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[📷] 260707 | dingo_music Post (1/2) GOT7’s “Stop Stop It”, which has recently been going viral again across social media! 🎧 Rather than dismissing it as just another short-form trend, the song carries remarkable musical value and thoughtful production. Here’s Dingo’s take on the three reasons why “Stop Stop...

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#DJYugyeomxChinchinbang 👤 did you let the GOT7 hyungs hear your new song ahead of time? i'm very curious 🌼 first off, youngjae hyung, when we were filming orbit hyung’s youtube video, as soon as it ended, i sent it to him right away. so hyung actually went home listening to my album the whole way. he told me so many good things. he said it was really great and that he thinks I’m really amazing. he said a lot of things that made me feel really grateful. actually, i was continuously working on the album even while preparing for GOT7’s concert. so jaebeom hyung and jackson hyung, they listened to the whole thing in my room at the hotel in thailand, the one where we did the GOT7 concert. also, the 9th track, unconditional, all the members have heard it. right after i recorded it, i played it for them during GOT7 choreography practice. i remember they said a lot of nice things back then too. like, “whoa, this sounds like a foreign artist,” or “this gives jay park vibes,” or “feels like chris brown.” they said a lot of nice things like that, and it stuck with me. so yeah, when the hyungs listened to this album, they gave me a lot of compliments. even more than last time, i think.
1:23

#DJYugyeomxChinchinbang 👤 did you let the GOT7 hyungs hear your new song ahead of time? i'm very curious 🌼 first off, youngjae hyung, when we were filming orbit hyung’s youtube video, as soon as it ended, i sent it to him right away. so hyung actually went home listening to my album the whole way. he told me so many good things. he said it was really great and that he thinks I’m really amazing. he said a lot of things that made me feel really grateful. actually, i was continuously working on the album even while preparing for GOT7’s concert. so jaebeom hyung and jackson hyung, they listened to the whole thing in my room at the hotel in thailand, the one where we did the GOT7 concert. also, the 9th track, unconditional, all the members have heard it. right after i recorded it, i played it for them during GOT7 choreography practice. i remember they said a lot of nice things back then too. like, “whoa, this sounds like a foreign artist,” or “this gives jay park vibes,” or “feels like chris brown.” they said a lot of nice things like that, and it stuck with me. so yeah, when the hyungs listened to this album, they gave me a lot of compliments. even more than last time, i think.

𝐣𝐨𝐲𝐜𝐞

28,352 views • 1 year ago

Although Hip-Hop is musically centered, the story of how it came to be does not begin: "Once upon a time, a DJ named Kool Herc threw a back-to-school jam in the Bronx on August 11, 1973." That is to say, the story of the more incredible culture isn't how it was created as much as the story is how it happened! Hip-Hop, in the broader context of policies like benign neglect implemented by President Richard Nixon, was a reaction to cuts to public education and other social services, legal segregation in the form of redlining, and failed gentrification of the Bronx, NY, in the early 1970s. Hip-Hop was anti-establishment because the establishment was anti-Hip-Hop. By 1980, the innovation in Hip-Hop was primarily driven by its diversity, but as one of my favorite scenes in the movie Wild Style depicts, becoming a part of Hip-Hop culture was also more elusive than it is today, "Yo, I'm ready to paint Virginia but yo what are you doing here in the yard you're not supposed to be here." Hip Hop was powerful because it was a culture you couldn't choose to enter. It was more a matter of whether or not you were allowed, and that hinged upon not the color of your skin but your authenticity, creativity, and the accumulated direct experiences you had with its stewards; in other words, if you wanted to be down, you had to prove yourself over time, regardless of race. Today, bigotry and race-signaling slogans like "they're not like us" have become the barometer for exclusivity in Hip-Hop culture, not aptitude in a given element like it used to. At least based on the framework of Hip-Hop counterculture and what it was countering while I was growing up in the 70s. At what point did Hip-Hop go from your participation in it being grounded on the merit of your creativity, leveling out the playing field, to being overwrought with zealots restricting one's participation based on race, and why?
3:26

Although Hip-Hop is musically centered, the story of how it came to be does not begin: "Once upon a time, a DJ named Kool Herc threw a back-to-school jam in the Bronx on August 11, 1973." That is to say, the story of the more incredible culture isn't how it was created as much as the story is how it happened! Hip-Hop, in the broader context of policies like benign neglect implemented by President Richard Nixon, was a reaction to cuts to public education and other social services, legal segregation in the form of redlining, and failed gentrification of the Bronx, NY, in the early 1970s. Hip-Hop was anti-establishment because the establishment was anti-Hip-Hop. By 1980, the innovation in Hip-Hop was primarily driven by its diversity, but as one of my favorite scenes in the movie Wild Style depicts, becoming a part of Hip-Hop culture was also more elusive than it is today, "Yo, I'm ready to paint Virginia but yo what are you doing here in the yard you're not supposed to be here." Hip Hop was powerful because it was a culture you couldn't choose to enter. It was more a matter of whether or not you were allowed, and that hinged upon not the color of your skin but your authenticity, creativity, and the accumulated direct experiences you had with its stewards; in other words, if you wanted to be down, you had to prove yourself over time, regardless of race. Today, bigotry and race-signaling slogans like "they're not like us" have become the barometer for exclusivity in Hip-Hop culture, not aptitude in a given element like it used to. At least based on the framework of Hip-Hop counterculture and what it was countering while I was growing up in the 70s. At what point did Hip-Hop go from your participation in it being grounded on the merit of your creativity, leveling out the playing field, to being overwrought with zealots restricting one's participation based on race, and why?

