... fel Cân i Gymru Dim Byd
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-Subtitles | 0:00:00 | 0:00:00 | |
-Subtitles - -Subtitles | 0:00:00 | 0:00:02 | |
-It's the highlight -of the Welsh calendar... | 0:00:03 | 0:00:07 | |
-..uniting communities -as well as causing family rifts. | 0:00:07 | 0:00:12 | |
-It's a hard decision. | 0:00:12 | 0:00:13 | |
-Over the years, -it's made people laugh... | 0:00:14 | 0:00:17 | |
-..caused scandal, -confusion and tears. | 0:00:18 | 0:00:23 | |
-Stay with us for half an hour as we -look at the golden crown of S4C. | 0:00:24 | 0:00:29 | |
-# The future is just starting # | 0:00:29 | 0:00:34 | |
-We'll demonstrate -there's nothing like Can i Gymru. | 0:00:34 | 0:00:38 | |
-We'll start in 1990... | 0:00:43 | 0:00:45 | |
-..to reveal the humble beginnings -of the anthem of the decade. | 0:00:45 | 0:00:51 | |
-Certain songs take me -back to a specific decade. | 0:00:52 | 0:00:56 | |
-Imagine in the 1970s, -A-ha's Take On Me in the 1980s... | 0:00:56 | 0:01:00 | |
-..Fatboy Slim's Rockafeller Skank -in the 1990s. | 0:01:00 | 0:01:03 | |
-# Right about now, -the funk soul brother | 0:01:03 | 0:01:06 | |
-# Check it out now, -the funk soul brother # | 0:01:07 | 0:01:10 | |
-Rockafeller Skank -was written for Can i Gymru. | 0:01:10 | 0:01:15 | |
-The problem was that -the song was written in English. | 0:01:16 | 0:01:21 | |
-How on earth -do you translate funk into Welsh? | 0:01:22 | 0:01:27 | |
-# Check it out now, -funk soul brother | 0:01:32 | 0:01:35 | |
-# Right about now, -funk soul brother, check it out now | 0:01:35 | 0:01:39 | |
-# Check it out now, -funk soul brother # | 0:01:43 | 0:01:45 | |
-A Can i Gymru song needs a little -love, a smattering of religion... | 0:01:46 | 0:01:52 | |
-..and needless to say - -we must have Owain Glyndwr. | 0:01:53 | 0:01:57 | |
-It has to be catchy. | 0:01:57 | 0:01:59 | |
-Check it out now. | 0:02:00 | 0:02:02 | |
-Right about now. | 0:02:03 | 0:02:05 | |
-It says it all. | 0:02:08 | 0:02:10 | |
-# Check it out now, -funk soul brother, right about now | 0:02:11 | 0:02:16 | |
-# Funk soul brother, -check it out now | 0:02:16 | 0:02:19 | |
-# Funk soul brother, right about now | 0:02:20 | 0:02:23 | |
-# Funk soul brother, -check it out now # | 0:02:23 | 0:02:28 | |
-People say repetition -makes a song monotonous. | 0:02:29 | 0:02:33 | |
-But despite the repetition... | 0:02:33 | 0:02:38 | |
-..it's such a powerful -and life-changing message... | 0:02:39 | 0:02:43 | |
-..it isn't monotonous. | 0:02:43 | 0:02:45 | |
-Every time I hear it, -I get a lump to my throat. | 0:02:46 | 0:02:49 | |
-Wales wasn't ready for an English -song, more's the pity. | 0:02:50 | 0:02:55 | |
-# Check it out now, -funk soul brother, right about now | 0:02:56 | 0:03:01 | |
-# Funk soul brother # | 0:03:02 | 0:03:07 | |
-In 1965, the guitarist who forgot -the chords on a live programme... | 0:03:10 | 0:03:15 | |
-..led to innovative improvisation -by Hogia'r Wyddfa. | 0:03:15 | 0:03:19 | |
