga lo que él quiere que haga.
Y no olvidemos que Mario dejará caer un Yoshi en un pozo sin duda alguna
sólo para obtener un par de pulgadas adicionales a su salto.
Una fosa que, una y otra vez
claramente ha demostrado que el resultado es la muerte.
Una vez más, no solo vemos abuso en animales- vemos abuso familiar.
No debemos olvidar que se trata de Yoshi,
English:
A stork drops baby Mario, who, as luck would have it, lands safely on the back of a Yoshi.
The rest of the game has a team of Yoshis
Yoshii?
Yoshis.
Yoshis risking their lives to reunite the baby with his kidnapped brother,
then delivering the two back to their parents.
A cute story, right?
Heartwarming.
Get's ye' right there.
Well, fast forward to adult Mario,
hopping once more atop his trusted and loyal friend to save the day and-
wait, he just punched him.
Look again:
Mario punches the Yoshis to get them to extend their tongue.
You can even see the Yoshi flinch before it happens!
He is physically beating this animal to get it to do what he wants it to do.
And let's not forget that Mario will drop a Yoshi into a pit without hestitation
just to get a couple extra inches out of his jump.
A pit that, time and time again
has clearly been shown to result in death.
Once again, we don't just see animal abuse- we see family abuse.
Lest we forget, this is Yoshi,
Indonesian:
Sebuah bangau menjatuhkan bayi Mario, yang beruntung, jatuh di punggung Yoshi.
Selanjutnya di game tersebut ada banyak Yoshi
Yoshi-yoshi?
Para Yoshi.
Para Yoshi mempertaruhkan hidup mereka untuk menyatukan kembali bayi itu dengan saudaranya yang diculik,
kemudian mengantar kedua bayi tersebut kembali ke orang tua mereka.
Sebuah cerita lucu, kan?
Menghangatkan hati.
Kena ke hati.
Nah, loncat ke Mario yang telah dewasa,
malah menunggangi di atas teman terpercaya dan setia nya untuk menyelamatkan hari dan-
tunggu, dia memukulnya.
Lihat lagi:
Mario memukul Yoshi agar dia mau mengeluarkan lidah mereka.
Kamu bahkan bisa melihat Yoshi kaget sebelum itu terjadi!
Dia secara fisik memukul hewan ini agar bisa disuruh, untuk melakukan apa yang ia inginkan.
Dan jangan lupa bahwa Mario akan menjatuhkan Yoshi ke dalam jurang tanpa ragu-ragu
hanya untuk bisa melompat lebih jauh.
Sebuah jurang, yang dalam waktu ke waktu
jelas terbukti mengakibatkan kematian.
Sekali lagi, kita tidak hanya melihat penyiksaan hewan- kita melihat penyiksaan keluarga.
Jangan sampai lupa, ini adalah Yoshi,
German:
Ein Storch lässt Baby Mario fallen. Dieser ist so glücklich, auf dem Rücken eines Yoshi sicher zu landen.
Im Rest des Spiels riskieren Yoshis
Yoshii?
Yoshis.
Yoshis ihr Leben, um das Baby mit seinem entführten Bruder zu vereinigen
und sie dann zu ihren Eltern zu bringen.
Eine niedliche Geschichte, nicht wahr?
Herzerwärmend.
Trifft euch genau da.
Nun, spulen wir vor zum erwachsenen Mario,
der wieder einmal auf seinen treuen Freund aufspringt, um den Tag zu retten, und -
wartet mal, er hat ihn grad geschlagen!
Schaut's euch an:
Mario schlägt die Yoshis, um sie dazu zu bringen, ihren Zungen herauszustrecken.
Ihr könnt sogar sehen, wie der Yoshi zusammenzuckt, bevor es passiert!
Er schlägt dieses Tier, um es dazu zu bringen, das zu tun, was er will.
Und lasst uns nicht vergessen, dass Mario ein Yoshi in eine Grube fallen lässt, ohne zu zögern.
Nur, damit er ein bisschen weiter springen kann.
Eine Grube, die immer wieder
in Tod resultiert.
Wieder einmal sehen wir hier nicht nur Tiermissbrauch, sondern Familienmissbrauch.
Lasst uns nicht vergessen, das hier ist Yoshi,
Hungarian:
A gólya elejti a baba Mario-t, ki, ahogy a szerencse hozta, biztonságban landol egy Yoshi hátán.
A játék többi részében egy Yoshi csapata van.
Yoshii?
Yoshik.
A Yoshik kockáztatják az életüket, hogy újraegyesítsék a babát az elrabolt testvérével.
majd vissza küldik a szüleikhez.
Aranyos történet, igaz?
Szívet melengető.
Elkapott pont ott.
Nos, gyorsan előre a felnőtt Mario-hoz.
felhoppan még egyszer megbízható és hűséget barátjának hátára, hogy megmentsék a napot és-
várj, most éppen megütötte.
Nézzük újra:
Mario megüti a Yoshi-t, hogy kiöltse a nyelvét.
Láthatod, ahogy Yoshi összerándul mielőtt megtörténik!
Fizikailag veri ezt az állatott, hogy azt csinálja amit mond neki.
És nem felejtsük el, hogy Mario hagyja Yoshi-t leesni egy szakadékba hezitálás nélkül.
Csak hogy pár centit nyerjen az ugrásból.
Egy szakadék, mi újra és újra
mi világosan megmutatták, hogy halálhoz vezet.
Még egyszer, mi nem csak egy állatbántalmazást láttuk, hanem családom belüli erőszakot is.
Ne felejtsük, hogy ez a Yoshi,
French:
une cigogne lâche bébé Mario qui, par chance, atterrit en douceur sur le dos d'un Yochi.
Le reste du jeu fait part d'un groupe de Yoshis
Yoshii ?
Yoshis.
Yoshis risquant leur vie pour réunir le bébé avec son frère qui a été enlevé,
pus rendre les deux à leurs parents.
Une histoire mignonne, non ?
Elle fait chaud au coeur.
elle vous donnerait la larme à l'oeil.
Bref, passons à Mario adulte,
qui saute sur le dos de son ami loyal pour sauver le pays et...
attendez, il vient de le frapper ?
Regardez mieux:
Mario frappe le Yoshi pour les faire tirer la langue.
On peut même voir le Yoshi tressaillir avant de se prendre le coup !
Il tabasse physiquement cet animal pour le faire faire ce qu'il veut qu'il fasse.
Sans oublier que Mario jetterait un Yoshi dans le vide sans hésitation
juste pour gagner quelques centimètres de hauteur.
Un vide qui, bien des fois,
a montré que tomber dedans était fatal.
Encore une fois, ce n'est pas que de la maltraitance animale, c'est de la maltraitance dans la famille.
N'oublions pas, c'est Yoshi,
Spanish:
Una cigüeña suelta al bebé Mario, que, por tener suerte, aterriza de forma segura en la espalda de un Yoshi.
El resto del juego tiene un equipo de Yoshis
Yoshii?
Yoshis.
Yoshis arriesgando sus vidas para reunir al bebé con su hermano secuestrado,
Para luego entregar a los dos a sus padres.
Una linda historia, ¿verdad?
Reconfortante.
Te llega al corazón.
