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[Assistant] So the corn is used to make oil. Those seeds are used to make oil. So the corn seeds can be used to make oil. So A is the correct answer. Let's look at B, perfume. Perfume can be used to make oil.


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[Assistant] Their reading passage didn't talk about that. It said flowers are used to make perfume, not that perfume is used to make oil. What about oxygen?


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[Assistant] No, the passage didn't mention, didn't talk about oxygen. So that's not the right answer. What about flowers?


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[Assistant] Did the reading passage say flowers can be used to make oil? No, the reading passage said flowers can be used to make perfume.


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[Assistant] So the reading passage didn't talk about making oil from flowers. So that's the wrong answer. The reading passage talked about using seeds, corn seeds, to make oil.


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[Assistant] That is the correct answer. Okay, now we've come to our chart at the end of the lesson and this chart is asking us


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[Assistant] How do we use plants? Remember, in this unit, we're talking about many different ways to use plants. We don't just eat plants, we have many other uses also, or two.


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[Assistant] Here we have our sentences and we can see that the different things, what do we use plants for? We use plants


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[Assistant] For toothpaste, we use plants to make soap. So we can use for the thing or to the action. Okay, to make the thing. So for toothpaste, to make soap.


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[Assistant] To make oil, to make perfume, and to make ropes.


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[Assistant] We use plants or certain types of plants to make these things. And we have the pictures of the different plants up here. Let's take a look at number one. We use beep for toothpaste.


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[Assistant] So in the reading passage, it mentioned that we use one of these plants


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[Assistant] For toothpaste. Or to make toothpaste. It's the same. So we use mint for toothpaste.


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[Assistant] Actually, probably your toothpaste, probably it has mint, right? If you go to the store, you see many toothpastes that say mint. Fresh, clean taste, right? So mint toothpaste. Number two, we use beep to make soap.


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[Assistant] We don't have to use this to make soap, but remember the reading passage said if we want soap to smell


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[Assistant] Ah, smells nice, smells clean, smells fresh. What do we use to make the soap?


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[Assistant] Which picture? It's this picture here, right? We use lemons to make soap. So we want soap to smell like lemon, clean and fresh. We use lemons to make soap. Not always, but sometimes. Okay.


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[Assistant] Three, we use beep to make oil. So we want to make oil


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[Assistant] What part of the plant or what plant do we use to make oil?


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[Assistant] Remember in the reading passage, we saw a certain type of plant, we use the seed to make oil, so we use the seeds to make oil. We use the corn seeds to make corn oil. Or we use seeds, different seeds to make different oils. But we use seeds to make oil. Number four.


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[Assistant] We use beep to make perfume. So we want to make perfume, right? Perfume smells nice. What do we use to make perfume? Well, of course, we're looking at this picture here. We use flowers to make perfume because flowers, flowers smell very good, don't they? Number five, we use beep


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[Assistant] To make ropes. So you want to make rope a very strong line.


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[Assistant] We're looking at this picture here. This part of the plant is called stem.


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[Assistant] Okay, we've come to the end of this lesson and in this lesson we're talking about how we use plants. Remember, we don't just use plants.


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[Assistant] For food, sure we eat plants for food, but we also use plants for many, many different things, right? We use plants to make toothpaste, to make soap, to make rope, to make oil, and to make perfume.


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[Assistant] So, think about that. Next time you're using something, like you're brushing your teeth, or you're washing your hands, or you're putting something on your body to smell nice, think about


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[Assistant] This thing, did we use plants to make this thing? There are many things in our lives that we use plants for, not just for food. Well, hope you've learned a lot. This was a very interesting lesson. So, we'll see you next time. Take care everybody.


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[Assistant] Holding out this long was good enough. Land the ship in the Pacific. You will now follow mission Apotei Aletheia.


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[Assistant] Yes, I understand. This is a personal request from me, however.


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[Assistant] Switching gears a bit, I now want to offer some advice directly to the young designers watching this class.


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[Assistant] I've been lucky enough to know and work with and support the careers of many of the most exciting designers of our generation.


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[Assistant] Let me tell you a little bit about how you can stand out and how you can succeed as a designer.


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[Assistant] When I talk to students who come up to see us here at Vogue or I go and talk to them at colleges,


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[Assistant] I always talk to them about not playing it safe. Try something that is the most extreme, that is the most creative, because when you're doing that, you get to the true heart of who you are.


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[Assistant] And when you look at the risk-taking that you're making and you're looking at a garment that maybe you have no idea what it is, it's got 1200 sleeves or it's...


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[Assistant] Made of 16 different kinds of fabrics. You don't know if it's a coat or an evening dress or a pair of pants. Why not? I mean, fashion is a dream. It has to take people to a different world. So to understand all of it,


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[Assistant] You have to keep pushing your envelope. So you almost have to find out what's not right for you and what you're trying to achieve to know more who you are.


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[Assistant] One of the delights of working at Vogue is to be able to help put a spotlight on young talent, up and coming talent, and also for all of us to help.


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[Assistant] Anyway, and I think it's not just traditionally going up to look at a showroom. I mean, Alexander Wang worked as an intern at both Teen Vogue and at Vogue when he was at college.


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[Assistant] He was really one of the earliest proponents of street style as being the basis of everything he designed. And that's still true today.


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[Assistant] I was on an airplane going from Miami to New York when I received a note on a napkin from a young man.


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[Assistant] Who I was then able to help get an internship.


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[Assistant] At Michael Kors, and he then went on to meet his partner at college and became a company called Proenza Skoola. And it's been so rewarding to see them grow from being the new kids on the block straight out of Parsons into a globally renowned label.


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[Assistant] So I think it's very important to always


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[Assistant] And very important to try and help people as much as you can. And what we all look for and what we would be looking for if we were looking at your portfolios or your photography or whatever it might be is a different kind of an eye, a strong point of view, something that


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[Assistant] Doesn't look like a carbon copy of a famous designer and...


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[Assistant] That sensibility and that originality is what really...


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[Assistant] Uh, move me to help support a young designer back in London many, many years ago called John Caliano, who was obviously such a remarkable talent, but at the same time had absolutely no idea how to run a business. And we were able to help him find an investor. We were able to help him.


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[Assistant] Put on a show that was a turning point for John's career and after that it led to extraordinary appointments at the House of Dior and then more recently at the House of Maison Margiela.


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[Assistant] John Galliano is and always will be a remarkable talent because he has


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[Assistant] Unparalleled levels of imagination and more than enough talent to be able to realize whatever it is that he might be dreaming of.


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[Assistant] And his thinking about fashion is about telling stories, telling bewitching narratives long before the storytelling approach became


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[Assistant] Unique talent that happens so rarely. And it doesn't matter if it's not the kind of clothes that you might not, that you might want to wear personally. It's because they have something that's very different and special to say. I mean, the two young women, Laura and Kate Malivi, who work out of California, they are like very special.


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[Assistant] Unworldly creatures. I mean, you feel they're living in a different time, a different place. They're not really living in the modern world.


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[Assistant] They're not interested in having their name on stores all over the world. They just want to produce great clothes. I think one has to recognize what each and every designer wants to achieve in their careers and not everybody.


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[Assistant] One's the same thing, and that's totally fine. And anything that we can do to help them is our privilege.


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[Assistant] There's a lot of discussion always about whether it's important to have a fashion show, whether it's more beneficial to have a presentation.


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[Assistant] Some people think maybe just a little video might work.


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[Assistant] My advice to all of you is just to think about A. What's important? What's in your budget? But B. What is it that's going to work for you? Not everybody has to have a fashion show. Sometimes you're creating clothes or making accessories that don't need a fashion show. And then maybe it might be much more beneficial to you as a designer.


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[Assistant] And to your business partners, to have a much smaller presentation and talk to the editors, talk to the press.


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[Assistant] Even invite some of your best customers to come and talk to them, have a mini little trunk show. I think this idea that everybody has to have a fashion show


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[Assistant] Video for fashion means that you can see what clothes look like when they move, when they dance. It just is another way to experience fashion that audiences have not had before. We went up to see a new young designer, uh, just yesterday on, uh,


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[Assistant] And I said, where are the models? We need to see the clothes on. We need to see how they move.


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[Assistant] And because he was new and young to the game and frankly not very well advised, that side of the equation had not occurred to him.


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[Assistant] We had his poor assistants put the clothes on. They were mortified. But it immediately made the clothes become more alive and more vibrant when we saw them on our bodies and in movement. And that is something that video can really help with fashion. It's something that you really need to think about.