-Possibly... | 0:03:19 | 0:03:20 | |
-..the strain of performing -live to the nation got to Vivian. | 0:03:20 | 0:03:26 | |
-You could say he lost the plot. | 0:03:26 | 0:03:28 | |
-As a guitarist, I can sympathize -with what Vivian went through. | 0:03:29 | 0:03:33 | |
-We had to follow Viv's chords, -but we didn't have any lyrics. | 0:03:36 | 0:03:41 | |
-Thankfully, -the years of army training paid off. | 0:03:42 | 0:03:46 | |
-We sometimes lost the harmony, -but we had to go through it. | 0:03:46 | 0:03:50 | |
-# STAR TREK THEME # | 0:03:50 | 0:03:54 | |
-# La la la la la la la la # | 0:03:55 | 0:04:00 | |
-# La la la la la la la la # | 0:04:00 | 0:04:05 | |
-It was a live programme. | 0:04:05 | 0:04:07 | |
-We got away with it on the night. | 0:04:07 | 0:04:10 | |
-Yes, probably. | 0:04:11 | 0:04:12 | |
-# La la la la la la la la # | 0:04:14 | 0:04:18 | |
-Someone phoned us -and said he liked it. | 0:04:18 | 0:04:21 | |
-We didn't hear from him again. | 0:04:21 | 0:04:24 | |
-There was a new series -about spaceships, or something. | 0:04:24 | 0:04:28 | |
-That's what I understood. | 0:04:28 | 0:04:32 | |
-Nothing came of it. | 0:04:32 | 0:04:34 | |
-Did we get paid? | 0:04:34 | 0:04:36 | |
-In 1991, an experimental -partnership entered Can i Gymru. | 0:04:38 | 0:04:43 | |
-Controversial rappers, Cofi Bach -and Tew Shady hit the scene. | 0:04:43 | 0:04:48 | |
-Our songs are quite hard-hitting -and straight to the point. | 0:04:49 | 0:04:53 | |
-Short songs must be concise -so people understand the message. | 0:04:54 | 0:05:00 | |
-The best Welsh word to describe -Cofi Bach and Tew Shady is risque. | 0:05:00 | 0:05:05 | |
-You wouldn't hear them on Dafydd -and Caryl's breakfast radio show. | 0:05:06 | 0:05:10 | |
-Cofi Bach and Tew Shady didn't leave -a lot to the imagination. | 0:05:11 | 0:05:16 | |
-It's a song about a loose woman... | 0:05:16 | 0:05:19 | |
-..whose social life is rather juicy. | 0:05:20 | 0:05:24 | |
-Cofi Bach and Tew Shady's song -is Your Mum. | 0:05:25 | 0:05:30 | |
-We were thrilled to go through. | 0:05:30 | 0:05:33 | |
-We weren't convinced -about S4C's choice of singer. | 0:05:33 | 0:05:39 | |
-And here to sing it, -please welcome Margaret Williams. | 0:05:39 | 0:05:44 | |
-# I can't understand your shock, -that your mum likes sucking c**k | 0:05:49 | 0:05:53 | |
-# She's a whore, she's a **** | 0:05:54 | 0:05:56 | |
-# And she had STD | 0:05:56 | 0:06:00 | |
-# Before she learnt her ABC | 0:06:00 | 0:06:02 | |
-# Listen to me, t**t | 0:06:03 | 0:06:05 | |
-1991 is a very long time ago. -I still sing it. | 0:06:07 | 0:06:11 | |
-Funnily enough, I sang it three -weeks ago in the Swansea Grand. | 0:06:12 | 0:06:17 | |
-It always goes down a storm. | 0:06:17 | 0:06:19 | |
-# Listen to me, t**t | 0:06:20 | 0:06:22 | |
-# This song's about your mum | 0:06:22 | 0:06:25 | |
-# Your mum, your mum, -this song's about your mum | 0:06:25 | 0:06:29 | |
-# Your mum, your mum # | 0:06:29 | 0:06:32 | |
