Andrew Bird's one-man orchestra of the imagination

460,364 views ใƒป 2010-11-05

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: Noa Yehiel ืžื‘ืงืจ: Ido Dekkers
00:18
Well, there's lots to talk about,
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ื•ื‘ื›ืŸ, ื™ืฉ ื”ืจื‘ื” ืขืœ ืžื” ืœื“ื‘ืจ,
00:20
but I think I'm just going to play to start off.
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ืื‘ืœ ืื ื™ ื—ื•ืฉื‘ ืฉืื ื™ ืคืฉื•ื˜ ื”ื•ืœืš ืœื ื’ืŸ ื‘ืชื•ืจ ื”ืชื—ืœื”.
00:24
(Music)
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(ืžื•ืกื™ืงื”)
03:09
โ™ซ When I wake up โ™ซ
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โ™ซ ื›ืฉืื ื™ ืžืชืขื•ืจืจ โ™ซ
03:13
โ™ซ in the morning โ™ซ
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โ™ซ ื‘ื‘ื•ืงืจ โ™ซ
03:16
โ™ซ I pour the coffee โ™ซ
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โ™ซ ืื ื™ ืžื•ื–ื’ ืงืคื” โ™ซ
03:20
โ™ซ I read the paper โ™ซ
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โ™ซ ืื ื™ ืงื•ืจื ืขื™ืชื•ืŸ โ™ซ
03:23
โ™ซ And then I slowly โ™ซ
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โ™ซ ื•ืื– ื‘ืื™ื˜ื™ื•ืช โ™ซ
03:30
โ™ซ and so softly โ™ซ
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โ™ซ ื•ื‘ื›ื–ืืช ืจื›ื•ืช โ™ซ
03:39
โ™ซ do the dishes โ™ซ
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โ™ซ ืื ื™ ืฉื•ื˜ืฃ ื›ืœื™ื โ™ซ
03:44
โ™ซ So feed the fishes โ™ซ
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โ™ซ ืื– ื”ืื›ื™ืœื• ืืช ื”ื“ื’ื™ื โ™ซ
03:52
โ™ซ You sing me happy birthday โ™ซ
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โ™ซ ืืชื ืฉืจื™ื ืœื™ ื™ื•ื ื”ื•ืœื“ืช ืฉืžื— โ™ซ
04:00
โ™ซ Like it's gonna be โ™ซ
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โ™ซ ื›ืื™ืœื• ืฉื–ื” ื”ื•ืœืš ืœื”ื™ื•ืช โ™ซ
04:03
โ™ซ your last day โ™ซ
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โ™ซ ื™ื•ืžืš ื”ืื—ืจื•ืŸ โ™ซ
04:07
โ™ซ here on Earth โ™ซ
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โ™ซ ื›ืืŸ ืขืœ ืคื ื™ ื›ื“ื•ืจ ื”ืืจืฅ โ™ซ
05:33
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
05:44
All right.
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ื‘ืกื“ืจ.
05:46
So, I wanted to do something special today.
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ืื–, ืจืฆื™ืชื™ ืœืขืฉื•ืช ืžืฉื”ื• ืžื™ื•ื—ื“ ื”ื™ื•ื.
05:48
I want to debut a new song that I've been working on
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ืื ื™ ืจื•ืฆื” ืœื”ืฉืžื™ืข ืฉื™ืจ ื—ื“ืฉ ืฉืขื‘ื“ืชื™ ืขืœื™ื•
05:51
in the last five or six months.
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ื‘ื—ืžื™ืฉื” - ืฉื™ืฉื” ื—ื•ื“ืฉื™ื ื”ืื—ืจื•ื ื™ื.
05:54
And there's few things more thrilling
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ื•ื™ืฉ ืžืขื˜ ื“ื‘ืจื™ื ื™ื•ืชืจ ืžืจื’ืฉื™ื
05:56
than playing a song
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ืžืœื ื’ืŸ ืฉื™ืจ
05:58
for the first time in front of an audience,
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ื‘ืคืขื ื”ืจืืฉื•ื ื” ืžื•ืœ ืงื”ืœ,
06:01
especially when it's half-finished.
