Mister & Miss Mutig Open Stage Impro
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00:00
VorwärtsfehlerkorrekturUnordnungTelekommunikationOffene MengeMAPMakrobefehlBitPunktVerschlingungDruckverlaufSichtenkonzeptWiederherstellung <Informatik>WinkelMalwareMultiplikationsoperatorPhysikalischer EffektEin-AusgabeMetropolitan area networkSystemaufrufRechter WinkelComputeranimationVorlesung/Konferenz
01:43
Dienst <Informatik>AggregatzustandSichtenkonzeptGruppenoperationMomentenproblemDigitale PhotographieAnonymisierungt-TestEntscheidungstheorieMAPFormation <Mathematik>Offene MengeVorlesung/Konferenz
02:35
SpieltheorieMomentenproblemRauschenSchreib-Lese-KopfMinkowski-MetrikFormation <Mathematik>Schwach besetzte MatrixAeroelastizitätEndliche ModelltheoriePerfekte GruppeInformationVorlesung/Konferenz
03:30
ClientSchlussregelEndliche ModelltheoriePhysikalisches SystemKontextbezogenes SystemBildgebendes VerfahrenMinkowski-MetrikWeg <Topologie>ExpertensystemRhombus <Mathematik>EnergiedichteBildschirmmaskeOrdnung <Mathematik>RechenwerkGrundraumMomentenproblemMultiplikationsoperatorEinfacher RingRechter WinkelPunktDemoszene <Programmierung>Data MiningVorlesung/Konferenz
05:51
Rhombus <Mathematik>MAPDefaultWort <Informatik>Abstimmung <Frequenz>DatenflussComputerspielSoundverarbeitungSystemaufrufMomentenproblemVorlesung/Konferenz
07:21
Formale SpracheAggregatzustandBildschirmmaskeARM <Computerarchitektur>ProgrammierumgebungDatenverwaltungAlgorithmusVorlesung/Konferenz
08:17
Gesetz <Physik>Wort <Informatik>DivisionQuick-SortEDV-BeratungMultiplikationsoperatorIdentitätsverwaltungNormalvektorAusdruck <Logik>VersionsverwaltungGeradeVorlesung/Konferenz
09:14
SichtenkonzeptEndliche ModelltheorieQuick-SortMultiplikationsoperatorEinsRationale ZahlGewicht <Ausgleichsrechnung>Gesetz <Physik>Vorlesung/Konferenz
10:14
DigitalisierungMultiplikationsoperatorDigital Equipment CorporationTypentheorieCAMBitClientBeobachtungsstudieEinsWorkstation <Musikinstrument>Vorlesung/Konferenz
11:47
SystemprogrammComputerunterstützte ÜbersetzungBildschirmmaskeGeradeDatenflussTechnische OptikMultiplikationsoperatorDifferenteVorlesung/Konferenz
13:00
Bildgebendes VerfahrenVollständigkeitSystemaufrufBesprechung/Interview
13:44
Güte der AnpassungPhysikalisches SystemComputerspielRechter WinkelEndliche ModelltheorieProgrammierumgebungWorkstation <Musikinstrument>MatchingRechenschieberSoftwaretestEin-AusgabeEreignishorizont
15:14
SichtenkonzeptFaserbündelEreignishorizontVersionsverwaltungOrdnung <Mathematik>System-on-Chip
16:07
BitComputeranimation
17:13
Konforme AbbildungQuick-SortEndliche ModelltheorieGrenzschichtablösung
18:21
Quelle <Physik>Demoszene <Programmierung>VererbungshierarchieMultiplikationsoperatorSpieltheorieAbstimmung <Frequenz>Spezifisches VolumenGeradeOffice-PaketArithmetisches Mittel
19:40
MultiplikationsoperatorSampler <Musikinstrument>SpieltheorieDemoszene <Programmierung>BitComputervirusEntscheidungstheorieMigration <Informatik>WasserdampftafelSystemaufrufSichtenkonzeptPasswortProzess <Informatik>VersionsverwaltungVorlesung/Konferenz
20:51
Güte der AnpassungEndliche ModelltheorieOrtsoperatorComputerspielSpieltheorieBesprechung/InterviewVorlesung/Konferenz
21:56
Güte der AnpassungKnotenmenget-TestQuellcodeEinsInformationsspeicherungHypermediaMailing-ListeVorlesung/Konferenz
22:51
Güte der AnpassungSoftwaretestEndliche ModelltheorieVariableRechenschieber
23:57
Selbst organisierendes SystemSmartphoneDemoszene <Programmierung>VersionsverwaltungElektronische PublikationTypentheorieRhombus <Mathematik>MinimumSinusfunktionFokalpunktVorlesung/Konferenz
24:51
ZweiGesetz <Physik>Dichte <Physik>Prozess <Informatik>Metropolitan area networkTheoremDemoszene <Programmierung>Strategisches SpielMultiplikationsoperatorMomentenproblemVorlesung/Konferenz
26:07
Güte der AnpassungDemoszene <Programmierung>MereologieGruppenoperationZweiReelle ZahlMultiplikationsoperatorLogischer SchlussComputerspielProzess <Informatik>PhysikalismusSpiegelung <Mathematik>KreisbogenRhombus <Mathematik>Vorlesung/Konferenz
27:52
ComputerspielDatenfeldZweiMultiplikationsoperatorSichtenkonzeptMengeMultiplikationDreieckVersionsverwaltungGeradeVorlesung/Konferenz