Bien, adelantemos al Mario adulto,
saltando una vez mas encima de su confiable y leal amigo a salvar el día y-
espera, le acaba de dar un puñetazo.
Mira de nuevo:
Mario golpea a los Yoshis para hacer que extiendan su lengua.
¡Incluso se puede ver Yoshi se estremece antes de que suceda!
Él esta físicamente golpeando a este animal para hacer que haga lo que él quiere.
Y no olvidemos que Mario dejará caer a un Yoshi en un pozo sin duda alguna
sólo para obtener un par de pulgadas adicionales en su salto.
Una fosa que, una y otra vez
claramente se ha demostrado que resulta en muerte.
Una vez más, no solo vemos abuso animal, vemos abuso familiar.
No debemos olvidar, este es Yoshi,
Portuguese:
Uma cegonha derruba Mario, que por sorte, cai à salvo nas costas de um Yoshi
O resto do jogo se foca em um time de Yoshis
Yoshii?
Yoshis
Yoshis arriscando suas vidas para reunir o bebê com seu irmão raptado,
e depois os levam para seus país
Uma história bonitinha, certo?
Esquenta nossos corações
Bem emocionante
Bom, vamos agora para o Mario adulto
indo salvar o dia mais uma vez no topo do seu leal amigo-
espera aí, ele acabou de socar o Yoshi
Olhe de novo:
Mario soca o Yoshi para que ele jogue sua linga
Dá até para ver o Yoshi se assustando antes de apanhar!
Mario está agredindo fisicamente esse animal para que ele o obedeça
E não vamos esquecer que o Mario joga o Yoshi de um penhasco como se não fosse nada
Só para pular alguns centímetros mais alto
Um penhasco que, inúmeras vezes
mostrou que claramente termina em morte
Outra vez, não vemos só abuso animal, vemos abuso de familiares
Não nos esqueçamos, esse é o Yoshi
Portuguese:
o mesmo dinossauro que teve que lidar com isso
E isso
para manter o bebê Mario a salvo
Esse dinossauros cheios de compaixão são praticamente família, e o que eles recebem em troca?
Um soco e uma queda de um penhasco!
Descartáveis como lenços
Se ao menos eles tivessem jogado aquele bebê terrível em um planta prinha,
o reino do cogumelo seria um lugar mais feliz, e mais seguro
Falando em abuso de família, esse próximo é, na minha opinião, o maior pecado do Mario:
a forma que ele trata Luigi
Espere um segundo e olhe para esse cara
Ele é um amável covarde, um desastrado homem que sonha em ser um herói, e que acha seu irmão o máximo
Olhe para como ele reage no final do jogo Luigi's Mansion, quando ele vê seu irmão à salvo
Mesmo que seja só com gestos e barulhos bobos, sua alegria é comovente
Sem dúvidas, Luigi é um dos personagens mais agradáveis e adoráveis dos jogos
Spanish:
la misma criatura que tuvo que hacer frente a este
[Bebé de Mario desagradable llorando]
y esto
[música del jefe final Bowser]
para mantener al bebé Mario seguro.
Estos dinosaurios tiernos de noble corazón, son prácticamente de la familia y, ¿qué reciben?
Un puñetazo y al pozo!
Botados como desechables.
Si hubieran alimentado a ese bebé detestable a una Planta Piraña,
el Reino Champiñón sería un lugar más feliz, y más seguro,.
Hablando de abusar de la familia, sin embargo, esta próxima, en mi opinión, es el peor pecado de Mario:
su tratamiento de Luigi.
Ahora, para por un minuto y mira a este tipo.
Es un cobarde adorable, un héroe torpe aspirante que piensa en el mundo de su hermano.
Mira la forma en que reacciona en el final de la Mansión de Luigi cuando ve que su hermano está a salvo.
A pesar de que la mayoría son gestos y sonidos torpes, su alegría se está moviendo.
Sin duda alguna, Luigi es uno de los más dulces personajes más auténticos en el juego.
Norwegian:
Den samme skapningen som måtte klare seg gjennom dette
[Babymarios skingrende striking]
og dette
[Bowser]
for å passe på Babymario.
Disse varmhjertede dinosaurene er praktisk talt familie og hva får de igjen for det?
Et slag og et stup!
Like disponible som tørk.
Hvis de bare hadde gitt den fæle ungen til en pirajaplante (Piranha Plant),
ville Mushroom Kingdom vært et lykkeligere og tryggere sted.
Mens vi snakker om familiemishandling, er det neste på planen, etter min mening, Marios verste ugjerning:
Hvordan han behandler Lugi.
Vent et lite øyeblikk og ta en titt på ham.
Han er en vidunderlig pyse, en småpinlig heltestreber som idoliserer sin bror.
Merk måten han reagerer på i sluttscenen av Luigi's Mansion når han ser at broren hans er trygg.
Selv om det for det meste vises gjennom småbevegelser og tullete lyder, er gleden hans rørende.
Luigi er uten tvil en av de herligste og mest "ekte" karakterene i spillhistorien.
Spanish:
la misma criatura que tuvo que hacer frente a esto
[Bebé Mario desagradablemente llorando]
y esto
[Musica del jefe final Bowser]
para mantener al bebé Mario seguro.
Estos dinosaurios tiernos de corazón son prácticamente de la familia, ¿y qué es lo que reciben?
¡Un golpe y un pozo!
Desechables como pañuelos.
Si hubieran alimentado con ese bebé detestable a una Piranha Plant,
el Mushroom Kingdom sería un lugar más feliz, y seguro.
Hablando de abusar de la familia, lo proximo, en mi opinon, es el peor pecado de Mario:
Como trata a Luigi.
Ahora, para por un minuto y mira a este tipo.
Él es un cobarde adorable, un torpe aspirante a héroe que piensa el mundo de su hermano.
Mira la forma en que reacciona en el final de Luigi's Mansion cuando ve que su hermano está a salvo.
A pesar de que se muestra por gestos y sonidos tontos, su alegría es conmovedora.
Sin duda alguna, Luigi es uno de los más dulces y más genuinos personajes en los videojuegos.
Hungarian:
ugyan az a teremtmény, kinek ezzel kellet szembe néznie
[baba Mario kellemetlen sírása]
és ezzel
[végső főnök Bowser zene]
biztonságba tartani Mario-t.
Ezek a gyengéd dinoszauruszok gyakorlatilag család tagod és mit kapnak?
Verést és szakadékot!
Eldobható mint a zsebkendő.
Ha ez a kellemetlen babát megették volna egy píranya nővénnyel,
a Gomba Királyság egy boldogabb és biztonságosabb hely lehetne.
Családon bélűi bántalmazásról szólva, a következő szerintem Mario legrosszabb bűne:
Luigi kezelése.
Most álljunk meg egy percre és nézzük ezt a fickót.
Egy aranyos gyáva, egy ügyetlen önjelölt hős, kinek a testvére jelenti a világot.
Nézd hogyan reagál a Luigi kastélyának a végén, mikor látja testvérét biztonságban.
Annak ellenére, hogy gesztikulálnak és vicces hangokat adnak ki, az öröme egyértelmű.
Kétségtelen, hogy Luigi az egyik legédesebb és legelevenebb karakter a játékok között.
German:
dasselbe Geschöpf, das hiermit klar kommen musste,
und dem hier
um Baby Mario zu beschützen.