BROLICARM

15,712 views • 2 years ago

250506 | INSTAGRAM [bybl_rakjun] #GOT7 #갓세븐 GOT7 GOT7 (갓세븐) #GOT7_NESTFESTinBKK 2025 GOT7 ‘NESTFEST’ in BANGKOK “hyung, we hope you can join us on our tour!” at the moment i had resolved to set aside the label of “celebrity trainer”, a title that might seem unfamiliar or even special, but in essence, is just the same line of work, a single phone call became the starting point in june 2019, just two days after seo-ah was born, i joined these guys on a world tour. and now, we finally get to bring to life the finale we sadly weren’t able to finish because of covid. although so much has changed over the past six years, and it was carried out under new circumstances and titles, each of the 7 incredible members has grown tremendously in their own ways, and matured even more. as their trainer and physical conditioner, i’m truly proud and happy that i was able to be with them from start to finish. it feels like i’ve found the last missing puzzle piece to complete a beautiful picture. it brings me peace. to the 7 members i deeply care for, even if i don’t have the words to fully express it, you helped me rediscover the essence of my own work jaebeom of alcoholtwt Mark Tuan Jackson Wang 박진영 YOUNGJAE BamBam 김유겸 you've all worked so hard. thank you, truly and to bambam and the HALO HALO family, for opening up the opportunity to be with you all, thank you sincerely. also, to all the staff who worked behind the scenes to help these members shine, you’ve done an amazing job as well. thank you. for the sake of ahgases, and with ahgases, if there’s any place i’m needed, i’ll do my very best to be there, anytime, anywhere, so the 7 of them can stay healthy and together for a long time. i wholeheartedly hope each of their individual paths, both in work and in life, continue to shine even brighter. and i hope to see you again on a beautiful day. “Forever, GOT7.”
2:40

250506 | INSTAGRAM [bybl_rakjun] #GOT7 #갓세븐 GOT7 GOT7 (갓세븐) #GOT7_NESTFESTinBKK 2025 GOT7 ‘NESTFEST’ in BANGKOK “hyung, we hope you can join us on our tour!” at the moment i had resolved to set aside the label of “celebrity trainer”, a title that might seem unfamiliar or even special, but in essence, is just the same line of work, a single phone call became the starting point in june 2019, just two days after seo-ah was born, i joined these guys on a world tour. and now, we finally get to bring to life the finale we sadly weren’t able to finish because of covid. although so much has changed over the past six years, and it was carried out under new circumstances and titles, each of the 7 incredible members has grown tremendously in their own ways, and matured even more. as their trainer and physical conditioner, i’m truly proud and happy that i was able to be with them from start to finish. it feels like i’ve found the last missing puzzle piece to complete a beautiful picture. it brings me peace. to the 7 members i deeply care for, even if i don’t have the words to fully express it, you helped me rediscover the essence of my own work jaebeom of alcoholtwt Mark Tuan Jackson Wang 박진영 YOUNGJAE BamBam 김유겸 you've all worked so hard. thank you, truly and to bambam and the HALO HALO family, for opening up the opportunity to be with you all, thank you sincerely. also, to all the staff who worked behind the scenes to help these members shine, you’ve done an amazing job as well. thank you. for the sake of ahgases, and with ahgases, if there’s any place i’m needed, i’ll do my very best to be there, anytime, anywhere, so the 7 of them can stay healthy and together for a long time. i wholeheartedly hope each of their individual paths, both in work and in life, continue to shine even brighter. and i hope to see you again on a beautiful day. “Forever, GOT7.”

𝐣𝐨𝐲𝐜𝐞

75,825 views • 1 year ago

#MarkTuan shared that he sometimes goes through phases where he revisits #GOT7 songs and wishes they could perform some tracks they never got to do live. one example is Mayday, which he thinks would’ve been cool on stage 🐰 there are times where i'll go through a GOT7 phase where i'll go back and replay some of the songs, and there's a part of me like, "ah, damn. i wish we can perform these songs, too." cause i feel like there's so many songs that we never got to perform on stage that i feel like would be fun or the fans would enjoy 👤 is there one that you wish you could perform? 🐰 right now, there's one song that, i went back and i was like, there's a song called Mayday from GOT7, that i don't think we ever really got to do a performance to, which i thought could have been cool 👤 why that song? 🐰 that song, i actually, i think when we were deciding on the title track for the album, i thought that could be a cool title track, but it never, it just became like, what do you call it? it's like a b-track? 👤 yeah, like a b-side 🐰 b-side, yeah
1:13

#MarkTuan shared that he sometimes goes through phases where he revisits #GOT7 songs and wishes they could perform some tracks they never got to do live. one example is Mayday, which he thinks would’ve been cool on stage 🐰 there are times where i'll go through a GOT7 phase where i'll go back and replay some of the songs, and there's a part of me like, "ah, damn. i wish we can perform these songs, too." cause i feel like there's so many songs that we never got to perform on stage that i feel like would be fun or the fans would enjoy 👤 is there one that you wish you could perform? 🐰 right now, there's one song that, i went back and i was like, there's a song called Mayday from GOT7, that i don't think we ever really got to do a performance to, which i thought could have been cool 👤 why that song? 🐰 that song, i actually, i think when we were deciding on the title track for the album, i thought that could be a cool title track, but it never, it just became like, what do you call it? it's like a b-track? 👤 yeah, like a b-side 🐰 b-side, yeah