28:51
MengeMultiplikationsoperatorZellularer AutomatEinsSprachsyntheseSichtenkonzeptOrdnung <Mathematik>TorsionArithmetisches MittelEndliche ModelltheorieSystemaufrufATMSoftwaretestKomplex <Algebra>NormalvektorTouchscreenMinkowski-MetrikGüte der AnpassungSpezielle unitäre GruppeDateiformat
30:47
Demoszene <Programmierung>App <Programm>SichtenkonzeptVorlesung/Konferenz
31:32
VererbungshierarchieApp <Programm>MultiplikationsoperatorComputerspielVorlesung/Konferenz
32:54
Notebook-ComputerE-MailFamilie <Mathematik>GeradeKreiszylinderIdentitätsverwaltungProgrammierumgebungKonstanteNeuroinformatikInstantiierungFacebookGüte der AnpassungPasswortGewicht <Ausgleichsrechnung>SicherungskopieInformatikMathematikVorlesung/Konferenz
34:54
Rechter WinkelMultiplikationsoperatorPerfekte GruppeAbstimmung <Frequenz>Quick-SortOrtsoperatorVorlesung/Konferenz
36:28
Nichtlineares SystemFaserbündelFormation <Mathematik>Mailing-ListeIterationOrdnung <Mathematik>ProgrammierungDienst <Informatik>BitVorlesung/KonferenzBesprechung/Interview
37:27
Prozess <Informatik>MultiplikationsoperatorProgrammierumgebungGesetz <Physik>MomentenproblemDienst <Informatik>Office-Paket
38:39
BinärdatenPunktLie-GruppeNotepad-ComputerPhysikalische TheorieParametersystemOffice-PaketMereologieZellularer AutomatVorlesung/KonferenzBesprechung/Interview
39:35
SchlussregelSichtenkonzeptVorlesung/Konferenz
40:28
SprachsyntheseMomentenproblemOrdnung <Mathematik>GeradeMultiplikationsoperatorNormalvektorComputerspielMAPDiagonale <Geometrie>Mailing-ListePhysikalisches SystemÄußere Algebra eines ModulsTaskEndliche ModelltheorieVorlesung/Konferenz
41:57
Mailing-ListeVorzeichen <Mathematik>TabelleEinsBitGüte der AnpassungZellularer AutomatClientSchlussregelLogischer SchlussOffice-PaketDerivation <Algebra>Besprechung/Interview
43:05
VersionsverwaltungDifferenteFrequenzMereologieBaum <Mathematik>ClientTablet PC
43:49
BitKlasse <Mathematik>MereologieEin-AusgabeVideokonferenzMultiplikationsoperatorSoundverarbeitungVererbungshierarchieSoftwaretestMengeGrundraumAggregatzustandSpieltheorieMailing-ListeMAPZellularer AutomatGrundsätze ordnungsmäßiger DatenverarbeitungVorlesung/Konferenz
45:17
BitGüte der AnpassungDrucksondierungVorlesung/KonferenzBesprechung/Interview
46:17
Metropolitan area networkFigurierte ZahlNormalvektorRechenwerkSchreib-Lese-KopfSichtenkonzeptBitKlasse <Mathematik>DefaultRouterSchlussregelBesprechung/Interview
47:23
VektorraumMetropolitan area networkProzess <Informatik>TypentheoriePhysikalisches SystemVorlesung/Konferenz
48:08
BitSinusfunktionComputerspielGüte der AnpassungBetrag <Mathematik>DistributionenraumBildschirmmaskeMultiplikationsoperatorEinsVorlesung/Konferenz
49:03
BitPlastikkarteFigurierte ZahlWort <Informatik>Schreib-Lese-KopfKrümmungsmaßComputerspielMetropolitan area networkOrdinalzahlVorlesung/KonferenzBesprechung/Interview
49:50
ZeitzoneEinsBildverstehenVorlesung/Konferenz
50:44
BildschirmmaskeZeiger <Informatik>Ordnung <Mathematik>Quick-SortMathematikRechter WinkelWort <Informatik>Schreib-Lese-KopfPhysikalisches SystemZahlenbereichDifferenteSichtenkonzeptOrtsoperatorGüte der AnpassungVorlesung/KonferenzBesprechung/Interview
52:17
Exogene VariableDatenstrukturMultiplikationsoperatorRhombus <Mathematik>InternetworkingHIP <Kommunikationsprotokoll>GruppenoperationElement <Gruppentheorie>Vorlesung/Konferenz
53:14
Endliche ModelltheorieIntegralStörungstheorieDean-ZahlMultiplikationsoperatorGesetz <Physik>StellenringMAPSmartphoneInformationsspeicherungOrdnung <Mathematik>StabEinsVererbungshierarchieTouchscreenVorlesung/Konferenz
54:34
RechenschieberSchwach besetzte MatrixLateinisches QuadratGüte der AnpassungTypentheorieSchnitt <Mathematik>RotationsflächeDichte <Physik>Endliche ModelltheorieMultiplikationsoperatorTaskData MiningStandardabweichungVorlesung/Konferenz
55:57
UnrundheitEinsTwitter <Softwareplattform>DruckverlaufNominalskaliertes MerkmalOrdnung <Mathematik>Spezielle unitäre GruppeMinkowski-MetrikSoftware
56:47
Vorlesung/KonferenzJSONComputeranimation
Transkript: Englisch(automatisch erzeugt)
00:14
So, now we're going to talk a little bit about the veneers, the big announcements, I don't know.
