CURRENTTIME — broadcast
20260920 230000 UTC
386 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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[00:00:26] What made young people become punks
[00:00:28] half a century ago? Loud, rebellious,
[00:00:31] audacious, a product of its time, and above all,
[00:00:35] a protest. But is this protest still alive today? We delve into
[00:00:38] the world of Mohawks, ripped jeans, a place where they are not afraid to go against
[00:00:41] the rules. Rent is rising, the planet is on
[00:00:45] fire, where is the future that we were promised? Half a century
[00:00:48] ago, a group of angry teenagers felt the same way and
[00:00:52] poured their emotions into something loud. They called it
[00:00:56] punk. Punk rock is about talking politics and fighting
[00:01:03] what you believe is wrong, something new, fresh, completely different,
[00:01:06] a way to break free, an unusual
[00:01:09] hairstyle, a few safety pins, and a lot of noise. But in reality, there was
[00:01:13] much more to punk, or rather, much less,
[00:01:17] that's the point of it all, three
[00:01:19] chords, that's all you need to start, which means that on
[00:01:23] Tuesday, a girl could form a band, and by Friday, go on
[00:01:26] stage. I wondered, should
[00:01:30] I become a punk myself? Perhaps
[00:01:33] you now think I'm crazy, but let's figure out what
[00:01:37] punk really is. Punk is alive, 50
[00:01:41] years in the game.
[00:01:44] Let's start with the obvious, the appearance, because
[00:01:47] that's what everyone immediately imagines, right? This kind
[00:01:51] of hairstyle, lots of leather, even more studs, and maybe a safety
[00:01:54] pin. But what I understood first and foremost is that clothing
[00:01:58] is not the main thing. Your words must mean something,
[00:02:02] otherwise there's no point in starting, otherwise you're just not
[00:02:05] doing the right thing. Music is the art of communication. If you have nothing
[00:02:08] to say to people, then you're just a
[00:02:11] charlatan. For me, punk was initially like
[00:02:14] a bunch of questions scattered everywhere, and you need to answer
[00:02:17] them. No one can give a clear definition of punk.
[00:02:21] There's a stereotype about punks and Mohawks, leather jackets, studs, that's
[00:02:25] fine.
[00:03:00] we would never have heard of them because we were kids, we didn't know that
[00:03:04] there was some musical underground, this beautiful,
[00:03:07] brilliant contradiction lies at the very core of punk, it awakened
[00:03:11] us,
[00:03:13] many young people already had a feeling that something was fundamentally
[00:03:17] wrong with the world, punk simply united people with
[00:03:20] this feeling and gave it
[00:03:22] a soundtrack.
[00:03:35] Perhaps we were already charged and ready for this because that's how
[00:03:39] we felt about the world. It seemed to us that something was wrong with people because
[00:03:42] the world, as a rule, not always, but as a rule, is ruled by
[00:03:45] psychopaths. Many things are wrong with the world, and then
[00:03:49] punk appeared, and suddenly others felt the
[00:03:51] same way. A serious topic, but that anger did not arise
[00:03:55] out of nowhere and somehow grew into a whole
[00:03:59] movement, even into fashion. We
[00:04:02] return to the beginning, to the woman who, like no
[00:04:05] other, defined the look of punk, Vivienne Westwood. In
[00:04:09] essence, Westwood turned rebellion into high
[00:04:11] fashion. The problem, however, was that it was unaffordable
[00:04:15] for most punks. Another contradiction. So what
[00:04:19] to do? Take ordinary clothes, cut them, tear them into pieces, and
[00:04:22] fasten them together with pins. All right, we've
[00:04:25] got that sorted. Now, about the inner
[00:04:28] mood. Let's go back.
[00:04:43] The economy is in decline, unemployment is skyrocketing, especially among
[00:04:47] youth. In Britain, entire industries are collapsing,
[00:04:51] New York is practically bankrupt, crime is
[00:04:54] rising, many neighborhoods are falling into decay, no jobs, no
[00:04:57] money, no future.
[00:05:06] The noise started simultaneously in two cities,
[00:05:09] in London and New York.
[00:06:42] The heart of Berlin
[00:06:43] punk.
[00:06:48] If punk had a home in Berlin, it would be here, the club
[00:06:51] SO36 in Kreuzberg, the beating heart
[00:06:55] of the city's punk scene. It is still thriving
[00:06:58] 48 years after it first opened its doors. This place
[00:07:02] has seen it all, and the people who keep it alive, they are
[00:07:05] punk. I would say the club embodies
[00:07:09] diversity, a certain openness, as well as its own.
