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A name that echoes through time… a devotion that never fades. ✨ Just a few hours to feel the music of Sri Rama come alive. 🙏🎶 A musical offering to Sri Rama from Team Brindavihari. “Rama Rama Deva” song releasing tomorrow at 12:34 pm on Anand audio. Ganesh Hesham...

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The sculptors of the Bhagavan Sri Ramlalla at Ramjanmabhoomi Mandir & the over 80-year-old Vigraha of Sri Rama Darbar at Sundar Sadan, Ayodhya are linked through a teacher-student lineage. The story of the Sri Rama Darbar Vigraha's eventual arrival in Ayodhya, decades after it was sculpted, is one of intrigue. The Vigraha is a unique creation by a master sculptor and has been connected to the Sringeri Math for nearly 80 years. The Vigraha is so exquisite that it is impossible to not get moved by its beauty. Bhagavan Sri Rama has Maata Sita sitting on his lap and tenderly holds Her. Sri Lakshmana and Sri Shatrughna fan Bhagavan with chamara and Sri Bharata stands in front devotedly with folded hands. Sri Hanuman sits in front holding Bhagavan Sri Rama’s Lotus feet and fully absorbed in it. In the middle of the 20th century, Sri M.R. Balasubramaniam from Manathattai village near Trichy, was a Chief Engineer in Public Works Department of the erstwhile Madras Presidency. He was an ardent devotee of the Jagadgurus of the Dakshinamnaya Sringeri Sri Sharada Peetam and was serving the Sringeri Math in many ways. He was instrumental in building the Ratna Garbha Ganapati temple and Shankara Matha at Sivaganga in Tamil Nadu. In 1958, the Sringeri Jagadguru had graced his residence at Manathattai and later his residence at Chennai too. Pleased with his immense devotion, the Jagadguru blessed him with the title, “Guru Bhakta Ratnam”. Sri M.R. Balasubramaniam used to frequent Sringeri to have Darshan of the Sringeri Jagadgurus. Once in 1951, he was in Sringeri to have Darshan of the renowned Jivanmukta, the 34th Shankaracharya of Sringeri, Jagadguru Sri Sri Chandrashekhara Bharati Mahaswamiji. The Mahaswamiji would often be in the state of Antarmukha and there would be occasions where devotees would wait for months together to have Darshan of the Mahaswamiji who revelled in the highest spiritual state of the bliss of the Atman. When Sri M.R. Balasubramaniam 1951, happened to meet Sri Siddhanti Siddhalinga Swami, a renowned sculptor patronized by the Mysore Maharaja. Sri Siddhalinga Swami had been waiting for a long time in Sringeri to obtain darshan of Jagadguru Sri Chandrashekara Bharati Mahaswamiji. Coming to know of this, Sri MR Balasubramanian promised to try and help him have the Darshan of the Jagadguru. Soon it transpired that both could have Darshan of the Jagadguru. The joyous Sri Siddalinga Swami asked Sri Balasubramaniam to visit his Shilpa Vidyalaya Gurukula in Mysore at the earliest opportunity. When Sri Balasubramaniam visited within a span of few months, Sri Siddalinga Swami showed him around and asked him to select any Vigraha he wished and he would give it to him as a token of gratitude for ensuring that he could have the darshan of the Sringeri Jagadguru. Sri Balasubramaniam chose an incredibly beautiful Sri Rama Vigraha that is essentially the present-day Sri Rama Darbar. Initially taken aback by this request, Sri Siddalinga Swami mentioned that he had not expected that this particular Vigraha would be chosen as it had been sculpted by him, not to be sold or given, but as a testament of his skill that had been handed down through generations. He had single-handedly worked on the Vigraha for over ten years! However, Sri Siddalinga Swami kept up his word, and had the Vigraha of Sri Rama Darbar sent to Manathattai in the summer of 1952. In all earnestness, Sri Balasubramaniam purchased a piece of land and began preparations for the construction of a temple in his beloved Manathattai agraharam. However, his efforts were beset with numerous obstacles. His son Sri B Raju, was based out of Chennai and building the temple in Manathattai did not seem possible due to domestic commitments. In recent years after his retirement, he did take some preliminary steps towards building the temple, however even this effort did not fructify. When his wife, Smt. Sujatha read about the Sringeri Sharadha Peetham establishing a new branch Math at Ayodhya, a thought crossed her mind – why not offer Sri Rama to the Sringeri Shankara Math at Ayodhya? With this thought, they came to Sringeri on August 17th 2022 to have Darshan of the Jagadgurus and to seek Their guidance. Both Sri Maha Sannidhanam and Sri Sannidhanam were very happy to and instructed them to bring the Vigraha to Sringeri at the earliest. Thus, it seemed it was pre-ordained that the sequence of events pertaining to the Vigraha began in Sringeri more than 70 years ago and again culminated in Sringeri. This is what is called Ram Leela. On January 22, 2024, the day Bhagavan Sri Ramlalla was consecrated in Ayodhya, Sringeri Jagadguru Shankaracharya Sri Sri Bharati Tirtha Mahasannidhanam and Jagadguru Sri Sannidhanam worshipped the Vigraha carved by Sri Siddalinga Swami at the same time as the Vigraha of Bhagavan Sri Ramlalla carved by Sri Arun Yogiraj, grandson of Sri Siddalinga Swami’s disciple was consecrated and worshipped at Ayodhya. Likewise, on February 10, 2025, Sringeri Jagadguru Shankaracharya Sri Vidhushekhara Bharati Mahaswamiji consecrated this Vigraha which was offered by Shilpi Siddalinga Swami as a gratitude for having been able to obtain the Darshan of Jagadguru Sri Chandrashekhara Bharati Mahaswamiji. Watch the full video of the consecration here: *-*-* Join our Official WhatsApp Channel for regular updates: The online book store - Sharada eGranthalaya: #Ayodhya #SriRama #ramjanmabhoomi #SanatanaDharma #Shankaracharya #Sringeri #Yatra #SuvarnaBharati #Dharma #sriram Arun Yogiraj
0:59