00:20
From there, I'm going to tell you Mr. and Ms. Mutik. I'm going to tell you, where is Mr. and Ms. Mutik? Right there. Marco, what do you want to say? Yes. Then you can come to my office, I'm going to tell you.
00:44
Okay, Mr. and Ms. Mutik. Marco and Felix from the company, we're going to talk a little bit about the veneers. A big applause. Now, let's see how it goes. We're going to hear it. We're going to hear it.
01:03
Yes, I'm coming. I'm sure you're all going to come. It's going to be a lot of fun. We're going to talk about the veneers. And the first question, do you have the answer? Do you have the answer?
01:20
Yes. Are you sure? Yes. For the veneers, we don't know what we're talking about. Yes, exactly. We're going to hear it. We're going to hear it.
01:40
We're going to hear it. We're going to hear it. We're going to hear what we're talking about. We're going to hear what we're talking about. And what's going on here on the stage. It's all going on at the moment. That's all I have to say. Yes. We're going to the Improbannen.
02:02
This is an import to a group in Berlin. We're going to talk about what we're going to hear. This is super cool. It's here to our open stage. Open stage means everything to us. That the public doesn't know how to become a citizen.
02:21
And how to become an inspiration. And then open stage means that we're going to hear one thing. To listen to our own music. And to listen to our own music. And to listen to our own music. I can't wait. I can hear absolutely nothing.
02:40
We're going to hear one thing. We're going to hear one thing. We're going to hear a lot of games. And here you can hear the moment. Here you can hear the sound. The one thing you can hear is the sound. That's why we're here. And here you can hear the perfect, super professional music.
03:03
We're going to hear a lot of games. You can hear absolutely nothing. And that's why we're here. So we're here. And we're going to hear some space. We're going to hear what philosophy can be.
03:20
Maybe a little bit. And we're going to hear some space. That's why we're here. Let's listen. We're going to hear some space. Maybe a little space. A space. An expert space. Then we'll hear it.
03:40
And we're going to hear something from the public. A theme for this space. You can't hear a theme. What's that? A theme. A theme. And what I'd like to see in this context is the theme of the four tracks.
04:02
But you can also hear a theme of the four tracks. And that's why I'd like to hear two or three of them. You can't hear them. You can't hear them. There are only two of them. One person, and I'd like to hear one of them. Do you hear them?
04:23
And you have to listen to the microphone. I'd like to hear one of these microphones. It's okay.
04:41
No problem. First of all, it's important to remember that when you hear something, you can't hear it. Or I don't want to hear it. You have to listen to it. And in this moment, you have to listen to the four tracks.
05:01
But I'd like to hear what you think. I'd like to hear those two tracks. And I'd like to hear one more thing. We are already working on this. This is the starting scene. You can see by the intro a tradition. You can hear one of them. You can hear them.
05:21
And you can hear the music. And we're going to hear five of them. And we'll hear them. So five, four, three, two, one. Four, three, two, one. We're going to hear four, three, two, one. We're going to hear four of them. We're going to hear four of them. Okay, let's hear the four tracks.
05:44
And we'll hear one of them. Five, four, three, two, one. Four, three, two, one. Good evening, my friends. And welcome to the final stage. Today, we're going to hear seven.
06:03
This is... Listen to this word, seven. It's a must-see word. It's a must-see word. It's a must-see word. It's a must-see word. Seven words. Do you hear it publicly?
06:21
Seven words that you can't hear. Seven words that you can't hear. It's a must-see word. Seven words. We're going to hear seven words. But, listen, it's a must-see word. Our hearts pass on and on. We're going to hear seven words.