[00:07:42] provided space for everyone who needed
[00:07:44] it.
[00:07:47] We threw the first queer party, and it was a
[00:07:50] success. There was a need for it, to gather
[00:07:53] together, to make our presence known, to
[00:07:56] demonstrate our
[00:07:59] queerness.
[00:08:03] Punk was never just about noise. It
[00:08:06] created a space for those kids who didn't fit in
[00:08:09] anywhere else. A rather humane mission for... a party,
[00:08:21] it became a target. The police tracked down punks, observed, and
[00:08:24] interrogated them. One hairstyle could cost a young person
[00:08:28] their future, so where to run when you're being
[00:08:32] hunted by the church?
[00:08:35] The most anti-authoritarian kids in the country hide in
[00:08:38] the only place where the state would have to think
[00:08:41] twice before raiding it. Contradiction
[00:08:44] again. That's how it was once in the GDR and the Soviet
[00:08:48] Union. Today, punk rockers still face
[00:08:51] repression in some parts of Indonesia, Russia, Belarus, and
[00:08:54] Myanmar. But despite everything, punks keep their movement
[00:08:58] alive. Punk is not
[00:09:00] dead,
[00:09:03] it's everywhere, not just in Britain or New York, as in
[00:09:06] the beginning, it's everywhere you go, in South America,
[00:09:10] Japan, in all countries.
[00:09:13] And of course, here in
[00:09:15] Germany.
[00:09:18] People constantly say that punk is dead. But this evening, three
[00:09:21] bands took the stage, and this act didn't seem
[00:09:25] dead at all. I think punk is still
[00:09:28] alive. Yes, it definitely hasn't died. "Punk is
[00:09:32] dead" is a silly phrase. In my opinion, the expression itself
[00:09:35] is garbage.
[00:09:37] The punk band Ramkx from South Korea traveled
[00:09:41] halfway around the world for punk, and brought with them a true punk
[00:09:44] attitude,
[00:09:47] I want to be just Ramkx, not a female band
[00:09:50] Ramkx,
[00:09:52] okay, 2, 3, 4, I want, I want, I
[00:09:56] want, I want to be a punk rocker,
[00:10:08] even if I don't go on stage tonight, it's foolish to deny
[00:10:11] that...
[00:10:28] I think Olivia Rodrigo has a certain punk spirit, but
[00:10:32] she doesn't follow it completely, she weaves it into her own
[00:10:35] style. For example, Charlie has a real punk attitude,
[00:10:38] you know, the album Brother, it's very
[00:10:42] punk, you can see it in it, like playing with
[00:10:44] pop culture, do you think punk
[00:10:47] is dead? Never, punk never
[00:10:50] dies, the style of clothing may not be entirely to my
[00:10:54] taste, but... it was never just about clothes or just about
[00:10:57] music. The inner strength I drew from punk, I
[00:11:01] carry it with me every day. To everyone I meet
[00:11:04] who is trying to create something but is sitting and waiting for permission, I say: you
[00:11:08] don't need permission. Go and
[00:11:11] do it. Punk is much more than fashion and
[00:11:15] music, it's a way of life. Melody
[00:11:17] and clothing were just a way to express their
[00:11:20] dissatisfaction. As for worldview, I would like to consider
[00:11:23] myself a bit of a punk. And honestly, when I look around
[00:11:27] today, I think we could all use a little more
[00:11:31] punk.
[00:11:33] The opioid crisis - something new or a repeat of history,
[00:11:37] from opium to heroin, from OxyContin to
[00:11:40] fentanyl, some of the world's most deadly drugs
[00:11:43] started their journey as medicine. Let's look at how
[00:11:46] yesterday's miracle drugs turn into today's global
[00:11:50] catastrophes. Imagine you walk into a pharmacy with
[00:11:53] a common cold, and... here's heroin. These days it sounds
[00:11:57] insane, but a century ago people actually took heroin for
[00:12:00] coughs, even children. Today we know it's a dangerous hard
[00:12:03] drug.
[00:12:06] What if I told you the same thing is happening today, with
[00:12:10] substances similar to heroin, opioids. It all starts
[00:12:13] with a promise to relieve pain, but then the situation takes a disturbing
[00:12:16] turn. From ancient opium to modern synthetic opioids,
[00:12:20] like Fentanyl, the pattern has always been the same, big promises,
[00:12:24] deception. Followed by complete catastrophe. And this story
[00:12:27] continues to repeat itself, even today. The history
[00:12:30] of opioids.