𝐣𝐨𝐲𝐜𝐞

105,234 views • 1 year ago

If Eminem’s solo work was a lyrical Mike Tyson singlehandedly destroying his opponents, then D12’s Devil’s Night is the ’92 Dream Team: a collective of singular, yet outstanding players who each bring their unique skills and a spiritual sequel to The Slim Shady LP. The group live to shock — “Their debut album is sick and wrong, on many levels,” wrote Rolling Stone. But beneath the group’s love of the profane lies some of the most clever and catchy hip-hop of its time. Produced primarily by Eminem and Dr. Dre, the album is proof that hardcore hip-hop can still ride and bounce. “Almost every track has a tight concept, a chorus that sticks and a groove that carries a melody.” Rolling Stone wrote in their review. With Devil's Night, Detroit's finest blend the mellifluous with the morbid and the smooth with the scatological better than anyone. Pressed for the first time on “Hell Fire” vinyl, D12’s “Devil’s Night” Deluxe Edition is limited to 3,000 copies globally. Featuring bonus tracks “Freestyle,” “Words Are Weapons,” and “Sh** on You”, this IVC release comes with a bonus D12 sticker. Available at
0:59

If Eminem’s solo work was a lyrical Mike Tyson singlehandedly destroying his opponents, then D12’s Devil’s Night is the ’92 Dream Team: a collective of singular, yet outstanding players who each bring their unique skills and a spiritual sequel to The Slim Shady LP. The group live to shock — “Their debut album is sick and wrong, on many levels,” wrote Rolling Stone. But beneath the group’s love of the profane lies some of the most clever and catchy hip-hop of its time. Produced primarily by Eminem and Dr. Dre, the album is proof that hardcore hip-hop can still ride and bounce. “Almost every track has a tight concept, a chorus that sticks and a groove that carries a melody.” Rolling Stone wrote in their review. With Devil's Night, Detroit's finest blend the mellifluous with the morbid and the smooth with the scatological better than anyone. Pressed for the first time on “Hell Fire” vinyl, D12’s “Devil’s Night” Deluxe Edition is limited to 3,000 copies globally. Featuring bonus tracks “Freestyle,” “Words Are Weapons,” and “Sh** on You”, this IVC release comes with a bonus D12 sticker. Available at

interscope

21,020 views • 9 months ago

Megan Thee Stallion is being accused of lying on the witness stand by online hip hop fans regarding her mental health, and need to spent over 200K on mental health therapy — to support her Lawfare defamation lawsuit against hip hop journalist, court reporter, and media personality, Milagro Gramz…. Now just put things into perspective — online commentary from hip hop fans are questioning how Milagro with only 40 followers can affect Megan’s mental state so dire, when Rap/Hip Hop ICON, Nicki Minaj, who has over 200 million followers didn’t affect her at all, according to Megan…. "Big Foot" is a song by rapper Nicki Minaj, released on January 29, 2024. The song is a diss track released in response to a lyric from rapper Megan Thee Stallion's single "Hiss", released three days prior…. In the diss song, Nicki refers to Megan as promiscuous alcoholic who is being passed around by industry men, also claiming that Megan slept with her best friend men and dead mama boyfriend — as well as lying on Tory Lanez because she was not shot… Nicki Minaj returned to the Billboardcharts the week of February 13, 3024 — with her new hit song, “Big Foot.” The song is not necessarily a proper single, it’s a diss song, but it became a big win for Nicki anyway. As her latest offering appeared, the superstar added to her growing list chart wins, including on one ranking that she made history on just a short time ago…. “Big Foot” launched at No. 3 on last week’s edition of Billboard’s R&B/Hip-Hop Digital Song Sales chart. The tune sold a little more than 36,700 copies in its first tracking period, according to Luminate….That would normally be enough for the cut to rank as the bestselling in the hip-hop genre, but that frame turned out to be incredibly competitive….
1:31

Megan Thee Stallion is being accused of lying on the witness stand by online hip hop fans regarding her mental health, and need to spent over 200K on mental health therapy — to support her Lawfare defamation lawsuit against hip hop journalist, court reporter, and media personality, Milagro Gramz…. Now just put things into perspective — online commentary from hip hop fans are questioning how Milagro with only 40 followers can affect Megan’s mental state so dire, when Rap/Hip Hop ICON, Nicki Minaj, who has over 200 million followers didn’t affect her at all, according to Megan…. "Big Foot" is a song by rapper Nicki Minaj, released on January 29, 2024. The song is a diss track released in response to a lyric from rapper Megan Thee Stallion's single "Hiss", released three days prior…. In the diss song, Nicki refers to Megan as promiscuous alcoholic who is being passed around by industry men, also claiming that Megan slept with her best friend men and dead mama boyfriend — as well as lying on Tory Lanez because she was not shot… Nicki Minaj returned to the Billboardcharts the week of February 13, 3024 — with her new hit song, “Big Foot.” The song is not necessarily a proper single, it’s a diss song, but it became a big win for Nicki anyway. As her latest offering appeared, the superstar added to her growing list chart wins, including on one ranking that she made history on just a short time ago…. “Big Foot” launched at No. 3 on last week’s edition of Billboard’s R&B/Hip-Hop Digital Song Sales chart. The tune sold a little more than 36,700 copies in its first tracking period, according to Luminate….That would normally be enough for the cut to rank as the bestselling in the hip-hop genre, but that frame turned out to be incredibly competitive….