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ื‘ืžื™ื•ื—ื“ ื›ืฉื”ื•ื ืœื ื’ืžื•ืจ.
06:03
(Laughter)
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(ืฆื—ื•ืง)
06:05
I'm kind of hoping some conversations here
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ืื ื™ ื“ื™ ืžืงื•ื•ื” ืฉื›ืžื” ืฉื™ื—ื•ืช ืคื”
06:07
might help me finish it.
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ื™ื•ื›ืœื• ืœืขื–ื•ืจ ืœื™ ืœืกื™ื™ื ืื•ืชื•.
06:09
Because it gets into all sorts
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ื›ื™ ื”ื•ื ื ื›ื ืก ืœืชื•ืš ื›ืœ ืžื™ื ื™
06:11
of crazy realms.
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ืžืžืœื›ื•ืช ืžื˜ื•ืจืคื•ืช.
06:13
And so this is basically a song
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ืื– ื‘ืขื™ืงืจื•ืŸ ื–ื” ืฉื™ืจ
06:15
about loops,
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ืขืœ ืœื•ืœืื•ืช,
06:17
but not the kind of loops that I make up here.
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ืื‘ืœ ืœื ืœื•ืœืื•ืช ืžื”ืกื•ื’ ืฉืื ื™ ืžืžืฆื™ื ืคื”.
06:19
They're feedback loops.
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ืืœื” ืœื•ืœืื•ืช ืžืฉื•ื‘.
06:21
And in the audio world
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ื•ื‘ืขื•ืœื ื”ืฉืžืข
06:23
that's when the microphone gets too close
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ื–ื” ื›ืฉื”ืžื™ืงืจื•ืคื•ืŸ ืงืจื•ื‘ ืžื“ื™
06:26
to its sound source,
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ืœืžืงื•ืจ ื”ืฆืœื™ืœ ืฉืœื•
06:29
and then it gets in this self-destructive loop
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ื•ืื– ื”ื•ื ื ื›ื ืก ืœืžื™ืŸ ืœื•ืœืืช ื”ืจืก ืขืฆืžื™
06:31
that creates a very unpleasant sound.
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ืฉื™ื•ืฆืจืช ืฆืœื™ืœ ืžืื•ื“ ืœื ื ืขื™ื.
06:33
And I'm going to demonstrate for you.
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ื•ืื ื™ ื”ื•ืœืš ืœื”ื“ื’ื™ื ืขื‘ื•ืจื›ื.
06:35
(Laughter)
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(ืฆื—ื•ืง)
06:38
I'm not going to hurt you. Don't worry.
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ืื ื™ ืœื ื”ื•ืœืš ืœืคื’ื•ืข ื‘ื›ื. ืืœ ืชื“ืื’ื•.
06:43
โ™ซ This is a loop, feedback loop โ™ซ
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โ™ซ ื–ื•ื”ื™ ืœื•ืœืื”, ืœื•ืœืืช ืžืฉื•ื‘ โ™ซ
06:46
โ™ซ This is a loop, feedback loop โ™ซ
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โ™ซ ื–ื•ื”ื™ ืœื•ืœืื”, ืœื•ืœืืช ืžืฉื•ื‘ โ™ซ
06:49
โ™ซ This is a loop, feedback loop โ™ซ
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โ™ซ ื–ื•ื”ื™ ืœื•ืœืื”, ืœื•ืœืืช ืžืฉื•ื‘ โ™ซ
06:51
โ™ซ This is a loop, feedback loop โ™ซ
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โ™ซ ื–ื•ื”ื™ ืœื•ืœืื”, ืœื•ืœืืช ืžืฉื•ื‘ โ™ซ
06:54
โ™ซ This is a loop, feedback loop โ™ซ
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โ™ซ ื–ื•ื”ื™ ืœื•ืœืื”, ืœื•ืœืืช ืžืฉื•ื‘ โ™ซ
06:56
โ™ซ This is a loop, feedback loop โ™ซ
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โ™ซ ื–ื•ื”ื™ ืœื•ืœืื”, ืœื•ืœืืช ืžืฉื•ื‘ โ™ซ
06:59
โ™ซ This is a -- (Feedback)
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โ™ซ ื–ื•ื”ื™ -- (ืžืฉื•ื‘)
07:07
All right. I don't know if that was necessary to demonstrate --
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ื‘ืกื“ืจ ื’ืžื•ืจ. ืื ื™ ืœื ื™ื•ื“ืข ืื ื”ื™ื” ื”ื›ืจื—ื™ ืœื”ื“ื’ื™ื ืืช ื–ื” --
07:10
(Laughter)
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(ืฆื—ื•ืง)
07:12
-- but my point is it's the sound of self-destruction.
