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English to Thai: (Song) He Said She Said - Chvrches General field: Art/Literary Detailed field: Music
Source text - English He said, "You bore me to death"
"I know you heard me the first time" and
"Be sad, but don't be depressed"
Just think it over, over and
He said, "It's all in your head"
"But keep an ear to the grapevine" and
"Get drunk, but don't be a mess"
Keep thinkin' over, over
I try
But it's hard to hit rewind
When I feel like
I feel like I'm losin' my mind
Feel like I'm losin' my mind
Over and over, I
Feel like I'm losin' my mind
Feel like I'm losin' my mind
Over and over, I try
He said, "You need to be fеd"
"But keep an eye on your waistline" and
"Look good, but don't bе obsessed"
Keep thinkin' over, over
I try
But it's hard to know what's right
When I feel like I'm borrowin' all of my time
And it's hard to hit rewind
When I feel like
I feel like I'm losin' my mind
Feel like I'm losin' my mind
Over and over, I
Feel like I'm losin' my mind
Feel like I'm losin' my mind
Over and over, I
Feel like I'm losin' my mind
Over and over, I
Feel like I'm losin' my mind
Feel like I'm losin' my mind
Over and over
I try
English to Thai: BBC - Billie Eilish: Sexual misconduct is everywhere General field: Art/Literary Detailed field: Media / Multimedia
Source text - English Billie Eilish: Sexual misconduct is everywhere
Singer Billie Eilish has spoken about the pervasiveness of sexual misconduct, describing it as being "everywhere".
In an interview with Vogue, she said she doesn't "know one girl or woman who hasn't had a weird experience, or a really bad experience".
"And men, too - young boys are taken advantage of constantly," she said.
Vogue interviewer Laura Snapes wrote that it also "happened to Eilish when she was younger", but added "the details are hers."
The Grammy award-winning, American singer-songwriter, 19, was discussing her new single Your Power, which is about an abuser taking advantage of a minor.
"It's an open letter to people who take advantage - mostly men," she said.
She also unveiled a new look in her photoshoot for the magazine, using it as an opportunity to hit back at those who discuss what she wears.
Describing the look as "classic, old-timey pin-up", the star's signature black and green hair is now platinum blonde (although the blonde colour first appeared a few weeks ago).
She said the colour change made her feel "more like a woman, somehow".
Eilish's previous baggy style of dress has often been hailed as refreshing when compared with that of other famous women who wear tighter, more revealing clothing, but Eilish told the magazine her dress sense was more about the onlookers' issues than her.
"Don't make me not a role model because you're turned on by me," she told Vogue, adding that her body "was the initial reason for my depression when I was younger".
"Suddenly you're a hypocrite if you want to show your skin, and you're easy and you're a slut and you're a whore. If I am, then I'm proud. Me and all the girls are hoes. Let's turn it around and be empowered in that. Showing your body and showing your skin - or not - should not take any respect away from you."
She said it was a male problem, not a female one.
"I really think the bottom line is, men are very weak," she says. "I think it's just so easy for them to lose it. 'You expect a dude not to grab you if you're wearing that dress?' Seriously, you're that weak? Come on!"
นักร้องและนักแต่งเพลงชาวอเมริกันวัย 19 ปีที่ได้รับรางวัล The Grammy Award มานั้นได้พูดคุยเกี่ยวกับซิงเกิลใหม่ของเธอที่ชื่อ Your Power ซึ่งเกี่ยวกับผู้มีอำนาจที่มาใช้อำนาจในทางที่ผิดเพื่อเอาเปรียบผู้ด้อยอำนาจ
English to Thai: BBC - Britney Spears: Does the latest documentary tell us anything new? General field: Art/Literary Detailed field: Media / Multimedia
Source text - English Britney Spears: Does the latest documentary tell us anything new?
A new BBC documentary about Britney Spears is the latest attempt to shed light on the conservatorship she has been under since 2008. But does it tell us anything new about what's going on behind the scenes?
You wait ages for a Britney Spears documentary, and then four come along at once.
The New York Times kicked off the Britney bandwagon with the February release of Framing Britney Spears - a 75-minute film which examined how the singer has been treated by the media and those around her over the years. There wasn't necessarily much new information about her current situation or state of mind, but that didn't matter - its impact was seismic.
The well-chosen archive footage prompted a new wave of social media scorn for the journalists and chat show hosts who sexualised or upset her in those early years of fame. It even elicited an apology from her ex-boyfriend Justin Timberlake for his previous behaviour towards her.
Framing Britney Spears also shone a spotlight on the conservatorship the singer has been under since 2008. The arrangement means she is not in control of large parts of her life, particularly her financial affairs, after a very public breakdown. Such orders are usually put in place by judges to protect people who are physically infirm or mentally unstable.
There are two separate conservatorships - one for Britney as a person and one for her estate. Her father Jamie Spears was initially put in charge of both. However, he stepped down as her personal conservator in 2019 due to personal health reasons, and a temporary conservator took over. He still has control of her estate, but a judge has ordered he share responsibility with a financial management company.
Rumours, campaigns and conspiracy theories have swirled around the case in recent years, with Britney's fans scrutinising her erratic social media posts for apparent clues about her condition. Very few people, however, genuinely know all the details of what's going on. And that is precisely what makes the subject such catnip for documentary makers.
In light of the renewed interest, Netflix commissioned their own Britney film, which is currently in development. Reports also emerged of a separate documentary Britney is said to be working on herself with an as-yet-unannounced female director.
