N1HRV — broadcast
20261012 043000 UTC
248 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:01:30] each passing ship.
[00:02:50] to several layers
[00:08:08] a successful model, but that
[00:08:11] wasn't enough for her. She wanted more, she wanted to
[00:08:15] help people in her homeland, Ethiopia, and she
[00:08:19] did.
[00:08:20] Ethiopian Lia Kebede
[00:08:27] was long among the highest-paid top models from
[00:08:30] Africa. She always dreamed of becoming
[00:08:33] a model, but the path to success was difficult.
[00:08:36] Still, Lia persevered and achieved her
[00:08:39] goals. I wanted to be a model even
[00:08:44] as a little girl in Ethiopia.
[00:08:47] I think I was 14
[00:08:50] or 15 then. It seemed very glamorous to me.
[00:08:53] I watched old fashion show videos of great models,
[00:08:57] the supermodels of that time, and I thought how much I would love
[00:09:00] to do that. However, at that time, everything seemed incredibly crazy, because
[00:09:04] I was in Ethiopia and didn't know if it was even
[00:09:08] possible. When she
[00:09:13] was 18, Lia was discovered by a model scout
[00:09:17] in her native Addis Ababa, and so she came to
[00:09:21] Paris and New York, but the transition from dreams to the reality
[00:09:24] of modeling was not easy.
[00:09:27] Everything is difficult, the competition
[00:09:29] is enormous, it's one of the most competitive professions.
[00:09:33] And you're young, you understand the business, you don't know
[00:09:36] anyone. It's really hard. Of course, at that time,
[00:09:39] having dark skin wasn't
[00:09:43] in your favor. Still, in the new millennium, Lia joined
[00:09:46] Naomi Campbell as one of the few black models to
[00:09:49] appear in advertising campaigns and on fashion magazine
[00:09:53] covers. How did she succeed?
[00:09:57] Why you, right? There's no
[00:09:57] logic. It's, let's say,
[00:10:01] what we call beauty and it's very subjective.
[00:10:05] The most important thing is timing. Being in the right place at the right time.
[00:10:08] I remember, at the beginning when I was young, I just sat by
[00:10:12] the phone waiting for someone to call me. That's the worst
[00:10:16] thing in the world. At some point you realize you have to
[00:10:19] do something with your life. and became an entrepreneur,
[00:10:23] striving to support her
[00:10:33] compatriots and nurture traditional
[00:10:36] crafts. I grew up in Ethiopia, so
[00:10:40] I wanted to somehow
[00:10:43] give back if the opportunity arose. That's how we came up
[00:10:46] with the idea of trying to employ people to earn their own money
[00:10:49] and help their families. In addition, we wanted to preserve
[00:10:53] the art of Kanya, the traditional
[00:10:55] way of making clothes, and present it to a wider
[00:10:59] international market.
[00:11:02] All garments are handmade in Ethiopia and sold
[00:11:05] worldwide. Lia works as a model for her brand because
[00:11:09] she wants more mature women to be involved
[00:11:13] in modeling. I don't think anyone expected
[00:11:16] this much inclusivity in terms
[00:11:19] of age, skin color, and body shape. Nobody really
[00:11:23] expected it, but it's happening. I want it all
[00:11:27] to last, will it yet,
[00:11:30] I don't know. that is her true mission,
[00:11:32] to prove that we don't have to be afraid
[00:11:39] of aging. If you age in the right way,
[00:11:43] you gain full wisdom.
[00:11:45] This is talked about too little and shown too
[00:11:50] little. I think that... There is a great
[00:11:52] fear of aging, we are bombarded with it. However, there is also another
[00:11:56] side that is rarely talked about, which would be nice
[00:11:59] to see. As a supermodel, entrepreneur
[00:12:02] and activist, Lia
[00:12:07] Kebede can already look back on her life's
[00:12:11] achievements. Many European cities are
[00:12:14] facing a huge number
[00:12:23] of tourists. We need new concepts and ideas to ensure that
[00:12:26] tourist destinations remain pleasant and functional for those who
[00:12:30] live there. What could be done? We asked
[00:12:34] people in Amsterdam.
[00:12:37] Amsterdam has too many tourists. In 2023 alone, this
[00:12:41] city recorded around 22 million
[00:12:45] overnight stays. So, how does the city plan to combat
[00:12:47] overtourism? Amsterdam residents say enough
[00:12:51] is enough. This was a wonderful little village, and now
[00:12:54] everything has gone to hell. It's really
[00:12:58] a shame. For example, people should be forbidden
[00:13:00] from eating in the street. I think
[00:13:04] that's one of the biggest problems. People sit in the street and eat on
[00:13:08] the stairs. It's just not nice. One of
[00:13:12] the most important things is that coffee shops stop
[00:13:15] selling drugs to foreigners.