The sculptors of the Bhagavan Sri Ramlalla at Ramjanmabhoomi Mandir & the over 80-year-old Vigraha of Sri Rama Darbar at Sundar Sadan, Ayodhya are linked through a teacher-student lineage. The story of the Sri Rama Darbar Vigraha's eventual arrival in Ayodhya, decades after it was sculpted, is one of intrigue. The Vigraha is a unique creation by a master sculptor and has been connected to the Sringeri Math for nearly 80 years. The Vigraha is so exquisite that it is impossible to not get moved by its beauty. Bhagavan Sri Rama has Maata Sita sitting on his lap and tenderly holds Her. Sri Lakshmana and Sri Shatrughna fan Bhagavan with chamara and Sri Bharata stands in front devotedly with folded hands. Sri Hanuman sits in front holding Bhagavan Sri Rama’s Lotus feet and fully absorbed in it. In the middle of the 20th century, Sri M.R. Balasubramaniam from Manathattai village near Trichy, was a Chief Engineer in Public Works Department of the erstwhile Madras Presidency. He was an ardent devotee of the Jagadgurus of the Dakshinamnaya Sringeri Sri Sharada Peetam and was serving the Sringeri Math in many ways. He was instrumental in building the Ratna Garbha Ganapati temple and Shankara Matha at Sivaganga in Tamil Nadu. In 1958, the Sringeri Jagadguru had graced his residence at Manathattai and later his residence at Chennai too. Pleased with his immense devotion, the Jagadguru blessed him with the title, “Guru Bhakta Ratnam”. Sri M.R. Balasubramaniam used to frequent Sringeri to have Darshan of the Sringeri Jagadgurus. Once in 1951, he was in Sringeri to have Darshan of the renowned Jivanmukta, the 34th Shankaracharya of Sringeri, Jagadguru Sri Sri Chandrashekhara Bharati Mahaswamiji. The Mahaswamiji would often be in the state of Antarmukha and there would be occasions where devotees would wait for months together to have Darshan of the Mahaswamiji who revelled in the highest spiritual state of the bliss of the Atman. When Sri M.R. Balasubramaniam 1951, happened to meet Sri Siddhanti Siddhalinga Swami, a renowned sculptor patronized by the Mysore Maharaja. Sri Siddhalinga Swami had been waiting for a long time in Sringeri to obtain darshan of Jagadguru Sri Chandrashekara Bharati Mahaswamiji. Coming to know of this, Sri MR Balasubramanian promised to try and help him have the Darshan of the Jagadguru. Soon it transpired that both could have Darshan of the Jagadguru. The joyous Sri Siddalinga Swami asked Sri Balasubramaniam to visit his Shilpa Vidyalaya Gurukula in Mysore at the earliest opportunity. When Sri Balasubramaniam visited within a span of few months, Sri Siddalinga Swami showed him around and asked him to select any Vigraha he wished and he would give it to him as a token of gratitude for ensuring that he could have the darshan of the Sringeri Jagadguru. Sri Balasubramaniam chose an incredibly beautiful Sri Rama Vigraha that is essentially the present-day Sri Rama Darbar. Initially taken aback by this request, Sri Siddalinga Swami mentioned that he had not expected that this particular Vigraha would be chosen as it had been sculpted by him, not to be sold or given, but as a testament of his skill that had been handed down through generations. He had single-handedly worked on the Vigraha for over ten years! However, Sri Siddalinga Swami kept up his word, and had the Vigraha of Sri Rama Darbar sent to Manathattai in the summer of 1952. In all earnestness, Sri Balasubramaniam purchased a piece of land and began preparations for the construction of a temple in his beloved Manathattai agraharam. However, his efforts were beset with numerous obstacles. His son Sri B Raju, was based out of Chennai and building the temple in Manathattai did not seem possible due to domestic commitments. In recent years after his retirement, he did take some preliminary steps towards building the temple, however even this effort did not fructify. When his wife, Smt. Sujatha read about the Sringeri Sharadha Peetham establishing a new branch Math at Ayodhya, a thought crossed her mind – why not offer Sri Rama to the Sringeri Shankara Math at Ayodhya? With this thought, they came to Sringeri on August 17th 2022 to have Darshan of the Jagadgurus and to seek Their guidance. Both Sri Maha Sannidhanam and Sri Sannidhanam were very happy to and instructed them to bring the Vigraha to Sringeri at the earliest. Thus, it seemed it was pre-ordained that the sequence of events pertaining to the Vigraha began in Sringeri more than 70 years ago and again culminated in Sringeri. This is what is called Ram Leela. On January 22, 2024, the day Bhagavan Sri Ramlalla was consecrated in Ayodhya, Sringeri Jagadguru Shankaracharya Sri Sri Bharati Tirtha Mahasannidhanam and Jagadguru Sri Sannidhanam worshipped the Vigraha carved by Sri Siddalinga Swami at the same time as the Vigraha of Bhagavan Sri Ramlalla carved by Sri Arun Yogiraj, grandson of Sri Siddalinga Swami’s disciple was consecrated and worshipped at Ayodhya. Likewise, on February 10, 2025, Sringeri Jagadguru Shankaracharya Sri Vidhushekhara Bharati Mahaswamiji consecrated this Vigraha which was offered by Shilpi Siddalinga Swami as a gratitude for having been able to obtain the Darshan of Jagadguru Sri Chandrashekhara Bharati Mahaswamiji. Watch the full video of the consecration here: *-*-* Join our Official WhatsApp Channel for regular updates: The online book store - Sharada eGranthalaya: #Ayodhya #SriRama #ramjanmabhoomi #SanatanaDharma #Shankaracharya #Sringeri #Yatra #SuvarnaBharati #Dharma #sriram Arun Yogiraj