06:42
No. All of you, listen. One word is seven words. And we're going to hear them with their three and four and five. With one and with nine. But, listen. The one is the only word that you can't hear. Is it not so? Do you know the seven and the nine?
07:03
But why is it not so? But the seven has a lot more spectrum. What's really interesting is the seven is for their sex. Yes. And for their sex. The sex is the only thing.
07:22
The sex state for sexuality. And the sex is the city. So, it's the same. It's the struggle for sex. Do you understand that? And we're going to hear this form. This form. This language. This language.
07:42
This language is strong. It's the two arms of the mind. The mind is in the soul and in one big soul. in the city, in what every marketing company has, in the city.
08:01
The algorithm that we use, that is the most serious metal jazz. Yes. And so, we have a goal. The alliance has shown us that there are so many people. We have a goal. There are so many people.
08:20
There are so many people. There are so many people. But here, we are a great, tall, I don't know what's wrong with you guys. I'm still hanging. We're running out of these people.
08:40
You're going to have to go to a street. You can't go to a street. You can't go to a street. You can't go to a small street. You can't go to a street. You can't go to a street.
09:18
You're so A big thanks to the Mathematica.
09:26
The Mathematica is the basis of time. We have the idea that we all need to make a small amount of money. We can't make that much money. We need to make a small amount of money.
09:40
No, we have to make this much money. In the time. We need to make a small amount of money. We need to make a small amount of money. So we are the pros. Or the ones who are going to help us. Do you understand me? Yes.
10:00
Because we need to make a small amount of money. We need to make a small amount of money. So we are the pros. Do you understand me? No, I don't. Do you understand me? No, I don't.
10:22
I have my whole body with the same type of hair. It's so that I also have my own hair. It's so that I also have my own hair. I have my own hair with the same type of hair. I have my own hair with the same type of hair. I have my own hair with the same type of hair.
10:41
It's a hard thing to do. My vegan colleagues don't like that. I don't like that. I'm a little bit too small. These small things are so small. They're like plastic cams. But small.
11:01
Small is... So that you can see how small you can be. That's what I mean. You have to have the same amount of money. You have to have the same kind of strength with people. You have to work in the same way. Small and whole. You have to have the same amount of strength with people.
11:21
You have to have the same amount of strength. That's a... We have a good idea. We have to stretch and have the same amount of strength. That's what we're talking about. The same amount of strength makes people feel better.
11:41
The same amount of strength is what makes people feel better. We have to have the same amount of strength.
12:39
We have to have the same amount of strength.
12:40
And this time we're talking about two different kinds of strength. Of course not. I'm saying, here are the hands. We're talking about two balls. Yeah. How do you use your microphone? Well, that's the only thing.
13:04
Very nice. Come to me with the hug. Oh, that's nice. So, let's see where you're sitting. I'm sitting on the mic. Okay, very nice. One of you can use your microphone and we can't hear you.
13:22
Do you know where the microphone is? I can't hear you. Very nice. Then... Let me turn the mic up and look at that. Okay. So, we're clearly talking about the spiel. That's called puppets.
13:41
And... Peggy, can you show us your work? Or is it completely different from... Completely different. Good. It's a bit different now, with the equipment. And Frank, I don't know what you're talking about. Can you show me how to approach the audience? And what do you think about your first work? No, this is the first one. Very nice. Now it's the spirit.
14:02
Ah, okay. Yeah, it's an interview. Here and here. Okay. And how do you feel about your first work and the rest of the audience? I'm fine, yeah. I'm fine. I'm very happy to have you here. Yeah.
14:20
Okay, we'll be right here. Okay, Peggy. Do you have a program? Yeah. Very good. Mine? Yeah. Okay. Okay. We have now two poems. These were written.
14:41
And the poem can be written. I said I'm a poet and one of them is also a poet. Yeah, Peggy. You're a poet or is this a microphone? I'm a poet. You're a poet. I'm here. We're still here.
15:01
We're still here.
15:35
Then the second poem is written. Then the second poem is written.
15:40
And then the last poem is written. Then the second poem is written. And then there is a small piece. And you have shown a wonderful performance. Then you say... Say it with me.
16:01
Five, four, three, two, one, go! It's a wonderful poem. It's a beautiful poem. Can you hear it? I can hear it. I can hear it.
16:26
Here. As you can see, you can hear it. Five, four, three, two, one, go! What do you think? I thought it was you.
16:46
Surely, I have forgotten what you're thinking. It's a great poem.
17:00
I can't hear it. Can you hear it? Yeah, yeah. You have to hear it. You have to hear it. You're going to sing with your own voice.
17:33
I know I'm going to sing with my voice, but how do you hear it when you're so much better?
17:48
You're going to sing with your own voice. You're going to sing with your own voice. How do you feel? I'm going to sing with your own voice. Oh, God, I'm so sorry.
18:01
I thought you were thinking. Oh, my heart is beating. I'm going to sing with my own voice. I can't hear it.