[00:12:34] But let's start at the very beginning, with the bright red poppy
[00:12:37] flower, the source of opium. God
[00:12:40] of dreams.
[00:12:43] For millennia, people got high from this plant of
[00:12:46] joy. It was used both for medical purposes for
[00:12:49] pain relief, and simply for pleasure. Opium was drunk as
[00:12:53] tinctures, resin was chewed or inhaled.
[00:12:56] This seemingly unremarkable flower caused an important turning point
[00:12:59] in the 19th century, the Opium Wars. We could make a whole
[00:13:03] program just about this chapter of history. Britain
[00:13:06] imported opium from India to China, where it was forbidden. Very soon
[00:13:10] addiction gripped the entire society. China tried to
[00:13:13] stop this flow. Then Britain started a war that served
[00:13:17] the interests of opium smugglers and won it. Since then,
[00:13:20] China has had to loosen its control over foreign trade, including the import of the drug.
[00:13:24] The Opium Wars led to a massive crisis, changing social life,
[00:13:27] the economy, and the balance of political power. From a medical
[00:13:31] point of view, opium had one important drawback. Its potency
[00:13:35] was almost impossible to predict, because it was extracted directly from
[00:13:38] the plant. This continued until this man appeared,
[00:13:41] Friedrich Serturner, a student of a German pharmacist,
[00:13:45] managed to isolate the active substance. He named it morphine after
[00:13:48] Morpheus, the Greek god of dreams. In combination with
[00:13:51] the invention of the hollow needle by Irish doctor Francis Rynd,
[00:13:55] this revolutionized surgery, patients could get rid of agonizing
[00:13:59] pain in a matter of minutes, and to many it seemed too
[00:14:02] good to be true. By the 1870s, it became
[00:14:06] obvious that morphine was addictive to people. This was especially
[00:14:10] evident during and after the Civil War in the United States. Thousands
[00:14:13] of soldiers became victims of the so-called soldier's disease, in other words,
[00:14:17] morphinists.
[00:14:19] If only there was a painkiller that wasn't so
[00:14:22] addictive. Heroes wear
[00:14:26] capes, heroin, heroin,
[00:14:28] heroin.
[00:14:32] We all know how this ended. When heroin appeared on the market,
[00:14:35] it was advertised as a pain reliever and cough
[00:14:38] remedy. In an era when society was universally
[00:14:41] suffering from consumption, heroin seemed another step towards the holy grail
[00:14:45] of pain relief. It was advertised as a more
[00:14:48] powerful remedy than morphine, but supposedly less
[00:14:52] addictive. Ironically, they even tried to treat
[00:14:56] addiction with it, but heroin did not live up to these expectations, patients developed
[00:14:59] a tolerance to the drug, the longer the treatment lasted, the more
[00:15:03] they had to take. By
[00:15:06] the 1920s, a rise in heroin addiction was
[00:15:09] recorded in several regions, primarily in Europe,
[00:15:12] the US, China, and Egypt. The drug's reputation changed dramatically,
[00:15:16] especially in the states, where racist narratives linked drugs to
[00:15:19] minorities. Opium with Chinese immigrants,
[00:15:22] cocaine with the African-American community. These stereotypes
[00:15:25] fueled fear. In 1924,
[00:15:28] any use of heroin was prohibited.
[00:15:32] Heroin became much harder to acquire legally. But
[00:15:35] addiction did not disappear. And this meant colossal profits for
[00:15:39] black market dealers. About a decade later, a major
[00:15:43] historical event virtually cut off access even to illegal
[00:15:46] heroin supplies. World War II began, but another path
[00:15:50] opened up. The era of synthetic
[00:15:53] opioids. Previously, drugs like heroin and
[00:15:57] morphine were derived from poppies, but what if
[00:15:59] a painkiller could be created in a laboratory, without regard for
[00:16:03] soil quality, labor, weather, or time. Enter
[00:16:07] synthetic opioids. Among the first and most zealous
[00:16:11] developers, as before, were the Germans. In the run-up to the war,
[00:16:14] they intensified research in the field of synthetic opioids.
[00:16:18] After all, a country going to war cannot afford to rely
[00:16:22] on morphine imported from abroad. When the war ended,
[00:16:25] the victorious countries took all the research results and
[00:16:28] patents. Let's fast forward 50 years, and encounter, perhaps,
[00:16:32] the most scandalous case in the history of opioids, a case that laid
[00:16:36] the foundation for the opioid...