For now, though, we've got The Battle for Britney: Fans, Cash and a Conservatorship, released on BBC iPlayer on Saturday and due to air on BBC Two next week. It's been made by filmmaker Mobeen Azhar, who previously won a Bafta as a producer of the series Muslims Like Us.
The problem facing all journalists examining this case, including Azhar, is that very few of them succeed in getting anywhere close to the action. There is a tight circle around Britney and most filmmakers come up against brick walls when they try to reach her. She is, appropriately, Overprotected.
In this regard, Azhar does at least have something that many of his fellow journalists lack: He was granted access to one of Britney's conservatorship hearings in December 2020. We, the viewers, are informed of this at the beginning of the documentary, and for the next hour we wait patiently for this climax, hearing from a variety of talking heads along the way.
Many of the usual suspects are here - celebrity blogger Perez Hilton crops up to apologise (again) for his treatment of Britney at the height of his website's popularity. Jordan Miller, the founder of fan site Breathe Heavy, discusses how he first coined the phrase "Free Britney", which was later adopted as the hashtag and slogan of fan campaigns.
The documentary isn't afraid, though, to show the dark side of the fandom. Choreographer Brian Friedman reveals he quit working for Britney after receiving "multiple death threats weekly" from fans, which he says were due to a comment he made in an interview about how the star's dance moves had changed after becoming a mother. "That, to me, was no longer fun, so I decided to bow out gracefully," he explains. "I wished Britney the best, and I then walked away, and my ulcer went away."
It also explores whether the conservatorship had any positive impacts on her life. During an interview filmed at his Los Angeles home, Hilton says: "If she didn't have a conservatorship in place, I would be concerned that Britney would be dead, truly." This is a strand of opinion often lacking from the debate; and it's worth remembering Britney recorded albums, toured the world and sustained a successful Las Vegas residency while under the conservatorship.
But it's very clear that she was no longer happy with her father being in control of many aspects of her life, and that, understandably, is all that matters to her followers. The documentary sees Azhar speaking to the dedicated fans who have rigorously campaigned for her to be granted her independence.
Jamie Spears has said that Britney has always had the right to request an end to the conservatorship, which she has never exercised. Indeed, she has previously referred to the arrangement as "voluntary". This suggests she doesn't currently object to the conservatorship itself, but to the fact it was her father who remained in charge, as opposed to somebody she nominated herself.
The filmmaker also interviews make-up artist Billy Brasfield, who claims to still be in regular contact with the 39-year-old. "She wants to be able to drive her car when she wants to. In her conservatorship, she does not have that right," he says.
To Azhar's credit, nearly all of the documentary is made up of new interviews and footage. He doesn't rely too heavily on archive material and some of what he finds is genuinely enlightening.
His trip to Britney's hometown, Kentwood in Louisiana, sees him speak to staff at her favourite restaurant, who talk about the polite girl, oblivious to her own worldwide fame, who continued to visit long after she became successful. "Sweet girl, I've met her several times," one waitress tells him. "She's a down-to-earth person. If you didn't know who she was, you would think she was just a regular customer coming in."
He visits a museum dedicated to her, packed with memorabilia and fan art, owned by a woman who says she gets upset by any negative coverage of her home-town hero. Blame is often, and often rightly, placed on the media when it comes to Britney. But one photographer tells Azhar he doesn't regret his pursuit of her, and suggests Britney always knew how to use the paparazzi to her advantage.
Eventually, we reach the day of the conservatorship hearing. The cameras, naturally, aren't allowed in, but Azhar does a piece-to-camera immediately afterwards to summarise what took place. He describes it as "two hours of dry legal debate", during which Britney's father Jamie dialled in remotely, and notes that there's no discussion about whether or not the conservatorship should end. "It felt like the only people winning were the lawyers," he notes.
The Battle for Britney is interesting and enjoyable - you wouldn't regret giving it an hour of your time. But for those who have been closely following the story in recent years, it doesn't really tell us anything new. We're no further forward in understanding Britney's state of mind, and still haven't heard directly from the key players in the case.
"I don't have any clue what's going to happen with Britney's conservatorship, and no-one that you've spoken to probably does either," Hilton observes at one point, correctly.
That could be about to change. Earlier this week, Britney's lawyer announced the singer had requested to "address the court directly" at a forthcoming conservatorship hearing in June. That could potentially offer some insight, assuming it happens.
For now, however, Britney isn't talking to the media. Even if a filmmaker maker were to get the holy grail - an interview with the woman herself - there's still no guarantee we'd get the full picture. Would she genuinely be free to speak her mind?
In the absence of the details they need, these documentaries generally hover around the edges, examining the surrounding circus more than the story at the centre of it. They have put the singer firmly back in the headlines, this time accompanied by an outpouring of support and sympathy from the general public. But Britney openly admitted on her Instagram page that she was upset by the release of Framing Britney Spears, which raises questions about how much the additional public attention is helping her, even if it is largely on her side.