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[Assistant] There's so many designers, not all of them are going to make it. And maybe you can be equally satisfied, equally happy working for somebody else or for a big company or learning.


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[Assistant] Learning a different route, that having your own company isn't always a path to success.


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[Assistant] And I think particularly for all of you working in the world that we live in today, it is very seductive to be carried away by the fact that you could become a celebrity because you're hanging out with famous people or you have


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[Assistant] A big Instagram following, whatever it may be. In fact, it can sometimes, I believe, be a pitfall.


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[Assistant] You need a solid business plan. You need the five year plan. You need someone within your company that can


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[Assistant] Be looking at what you're doing in terms of running that business. And it's very, very unusual.


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[Assistant] For a creative talent to also be a business person. So find...


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[Assistant] Who are the strengths that you don't have? You don't want someone who wants to be a co-designer. You want someone who loves and enjoys the business side of things, the strategy.


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[Assistant] The longer view, the prime example of, I mean, the biggest success story.


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[Assistant] Over so many years is Domenico Di Sole and Tom Ford and they, they have been together since Tom Ford's days at Gucci and when Tom left Gucci, Domenico left with him and helped Tom.


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[Assistant] Launch his own line and, and that is a partnership that is, is joined at the hip that


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[Assistant] They understand each other completely that, uh, just works on every single level. And then.


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[Assistant] A much newer example, but someone who went through our fashion fund just last year is a young man called Jonathan Cohen.


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[Assistant] Sitting right there with Jonathan, I mean they were obviously so connected and so involved with each other. That was a partnership that we thought was really gonna work and it was one of the reasons that we decided to


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[Assistant] We have Jonathan not only as one of our finalists but as indeed one of our winners because we felt that the business side of what he was trying to achieve was so strong.


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[Assistant] One interesting phenomenon in fashion today is that because so many of the biggest brands that you all would know, whether it might be Gucci or Bottega Veneta or, uh, Christian Dior, is for many reasons there comes a point when


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[Assistant] The owners of the company decide to make a change or a designer leaves.


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[Assistant] I have observed is, and I think this is also something to think about in leadership roles, that it is not a good idea to go out and look for the


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[Assistant] Example of this, I think, is Alessandro Michele Agucci.


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[Assistant] Who had been working behind the scenes quietly there for over ten years. But his sensibility was


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[Assistant] The complete opposite of what had been there before. And I think the press, the customers, everybody was a little bit in shock when he was appointed and when he emerged. I think he did his first collection almost within less than a month of, uh, his appointment.


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[Assistant] And you immediately knew that it was a shock of the new. You immediately knew that something different had arrived and that it was going to break all the codes of the house. And I think it is a huge mistake.


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[Assistant] To replace a great talent with something that is similar but never as good. So, thinking, when you get to that position when you have to replace someone who's very high profile,


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[Assistant] You go about your search, what you're looking for, and just look for the creative spirit. Don't look for the replacement.


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[Assistant] As of now, you are sir. So are the rest of you. Sir is a term of respect. And you will have my respect until you abuse it. Mr. Lyle, how many games did you guys win last season? Like four wins and 22 losses. Sir. Sir.


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[Assistant] Because if there's one thing I know, it is this. The losing stops now.


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[Assistant] Starting today, you will play like winners, act like winners, and most importantly, you will be winners. If you listen and learn, you will win basketball games. And gentlemen, winning in here is the key to winning out there. This contract states that you will maintain a 2.3 grade point average.


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[Assistant] And what is your name, sir? I'm Timo Cruz, sir. Well, Mr. Cruz, and Mr. Worm.


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[Assistant] What you should both know is we treat ourselves with respect.


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[Assistant] Tell us when you need the real ballers. I will do that, sir. There goes our two leading scorers from last season, man. Then I guess we'll have new leading scorers this season, huh?


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[Assistant] As a creative leader, the visual medium is so powerful, and photographs are often the most powerful tool to express your creativity, to help define your title, and reflect a moment in time.


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[Assistant] One looks to the great photographers and to the great models who work with them to give even more impact to the art of the fashion photograph, whether it's through a narrative or through a studio or through a still life or through a portrait.


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[Assistant] Because we need that eye and that taste and that culture and that study to give meaning.


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[Assistant] In this chapter, I'm going to give advice to both creators and those who work with them about making work that is thoughtful and gives meaning.


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[Assistant] And we are going to look at some of the great photographers and models who have helped to define Vogue over the years. And also at those who are helping to shape it for the future.


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[Assistant] Fashion photography can work on lots of different...


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[Assistant] Levels. You can have a simple, clean, good,


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[Assistant] Fashion image that is a gorgeous woman in the studio wearing an extraordinary designer creation and it is very simple, very dignified, very impactful in its simplicity.


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[Assistant] So there's a great argument to be made for


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[Assistant] That point of view and there are masters of photography who do that or have done that better than anyone, obviously Irving Penn.


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[Assistant] Because creating an issue is about creating a mix, the way you might create a fashion show or a collection. It's a series, it's many different studies. And we're always very...


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[Assistant] Inspired by telling a story, whether it's be telling a little love story or telling a story in taking personalities out of their comfort zone and sending them to a far away place or taking a larger than life personality than


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[Assistant] Sean Combs and sending him to Paris with, with Kate Moss.


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[Assistant] At a time when hip hop was bursting on the world and throwing open the idea of what a couture shoot could be. It had always been these...


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[Assistant] Remarkably beautiful images and this was just an extraordinary shock to the world when we took Naomi and Nadia Alman.


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[Assistant] Into a field and created the grunge look and people were so shocked by that but it was so impactful and more impactful I feel the way that Grace and Stephen created it. It was telling much more of a story than it would have been that it was in a studio because to me a narrative takes a reader


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[Assistant] On a little voyage and it takes them.


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[Assistant] Takes them on an imagin- takes them on an imaginary trip. In the dream, I remember a story that Arthur Elgort and Grace Connington did when they took Linda Evangelista to China. And we hadn't, I think, shot in China since we went with Nancy Kissinger when her husband was Secretary of State. So it was a breakthrough moment for Vogue to take a fashion shoot.


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[Assistant] To China, and it was so poetic and so romantic. It showed a China to our readers that I don't think that they had seen in the context of a fashion picture.


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[Assistant] Help tell a fashion story, they help reflect a moment in culture, and that is after all what Vogue has to do.


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[Assistant] I mean, we are telling a story, we are recording a moment in time, and when a great shoot goes up online or a great cover happens, it's, it's, uh,


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[Assistant] It's vastly important to all of us because it's, it's the meaning of what we do.


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[Assistant] For those of you who follow the history of photography, you will know that we are so fortunate at Vogue and indeed at Condé Nast to have been able to work with the great photographers of our time, whether it's Annie Leibovitz or the late, great Herb Ritz.


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[Assistant] Arthur Elgort, Bert Stern, Horst. It's just extraordinary the roster of photographers that have worked for.


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[Assistant] We are again so fortunate to be working with and helping to develop and learning from different photographers, people like Tyler Mitchell. When you look back at Tyler Mitchell's work and you saw how he started shooting in the street,


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[Assistant] Decided that our September issue would really focus on the idea of


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[Assistant] Fashion becoming so global, there was no question that Beyonce would be the perfect choice and the creative group remembered that Tyler Mitchell had worked for a couple of years previously with Vogue.com to throw an untried, unknown photographer


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[Assistant] Onto the set with Beyonce without any previous experience with, uh, Colin Astor particularly with Vogue might have been a little bit overwhelming, but because he had a history with working with Vogue.com,


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[Assistant] He was much more at ease. Who we are and what we do is to always be looking and working with new talent. We are now working with wonderful new photographers who are reflecting the voice of their generation. Photographers like Ethan James Green, Zoe Gertner, Jackie Nicholson, Olly Perch, Bibi Borthwick, and Tierney Gearon. Each generation


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[Assistant] Has different voices and thanks to Raul Martinez who runs the


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[Assistant] Creative group at Condé Nast, we are always looking at portfolios, we are always looking for new talent and I think because we talk to our audiences through so many different mediums now and we can try out so many different talents through vogue.com or through vogue video and a whole new world is now open to us.


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[Assistant] Oh, look, look, look, look. Hi, Anna. So I think it's when you're starting out on your career, it's important to use every single opportunity that you can to hone your eye, to develop your eye and to show your work to people because every day you will find an opportunity.


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[Assistant] You need to give your photographers room for their own creativity.


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[Assistant] But help me to understand what your own business's needs might also be.


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[Assistant] If you are all looking for a photographer to work with you to express your vision and your point of view, I would suggest that you


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[Assistant] Pull a lot of images that you, are meaningful to you, that you admire, that you like. Pull a lot of references and...