Diese weichherzigen Dinosaurier gehören praktisch zur Familie und was bekommen sie dafür?
Einen Schlag und eine Grube!
Entsorgbar wie Taschentücher.
Wenn sie dieses unausstehliche Baby nur an eine Piranha-Pflanze verfüttert hätten,
wäre das Pilzkönigreich ein glücklicherer uns sicherer Ort.
Wenn wir schon von Familienmissbrauch sprechen, dann ist das nächste, meiner Meinung nach, Mario schlimmste Sünde:
Wie er Luigi behandelt.
Nun, nehmt euch einen Moment Zeit und schaut euch diesen Kerl an.
Er ist ein bezaubernder Feigling, ein ungeschickter Möchtegern-Held, für den sein Bruder die Welt bedeutet.
Seht euch an, wie er am Ende von Luigi's Mansion reagiert, als er sieht, dass sein Bruder sicher ist.
Auch wenn es nur durch Gesten und alberne Klänge rübergebracht wird, ist seine Freude bewegend.
Ohne Zweifel ist Luigi einer der süßesten, aufrichtigsten Charaktere in der Welt der Spiele.
French:
la même créature qui a du subir ça:
(pleurs de bébé Mario)
et ça:
(Musique du boss final)
pour protéger bébé Mario.
Ces dinosaures au coeur d'or font pratiquement parti de la famille, et qu'obtiennent-ils en retour ?
Des coups et des chutes.
aussi remplaçables que des mouchoirs.
S'ils avaient donné ce sale gosse en pâture à une plante piranha,
le royaume champignon serait un endroit plus sûr où il ferait bon vivre.
Tant qu'on parle de maltraitance, tiens, la suivante est, à mon avis, le pire crime de Mario:
la façon dont il traite Luigi.
Attendez une minute, et regardez ce gars.
C'est un adorable lâche, qui aimerait aussi être un héro et qui adore son frère.
Regardez sa réaction à la fin de Luigi's Mansion, quand il voit son frère en vie.
Même si ça se traduit par des gestes et des sons, sa joie est palpable.
Sans aucun doute, Luigi est l'un des personnages les plus gentils et sincères tous jeux confondus.
Indonesian:
binatang yang sama yang harus berurusan dengan ini
[Bayi Mario menangis]
dan ini
[Bos akhir Bowser]
untuk menjaga bayi Mario aman.
dinosaurus baik hati ini adalah keluarganya dan apa yang mereka dapatkan?
Pukulan dan jurang!
Terbuang seperti tisu.
Kalau saja mereka memberi makan bayi yang menjengkelkan itu ke Tanaman Piranha,
Kerajaan Jamur akan menjadi lebih bahagia, dan dan jadi tempat yang lebih aman.
Setelah bicara tentang penyiksaan keluarga, berikut ini, menurutku, adalah dosa terbesar Mario:
perlakuannya pada Luigi.
Sekarang, berhenti sebentar dan lihat orang ini.
Dia seorang penakut yang menggemaskan, orang yang ingin jadi pahlawan yang selalu memikirkan saudaranya.
Lihatlah cara dia bereaksi pada akhir dari Luigi Mansion ketika ia melihat kakaknya selamat.
Meskipun hanya terlihat dari gerak tubuh dan suara konyolnya, dia benar-benar senang.
Tidak salah lagi, Luigi adalah salah satu yang paling manis, karakter paling baik dalam game.
English:
the same creature who had to deal with this
[baby Mario's obnoxious crying]
and this
[final boss Bowser music]
to keep baby Mario safe.
These tender-hearted dinosaurs are practically family and what do they get?
A punch and a pit!
Disposable like tissues.
If only they had fed that obnoxious baby to a Piranha Plant,
the Mushroom Kingdom would be a happier, and safer, place.
Speaking of abusing family though, this next one, in my opinion, is Mario's worst sin:
his treatment of Luigi.
Now, stop for a minute and look at this guy.
He's an adorable coward, an awkward wannabe hero who thinks the world of his brother.
Look at the way he reacts at the ending of Luigi's Mansion when he sees his brother is safe.
Even though it's told mostly through gestures and goofy sounds, his joy is moving.
Without doubt, Luigi is one of the sweetest, most genuine characters in gaming.
Hungarian:
A papit Mario-ban elolvashatod a titkos naploját
miben oldalakon keresztül meséli, menyire csodálja Mario-t,
hogy menyire szeretne vele tartani a kalandjaira,
hogy kérdezi újra és újra, hogy csalatkozhatatlan a következő nagy küldetéshez.
És olvashatjuk, hogyan törte össze ezeket Mario.
összetörte őket, ahogy a Goombas ezreit, kik kövér olasz súlya alatt összetörtek.
megtagadva testvérétől az álmát a boldog életről.
De ez rosszabb lesz mint egyszerű elhanyagolás.
Nézd meg a végét a Szuper Mario Brothers Wii-nek.
Luigi berepül, előre engedi Mario-t és Peach-t a ballonba és nélküle repülnek el.
Nem ismerve el a létezését, nem köszönik meg, nem hívják megy hogy csatlakozón hozzájuk,
Egyszerűen figyelmen kívül hagyják.
Kevesebb mint Koopa maradványa Mario csípőjének alján.
Luigi nem kap semmilyen köszönetet Mario eltűnésének a végén.
German:
In Paper Mario kann man sein geheimes Tagebuch lesen,
in dem er sich seitenlang darüber auslässt, wie sehr er Mario bewundert,
wie sehr er sich wünscht, auf diese Abenteuer mitzukommen,
wie er immer wieder gefragt hat, bei der nächsten Quest dabei zu sein.
Und wir lesen dann, dass Mario diese Träume zerschmettert hat,
wie die tausende Gumbas, die unter seinem hohen, italienischen Gewicht zerschmettert wurden.
Er verweigerte seinem Bruder jegliche Chance auf die Erfüllung seiner Träume.
Doch es wird noch schlimmer als bloße Vernachlässigung.
Schaut euch das Ende von New Super Mario Brothers Wii an.
Luigi fliegt heran, bietet Mario und Peach einen Platz in seinem Ballon an
und sie fliegen einfach ohne ihn davon.
Sie erkennen seine Existenz nicht an,
sie danken ihm nicht,
sie laden ihn nicht ein, mit ihnen zu fliegen,
sondern sie ignorieren ihn einfach.
Er bedeutet ihnen weniger, als die Überreste des Koopas unter Marios Schuhen.
Luigi bekommt auch am Ende von Mario is Missing kein Dankeschön.
Nachdem Luigi diese Quest erledigt hat,
Norwegian:
I Paper Mario kan man lese den hemmelige dagboken hans,
der han skriver jevnt og trutt om hvor mye han ser opp til Mario,
hvor høyt han ønsker at han kunne dra på slike eventyr som Mario,
hvordan han har bedt igjen og igjen om å få være med på neste store eventyr.
Og det vi leser er at Mario har knust disse drømmene,
knust dem slik som de utallige Goombaene han har knust under sin italienske vekt.
Han har fornektet broren sin alle sjanser til å leve ut drømmene sine om å leve et godt liv.
Men det er verre enn ren forsømmelse.
Ta en kikk på sluttscenen i New Super Mario Bros Wii.