HarrietEve9

16,542 views • 8 months ago

On April 30th, 8:24 AM, Kendrick Lamar delivered 6 minutes and 24 seconds of pure character breakdown that forever changed the way people look at diss tracks. Pieced together was a lyrical assassination that went beyond rap beef, targeting Drake’s character, business dealings, his cultural appropriation, and the deep need for validation that seemed to drive all of it, going after the man behind the image more than the image itself. It was the kind of surgical disrespect Hip-Hop hadn’t seen in years, delivered with patience, precision, and the confidence of someone who already knew how it would end. Released as a YouTube exclusive before hitting streaming platforms later that day, the record instantly took over every timeline and became one of the biggest rap moments of 2024. Many called it “the song that ended the battle before it even started,” and one of the best records to come out of the entire feud. Little did we know, this was only the beginning of one of the wildest weeks Hip-Hop has ever seen, and “Euphoria” will forever be recognized as one of the greatest diss tracks in history!
7:32

On April 30th, 8:24 AM, Kendrick Lamar delivered 6 minutes and 24 seconds of pure character breakdown that forever changed the way people look at diss tracks. Pieced together was a lyrical assassination that went beyond rap beef, targeting Drake’s character, business dealings, his cultural appropriation, and the deep need for validation that seemed to drive all of it, going after the man behind the image more than the image itself. It was the kind of surgical disrespect Hip-Hop hadn’t seen in years, delivered with patience, precision, and the confidence of someone who already knew how it would end. Released as a YouTube exclusive before hitting streaming platforms later that day, the record instantly took over every timeline and became one of the biggest rap moments of 2024. Many called it “the song that ended the battle before it even started,” and one of the best records to come out of the entire feud. Little did we know, this was only the beginning of one of the wildest weeks Hip-Hop has ever seen, and “Euphoria” will forever be recognized as one of the greatest diss tracks in history!

The Mad Rapper

29,357 views • 3 months ago

"The Sound of Silence" is an iconic folk-rock song by the American duo Simon & Garfunkel. It was written by Paul Simon and released as a single in 1965. The song's haunting melody and evocative lyrics made it a timeless classic that continues to resonate with audiences across generations. The genesis of "The Sound of Silence" can be traced back to Paul Simon's early days as a songwriter in the early 1960s. He wrote the original version of the song when he was just 21 years old and it was initially titled "The Sounds of Silence." The song was included in their debut album, "Wednesday Morning, 3 A.M," released in 1964. However, the album had limited success, and Simon & Garfunkel's future as a duo was uncertain. Despite the lackluster performance of their debut album, the song's potential caught the attention of Tom Wilson, a producer at Columbia Records. Without Simon or Garfunkel's knowledge, he decided to remix "The Sound of Silence," adding electric instruments and drums to the acoustic version. This new version gave the song a more contemporary and dynamic sound, capitalizing on the folk-rock movement that was gaining popularity at the time. In January 1966, the remixed version of "The Sound of Silence" was released as a single, and it quickly began to climb the charts. The song struck a chord with listeners, as its lyrics tapped into feelings of isolation, alienation, and the struggle to communicate in an increasingly disconnected world. The opening lines, "Hello darkness, my old friend, I've come to talk with you again," instantly captured the imaginations of listeners and set the tone for the rest of the song. As "The Sound of Silence" gained traction, Simon & Garfunkel's popularity surged, and they went on to release more successful albums, becoming one of the most influential and celebrated musical acts of the 1960s. The song's success also played a significant role in propelling the folk-rock genre into the mainstream. Over the years, "The Sound of Silence" has been covered by numerous artists, further cementing its status as a timeless classic. Its enduring appeal lies in its ability to evoke deep emotions and contemplation, making it relevant in different historical and cultural contexts. The song's legacy has been immortalized in popular culture, appearing in films, television shows, and advertisements, further solidifying its status as a song that transcends time and resonates with people from all walks of life. Its powerful message about the importance of meaningful communication in a world filled with noise and distraction continues to be relevant and poignant to this day.
0:56

"The Sound of Silence" is an iconic folk-rock song by the American duo Simon & Garfunkel. It was written by Paul Simon and released as a single in 1965. The song's haunting melody and evocative lyrics made it a timeless classic that continues to resonate with audiences across generations. The genesis of "The Sound of Silence" can be traced back to Paul Simon's early days as a songwriter in the early 1960s. He wrote the original version of the song when he was just 21 years old and it was initially titled "The Sounds of Silence." The song was included in their debut album, "Wednesday Morning, 3 A.M," released in 1964. However, the album had limited success, and Simon & Garfunkel's future as a duo was uncertain. Despite the lackluster performance of their debut album, the song's potential caught the attention of Tom Wilson, a producer at Columbia Records. Without Simon or Garfunkel's knowledge, he decided to remix "The Sound of Silence," adding electric instruments and drums to the acoustic version. This new version gave the song a more contemporary and dynamic sound, capitalizing on the folk-rock movement that was gaining popularity at the time. In January 1966, the remixed version of "The Sound of Silence" was released as a single, and it quickly began to climb the charts. The song struck a chord with listeners, as its lyrics tapped into feelings of isolation, alienation, and the struggle to communicate in an increasingly disconnected world. The opening lines, "Hello darkness, my old friend, I've come to talk with you again," instantly captured the imaginations of listeners and set the tone for the rest of the song. As "The Sound of Silence" gained traction, Simon & Garfunkel's popularity surged, and they went on to release more successful albums, becoming one of the most influential and celebrated musical acts of the 1960s. The song's success also played a significant role in propelling the folk-rock genre into the mainstream. Over the years, "The Sound of Silence" has been covered by numerous artists, further cementing its status as a timeless classic. Its enduring appeal lies in its ability to evoke deep emotions and contemplation, making it relevant in different historical and cultural contexts. The song's legacy has been immortalized in popular culture, appearing in films, television shows, and advertisements, further solidifying its status as a song that transcends time and resonates with people from all walks of life. Its powerful message about the importance of meaningful communication in a world filled with noise and distraction continues to be relevant and poignant to this day.