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[Assistant] Have that in front of you when you're looking through portfolios or looking online for photographers that you might want to work for.


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[Assistant] For those of us that vote, we're looking for strength, we're looking for...


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[Assistant] An image that is going to resonate over time and with our readers we're looking.


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[Assistant] For somebody that takes pictures in a different kind of a way, whether it's someone that has a slightly darker side to him, like Stephen Klein, or someone whose image making in terms of portraits, uh,


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[Assistant] Put them in an important context, whether it's in their houses or on a street. She's giving you layers.


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[Assistant] That are quite remarkable and very thought through. I mean she is someone that comes to a shoot very, very prepared and knowing who her subject is. She's done her research very much the way the great Irving Penn used to work. I mean it was


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[Assistant] Remarkable, he would read about his subjects, he would study their work, he would talk to them, he would


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[Assistant] Le-le-learn about them a little bit more on a personal level and then he would take them out into the studio completely quiet. No music, one assistant and a-and a-and an editor who didn't speak or say or-or do anything.


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[Assistant] And he could take a picture that will be in the greatest museums of our time in 15 minutes because he knew


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[Assistant] What he was looking for. I was never lucky enough to be photographed by Irving myself, but


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[Assistant] My children were. And they told me it was a near religious experience. I mean, you felt you were entering the church. And I love that idea because


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[Assistant] For photography, for photographers, for the world of photography, I mean, Irving Penn was the Pope.


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[Assistant] Models are so much part of everything that we do at Vogue.


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[Assistant] They're representing the culture, they're representing the way we're seeing fashion at a certain point in time.


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[Assistant] If you look at your models as more than just a face, there's so much more potential there to tell and reinforce a powerful story and an important message. There always have been models that


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[Assistant] If we go from that to the supermodel era, like with Cindy and Naomi and Christy, where we didn't even need surnames, they were the superstars of the day.


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[Assistant] It's important to find people that stand for something, that aren't just interested in standing there in front of a video camera or in front of a photographer or


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[Assistant] That they actually, they're not just doing it as a job, that they do it because they also have something to say, that they love what they're doing, that they bring passion to what they're doing, and that they're interesting people.


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[Assistant] Move from the supermodels into the era of celebrity, I think for a period the models were a little bit less visible. They didn't want to have their life as


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[Assistant] Use their platform, not only on the runway or at the


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[Assistant] Pages or video, whatever it may be of different magazines or different designers, they used it as voices to speak about things that they cared about.


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[Assistant] So now we're in the era of a girl like Carly Kloss, who has always done so much to support young girls all over the world. She's launched Code with Klossy, which teaches young women all over America.


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[Assistant] Really stood up for who she is and is not.


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[Assistant] In any way, making excuses or being concerned about what people may think about her is Ashley Graham, who really represents the diversity in body shape, who is an icon of health and fitness and is super articulate about


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[Assistant] What it is like to work in the world of fashion if you don't fit a designer's sample size.


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[Assistant] We're not looking for girls to be young men, young women to be in vogue that all look the same. We celebrate diversity. We celebrate different sexual orientation. We celebrate


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[Assistant] Different attitudes, we celebrate young men, young women who come from different backgrounds. Now we have so much more global representation, such as Joan Smalls, Iman, Nora, Adut, Uqbad, and so many more. I think it's very, very


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[Assistant] Important to think about working with young men, young women who are different, that aren't cookie cutter, because that will translate into their images, it will translate into your image. What are they saying about your product, your story, or your mission?


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[Assistant] Hello, my name is Derren Brown, and I started my TV and stage career in Britain performing a psychological form of magic, which over the last couple of decades has led to a deep curiosity as to what it is to be human.


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[Assistant] And the show you're about to watch is a genuine experiment into social compliance involving an unwitting member of the public who has no idea he's taking part in a TV show. And the question we're considering is simple. Can we be manipulated through the familiar forces of social pressure to commit murder? Welcome to The Push.


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[Assistant] Tom, you've just persuaded a stranger to steal a baby. So go on. How you feeling?


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[Assistant] That was horrible. Okay, well done for pushing him into it.


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[Assistant] Although of course what we've got planned will be a lot worse.


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[Assistant] The person you just saw making the phone call isn't really a policeman. He's an actor.


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[Assistant] But the cafe worker was real and didn't know any of this until my team caught up with him and explained.


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[Assistant] It's surprisingly easy for someone to pretend to be an authority figure, like a policeman, and order a complete stranger to do something they would never normally do.


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[Assistant] This is an extreme example of social compliance. Following orders, doing something because someone else says it's the right thing to do. Authority can come from a person, from a group of like-minded individuals, or from an ideology. Don't be too nice. It can be used to preserve public order, but it can push people to commit terrible acts.


[User] Please transcribe this text

[Assistant] Social compliance is part of life. Evolution has taught us that it's safer to be one of the crowd. But its dangers are worth being aware of. Now more than ever.


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[Assistant] So I've designed an experiment to investigate the limits of this trait of human nature, and it's this.


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[Assistant] Can social compliance be used to make someone push a living, breathing human being to their death?


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[Assistant] In order to stage this experiment, I needed a team with specific skills. Special effects artists, a stunt coordinator, and a troupe of professional actors.


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[Assistant] The setting for the experiment is the grand launch of a new youth charity called Push, attended by high-powered VIPs and rich benefactors. The highlight will be a charity auction to raise funds.


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[Assistant] There are more than 50 cameras hidden throughout the venue. 70 actors will be playing out a meticulously planned and rehearsed scenario.


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[Assistant] And I'm guiding them all via earpieces from a hidden room in the building. Okay ready everyone? Here we go.


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[Assistant] This show is about how readily we hand over authorship of our lives every day, and the dangers of losing that control. There he is, there he comes.


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[Assistant] He's a decent, ordinary guy who's broadly happy with his lot in life. He's a bit of a tech geek, and says the best things in his life are his job and his friends.


[User] Please transcribe this text

[Assistant] So this is known as the foot in the door technique. You do someone a small favour, and then you're more likely to do them a bigger favour later on.


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[Assistant] These guys are gonna be steaming drunk, they're gonna not notice the difference.


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[Assistant] Although Chris thinks he's here on business to make new contacts, he's actually here because he replied to my casting tweet two months ago.


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[Assistant] Over 2,000 people applied to be on my new TV show. Including Laura.


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[Assistant] The three people on the left are actors. They've been briefed to stand or sit when they hear this.


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[Assistant] Everyone else that's brought in is a genuine shortlisted applicant. They've been given no instructions other than to fill out their forms. My team and I were secretly watching from another room.


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[Assistant] The more socially compliant a person is, the more they're likely to look to others for signs of how to behave.


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[Assistant] As the more people, the greater the pressure to join in. In this case, whether to stand, or sit.


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[Assistant] Leaving us with a room full of compliant people standing up and sitting down even though nobody told them to do this. Hello. Hi.


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[Assistant] And then we told everyone that applied, including Chris, that they hadn't been selected for the show. So nobody suspected a thing.


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[Assistant] But they'll gradually escalate to the point where Chris will be told to push someone off a roof.


[User] Please transcribe this text

[Assistant] Actor Tom, playing the director of the new charity, approached Chris's business to discuss making a fundraising app.


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[Assistant] Chris has been dutifully following Tom and Bernie around the venue, going up to the roof overlooking the proposed youth centre site.


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[Assistant] Up there, Bernie met the key charity people who are relying on his generous donation.


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[Assistant] He's also met a couple of technicians who work for Yuji.


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[Assistant] Completely subservient. He's following orders, carrying bags, even laughing at, uh, Bernie's bad jokes. So this is exactly where we need him. He's in just the right place for what's going to happen.


[User] Please transcribe this text

[Assistant] It just goes to two bullet points. Tell the banana anecdote and joke to finish.


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[Assistant] And that's important. I need him to feel like there's only one way out when he gets to the end of this journey. When he's told to commit murder.


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[Assistant] I knew that whoever ended up being picked for this experiment had to be completely convinced they were dealing with a dead body.


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[Assistant] But of course, it's the level of detail, it's how all that feels natural, it feels like skin and feeling the bones and the weight of all that being realistic. It's just a... It's a level of detail I haven't really kind of taken on board.


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[Assistant] Finally, after two months of work, we took delivery.


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[Assistant] It's a first in the history of special effects. A life-size human replica that moves right, feels right. And you can feel the bones underneath.


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[Assistant] Which is the second time now that Chris hasn't done what we wanted him to do, so...