-Join in! | 0:06:32 | 0:06:33 | |
-I'd like to work more -with Tew Shady. | 0:06:34 | 0:06:38 | |
-His songs are so original. | 0:06:38 | 0:06:41 | |
-# Your mum, your mum, -this song's about your mum # | 0:06:47 | 0:06:51 | |
-Our next clip is from 1993. | 0:06:56 | 0:06:58 | |
-A young composer proved -that originality pays. | 0:06:58 | 0:07:02 | |
-He composed a song for a brass band. | 0:07:02 | 0:07:05 | |
-I'd say -whoever wrote that was a genius. | 0:07:06 | 0:07:10 | |
-He thought outside the box, -he offered something different... | 0:07:10 | 0:07:15 | |
-..stunning sound, -a genius, whoever he was. | 0:07:16 | 0:07:19 | |
-I'm Thomas Greenfield. | 0:07:19 | 0:07:21 | |
-I'm a 22-year-old student -from Penegoes by Machynlleth. | 0:07:21 | 0:07:25 | |
-I've been -composing for brass bands... | 0:07:25 | 0:07:28 | |
-I was delighted that a young -composer wrote for a brass band... | 0:07:28 | 0:07:32 | |
-..for Can i Gymru. | 0:07:33 | 0:07:34 | |
-The name of the piece -is The Penny Has Dropped. | 0:07:36 | 0:07:40 | |
-Basically, it's a song about change. | 0:07:40 | 0:07:43 | |
-I can't wait to hear the Nantlle -Vale Brass Band performing it. | 0:07:43 | 0:07:48 | |
-They were brilliant. | 0:08:03 | 0:08:05 | |
-The highlight for me -was when the band was silent... | 0:08:05 | 0:08:10 | |
-..and we hear one long note -through the 10 note. | 0:08:11 | 0:08:14 | |
-I wanted to join a brass band. | 0:08:27 | 0:08:29 | |
-They were looking for a tenor sax. -I only had a four quid trombone. | 0:08:29 | 0:08:33 | |
-# Clipiti-clop, clipiti-clop, -whey, steady # | 0:08:34 | 0:08:38 | |
-A good song must have -the ability to turn heads... | 0:08:46 | 0:08:50 | |
-..as Gillian Elisa -discovered in 1989. | 0:08:50 | 0:08:55 | |
-She started well. | 0:09:03 | 0:09:05 | |
-# Every day, -it's the same old song # | 0:09:06 | 0:09:11 | |
-It's hard to believe she sang -the song facing the wrong way. | 0:09:12 | 0:09:17 | |
-Embarrassing. | 0:09:19 | 0:09:21 | |
-# Pressing | 0:09:22 | 0:09:24 | |
-# Button after button # | 0:09:24 | 0:09:28 | |
-I can't understand -what came over her. | 0:09:28 | 0:09:32 | |
-The first rule of theatre is not -to turn your back on the audience. | 0:09:32 | 0:09:37 | |
-Wasn't it odd? | 0:09:39 | 0:09:41 | |
-# Until the night ends # | 0:09:41 | 0:09:45 | |
-1982 was a grim year in the UK. | 0:09:47 | 0:09:50 | |
-But it brought -the best out of Tecwyn Ifan. | 0:09:51 | 0:09:54 | |
-1982 was a terrible year -for Britain. | 0:09:54 | 0:09:58 | |
-Thatcher, the Falklands War -and millions out of work. | 0:09:59 | 0:10:03 | |
-A powerful song was needed. | 0:10:03 | 0:10:06 | |
-There were the Troubles -back home in Ireland. | 0:10:06 | 0:10:09 | |
-We needed an anthem. | 0:10:10 | 0:10:12 | |
-Tecs gave it to us. | 0:10:13 | 0:10:16 | |
-# Ming ming ming ming ming | 0:10:23 | 0:10:25 | |
-# Na, brrum brrum | 0:10:26 | 0:10:28 | |
-# Ming ming ming ming | 0:10:29 | 0:10:31 | |
-# Ming ming ming ming ming # | 0:10:32 | 0:10:34 | |