Sringeri Math

16,045 görüntüleme • 1 yıl önce

In a powerful address to hundreds of devotees at the sacred Chilkur Balaji Temple, temple priest Sri Rangarajan briefed the gathering on the visit of Sri Kuchibotla Anand, founder of Silicon Andhra, who arrived at the temple along with his wife and several associates. Speaking directly to the devotees, Sri Rangarajan said, “Today, Sri Kuchibotla Anand garu and his team have come not merely for darshan but as committed well-wishers in the larger dharmic cause. Their efforts in supporting the protection of our Deities and preservation of temple traditions deserve to be placed before all devotees.” He emphasized that the civilizational goal of Rama Rajya rests firmly on the foundation of Dharma. “Our Constitution, through Article 26, has given sacred protection to religious denominations to manage their own affairs in matters of religion. This is not a decorative provision — it is a living guarantee.” Referring to the continuing national debate after the Indian Young Lawyers Association v. State of Kerala judgment, Sri Rangarajan observed, “Any interpretation that risks diluting the core protections of Article 26 must be approached with great caution. The spiritual traditions of this land have survived for millennia because they were allowed to function in accordance with Dharma.” He called upon devotees to remain aware and engaged. “The responsibility to protect dharmic institutions does not lie with a few — it rests with every devotee who values our sacred traditions.” The address concluded with collective prayers seeking divine blessings for the protection of Dharma and the welfare of society. Rangarajan chilkur
2:59

In a powerful address to hundreds of devotees at the sacred Chilkur Balaji Temple, temple priest Sri Rangarajan briefed the gathering on the visit of Sri Kuchibotla Anand, founder of Silicon Andhra, who arrived at the temple along with his wife and several associates. Speaking directly to the devotees, Sri Rangarajan said, “Today, Sri Kuchibotla Anand garu and his team have come not merely for darshan but as committed well-wishers in the larger dharmic cause. Their efforts in supporting the protection of our Deities and preservation of temple traditions deserve to be placed before all devotees.” He emphasized that the civilizational goal of Rama Rajya rests firmly on the foundation of Dharma. “Our Constitution, through Article 26, has given sacred protection to religious denominations to manage their own affairs in matters of religion. This is not a decorative provision — it is a living guarantee.” Referring to the continuing national debate after the Indian Young Lawyers Association v. State of Kerala judgment, Sri Rangarajan observed, “Any interpretation that risks diluting the core protections of Article 26 must be approached with great caution. The spiritual traditions of this land have survived for millennia because they were allowed to function in accordance with Dharma.” He called upon devotees to remain aware and engaged. “The responsibility to protect dharmic institutions does not lie with a few — it rests with every devotee who values our sacred traditions.” The address concluded with collective prayers seeking divine blessings for the protection of Dharma and the welfare of society. Rangarajan chilkur