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[Assistant] Chris has been put into a compliance state by being given small menial tasks.


[User] Please transcribe this text

[Assistant] And is now admitted responsibility to the push board members.


[User] Please transcribe this text

[Assistant] No, okay, calm yourself down. This was a show about social compliance, alright? How much people will just comply, how far they can be pushed to just assent and obey.


[User] Please transcribe this text

[Assistant] This experiment wasn't about who pushed and who didn't.


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[Assistant] The point is we are all profoundly susceptible to this kind of influence, whether it's driven by a peer group or an ideology. It's like we're handed someone else's script of how to live, but to carry out their beliefs and achieve their ambitions. But by understanding this, understanding how we can be manipulated, we can be stronger. We can say no.


[User] Please transcribe this text

[Assistant] Well, I had to do, no, I had to audition for Yorgos in the English accent. That was a big part of it. So I had done some dialect coaching before to even be able to try to play the role.


[User] Please transcribe this text

[Assistant] Uhm, my favorite line is one of Rachel's, uh, because I love the performance and I also think the line is so beautiful when she's behind the door and she's speaking to Olivia and she says that is not love. You know, that entire...


[User] Please transcribe this text

[Assistant] Because of your performance, but also because it's just such a beautiful concept. It's so true. It's not just telling someone that they look like an angel when they look like a badger.


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[Assistant] I think they say the f-word like a hundred and twenty times. They rivaled Goodfellas. Yeah.


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[Assistant] Uh, good evening everyone. Uh, slightly nervous, so uhm, please bear with me.


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[Assistant] So hopefully, uhm, if I can just finish on a joke, maybe, uhm,


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[Assistant] I mean, you can't always be on guard because then you'll live your life constantly on edge, which is not a good way to be, but I think definitely when certain situations present themselves, do think about it before you act upon it and think, what am I doing?


[User] Please transcribe this text

[Assistant] It's like a kind of sleeping sickness. If he has an attack, he goes a bit white.


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[Assistant] Put him in a comfortable position if he has one. He probably won't have one.


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[Assistant] I see. You have the same idea, Nanali. In that case... Lelouch Vibitania commands you! Hand over the Damocles Key to me now!


[User] Please transcribe this text

[Assistant] What's annoying about brushing your teeth? When I'm sleepy, uhm, and I want to get in the bed, uhm, I have to do that first.


[User] Please transcribe this text

[Assistant] Wow, that is the coolest thing I've ever heard.


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[Assistant] That time of, holy crap, I gotta go through with this, is my time of, holy crap, I get to go through with this.


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[Assistant] Freestyle was never where I thought my future was. I was always going to be a racer. One day I was going to be supercross champion.


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[Assistant] The crusty guys all come out and they start building this jump over this gator pond. So we built a pretty cool jump.


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[Assistant] Does it just absolutely perfect. There's a little whip off there. Gets the money shot.


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[Assistant] Dana and John, like, not really as parental figures, they're like, kinda like, well, so...


[User] Please transcribe this text

[Assistant] And, uh, you know, I'll be good because I got a good wrist doctor back at home. And later that afternoon, took me to the airport, sent me home. My mom never flew out to, uh, castrate either one of them. And, uh, they've been friends ever since.


[User] Please transcribe this text

[Assistant] Do we really want him to have a part in this movie? Is this, is this going to ruin his racing career? And they get there, there's limos with hot tubs, with girls in bikinis going down the road, you know, having, uh, Cristal, and you know, just drinking, and my parents are like, what, where do we go? Are we even on earth?


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[Assistant] Cops come in, I mean this place, it goes from the premiere to the gnarliest party, and my parents are like, okay, I think we've seen enough.


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[Assistant] You know, right before I turned pro, we had three mortgages on the house. We have no money. We have, we can't afford to get to the races. We have every one of my family members kicking in for, for gas money. You know, X Games comes out $10,000 purse.


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[Assistant] Holy cow, 10, if you win, we get $10,000? Do you know how much that would help our family?


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[Assistant] Chued. My dad got his ass chewed. Everyone that was in the room got their ass chewed. What kind of hooligan would pollute the San Francisco Bay, which I needed a technoshot because it's so polluted already, with two ounces of gasoline?


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[Assistant] This isn't a joke anymore. This isn't guys going out and playing around. Like, this is real.


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[Assistant] I was so proud of that crazy bastard because I knew how long it took me to land that stupid trick and the fact that he figured it out before the X Games.


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[Assistant] You have to be able to decide, when I go up to take off of this ramp, that bone that's sticking through the skin, can we duct tape that and will it hold? And it's a matter of how much you're willing to deal with. And that's why I like freestyle so much, uh, was because it was a shorter duration.


[User] Please transcribe this text

[Assistant] You had the adrenaline, you had, you know, the crowd, you had the everything that fired you up and you could overcome insurmountable pain.


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[Assistant] And I saw the landing, and when you spot the landing, it slows down your rotation. And I remember the motor so it kind of stopped. And I thought, I just killed myself.


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[Assistant] And I was riding away and everybody in the stadium felt what I felt. That's something that not many athletes will ever get to experience.


[User] Please transcribe this text

[Assistant] You have to get some work after you have a baby. Me too.


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[Assistant] I'll do some. I'll run suicides too.


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[Assistant] Watching Dukes of Hazzard and the Fall Guy on TV, I thought that it'd be sweet to move to California and be a stuntman.


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[Assistant] Then I started riding motorcycles and racing motocross.


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[Assistant] It felt like I was going way too fast, but those were kind of the speeds that we figured that needed to happen for the gap we moved.


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[Assistant] What Krusty and the whole image did is drive a wedge between the serious racer guys and


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[Assistant] The flip was pretty extreme when it first came out. We all couldn't believe it.


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[Assistant] Richmond Center has been big as the oilers are boi- BOOID. The word is BOOID.


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[Assistant] I can tell he's nervous, I can tell his friends are nervous, they keep messing with the jump, moving it back, he's jumping a little bit, they're moving it back, and meanwhile the wind's starting to pick up more and more. They didn't have the miles per hour figured out or any of that kind of physics or calculus, none of that stuff was done.


[User] Please transcribe this text

[Assistant] Uhm, you had to land it, you had to ride away. I'm just saying he didn't land it.


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[Assistant] Till now and, and I started racing motocross at the age of six. Uhm.


[User] Please transcribe this text

[Assistant] Being a freestyle rider was, you know, my background in racing.


[User] Please transcribe this text

[Assistant] When the backflip came about, there was a lot of guys that just, just packed it up.


[User] Please transcribe this text

[Assistant] Some malfunction. I'm gonna end up disintegrating myself like a cheese grater through this deal.


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[Assistant] The job at hand was to basically turn off my mind and my emotions and come back the following day and handle it.


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[Assistant] I hit the ramp faster and in the air I started to over-rotate.


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[Assistant] From the time X Games ends to the time X Games starts that following year, you know, there's serious, serious training and homework going on that these athletes put in.


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[Assistant] Probably one of the toughest things I ever had to do, learning the flip, but decided to go for it. I probably hesitated with my throttle, I just didn't have it pinned off the ramp, my body positioning wasn't right. The whole thing was just extremely embarrassing.


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[Assistant] No. Ray. Me. Fa. So.


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[Assistant] No. Ray. Me. Fa. So.


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[Assistant] But then a guy like Travis Pastrana thinks of something totally outside the box.


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[Assistant] And makes everybody scratch a hole in their head going, where does it stop?


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[Assistant] Well, you get like kind of a scattered report. You're not really sure what's going on.


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[Assistant] Nowhere in my contract does it say that I have to do so. It creates more work.


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[Assistant] This lockout has brought negative media attention that questions our abilities as educators. End this madness. End this lockout.


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[Assistant] Don't panic. You look great.


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[Assistant] We've decided we're gonna finish what you started, sir.


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[Assistant] Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us.


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[Assistant] Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won't feel insecure around you. We were all meant to shine as children do. It's not just in some of us, it's in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same as we are liberated from our own fear. Our presence automatically liberates others.


[User] Please transcribe this text

[Assistant] System that's designed for you to fail. And I know you all like stats, so let me give you some.


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[Assistant] Richmond High only graduates 50% of its students. And of those that do graduate, only 6% go to college.


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[Assistant] Which tells me when I walk down these halls and I look in your classrooms, maybe only one student is going to go to college.


[User] Please transcribe this text

[Assistant] Well damn, Coach Carter, if I ain't going to college, where I'm gonna go? Now that's a great question. And the answer for


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[Assistant] Young African American men in here is this. Probably to prison. In this county, 33%


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[Assistant] Of black males between 18 and 24, get arrested.