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-- ืื‘ืœ ื”ื ืงื•ื“ื” ื”ื™ื ืฉื–ื”ื• ื”ืฆืœื™ืœ ืฉืœ ื”ืจืก ืขืฆืžื™.
07:17
And I've been thinking about
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ื•ื—ืฉื‘ืชื™ ืขืœ
07:19
how that applies across a whole spectrum of realms,
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ืื™ืš ื–ื” ื—ืœ ืขืœ ืงืฉืช ืฉืœืžื” ืฉืœ ืชื—ื•ืžื™ื,
07:23
from, say, the ecological, okay.
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ื”ื—ืœ ืž, ื ืืžืจ, ื”ืชื—ื•ื ื”ืืงื•ืœื•ื’ื™, ื‘ืกื“ืจ.
07:26
There seems to be a rule in nature
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ื ืจืื” ืฉื™ืฉ ื—ื•ืง ื‘ื˜ื‘ืข
07:29
that if you get too close to where you came from,
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ืฉืื ืืชื” ืžืชืงืจื‘ ืžื“ื™ ืœืžืงื•ื ืฉืžืžื ื• ืืชื” ื‘ื
07:32
it gets ugly.
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ื–ื” ืœื ื ื’ืžืจ ื˜ื•ื‘.
07:34
So like, you can't feed cows their own brains
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ืื– ืืชื” ืœื ื™ื›ื•ืœ ืœืชืช ืœืคืจื•ืช ืœืื›ื•ืœ ืืช ื”ืžื•ื—ื•ืช ืฉืœ ืขืฆืžืŸ,
07:37
or you get mad cow disease,
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ืื• ืฉืชืงื‘ืœ ืืช ืžื—ืœืช ื”ืคืจื” ื”ืžืฉื•ื’ืขืช,
07:39
and inbreeding and incest
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ื•ื–ื™ื•ื•ื’ ื‘ืชื•ืš ื”ืžืฉืคื—ื” ื•ื’ื™ืœื•ื™ ืขืจื™ื•ืช
07:41
and, let's see,
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ื•... ื‘ื•ื ื ืจืื”,
07:43
what's the other one?
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ืžื” ื”ืชื—ื•ื ื”ืฉื ื™?
07:45
Biological -- there's autoimmune diseases,
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ื‘ื™ื•ืœื•ื’ื™ -- ื™ืฉ ืžื—ืœื•ืช ืื•ื˜ื•ืื™ืžื•ื ื™ื•ืช,
07:47
where the body attacks itself
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ืฉื‘ื”ืŸ ื”ื’ื•ืฃ ืชื•ืงืฃ ืืช ืขืฆืžื•
07:49
a little too overzealously
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ื‘ืงื ืื•ืช ื™ืชืจ
07:51
and destroys the host,
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ื•ืžืฉืžื™ื“ ืืช ื”ืคื•ื ื“ืงืื™,
07:53
or the person.
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ืื• ืืช ื”ื‘ื ืื“ื.
07:58
And then -- okay, this is where we get to the song --
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ื•ืื– -- ื˜ื•ื‘, ื›ืืŸ ืื ื—ื ื• ืžื’ื™ืขื™ื ืœืฉื™ืจ --
08:01
kind of bridges the gap to the emotional.
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ืžื’ืฉืจ ืขืœ ื”ืคืขืจ ืœืจื’ืฉื™.