Vinodh Kumar

59,549 görüntüleme • 6 ay önce

चैत्रे मासि जगत् ब्रह्मा ससर्ज प्रथमेऽहनि। शुक्ल पक्षे समग्रेतु तदा सूर्योदये सति॥ I have always believed that the Sanatana tradition and the values we are raised with never really leave us. They stay within us, no matter where we are or what we are doing. Even today, being away for the shooting of my upcoming movie #DavidReddy, caught up in responsibilities, I could still feel that connection alive. Ugadi, for me, is not just the beginning of a new year. It is about the quiet renewal within, the change of seasons, the reawakening of Dharma, and the origin of Kaalapurusha. It is on this very Chaitra Shukla Pratipada that Lord Brahma is believed to have initiated creation and set the cycles of Yugas into motion. That is what we celebrate as Ugadi. Even from a distance, watching my family at the temple through a video call, that devotion still reaching me from miles away… it transcends everything. Mounika, Dhairav, and little Devasena performed archana in Nanna’s name today, and knowing that his grandchildren carried his blessings to the temple today fills my heart in ways words cannot describe ❤️ Being able to balance work while still staying rooted in where I come from is something that truly makes me happy today. March 19th was always a festival for me. Ever since I was a child, this was my holiday, my celebration, spent right beside my father on his birthday. For the first time, that holiday has turned into a workday, And work is something I cherish the most after my family… But maybe there is something poetic about it… because today also happens to be Ugadi, a day of new beginnings. All my work, all my praise, everything I am… is for you, Nanna❤️ Happy Birthday 🙏❤️ Wishing everyone Sri Parabhava Nama Ugadi Shubhakankshalu 🙏 #Ugadi #NewYear
0:20

चैत्रे मासि जगत् ब्रह्मा ससर्ज प्रथमेऽहनि। शुक्ल पक्षे समग्रेतु तदा सूर्योदये सति॥ I have always believed that the Sanatana tradition and the values we are raised with never really leave us. They stay within us, no matter where we are or what we are doing. Even today, being away for the shooting of my upcoming movie #DavidReddy, caught up in responsibilities, I could still feel that connection alive. Ugadi, for me, is not just the beginning of a new year. It is about the quiet renewal within, the change of seasons, the reawakening of Dharma, and the origin of Kaalapurusha. It is on this very Chaitra Shukla Pratipada that Lord Brahma is believed to have initiated creation and set the cycles of Yugas into motion. That is what we celebrate as Ugadi. Even from a distance, watching my family at the temple through a video call, that devotion still reaching me from miles away… it transcends everything. Mounika, Dhairav, and little Devasena performed archana in Nanna’s name today, and knowing that his grandchildren carried his blessings to the temple today fills my heart in ways words cannot describe ❤️ Being able to balance work while still staying rooted in where I come from is something that truly makes me happy today. March 19th was always a festival for me. Ever since I was a child, this was my holiday, my celebration, spent right beside my father on his birthday. For the first time, that holiday has turned into a workday, And work is something I cherish the most after my family… But maybe there is something poetic about it… because today also happens to be Ugadi, a day of new beginnings. All my work, all my praise, everything I am… is for you, Nanna❤️ Happy Birthday 🙏❤️ Wishing everyone Sri Parabhava Nama Ugadi Shubhakankshalu 🙏 #Ugadi #NewYear