ทางหนังสื่อพิมพ์ The New York Times ได้เริ่มปลุกกระแสกลุ่มผู้สนับสนุนบริตนีย์ด้วยการปล่อย Framing Britney Spears ภาพยนตร์สารคดีที่มีความยาว 75 นาทีในเดือนกุมภาพันธ์ ซึ่งภาพยนตร์ดังกล่าวได้ตรวจสอบลักษณะการปฏิบัติต่อเธอของสื่อมวลชนและคนรอบข้างเธอในหลายปีมานี้ ยังคงไม่มีข้อมูลใหม่มากมายนักเกี่ยวกับสถานการณ์หรือสภาวะทางจิตใจของเธอในตอนนี้ แต่นั่นก็ไม่ได้สำคัญอะไร เพราะกระแสตอบรับของสารคดีนั้นมันสนั่นหวั่นไหวมาก
ถึงแม้ว่าตอนนี้เราจะมีสารคดีเรื่อง The Battle for Britney: Fans, Cash and a Conservatorship (แปล: การต่อสู้ของบริตนีย์: แฟนคลับ เงิน และการเป็นผู้คุ้มครองชีวิต) ที่ปล่อยลงบน BBC iPlayer เมื่อวันเสาร์ที่ผ่านมา และมีกำหนดออกอากาศทาง BBC Two ในสัปดาห์หน้า สารคดีดังกล่าวสร้างโดยผู้สร้างภาพยนตร์โมบีน อัซซาร์ ผู้ที่ก่อนหน้าได้รับรางวัล Bafta ด้านการเป็นผู้อำนาจการสร้างซีรีส์เรื่อง Muslims Like Us (มุสลิ่มอย่างพวกเรา)
English to Thai: BBC - Grammy Awards scrap controversial voting committees General field: Art/Literary Detailed field: Music
Source text - English Grammy Awards scrap controversial voting committees
The organisers of the Grammy Awards have scrapped their anonymous voting committees following allegations of rigging, favouritism and racism.
The Recording Academy said its voting members - which run into thousands - would instead select next year's nominations and winners.
Stars such as Zayn Malik and Halsey had claimed the selection process was unfair and lacked transparency.
Artists of colour have long-criticised the awards for a lack of diversity.
Earlier this year, the Canadian singer The Weeknd accused the Grammy organisers of being corrupt after he was snubbed in this year's nominations, despite a hit single that spent a record-breaking 52 weeks in the US Top 10.
The Recording Academy, a not-for-profit organisation that represents music makers, said that the selection of nominees and winners was being "placed back in the hands of the entire voting membership body".
It added that more than 90% of its members would go through a "requalification process" to ensure that the voting body "is actively engaged in music creation".
The Academy said it was also reducing a number of categories in which voters may vote, and adding two new award categories.
Harvey Mason, chair and interim president of the Recording Academy, said it had been a "year of unprecedented, transformational change" for the organisation.
"This is a new Academy, one that is driven to action and that has doubled down on the commitment to meeting the needs of the music community," he said.
The Grammys voting procedure had been notoriously complex, with committees made up of 15-30 "highly-skilled music peers" having the final say in 72 categories. This meant they could overrule the votes of rank-and-file members.
Last year, the then-chief executive of the Recording Academy, Deborah Dugan, claimed to have evidence of "serious" irregularities in the voting. Her claims came after she was placed on administrative leave following allegations of misconduct, although she said it was in retaliation for speaking up.
Five days before this year's ceremony, Zayn Malik - who has never been nominated - had tweeted: "Unless you shake hands and send gifts, there's no nomination considerations. Next year I'll send you a basket of confectionery."
He later clarified he was concerned "about the need for inclusion and the lack of transparency of the nomination process", saying the current system "allows favouritism, racism, and networking politics to influence the voting".
Meanwhile, The Weeknd, whose real name is Abel Tesfaye, told Billboard magazine: "If you were like, 'Do you think the Grammys are racist?' I think the only real answer is that in the last 61 years of the Grammys, only 10 Black artists have won album of the year."
เมื่อช่วงต้นปีนี้ The Weeknd นักร้องชาวแคนาดากล่าวหาผู้จัดตั้งงานมอบรางวัลแกรมมี่ว่ามีการทุจริตหลังจากที่เขาถูกหมิ่นประมาทในการเสนอชื่อเข้าชิงปีนี้ ถึงแม้ว่าเขาจะมีซิงเกิลที่โด่งดังติดอันดับชาร์ท US Top 10 ยาวนานถึง 52 สัปดาห์ก็ตาม
องค์กรไม่แสวงผลกำไรอย่าง Recoding Academy ซึ่งเป็นตัวแทนของคนทำเพลงทั้งหลายได้กล่าวว่าการคัดเลือกผู้เข้าชิงและผู้ชนะนั้นมันกำลัง “กลับมาอยู่ในมือของบรรดาสมาชิกผู้ร่วมลงคะแนนทั้งหมดทุกคน”
English to Thai: BBC - How a tribute band inspired Royal Blood's new music General field: Art/Literary Detailed field: Music
Source text - English How a tribute band inspired Royal Blood's new music
In March 2018, a week before flying out for their South American tour, Royal Blood went to see themselves in concert.
Or rather, the duo had seen a flyer for a Royal Blood cover band, who were playing down the road at Brighton's now-defunct The Haunt. "Why not check them out?", they thought.
"It was very surreal," says frontman Mike Kerr, "but it was also an interesting experience because I guess that's the closest we can really come to knowing what it's like to watch a Royal Blood gig."
He was impressed with what he saw: "The idea of a cover band is bizarre, but they're really good." But the show also gave him a unexpected perspective on Royal Blood's music.
"I took inspiration from it because I realised there were all these styles and atmospheres and moments in our set that were missing," says Kerr.
"If there's anything that inspires my songwriting it's the idea of a setlist, and our new album, I feel, fills a lot of those voids that were in our set before."