[00:17:07] pain was declared the nation's number one enemy, and the number
[00:17:11] of prescriptions for painkillers, including opioids, began to
[00:17:14] rise again. Even those not suffering from severe cancer pain were prescribed
[00:17:18] potent drugs. Purdue Pharma caught the wave
[00:17:21] and employed aggressive marketing strategies.
[00:17:24] It held conferences for healthcare professionals at resorts across
[00:17:28] the country, and used data to target doctors who
[00:17:31] started prescribing opioids left and right. Sales representatives
[00:17:35] were offered lucrative bonus schemes, and patients.
[00:17:49] Some crushed the pills to get the entire dose
[00:17:52] at once instead of a gradual release. In 2007,
[00:17:56] the company pleaded guilty to misleading
[00:18:00] the public and paid $600 million
[00:18:03] in fines. But the story didn't
[00:18:05] end there.
[00:18:15] The U.S. The first was related to prescription opioids, the second
[00:18:19] began after stricter rules for prescribing were implemented.
[00:18:22] Many addicted individuals switched to illegal heroin, which mainly came
[00:18:26] from Mexico. And the third wave is related to
[00:18:29] fentanyl. We've all seen these images.
[00:18:33] Fentanyl, 100 times stronger than morphine, was initially also used as a
[00:18:37] pain reliever.
[00:18:39] But most of it is produced illegally, mainly in
[00:18:43] China and Mexico.
[00:18:46] Even such a small packet can be deadly.
[00:18:50] The problem is this: manufacturers mix fentanyl into
[00:18:53] all sorts of illegal products, including heroin and counterfeit pills. As
[00:18:57] a result, many become addicted to it, not even suspecting the danger.
[00:19:01] Despite the fact that the states still lead the rankings, the opioid crisis
[00:19:04] and overdose deaths are a problem that is far from just American.
[00:19:08] Scotland and Canada rank second to fourth. And
[00:19:12] a similar story is repeating itself, this time on other continents, in
[00:19:15] Africa, in Asia, in the Middle East. Tramadol
[00:19:19] is a synthetic opioid developed in the sixties by the German
[00:19:22] company Grünenthal. For a long time, it
[00:19:25] was considered a mild opioid with a low risk of addiction,
[00:19:28] however, information emerged that young people in some African countries, particularly
[00:19:32] in Ghana and Nigeria, are becoming massively addicted to
[00:19:35] tramadol. These claims are now confirmed by scientific
[00:19:38] research. What does all this lead to?
[00:19:42] Public health measures are aimed at minimizing harm. In some
[00:19:45] countries, such as the USA, Australia, Italy
[00:19:49] and Ukraine, over-the-counter drugs are available to treat
[00:19:53] opioid overdoses. But let's finish the story with Purdue and the
[00:19:56] Sackler family. The company filed for bankruptcy, facing
[00:20:00] thousands of lawsuits over its role in the opioid crisis. In
[00:20:04] 2025, they reached a settlement in court. They are now
[00:20:07] required to pay $7.4
[00:20:10] billion for their role in fueling one of the most
[00:20:13] devastating healthcare crises in the US. It seems that throughout
[00:20:17] history, the same pattern repeats itself: opioid painkillers appear
[00:20:21] on the market with the same loud promises
[00:20:25] that this time they won't cause addiction, but this is almost
[00:20:28] always followed by a sharp surge in prescriptions, which leads to mass
[00:20:32] addiction. This is a terrifying chronicle of how profit, time and time
[00:20:35] again, is put above the well-being of the patient. And now that the new crisis related to
[00:20:39] tramadol is in full swing, the question remains: when will it end and
[00:20:43] with what? In the late sixties, West German
[00:20:46] television embarked on an experiment. Joseph Beuys
[00:20:49] punched himself in the face in a performance filmed specifically for
[00:20:52] television. This was art that, without any explanation, penetrated through
[00:20:56] flickering screens into living rooms across the country. People watched it,
[00:20:59] enjoying it or perhaps wondering what on earth they were seeing.
[00:21:16] In sixty-nine, German cameraman Gerry Schum came up with
[00:21:23] our main goal is to stop showing documentary films about
[00:21:26] art on television, instead of tearing art out of the gallery
[00:21:30] environment and transferring it to the TV screen, we want art
[00:21:33] to be experienced directly through
[00:21:36] television. This was called process
[00:21:39] art. Here's one example: Joseph Beuys boxing with
[00:21:43] himself. This was not art that hangs on a wall, but
[00:21:47] art that is broadcast directly into homes
[00:21:50] through the television screen. The idea was supported by many well-known
[00:21:54] artists, among them was sculptor Ulrich
[00:21:57] Rückriem.