Manoj Manchu🙏🏻❤️

99,598 görüntüleme • 5 ay önce

I am still searching for words that can do justice to the bliss of spending three days in the temple town of Udupi. It was an experience like no other. From Ayodhya, where I had recently beheld the childhood image of Rama, I travelled southward to Udupi to gaze upon Krishna in his child-like form. For the first time, I stayed in lodgings so close to the main temple (Sri Krishna Mandira) that it felt as if I were living within its sanctum. Slowly, the rhythms of temple life began to pulse through me—the clanging sound of bells, the rustle of devotees, the chants that charged the atmosphere with devotion. At the heart of this temple stands the exquisite black vigraha of Krishna from Dwaraka, discovered by the great Acharya Madhva himself. It was Madhvacharya who, in the 13th century, unleashed a tidal wave of Bhakti that continues to ripple through the centuries, drawing millions towards Krishna and his many divine forms. Udupi Krishna’s image unusually faces the west instead of the east. The legend behind this reversal is moving and profound. Kanakadasa, a saint-poet from the Kuruba (shepherd) community, was once denied entry into the temple. Undeterred, he stood behind the temple and sang to his beloved Krishna. Moved by the purity of Kanaka’s devotion, the image of Krishna turned westward towards him so that the Bhakta could gaze at his Bhagwan through openings in the wall. The priests, struck by this miracle, sought Kanaka’s forgiveness. To this day, devotees glimpse Krishna through the same opening, now known as Kanakana Kindi, the window of grace. I was told that Kanaka’s window was gold plated (Kanaka Kavacha) just before PM Modi’s visit some days ago. There is also a prominent golden platform called Suvarna Teertha Mandapa which was inaugurated by the Prime Minister. The dark-brown wood of the temple along with the golden Mandapa nearby seemed to tell me stories of kings, sages and bhaktas from every stratum of society. At dusk, as hundreds of diyas were lit, their flames shimmered across the wooden beams and golden panels, creating a celestial glow that words cannot capture. My American sensibilities briefly worried about the fire hazard, but the next moment I surrendered to the serenity and warmth of that light as I performed my parikrama. If I am allowed to complain, I would only say that the sounds of bells, gongs and drums that erupt at the time of Aarti are a little too loud; I think that if the percussion sounds were reduced by half, the Aarti would be even more meaningful. When I finally beheld the image of Krishna adorned with flowers and jewels; radiant and childlike, I could feel the elation that must have swept over Madhvacharya when he found it and composed the Dvadasha Strotram on the spot. The song “Preenayamo Vasudevam” from the Stotra was the background song playing in my mind throughout my Udupi trip. I had heard it being sung mellifluously in the Houston temple so many times and unknowingly wondered who could have composed such a sweet offering to Bhagwan. It bewildered me that I had traveled to the very source of the song which had stirred me so deeply! It was this Krishna, this Krishna whose image I had seen in the logo of the Krishna Vrundavana temples in America for whom the Acharya’s mind overflowed with love. What also struck me was the vibrant cultural life pulsating within the temple. There were stages everywhere for dancers, musicians, scholars, all offering their art to Krishna. The grandest stage, gleamed like a palace hall opposite the shrine, its carvings rivaling any theatre in the world. On smaller stages, Bharatanatyam dancers performed with divine grace, and women’s groups sang Haridasa kirtanas through the day. The air seemed thick with music, devotion, and beauty. Nearby, at the Gita Mandir, devotees continuously chanted verses from the Bhagavad Gita—sometimes twenty voices in unison, sometimes just one lone seeker. But the sacred syllables never ceased, flowing like an eternal river of wisdom that uplifted all who passed by. As I sat listening, the words of Krishna in the Gita seemed to dissolve into the ocean breeze. The temple town of Udupi felt like a living embodiment of Bhakti, art, and knowledge. Udupi had whispered something eternal into my soul. True darshan happens when the divine turns toward us just like Krishna turned toward Kanaka. It was a reminder that even a silent call to Him would be heard.
1:16

I am still searching for words that can do justice to the bliss of spending three days in the temple town of Udupi. It was an experience like no other. From Ayodhya, where I had recently beheld the childhood image of Rama, I travelled southward to Udupi to gaze upon Krishna in his child-like form. For the first time, I stayed in lodgings so close to the main temple (Sri Krishna Mandira) that it felt as if I were living within its sanctum. Slowly, the rhythms of temple life began to pulse through me—the clanging sound of bells, the rustle of devotees, the chants that charged the atmosphere with devotion. At the heart of this temple stands the exquisite black vigraha of Krishna from Dwaraka, discovered by the great Acharya Madhva himself. It was Madhvacharya who, in the 13th century, unleashed a tidal wave of Bhakti that continues to ripple through the centuries, drawing millions towards Krishna and his many divine forms. Udupi Krishna’s image unusually faces the west instead of the east. The legend behind this reversal is moving and profound. Kanakadasa, a saint-poet from the Kuruba (shepherd) community, was once denied entry into the temple. Undeterred, he stood behind the temple and sang to his beloved Krishna. Moved by the purity of Kanaka’s devotion, the image of Krishna turned westward towards him so that the Bhakta could gaze at his Bhagwan through openings in the wall. The priests, struck by this miracle, sought Kanaka’s forgiveness. To this day, devotees glimpse Krishna through the same opening, now known as Kanakana Kindi, the window of grace. I was told that Kanaka’s window was gold plated (Kanaka Kavacha) just before PM Modi’s visit some days ago. There is also a prominent golden platform called Suvarna Teertha Mandapa which was inaugurated by the Prime Minister. The dark-brown wood of the temple along with the golden Mandapa nearby seemed to tell me stories of kings, sages and bhaktas from every stratum of society. At dusk, as hundreds of diyas were lit, their flames shimmered across the wooden beams and golden panels, creating a celestial glow that words cannot capture. My American sensibilities briefly worried about the fire hazard, but the next moment I surrendered to the serenity and warmth of that light as I performed my parikrama. If I am allowed to complain, I would only say that the sounds of bells, gongs and drums that erupt at the time of Aarti are a little too loud; I think that if the percussion sounds were reduced by half, the Aarti would be even more meaningful. When I finally beheld the image of Krishna adorned with flowers and jewels; radiant and childlike, I could feel the elation that must have swept over Madhvacharya when he found it and composed the Dvadasha Strotram on the spot. The song “Preenayamo Vasudevam” from the Stotra was the background song playing in my mind throughout my Udupi trip. I had heard it being sung mellifluously in the Houston temple so many times and unknowingly wondered who could have composed such a sweet offering to Bhagwan. It bewildered me that I had traveled to the very source of the song which had stirred me so deeply! It was this Krishna, this Krishna whose image I had seen in the logo of the Krishna Vrundavana temples in America for whom the Acharya’s mind overflowed with love. What also struck me was the vibrant cultural life pulsating within the temple. There were stages everywhere for dancers, musicians, scholars, all offering their art to Krishna. The grandest stage, gleamed like a palace hall opposite the shrine, its carvings rivaling any theatre in the world. On smaller stages, Bharatanatyam dancers performed with divine grace, and women’s groups sang Haridasa kirtanas through the day. The air seemed thick with music, devotion, and beauty. Nearby, at the Gita Mandir, devotees continuously chanted verses from the Bhagavad Gita—sometimes twenty voices in unison, sometimes just one lone seeker. But the sacred syllables never ceased, flowing like an eternal river of wisdom that uplifted all who passed by. As I sat listening, the words of Krishna in the Gita seemed to dissolve into the ocean breeze. The temple town of Udupi felt like a living embodiment of Bhakti, art, and knowledge. Udupi had whispered something eternal into my soul. True darshan happens when the divine turns toward us just like Krishna turned toward Kanaka. It was a reminder that even a silent call to Him would be heard.