Royal Monster, the tribute band, only recently found out how they'd inspired the band who inspired them.
"My jaw dropped," says frontman Dean Whale. "We were a bit lost for words."
"Frankly, the fact that he said he understood what direction he wanted to take after seeing our show is bizarre - but it's excellent all the same," says drummer Rob Dowsett.
"Yeah, it's an honour, really," adds Whale. "Do we get royalties?"
Two years later, thanks to a lockdown-enforced delay, the album is finally ready.
Called Typhoons, it doesn't exactly reinvent Royal Blood's wheel: they're still powered by the kinetic union of Kerr's riffs and Ben Thatcher's thunderous drumming. But this time around they've added rich new textures, from disco string stabs and filtered-down synth to the surprising appearance of a piano ballad.
Kerr says the new sound is all about breaking self-imposed constraints.
"The way we've made records before was so limited. That was intentional, but it was also starving ourselves of these colours and these textures. When we finally made the decision to go forward and do it it was really fulfilling."
To expand their sound, the duo invited in their love of 70s glam rock and cheesy disco: "We're obsessed with the drum sound on those old Boney M records." They also drew on the French house sounds of Daft Punk and Justice.
If that puts off the purists, they couldn't be happier.
"Being in a rock band there can be this restriction on quality, based on making sure it's not too poppy or catchy. We totally got over that idea," says Kerr.
"To us that's preposterous and restrictive. I've always loved that Freddie Mercury idea of extravagant songs. We weren't afraid of this sounding good or catchy."
But behind those technicolour grooves, Kerr's lyrics have taken on a darker hue.
"I let my demons take hold and choke on me," he sings on the ominous Trouble's Coming. Other songs see him confronting "evil in my head" and "thoughts becoming parasites".
"Wake up every morning almost surprised I survived," he concludes on Limbo. "Blood on the pillow/Tears in my eyes/Slept in a murder scene last night."
The words reflect the physical and psychological toll of Royal Blood's stratospheric ascent.
"There were mornings where I woke up and I felt exactly that way," says Kerr. "I am surprised I'm alive. I did go absolutely mental for about seven years."
Royal Blood were only formed in January 2013, but they went from playing pubs to international success in just 18 months.
Championed by the Arctic Monkeys, who invited them to open their huge Finsbury Park shows, the band's debut album went straight to number one in 2014, selling 66,000 copies in a week. The following year, they were named best group at the Brits, with the trophy presented by their hero, Led Zeppelin guitarist Jimmy Page.
By the time of their second album, 2017's How Did We Get So Dark, the band were selling out arenas and touring with Queens Of The Stone Age. But the touring lifestyle did them no favours. Kerr was drinking every day and becoming increasingly unreliable.
"It just escalated," he says. "It wasn't all dark from the beginning. I just picked up this lifestyle that didn't suit me and it began to get the better of me.
"It got to the point where I essentially just tapped out and became incredibly destructive."
'Bored of myself'
His behaviour started to affect the band and his personal life.
"There seems to be romance around being in a dark place and being creative, but that's a load of rubbish," he says. "To be honest, I felt very uninspired. It made my lyrical content quite boring."
Giving up wasn't easy. "It was almost like the toy that was being snatched out of my hands, and I was gripping onto it," he says. But things finally came to a head on a trip to (where else?) Las Vegas. After ordering an espresso martini, Kerr spontaneously decided it would be his last ever drink.
"I could hear myself talking about the same old thing: 'One day I'll get sober and sort everything out,'" Kerr says.
"I was bored of my own conversation. So I was like, 'I've got to take control of this thing.' And it was the best decision I ever made. We wouldn't have this album if I hadn't done that."
He's now two years sober, and says the clarity has "allowed me to be a lot more vulnerable and more articulate about how I'm feeling".
It also gave the band confidence to embrace those house and disco influences - although Kerr says moments like the sweeping electronic synths that close Limbo have always been a hidden part of their sound.
"That whole filter down thing is actually something I always do in the studio, where if I'm writing lyrics, I want to pretend the song is playing next door. Then I imagine I can kind of hear the mumble of the words and I write them down.
"But on that particular song, we did it and it sounded so cool that it we kept it."
Not every song cleaves to the new Royal Blood formula. Boilermaker, produced by Queens Of The Stone Age's Josh Homme, is a twisted mutant rock beast, while the closing track, All We Have Is Now, is a tender, optimistic ballad.
It nearly didn't make the cut, until bandmate Ben Thatcher persuaded Kerr it deserved a place.
"I think it's a really special moment," says the drummer. "I thought it was such a reflection of what Mike can do in his songwriting, and it's something that we have never hinted at with Royal Blood at all. And so, if we're going to put out everything creatively that we enjoy, why shouldn't it go on the record?"
And that seems to be the band's new mantra: "We're not afraid of breaking the rules that we made."
"I feel like this album has given us a future, really," says Kerr.
"It's funny - usually at the end of making an album, there's a feeling of, 'Urgh, I never want to hear that again,' and the idea of writing other songs seems painful. Whereas this one didn't leave that taste in our mouths. I felt inspired to carry on."
But crucially, how will Royal Monster play it live?
"The thing is, we hear the songs when they're released, but we have to wait to see how we perform those songs live before we start working on them - because their live sound is quite a lot different," says Dean Whale.
"We've got tickets to see them play in August, so we'll have to wait a bit... but I think we're gonna be OK."
