Shadowing-Übung: (2006/10/21) BBC 2, The Culture Show, Thom - Englisch Sprechen Lernen mit Video

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I asked loads of my friends

if you had to ask one question of Tommy York Why are you such a miserable bastard?

I think actually to be honest I think half the problem is that I have a certain sort of voice that

can make things sound worse than they are

It wasn't about you being miserable they wanted to ask you

if you thought the best thing you ever did was I was like a computer.

That's funny, because people used to say the bends.

What do you think about that?

So maybe give them another five years, maybe they'll say, kid A, maybe not.

What made you feel you wanted to do something on your own?

Mostly it was to do with the fact

that there was a sort of growing pile of things

that I wanted to finish that would have been extremely dull if it had been a band thing, because they were done on computers.

You know, it was all programming and, um...

It wouldn't have really made sense to sit around with all five of us gazing at a screen.

The lyrics on the eraser, they're very provocative, some of them, aren't they? Are they?

Well, I found them so and...

Oh, okay.

Good.

I think.

There's the song about David Kelly.

What made you want to write a song about that?

The whole Hutton whitewash and the...

the mewing and crying of Alistair Campbell and then the...

All the lies about going to war in the first place and la la la, and going to these protests of people lining the streets eating school kids,

and all this sort of madness going on.

And then in the middle of it, this one poor guy, who just seemed to end up being like the focus of a certain terrible energy.

Do you hope or deliberately set out to try and provoke people

and provoke people to think about some of these things through your lyrics?

I don't have a problem with with writing about things

that may be seen as political

but I don't really think it's it's not political music it's just part of what's in front of me.

Do you write all this as a kind of catharsis?

Desperately trying to write songs that fantastical, life-affirming in all the right ways, but I personally think that's what the music's supposed to do.

And if you write the words correctly, you could be absorbing all this stuff.

But really, the whole point is the music flows over you.

Music basically is like mathematics, you know, and you're trying to form patterns,

patterns that make you understand what is around you and patterns that help you get through the next day.

Like, when I listen to the radio and stuff, when I hear a new piece of music, that I've just got to get a hold of it,

because I know it's going to help me through a particular thing until the next one, or it's life-affirming.

The whole point of music is life-affirming.

The sickness of it for me, the bit I couldn't deal with, was that somehow this is a reason to exist.

and somehow you get to a certain level and...

..or whatever, of exposure or fame or whatever, and then suddenly you can communicate with other famous people on a higher level.

And, like, waft around going, hi.

And that was a bit...

I just kind of thought that was a bit peculiar.

Do you think there's a sort of upside to being, you know, well-known in that you can have huge influence?

I don't think you do.

I think all you do is you turn on the media

that week for 20 seconds to something and then they turn on to the next thing.

I don't think you have influence as such.

All you do is that and then that might get someone to sort of vaguely rethink about one little thing but there's,

you know, I don't think...

I think people are perfectly capable of making their own decisions and God help them if they listen to me.

If you could pick one song that you'd like to be remembered by, what would it be?

How to Disappear, After a Day.

Why?

Because it's the most beautiful thing we ever did, I think.

We have this really amazing situation.

I'm not quite sure whether it happens with other bands, but we have all these unofficial sites that are really on top of what we're doing, more on top of what we're doing than we are.

And our site itself is just like this mad sort of collage thing of our thoughts

and also a really good way of getting directly to people when we want to.

So it's always been, I mean, from about Kid A onwards, it's been a source of directly

trying to circumnavigate the media and the media having to follow what's happening on the internet rather than the other way round.

It sort of works to varying degrees,

but I I personally think that for Radiohead, what we do on the internet is much,

much more important than, except for live performances on TV, it's by far the most important thing for us and it has been for ages.

Because it's not very messy and it's not very coherent and whatever,

but it's us, you know, and it's what we choose to put across other than making music all the time.

Do you feel that relationship has deepened over the years with your fan base?