Luigi lander ballongen og tilbyr Mario og Peach plass i ballongen sin, men de bare flyr vekk uten ham.
De anerkjenner ikke at han er der, de takker ham ikke, de lar ham ikke fly sammen med dem,
de bare ignorerer ham totalt.
Han er mindre vært enn koopablodet på Marios sko-såler.
Luigi får ikke noen takk på slutten av Mario is Missing heller.
Spanish:
En Paper Mario, se puede leer su diario secreto
Página tras página habla de lo mucho que admira Mario,
de lo mucho que le gustaría poder ir en estas aventuras,
como es preguntado una y otra vez para ser incluido en la siguiente gran misión.
Y lo que leemos es que Mario ha aplastado a esos sueños,
aplastados como los miles de Goombas que ha aplastado bajo su peso de grasa italiano.
negando a su hermano alguna posibilidad de cumplir sus sueños de vivir una vida feliz.
Pero se pone peor que pura negligencia.
Mira el final de New Super Mario Brothers Wii.
Luigi entra volando, le ofrece a Mario y a Peach subirse en su globo, y luego simplemente se van sin él.
No reconocen su existencia, ellos no lo agradecen, ellos no lo invitan a volar con ellos,
simplemente lo ignoran.
Es menor que el remanente Koopa en la parte inferior de los zapatos de Mario.
Luigi no consigue ningunas gracias al final de
"Mario está perdido", tampoco.
Indonesian:
Di Paper Mario, kamu bisa baca diari rahasianya
yang punya beberapa halaman tentang betapa ia mengagumi Mario,
yang terus berharap ia bisa terus melanjutkan petualangan ini,
dia juga meminta berulang-ulang untuk ikut pada misi besar berikutnya.
Dan apa yang kita baca adalah bahwa Mario telah menghancurkan mimpi-mimpi itu,
menghancurkan mereka seperti ribuan Goombas yang ia hancurkan oleh berat badan orang Italia yang gemuk itu.
menolak kesempatan saudaranya memenuhi mimpi untuk hidup bahagia.
Tapi menjadi lebih daripada mengabaikan.
Lihatlah akhir dari New Super Mario Brothers Wii.
Luigi mendarat, menawarkan Mario dan Peach naik ke balon, dan kemudian mereka hanya terbang tanpa dia.
Mereka tidak mengakui keberadaannya, mereka tidak berterima kasih padanya, mereka tidak mau dia untuk terbang bersama,
mereka hanya mengabaikannya.
Dia tidak lebih dari sisa Koopa di bawah sepatu Mario.
Luigi juga tidak mendapatkan apapun di akhir Mario is Missing.
English:
In Paper Mario, you can read his secret diary
which goes on and on for pages about how much he admires Mario,
how much he wishes he could go on these adventures,
how he's asked over and over to be included on the next big quest.
And what we read is that Mario has crushed those dreams,
crushed them like the thousands of Goombas he's crushed under his fat Italian weight.
denying his brother any chance of fulfilling his dreams of living a happy life.
But it gets worse than sheer neglect.
Look at the ending of New Super Mario Brothers Wii.
Luigi flies in, offers Mario and Peach room in his balloon, and then they just fly off without him.
They don't acknowledge his existence, they don't thank him, they don't invite him to fly with them,
they just flat out ignore him.
He is less than the Koopa remnant on the bottom of Mario's shoes.
Luigi doesn't get any thanks at the end of Mario is Missing, either.
Portuguese:
No jogo Paper Mario, você pode ser seu diário secreto
que tem páginas e mais páginas dizendo o quanto ele admira o Mario,
como ele deseja estar nessas aventuras
como ele sempre pede para ser incluído na próxima grande quest
E o que nós descobrimos é que Mario destruiu esses sonhos
Destruiu eles como os milhares de Goombas que ele esmagou com seu gordo peso italiano
negando de seu irmão uma chance de alcançar seus sonhos e ter uma vida feliz
Mas é pior do que só uma negação
Olhe para o final do New Super Mario Brothers Wii
Luigi aparece, oferece para Mario e Peach espaço em seu balão, e o Mario vai embora sem ele
Eles fingem que o Lugi não existe, não o agradecem, nem o convidam para ir com eles
eles simplesmente o ignoram
Ele significa menos para eles do que o resto de Koopa nos calçados do Marios
Luigi também não recebe nenhum agradecimento no final do jogo "Mario Desaparecido"
French:
Dans Paper Mario, vous pouvez lire son journal intime
ou il parle encore et encore de son admiration pour Mario,
de son souhait de pouvoir le rejoindre pour une de ses aventures,
de ses demandes répétées de pouvoir prendre part à la prochaine grande quête.
Et on peut lire que Mario a brisé ces rêves
les a réduits en miette comme les milliers de Goombas sous son poids
ne laissant aucune chance à son frère d'accomplir ses rêves et d'avoir une vie heureuse.
Mais c'est pire que de la négligence.
Regardez la fin de New Super Mario Brothers Wii.
Luigi arrive en montgolfière, offre à Mario et Peach de monter dans la nacelle, et ils partent sans lui.
Ils ne se rendent même pas compte qu'il est là, ne le remercient pas, ne l'invite pas à prendre part au voyage,
ils l'ignorent, tout simplement.
Il est moins que le reste de Koopa collé à la semelle de Mario.
Luigi ne reçoit aucun remerciement à la fin de Mario is Missing non plus.
Spanish:
En Paper Mario, puedes leer su diario secreto
El cual va por paginas y paginas sobre como él admira a Mario,
de lo mucho que le gustaría poder ir en esas aventuras,
cómo él a pedido una y otra vez ser incluido en la siguiente gran misión.
Y lo que leemos es que Mario ha aplastado esos sueños,
aplastados como los miles de Goombas que a aplastado bajo su gordo peso italiano.
negando su hermano alguna posibilidad de cumplir sus sueños de vivir una vida feliz.
Pero se pone peor que pura negligencia.
Mira el final del New Super Mario Brothers Wii.
Luigi llega, ofrece Mario y Peach espacio en su globo, y luego simplemente se van sin él.
No reconocen su existencia, ellos no le agradecen, ellos no lo invitan a volar con ellos,
ellos directamente lo ignoran.
Él es menos que los restos de Koopa bajo los zapatos de Mario
Luigi no recibe ningun agradecimiento al final de Mario is Missing tampoco.
Spanish:
Después de que Luigi ha completado esta misión, Mario simplemente pasea y se queda ahí,
El muy p*** se para allí,
sin decir gracias, sin decir nada, sólo se queda mirando a su hermano como:
"Espero que te haya gustado la aventura más lamentable en nuestra franquicia, bro'.
porque es lo mejor que vas a conseguir nunca."
Pero lo que es desagradable, y me refiero a repugnante, es el comportamiento de Mario al final de Mario Power Tennis.
Sí, estamos sacando los juegos oscuros reales para llegar al corazón de esta toma @ # $.
¿Suena como que estoy echando humo?
Sí, porque estoy echando humo.
Estoy enfadado de que he sido engañado por este fontanero sleazeball durante décadas;
de que yo le he llamado un héroe, de que he sido su fanboy.
Este es el por qué:
En Mario Power Tennis, si Luigi gana, esto es lo que sucede:
él lo celebra.
Por una vez, a este perpetuo jugador 2, este segundo violín tiene su oportunidad en el centro de atención.