English to Thai: (Song) Champagne Problems - Taylor Swift General field: Art/Literary Detailed field: Music
Source text - English Champagne Problems
[Verse 1]
You booked the night train for a reason
So you could sit there in this hurt
Bustling crowds or silent sleepers
You're not sure which is worse
[Chorus]
Because I dropped your hand while dancing
Left you out there standing
Crestfallen on the landing
Champagne problems
Your mom's ring in your pocket
My picture in your wallet
Your heart was glass, I dropped it
Champagne problems
[Verse 2]
You told your family for a reason
You couldn't keep it in
Your sister splashed out on the bottle
Now no one's celebrating
[Chorus]
Dom Pérignon, you brought it
No crowd of friends applauded
Your hometown skeptics called it
Champagne problems
You had a speech, you're speechless
Love slipped beyond your reaches
And I couldn't give a reason
Champagne problems
[Bridge]
Your Midas touch on the Chevy door
November flush and your flannel cure
"This dorm was once a madhouse"
I made a joke, "Well, it's made for me"
How evergreen, our group of friends
Don't think we'll say that word again
And soon they'll have the nerve to deck the halls
That we once walked through
One for the money, two for the show
I never was ready so I watch you go
Sometimes you just don't know the answer
'Til someone's on their knees and asks you
"She would've made such a lovely bride
What a shame she's fucked in the head," they said
But you'll find the real thing instead
She'll patch up your tapestry that I shred
[Chorus]
And hold your hand while dancing
Never leave you standing
Crestfallen on the landing
With champagne problems
Your mom's ring in your pocket
Her picture in your wallet
You won't remember all my
Champagne problems
[Outro]
You won't remember all my
Champagne problems
English to Thai: (Song) Willow - Taylor Swift General field: Art/Literary Detailed field: Music
Source text - English Willow
[Verse 1]
I'm like the water when your ship rolled in that night
Rough on the surface, but you cut through like a knife
And if it was an open-shut case
I never would've known from that look on your face
Lost in your current like a priceless wine
[Chorus]
The more that you say, the less I know
Wherever you stray, I follow
I'm begging for you to take my hand
Wreck my plans, that's my man
[Verse 2]
Life was a willow and it bent right to your wind
Head on the pillow, I could feel you sneakin' in
As if you were a mythical thing
Like you were a trophy or a champion ring
And there was one prize I'd cheat to win
[Chorus]
The more that you say, the less I know
Wherever you stray, I follow
I'm begging for you to take my hand
Wreck my plans, that's my man
You know that my train could take you home
Anywhere else is hollow
I'm begging for you to take my hand
Wreck my plans, that's my man
[Bridge]
Life was a willow and it bent right to your wind
They count me out time and time again
Life was a willow and it bent right to your wind
But I come back stronger than a '90s trend
[Verse 3]
Wait for the signal, and I'll meet you after dark
Show me the places where the others gave you scars
Now this is an open-shut case
I guess I should've known from the look on your face
Every bait-and-switch was a work of art
[Chorus]
The more that you say, the less I know
Wherever you stray, I follow
I'm begging for you to take my hand
Wreck my plans, that's my man
You know that my train could take you home
Anywhere else is hollow
I'm begging for you to take my hand
Wreck my plans, that's my man
The more that you say, the less I know
Wherever you stray, I follow
I'm begging for you to take my hand
Wreck my plans, that's my man
You know that my train could take you home
Anywhere else is hollow
I'm begging for you to take my hand
Wreck my plans, that's my man
[Outro]
Hey, that's my man
That's my man
Yeah, that's my man
Every bait-and-switch was a work of art
That's my man
Hey, that's my man
I'm begging for you to take my hand
Wreck my plans, that's my man
English to Thai: BBC - Covid-19 in India: Patients struggle at home as hospitals choke General field: Medical Detailed field: Medical: Health Care
Source text - English Covid-19 in India: Patients struggle at home as hospitals choke
As hospitals in Delhi and many other cities run out of beds, people have been forced to find ways to get treatment for sick patients at home. Many have turned to the black market, where prices of essential medicines, oxygen cylinders and concentrators have skyrocketed and questionable drugs are now proliferating.
On Monday, India recorded a new global high for daily coronavirus cases for a fifth straight day at 352, 991.
Anshu Priya could not get a hospital bed in Delhi or its suburb of Noida for her father-in-law and as his condition continued to deteriorate. She spent most of Sunday looking for an oxygen cylinder but her search was futile.
So, she finally turned to the black market. She paid a hefty amount - 50,000 rupees ($670; £480) - to procure a cylinder that normally costs 6,000 rupees. With her mother-in-law also struggling to breathe, Anshu knew she may not be able to find or afford another cylinder on the black market.
This is a familiar story not just in Delhi but also in Noida, Lucknow, Allahabad, Indore and so many other cities where families are desperately cobbling together makeshift arrangements at home.
But most of India's population cannot afford to do this. There are already several reports of people dying at the doorsteps of hospitals because they couldn't afford to buy essential drugs and oxygen on the black market.
The BBC called several oxygen cylinder suppliers and most of them asked for at least 10 times more than the normal price.
The situation is particularly dire in Delhi where there are no ICU beds left. Families of those who can afford it are hiring nurses and consulting doctors remotely to keep their loved ones breathing.
But the struggles are huge from getting blood tests done to getting a CT scan or x-ray.
Labs are overrun and it's taking up to three days for test results to come back. This is making it harder for treating doctors to assess the progression of the disease. CT scans are also used by doctors to assess the condition of the patient but it's taking days to get an appointment.