18:24
Pass it on. Here. That's the song from our new song. Listen to my own false spring. And this spring I'm going to sing with you. You're not going to sing with your own voice.
18:48
Yeah, you have to sing with your own voice. Okay, I'm going to sing with you. Action!
19:07
I'm a lot, a lot of people. So you guys are coming. I'm here to play for you. And, yeah. Super. Yeah, a lot of people are coming.
19:20
We're coming to the next game. This time we're going to do a small, normal scene. And this time we're going to do one free-falling this time. Where are you going? I'm going to show you the first time. I'm going to show you the first time.
19:41
And I'm going to show you the last time. Ah, come. We're going to play a little bit. Can you hear the micro? Yeah, I can hear it. Okay, that's it. I'm going to play a little bit.
20:03
Then, come to the next scene. Okay, then, come to the next scene. Hello. Super, that's it. You're going to play a little bit with the scene. We're going to show you. Rania, hey.
20:22
Yeah, I'm going to show you this. What's going on with you? Tell me what's going on. Yeah. Then, what are we doing? We're going to play a game. We're going to play Rania, and we're going to play our own game.
20:43
A writer. Yeah, that's quite interesting. You're going to play a game with a writer? Yeah. What are you going to play with a writer? No. Good. I'm going to play a game with a writer.
21:01
You're going to play a game with a writer? That's great. Then, why are you playing? Well, you know, when you play Rania, you're going to play the game. Then, you're going to play the micro.
21:46
Okay. Okay, what's going on? Is it right? Yeah. Awesome. Then, we're going to play with four, three, two, one. Very good. Here is the fourth.
22:00
This is the biggest fourth that we're going to play. You already said that the biggest fourth that we're going to play. Do you really think that you're going to play? Yeah. I must go.
22:21
This is the fourth rainbow. This is the fourth rainbow. Because every writer is going to give up on the fact that they're going to write it. Why do you think that you're going to write it? Show them your mouth. Show them how to
22:41
show them your mouth. You know that the fourth one is not the first one. You're going to have to show us if we're not going to write it. Awesome. Then, the fourth one.
23:01
Oh, the fourth one. The fourth one. The fourth one. A clue in the air. A very clue in the air. But why? If you don't write it, and you don't write it, then we're going to
23:21
write it, because we can't get it. You must write it.
23:42
Very good. You're not going to write it. I'd like to thank you for your support and for your support in the house. No.
24:01
Okay, we're done. Anyway, that's why I'd like to say the buzzers and we're going to make this scene a little bit wider. Now, that's why we're going to
24:21
make a free version for the public for a smartphone visit and then with the side-stop. We're going to make a free version. you're going to make one of the same micros with a smartphone, and we're going to show you the largest scene in the house and it was
24:40
in one minute. I don't know how long it will be for, but I'm going to tell you that you are one minute away and you're going to say it in three seconds, say it in three seconds. Okey-dokey. And you say and then
25:03
Okey-dokey. This is the most brutal and brutal scene that we have and you're going to make two more minutes with this scene, but I hope that you have this
25:20
scene in three seconds. You're going to say this scene in three seconds. You're going to say this scene in three seconds. Now, two seconds. You say that we did it in three seconds and you're not going to say it in three seconds.
25:43
Okey. Then then you say that you did it in three seconds.
26:02
Now, you're going to say it in three seconds. The minute is over. Alright, well, we can do this scene in five seconds. Okey-dokey.
26:21
yeah, we're done. It was done. We did the scene in three seconds. So, we did it in fifteen seconds. Can you do it in fifteen seconds and stop? Okay, say you did it in three seconds. Okay, two,
26:41
two, one, go! This is the most important part. This is the most important part. Make sure you do it in four seconds. No! Okay, you have to do it in five seconds. Here, you have to do it in five seconds. And you have to do it in five seconds.
27:04
Wonderful! we're done with this scene in five seconds. And this is where we did the scene in three seconds. Can you do it in five seconds? Okay, and stop! This is the most important part. You have to do it in five seconds.
27:26
Okay, thank you, Granny! One applause! Good job! Whoa! We're done!
27:43
Can you do it in five seconds? Oh, ah, the action is here. Can you do it in five seconds? Yes! We did it with our speed. Two times, we
28:00
did it in five seconds. We did it in five seconds. Okay, there we did it in five seconds. Okay, there we did it in five seconds. Yeah, there we did it in five seconds. And we did it in five seconds. And we
28:21
did it in So, one applause for Oliver, the camera person. Yeah, we did it in five seconds.
28:41
Okay, and who is it? Sophie. Okay, applause for Sophie. Sophie, are you in progress? No. Okay, come on over. Good. We made a format that is
29:00
two times and this is two times a second and the whole screen has space and when the screen is set the whole screen has
29:22
no space. have a preference to be made is set and the whole screen and the whole screen no
29:44
space and the whole screen has no space and I am going to introduce you to our panel.
