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@TokkiLoops • 7,943 subscribers

All about #NewJeans #뉴진스 #NJZ #엔제이지 @NJZ_official

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NewJeans jamming to Go Away #NewJeans #뉴진스 #NewJeans_is_Everywhere #Hanni #Minji #Haerin #Hyein #Danielle

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NewJeans jamming to Go Away #NewJeans #뉴진스 #NewJeans_is_Everywhere #Hanni #Minji #Haerin #Hyein #Danielle

407,312 views

Dani’s voice??

Dani’s voice??

29,594 views

HAPPY 18th BIRTHDAY HYEIN!!!🥳🥳🎉🎉 #Hyein #혜인

HAPPY 18th BIRTHDAY HYEIN!!!🥳🥳🎉🎉 #Hyein #혜인

34,903 views

"This works of fiction is a blend of AI Imagination and Human Craftsmanship. No Dinosaurs were harmed in the making of this video"

"This works of fiction is a blend of AI Imagination and Human Craftsmanship. No Dinosaurs were harmed in the making of this video"

15,330 views

Videos

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MHJ on Mediamixi talks about OOAK and Tokyo Dome • When I name things, just as I did with NewJeans and my former company ADOR, I like names that are intuitive. I’m not really fond of names where you have to explain them for people to understand the meaning. I prefer names that are simple and intuitive, names that immediately catch your ear and have a pleasant sound to them. • I actually came up with this name sometime between the middle of the night and dawn, before going to sleep. I thought the feeling of “anything is OK” or “anyone is OK” was really nice. I mean that in the more fundamental sense that I talked about earlier. I thought it would be interesting to give the initials or the spelling itself another meaning, while still making the pronunciation “OK.” • It was the same when I was working with NewJeans. I always want to start with what I personally want, what I want to do, and what I would want to experience if I were a customer. So even if it’s a business, I’m the type of person who finds it difficult to accept selling something that I myself wouldn’t want. I want to create a company that can produce things that I genuinely, truly want, and continue doing that. • When I make merchandise, this might sound a little strange, but I never create it with the intention of making money from it. For each project, I create merchandise more like a keepsake or souvenir—something that allows people to look back and remember the experience later. It’s about creating something that gives meaning to the memories from that particular time. That was also the case with the Tokyo Dome concert, and I always plan projects with that same mindset. I think wanting to preserve important events and enjoyable memories is almost something instinctive in human nature. As for the hats, I’ve always liked hats myself, and I wear them quite often in my everyday life. And I also wanted to make something that people who are interested in what I do or who support me would enjoy. • I would definitely like to continue working with Japanese companies and creators in the future as well. It was the same when I worked with Takashi Murakami before. By the way, Murakami was also incredibly fast when it came to work. He was really speedy, there were never any problems, and I had a very enjoyable experience working with him. Not only with Murakami, but all of my work with the Japanese artists, creators, staff, and companies I have collaborated with so far has become a really wonderful memory. For example, it was the same with the staff when NewJeans previously filmed a shampoo commercial in Japan. My experiences working with Japanese staff have become very important memories for me. During the Tokyo Dome concert, the schedule was quite tight, so we had to continue having meetings about deciding the camera angles late into the night, right up until shortly before the concert. At first, I didn't know whether the direction I had given would actually be realized or whether the camera angles would turn out the way I had hoped. Ultimately, a lot of it had to be entrusted to the judgment of the staff working on site. • Even now, one experience remains particularly memorable to me because it felt almost surreal. When working at a large venue such as Tokyo Dome, it is impossible to direct every single moment and every detail yourself. So first, I explain the overall context and intention, and make sure everyone understands it. After that, I leave it in the hands of the staff, hoping that they will capture the angles and images that I have envisioned. For example, there was a scene where Hanni appeared, and one of the staff members captured her face in an extreme close-up. The moment I saw it, I thought, “Can you see inside my mind?” I was amazed at how accurately they had understood my intention. The camera staff at Tokyo Dome did an absolutely wonderful job. Later, when some of those staff members came to Seoul, we even had a meal together. They were truly an amazing group of people.

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14,567 views • 25 days ago

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Min Heejin: I’m someone for whom work is important. In the past, work was important too, but I don’t think I truly enjoyed it properly. So, even when NewJeans was doing well, I felt quite depressed—there was a sense of emptiness because everything was just being poured out. However, going through these absurd situations, fighting, and experiencing all this, I strangely learned a lot. I realized the value of work, something I hadn’t fully felt before. I understood why work is precious, why I’m fighting, and the essence of these conflicts, which made me think a lot about how I should overcome these challenges in the future and approach my work. I actually want to propose a new way of managing entertainment. For example, instead of the usual seven-year contracts, I want to shorten contract periods. Because we should work together because we want to, not because we’re bound. The standard contracts still have many loopholes—they’re written only from the company’s perspective. Also, there are many cases where young children, whose parents are also unaware, just sign contracts if they want to become idols, without fully understanding. The people who create these standard contracts often don’t understand the practical side of things. So, I want to try proposing ways to improve these standard contracts from a practical, on-the-ground perspective. So, actually, what I want to do is run a label. It’s not just about making money—if you do your work well, the money will naturally follow. But what I really want to do involves some things that feel experimental. You know, like when a lot of money is invested in an idol, and then they force a longer contract period to make it worth it. Instead of forcing long contracts, I think it’s better to have shorter contract periods and make the company and the members truly need each other. The company should be one that the members need, and the members should be able to make the company feel needed. At the same time, they should be able to show their own competitiveness and appeal themselves. I know it sounds a bit ambitious, but I think this is a more advanced, almost paradigm-shifting approach. Sometimes I even wonder if I’m having these absurd fights because I’m trying to push this kind of new approach.

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116,002 views • 10 months ago

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Rooftop of OOAK

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12,230 views • 1 month ago

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Year Ago TMA Awards

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70,032 views • 1 year ago