Doctors say that these delays are putting many patients at risk. “RT-PCR tests are also taking days. I know several sick patients who found a bed but couldn't get admitted as they didn't have a positive Covid report.”
Anuj Tiwari hired a nurse to assist in the treatment of his brother at home after he was refused admission in many hospitals.
Some said they didn't have any free beds and others said they were not taking new patients due to continuing uncertainty over the supply of oxygen. A number of patients have died in Delhi due to a lack of oxygen supply. The city's hospitals are desperate and some have been issuing daily warnings, saying they are left with just a few hours of oxygen. Then the government swings into action and tankers are sent, which is often enough to run the hospital for a day.
A doctor in Delhi said that was how hospitals were working and "there are real fears now that a big tragedy may happen".
Given the scenario at hospitals, Mr Tiwari paid a hefty amount to procure a concentrator - which can extract oxygen from the air - keep his brother breathing. The doctor also asked him to arrange the anti-viral drug remdesivir, which has been given emergency-use approval in India and is being prescribed widely by doctors. The benefits of the drug - which was originally developed to treat Ebola - are still being debated across the world.
Mr Tiwari couldn't find the drug in any medicine shop and eventually turned to the black market. His brother's condition continues to be critical and the treating doctor says he may soon need a hospital where remdesvir could be administered.
"There are no beds. What will I do? I can't even take him anywhere else as I have already spent so much money and don't have much left," he said.
He added that "the desperate battle to save Covid patients has shifted from hospitals to home", and even that is proving to be a daunting task as "we don't have easy access to oxygen".
Remdesivir is in such short supply that families of the patients who are being treated at home are rushing to procure it. They want to have the drug in case the patient is required to go to hospital and may need the drug.
The BBC spoke to several dealers on the black market who said the supply was tight and that was why they were charging such high prices. The government has allowed seven firms to manufacture remdesvir in India and they have been told to ramp up production.
But several promises of adequate supply from the government have failed to show any result on the ground. Epidemiologist Dr Lalit Kant says the decision to ramp up production was taken too late and the government should have been prepared for the second wave.
"But somehow the drug is available in the black market, so there is some leakage in the supply system which the regulators haven't been able to plug," he says.
"We learnt nothing from the first wave."
Another drug that is in huge demand is tocilizumab. It is normally used to treat arthritis but studies have shown that it can reduce the chances of a very sick patient needing to go on a ventilator.
Doctors are prescribing the drug mostly to patients who are severely sick. But it has disappeared from the market. Cipla, the Indian company that imports and sells the drug, has been struggling to meet the rising demand.
It usually costs around 32,480 rupees for a vial of 400mg. But Kamal Kumar paid 250,000 rupees to buy one dose for his father. He said the price was "mind boggling" but he had no other option but to pay.
Public health expert Anant Bhan says the government should have procured the drug in huge quantities as not many can afford to buy it in the black market.
"This shows that there was no planning. The government failed to anticipate the wave and plan for it," he says.
English to Thai: A Little History of Literature (Chapter 5: English Tales) General field: Art/Literary Detailed field: Poetry & Literature
Source text - English CHAPTER 5
English Tales
CHAUCER
English literature – as we know it – starts with Geoffrey Chaucer (c. 1343–1400), 700 years ago. But I'll rephrase that sentence. Not ‘English literature’ but ‘literature in English’ starts with Chaucer. It was a long time before England had a language that unified the speech and writing practice of the whole population – and Chaucer marks the point where we can see it happening, around the fourteenth century.
Compare the two following quotations. They are the opening lines of two great poems written, in what we now think of as England, at almost exactly the same time, toward the end of the fourteenth century:
Forþi an aunter in erde I attle to schawe,
Þat a selly in siɜt summe men hit holden …
When that Aprilis, with his showers swoot,
The drought of March hath pierced to the root …
The first quotation is by someone known only as the ‘Gawain Poet’, and is the opening of Sir Gawain and the Green Knight, a semimythic tale set in the reign of King Arthur (discussed in Chapter 2). The second is by Chaucer and is the opening couplet of The Canterbury Tales.
Most readers – unfamiliar with Anglo-Saxon poetic diction, its two-stress rhythms, half-lines and vocabulary sometimes as alien as Klingon – will make heavy weather of the Gawain example. Only a few of the words hint that it is a kind of English. The second extract (with the information that ‘swoot’ means ‘sweet’) is, for the modern reader, broadly understandable – as is the whole poem, its rhymes and rhythms. With a few words translated for us, most of us can handle the poem in the various early forms in which it was transcribed. And it's more enjoyable in the original. It speaks to us, as we say.
Fine poem though Gawain is, its retention of the language and style of Old English stands at a literary dead end. Those people to whom it once spoke are long gone. There was no future for writing like that – beautiful as the poem is to those today who trouble to learn the dialect in which it is written. Chaucer's ‘new’ English is at the threshold of centuries of great literature to come. He was hailed as ‘Dan’ Chaucer by his follower, the great Elizabethan poet Edmund Spenser – ‘Dan’ is short for Dominus, ‘Master’. The leader of the pack. Chaucer was, Spenser said, ‘the source of English undefiled’. He gave our literature its language. And he himself was the first to do great things with it, opening the way for others to do great things.
