Shadowing Practice: The origin of the '80s aesthetic - Learn English Speaking with Video
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If we were to make a mood board for each decade, it would probably look something like this, right?
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Even if we didn't live through the 50s, 60s, and the 70s, we can pretty much agree on the defining look of the time.
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This is my favorite, the 80s.
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And minus the questionable hairstyles, the 80s set the trend for bright colors, graphic patterns, and geometric shapes.
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Which made me wonder, who created the look of the 80s?
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Is it even possible to point to a specific person or a moment in time?
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Well, in this case, we can.
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I think you'd be hard -pressed to think of any other design phenomenon
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that could be located as specifically to a group of people.
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The Memphis group dominated the design world in the 80s.
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The collective, led by Italian architect Ettore Satzes, came together in 1981.
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They had a huge impact on the postmodern designs of the decade.
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Memphis is probably as influential a design group as there has ever been.
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And they did originate a lot of that visual vocabulary.
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So I give them a lot of credit for the look of the 80s for sure.
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Although the majority were Italians, the group had architects and designers from all around the world.
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Japan, France, Britain, Austria, America.
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And unlike the name, the group wasn't from Tennessee.
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They were actually based in Milan, Italy.
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The name Memphis came from a Bob Dylan song that was playing during a meeting.
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First thing to know about Memphis is
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that it comes out of a long tradition of radical design in Italy in the 1960s.
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Radical design was a movement formed by architects in reaction to the minimal and practical aesthetics of modernism.
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Modernism was put into some kind of box
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and we gave it a lot of rules which I think a lot of people felt trapped within these rules.
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Radical design allowed designers to express distortion and irony, moving far away from functionality of design.
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Satsas was a big proponent of the movement.
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According to The Guardian, he tried to stay away from the modernist way of designing, like a well -educated schoolboy.
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He didn't follow the rules, which made the Memphis group's work unpredictable.
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We wanted to be excited.
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We wanted to be anxious.
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We wanted to be thrilled.
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This is Peter Shire, one of two Americans who were part of the Memphis group.
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We were doing it mechanically because we didn't have the computers.
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They existed.
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We were seeing signs of it.
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And you look at that kind of overlay, look at Memphis, you know, pattern on pattern, with stuff flying out.
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In 1981, the group showed their work for the first time at the Milan Design Fair.
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The entire collection was named after luxury hotels.
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Carlton, the Bel Air chair that Peter Shire did, the Plaza Vanity that Michael Graves did, which is like a joke,
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right, about taking plastic laminates and putting it on cheap composition wood and then naming it after luxury hotels.
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It's all part of this sort of faux chic thing that they were interested in.
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The New York Times wrote that the show appalled some and amused others, but put everyone attending the fair in a state of high excitement.
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Sotsass and one of the other designers were on their way to the opening in a taxi
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and they thought that a terrorist bomb had gone off in downtown Milan.
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They realized gradually that the chaos and crowding was actually because of their own exhibition.
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They got out and walked and it was like mob scene.
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Their work spread quickly through design magazines that were popular at the time and soon enough you saw their influence everywhere.
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I always think it's really important that it happened virtually simultaneously with MTV, which also launched in 1981.
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And if you think about like the logo of MTV with all those colors and patterns and the kind of scratchy graphics,
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clearly relates very closely to some of the graphic design ideas that were coming out of Italy that were, you know, the context in which Memphis emerged.
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But despite the impact that the group had, their furniture never quite made it into people's homes.
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It was very, very unusual to decorate with Memphis at that time.
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There's only one single piece of furniture from Memphis that was ever mass -produced, and that's the first chair.
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I think about 3 ,000 of those are made.
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With a circular disc at the back and two black orbs to rest your arms, the design was unlike any other chair on the market in 1983.
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Which was a brilliant idea and a terrible chair.
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But the trouble is they always fell over backwards.
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Yeah, it's really funny.
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A few years later, Satsas left the group to build his own studio, and the Memphis group held their last show in 1987.
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Whenever people would say to me, what's the sort of ending of the postmodern period, I would say more or less it is around 1987,
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because there's a recession then that kind of takes some of the air out of the art market, and it's like a real turning point.
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The life of the Memphis group was short -lived — six years, to be exact.
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And even though their designs failed to serve a function in people's homes, they left a colorful mark in history and inspired many designers to come.
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Like this first Apple Watch, which was created in 1995.
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They were given out for free to anyone who bought the Mac system.
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Or this 2011 Dior Couture show, which was an ode to Memphis design.
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Karl Lagerfeld was among the few who collected their pieces and Sotheby's auction out sold David Bowie's Memphis collection last year, which also included Peter's work.
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The designs have a distinctive look that continues to come up time and time again.
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And that's how design works sometimes.
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It often spreads around the world without the designer's names attached.
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So even if you recognize this look as the look of the 80s, most people probably have never heard of Memphis at all.
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I should ask somebody.
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I should ask the man on the street.
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Most people would go, what?
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Primeras impresiones: ¿Por qué este video es ideal para practicar speaking?
El video sobre el origen de la estética de los 80 es un material excelente para la práctica de speaking para el IELTS y el shadowing. Su diálogo combina explicaciones claras con entrevistas, lo que expone a diferentes tonos, ritmos y vocabulario coloquial. Además, los temas culturales y artísticos fomentan la fluidez al hablar de temas variados, un requisito clave en exámenes como el IELTS. La narración natural y las pausas estratégicas lo convierten en un recurso perfecto para ejercitar la imitación vocal, esencial en técnicas como el shadow speech.
Analicemos el lenguaje: Frases que suenan naturales y por qué
1. "Even if we didn’t live through the ‘50s, ‘60s, and the ‘70s… We can pretty much agree on the defining look of the time." Usa "even if" para contrastar, una estructura común en conversaciones. "Pretty much" suaviza la afirmación, lo que la hace más coloquial. 2. "They existed—We were seeing signs of it. And you look at that kind of overlay." Las pausas con guión y la repetición de "you look at" imitan el flujo natural de la conversación, mostrando cómo los hablantes conectan ideas sin planificación. 3. "The New York Times wrote that the show ‘appalled some and amused others but put everyone attending the fair in a state of high excitement.’" Incluye citas y vocabulario específico (appalled, amused) que enriquece el discurso, útil para el IELTS. La estructura "but" crea tensión, una herramienta clave para mantener el interés.
Rutina de práctica: Shadowing efectivo con este video
Para mejorar tu shadow speak, sigue este ciclo simple:
- Elige un fragmento de 30 segundos (por ejemplo, la parte sobre la exposición de 1981). Reproduce y escucha atentamente la pronunciación, la entonación y las pausas.
- Usa una app de shadowing para grabarte imitando el fragmento en tiempo real. Asegúrate de coincidir el ritmo y el énfasis.
- Compara tu grabación con el original. Identifica diferencias en la pronunciación de palabras como "Milan" o "laminates" y repite hasta que suenen naturales.
- Incrementa la duración a 1 minuto y practica diariamente. Esta rutina refuerza la fluidez y la confianza, esenciales para el speaking del IELTS.
Gramática en este vídeo
Las estructuras que más usa el hablante, con las palabras exactas del vídeo:
| Estructura | En el vídeo |
|---|---|
| Voz pasiva be + participio pasado — importa lo que ocurre, no quién lo hace | could be located · were actually based · was put |
| Oraciones de relativo who / which + oración — información extra sobre una persona o cosa | did, which is · Watch, which was · anyone who bought |
| Present perfect have/has + participio pasado — una acción pasada que sigue importando ahora | has ever been · have never heard |
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.