08:04
Because although I've used scientific terms
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ื›ื™ ืœืžืจื•ืช ืฉื”ืฉืชืžืฉืชื™ ื‘ืžื•ืฉื’ื™ื ืžื“ืขื™ื™ื
08:07
in songs,
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ื‘ืฉื™ืจื™ื,
08:09
it's very difficult sometimes to make them lyrical.
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ืœืคืขืžื™ื ืงืฉื” ืžืื•ื“ ืœื”ืคื•ืš ืื•ืชื ืœืœื™ืจื™ื™ื.
08:12
And there's some things
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ื•ื™ืฉ ื›ืžื” ื“ื‘ืจื™ื
08:14
you just don't need to have in songs.
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ืฉืืชื” ืคืฉื•ื˜ ืœื ืฆืจื™ืš ืฉื™ื”ื™ื• ื‘ืฉื™ืจื™ื.
08:18
So I'm trying to bridge this gap
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ืื– ืื ื™ ืžื ืกื” ืœื’ืฉืจ ืขืœ ื”ืคืขืจ ื”ื–ื”
08:20
between this idea and this melody.
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ื‘ื™ืŸ ื”ืจืขื™ื•ืŸ ื”ื–ื” ืœืžื ื’ื™ื ื” ื”ื–ืืช.
08:23
And so, I don't know if you've ever had this,
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ื•ื›ืš, ืื ื™ ืœื ื™ื•ื“ืข ืื ื–ื” ืคืขื ืงืจื” ืœื›ื,
08:26
but when I close my eyes sometimes
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ืื‘ืœ ื›ืฉืื ื™ ืขื•ืฆื ืืช ืขื™ื ื™ื™ ืœืคืขืžื™ื
08:29
and try to sleep,
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ื•ืžื ืกื” ืœื™ืฉื•ืŸ,
08:31
I can't stop thinking about my own eyes.
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ืื ื™ ืœื ื™ื›ื•ืœ ืœื”ืคืกื™ืง ืœื—ืฉื•ื‘ ืขืœ ื”ืขื™ื ื™ื™ื ืฉืœื™.
08:34
And it's like your eyes
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ื•ื–ื” ื›ืื™ืœื• ืฉื”ืขื™ื ื™ื™ื ืฉืœื›ื
08:36
start straining to see themselves.
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ืžืชื—ื™ืœื•ืช ืœื”ืชืืžืฅ ืœืจืื•ืช ืืช ืขืฆืžืŸ.
08:38
That's what it feels like to me.
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ื–ืืช ื”ื”ืจื’ืฉื” ืืฆืœื™.
08:40
It's not pleasant.
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ื–ื” ืœื ื ืขื™ื.
08:42
I'm sorry if I put that idea in your head.
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ืื ื™ ืžืฆื˜ืขืจ ืื ื ื˜ืขืชื™ ืืช ื”ืจืขื™ื•ืŸ ื‘ืจืืฉ ืฉืœื›ื.
08:44
(Laughter)
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(ืฆื—ื•ืง)
08:46
It's impossible, of course, for your eyes to see themselves,
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ื–ื” ื‘ืœืชื™ ืืคืฉืจื™, ื›ืžื•ื‘ืŸ, ืฉื”ืขื™ื ื™ื™ื ืฉืœืš ื™ืจืื• ืืช ืขืฆืžืŸ,
08:48
but they seem to be trying.
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ืื‘ืœ ื ืจืื” ืฉื”ืŸ ืžื ืกื•ืช.
08:51
So that's getting a little more closer to a personal experience.
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ืื– ื–ื” ืžืชืงืจื‘ ืงืฆืช ื™ื•ืชืจ ืœื—ื•ื•ื™ื” ืื™ืฉื™ืช.
08:55
Or ears being able to hear themselves --
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ืื• ืื•ื–ื ื™ื™ื ืฉืžืกื•ื’ืœื•ืช ืœืฉืžื•ืข ืืช ืขืฆืžืŸ --
08:57
it's just impossible.
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ื–ื” ืคืฉื•ื˜ ื‘ืœืชื™ ืืคืฉืจื™;
08:59
That's the thing.
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ื–ื” ื”ืขื ื™ื™ืŸ.