It is significant that we know who Chaucer actually was and can see him, as we read, in our mind's eye. Literature, after him, has ‘authors’. We do not know who composed Beowulf. It was probably the work of many anonymous hands and minds. Nor do we know who the ‘Gawain Poet’ was. It could have been more than one person. Who knows?
Much had changed in the regional kingdoms and fiefdoms (estates controlled by lords) of Britain during the half-century that separates Beowulf from The Canterbury Tales. It wasn't just ‘English’ that had happened, but ‘England’ itself. The British Isles were conquered by William, Duke of Normandy, in 1066. ‘The Conqueror’, as he is called, brought with him the apparatus of what we recognise as the modern state. The Normans continued the unification of the land they had invaded, installing an official language, a system of common law, coinage, a class system, Parliament, London as the capital city, and other institutions, many of which have come down to us today. Chaucer was this new England's pioneer author, and his English was the London dialect. One can still hear the old rhythms and vocabularies of Anglo-Saxon literature, even in his verse, but it is subterranean, like a drumbeat reaching us from vibrations in the ground.
So who was this man? He was born Geoffroy de Chaucer, his family name derived from the French chausseur, or ‘shoemaker’. The family had, over the centuries, risen well above the cobbler level and their Norman-French origins. In Geoffrey's time they had connections with, and received favours from, the court. Luckily, under Edward III the country was more or less at peace – although occasional forays were made into France, now a foe with whom England would be at odds for 500 years. Geoffrey's father was in the import/export wine trade. This line of work meant intimate contact with continental Europe, whose literatures (well ahead of England's at the time) would later be drawn on extensively by Geoffrey.
Chaucer may have officially or unofficially attended one of the great universities or he may have received his impressive education from home tutors. We don't know. What is clear is that he came into manhood extraordinarily well read and fluent in several languages. As a young man he craved adventure and embarked on a military career. (One of his two great poems, Troilus and Criseyde, is set in the background of the greatest war in literature – that between the Greeks and Trojans.) In France the young English soldier was taken prisoner and ransomed. In later life his favourite thinker was the Roman poet Boethius who wrote his great treatise, The Consolation of Philosophy, in prison. Chaucer translated it from the original Latin, partly via a French version, into English, and absorbed its thinking, particularly on the uncertainty of ‘fortune’ – life's ups and downs.
On his return from the wars he married and settled down. His wife, Philippa, was nobly born and brought him money as well as status. His private life is a matter of persistent debate. From his often bawdy writings, however, we can assume that Geoffrey Chaucer was not puritanical by nature. The term ‘Chaucerian’ has become proverbial for someone who enjoys life to the full.
His early career was assisted by friends at court. Patronage was how you got on in those days. In 1367 the king settled a generous life pension of twenty marks on him for his service as ‘our beloved Valet’ (courtier). Today we would call Chaucer a civil servant. In the early 1370s, he was employed in the king's service abroad. He may well have met the great Italian writers, Petrarch and Boccaccio, in Italy – then the literary capital of the modern world. Both would go on to be major influences on his own writing.
In the mid-1370s Chaucer was appointed Controller of Customs in the Port of London. This was the highpoint of his professional life. Had he continued to rise in the world it is unlikely that we would have The Canterbury Tales. But in the 1380s, his fortunes declined. His friends and patrons could no longer help him. Now a widower, and out of favour at court, he retired to Kent, where he wrote The Canterbury Tales, his great Kentish poem. He had, at this stage of his life, apparently nothing to do but enjoy life as best he could in his provincial retirement.
The Canterbury Tales and Troilus and Criseyde are two supremely great poems. Both were momentously innovative. They changed literature. Troilus takes Homer's great epic, the Iliad, which Chaucer had picked up from Italian sources, and turns the war story into a love story – a full-blown romance. While the great battle rages outside the walls of Troy, one of the Trojan princes, Troilus, falls madly in love with a widow, Criseyde. Their relationship – as the code of ‘courtly love’ requires – must be kept secret from the world, in part to preserve its purity. She, however, betrays him. It destroys Troilus. Affairs of the heart, the poem intimates, can even overshadow great wars. How many future plays, poems and novels can we see anticipated in that plot?
The Canterbury Tales remains, for modern readers, the best entry-point into Chaucer. Its format was in all likelihood taken from a more modern source than that for Troilus, Boccaccio's Decameron, in which ten refugees from plague-ravaged Florence tell each other tales (100 of them, no less) to while away the weary days of their quarantine. The Decameron is written in prose. The Canterbury Tales, although most of it is written in easy-flowing verse, can, like Boccaccio's book, be read now as a kind of early novel – or bundle of small novels. (See Chapter 12 for more on early novelish works in literature.)
Each of Chaucer's tales is entertaining in its own way, and together they compose a small world, or ‘microcosmos’. The eighteenth-century poet, John Dryden (England's first poet laureate – see Chapter 22), said it contained ‘God's Plenty’. All life is there, from the lofty courtly love woes of ‘The Knight's Tale’ through the bawdy high jinks of the lower-class pilgrims' stories, to the orthodox religious advice given by the Parson. Unfortunately not all the poem is there, in the text we now have. Chaucer wrote his poem a century before the invention of printing presses. We have the poem in imperfect form as it survived in various manuscript transcriptions, none by Chaucer himself.