La gente lo está animando,
un estadio lleno de gente está celebrando Luigi,
English:
After Luigi has completed this quest, Mario just strolls out and stands there,
fu*ing stands there,
no thank you, no nothing, just staring at his brother like:
"I hope you liked the lamest adventure in our franchise, bro,
'cause the most you're ever going to get."
But what's disgusting, and I mean DISGUSTING, is Mario's behavior at the end of Mario Power Tennis.
Yeah, we're pulling out the real obscure games to get to the heart of this jack@#$.
Does it sound like I'm fired up?
Yeah, 'cause I'm fired up.
I am angry that I have been deceived by this sleazeball plumber for decades;
that I have called him a hero, that I have been his fanboy.
Here's why:
In Mario Power Tennis, if Luigi wins, this is what happens:
he celebrates.
For once, this perpetual Player 2, this second fiddle gets his chance in the spotlight.
People are cheering for him,
a stadium full of people are celebrating Luigi,
Norwegian:
Etter Luigi har fullført reisen, spaserer Mario ut og bare står der.
HAN BARE STÅR DER!
Ingen takk, ikke noe som helst, bare et blikk som sier:
"Jeg håper du likte det teiteste eventyret i serien, brutter'n,
for det er det største du noen gang kommer til å få."
Men det som er motbydelig, og jeg mener MOTBYDELIG, er Marios oppførsel på slutten av Mario Power Tennis.
Jepp, her finner vi de virkelig sjeldne spillene for å nå sinnet til denne j******.
Høres jeg sint ut?
Stemmer, det; for jeg er sint.
Jeg er sint for at jeg har blitt lurt av denne sleipe rørleggeren i ti-tallige år;
at jeg har kalt ham en helt, at jeg har vært fanen hans.
Dette er hvorfor:
Hvis Luigi vinner Mario Power Tennis, vil dette skje:
Han feirer.
For en gangs skyld får denne evige toer, som alltid har vært i bakgrunnen, tid i rampelyset.
Folk applauderer ham,
et stadion fullt av folk feirer Luigi,
Hungarian:
Miután Luigi végez a küldetéssel, Mario kisétál és megáll,
ro*tul áll ott,
nincs köszönöm, nincs semmi, csak bámul testvérére mint:
"Remélem élvezted a legbénább kalandot a franchise-ban, tesó.
Mert ennyi amit kapni fog valaha."
De ami a undorító és úgy értem UNDORÍTÓ, az Mario viselkedése a Mario Power Tennis végén.
Igen, felhoztuk a leghomályosabb játékokat, hogy eljussuk ehhez a sza@#$.
Úgy hangzik mintha felfújtam volna?
Igen, mert pipa vagyok.
Dühös vagyok, hogy évtizedek megtévesztett ez a botlóvő vízvezeték szerelő.
hogy egy hősnek hívtam, hogy egy rajongója voltam.
Itt van miért:
Mario Power Tennis-ben, ha Luigi nyer, ez történik:
ünnepel.
Egyszer, az örök második játékos, másodhegedűs, kapja meg a lehetőséget a reflektor fényben.
A közönség éjenzik őt,
a stadion tele van nézőkkel, kik Luigi-t ünneplik,
Indonesian:
Setelah Luigi telah menyelesaikan misi ini, Mario hanya berjalan keluar dan berdiri,
hanya berdiri di sana,
tidak terima kasih, tidak ada apa-apa, hanya menatap saudaranya seperti:
"Aku harap kamu menyukai petualangan paling tidak memuaskan di game kita, BRO!
karena cuma itu saja yang bisa kamu dapatkan."
Tapi apa menjijikkan, dan maksudku MENJIJIKKAN, adalah perilaku Mario pada akhir Mario Power Tennis.
Ya, kita menunjukkan game-game tersembunyi untuk dapat masuk ke akar masalah si sialan ini.
Apakah aku terdengar seperti sedang berteriak?
Ya, karena aku berteriak.
Aku marah karena telah dibohongi oleh tukang ledeng bodoh ini selama beberapa tahun;
karena aku memanggilnya pahlawan, karena aku adalah fanboy nya.
Ini alasannya:
Dalam Mario Power Tenis, kalau Luigi menang, ini yang akan terjadi:
dia merayakan.
Untuk sekali saja, Pemain player 2 abadi ini, orang yang selalu kedua ini mendapat kesempatan untuk menjadi sorotan
Orang-orang bersorak untuknya,
stadion yang penuh dengan orang merayakan kemenangan Luigi,
Portuguese:
Depois que Luigi completa sua missão, Mario só aparece e fica parado
só FICA PARADO!
sem "obrigado", sem nada, só olha para seu irmão como se estivesse dizendo:
"Espero que você tenha gostado da aventura mais tosca da nossa franquia, brother,
'Porque é o máximo que você vai ter"
Mas o que é repugnante, e eu enfatizo, REPUGNANTE, é o comportamento do Mario no final do Mario Powe Tennis
Sim, nós estamos pesquisando até os jogos mais desconhecidos para desmascarar esse filho da mãe
Eu pareço estar irritado?
Porque eu estou irritado
Eu estou bravo por ter sido enganado por esse encanador de terceira por décadas;
estou bravo por ter chamado ele de herói, por ter sido fã
E aqui está o porque:
No Mario Power Tennis, se o Luigi ganha, é isso que acontece:
ele comemora
Finalmente, o sempre em segundo, o irmão de segundo plano, o pneu reserva, tem seu momento de glória
As pessoas estão aplaudindo, torcendo por ele
um estágio cheio de pessoas celebrando em nome do Luigi
Spanish:
Después de Luigi ha completado esta búsqueda, Mario simplemente pasea y se queda ahí,
¡Se queda ahí!
No gracias, no nada, sólo mirando a su hermano como:
"Espero que te haya gustado la aventura más aburrida de nuestra franquicia, bro,
porque es lo mejor que vas a tener"
Pero lo que es desagradable, y me refiero REPUGNANTE, es el comportamiento de Mario al final de Mario Power Tennis.
Sí, estamos sacando los juegos realmente oscuros para llegar al corazón de esto.
¿Suena como si estuviera molesto?
Sí, porque estoy molesto.
Estoy enojado de que he sido engañado por esta fontanero sleazeball durante décadas;
que yo le he llamado un héroe, que he sido su fanboy.
Este es el por qué:
En Mario Power Tennis, si Luigi gana, esto es lo que sucede:
él celebra.
Por una vez, este perpetuo jugador 2, este segundo violín tiene su oportunidad en el centro de atención.
La gente está animándolo a él,
un estadio lleno de gente está celebrando Luigi,
German:
schlendert Mario einfach heraus und steht da,
steht da verd*mmt nochmal rum,
kein Dankeschön, kein gar nichts,
er starrt seinen Bruder nur an, als wollte er sagen:
"Hoffentlich hast du das erbärmlichste Abenteuer in unserem Franchise genossen, Bruder,
denn mehr wirst du nie bekommen."
Doch was wirklich ekelhaft, und damit meine ich EKELHAFT, ist,
ist Marios Verhalten am Ende von Mario Power Tennis.
Ja, wir nehmen die richtig obskuren Spiele, um zum Herzen dieses Sch**ßdrecks vorzustoßen.