09:01
So, I've been working on this song
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ืื–, ืขื‘ื“ืชื™ ืขืœ ื”ืฉื™ืจ ื”ื–ื”
09:04
that mentions these things
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ืฉืžืชื™ื™ื—ืก ืœื“ื‘ืจื™ื ื”ืืœื”
09:07
and then also imagines
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ื•ืื– ื’ื ืžื“ืžื™ื™ืŸ
09:09
a person who's been so successful
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ืื“ื ืฉื ื—ืœ ื”ืฆืœื—ื” ื›ื” ืจื‘ื”
09:11
at defending themselves from heartbreak
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ื‘ืœื”ื’ืŸ ืขืœ ืขืฆืžื ืžืฉื‘ืจื•ืŸ ืœื‘
09:14
that they're left to do the deed themselves,
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ืฉื”ื ื ื•ืชืจื• ืœืขืฉื•ืช ืืช ื”ืžืขืฉื” ื‘ืขืฆืžื,
09:17
if that's possible.
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ืื ื–ื” ืืคืฉืจื™.
09:19
And that's what the song is asking.
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ื•ื–ื” ืžื” ืฉื”ืฉื™ืจ ืฉื•ืืœ.
09:23
All right.
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ื‘ืกื“ืจ.
09:25
It doesn't have a name yet.
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ืขื“ื™ื™ืŸ ืื™ืŸ ืœื–ื” ืฉื.
09:27
(Music)
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(ืžื•ืกื™ืงื”)
11:23
โ™ซ Go ahead and congratulate yourself โ™ซ
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โ™ซ ืงื“ื™ืžื”, ื‘ืจืš ืืช ืขืฆืžืš โ™ซ
11:26
โ™ซ Give yourself a hand, the hand is your hand โ™ซ
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โ™ซ ื”ื•ืฉื˜ ืœืขืฆืžืš ื™ื“, ื”ื™ื“ ื”ื™ื ื”ื™ื“ ืฉืœืš โ™ซ
11:30
โ™ซ And the eye that eyes itself is your eye โ™ซ
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โ™ซ ื•ื”ืขื™ืŸ ืฉืจื•ืื” ืืช ืขืฆืžื” ื”ื™ื ื”ืขื™ืŸ ืฉืœืš โ™ซ
11:33
โ™ซ And the ear that hears itself is near โ™ซ
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โ™ซ ื•ื”ืื•ื–ืŸ ืฉืฉื•ืžืขืช ืืช ืขืฆืžื” ืงืจื•ื‘ื” โ™ซ
11:37
โ™ซ 'Cause it's your ear, oh oh โ™ซ
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โ™ซ ื›ื™ ื–ืืช ื”ืื•ื–ืŸ ืฉืœืš, ื”ื• ื”ื• โ™ซ
11:40
โ™ซ You've done the impossible now โ™ซ
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โ™ซ ื›ืขืช ืขืฉื™ืช ืืช ื”ื‘ืœืชื™ ืืคืฉืจื™ โ™ซ
11:43
โ™ซ Took yourself apart โ™ซ
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โ™ซ ื”ืคืจื“ืช ืืช ืขืฆืžืš โ™ซ
11:47
โ™ซ You made yourself invulnerable โ™ซ
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โ™ซ ื”ืคื›ืช ืืช ืขืฆืžืš ืœื‘ืœืชื™ ืคื’ื™ืข โ™ซ
11:50
โ™ซ No one can break your heart โ™ซ
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โ™ซ ืืฃ ืื—ื“ ืœื ื™ื›ื•ืœ ืœืฉื‘ื•ืจ ืืช ืœื‘ืš โ™ซ
11:54
โ™ซ So you wear it out โ™ซ
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โ™ซ ืื– ืืชื” ืฉื•ื—ืง ืื•ืชื• โ™ซ
11:58
โ™ซ And you wring it out โ™ซ
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โ™ซ ื•ืืชื” ืกื•ื—ื˜ ืื•ืชื• โ™ซ
12:01
โ™ซ And you wear it out โ™ซ
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โ™ซ ื•ืืชื” ืฉื•ื—ืง ืื•ืชื• โ™ซ
12:04
โ™ซ And you break it yourself โ™ซ
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โ™ซ ื•ืืชื” ืฉื•ื‘ืจ ืื•ืชื• ื‘ืขืฆืžืš โ™ซ
12:06
โ™ซ Breaking your own, break it yourself โ™ซ
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โ™ซ ืฉื•ื‘ืจ ืืช ืฉืœ ืขืฆืžืš, ืฉื•ื‘ืจ ืื•ืชื• ื‘ืขืฆืžืš โ™ซ
12:09
โ™ซ Breaking your own, break it yourself โ™ซ
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โ™ซ ืฉื•ื‘ืจ ืืช ืฉืœ ืขืฆืžืš, ืฉื•ื‘ืจ ืื•ืชื• ื‘ืขืฆืžืš โ™ซ
12:13
โ™ซ Breaking your own โ™ซ
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โ™ซ ืฉื•ื‘ืจ ืืช ืฉืœ ืขืฆืžืš โ™ซ
12:29
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
12:33
Thanks.