The narrative opens in April 1387. Twenty-nine pilgrims (including Chaucer, who remains entirely on the edge of things) gather at the Tabard Inn on the south bank of the Thames in London. They intend to make the four-day, 100-odd-mile ‘pilgrimage’, by horse, in company, to the tomb of the martyr Thomas Becket in Canterbury Cathedral. Their host at the inn, Harry Bailey, appoints himself their guide on the journey, and – to foster togetherness and harmony – decrees that each of the pilgrims shall tell two stories on the way to Kent, and two on the way back. This would mean around 116 tales. That design was never completed, and perhaps it was never meant to be or, more likely, that Chaucer died before he had the chance. What has come to us are twenty-four tales, some fragmentary. It's tantalising, but more than enough to get a sense of the work's huge achievement.
Chaucer's pilgrims comprise a mirror of society at the time – strikingly, in many of its features, like our own society. It is not a ‘Christian’ poem, despite its being centred on an act of devotion. The point Chaucer makes is that Christianity is a flexible creed which can contain all types of people in a generally secular social framework. You can be both ‘worldly’ and ‘religious’. Not every day of the week is Sunday. At the time Chaucer was writing, it probably seemed a radically new idea.
Among the pilgrims are a number of ecclesiastics (church people), male and female: a Friar, a Monk, a Prioress, a Summoner, a Pardoner (whom Chaucer particularly despises for ‘selling’ forgiveness of sins) and a Parson (whom Chaucer reveres). These churchmen and women do not, on the whole, much like each other. Nor is the reader led to like all of them.
At the bottom of the social heap are a Cook, a Reeve (a land agent), a Miller and a Shipman (a common sailor). A notch above them are a Merchant and a Franklin – members of the emergent bourgeois class. Both are rich. Likely even richer (well-off enough to have made three trips to Jerusalem) is the ‘Wife of Bath’. A self-made woman, she has prospered by the manufacture of cloth (toile de Nîmes – denim). A veteran widow of five marriages, both battered and educated by her husbands, she is female pluck personified. A feisty woman, she picks fights with her fellow pilgrims (notably the celibate Clerk) on the subject of marriage. She knows more than most about that particular institution – precisely five times more than the Clerk.
Above this mercantile ‘middle class’ are members of what we would now call the professions: a doctor (the Physician), a lawyer (the Man of Law) and an academic (the Clerk – someone who makes a living with his reading and writing skills). Each of the pilgrims is sharply characterised in the ‘General Prologue’ and a shorter prologue to each tale. They live vividly in the reader's imagination. In the overall structure of the tales there emerge a number of debates: on marriage (should a wife be submissive or assertive?), on destiny (how can this pagan concept be combined with Christianity?) and on love (does it – as the Prioress's motto puts it – ‘conquer all’?).
The pilgrim of highest ‘degree’ (social class) and, for that reason, the first tale-teller, is the Knight. His tale, set in ancient Greece, steeped in the codes of courtly love and Boethius's ideas about patiently suffering all misfortune, is appropriately ‘chivalrous’ – that is, knightly. It is followed, almost immediately, by a fabliau, or bawdy tale, told by the Miller. The love he chronicles, about an old carpenter, his young wife, and some mischievous young men, is anything but courtly. Texts of The Canterbury Tales were routinely censored for young readers until well into the twentieth century (including my own school copy, as I still, somewhat resentfully, recall).
Many changes are rung throughout the two-dozen tales, concluding, appropriately, with a highminded and earnest sermon by the Parson, after which the reader can depart in peace and having been thoroughly entertained. Dryden was right. All life is there. Our life as well.
Source: John Sutherland. (2013). A Little History of Literature.
Forþi an aunter in erde I attle to schawe,
Þat a selly in siɜt summe men hit holden …
เช่นนั้นแล้วภัยผจญท่ามกลางหมู่คนที่ข้าหวังว่าจะนึกขึ้นได้
บ้างก็เห็นบางกลุ่มคนถือครองอำนาจสุดประหลาดนั้นเอาไว้
When that Aprilis, with his showers swoot,
The drought of March hath pierced to the root …
ถึงคราเมษายนพร้อมปรายฝนที่ฉ่ำหวาน
ลมแล้งแห่งมีนาได้ไชมาถึงแกนราก
คำกลอนแรกนั้นเขียนโดยคนที่เป็นที่รู้จักกันในนาม “นักกวีกาเวน” และเป็นตอนเปิดของนิทานกึ่งอภินิหารเรื่อง “ท่านกาเวนและอัศวินสีเขียว” (Sir Gawain and the Green Knight) ซึ่งเป็นเรื่องที่ดำเนินอยู่ในราชสมัยของกษัตริย์อาเธอร์ (ที่ได้อภิปรายกันไปแล้วในบทที่ 2) ส่วนคำกลอนที่สองนั้นเขียนโดยชอเซอร์ และเป็นโคลงเปิดของตำนานแคนเตอร์บรี (The Canterbury Tales)
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Bio
A Thai-native graduated linguist from department of linguistics, faculty of liberal arts at Thammasat University. Also a writer writing blogs and articles in the fields of art, linguistics, music, literature, sociology, philosophy, and psychology. Aside from native language, Thai, 2 languages have been being learned including English (B2) and Japanese (JLPT-N3).
I have been interested in translation job since I enrolled the language translation course in the university and I felt like this is the work for me since then. I also love to translate stuff to share the world the information I got from people of other languages I know, which means other cultures too.
I have been studying Japanese for 6 years too (to JLPT-N3 level and still studying). So, with linguistic approaches, I can also work on Japanese translation too.
Also, since I have deep passion in art, music, game and literature, any contents that are related to those fields, I am sure I also understand them well enough to translate them into the languages I know.
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