Klingt das so, als wäre mir das wichtig?
Denn ja, mir ist das wichtig wichtig.
Ich bin wütend darüber, dass ich von diesem widerlichen Klempner Jahrzehnte lang übers Ohr gehauen wurde;
dass ich ihn einen Helden genannt habe, sein Fan war.
Hier ist der Grund:
Wenn Luigi in Mario Power Tennis gewinnt, dann passiert folgendes:
Er feiert.
Einmal hat dieser ewige zweite Spieler,
diese zweite Geige ihre Chance, im Rampenlicht zu stehen.
Die Menge jubelt ihm zu,
ein Stadium voller Leute feiert Luigi,
French:
Après que Luigi ait réussi sa quête, Mario sort de là et reste là,
rien d'autre que rester là,
pas de merci, que dalle, il se contente de fixer son frère, l'air de dire:
"J'espère que tu as aimé l'aventure la plus nulle de notre franchise, frère,
parce que t'auras jamais rien d'autre."
Mais ce qui est répugnant, et je veux dire RÉPUGNANT, est le comportement de Mario à la fin de Mario Power Tennis.
Ouais, on sort même les jeux les moins connus pour confondre ce c*****d.
J'ai l'air déterminé ?
Ouais, parce que je suis déterminé !
Je suis furieux d'avoir été bluffé par cette ordure de plombier pendant des années;
ce gars que j'ai appelé Héro, dont j'ai été le fanboy.
Voila pourquoi:
Dans Mario Power Tennis, si Luigi gagne, voilà ce qui se passe:
il fait la fête.
Pour une fois, l'éternel joueur 2, ce second couteau a une chance de briller.
Les gens l'applaudissent,
le stade tout entier félicite Luigi,
Norwegian:
han holder et trofe, og hva gjør Mario?
Broren som Luigi vil ha godkjenning av mer enn noe annet, hva gjør han?
Han går bort til ham, klapper, ler, klasker ham på ryggen og så gnir skoen sin på sin brors fot!
Står der og gnir skoen sin
smiler fortsatt, ler fortsatt.
Han er helt følelsesløs, helt tom for kjærlighet og respekt overfor alt og alle, selv sin egen bror.
Han er ikke villig til å la Luigi få den minste seier i et spill ingen bryr seg om
Og se på Luigi: Hans store øyeblikk er ruinert!
Broren han trodde ville være stolt av ham i seiersøyeblikket tar isteden og ødelegger det!
Spanish:
él está sosteniendo un trofeo, ¿y qué es lo que Mario hace?
El hermano del que Luigi le encantaría recibir una aprobación más que cualquier otra cosa, ¿qué es lo que hace?
Se acerca a él, aplaudiendo, riendo, le da lo golpea en la espalda ¡y luego aplasta su zapato en el pie de su hermano!
Se para allí y lo pisa.
[Música de Mario Power Tennis y la risa esporádica de Mario]
Sin dejar de sonreír, sin dejar de reír.
Él es tan insensible, tan carente de amor o afecto por nada ni por nadie, ni siquiera a su propio hermano,
No está dispuesto a dejar que Luigi tenga incluso la más pequeña victoria en un juego que a nadie le interesa.
Y mira Luigi: ¡su momento de gloria está arruinado!
¡El hermano que pensó que estaría orgulloso de él en este momento de victoria, en cambio lo tira a la basura!
Portuguese:
ele está segurando um troféu, e o que o Mario faz?
O irmão cujo a aprovação valeria mais do que qualquer coisa, o que ele faz?
Ele anda até o Luigi, aplaudindo, rindo, da um tapa em suas costas e esfrega seu tênis no pé de seu irmão!
Fica parado lá pisando
Ele continua dando risada, sorrindo
Ele é tão frio, tão desprovido de qualquer tipo de compaixão por qualquer um, até seu próprio irmão
ele está disposto a estragar até a menor das vitórias do Luigi, em um jogo que as pessoas mal conhecem
Olhe para ele, seu momento de glória está acabado!
O irmão que Luigi pensou que estaria orgulhoso em seu momento de vitória, na verdade acaba com a comemoração!
German:
er hält eine Trophäe in seinen Händen und was tut Mario?
Der Bruder, von dem sich Luigi mehr als alles andere die Anerkennung wünscht, was tut er?
Er geht zu ihm hin, applaudiert, lacht,
gibt ihm einen Klaps auf den Rücken
und dann bohrt er seinen Schuh in den Fuß seines Bruders!
Er steht da und bohrt.
Immer noch lächelnd, immer noch lachend.
Er ist so gefühllos, so beraubt von Liebe oder Zuneigung
für irgendetwas oder irgendwen, selbst seinen eigenen Bruder,
er ist nicht gewillt, Luigi selbst den geringsten Sieg
in einem Spiel zu überlassen, das niemanden kümmert.
Und seht euch Luigi an: Sein Moment des Ruhmes ist ruiniert!
Der Bruder, von dem er sich stolz in diesem Siegesmoment erhofft hat,
macht ihn stattdessen zu Schanden!
English:
he's holding a trophy, and what does Mario do?
The brother who Luigi would love the approval of more than anything else, what does he do?
Walks up to him, applauding, laughing, slaps him on the back and then grinds his shoe into his brother's foot!
Stands there and grinds it in.
[Mario Power Tennis music and Mario's sporadic laughter]
Still smiling, still laughing.
He is so unfeeling, so bereft of love or affection for anything or anyone, even his own brother,
he's unwilling to let Luigi have even the smallest of victory in a game that no one cares about.
And look at Luigi: his moment of glory is ruined!
The brother he thought would be proud of him in this moment of victory instead trashes upon it!
Indonesian:
dia memegang piala, dan apa yang Mario lakukan?
Saudara yang akan membuat Luigi senang kalau mendapat ucapan selamat, apa yang ia lakukan?
Berjalan ke arahnya, bertepuk tangan, tertawa, memberikan ucapan selamat dan kemudian menggosok sepatunya ke kaki saudaranya!
Berdiri di sana dan terus menginjak sepatunya.
[Musik Mario Power Tenis dan tawa jengkel Mario]
Masih tersenyum, masih tertawa.
Dia tidak punya perasaan, kehilangan cinta dan kasih sayang untuk apa pun atau siapa pun, bahkan saudaranya sendiri,
dia tidak mau membiarkan Luigi menang, bahkan kemenangan terkecil dalam pertandingan yang tidak ada siapapun peduli.
Dan lihat Luigi: perayaan kemenangannya hancur!
Saudara yang ia pikir akan bangga padanya saat ia menang malah membenci dirinya!
Spanish:
él está sosteniendo un trofeo, y ¿qué hace Mario?
El hermano del que Luigi le encantaría la aprobación más que cualquier otra cosa, ¿qué hace?
Se acerca a él, aplaudiendo, riendo, le da una palmada en la espalda y luego se muele su zapato en el pie de su hermano!
Se para allí y lo muele.
[Música de Mario Power Tennis y la risa esporádica de Mario]
Sin dejar de sonreír, sin dejar de reír.
Él es tan insensible, tan carente de amor o afecto por nada ni por nadie, ni siquiera a su propio hermano,
no está dispuesto a dejar que Luigi consiga incluso la más pequeño de las victorias en un partido del que nadie se preocupa.