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ืชื•ื“ื”.
12:35
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
12:40
All right.
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ื‘ืกื“ืจ.
12:42
It's kind of cool. Songwriters can sort of get away with murder.
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ื–ื” ื“ื™ ืžื’ื ื™ื‘. ืžืฉื•ืจืจื™ื ื“ื™ ื™ื›ื•ืœื™ื ืœื—ืžื•ืง ืžืขื•ื ืฉ ืขืœ ืจืฆื—.
12:45
You can throw out crazy theories
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ืืชื” ื™ื›ื•ืœ ืœื–ืจื•ืง ืชืื•ืจื™ื•ืช ืžื˜ื•ืจืคื•ืช ืœื—ืœืœ ื”ืื•ื™ืจ
12:48
and not have to back it up with data
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ื•ืœื ืœื”ื™ื•ืช ื—ื™ื™ื‘ ืœื’ื‘ื•ืช ืื•ืชืŸ ืขื ื ืชื•ื ื™ื
12:51
or graphs or research.
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ืื• ื’ืจืคื™ื ืื• ืžื—ืงืจื™ื.
12:54
But, you know, I think reckless curiosity
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ืื‘ืœ, ืืชื ื™ื•ื“ืขื™ื, ืื ื™ ื—ื•ืฉื‘ ืฉืกืงืจื ื•ืช ืคื–ื™ื–ื”
12:57
would be what the world needs now,
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ื”ื™ื ืžื” ืฉื”ืขื•ืœื ื–ืงื•ืง ืœื• ื›ืจื’ืข,
13:00
just a little bit.
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ืจืง ืงืฆืช.
13:02
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
13:06
I'm going to finish up with a song of mine
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ืื ื™ ื”ื•ืœืš ืœืกื™ื™ื ืขื ืฉื™ืจ ืฉืœื™
13:08
called "Weather Systems."
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ืฉื ืงืจื "ืžืขืจื›ื•ืช ืžื–ื’ ื”ืื•ื™ืจ".