Historic Vids

3,178,047 views • 3 years ago

Introducing d00mscrvll … im a product of the South - grew up between Mississippi, Tennessee, Florida and loved hip hop. I wouldn’t be into music if it wasn’t for three 6, Memphis and midwest hip hop, and to see the influence of the Memphis sound and how it lasted this long and that it has been transposed into something completely chaotic and postmodern as what the phonk genre is… which is basically Memphis run through a vortex and then painted rainbow colors and then screwed and chopped and taken apart and then put into videos that take over your entire feed… and that phonk music whether it’s Brazil phonk, Memphis phonk, phonk house… there’s so many genres that it doesn’t actually make sense and nobody’s making the rules… And that’s what I love about it, it’s complete lawless land. And if you want to go into the fuckin Badlands, end of the world apocalyptic desert and go on a hike… this is the music you wanna hear… and im glad to make it with a bunch of new people… First song is with Artemas.. and there’s a lotta Juicy J and Project Pat on this project because they are the OGs and the ones who helped pioneer this sound. BRAIN is out now 🧠 more new music on the way…
0:34

Introducing d00mscrvll … im a product of the South - grew up between Mississippi, Tennessee, Florida and loved hip hop. I wouldn’t be into music if it wasn’t for three 6, Memphis and midwest hip hop, and to see the influence of the Memphis sound and how it lasted this long and that it has been transposed into something completely chaotic and postmodern as what the phonk genre is… which is basically Memphis run through a vortex and then painted rainbow colors and then screwed and chopped and taken apart and then put into videos that take over your entire feed… and that phonk music whether it’s Brazil phonk, Memphis phonk, phonk house… there’s so many genres that it doesn’t actually make sense and nobody’s making the rules… And that’s what I love about it, it’s complete lawless land. And if you want to go into the fuckin Badlands, end of the world apocalyptic desert and go on a hike… this is the music you wanna hear… and im glad to make it with a bunch of new people… First song is with Artemas.. and there’s a lotta Juicy J and Project Pat on this project because they are the OGs and the ones who helped pioneer this sound. BRAIN is out now 🧠 more new music on the way…

diplo

46,102 views • 1 year ago

Korean Pop (K-Pop) singer AOORA has made a powerful comeback with his latest track “Shiva Shivam (Tandava)” - a bold musical fusion that blends ancient Indian culture with modern EDM beats. Inspired by Sanskrit hymns dedicated to Lord Shiva, the song combines traditional mantras with trance-based electronic rhythms, creating a high-energy immersive soundscape. The track musically interprets Tandava, the cosmic dance of Shiva symbolizing destruction and creation, chaos and calm all expressed through intense sound design and performance-driven composition. AOORA described the project as both a creative challenge and a moment of personal growth, saying he hopes listeners experience it as more than just EDM, but as a spiritual and energetic journey. With Shiva Shivam (Tandava), AOORA once again shows his deep musical connection with India
0:26

Korean Pop (K-Pop) singer AOORA has made a powerful comeback with his latest track “Shiva Shivam (Tandava)” - a bold musical fusion that blends ancient Indian culture with modern EDM beats. Inspired by Sanskrit hymns dedicated to Lord Shiva, the song combines traditional mantras with trance-based electronic rhythms, creating a high-energy immersive soundscape. The track musically interprets Tandava, the cosmic dance of Shiva symbolizing destruction and creation, chaos and calm all expressed through intense sound design and performance-driven composition. AOORA described the project as both a creative challenge and a moment of personal growth, saying he hopes listeners experience it as more than just EDM, but as a spiritual and energetic journey. With Shiva Shivam (Tandava), AOORA once again shows his deep musical connection with India

Comman Man

68,495 views • 6 months ago

FUTURE EXPLODES: “Beyoncé stole Drunk in Love from me… then won a Grammy with it and never said a word” Future drops a bombshell in a raw Instagram interview… “Drunk in Love was mine first. I wrote it. I recorded the demo. The whole vibe, the melody, the energy… that was my song. They asked me to play it for Beyoncé so she could maybe hop on it as a feature. I was young, hungry, not the big name yet. I thought we were talking collaboration. Next thing I know, the song is on her album. No feature for me. No credit the way it should’ve been. Just… gone. And that same song goes on to win her a Grammy. She never said a word. No thank you. No acknowledgment. Nothing. I sat with that for years. Watched it become one of her biggest records while I was still grinding, still trying to get people to take me serious. It hurt. Still does. Because that wasn’t just a song… that was a piece of me they took when I didn’t have the power to stop it.” The comments are already on fire.
1:08

FUTURE EXPLODES: “Beyoncé stole Drunk in Love from me… then won a Grammy with it and never said a word” Future drops a bombshell in a raw Instagram interview… “Drunk in Love was mine first. I wrote it. I recorded the demo. The whole vibe, the melody, the energy… that was my song. They asked me to play it for Beyoncé so she could maybe hop on it as a feature. I was young, hungry, not the big name yet. I thought we were talking collaboration. Next thing I know, the song is on her album. No feature for me. No credit the way it should’ve been. Just… gone. And that same song goes on to win her a Grammy. She never said a word. No thank you. No acknowledgment. Nothing. I sat with that for years. Watched it become one of her biggest records while I was still grinding, still trying to get people to take me serious. It hurt. Still does. Because that wasn’t just a song… that was a piece of me they took when I didn’t have the power to stop it.” The comments are already on fire.