I think so.

I mean, the most fun we have is when we do these things, the webcast things we used to do and we still do sometimes,

which is just, it's this mad situation where you you know thousands of people are watching

and they're talking about what you're doing

and you can see it on one screen and you're seeing what you're doing on the other.

Like a pirate TV thing, that's really, you get massive buzz out of that.

And also you have that other thing where we play all these new songs and they're immediately up on YouTube,

recorded on people's phones and things and there's an entire sort of energy to

that whole thing which is completely outside of your Sunday supplement music critics or whatever, which I think is, I find really exciting.

It's really amazing, especially when we travel, when we go to America and stuff, how important it's been for us and

how there's sort of like an honesty about our relationship we have with the fans when minutes through that, which I think is great.

I don't like having mediators with their own agendas, obviously no one would give them the choice.

And do the fans send you nutty things, in which case what's the nuttiest?

Oh, er, no. No, not really.

That's because you're not famous enough, obviously, in that anymore.

No, we used to get the nutty thing.

Now you have people saying, that was great the way you changed the chord in the end of it.

And you're like, okay.

Is that worse? Or better?

That's alright.

You know, sometimes they're right.

Sometimes you really should put that verse back in.

Okay?

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Wortschatz und Sprechhinweise zu dieser Lektion

Dieses Video enthält 94 Sätze und 1219 Wörter zum Nachsprechen. Der gesprochene Teil dauert 7:21. Der Sprecher spricht in natürlichem Tempo, etwa 166 Wörter pro Minute, ähnlich wie im Alltagsgespräch. 88 % der Wörter gehören zu den 3.000 häufigsten im Englischen, der Wortschatz ist also leicht zu verfolgen.

Wichtiger Wortschatz in diesem Video

15 weniger häufige Wörter aus dem Video, mit Aussprache und Bedeutung:

lyrics /ˈlɪɹ.ɪks/ (Substantiv) — Liedtext, Text. The words to a song (or other vocal music).
miserable /ˈmɪz(ə)ɹəbəl/ (Adjektiv) — elend, erbärmlich. In a state of misery: very sad, ill, or poor.
protest /ˈpɹoʊ.tɛst/ (Substantiv) — Protest, Einspruch. A formal objection, especially one by a group.
exposure /ɪkˈspəʊ.ʒə(ɹ)/ (Substantiv) — Kontakt, Einwirkung. The condition of being exposed, uncovered, or unprotected.
fame /feɪm/ (Substantiv) — Ruhm, Berühmtheit. One's reputation.
agenda /əˈd͡ʒɛn.də/ (Substantiv) — Agenda, Tagesordnung. A temporally organized plan for matters to be attended to.
vary /ˈvɛəɹi/ (Verb) — variieren. To change with time or a similar parameter.
communicate /kəˈmjuːnɪkeɪt/ (Verb) — mitteilen, übermitteln. To impart or transmit (information or knowledge) to someone; to make known, to tell.
verse /ˈvɝs/ (Substantiv) — Vers. A poetic form with regular meter and a fixed rhyme scheme.
mathematics /mæθ(.ə)ˈmæt.ɪks/ (Substantiv) — Mathematik. An abstract representational system studying numbers, shapes, structures, quantitative change and relationships between them.
pile /paɪl/ (Substantiv) — Haufen, Stoß. A mass of things heaped together; a heap.
bend /bɛnd/ (Verb) — beugen. To cause (something) to change its shape into a curve, by physical force, chemical action, or any other means.
buzz /bʌz/ (Substantiv) — Summen, Brummen. A continuous humming noise, as of bees; a confused murmur, as of general conversation in low tones.
supplement /ˈsʌp.lɪ.mənt/ (Substantiv) — Ergänzung. Something added; especially, such an addition added to make up for a deficiency.
deliberately /dɪˈlɪb.(ə.)ɹət.li/ (Adverb) — mit Absicht, absichtlich. Intentionally, or after deliberation; not accidentally.