-I wasn't even born. | 0:10:35 | 0:10:37 | |
-I was a child and didn't understand -the significance of the words. | 0:10:37 | 0:10:43 | |
-Obviously, now I get it. | 0:10:43 | 0:10:45 | |
-If I'd understood it more at the -time, I'd have had a better life. | 0:10:45 | 0:10:50 | |
-# Ming ming ming ming ming | 0:10:50 | 0:10:53 | |
-# Ming ming ming ming ming | 0:10:53 | 0:10:56 | |
-# Ming ming ming ming ming # | 0:10:56 | 0:10:58 | |
-The way he sang "ming"... | 0:10:59 | 0:11:02 | |
-..appealed to me. | 0:11:03 | 0:11:05 | |
-When he revved it up for the end, -a chill went down my spine. | 0:11:05 | 0:11:11 | |
-# Ming ming ming ming ming | 0:11:12 | 0:11:14 | |
-# Ma! # | 0:11:15 | 0:11:17 | |
-Join us in part two. | 0:11:19 | 0:11:21 | |
-But first, let's revisit -the no-nonsense year of 1954. | 0:11:21 | 0:11:25 | |
-Here are two voices singing in -harmony to a simple accompaniment. | 0:11:26 | 0:11:31 | |
-# The blacksmith's door was open | 0:11:31 | 0:11:34 | |
-# The blacksmith's face -was a blackish hue | 0:11:34 | 0:11:37 | |
-# See the blacksmith, busy blowing, -migldi-magldi, hei now now # | 0:11:37 | 0:11:43 | |
-. | 0:11:45 | 0:11:45 | |
-Subtitles | 0:11:52 | 0:11:52 | |
-Subtitles - -Subtitles | 0:11:52 | 0:11:54 | |
-Welcome back -to Dim Byd Fel Can I Gymru... | 0:11:59 | 0:12:02 | |
-..for an affectionate look... | 0:12:03 | 0:12:06 | |
-..at Wales's foremost -composing competition. | 0:12:06 | 0:12:09 | |
-In 1984... | 0:12:11 | 0:12:13 | |
-..a problem with sound caused -a star to take his eye off the ball. | 0:12:13 | 0:12:19 | |
-In 1984, they began experimenting -with in-ear monitors. | 0:12:20 | 0:12:26 | |
-There was a big fuss. | 0:12:26 | 0:12:28 | |
-Many said -it was the inventor's fault. | 0:12:29 | 0:12:33 | |
-I'm Alwyn Jones. I worked -for the BBC in the eighties. | 0:12:33 | 0:12:38 | |
-I was developing sound machines. | 0:12:38 | 0:12:40 | |
-S4C had just started. | 0:12:41 | 0:12:43 | |
-They needed to prove to the world -they weren't a ramshackle outfit. | 0:12:43 | 0:12:48 | |
-They wanted -to use the best technology. | 0:12:49 | 0:12:52 | |
-# Millwall 2 | 0:12:53 | 0:12:55 | |
-# Wigan 0 | 0:12:56 | 0:12:59 | |
-# Chelsea and Wolves | 0:13:01 | 0:13:03 | |
-# No score # | 0:13:04 | 0:13:06 | |
-How could we know that Grandstand -was using on the same frequency? | 0:13:07 | 0:13:13 | |
-At 5.30pm on Saturday, Grandstand -announced the score draws. | 0:13:13 | 0:13:19 | |
-Poor Geraint tried to sing... | 0:13:19 | 0:13:22 | |
-..but all he heard -was football results. | 0:13:22 | 0:13:25 | |
-# West Ham 0 | 0:13:27 | 0:13:30 | |
-# Wrexham 9 | 0:13:31 | 0:13:34 | |
-# Liverpool 5 | 0:13:35 | 0:13:38 | |
-# Leicester 0 # | 0:13:39 | 0:13:42 | |
-It proved how professional he was, -to get the passion out of the words. | 0:13:43 | 0:13:48 | |
-What was the score? | 0:13:49 | 0:13:51 | |
-What was the score?! | 0:13:52 | 0:13:54 | |