superson 😡🫡

132,243 views • 6 days ago

Oh come on President Donald J. Trump. The US can take a lot of credit for a lot of things, but trying to take credit for the Iron Dome is just so stupid. Overall I’m a fan, but just stop. The Iron Dome is an Israeli-developed system led by Rafael Advanced Defense Systems, with Daniel Gold as the most prominently credited individual leader and driving force behind its creation. He’s recognized as the father of the Iron Dome. The US collaborated and funded parts once it was developed but it’s an Israeli invention. What’s the point of trying to take credit for it? What’s the point of saying it? The US gets more than 10x the financial benefit and return on any money given to Israel, which is unprecedented. The US has the manufacturing capability for many things. But with respect to inventions, Israel is king on that, and as an ally you should be proud of that, not trying to take credit for what has nothing to do with you.
0:31

Oh come on President Donald J. Trump. The US can take a lot of credit for a lot of things, but trying to take credit for the Iron Dome is just so stupid. Overall I’m a fan, but just stop. The Iron Dome is an Israeli-developed system led by Rafael Advanced Defense Systems, with Daniel Gold as the most prominently credited individual leader and driving force behind its creation. He’s recognized as the father of the Iron Dome. The US collaborated and funded parts once it was developed but it’s an Israeli invention. What’s the point of trying to take credit for it? What’s the point of saying it? The US gets more than 10x the financial benefit and return on any money given to Israel, which is unprecedented. The US has the manufacturing capability for many things. But with respect to inventions, Israel is king on that, and as an ally you should be proud of that, not trying to take credit for what has nothing to do with you.

Mor Edge Insight

45,308 views • 6 months ago

One thing I found fascinating was Lollapalooza itself highlighting SB19's microphones stayed on. THAT SAYS A LOT. At a festival where audiences value authenticity, there's no better endorsement than letting the raw performance speak for itself. No hiding behind perfect studio tracks—just live vocals delivered while executing demanding choreography under the scorching sun. It's a subtle but powerful statement: this is what SB19 actually sounds like live. And when an internationally respected festival chooses to showcase that, it becomes more than content—it becomes validation of the caliber of performers they invited to their stage. That wasn't just a social media post—it was a quiet vote of confidence. A global festival saying, "This is who they are. This is what they can do." And btw, for SB19, authenticity has never been a marketing strategy. It's the standard they bring to every stage.
0:46

One thing I found fascinating was Lollapalooza itself highlighting SB19's microphones stayed on. THAT SAYS A LOT. At a festival where audiences value authenticity, there's no better endorsement than letting the raw performance speak for itself. No hiding behind perfect studio tracks—just live vocals delivered while executing demanding choreography under the scorching sun. It's a subtle but powerful statement: this is what SB19 actually sounds like live. And when an internationally respected festival chooses to showcase that, it becomes more than content—it becomes validation of the caliber of performers they invited to their stage. That wasn't just a social media post—it was a quiet vote of confidence. A global festival saying, "This is who they are. This is what they can do." And btw, for SB19, authenticity has never been a marketing strategy. It's the standard they bring to every stage.

mee

51,128 views • 11 days ago

“Billie Jean” is from Michael Jackson’s 1982 album Thriller, but the performance that permanently transformed the song into a cultural phenomenon came at the Motown 25: Yesterday, Today, Forever television special, recorded on March 25, 1983. Michael, only 24 at the time, was initially reluctant to participate but eventually agreed after Motown founder Berry Gordy and the show's producers persuaded him to take part. He chose “Billie Jean” to showcase his new artistic identity rather than simply revisit the Jackson 5 material that had made him famous. Michael's performance combined precise choreography, his distinctive vocal style and a dazzling stage presence, culminating in his now-legendary moonwalk during the song's performance. The move itself had existed in various forms before Michael adopted it, but he had learned and refined his version with dancers including Jeffrey Daniel, turning it into one of the most recognizable dance moves in pop culture. When Motown 25 aired on May 16, 1983, it attracted more than 47 million viewers in the US.
4:41

“Billie Jean” is from Michael Jackson’s 1982 album Thriller, but the performance that permanently transformed the song into a cultural phenomenon came at the Motown 25: Yesterday, Today, Forever television special, recorded on March 25, 1983. Michael, only 24 at the time, was initially reluctant to participate but eventually agreed after Motown founder Berry Gordy and the show's producers persuaded him to take part. He chose “Billie Jean” to showcase his new artistic identity rather than simply revisit the Jackson 5 material that had made him famous. Michael's performance combined precise choreography, his distinctive vocal style and a dazzling stage presence, culminating in his now-legendary moonwalk during the song's performance. The move itself had existed in various forms before Michael adopted it, but he had learned and refined his version with dancers including Jeffrey Daniel, turning it into one of the most recognizable dance moves in pop culture. When Motown 25 aired on May 16, 1983, it attracted more than 47 million viewers in the US.