13:10
(Music)
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(ืžื•ืกื™ืงื”)
13:27
โ™ซ Quiet โ™ซ
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โ™ซ ืฉืงื˜ โ™ซ
13:32
โ™ซ Quiet down, she said โ™ซ
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โ™ซ ืชื”ื™ื” ื‘ืฉืงื˜, ื”ื™ื ืืžืจื”โ™ซ
13:36
โ™ซ Speak into the back of his head โ™ซ
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โ™ซ ื“ื‘ืจ ืืœ ื”ืขื•ืจืฃ ืฉืœื• โ™ซ
13:39
โ™ซ On the edge of the bed, I can see your blood flow โ™ซ
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โ™ซ ืขืœ ืงืฆื” ื”ืžื™ื˜ื”, ืื ื™ ืจื•ืื” ืืช ื”ื“ื ืฉืœืš ื–ื•ืจื โ™ซ
13:43
โ™ซ I can see your โ™ซ
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โ™ซ ืื ื™ ืจื•ืื” ืืช โ™ซ
13:47
โ™ซ cells grow โ™ซ
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โ™ซ ื”ืชืื™ื ืฉืœืš ื’ื“ืœื™ื โ™ซ
13:54
โ™ซ Hold still awhile โ™ซ
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โ™ซ ืืœ ืชื–ื•ื– ืœืจื’ืข โ™ซ
13:57
โ™ซ Don't spill the wine โ™ซ
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โ™ซ ืืœ ืชืฉืคื•ืš ืืช ื”ื™ื™ืŸ โ™ซ
14:00
โ™ซ I can see it all from here โ™ซ
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โ™ซ ืื ื™ ืจื•ืื” ืžืคื” ืืช ื”ื›ืœ โ™ซ
14:03
โ™ซ I can see โ™ซ
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โ™ซ ืื ื™ ืจื•ืื” โ™ซ
14:05
โ™ซ oh, I โ™ซ
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โ™ซ ื”ื•, ืื ื™ โ™ซ
14:07
โ™ซ I can see โ™ซ
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โ™ซ ืื ื™ ืจื•ืื” โ™ซ
14:14
โ™ซ weather systems โ™ซ
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โ™ซ ืžืขืจื›ื•ืช ืžื–ื’ ื”ืื•ื™ืจ โ™ซ
14:17
โ™ซ of the world โ™ซ
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โ™ซ ืฉืœ ื”ืขื•ืœื โ™ซ
14:30
โ™ซ Weather systems โ™ซ
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โ™ซ ืžืขืจื›ื•ืช ืžื–ื’ ื”ืื•ื™ืจ โ™ซ
14:33
โ™ซ of the world โ™ซ
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โ™ซ ืฉืœ ื”ืขื•ืœื โ™ซ
15:07
โ™ซ Some things you say โ™ซ
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โ™ซ ื™ืฉ ื“ื‘ืจื™ื ืฉืืชื” ืื•ืžืจ โ™ซ
15:10
โ™ซ are not for sale โ™ซ
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โ™ซ ืฉืื™ื ื ืœืžื›ื™ืจื” โ™ซ
15:14
โ™ซ I would hold it where โ™ซ
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โ™ซ ืื ื™ ืื—ื–ื™ืง ื‘ื–ื” ื”ื™ื›ืŸ โ™ซ
15:17
โ™ซ our free agents of some substance are โ™ซ
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โ™ซ ืฉืกื•ื›ื ื™ื ื• ื”ื—ื•ืคืฉื™ื™ื ืฉืœ ื—ื•ืžืจ ื›ืœืฉื”ื• ื ืžืฆืื™ื โ™ซ
15:23
โ™ซ scared โ™ซ
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โ™ซ ืžืคื•ื—ื“ื™ื โ™ซ
15:30
โ™ซ Hold still a while โ™ซ
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ืืœ ืชื–ื•ื– ืœืจื’ืขโ™ซ
15:33
โ™ซ Don't spill the wine โ™ซ
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โ™ซ ืืœ ืชืฉืคื•ืš ืืช ื”ื™ื™ืŸ โ™ซ
15:37
โ™ซ I can see it all from here โ™ซ
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โ™ซ ืื ื™ ืจื•ืื” ืžืคื” ื”ื›ืœ โ™ซ
15:40
โ™ซ I can see โ™ซ
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โ™ซ ืื ื™ ืจื•ืื” โ™ซ
15:42
โ™ซ oh, I โ™ซ
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โ™ซ ื”ื•, ืื ื™ โ™ซ
15:44
โ™ซ I can see โ™ซ
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โ™ซ ืื ื™ ืจื•ืื” โ™ซ
15:49
โ™ซ weather systems of the world โ™ซ
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โ™ซ ืžืขืจื›ื•ืช ืžื–ื’ ื”ืื•ื™ืจ ืฉืœ ื”ืขื•ืœื โ™ซ
17:42
โ™ซ Weather systems โ™ซ
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โ™ซ ืžืขืจื›ื•ืช ืžื–ื’ ื”ืื•ื™ืจ โ™ซ
17:47
โ™ซ of the world โ™ซ
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โ™ซ ืฉืœ ื”ืขื•ืœื โ™ซ
18:56
Thanks.
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ืชื•ื“ื”.
18:58
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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