Y mira a Luigi: su momento de gloria está en ruinas!
El hermano que pensó que estaría orgulloso de él en este momento de la victoria en su lugar lo hace basura!
Hungarian:
a trófeát tartja és mit csinál Mario?
A testvér, kit Luigi mindennél jobban szeret, mit csinál?
Odasétál hozzá, tapsol, nevet, hátba veri majd a testvére lábára tapos.
Áll ott és rátapos.
[Mario Power Tennis zene és Mario gunyos nevetése]
Továbbra is mosolyog és nevet.
Annyira érzéketlen, szeretett fosztott vagy bántson bármit vagy bárkit, még a saját testvérét is,
Nem hagyja Luigi-nak még a legkisebb győzelmet sem a játékban, mi senkit nem érdekel.
És nézd Luigi-t: a fényes pillanatát tönkretették!
A testvér kiről azt gondolta, hogy büszke lesz a győzelmének pillanatában, helyette így bánik vele.
French:
et brandit un trophée, et que fait Mario ?
Ce frère dont Luigi cherche l'approbation plus que tout au monde, que fait-il ?
Il va le trouver, l'applaudit, rit, lui tape dans le dos et ensuite essuie sa chaussure sur le pied de son frère !
reste là et sourit d'un air suffisant.
Rire moqueur de Mario
Toujours souriant, toujours riant.
Il est tellement insensible, tellement dépourvu d'amour ou d'affection pour n'importe qui et n'importe quoi, même son propre frère,
il dénie même la plus petite victoire à Luigi, même dans un jeu dont tout le monde se fout.
Et regardez Luigi, son moment de gloire est fichu !
Le frère dont il pensait qu'il serait fier de lui à cet instant est en train de le ruiner !
Indonesian:
Semuanya bertolak belakang dari apa yang dipikirkan Luigi tentang saudaranya
dan raut wajahnya membuktikan hal itu!
Dia bingung, dia kebingungan, dan kita juga.
Kita telah dibohongi, dan jika tidak ada hal lain yang aku sudah bicarakan hari ini menunjukkan sifat kejam Mario
saat ini, keinginan kita tersenyum saat melakukan sesuatu yang benar-benar mengerikan dan egois
menunjukkan bagaimana jahatnya dia!
Dan kau tahu? Masih ada lagi, masih banyak.
Selain menyiksa kera, selain menghancurkan rumah-rumah hewan,
lebih dari memukul dan membunuh dinosaurus dan lebih dari saudara jahat yang tidak berperasaan.
kejahatan Mario berlanjut, jadi bergabunglah denganku minggu depan- ya, minggu depan,
saat kita akan menyimpulkan pengadilan ikon terbesar dunia game, membongkar kesukaannya terhadap wanita dan pembunuhan.
Apa aku sudah membuatmu yakin?
Jika tidak, masih ada banyak lagi .
Hungarian:
Teljesen szembe menve mit Luigi valaha gondolt a testvéréről
és nézd az arcán ott a bizonyíték!
Teljesen összezavarodott, megdöbbent és nekünk is annak kell lenünk.
Hazudtunk eddig és ha semmi más én ma bemutattam Mario zavaró és kegyetlen természetét
ez a pillanat, a hajlandóság, hogy mosolyog, mikor valami teljesen szörnyű és önző dolgot csinál.
mutatja meg, milyen gonosz is!
És tudod mit? Van még, sokkal több.
A megkínzót majmokon kívül, az állatok elpusztított otthonán kívül,
túl a megvert és megölt dinoszauruszon és túl a kegyetlen, szívtelen testvéren.
Mario bűnei folytatódnak, ezért csatlakoz hozzám jövőhetén- igen jövőhetén,
hol megvizsgáljuk a játékok legironikusabb szereplőjének kapcsolatát a nőkkel és a gyilkossággal.
Meggyőztelek már?
Ha nem, még sok egyéb maradt.
French:
ça va complètement à l'encontre de de que Luigi a toujours associé à son frère
et son visage le prouve !
Il est confus, perplexe, et on devrait l'être aussi.
On nous a menti, et si rien de ce que je vous ai dit ne vous a convaincu de la nature cruelle de Mario
ce moment, cette volonté de vous faire un grand sourire alors qu'il se comporte comme un c*nnard égoïste
montre à quel point il est diabolique !
Et vous savez quoi ?Il y a tellement, tellement plus...
à part torturer des singes, à part détruire l'habitat des animaux,
plus que de tabasser et tuer des dinosaures et d'être un frère cruel et sans coeur.
les crimes de Mario continuent, alors rejoignez-moi la semaine prochaine - oui, la semaine prochaine,
pour compléter notre jugement sur la plus grande icône du jeu vidéo, démontrant sa passion pour les femmes et le meurtre.
Je vous ai convaincu ?
Si non, j'ai encore plein d'arguments.
German:
Das geht gegen alles, was Luigi jemals mit seinem Bruder in Verbindung gebracht hat
und sein Gesichtsausdruck beweist das.
Er ist verwirrt, er ist fassungslos und wir sollten das auch sein.
Wir wurden angelogen
und wenn nichts anderes von dem, worüber ich heute gesprochen habe,
Marios verstörende, grausame Natur zeigt,
dann zeigt dieser Moment, diese Bereitschaft, in dein Gesicht zu lächeln,
während man etwas vollständig furchtbares und selbstsüchtiges tut,
wie böse er ist!
Und wisst ihr was? Es gibt noch mehr, viel mehr.
Außer der Folter von Affen, außer dem Zerstören der Heimat von Tieren,
jenseits des Schlagens und Tötens von Dinosauriern und jenseits dessen, eine grausamer, kaltherziger Bruder zu sein,
geht die Aufzählung der Sünden Marios noch weiter. Als seid nächste Woche -ja, nächste Woche - wieder dabei,
wenn wir unser Gerichtsverfahren über die größte Ikone der Spielewelt fortfahren
und seine Vorliebe für Frauen und Mord aufdecken.
Hab ich euch bereits überzeugt?
Wenn nicht, dann gibt es noch viel mehr.
Norwegian:
Det står stridt imot alt Luigi har assosiert med broren sin
og uttrykket i ansiktet hans beviser det!
Han er forbløffet, han er forvirret, og det burde vi være også.
Vi har blitt løyet for, og hvis ikke noe annet jeg har snakket om i dag viser Marios forstyrrende, onde natur,
så beviser dette øyeblikket, denne viljen til å smile noen i ansiktet og gjøre noe så fælt og egoistisk
akkurat hvor ond han er!
Og vet du hva? Det er mer. Mye mer.
I tillegg til å torturere gorillaer, i tillegg til å ødelegge hjemmene til dyr,
utover det å slå og drepe dinosaurer og utover å være en grusom, hjerteløs bror.
Marios synder fortsetter, så kom tilbake neste uke, ja, neste uke,
når vi konkluderer vår "rettsak" av spillindustriens største ikon og avslører forkjærligheten hans for kvinner og mord.
Har jeg overbevist deg ennå?
Hvis ikke, har vi fremdeles mye igjen.
Spanish:
Va completamente en contra de todo lo que Luigi ha asociado con su hermano
¡y la expresión de su cara lo demuestra!