Phrasal Verbs, die du hören wirst

think about /ˈθɪŋk əˌbaʊt/ (Verb) — (jemand) denken an. To ponder.
deal with (Verb) — behandeln. To handle verbally or in some form of artistic expression; to address or discuss as a subject.
end up (Verb) — sich herausstellen, am Ende irgendwo / etwas sein. To bring to a conclusion.
go on /ˈɡoʊˌɒn/ (Verb) — weitergehen. To continue in extent.
turn on (Verb) — aufdrehen, anstellen. To set a flow of fluid or gas running by rotating a tap or valve.

Aussprache, auf die du achten solltest

Der Sprecher verwendet 26 Kurzformen und abgeschwächte Formen, zum Beispiel don't, you're, they're. Sprich sie in der kurzen Form, so wie du sie hörst.

Die „th“-Laute: mathematics /mæθ(.ə)ˈmæt.ɪks/, catharsis /kəˈθɑɹˌsɪs/, rethink /ɹiːˈθɪŋk/
Die Laute „sh“ und „zh“: exposure /ɪkˈspəʊ.ʒə(ɹ)/, unofficial /ʌn.əˈfɪʃ.əl/, collage /kəˈlɑʒ/
Lange Wörter – auf die Betonung achten: miserable /ˈmɪz(ə)ɹəbəl/, communicate /kəˈmjuːnɪkeɪt/, mathematics /mæθ(.ə)ˈmæt.ɪks/, deliberately /dɪˈlɪb.(ə.)ɹət.li/, desperately /ˈdɛs.p(ə.)ɹət.li/

So übst du mit diesem Video

Höre dir das ganze Video einmal an, ohne zu sprechen, und notiere die Wörter, die du nicht kennst.
Beginne mit 0,75-facher Geschwindigkeit, sprich Satz für Satz nach und wechsle zur normalen Geschwindigkeit, sobald es leichtfällt.
Nimm dich auf und vergleiche mit dem Original; achte dabei auf Wörter wie lyrics, miserable, protest.

Grammatik in diesem Video

Die Strukturen, die der Sprecher am häufigsten verwendet, mit den genauen Worten aus dem Video:

Struktur	Im Video
„Used to“ used to + Verb – eine frühere Gewohnheit oder ein Zustand, der nicht mehr gilt	used to say · used to do · used to get
Present Perfect have/has + Partizip Perfekt – eine vergangene Handlung, die jetzt noch wichtig ist	it's always been · has been · has deepened
Passiv be + Partizip Perfekt – wichtig ist, was geschieht, nicht wer es tut	may be seen · be remembered

Was ist die Shadowing-Technik?

Shadowing ist eine wissenschaftlich fundierte Sprachlerntechnik, die ursprünglich für die professionelle Dolmetscherausbildung entwickelt und durch den Polyglotten Dr. Alexander Arguelles populär gemacht wurde. Die Methode ist einfach aber wirkungsvoll: Du hörst englisches Audio von Muttersprachlern und wiederholst es sofort laut — wie ein Schatten, der dem Sprecher mit nur 1–2 Sekunden Verzögerung folgt. Anders als passives Hören oder Grammatikübungen zwingt Shadowing dein Gehirn und deine Mundmuskulatur, gleichzeitig echte Sprachmuster zu verarbeiten und zu reproduzieren. Studien zeigen, dass es Aussprachegenauigkeit, Intonation, Rhythmus, verbundene Sprache, Hörverständnis und Sprechflüssigkeit signifikant verbessert — was es zu einer der effektivsten Methoden für die IELTS Speaking-Vorbereitung und reale englische Kommunikation macht.

Shadowing-Technik: die vollständige Schritt-für-Schritt-Anleitung lesen →

Shadowing-Übung: (2006/10/21) BBC 2, The Culture Show, Thom - Englisch Sprechen Lernen mit Video

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