30:00
We are going to introduce you to Diagonale, you are going to introduce Felix, and I am going to introduce Oliver. So, we are going to make our way to the moon. When we are ready, or when we are ready, but we are waiting for you. I am waiting for you to wait for you and you. We can go to the moon in the next hour,
30:22
and then we will make our way to the sun. We are waiting for you, and you can also go to the moon in a few hours. Then we will go to the moon. Okay, and we have a few more questions. A question from one of you, a SMS that you are going to ask for.
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You are probably the last one to ask. And you ask, are you going to ask for SMS? Can you complete the answer? Tell me a joke. This is the inspiration for the scene.
31:00
Tell me a joke. Okay. Can you tell us, why the SMS app is called SMS? I am very happy with that.
31:21
Okay. Then, we will begin with four, three, two, one, go! Oh, man, that's so sweet. Oh, these hits. Oh, man. Oh, super. Thank you. Yeah, tell me a joke.
31:44
Ha, ha, ha, ha. Ha, ha. Hoo, hoo. Do you know what Christ is saying? I don't know, I don't know. Maybe he knows something. Oh, oh, oh. Oh, oh, oh, oh.
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Ha, ha, ha, ha, ha, ha. Don't tell me a joke. Can you tell me a joke? Oh, man, everything must be over. Why? Why? Why do you say that this app is so great? Here in the camp. Why do you say that it is mine?
32:20
You are a drug dealer. You are a drug dealer. I know. Why? Why do you say that the first time you saw the grins, you thought I was shown? You are a gun dealer.
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Yeah, you are a police man. Yeah. It's true, right? In my life. Are you a drug dealer? No. I don't know why. Why? Why? Why not?
33:02
I am not a drug dealer. You are a drug dealer. You are a drug dealer. You are not a drug dealer. I am a drug dealer. I am on the laptop. What do you say? You are on the laptop.
33:22
Why? My laptop? No. My email is on the laptop. You can send me a password. And you are welcome. You come to the net. You are the most important person in the world. Yeah. Are you a little bit? No.
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I am not good at math and computer science. No, you are welcome. I am not good at math. I am good at math. I am good at math. And you are welcome. And you can send me a password. And you are not the best. And you are welcome. I am going to send you a password. I am very happy with you.
34:01
No, I am not going to give you a backup. Oh, I am not going to give you a backup. Why is that not a backup? No, let's go. Come on. No, no, no, no.
34:20
So, let's not give me a backup. No, I am not going to give you a backup. No, no, no, no. No. No, good. Just... No, and... ...have a nice backup. Why are you... ...not going to give me a backup?
34:40
Yeah, but it is not. No. Then, yeah... ...you are welcome. Thank you. Okay, thank you. A big applause. Thank you.
35:00
Thank you. Sophie and Oliver. A big applause for you guys. So... ...we are coming to a Viteran Wunderbar. And we are going to take a walk with us.
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And this time I am going to take a walk. That's right. We are going to take a walk. But... ...yes. Yes, young man. And you are going to take a walk. So, we are going to take a walk.
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Come on, you guys. Are you going to take a walk with us? Yes, I am going to take a walk. Ah, for my rice, I am going to take it. Perfect. Ten minutes. Oh, yes. Oh, yes. Yes, this is the club.
36:02
I am going to play a little bit. We have a Viteran Wunderbar and that is RBT-7. We are going to take a walk here. We are going to take a walk here. And... ...you are going to take a walk with a Viteran Wunderbar.
36:23
So, when we are going to take a walk with RBT-7... ...you are going to take a walk with RBT-7. Then you are going to take a walk with a Viteran Wunderbar. And then you are going to take a walk with RBT-7. So, what do you think? I am going to take a walk. Tell me about your name.
36:40
Yes, what is it? It is Larn. So, L-A-N. Larn? Larn. You are a big artist. Do you know the name of the artist here? It is a special name for the Viteran. Oh, really? Yes, yes. Do you have your name here? Yes, I have my name here. Ok, cool. So, it is a very special place. It is very dramatic.
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I think it is also very promising. Very nice. Ok, Vunderbar. Cool. Now let's take a walk. Thank you for your service. I have a question for our audience who wants to know a bit more about Viteran. What can we do?
37:22
Are we going to school? Or a family? Or what should we do? Lipa and Vava, I heard. Is Lipa and Vava? Lipa is super. Viva is cool. Lipa is cool. Let's go for Lipa.
37:44
Ok, so now we are going to... One, two, three, four, five, six, seven, eight, nine, ten. Ah, shut up. I'm sure that you are going to have a very nice day.
38:07
No, I'm not going to go to school. I'm going to go to school. Christian, come on. I'm not going to sleep. Thanks for your service.
38:21
Ok, then let's go. Do you have a question for me? Of course, yes, of course, thanks. Great, it's my pleasure to come to your office. And how do you feel about not being able to come?