[00:13:19] Dingeman Komen is the president
[00:13:20] of the citizens' initiative
[00:13:23] "Het is genoeg," or "Enough is enough." He wants
[00:13:26] the city authorities to do more to combat overtourism. People come from
[00:13:30] abroad and see on TikTok that they can buy a special
[00:13:33] cookie here. That's why they stand in lines here
[00:13:37] and wait for hours.
[00:13:40] Traffic is heavy, so pedestrians cannot pass peacefully
[00:13:43] through the street.
[00:13:50] The city has already introduced many measures to combat overtourism. Now there are
[00:13:53] fewer short-term holiday
[00:14:01] rentals, and the tourist tax is one of the highest in Europe. In
[00:14:05] the city center, large tourist buses are forbidden, and bars and nightclubs
[00:14:09] in the Red Light District now close earlier. Still, the authorities
[00:14:12] plan to do more. Amelie
[00:14:16] Strens works for the Amsterdam municipality.
[00:14:18] For example, we do not allow the construction of hotels. In
[00:14:22] the center, there are no new
[00:14:25] hotels, which means fewer tourists will come to
[00:14:29] the city. Now we are trying to
[00:14:32] halve the number of river cruises by
[00:14:36] 2030. This will reduce the pressure a little, but it is still difficult to figure out what else the city
[00:14:40] authorities can do to reduce the number of tourists. The city has
[00:14:43] bought numerous buildings outside the center in the hope that they will benefit
[00:14:47] Amsterdam residents who no longer want to come to the crowded city
[00:14:51] center. As part of this housing transformation,
[00:14:54] the goal is to create
[00:14:56] multi-purpose spaces.
[00:14:59] The construction of new apartments is very important because many are looking for accommodation in
[00:15:02] Amsterdam. We want to develop a concept that
[00:15:06] combines affordable housing with
[00:15:08] shops and restaurants.
[00:15:10] Of course, there are already many restaurants.
[00:15:14] But we want more businesses that bring art and
[00:15:17] culture to the city center.
[00:15:21] One such creative concept is this radio station that helps to amplify the voices of the Red
[00:15:31] Light District. It is basically a podium for everyone from
[00:15:34] the neighborhood who has something to say.
[00:15:37] That's why the location is called Taboo. Basically, it
[00:15:40] means, there are no taboos here, everything is
[00:15:44] okay. The creative campaign "I Live
[00:15:47] Here" displays photos of Red
[00:15:48] Light District residents in windows and doors
[00:15:51] for everyone to see. The goal is to create an atmosphere
[00:15:55] of respect. Instead of focusing on the atmosphere
[00:15:59] of a tourist
[00:16:00] party in the Red Light District, the city wants to show
[00:16:05] a more authentic image of the neighborhood. Now you can go on boat
[00:16:08] trips with locals. I am Tommy Sheriff, a writer,
[00:16:11] storyteller, and theater and film maker.
[00:16:26] I come from Egypt and have been involved in political activism
[00:16:29] since 2007. I have been a political refugee since
[00:16:33] 2014. This boat trip allows
[00:16:38] tourists to understand the diversity
[00:16:40] of Amsterdam's
[00:16:44] residents. This boat went through really difficult
[00:16:47] times, but we managed to create life, art, and
[00:16:50] inspiration from it. Amsterdam will always attract
[00:16:53] tourists, but the city authorities
[00:16:55] hope that soon
[00:17:02] tourists and locals will feel comfortable again in the city
[00:17:06] center, and that fewer tourists will return home with
[00:17:09] hangovers. It's time for a sweet
[00:17:13] treat, and Tiramisu is
[00:21:48] night, so maybe it would be best to eat tiramisu
[00:21:51] with the last cup of coffee for the day.
[00:21:55] Now, with pleasure.
[00:21:58] Hello, foodies, welcome to Deutsche Welle
[00:22:01] Food.
[00:22:02] European cuisine is full of delicious
[00:22:08] stories and tasty secrets.
[00:22:11] Beef or not?
[00:22:13] We respect tradition and look into pantries, socialize with
[00:22:16] the best chefs who share their passion with us.
[00:22:21] So grab a plate and let's feast together. Subscribe to
[00:22:24] Deutsche Welle Food on YouTube.