-I played football with Geraint -Griffiths, and he was "Oh, Captain". | 0:13:55 | 0:14:01 | |
-# Reading 2 | 0:14:01 | 0:14:04 | |
-# Swindon 0 | 0:14:05 | 0:14:08 | |
-# Blackburn and Leeds | 0:14:09 | 0:14:12 | |
-# Late kick-off # | 0:14:13 | 0:14:16 | |
-1969 gave us the classic -from the Ogwen Valley boys... | 0:14:19 | 0:14:23 | |
-..Ron, Neville, Roy and Now on -the mouthorgan - Hogia Llandegai. | 0:14:23 | 0:14:29 | |
-We wanted a song -that pushed boundaries... | 0:14:30 | 0:14:34 | |
-..to change our image, -as it were. | 0:14:34 | 0:14:38 | |
-Now kept nagging me for a new song. | 0:14:38 | 0:14:44 | |
-"When is this new song coming?" -he'd ask. | 0:14:44 | 0:14:48 | |
-Now knew what he wanted. | 0:14:48 | 0:14:50 | |
-If Now wanted a new song, -then Now got a new song. | 0:14:50 | 0:14:53 | |
-Now said, -"Have you written the song yet?" | 0:14:54 | 0:14:57 | |
-"Alright, alright, Now! -It'll come." | 0:14:57 | 0:15:00 | |
-And then it came. | 0:15:00 | 0:15:02 | |
-Alright, Now. | 0:15:02 | 0:15:05 | |
-# We're alright Now | 0:15:06 | 0:15:08 | |
-# We're alright Now # | 0:15:09 | 0:15:12 | |
-Vote for us! | 0:15:12 | 0:15:14 | |
-# We're alright Now | 0:15:14 | 0:15:16 | |
-# We're alright Now # | 0:15:17 | 0:15:22 | |
-This 1977 clip proves cutbacks -are nothing new in broadcasting. | 0:15:27 | 0:15:32 | |
-Traed Wadin's Dylan Parry -turned his hand to directing. | 0:15:33 | 0:15:38 | |
-Cue lights. | 0:15:38 | 0:15:39 | |
-Many TV directors were once singers, -for instance Huw Chiswell. | 0:15:40 | 0:15:45 | |
-Endaf Emlyn. | 0:15:45 | 0:15:46 | |
-Endaf Emlyn. - -Clive Harpwood. | 0:15:46 | 0:15:48 | |
-Delwyn Sion. | 0:15:48 | 0:15:49 | |
-Delwyn Sion. - -Robin Evans. | 0:15:49 | 0:15:50 | |
-No-one had attempted -to do the two jobs. | 0:15:50 | 0:15:53 | |
-Cue band. | 0:15:54 | 0:15:56 | |
-Zoom in Camera 2. | 0:15:58 | 0:16:00 | |
-# Now change, and stay on me | 0:16:04 | 0:16:07 | |
-# For a second or two | 0:16:08 | 0:16:11 | |
-# Next, get a tight shot # | 0:16:12 | 0:16:17 | |
-Dylan did a wonderful job, -it was quite a feat. | 0:16:20 | 0:16:23 | |
-# Stay on the shot # | 0:16:24 | 0:16:27 | |
-Personally, I wouldn't -have zoomed in on the piano. | 0:16:28 | 0:16:32 | |
-A wide shot would have been better. | 0:16:33 | 0:16:35 | |
-Camera 3. | 0:16:36 | 0:16:38 | |
-# Zoom out from the piano -to a central position # | 0:16:38 | 0:16:44 | |
-Two, two. | 0:16:51 | 0:16:53 | |
-I remember it well. Multi-tasking -was everything back then. | 0:16:56 | 0:17:00 | |
-# And just once | 0:17:01 | 0:17:03 | |
-# Let's get a shot from the back | 0:17:04 | 0:17:07 | |
-# Before ending once more | 0:17:08 | 0:17:11 | |
-# On a tight shot | 0:17:11 | 0:17:15 | |
-# A tight shot | 0:17:16 | 0:17:19 | |
-# A tight shot # | 0:17:19 | 0:17:22 | |
-In 1966, a youthful Dafydd Iwan -ruffled a few feathers... | 0:17:23 | 0:17:28 | |
-..with a song -that shook Wales to its core. | 0:17:29 | 0:17:32 | |
-You've been criticised -for the record. | 0:17:32 | 0:17:36 | |