38:45
I've never been able to come. I can't believe that there are so many people here. The land is beautiful. My own land.
39:00
And my own home. You must go there. Don't go anywhere. Oh, I'd like to ask you a question. There's a drink here. Don't you want to go there again? Of course. Of course, you're going to live in one of your own houses.
39:22
You're going to live with one of your own bureaucrats. Of course. You're going to live in one of your own houses. Yes, you're going to live in one of your own houses. I'm the actual lover.
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I'd like to ask you a question. Of course, yes. What? What? I don't know what you're talking about. I don't know what you're talking about. Yes. I'd like to ask you a question.
40:13
Hello, Berlin! Thank you.
40:21
Thank you. Thank you. And there we, with our side-shoes on the floor, come to our last speech, where we have a very long speech. Yes, twenty minutes. Perfect! And now, we're going to write a story.
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And there we're going to speak to one Mr. or Ms. Mootish. Do you remember one song? The one that was written in the middle of the road? Wonderful. Wonderful. No, I don't remember.
41:01
One Ms. Mootish. I don't remember that. Do you remember? Yes, we're going to write a very long speech and take a look at Ms. Mootish, the song from the beginning.
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And we're going to talk about her old character. Yes, sure. Hi, I'm Ms. Mootish. Who's your normal name? Julia. What's your name? Yes, I'm sure that we'll find out what we're talking about.
41:40
No, I'm not talking about you. We speak a language, and you speak the language. Yes, you speak the language. And we're going to take a look at your speech, and we're going to start talking about your life. Do you remember Julia's name? No.
42:03
I don't remember the last name. Good, then we're going to talk about our first name. We're going to talk about Julia's name. No, it's our first name. What's that? Helga.
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Helga. Do you remember her name? Yes, I do. How old is Helga? 30? 30 is good. 30 years old? Yes, 30 years old. Okay, 30 years old. And how old is Helga? 30 years old. Very good.
42:42
Helga. 30 years old. Okay, good. Then we're going to talk about, for a few minutes, a little bit about what Helga is talking about. We'll see, and then we'll talk about a little bit of learning.
43:00
And then we'll talk about it when we're talking about it. Of course, I'd like to say something. We can talk about different versions of each other, but we're also talking about the different versions of each other.
43:42
Ah, for me, what I wanted to say is that this is the best lesson in the show. In my opinion, Luca is totally different from in Germany. Not only that, but in the end, it's really super. That's why I call her a little bit serious.
44:01
So, how did that happen? I asked her, why did it happen to me? And she said, well, I'm a little bit serious. And she said, well, I'm a little bit serious. I'm a little bit serious. I'm a little bit serious. And when I hear that, I can't say anything. Yes, of course.
44:20
She's a little bit serious. And she's also a little bit serious. And we're going to talk about it later. Helga, how did you feel? We're here, this is the end of our book club. No! Yes, we saw it all the time.
44:41
It's really all the time. Yes, it's not that hard. It's really hard. No, I didn't mean that. I'm the housemaster. And that's why I'm the housemaster. You're the housemaster. You're the only one who doesn't believe in me. Yes. Yes, so I can't hear you.
45:00
You shouldn't hear everything else. So you're the housemaster. And you're the housemaster. So you're the housemaster. And you're the housemaster. Oh, my God. I can't hear you. That's why I can't hear you. Go on, go on! So, my mama, can you tell us a little bit more about your book club?
45:26
Why are you always in my bed? Of course, of course. Is everything good here? Yes, yes, all is okay, mama. I'm here, I'm here. I can't hear you. Yes, we're in a hotel. We're in a hotel.
45:45
Good, good. Yes, I'm here, the hotel. I can hear you. You're the housemaster. Yes, that's right. I can hear you. And you're the housemaster.
46:00
The hotel is very gifted. You're the housemaster. You're the housemaster. Yes, okay, I understand. This is very important. My phone is off, because I thought you had a problem.
46:22
Hi. I have a question for you in the FB. Can you tell me more about your book club? I'm very happy about it. The song is very smooth, very nice.
46:40
Yes, you are the first one to listen. I'm here to help you. Where are you going to solve this problem? I'm here to help you. I'm very happy about it. I'm very happy. I'm very happy. I'm very happy. Okay, I'm here.
47:01
But when you're going to do it again, you're going to do it all over again. You're going to do it all over again. But you're going to do it all over again. I'm happy about the book club. The world has to be very happy today to be able to do this book club. I'm not going to be able to do it. You're going to be a good man and a good man. Okay, I'm here.
47:21
You're here. I'm here. I'm really happy. Hey! Don't go away! Don't go away! Why don't you go to the hotel? The hotel is very nice.
47:42
The man in the back said he'd go to the hotel and the hotel didn't go. I don't know why. It's a very nice place. I'm very happy about it. We're going to have a very nice place.