Sahana Singh

16,357 görüntüleme • 8 ay önce

ಯಾವ ಜನುಮದ ಗೆಳತಿ ನನ್ನ ಗೆಳತಿ.. ನನ್ನ ಗೆಳತಿ 🎵 ನನ್ನಾ ಜೀವದ ಒಡತಿ ನನ್ನೊಡತಿ.. ನನ್ನ ಒಡತಿ 🎵 Easing you off with a dose of warmth | ‘Yava Janumada Gelathi’ releasing tomorrow 11th Dec at 12:30pm! 😊❤️ 👉 #KaateraStormFromDec29 #KaateraSecondSingle #YavaJanumadaGelathi #DBOSS #Kaatera Darshan Thoogudeepa Aradhanaa Tharun Sudhir RocklineEnt V Harikrishna Shyam aanandaaudio #AnandAudio D Company(R)Official
0:23

ಯಾವ ಜನುಮದ ಗೆಳತಿ ನನ್ನ ಗೆಳತಿ.. ನನ್ನ ಗೆಳತಿ 🎵 ನನ್ನಾ ಜೀವದ ಒಡತಿ ನನ್ನೊಡತಿ.. ನನ್ನ ಒಡತಿ 🎵 Easing you off with a dose of warmth | ‘Yava Janumada Gelathi’ releasing tomorrow 11th Dec at 12:30pm! 😊❤️ 👉 #KaateraStormFromDec29 #KaateraSecondSingle #YavaJanumadaGelathi #DBOSS #Kaatera Darshan Thoogudeepa Aradhanaa Tharun Sudhir RocklineEnt V Harikrishna Shyam aanandaaudio #AnandAudio D Company(R)Official

aanandaaudio

48,814 görüntüleme • 2 yıl önce

The Justin Blau chapter has come to an end. I am now just my given name Justin Blau In 2010 I was 19, making EDM mashups from my dorm at Wash U & begging blogs to share them. I would DJ frats for free bottles of jack while trying to stay afloat as a finance major. Dropping out of school junior year to be a pro DJ was a lofty idea. To “make it” both financially and in the public eye, I aligned my music with the “current thing” that was popular; whatever could expand my audience & success metrics. I wanted to play big shows, hit charts, earn high fees. 15 years later, I’m 34 now; I’ve learned that none of those things created fulfillment or purpose. While I might not be the best instrumentalist or musician by training, I’m ready to release music purely as myself. I hope it impacts people deeply, which matters more to me than the ephemeral enthusiasm of infinite internet audiences. But being a DJ is only half of the story. I grew fascinated with Bitcoin in 2014 & Ethereum later in 2017. I’ve learned that crypto is THE force to fix music, an art-form that creates immense value, but is controlled by few. As AI music accelerates & content reaches superabundance, blockchains are more relevant than ever. In 2021 I started a company called Royal ; our vision is to democratize the economics of music. Artists only earn 12% of the $ in the “music industry,” which is a categorical typewriter bound by copyright laws, relationship gates, zero sum games & late-stage desperation. Our new product is coming very soon, the timing is perfect, and we think it’s a banger. Still, being a founder / CEO has completely changed me. It has dampened fears of failure and pushed me toward better habits of iteration. I’m a different person now; they say “the privilege of a lifetime is to become who you truly are.” From now on I’ll go by my name Justin Blau instead of 3LAU because I want my digital identity to reflect my real one. I’m going to test crazy ideas and continue to invest my time at the intersection of music & crypto as I have for the past 9 years. But it’s time to go harder. Pushing boundaries makes me feel most alive. As an artist I want to give the next generation of creatives the best shot at expressing their deepest and most potent emotions. As a founder, I want to test the limits of what’s possible with revolutionary tech, even in the face of resistance. Turns out, you can just do things. All that said, this is my first release as my given name. This is Shotgun. A visceral shichōkaku of our entanglement with the machine. 🎥 directed by slimesunday + me. Please enjoy all 154 seconds. Especially the last 15.
2:31

