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Brian Molefe (MK): We must move from eating things & make them When I was Transnet CEO, we created a Trans African Locomotive in SA Pres Zuma launched it. When I left, Gama continued It stopped. Zondo Inquiry insinuated corruption & we got arrested. Fraud charges were dropped, its PFMA

109,219 次观看 • 1 年前 •via X (Twitter)

9 条评论

Izwe Lethu 的头像
Izwe Lethu1 年前

Here's the full video

Khwezi Shange 的头像
Khwezi Shange1 年前

They drop charges in silence but the people only ever hear the allegations and something needs to change here. Thanks Noli

Izwe Lethu 的头像
Izwe Lethu1 年前

It's my pleasure.

Sizwe SikaMusi 的头像
Sizwe SikaMusi1 年前

Common sense: to grow your economy and increase employment, you must produce high-value (finished) goods. Economics 101: Your “comparative advantage” is low-value raw materials. Other countries can build and sell you finished goods for cheaper. Shut down your manufacturing.

Khuzumdumo 的头像
Khuzumdumo1 年前

Sesi ur choosen by our Ancestors and approved by God to make sure the truth is heard so that it can set us free.

Izwe Lethu 的头像
Izwe Lethu1 年前

Thank you so much.

FortuneK 的头像
FortuneK1 年前

We were misled to hate President Jacob G Zuma - Secretary General @FloydShivambu 😊 #GwazaMkhontoGwaza

Not Adv.Bandile Zuma 的头像
Not Adv.Bandile Zuma1 年前

He speaks economic policies which could have now taken us very far. I hate the White Monopoly Capital.

Bongani Khwela 的头像
Bongani Khwela1 年前

@Mthuli4 President Zuma you are the best. Mr Molefe inyembezi zakho aziwelanga eze. Ngelinye ilanga uyovuya

相关视频

John Renoir on filming the train scenes in 'The Human Beast' (1938): "'The Human Beast' (1938) was a rather difficult film to shoot, since much of it takes place on locomotives. You can't shoot on a locomotive the way you can in a studio. There was so much to install. I must say that the state railway system was marvelous, they helped us, gave us some extraordinary assistants who took part in the film, who advised us, who prevented us from making mistakes. Because here again I insisted on exterior reality, I wanted very much for it to be respected. Believe me, there isn't a detail in this film that isn't exact. They gave us a track that wasn't being used during the time we were shooting the film. On this track we put a train, composed of a locomotive, our locomotive, our character, the Lison, the one we photographed. Behind it, we had a flatcar on which we had two generators to provide the electricity. We lit the locomotive exactly as if it were a character in a studio: instruments, lights, backlighting, everything you need. And of course all that was connected with wires, with straps, all that. It was all very complicated, because we were moving at sixty miles an hour! To reach sixty miles an hour in a hurry, we had another train push us from behind, so that we picked up speed quickly. We did it with two locomotives. We also had a few normal cars in which the actors could wash up, relax when they weren't shooting, reapply their makeup, have something to eat, and so on. It all was very organized. I must say that the photography was exciting and rather dangerous at times. My nephew, the cameraman, Claude Renoir, was almost knocked off once. He was in charge of a camera that was against the side of the locomotive. We had measured everything. The camera was fixed against the locomotive, but we had miscalculated, and the camera stuck out maybe one centimeter, and when we entered a tunnel - we were filming in a tunnel - the camera was knocked off and smashed. Luckily Claude saw what was coming just before it happened, he guessed it, and he flattened himself against the train and wasn't knocked off too. Luckily he's still alive." ('Renoir on Renoir', translated by Carol Volk, 1989)

DepressedBergman

29,213 次观看 • 10 个月前