[00:22:00] The films we made were incredibly clear.
[00:22:04] They had everything, no more, no less, so there's not much
[00:22:08] to say about them.
[00:22:10] Art actions were shown without commentary, which created
[00:22:14] a problem for TV producers. They feared that viewers would not
[00:22:18] understand the work.
[00:22:29] So art entered all living rooms, outside museums, without
[00:22:32] entrance tickets, without
[00:22:34] explanations.
[00:22:37] Gerry Schum made films together with Ursula Wevers.
[00:22:40] The Center for Art and Media ZKM in Karlsruhe has now
[00:22:44] acquired their entire archive. It contains
[00:22:46] countless photographs documenting complex
[00:22:50] filming processes.
[00:22:58] For the perfect shot, they spared no expense or effort, were not
[00:23:01] afraid to take risks and even reached remote corners
[00:23:04] of the USA.
[00:23:08] On the roof of a bus by the sea, they found the perfect spot for
[00:23:11] the camera to capture Jan Dibbets' work, a flawless
[00:23:15] square, visible only through the lens.
[00:23:18] Everything was fine until... bringing
[00:24:30] water, pouring water. We were truly authentic
[00:24:34] representatives of process art, art that was not
[00:24:37] dead, in which time and place
[00:24:40] played a role. Again and again you went for water, filled
[00:24:43] the vessel, carried it somewhere, and then performed
[00:24:47] the act of creating art.
[00:25:20] prepare for future generations.
[00:25:24] ZKM has the necessary equipment to display
[00:25:27] film footage in the highest possible
[00:25:29] quality.
[00:25:35] Including Gino de Dominicis's failed attempt to fly in sixty-nine.
[00:25:38] взлететь в шестьдесят девятом
[00:25:39] году.
[00:25:44] In the background, a voice is heard saying that, unfortunately, he can't
[00:25:48] swim, but he can't fly either.
[00:25:50] So he decided to learn to fly, he would spend the rest of his
[00:25:54] life doing it, maybe his children too, then subsequent
[00:25:57] generations will eventually be able to
[00:25:59] fly.
[00:26:01] artists, like... visionaries, whether it's trying to make movies,
[00:26:05] flying in real life or on a TV
[00:26:26] Does your dog count steps to meet its daily
[00:26:29] quota?
[00:26:32] Does your hamster plan every meal, or
[00:26:36] perhaps your cat wears a sleep tracker to improve the quality
[00:26:39] of life? Some people do this, but
[00:26:42] why? Our correspondent Suzette Kleina decided
[00:26:45] to find out what she discovered, we'll tell you right
[00:26:49] now on the program "In Great Shape".
[00:26:53] To be a modern Buddhist means not to look like
[00:26:56] a cult member. Even in the harshest times
[00:26:59] of repression, the connection of the people with Buddhism.
[00:28:41] here the grass was all sand covering
[00:28:44] it. That year there was water, well, little, but
[00:28:48] there was. For this year, as of today, we see
[00:28:52] the picture, except for salt, we have nothing, the earth
[00:28:55] is recovering, the grass will recover, we just need to
[00:28:58] give the earth a chance to rest, right?
[00:29:10] this changes the actual attitude towards the head
[00:29:12] of the regime and its ruling elite, and
[00:29:16] the regime will fall, it is not eternal. The regime will fall. In Russia's
[00:29:20] interest, it is really to stop this war somehow.
[00:29:44] Our program offers viewers a closer
[00:29:47] look at the unique culture, traditions, and
[00:29:51] cuisine of European and Asian countries. We travel to
[00:29:55] picturesque corners of the world, visit
[00:29:58] historical sites, study the ancient heritage
[00:30:01] of civilizations, and also meet interesting
[00:30:05] people, try local cuisine, and
[00:30:08] together learn to cook it. We are
[00:30:11] opening our new season again with me,
[00:30:14] the host of the program, Zurab Dvali.
[00:30:30] Art in detail.
[00:30:33] Writer Leila Slimani talks about the final part
[00:30:36] of her family trilogy. Artist Rashid Johnson steps outside
[00:30:40] his comfort zone.
[00:30:43] And we'll also get to know Greenlandic photographer
[00:30:46] Inuuteq Storch better. But first, the history of things.
[00:30:50] Plastic surgery.
[00:30:52] My friend, where are your wrinkles? Who looks
[00:30:56] like this at 70 years old?