-Does this upset you? | 0:17:36 | 0:17:38 | |
-Oh, no. I expect criticism -when the subject is controversial. | 0:17:39 | 0:17:45 | |
-You don't cry yourself to sleep? | 0:17:46 | 0:17:47 | |
-You don't cry yourself to sleep? - -Not every night. | 0:17:47 | 0:17:49 | |
-Wales was -very different in those days... | 0:17:49 | 0:17:53 | |
-..40 years ago. | 0:17:54 | 0:17:56 | |
-Nobody wanted to rock the boat. | 0:17:57 | 0:18:00 | |
-He rattled a few cages. | 0:18:01 | 0:18:04 | |
-# Right, said Fred, -both of us together | 0:18:09 | 0:18:13 | |
-# One each end and steady as we go | 0:18:13 | 0:18:16 | |
-# Tried to shift it, -couldn't even lift it # | 0:18:17 | 0:18:20 | |
-Everybody remembers where they were -when Dafydd Iwan sang the song. | 0:18:20 | 0:18:26 | |
-I was in college -in Aber at the time. | 0:18:26 | 0:18:30 | |
-I was in the front room, in a towel, -having just had a bath. | 0:18:30 | 0:18:36 | |
-What, mate? I'm not allowed to talk. -Can I talk? | 0:18:38 | 0:18:43 | |
-# After straining, -heaving and complaining | 0:18:43 | 0:18:45 | |
-# We was getting nowhere, -and so we had a cup of tea # | 0:18:45 | 0:18:50 | |
-I'm sure he was miming. -His mouth didn't match the sound. | 0:18:50 | 0:18:54 | |
-# We ought -to take off all the handles | 0:18:55 | 0:18:57 | |
-# And the things -what held the candles # | 0:18:57 | 0:19:00 | |
-I remember... ugh... -the song was very good. | 0:19:00 | 0:19:06 | |
-# But no | 0:19:06 | 0:19:09 | |
-# So Fred said, let's have another -cup of tea and we said, right-oh! # | 0:19:09 | 0:19:14 | |
-In 1970, lovely voices, -a smashing melody... | 0:19:17 | 0:19:20 | |
-..and words that broke -the BBC code of conduct. | 0:19:20 | 0:19:24 | |
-Here are Y Canolwyr. | 0:19:24 | 0:19:28 | |
-I remember Y Canolwyr's Dydd O Haf. -They sang it beautifully. | 0:19:28 | 0:19:32 | |
-But mid-song, one of the girls -brought out a huge baguette. | 0:19:33 | 0:19:38 | |
-Someone should have noticed... | 0:19:39 | 0:19:41 | |
-..when they began to wave -the baguette over their heads. | 0:19:42 | 0:19:47 | |
-# A foot-long Sub, cheese and ham | 0:19:49 | 0:19:52 | |
-# For only three shillings | 0:19:52 | 0:19:55 | |
-# Tuna melt and salad | 0:19:55 | 0:19:58 | |
-# And honey mustard sauce # | 0:19:59 | 0:20:01 | |
-In the middle, -we had a Subway advert. | 0:20:02 | 0:20:06 | |
-I don't know how -they got away with it. | 0:20:06 | 0:20:09 | |
-What were the words? -"Foot-long Sub". | 0:20:09 | 0:20:12 | |
-# Tune melt and salad | 0:20:12 | 0:20:15 | |
-# And honey mustard sauce # | 0:20:16 | 0:20:18 | |
-# Giddy-up boy, -giddy-up boy, giddy-up boy | 0:20:18 | 0:20:21 | |
-# Giddy-up, whoa! # | 0:20:22 | 0:20:24 | |
-# Call in before half past two | 0:20:25 | 0:20:27 | |
-# There's a special offer -on the meal deal # | 0:20:27 | 0:20:30 | |
-The BBC is not allowed -to advertise. | 0:20:31 | 0:20:36 | |
-It's against the law, isn't it? | 0:20:37 | 0:20:39 | |
-Advertising was banned. | 0:20:39 | 0:20:41 | |