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[Assistant] And I promise, I will do everything in my power to get you to college and to a better life.


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[Assistant] If something's got your back on, worry not. Just ask the story bots. Just ask the story bots.


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[Assistant] Storybots. Livin' inside computer parts. Storybots.


[User] Please transcribe this text

[Assistant] Peregrine Falcon, fastest bird on the planet. Nice to meet ya.


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[Assistant] First up, feathers. All birds have feathers. Hey dude, you're blocking the mirror. Yes sir, we are. There you are, handsome.


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[Assistant] All birds are born from hard shelled eggs.


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[Assistant] The elephant stomps. Only leaves fall.


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[Assistant] In Malaysia, definitely the politicians and also some actors and actresses are very famous among


[User] Please transcribe this text

[Assistant] Definitely in the past, if you're talking about the 50s and 60s, uhm, movies were the number one communication tool between villages or towns. So the people definitely knew actors and actresses better than the politicians. Compared to now, you have


[User] Please transcribe this text

[Assistant] Be exposed to more international programs and they know more international celebrities compared to the local.


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[Assistant] And, uhm, especially sports celebrities like Tiger Woods or Roger Federer promoting sports equipment or sports shoes or clothes. Uhm, other than that, I think it's more models and actresses that sponsor perfume and clothes and...


[User] Please transcribe this text

[Assistant] I don't think that's true because a lot of, uhm, celebrity actresses support perfumes and support clothes where whereby actually it should be models that do it.


[User] Please transcribe this text

[Assistant] The people who are marketing the product are trying to bring in the glamour that the, that that celebrity holds. Uhm, but yeaah, I suppose a celebrity, they do have that, that grasp over


[User] Please transcribe this text

[Assistant] You know, people's mindset and what they should buy, the consumerism.


[User] Please transcribe this text

[Assistant] As you can see, like lifestyle and health.


[User] Please transcribe this text

[Assistant] I use actually to, like, if you can see, uh, beta, the protection of the endangered animals,


[User] Please transcribe this text

[Assistant] They use celebrities to get to the public. There's like this promotion where they get celebrities to go naked to show that, you know, animals


[User] Please transcribe this text

[Assistant] If something's got you down, don't worry not. Just ask the storybots. Just ask the storybots.


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[Assistant] Because he really undermines any simplistic explanation of his genus, of genius.


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[Assistant] I mean, if you had a genetic explanation, then the genes would have gone through.


[User] Please transcribe this text

[Assistant] Throughout the bark family, in fact, why did they take so long to generate bark? You know, so many generations. Uhm, and I think...


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[Assistant] All these more general explanations on the basis of genes, even on the basis of the mutual culture that surrounded him, do not deliver the singular genius that he was.


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[Assistant] Unique. We just can't bear the idea that genius is unexplained.


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[Assistant] St. Thomas' church didn't deserve those cantatas. Nobody deserved those cantatas, but least of all, St. Thomas' church. That's the striking thing about a great artist is they deliver.


[User] Please transcribe this text

[Assistant] I'm very deeply moving about him. There he is, worrying about his children.


[User] Please transcribe this text

[Assistant] Who are popping off one after the other, worrying about their education, trying to keep the town councillors less irritated, and so on and so forth. And at the same time, he just delivered.


[User] Please transcribe this text

[Assistant] This work that 250, 260 years later is supreme in the canon.


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[Assistant] Which again becomes a lullaby for all of us. A profound lullaby, which, uh, comforts him, and through him comforts us.


[User] Please transcribe this text

[Assistant] New town, new place. I'd say that is pretty difficult for any child. We do have a lot of research showing.


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[Assistant] That this kind of early bereavement and uprooting can scar people for life.


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[Assistant] What I'm hearing here is that there was a horrible, horrible environment in the school, but maybe there was a little bit of protection from the home. Then he loses the home. So now the whole world...


[User] Please transcribe this text

[Assistant] Is a dog-eat-dog situation. There's only one person he can rely on, and that's himself.


[User] Please transcribe this text

[Assistant] Which would explain why he has to be good at school now, doesn't he? He has to, because basically, if you show weakness, if you are weak, you suffer and you go under.


[User] Please transcribe this text

[Assistant] Did he acknowledge that he learned from other people? Did he acknowledge their greatness?


[User] Please transcribe this text

[Assistant] One of the features that you might expect to see in this inflexible persona, if you like, is that he would never be guilty. No matter what happened, it's always somebody else's fault. Does that ring?


[User] Please transcribe this text

[Assistant] Uh, textbook definition, and this is paranoid personality disorder. And these are the characteristics. Pervasive suspicion of others distrusting their motives. Others seen as deliberately demeaning or threatening.


[User] Please transcribe this text

[Assistant] Constantly expect to be harmed or exploited. Very sensitive to perceived slights, fear and avoidance of anything that could make them feel or seem weak.


[User] Please transcribe this text

[Assistant] Is that there is an association with bullying and abuse in childhood.


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[Assistant] Zero A. Unit 11. Little Squirrel.


[User] Please transcribe this text

[Assistant] I want to take a nap. I want to take a nap.


[User] Please transcribe this text

[Assistant] I want to take a nap. I want to take a nap.


[User] Please transcribe this text

[Assistant] It's incredibly simple. It sounds, uhm, just almost like a nursery rhyme.


[User] Please transcribe this text

[Assistant] And read it backwards. What you get is this.


[User] Please transcribe this text

[Assistant] Yeaah, I think he's got like a secret smile. He's not quite looking at it, is he? He knows something that we don't.


[User] Please transcribe this text

[Assistant] And I love the fact that it took a hundred years for people to start working it out.


[User] Please transcribe this text

[Assistant] If you move the reverse version by a bar, you get this incredible six-part, uhm, bit of pop music, really.


[User] Please transcribe this text

[Assistant] My fantasy is that it's completely deliberate and that actually it's that unfinished business that I've written my music for the future and someone else is going to carry on now.


[User] Please transcribe this text

[Assistant] That all? No, we have one more box.


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[Assistant] Without a force, all objects will continue moving in the same direction with the same speed forever.


[User] Please transcribe this text

[Assistant] An object's change in motion is the strength of the force divided by the mass of the object.


[User] Please transcribe this text

[Assistant] When all forces are removed, the object speed will stay constant.


[User] Please transcribe this text

[Assistant] If we watch the previous scene again, we will see that the moment Victoria exerts a force against the train, the train instantly also exerts a force on her.


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[Assistant] This is what causes Victoria to move backwards.


[User] Please transcribe this text

[Assistant] The two forces are exactly equal in strength, and they are in exactly opposite directions.


[User] Please transcribe this text

[Assistant] When Victoria's feet move against the earth, she is creating the force pushing her forward.


[User] Please transcribe this text

[Assistant] According to the first law of motion, the Earth will want to continue moving in a straight line.


[User] Please transcribe this text

[Assistant] According to the second law of motion, the gravitational force from the Sun will want to cause the Earth to fall directly into the center of the Sun.


[User] Please transcribe this text

[Assistant] Note, in Einstein's theory of relativity, gravity is not a force but a curvature in space-time. This will be discussed later in this video.


[User] Please transcribe this text

[Assistant] Since the Sun's mass is much bigger than the Earth's mass, the impact on the Sun's motion will be negligible, but the impact on the Earth's motion will be significant.


[User] Please transcribe this text

[Assistant] The first law of motion wants the Earth to continue moving in a straight line.


[User] Please transcribe this text

[Assistant] The result is that the Earth follows a path in between these two options.


[User] Please transcribe this text

[Assistant] Just as the earth's forward motion prevents it from falling directly into the sun, this is also what allows a roller coaster to travel upside down.


[User] Please transcribe this text

[Assistant] The ball's forward motion allows it to continue traveling upward against the force of gravity.


[User] Please transcribe this text

[Assistant] If the ball's forward motion is fast enough, the ball will continue moving along the track, and gravity will not have enough time to cause the ball to fall off.


[User] Please transcribe this text

[Assistant] Suppose we apply a force to a rotating object.


[User] Please transcribe this text

[Assistant] The events shown here all happen at the same time. And this is the result.


[User] Please transcribe this text

[Assistant] This has profound implications for our everyday lives.


[User] Please transcribe this text

[Assistant] When Victoria leans in one direction, this creates a force on the wheel.


[User] Please transcribe this text

[Assistant] However, because the wheel is rotating, the result is that it will appear as if the force is applied 90 degrees ahead in the rotation.


[User] Please transcribe this text

[Assistant] This will cause the entire bicycle to rotate like this.