48:02
That way we can go to the hotel. The hotel is very nice. Yes, it's very nice. You can go to the hotel with no imperialism. You can't go anywhere. Helga! Don't go away! We're going to meet someone else.
48:20
Not with the host! Not with the imperialism! Okay, let's go! Very good. We're going to have a very nice hotel. A very nice hotel. We're going to have a very nice hotel. We're going to have a very nice hotel
48:45
and we're going to have a very nice hotel. We're going to have a nice, modern hotel. All right. Let's go to the hotel. Five, four, three, two, one!
49:04
Huh, G Lovely! I don't know how to answer that question. The next question is from Nutella. I've already told you that I don't have a smartphone yet. It's a big deal from us.
49:21
Can you tell us a little bit more about Nutella? I'd like to know a little bit more about Nutella. Nutella is a way to... The smart way is a way to fit, and I'm not sure about Nutella. When I talk about Nutella, I'm thinking about the way it works. Yes, that's exactly right.
49:40
I don't know how to answer that question. I don't know how to answer that question. Yes! Yes, papa. The zone is here, the party tour. I'm going to the communist party. I'm going to see what's going on.
50:03
I'm going to go to the market for this. Yes, I'm going to see what's going on. I'm going to see what's going on. Yes. I can't hear you.
50:20
I'm going to the market for this. OK, then I'll have to talk to you later. OK. You can't talk to me. You're talking to me. You're talking to me for sure. No, I'm not. Then I'll have to talk to you, Nutella.
50:44
My zone. Then we'll have to talk to you later. I can't hear you anymore. Yes. I'm going to our house. I'm not going to be able to hear you anymore. Two and a half hours in the house.
51:04
I have to go to the FBI and then come back to the market. I'm not going to be able to hear you. Yes. I just talked to her and I'll have to talk to her. I'm going to have to talk to her.
51:21
No, but why is it always so positive to have a situation like this, and if so, why the most positive? It's always positive. I'm going to a market, but I must be telling the truth. Well, you're suggesting something else. Yes, definitely, but I've got to talk to you later.
51:41
of land in Brandenburg, but then when you're in Berlin, you're going to a school. You're going to work here for all of us. That's why it's so good. Do you think we should talk about the name of the school? Yes, of course. We should talk about the name of the school.
52:00
I think there are a lot of names. The Center... I'm not sure if they're all names, but there are three names.
52:39
You can't talk about it. There are a lot of large groups.
52:43
This is a positive element. This must be true. Yes. And this is a problem that you have to deal with. Yes, because the people talk about it. And that's...
53:00
We're going to talk about it. You're going to talk about the Internet, L.E.D. The Internet, Tameen. You're going to talk about the Internet, Tameen, and you're going to talk about it all. Yes, that's right. Yes, that's not true. We're not going to talk about it anymore. I'm so happy to be here with you today. My son, Lucas, has come here today to talk to you.
53:22
He said that he has a very energetic concept in the school, and the school doesn't work anymore. It works, and he's going to raise the boys, and it was totally awesome. I'm not going to lie, I'm going to talk to our parents and the kids. Of course. That's so amazing.
53:41
The young people, especially those who are in the school, are not really interested in it. I mean, the hotel and the smartphones. And then, of course, there's a lot of work to be done. And that's why you're here, that's why you're here. Thank you. You're here with your hands in the air.
54:00
Yes, that's a small touch screen for you. They made Lucas make it. They made it so easy to make it. I don't know how to explain it, but when you're in the school, when you're in the big hotel room, you're going to make it look like this for a long time.
54:23
Then you can make it a touch screen for yourself. And then my parents made it so easy for me to explain it. I'm going to talk to them. Thank you. The tone sculptor must be what?
54:41
German. Speak to the inner gi, speak to the inner gi. Speak to the inner gi, speak to the tone sculptor. Yes, we are going to do it. We are going to do it with one hand. But you can't do it with one hand. Yes.
55:00
And we are going to do this. This is for you. All right. I'm going to do it. All right. Now then. Yes.
55:22
Wow. Wow. This is also a great thing. This is a great concept. This is the most beautiful thing. This is what we are going to do. We are going to do it with the whole world. Listen to this. Mama, I don't know where the Nutella is.
55:42
Thank you. You are the best. Thank you, my son. Thank you. You are the best. For the world revolution. For the world revolution. Friends. Nutella, welcome! Welcome! Give a round of applause!
56:07
Thank you. Thank you very much. Yes, thank you very much. We are going to do it with one hand. Five minutes left. This is... So, you should watch what we are doing in our shows.
56:20
You can find us on Belinzine. We are the ones who are following us on Twitter or on the network. You can find us on Instagram. Yes! And then, a lot of space. And... Yes! Come to our house. We are going to have a great time here. And... Yes! We are going to do it with one hand.
56:40
And finally, come to our show, where we are in Belinzine. Let's do it! Bye!