-If any brand was displayed, -they cut it out. | 0:20:42 | 0:20:48 | |
-It wasn't allowed. | 0:20:49 | 0:20:51 | |
-I can't understand how -they got away with it. | 0:20:51 | 0:20:56 | |
-I just don't know. | 0:20:56 | 0:20:58 | |
-Wow Aloma, this is a terrific -thirst-quencher. Great. | 0:20:59 | 0:21:03 | |
-And it only contains 23 calories. | 0:21:06 | 0:21:09 | |
-Oh, yes? | 0:21:09 | 0:21:10 | |
-Our final clip, from 1980... | 0:21:13 | 0:21:15 | |
-..marks the return of Wales's most -famous prodigal son, Tom Allan. | 0:21:15 | 0:21:20 | |
-# Off we go # | 0:21:21 | 0:21:23 | |
-I remember Tom Allan. | 0:21:24 | 0:21:26 | |
-He was a regular -on the North Wales gig circuit. | 0:21:26 | 0:21:30 | |
-He had a good voice. | 0:21:30 | 0:21:32 | |
-Then he disappeared. -I've no idea where he went. | 0:21:32 | 0:21:36 | |
-# GANGNAM STYLE # | 0:21:37 | 0:21:40 | |
-A friend of mine -had gone to South Korea. | 0:21:41 | 0:21:44 | |
-I took a gamble and joined him. | 0:21:44 | 0:21:47 | |
-I found work -in a Conservative Club in Seoul. | 0:21:47 | 0:21:51 | |
-That's where it all started. | 0:21:51 | 0:21:54 | |
-As we all know, he came back -and gave us the classic. | 0:21:54 | 0:21:59 | |
-# Gu ron ban jon i nun yo ja | 0:21:59 | 0:22:03 | |
-# Na nun sa na ye | 0:22:03 | 0:22:07 | |
-# Eh, eh | 0:22:08 | 0:22:11 | |
-# A reum de wo sa rang su ro wo | 0:22:11 | 0:22:15 | |
-# Eh | 0:22:16 | 0:22:17 | |
-# Eh | 0:22:17 | 0:22:19 | |
-# Ji gum bu to -gal de ka ji ga bol ka | 0:22:19 | 0:22:23 | |
-# Oppan Gangnam Style # | 0:22:26 | 0:22:28 | |
-I hit it off with one young lad. -I called him Psy. | 0:22:28 | 0:22:33 | |
-He did a dance as I sang. | 0:22:34 | 0:22:37 | |
-We did it together. -It went down fantastically there. | 0:22:38 | 0:22:42 | |
-# Na je nun ta sa # | 0:22:43 | 0:22:46 | |
-When I returned -to Wales for Can i Gymru... | 0:22:46 | 0:22:49 | |
-..there was no mic stand -so I couldn't do the dance. | 0:22:49 | 0:22:53 | |
-I had to hold the mic in my hand. -I did the best I could. | 0:22:53 | 0:22:58 | |
-To this day, if there'd been a -mic stand I'd have won Can i Gymru. | 0:22:58 | 0:23:04 | |
-# Oppan Gangnam Style | 0:23:04 | 0:23:06 | |
-# Oppan Gangnam Style - -# Eh, sexy lady | 0:23:06 | 0:23:09 | |
-# Oppan Gangnam style | 0:23:10 | 0:23:13 | |
-# Eh, sexy lady # | 0:23:14 | 0:23:18 | |
-And that's it. I hope you enjoyed -our nation's musical highlights. | 0:23:19 | 0:23:24 | |
-Good luck -to this year's contestants. | 0:23:24 | 0:23:28 | |
-Whatever you think -about the songs... | 0:23:28 | 0:23:31 | |
-..you have to admit -there's nothing like Can i Gymru. | 0:23:31 | 0:23:35 | |
-THIS IS WHEN THE END CREDITS APPEAR. -WHO READS THEM? | 0:23:37 | 0:23:40 | |
-USUALLY S4C CROPS THEM -TO SHOW WHAT'S ON NEXT | 0:23:41 | 0:23:45 | |
-I TOLD YOU! | 0:23:45 | 0:23:48 | |
-A HEARTFELT THANKS -TO EVERYBODY WHO TOOK PART | 0:23:48 | 0:23:51 | |
-S4C Subtitles by Gwead | 0:23:52 | 0:23:54 | |
-. | 0:23:54 | 0:23:55 |