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[Assistant] This happens because the gravitational force always appears to be applied 90 degrees in advance of the direction in which the object is about to fall.


[User] Please transcribe this text

[Assistant] This is the reason why it is easy to balance a bicycle when the wheels are spinning rapidly, but nearly impossible to balance when the bicycle is standing still.


[User] Please transcribe this text

[Assistant] If we apply a force and ignore friction and air resistance, the purple sphere will follow this path.


[User] Please transcribe this text

[Assistant] Since the earth is rotating relative to this path, the sphere's path will look like this to people on the ground.


[User] Please transcribe this text

[Assistant] If we apply a force away from the equator, the first law of motion will want the sphere to keep moving around the Earth faster than the other spheres.


[User] Please transcribe this text

[Assistant] From the perspective of someone on the ground, the sphere will appear to veer towards the east.


[User] Please transcribe this text

[Assistant] Therefore, objects moving from the equator to the north pole will veer in the opposite direction as objects moving from the north pole to the equator.


[User] Please transcribe this text

[Assistant] Suppose we have a low pressure area, and the air molecules around this area experience a force towards the center.


[User] Please transcribe this text

[Assistant] The air molecules experiencing a northern force will veer in the opposite direction of the air molecules experiencing a southern force, causing a rotation.


[User] Please transcribe this text

[Assistant] This is the reason why hurricanes rotate counterclockwise in the Northern Hemisphere and clockwise in the Southern Hemisphere.


[User] Please transcribe this text

[Assistant] This causes the helicopter to want to rotate in the opposite direction of the blades.


[User] Please transcribe this text

[Assistant] The force from the tail rotor can be adjusted to cause the helicopter to turn left or right.


[User] Please transcribe this text

[Assistant] Or to keep the helicopter pointed in a steady direction.


[User] Please transcribe this text

[Assistant] Suppose that the air around a wing is standing still.


[User] Please transcribe this text

[Assistant] The air pressure below the wing is now creating a greater pressure than the air above.


[User] Please transcribe this text

[Assistant] In space, we need another way to create a force.


[User] Please transcribe this text

[Assistant] As the walls exert a force on the particles, the particles exert a force on the walls.


[User] Please transcribe this text

[Assistant] This is how rockets create a force to travel through space.


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[Assistant] Although the force of gravity gets weaker as we move further away from the Earth.


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[Assistant] The first law of motion also wants the box to continue moving in a straight line. And the box's forward motion prevents the box from falling directly into the earth.


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[Assistant] Victoria and the box both end up orbiting the Earth following the exact same path.


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[Assistant] Since Victoria and the box are always moving together, this creates the illusion that she is weightless inside the box.


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[Assistant] This is the same way in which Victoria would appear weightless if the box were to fall from the sky.


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[Assistant] This happens because gravity is different from all other forces.


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[Assistant] If two objects experience the same force, the lighter object will accelerate faster.


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[Assistant] In the case of gravity, however, gravity exerts a greater force on more massive objects than on lighter ones.


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[Assistant] This causes all objects to fall with the exact same acceleration, regardless of their mass.


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[Assistant] Some objects fall faster than others only because of air resistance.


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[Assistant] Air resistance affects different objects differently.


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[Assistant] This is why parachutes work, and why feathers fall slower than bowling balls.


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[Assistant] In space, there is no air resistance, and all objects react to gravity in the same way, regardless of their mass.


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[Assistant] Victoria and the Box therefore follow the same path and stay together.


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[Assistant] Objects with mass cause a curvature in space and time, causing straight lines to appear curved to us.


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[Assistant] This creates the illusion that there is a gravitational force.


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[Assistant] This is why unlike all other forces, gravity causes all objects to follow the exact same path, regardless of their mass.


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[Assistant] Me too. Let's go to the science museum. Good idea!


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[Assistant] How does such a simple and elegant principle emerge from the messy and chaotic interactions of the atoms and molecules inside of fluid?


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[Assistant] Let us model the molecules of the fluid as spheres interacting through perfectly elastic collisions, with no other forces involved.


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[Assistant] Let's see if we can derive and explain Archimedes Principle entirely in terms of this model.


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[Assistant] Throughout this video, all red objects will have double the density of the white objects.


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[Assistant] The walls of the red rectangle have double the density of the white spheres.


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[Assistant] But, this red rectangle has a lower overall density due to the fact that it's hollow inside.


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[Assistant] Similarly a metal ship can float on water because the ship is filled with air.


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[Assistant] Causing the metal ship as a whole to be less dense than the water.


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[Assistant] The violet spheres in the middle have four times the density of the white spheres.


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[Assistant] The orange spheres on the right have ten times the density of the white spheres.


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[Assistant] The orange spheres on the right, which have the highest density, quickly sink to the bottom.


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[Assistant] The violet spheres in the middle are also trying to sink to the bottom, but it takes them longer to do so.


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[Assistant] The red spheres on the left are having the hardest time sinking to the bottom as they have to wait for the white spheres trapped underneath to slowly bubble up to the top.


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[Assistant] As we reach an equilibrium steady state condition, notice how the pressure is greater at the bottom than at the top.


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[Assistant] At each point, the pressure depends on the height of fluid above that given point, the density of the fluid, and the acceleration due to gravity.


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[Assistant] If all three containers are filled with fluids of the same density to the same height, then the pressure at any given height is the same inside all three containers, despite their different shapes.


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[Assistant] Unlike the case for closed containers, here we don't need to know the temperature to calculate the pressure, because the temperature of the fluid is already accounted for in the fluid density.


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[Assistant] Let's focus on just a single molecule at the bottom.


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[Assistant] Gravity also exerts a downward force on this other molecule too.


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[Assistant] This is balanced by an upward force by the molecule underneath.


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[Assistant] Which now exerts an even greater downward force on the bottom of the container.


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[Assistant] In response, the bottom of the container exerts an even greater upward force.


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[Assistant] So as to support the gravitational forces from both of these molecules.


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[Assistant] Let's now consider a third molecule, above our original two.


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[Assistant] As gravity exerts a downward force on this third molecule,


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[Assistant] This increases the pressure on the two molecules below it. As we continue adding molecules,


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[Assistant] We see that the pressure at the bottom continues to increase.


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[Assistant] We now have a situation where the pressure is greater at the bottom than at the top, as we saw in the simulation.


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[Assistant] All molecules at the same height feel the same pressure.


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[Assistant] This remains true even if we change the shape of the container.


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[Assistant] We're ignoring the pressure of the atmosphere above the fluid.


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[Assistant] But this will just increase the pressure everywhere by the same amount.


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[Assistant] This net upward pressure will be exactly equal to the downward gravitational forces that would have been felt by the fluid that has been displaced by the object.


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[Assistant] And this is precisely what Archimedes Principle states.


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[Assistant] The gravitational forces that would have been felt by the displaced fluid depends on the density of the fluid.


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[Assistant] The gravitational force on the object depends on the density of the object.


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[Assistant] If the density of the object is half of the density of the fluid, half the object needs to be submerged in order for all the forces to balance.


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[Assistant] If the density of the object is greater than the density of the fluid,


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[Assistant] Then the forces will never balance, and the object sinks to the bottom.


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[Assistant] Much more information is available in the other videos on this channel.


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[Assistant] Go straight and turn right at the bank.


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[Assistant] Go straight and turn right at the bank.


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[Assistant] Unfortunately your tart was so thick it left no room for the cream. We know how technical that challenge was, but unfortunately both of you fell short.


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[Assistant] I don't know. Mike, is she your mom? Yes, she's my mom.


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[Assistant] I don't know. Mike, is she your mom? Yes, she's my mom.


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[Assistant] Get there quicker than with feet. Use vehicles.


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[Assistant] My job is pretty simple. Make sure they're fine, give them some wine, and have them sign on the dotted line.


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[Assistant] I'm Forrest Forrest Gump. I'm Dorothy Harris. Well now we ain't strangers anymore.


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[Assistant] Hello everybody. Welcome back to Reading For Vocabulary. We're still continuing the theme of heroes and in lesson 14 our title is A Dream Come True. In this lesson we will focus on Martin Luther King Jr. Do you know him?


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[Assistant] He was a hero who fought for people's rights. So in this lesson, we're going to learn about Martin Luther King Jr., an important hero in American history.


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[Assistant] Uh, first of all, who is Martin Luther King?


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[Assistant] Junior, he is this man here, and in this picture, he is giving a speech in Washington DC, and there are thousands and thousands of people who have come to hear him speak. He is very famous for his speech, I Have a Dream.