[00:22:28] Finally, we take you to an art studio in Poland.
[00:22:32] Artist Małgorzata Mirga-Tas belongs to the Roma
[00:22:35] community, the largest ethnic minority in Europe.
[00:22:39] Through her art, she fights against exclusion and
[00:22:42] prejudice. The theme of these paintings is the Roma
[00:22:46] community, scenes from everyday life, traditional clothing, people like
[00:22:53] the artist herself.
[00:22:56] Mirga-Tas, a Polish Roma, is part of a minority group and through her portraits challenges widespread
[00:23:00] stereotypes of Sinti and Roma
[00:23:04] in art.
[00:23:08] Generally thinking about, like, portraits.
[00:23:12] When I think of portraits that
[00:23:12] depict Roma in a
[00:23:16] stereotypical and exclusive way, as an activist,
[00:23:20] I feel the need to present them differently and restore dignity
[00:23:23] to these people. The artworks are first created on
[00:23:27] paper as a sewing pattern, and
[00:23:30] then the motifs are transferred
[00:23:40] of textile. The artist works with clothes that are
[00:23:44] worn by the portrayed people or those from her circle.
[00:23:46] The thought that part of the clothes comes from my friends and people who are
[00:23:50] important to me makes the whole process special. It gives my work
[00:24:03] additional strength, a new meaning, because it reflects
[00:24:07] life, energy and memories.
[00:24:10] And energy and history.
[00:24:14] memories In her workshop in Southern
[00:24:17] Poland, Małgorzata works with women from her
[00:24:20] community. Before she starts creating
[00:24:24] textile paintings, she meets with the people she intends to portray.
[00:24:26] She finds her themes in
[00:24:30] photographs, stories and her own
[00:24:33] impressions. That's how the story of Morena,
[00:24:36] a Sinti woman from the Netherlands, came to be.
[00:24:38] I was drawn to her identity,
[00:24:43] her self-discovery, but also her family. Morena told me
[00:24:47] about her grandmother, grandfather,
[00:24:50] mother, herself and the place where she
[00:24:53] lives. The artist portrays the life
[00:24:56] of Roma, the history of their interconnectedness and
[00:24:59] exclusion.
[00:25:05] She speaks of persecution, of the Porajmos,
[00:25:08] the Nazi genocide against European
[00:25:11] Roma. Małgorzata is the first Roma
[00:25:14] artist to exhibit in a national pavilion at
[00:25:16] the Venice Biennale
[00:25:21] in 2022. She displays her works internationally, at
[00:25:25] Documenta and solo exhibitions, thus reaching
[00:25:28] audiences far beyond the Roma community.
[00:25:32] I am deeply touched by the reactions of people from my community. I am glad
[00:25:35] that they love and accept what
[00:25:37] I do. It is also important to me
[00:25:41] how... Everything I do is part of that heritage
[00:25:45] of our past, not just family history, but
[00:25:49] the history of the Roma, the history of this
[00:26:33] place, which I tell through
[00:26:37] art. However everyday and
[00:26:40] personal Małgorzata's motifs may be, they reflect
[00:26:43] the experiences of the Roma minority in
[00:26:47] Europe. We are people like everyone
[00:26:50] else, we have our history, identity,
[00:26:54] traumas, we just want
[00:27:11] respect and dignity.
[00:27:14] And Małgorzata's art does just that. It portrays
[00:27:17] Roma as people,
[00:27:18] through the eyes of a Roma woman,
[00:27:24] not through the gaze of an outsider.
[00:27:27] And as long as Małgorzata Mirga-Tas tells
[00:27:31] stories that emotionally resonate
[00:27:32] with others, she will never
[00:27:40] run out of material.
[00:27:43] And so we have reached the end of another show. For more
[00:27:47] content from the world of European
[00:28:13] job is to convey facts and tell the truth, however
[00:28:16] unpleasant it may sometimes be to hear, because journalism is not PR,
[00:28:19] it's not politicking, it's not a reality show.
[00:28:23] Journalism is a public service. Because to give up asking
[00:28:27] difficult, uncomfortable questions, to seek difficult answers
[00:28:30] means to give up
[00:28:33] democracy. In a time of shaken trust in
[00:28:37] institutions and fragile credibility,
[00:28:40] journalism must not be silent. I am Hrvoje Krešić
[00:28:43] and watch me on N1 Television. Respect and welcome, you are watching
[00:28:46] a new edition of Sport Klub news. The focus will be on
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