Ladytron Fan Account

44,311 views • 2 days ago

Here's more evidence that Trinitarians are panicking and learning on the job. This fake guru "Juju aka Johannas Silencio" doesn't even know that the standard version of the LPT only generates an inconsistent set by assuming we are counting gods by classical identity. This fraud thinks that talking about counting is switching from the LPT to the MPT. He's absolutely clueless. Beau Branson, The Logical Problem of the Trinity (pgs 16-17) "So, why does the anti-Trinitarian think that the logical form of P is inconsistent?...On the other hand, suppose we instead take “is God” in S1 through S3 univocally and take “God” to be a predicate and “is” to be the “is” of predication. Suppose we analyze the counting statement expressed by S7 in the standard way, and understand “is God” as it occurs there in the same way we did in our interpretation of S1 through S3. And suppose we otherwise leave our regimentation unchanged. The logical form of the claims expressed by S on this interpretation of it can be represented in PLI as: LPT-2: (1LPT-2) Gf (2LPT-2) Gs (3LPT-2) Gh (4LPT-2) f6=s (5LPT-2) f6=h (6LPT-2) s6=h (7LPT-2) (9x)(8y)(Gx & (Gy ! y=x))" "So, if the orthodox Trinitarian wants to give an analysis of P, that is, an interpretation of S, that is both (a) non-heretical and (b) offers a solution (rather than a non-solution) to the LPT, it must fall into either: (1) the Equivocation Family, which equivocates on “is god” between P7 on the one hand, and P1 through P3 on the other hand, or (2) the NCIC Family, which counts by a relation other than classical identity." (Ibid. pg 64) Branson rightly notes that there are only two families of solutions to the LPT: Equivocate on "is God" between P1-P3 and P7, or count gods by a relation other than classical identity. Hey Juju, if how we count in the Trinity is merely a metaphysical issue and not a logical one, then why does the LPT assuming a particular counting method to generate the inconsistent set and why is one of the two family solutions denying that counting method? Precisely because it's integral to the LPT. Stop cosplaying as the Christian savior responding to the LPT and do some reading.
1:56

Here's more evidence that Trinitarians are panicking and learning on the job. This fake guru "Juju aka Johannas Silencio" doesn't even know that the standard version of the LPT only generates an inconsistent set by assuming we are counting gods by classical identity. This fraud thinks that talking about counting is switching from the LPT to the MPT. He's absolutely clueless. Beau Branson, The Logical Problem of the Trinity (pgs 16-17) "So, why does the anti-Trinitarian think that the logical form of P is inconsistent?...On the other hand, suppose we instead take “is God” in S1 through S3 univocally and take “God” to be a predicate and “is” to be the “is” of predication. Suppose we analyze the counting statement expressed by S7 in the standard way, and understand “is God” as it occurs there in the same way we did in our interpretation of S1 through S3. And suppose we otherwise leave our regimentation unchanged. The logical form of the claims expressed by S on this interpretation of it can be represented in PLI as: LPT-2: (1LPT-2) Gf (2LPT-2) Gs (3LPT-2) Gh (4LPT-2) f6=s (5LPT-2) f6=h (6LPT-2) s6=h (7LPT-2) (9x)(8y)(Gx & (Gy ! y=x))" "So, if the orthodox Trinitarian wants to give an analysis of P, that is, an interpretation of S, that is both (a) non-heretical and (b) offers a solution (rather than a non-solution) to the LPT, it must fall into either: (1) the Equivocation Family, which equivocates on “is god” between P7 on the one hand, and P1 through P3 on the other hand, or (2) the NCIC Family, which counts by a relation other than classical identity." (Ibid. pg 64) Branson rightly notes that there are only two families of solutions to the LPT: Equivocate on "is God" between P1-P3 and P7, or count gods by a relation other than classical identity. Hey Juju, if how we count in the Trinity is merely a metaphysical issue and not a logical one, then why does the LPT assuming a particular counting method to generate the inconsistent set and why is one of the two family solutions denying that counting method? Precisely because it's integral to the LPT. Stop cosplaying as the Christian savior responding to the LPT and do some reading.

Jake Brancatella

17,680 views • 4 months ago

After Charlie Kirk died, Candace Owens promised if Erika Kirk told her to “STOP” "her investigation" - which, to this day, has yielded nothing other than engagement and $$$$ for Candace - she would. The moment Erika Kirk did exactly what Candace told her to do and said “STOP,” Candace turned on her. Because... 1. Nobody was going to take away Candace’s cash cow. 2. Candace Owens has a terminal case of “Main Character Syndrome.” 3. It’s become abundantly clear that Candace has scores to settle. Candace Owens is a psycopath, looking back, this was always what she was going to do. What’s truly evil is the audience and influencers that have enabled and even egged her on, and the so-called friends of Charlie Kirk and figures on the right too cowardly to call it out.
3:03

After Charlie Kirk died, Candace Owens promised if Erika Kirk told her to “STOP” "her investigation" - which, to this day, has yielded nothing other than engagement and $$$$ for Candace - she would. The moment Erika Kirk did exactly what Candace told her to do and said “STOP,” Candace turned on her. Because... 1. Nobody was going to take away Candace’s cash cow. 2. Candace Owens has a terminal case of “Main Character Syndrome.” 3. It’s become abundantly clear that Candace has scores to settle. Candace Owens is a psycopath, looking back, this was always what she was going to do. What’s truly evil is the audience and influencers that have enabled and even egged her on, and the so-called friends of Charlie Kirk and figures on the right too cowardly to call it out.