The Justin Blau chapter has come to an end. I am now just my given name Justin Blau In 2010 I was 19, making EDM mashups from my dorm at Wash U & begging blogs to share them. I would DJ frats for free bottles of jack while trying to stay afloat as a finance major. Dropping out of school junior year to be a pro DJ was a lofty idea. To “make it” both financially and in the public eye, I aligned my music with the “current thing” that was popular; whatever could expand my audience & success metrics. I wanted to play big shows, hit charts, earn high fees. 15 years later, I’m 34 now; I’ve learned that none of those things created fulfillment or purpose. While I might not be the best instrumentalist or musician by training, I’m ready to release music purely as myself. I hope it impacts people deeply, which matters more to me than the ephemeral enthusiasm of infinite internet audiences. But being a DJ is only half of the story. I grew fascinated with Bitcoin in 2014 & Ethereum later in 2017. I’ve learned that crypto is THE force to fix music, an art-form that creates immense value, but is controlled by few. As AI music accelerates & content reaches superabundance, blockchains are more relevant than ever. In 2021 I started a company called Royal ; our vision is to democratize the economics of music. Artists only earn 12% of the $ in the “music industry,” which is a categorical typewriter bound by copyright laws, relationship gates, zero sum games & late-stage desperation. Our new product is coming very soon, the timing is perfect, and we think it’s a banger. Still, being a founder / CEO has completely changed me. It has dampened fears of failure and pushed me toward better habits of iteration. I’m a different person now; they say “the privilege of a lifetime is to become who you truly are.” From now on I’ll go by my name Justin Blau instead of 3LAU because I want my digital identity to reflect my real one. I’m going to test crazy ideas and continue to invest my time at the intersection of music & crypto as I have for the past 9 years. But it’s time to go harder. Pushing boundaries makes me feel most alive. As an artist I want to give the next generation of creatives the best shot at expressing their deepest and most potent emotions. As a founder, I want to test the limits of what’s possible with revolutionary tech, even in the face of resistance. Turns out, you can just do things. All that said, this is my first release as my given name. This is Shotgun. A visceral shichōkaku of our entanglement with the machine. 🎥 directed by slimesunday + me. Please enjoy all 154 seconds. Especially the last 15.

Justin Blau

501,448 görüntüleme • 1 yıl önce

Wishing the man in the hearts of the millions, challenging star Darshan Thoogudeepa a very happy birthday Stay Tuned for all musical updates:🔔 #AnandAudio #Birthday #Wishes #Darshan #DBoss
0:55

Sensitive content

Wishing the man in the hearts of the millions, challenging star Darshan Thoogudeepa a very happy birthday Stay Tuned for all musical updates:🔔 #AnandAudio #Birthday #Wishes #Darshan #DBoss

aanandaaudio

21,762 görüntüleme • 1 yıl önce

ಶ್ರೀಮಂತ ನೀನಯ್ಯಾ... 🙏 #Punyathma #Kaatera Sharaan Darshan Thoogudeepa #DBOSS Tharun Sudhir RocklineEnt Shyam V Harikrishna Zee 5 Kannada Nagarjun Sharma vijay prakash D Company(R)Official aanandaaudio #AnandAudio
1:22

ಶ್ರೀಮಂತ ನೀನಯ್ಯಾ... 🙏 #Punyathma #Kaatera Sharaan Darshan Thoogudeepa #DBOSS Tharun Sudhir RocklineEnt Shyam V Harikrishna Zee 5 Kannada Nagarjun Sharma vijay prakash D Company(R)Official aanandaaudio #AnandAudio