Está confundido, está desconcertado, y nosotros deberíamos estarlo también
Nos han mentido, y si nada de lo que he hablado hoy muestra la perturbadora naturaleza cruel de Mario,
este momento, esta disposición a sonreír en tu cara mientras hace algo completamente horrible y egoísta
¡muestra qué tan malvado es!
¿Y sabes qué? Hay más, mucho más.
Además de torturar monos, además de la destrucción de las casas de los animales,
mas allá de golpear y matar dinosaurios y más allá de ser un hermano cruel, sin corazón.
los pecados de Mario continúan, así que únete a mi la semana que viene, sí, la semana que viene,
mientras concluimos nuestro juicio del mayor icono de juego, dejando al descubierto su afición por las mujeres y el asesinato.
¿Te he convencido todavía?
Si no es así, todavía hay mucho más por ir.
English:
It flies completely against everything Luigi has ever associated with his brother
and the look on his face proves it!
He's confused, he's bewildered, and we should be too.
We've been lied to, and if nothing else I've talked about today shows Mario's disturbing, cruel nature
this moment, this willingness to smile in your face while doing something completely awful and selfish
shows how evil he is!
And you know what? There's more, lots more.
Besides torturing monkeys, besides destroying the homes of animals,
beyond beating and killing dinosaurs and beyond being a cruel, heartless brother.
Mario's sins continue, so join me next week- yes, next week,
as we conclude our trial of gaming's biggest icon, exposing his fondness for women and murder.
Have I convinced you yet?
If not, there's still plenty more to go.
Portuguese:
Isso vai completamente contra tudo que Luigi pensava sobre seu irmão
e o olhar em seu rosto prova isso!
Ele está confuso, desacreditado, assim como nós deveríamos estar
Mentiram para nós, e se nada mais do que eu mostrei para vocês prova a natureza cruel e terrível do Mario
esse momento, sorrir enquanto faz um ato de tamanha maldade e egoísmo
nos mostra o quão perverso ele realmente é!
E quer saber? Tem mais, muito mais
Além de torturar macacos, além de destruir as casas de animais
além de bater e matar dinossauros e além de ser um irmão frio e cruel
O pecados de Mario continuam, então junte-se a mim semana que vem- sim, semana que vem
para a conclusão do julgamento do maior ícone dos games, expondo sua afinidade por mulheres e assassinato
Eu já te convenci?
Se não, tem muito mais pela frente
Spanish:
Vuela completamente en contra de todo lo que Luigi nunca ha asociado con su hermano
y la expresión de su cara lo demuestra!
Está confundido, está desconcertado, y nosotros deberíamos también.
Nos han mentido, y si nada de lo que he hablado hoy muestra la perturbante naturaleza cruel de Mario
este momento, esta disposición de sonreír en tu cara mientras hace algo completamente horrible y egoísta
muestra cómo de malo es!
¿Y sabes qué? Hay más, mucho más.
Además de torturar monos, además de la destrucción de las casas de los animales,
más allá de golpear y matar a los dinosaurios y más allá de ser un hermano cruel, sin corazón.
los pecados de Mario continuan, así que únete a mí la semana que viene. Sí, la próxima semana,
como conclusión de nuestro juicio del mayor icono de juego, dejando al descubierto su afición por las mujeres y asesinato.
¿Te he convencido todavía?
Si no es así, todavía hay mucho más para ir.
English:
In the meantime, it's just a theory.
A game theory!
Thanks for watching!
[record scratching]
Seriously though, have I convinced you? Well, click on one to vote, and before you do, make sure you subscribe
so that you don't miss next week's thrilling conclusion.
And last time, Charmander won by 3% over Squirtle; Bulbasaur, sadly, didn't have a chance.
Hungarian:
Eközben, ez csak egy teória.
Egy játék Teória!
Kösz hogy nézted!
[felvétel zaj]
Komolyan, meggyőztelek? Kattints egyikre, hogy szavaz és előtte győződj meg, hogy feliratkoztál
így nem maradsz le a jövőheti izgalmas elméletekről.
És végül Charmander nyer 3%-kal Squirtle, Bulbasaur ellen, szomorú esélye sem volt.
French:
En attendant, ce n'est qu'une théorie.
Une Game Theory !
Merci d'avoir regardé !
Sérieusement, maintenant, je vous ai convaincu ? Cliquez sur une icône pour voter, et avant ça, soyez sur de vous abonner
ainsi vous ne manquerez pas la conclusion épique de la semaine prochaine !
Et la dernière fois, Salamèche a gagné de trois pourcents face à Carapuce: Bulbizarre, malheureusement, n'avait aucune chance.
Portuguese:
Até lá, é só uma teoria
Uma teoria sobre games!
Obrigado por assistir!
Mas sério, eu te convenci? Bom, clique em um para votar, e lembre-se de se inscrever
para você não perder a conclusão desse episódio semana que vem
E da última vez, Charmander venceu por 3% do Squirtle; Bulbasauro, infelizmente, não teve a menor chance
Norwegian:
I mellomtiden: Det er bare en teori.
En Game Theory!
Takk for at du så på!
Men seriøst, har jeg overbevist deg? Trykk på en av disse for å stemme, og først, pass på at du abonnerer,
slik at du ikke går glipp av neste ukes spennende konklusjon.
Og forrige gang vant Charmander med 3 % over Squirtle. Bulbasaur hadde beklageligvis ingen sjanse.
German:
Unterdessen, ist es nur eine Theorie.
Eine Spieltheorie!
Danke für's ansehen!
Jetzt im Ernst, habe ich euch überzeugt?
Nun, klickt, um abzustimmen und bevor ihr das tut, stellt sicher, dass ihr mich abonniert habt,
damit ihr den spannenden Abschluss nächste Woche nicht verpasst.
Und letztes Mal hat Glumanda mit 3% gegen Schiggi gewonnen.
Traurigerweise hatte Bisasam keine Chance.
Indonesian:
Sementara itu, ini hanya teori.
Game Theory!
Terima kasih telah menonton!
[suara rusak]
tapi serius, apa aku sudah membuatmu yakin? pilih salah satu untuk memilih, dan sebelum itu, jangan lupa untuk subscribe
jadi kamu tidak akan ketinggalan kesimpulan yang mengerikan minggu depan.
Dan kemarin, Charmander menang 3% lebih banyak dari Squirtle; Bulbasaur, sayangnya, tidak memiliki kesempatan.
Spanish:
Mientras tanto, es sólo una teoría.
¡Una teoría de juegos!
¡Gracias por ver!
[Rascado ficha]
Hablando en serio, ¿te he convencido? Pues bien, haga clic en uno para votar, y antes de hacerlo, asegúrate de suscribirte
de manera que no se pierda la emocionante conclusion de la próxima semana.
Y la última vez, Charmander ganó por un 3% mas que Squirtle; Bulbasaur, por desgracia, no tenía una oportunidad.
Spanish:
Mientras tanto, es sólo una teoría.
Una teoría del juego!
¡Gracias por ver!
[Rascando ficha]
Hablando en serio, te he convencido? Pues bien, haga clic para votar, y antes de hacerlo, asegúrese de suscribirse
de manera que no se pierda el emocionante final de la próxima semana.
Y por última vez, Charmander ganó por 3% sobre Squirtle; Bulbasaur, por desgracia, no tenía una oportunidad.
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