Nathan Livingstone (MilkBarTV)

42,762 views • 2 months ago

Elon Musk just told you why caution kills more companies than risk ever has. Musk: “One of the approaches we did take was to proceed at risk with temporary permits.” Hundreds of millions in concrete before the final signature exists. Knowing the full downside. Musk: “Your long-term permit could be denied, in which case you have to stop everything.” Tear it all down. Back to dirt. Every board on Earth calls that unacceptable. Musk calls it cheaper than the alternative. Musk: “Most companies are not willing to take the risk of the temporary permit, and then the risk of having to stop and tear down.” They think they are avoiding risk. They are selecting one. Waiting is not neutral. Waiting is a position. A bet that the market holds, the team stays, and momentum outlasts a system designed to outlast you. It never does. No one says no. The calendar says it for them. Not rejection. Erosion. Musk saw it for what it was. He chose the risk you can see over the risk you cannot. Gigafactories rose in months while the rest of the industry waited on the meeting about the permit. The gap was never resources. It was the willingness to see that waiting is not free. It is the most expensive decision in business. Because it is the only one nobody knows they are making.
0:35

Elon Musk just told you why caution kills more companies than risk ever has. Musk: “One of the approaches we did take was to proceed at risk with temporary permits.” Hundreds of millions in concrete before the final signature exists. Knowing the full downside. Musk: “Your long-term permit could be denied, in which case you have to stop everything.” Tear it all down. Back to dirt. Every board on Earth calls that unacceptable. Musk calls it cheaper than the alternative. Musk: “Most companies are not willing to take the risk of the temporary permit, and then the risk of having to stop and tear down.” They think they are avoiding risk. They are selecting one. Waiting is not neutral. Waiting is a position. A bet that the market holds, the team stays, and momentum outlasts a system designed to outlast you. It never does. No one says no. The calendar says it for them. Not rejection. Erosion. Musk saw it for what it was. He chose the risk you can see over the risk you cannot. Gigafactories rose in months while the rest of the industry waited on the meeting about the permit. The gap was never resources. It was the willingness to see that waiting is not free. It is the most expensive decision in business. Because it is the only one nobody knows they are making.

Dustin

18,985 views • 1 month ago

kyungsoo briefly talking about his upcoming (full) album. and now, speaking of the album again, you really wanted (me) to (have a) dance, right? as for dancing, i do it a lot while in EXO, i pretty much do those (dances) there. personally, when i do it (the album)- what i want to do is to be able to really enjoy it together on stage rather than dancing. like, i personally want it to be something where we all have a little fun together, rather than just looking at the dance like this (stay still). this time i'm preparing hard while have that kind of hope in mind, that i think it would be nice. everyone, please look forward to it. probably, it will be really exciting (songs). so, i also were curious about that experience on stage between the sitting or standing? but since you could still enjoy it while sitting, if you decided to (chose) the sitting. or you can get up together and maybe have a little fun, that's fine too. those are what i personally think. well, i'll tell you all about the episodes of this album later. it's fun. and there are many things that have changed along the way. to put it simply, it was a song that i thought was exciting, uh.. turned out wasn't that excited. so it became clear a little later and (we) decided to change it, the title song. when it comes out, i have a lot to talk about now, so i'll tell you all about it then. there are many songs (on the album) i plan to sing them all during (the concert) performance. please look forward to it. there isn't much left now. i will prepare that again with a fighting spirit. yes! i think you might be able to see something new again. because i'm going to make an extraordinary appearance, i'm trying to get my mind right this time. so, please look forward to it, everyone. cr. westwindy77
1:43

kyungsoo briefly talking about his upcoming (full) album. and now, speaking of the album again, you really wanted (me) to (have a) dance, right? as for dancing, i do it a lot while in EXO, i pretty much do those (dances) there. personally, when i do it (the album)- what i want to do is to be able to really enjoy it together on stage rather than dancing. like, i personally want it to be something where we all have a little fun together, rather than just looking at the dance like this (stay still). this time i'm preparing hard while have that kind of hope in mind, that i think it would be nice. everyone, please look forward to it. probably, it will be really exciting (songs). so, i also were curious about that experience on stage between the sitting or standing? but since you could still enjoy it while sitting, if you decided to (chose) the sitting. or you can get up together and maybe have a little fun, that's fine too. those are what i personally think. well, i'll tell you all about the episodes of this album later. it's fun. and there are many things that have changed along the way. to put it simply, it was a song that i thought was exciting, uh.. turned out wasn't that excited. so it became clear a little later and (we) decided to change it, the title song. when it comes out, i have a lot to talk about now, so i'll tell you all about it then. there are many songs (on the album) i plan to sing them all during (the concert) performance. please look forward to it. there isn't much left now. i will prepare that again with a fighting spirit. yes! i think you might be able to see something new again. because i'm going to make an extraordinary appearance, i'm trying to get my mind right this time. so, please look forward to it, everyone. cr. westwindy77

열뚜♥

12,991 views • 1 year ago

#Youngjae says #GOT7’s all about doing what feels fun now 👤 with GOT7, is there anything like this when it’s just you guys together? it's been 10 years of your career now, so in a way, you’ve tried everything you could, right? although, of course, there are still things you haven’t tried. have you ever talked, knowingly or unknowingly, like “should we try this in the future?” 🌙 we talked about that a lot. but we always had those talks while drinking. so, like, half of it was pointless talk? and in the end, it always comes down to “let’s do something fun.” like instead of doing super sharp, in-sync choreography, let’s go for something that looks synchronized from a distance, but up close, each member has their own slightly different feel? let’s go with that vibe. that’s why we try to do more songs like that now
0:48

#Youngjae says #GOT7’s all about doing what feels fun now 👤 with GOT7, is there anything like this when it’s just you guys together? it's been 10 years of your career now, so in a way, you’ve tried everything you could, right? although, of course, there are still things you haven’t tried. have you ever talked, knowingly or unknowingly, like “should we try this in the future?” 🌙 we talked about that a lot. but we always had those talks while drinking. so, like, half of it was pointless talk? and in the end, it always comes down to “let’s do something fun.” like instead of doing super sharp, in-sync choreography, let’s go for something that looks synchronized from a distance, but up close, each member has their own slightly different feel? let’s go with that vibe. that’s why we try to do more songs like that now

𝐣𝐨𝐲𝐜𝐞 𝄐

11,078 views • 1 year ago