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[Assistant] Perhaps you've heard of that speech before. It's the speech in which he calls for equality.


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[Assistant] Between black people and white people. And in fact, for people of all races and all colors to be equal and to be treated equal under the law. So he's a very important person in American history. And that is Martin Luther King.


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[Assistant] Okay, we're going to read a passage about him, but we need to learn some words first. So let's begin with word number one.


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[Assistant] A wish. Now, this poor kid is in school, right? And he doesn't wanna be in school, he doesn't wanna study, he's thinking about playing soccer, right? So he has a wish, he has a dream to go outside and play soccer. Do you have a dream?


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[Assistant] We all have dreams. We all wish we could do something. We all dream that we could do something else, perhaps.


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[Assistant] But some dreams are better than other dreams, right? Dreaming to go out to play soccer, yeah, that's a common dream. But dreaming for a better world, that's a much better dream. That's a much better wish. And we use wish, we use dream,


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[Assistant] When it seems very difficult to get what we want, right? When you say, I dream of doing something, that means it's going to be hard. It's going to be very difficult. It might be impossible to get it, but you dream about it. It's a wish. It's different from saying hope.


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[Assistant] It rains tomorrow. Probably it will rain tomorrow. Probably. So I hope it rains tomorrow. But if there's no chance of rain, it's gonna be sunny every day. They say, oh, I wish it would rain tomorrow. Okay? So wish or dream is for something that seems impossible.


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[Assistant] Can you remember what you did last year? Can you remember what you did last week? Can you remember what you did this morning? I hope so. Okay. What did you have for breakfast this morning? Can you remember? If you think about something in the past, you're remembering.


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[Assistant] Okay, number three. To come together with...


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[Assistant] To come together with. If all of these people come together, what are they doing? They are joining. To join.


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[Assistant] Join together. To join. You can just say join. You don't have to say join together. You just need to say to join. Okay, number four. Number four is not scared. Have you ever done this? What is this person doing? This person is bun-gee-jump-bing.


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[Assistant] Bungee jumping. Bungee jumping. Right? Did you ever do that? I did. A long time ago.


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[Assistant] And I was scared. But you have to get over your fear. You have to be not scared.


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[Assistant] Sad story, right? They're fighting, right? So they're looking at, they're looking away from each other. They're not together now. They're not together, they are apart. Apart. Together, apart. So if people are together,


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[Assistant] They're with each other. They're sitting together. They're also thinking together. But if they're apart, right, they're not close to each other. And maybe they're thinking different ways. So together, apart, pandero.


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[Assistant] Upset. We say upset, upset, upset. Okay, it doesn't change for past tense. Uh, he upset me. Yesterday he upset me. Have you upset your brother? Right? So it's always upset. We don't change it in the past tense. It's an irregular verb.


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[Assistant] Number seven, a rule made by a government. So when the government makes a rule and everybody has to follow that rule, what is the rule? It is a law. A law. You should follow the law or obey the law.


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[Assistant] You must obey the law because if you break the law, if you break the law


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[Assistant] Then the police catch you and you have to pay money or go to jail. So you should follow the law, obey the laws. Laws are rules made by a government. Rules


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[Assistant] We can make rules. If we play a game, let's make some rules. We don't make laws. Only the government makes laws. Okay? So that's the difference between a law and a rule. Rules are, you know, anybody can make a rule, but laws are made by the government. Okay.


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[Assistant] Eight, the same, the same. So it looks like here we have a big heart and we have many little hearts, but they weigh the same. If something is the same, we can say it's equal, equal. These two things, now they're different, but they weigh the same. Their weight is equal.


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[Assistant] So even though some two things or many things, they might look different, they can be equal in some ways. Right? They're different in these ways, but they're equal in other ways. That's an important idea. Equal. Okay, so they are equal. Uh oh, what happened? Right?


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[Assistant] We have a car accident. Now, if a car accident takes place, or really anything takes place, what do we say? It happens. So, bad things happen, right? Unfortunately. Some bad things happen. Some good things happen too.


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[Assistant] Happen, now this picture looks like a negative situation. But happen is not a negative word, it's a neutral word. Because good things happen and bad things happen. It just means it took place.


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[Assistant] Right? If you get an A on your test, that happens. If you break a window, that happens. So many different things happen. They occur. They take place. To happen. Okay, number ten.


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[Assistant] One and the other. So we're talking about one here, right? One and the other. So one and the other. They are what? We say both. Both. Not just one.


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[Assistant] Not only the other one, but both together. Both. Both of them. So, one and the other are both. Okay, next one.


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[Assistant] To rest on your bottom. On your bottom. Bottom is a polite word for your on-dong-ee, right? Okay? Don't say hip.


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[Assistant] Don't say hip, because hip is on the side. Hip is not your bottom. You have a hip on the, a right hip and left hip. You have, hips are on the side. Hip is on the side, bottom is on the bottom. You sit down on your bottom.


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[Assistant] Don't sit on your hip, that's himdro, and that's painful, apayo, right? You shouldn't sit on your hip, sit on your bottom. Okay, to rest on your bottom, of course, sit. And sit is an irregular verb, so we say sit, sat, sat. Sit, sat, sat.


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[Assistant] Let's sit down here. Oh, I sat here yesterday. Have you ever sat here?


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[Assistant] Uh, did you ever s- uh, I have- I have sat here before, for example, okay? So sit, sat, sat. Okay. To rest on your bottom, okay? Ondongi. Okay, that's a polite word. Okay. Number 12. The part that faces forward,


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[Assistant] So the part of a person or a building that faces forward, it's the, what is it? It's the front part of something. So of course, if you look at a house, this is the front part of the house. That's the part that faces forward to the street. When you come to the house, you see the front of the house.


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[Assistant] When you look at a person, you see the front of the person, not the back, right? Well, unless they turn their back, right? But you look at a person, usually you look at their front, their face. So that's the front. The front of a person, the front of a building, the front of a car, it's the part that faces forward. Okay.


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[Assistant] Not different. We talked about this a little bit before. It's kind of similar.


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[Assistant] We have a father and a son. And yes, they are different, in some ways, but they are also the same, because they're wearing the same cap, they're the same family, this is the father, this is the son, right? In fact, there's an interesting expression in English, like father, like father, comma, like son. What this means is that the son,


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[Assistant] Yes, one is an old, uh, older man, not an old man, but he's older, one is a baby, they're different in size, but they're the same, they're the same family, right? There's, in some ways they're the same, in some ways they're different. But if you say something is not different, they're the same, or the other word we learned earlier, equal, right? Same or equal.


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[Assistant] Number fourteen, planet Earth. The planet Earth, what is it? We say it's the world, right? This is the world, or Earth, or planet Earth. It's the Earth on which we live. It's our world. Okay.


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[Assistant] Fifteen, true or false? Well, if something is not false, it is of course true, right? It's right there for you, right? So if something is not false, not a lie, not an untruth, then it is true, right? It is true. What's true?


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[Assistant] Of course, if it is true, uh, it is real. It is the actual situation. It's true.


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[Assistant] Next one is 16, to move to where the speaker is. So if you're going to move from here to where the speaker is, what are you doing? You are coming.


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[Assistant] Okay, so if I'm the speaker and you move to me, I say, you are coming here. Right? Or you say, I will come to you. Right? I will come to you.


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[Assistant] To you, right? Or, please come here. Please come here.


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[Assistant] To move to where the speaker is to, is to come. And it's an irregular verb. Come, came, come. Come, came, come. Okay? So when we talk about in the past, we use, uh, came for a simple past. Uh, I came here yesterday. Uh, have you come here before? Okay? Have you come here before? Okay.


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[Assistant] Now, let's go over the words, the word exercises, vocabulary exercises.


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[Assistant] These are our words, dream, upset, join, and laws. We need to write the word next to its meaning. So we need to write these words next to the word that has the same meaning. The words again are dream, dream, upset, upset,


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[Assistant] Join, join, and laws, laws. Let's look at the number one. One is rules, okay? So, what did we talk about before?


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[Assistant] There are rules, but a rule that is made by the government is a special kind of rule. It is a law. So rules and laws have similar meanings. They're different, yeaah, they mean different things, but they are similar.


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[Assistant] Rules made by the government are laws. Okay. Number two, a wish.


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[Assistant] When you wish for something you have what? You have a dream. You have a dream when you wish for something. Three.


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[Assistant] Unhappy. If somebody is unhappy, right, they are what? They are, of course, upset. And upset can also be used as a verb, not just an adjective. He is upset, that's adjective.


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[Assistant] I upset him, that's a verb. So, unhappy and upset are similar meanings. Of course, unhappy is only an adjective.


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[Assistant] Four, come together with. When you come together with something, many people come together, they join. They join together. They get together, they join together. Okay.


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[Assistant] We also have another type of exercise here. Now this is opposites. Not similar words, but opposite words. Words that have the opposite meaning. What we need to do here is circle, right? It says circle the word, so we need to circle, right? The word or words. It could be one word or it could be two words.


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[Assistant] In the sentence that are opposite of the word in bold print. This is bold print. This is bold print.


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[Assistant] So what we need to do is look at the sentence and find the part of the sentence that is the opposite of the word in bold print.


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[Assistant] The word in bold print is apart, apart. The sentence is, she always has fun when they are together. Now, which word in this sentence is the opposite, pandero?


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[Assistant] Of the word apart. Remember, apart, pandero.


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[Assistant] Upset. The sentence John is very happy to see his grandfather. John is very happy to see his grandfather. So which word in this sentence is the opposite of


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[Assistant] Set, which word is the opposite? Well, upset is the same meaning as unhappy, right? Un means not, not happy. So happy is the opposite.


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[Assistant] Set, right? Very simple. Okay, next one, number three. Our word is brave. Brave.


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[Assistant] And brave are opposites. They mean different things.


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[Assistant] Okay, number four, the word is remember, remember, remember. The sentence is, I forget which street he lives on. I forget which street he lives on.


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[Assistant] So remember means to think about the past, to know something from the past. But if you can't...


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[Assistant] Think about the past, or you, something in the past you can't think of it, that means you forgot it, right? So forget means the opposite of remember. Remember and forget are different, they are opposites. Okay?


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[Assistant] So interesting exercise. Okay, those are our two vocabulary exercises. For the words, let's take a short break. We'll come back and look at the reading.


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[Assistant] The lesson of course is a dream come true. When something happens and it's a dream that came true, your dream happens, you can say it's a dream come true.


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[Assistant] Now this passage is about Martin Luther King Jr. and it's about his dream and the fact that his dream has come true these days. Of course, he didn't live to see it. But anyway, let's go over the passage together.


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[Assistant] All his life, Martin Luther King Jr. had a dream. He had a dream. His dream was that someday all people would be equal.


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[Assistant] For his entire life, since he was a baby boy, since he was a young boy, until he was an adult, all his life he had this dream.


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[Assistant] What was his dream? His dream was that. Was that. His hope was that. His statement was that.


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[Assistant] When we use was that, we're saying what something was. His dream. What was his dream? His dream was that someday all people would be equal.


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[Assistant] All people would be the same. Now, before when we studied equal, right, I said, yes, people are different, right? Nobody's really the same, exactly the same, but under the law,


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[Assistant] We should treat everybody equal, right? That means that everybody has the same rights, everybody has the same responsibilities, everybody should be treated the same way.


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[Assistant] Even if they look different, or even if they, you know, they're taller, or they're shorter, or they have white skin, they have black skin, they should all be equal. And that was Martin Luther King Jr.'s dream, that everybody would be equal, would be treated equally.


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[Assistant] His dream came true. His dream did come true in America, but it wasn't easy. It was not easy. It was very difficult at the time. Many changes had to happen first. So when Martin Luther King was alive, when he was a young man,


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[Assistant] People were not treated equally. He wanted to change that, but he had to make many changes. And not just he, but society had to make many changes. And it's very, very difficult to change society.


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[Assistant] Martin Luther King Jr. grew up in Atlanta, Georgia in the 1930s. At that time, African Americans and whites were not treated the same.


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[Assistant] African American children could not go to the same schools as white children. They couldn't even play together.


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[Assistant] Okay, so this tells us a little bit about Martin Luther King Jr.'s childhood, or his life, right? He grew up in the 1930s. That's a long time ago, right? Especially now, we're getting on to, you know, 70 years ago, or 80 years ago.


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[Assistant] And in Georgia, in Georgia in the southern United States.


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[Assistant] At that time, and in that place,


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[Assistant] African Americans and whites were not treated the same. Remember, treat somebody the way, uh, in a way. Remember in the last lesson we were talking about Roberto Clemente? We saw this expression, not treated the same.


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[Assistant] People did not behave towards that person the same way.


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[Assistant] African American children could not go, could not go to the same schools as white children.


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[Assistant] The schools that white children went to were nicer. They had better equipment. Uh, the schools that black children went to were maybe more crowded. They were poorer. They didn't have as good equipment. But the black children couldn't go to the white


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[Assistant] Like an extreme example. They couldn't go to school together. They couldn't even play together. Not even play together in the same place. Okay? That was obviously not right. It was unfair.


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[Assistant] On the bus, so not the bus, but on all buses, African Americans had to go all the way to the back, all the way to the back of the bus.


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[Assistant] Only whites could sit in the front of the bus, okay? So what this says is that on the bus in Georgia, in Atlanta, Georgia, when black people got on the bus, they couldn't sit next to the door. They had to walk, and in those case, those times, I know the city bus is in Seoul,


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[Assistant] Right, you have a door in the front, you have a door in the middle, so it doesn't matter where you sit. But in the 1930s, they only had one door at the front of the bus. So you get on that door, you gotta sit in the back of the bus, that means when you get off, you gotta come all the way to the front and get off again the same door. It's 힘들o. It's easier to sit in the front of the bus.


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[Assistant] Also, there's not so much gas, uh, ex, exhaust from the bus in the front of the bus. The front of the bus was a better place to sit, but black people couldn't sit there. If there were


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[Assistant] Too many white people on the bus. Of course if the bus was empty, the black person could sit in the front of the bus, but if a white person got on, the black person had to get to the back of the bus. That's the situation.


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[Assistant] So only whites could sit in the front of the bus. That's what we're talking about here. Okay.


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[Assistant] African Americans and whites had to live apart.


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[Assistant] Martin Luther King Jr. was very upset because of this. He wanted everyone to be treated the same way.


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[Assistant] He worked hard to change the laws. Okay? So African Americans and whites had to live apart. It's what we talked about before. Black children, this school. White children, this school. They're apart. Not together, apart.


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[Assistant] Black children play here, white children play there. A part.


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[Assistant] So basically, especially in southern America in the 1930s,


[User] Please transcribe this text

[Assistant] They, communities wanted to keep black people and white people apart. They didn't want the two people like living in the same place, uh, using the same buildings, using the same restrooms. They wanted to keep it apart. So apart, not together.


[User] Please transcribe this text

[Assistant] Martin Luther King Jr. was very upset. He was unhappy because of this. This situation.


[User] Please transcribe this text

[Assistant] Right? Had to live apart. This refers to this. Well, actually this. Had to live apart. This refers to they had to live apart. That idea. Remember, use this


[User] Please transcribe this text

[Assistant] So refer back to ideas. Don't use it. Use this. This is better to use.


[User] Please transcribe this text

[Assistant] So he was upset because of this. He wanted everyone to be treated the same way. You could also say he wanted everyone to be treated equally. Equally.


[User] Please transcribe this text

[Assistant] The same way. And especially in front of the law.


[User] Please transcribe this text

[Assistant] He wanted the law to treat everybody the same way. And he wanted society to treat everybody the same way. Even if they were different. You know, there's tall people, there's short people, there's skinny people, there's fat people.


[User] Please transcribe this text

[Assistant] There's white people, black people, uh, people say yellow people, red people, right? There's all sorts of different colors, but he wanted everybody to be treated equally, the same.


[User] Please transcribe this text

[Assistant] He worked hard to change the laws. So he worked very hard in his life. He made it his job, almost his career, to change the laws.


[User] Please transcribe this text

[Assistant] Many people joined him, both African Americans and whites. Thanks to his hard work, the laws changed.


[User] Please transcribe this text

[Assistant] Children today can now all go to the same schools. People can also sit where they want to on the bus.


[User] Please transcribe this text

[Assistant] Okay, so this kinda talks about, uh, uh, what he did. Martin Luther King did, and how people helped him, and how his dream came true.


[User] Please transcribe this text

[Assistant] So many people joined him. He did not work alone. Other people helped him. Not just African Americans, but also white people also helped him. Many people, both black and white, knew that this was unfair. It's not right to keep people apart. Everybody's equal.


[User] Please transcribe this text

[Assistant] So unfortunately some people, right, especially those people in power, didn't want to change. And they were fighting against those people. They tried to change the laws.


[User] Please transcribe this text

[Assistant] Thanks to his hard work, of course his, we're talking about Martin Luther King, right? Martin Luther King. Thanks to his hard work, Martin Luther King, the laws changed.