aanandaaudio

11,849 görüntüleme • 2 yıl önce

🎶 The Song Still Hasn’t Surrendered. The late afternoon light was soft, the crowd stretched all the way to the horizon, and she simply held the microphone and sang. No dancing. No elaborate production. Just that quiet, clear voice and eyes fixed somewhere beyond the front rows. That video still circulates today. More than twenty years have passed. Musical trends have come and gone. Entire generations have grown up with completely different sounds. And yet every time “White Flag” plays from that Live 8 performance, people still stop, go quiet, and sometimes… feel their eyes sting. Why? The song begins with a stark admission. “I know you think that I shouldn’t still love you / Or tell you that.” She knows the other person doesn’t want to hear it anymore. She knows she caused enough damage. She even understands the logic of “it’s over, so let it go.” Then the chorus rises: “I will go down with this ship And I won’t put my hands up and surrender There will be no white flag above my door I’m in love and always will be.” A white flag is the universal symbol of surrender. Dido flips it. She refuses to surrender her own feelings. Not because she still hopes for a reunion. Not because she’s clinging. Simply because the feeling is still there, and she can’t — and won’t — pretend it has disappeared. Some people once heard this as a song about unhealthy attachment. Listen more carefully and it becomes something simpler and more honest: a refusal to erase what is still true. Dido wrote it after the end of her engagement. Years later she admitted that hearing the song still brings the old emotion back. The track doesn’t try to explain or heal anything. It just records a very real state of being: still in love, even when there’s no way back. That’s what has kept “White Flag” alive. It doesn’t belong to one generation. A twenty-year-old hears it and recognizes a feeling they just lived through. Someone in their forties or fifties hears it and remembers the times they faced the same choice. Feeling has no age. It only has moments when it’s still present and moments when it has faded. Dido’s voice makes that even clearer. She never needed big vocal fireworks. Soft breath, slow melody, every line delivered like a private conversation. Even standing in front of hundreds of thousands of people at Live 8, the song still felt intimate. In the middle of a global event about poverty and justice, she brought something small and personal onto the stage. That contrast made the emotion cut sharper. There’s a detail most people don’t know. Right after she walked off the Hyde Park stage, Dido got into a helicopter. She flew straight to the Eden Project in Cornwall to perform again at the Africa Calling show, then flew on to Paris for a third performance — all in the same day. Three stages, three cities, a few short hours. She wanted to do what Phil Collins had done at Live Aid in 1985, only more ambitious. While the world watched a historic concert, Dido was still moving between flights, carrying the same song about refusing to let go. Today that Live 8 video still gets millions of views. Some people say they listen to it alone in the car. Others connect it to someone they lost. Many simply write: “I don’t know why, but it still gets me every time.” No further explanation needed. The song speaks for itself. Looking back at that moment in 2005, Dido wasn’t trying to move the audience. She just stood there and sang exactly what she felt. No exaggeration, no polish. That honesty is what carried the song further than any trend. More than twenty years later, “White Flag” is still here. Not because it’s perfect. But because it’s true. Do you still carry any “white flag” of your own?
3:57

🎶 The Song Still Hasn’t Surrendered. The late afternoon light was soft, the crowd stretched all the way to the horizon, and she simply held the microphone and sang. No dancing. No elaborate production. Just that quiet, clear voice and eyes fixed somewhere beyond the front rows. That video still circulates today. More than twenty years have passed. Musical trends have come and gone. Entire generations have grown up with completely different sounds. And yet every time “White Flag” plays from that Live 8 performance, people still stop, go quiet, and sometimes… feel their eyes sting. Why? The song begins with a stark admission. “I know you think that I shouldn’t still love you / Or tell you that.” She knows the other person doesn’t want to hear it anymore. She knows she caused enough damage. She even understands the logic of “it’s over, so let it go.” Then the chorus rises: “I will go down with this ship And I won’t put my hands up and surrender There will be no white flag above my door I’m in love and always will be.” A white flag is the universal symbol of surrender. Dido flips it. She refuses to surrender her own feelings. Not because she still hopes for a reunion. Not because she’s clinging. Simply because the feeling is still there, and she can’t — and won’t — pretend it has disappeared. Some people once heard this as a song about unhealthy attachment. Listen more carefully and it becomes something simpler and more honest: a refusal to erase what is still true. Dido wrote it after the end of her engagement. Years later she admitted that hearing the song still brings the old emotion back. The track doesn’t try to explain or heal anything. It just records a very real state of being: still in love, even when there’s no way back. That’s what has kept “White Flag” alive. It doesn’t belong to one generation. A twenty-year-old hears it and recognizes a feeling they just lived through. Someone in their forties or fifties hears it and remembers the times they faced the same choice. Feeling has no age. It only has moments when it’s still present and moments when it has faded. Dido’s voice makes that even clearer. She never needed big vocal fireworks. Soft breath, slow melody, every line delivered like a private conversation. Even standing in front of hundreds of thousands of people at Live 8, the song still felt intimate. In the middle of a global event about poverty and justice, she brought something small and personal onto the stage. That contrast made the emotion cut sharper. There’s a detail most people don’t know. Right after she walked off the Hyde Park stage, Dido got into a helicopter. She flew straight to the Eden Project in Cornwall to perform again at the Africa Calling show, then flew on to Paris for a third performance — all in the same day. Three stages, three cities, a few short hours. She wanted to do what Phil Collins had done at Live Aid in 1985, only more ambitious. While the world watched a historic concert, Dido was still moving between flights, carrying the same song about refusing to let go. Today that Live 8 video still gets millions of views. Some people say they listen to it alone in the car. Others connect it to someone they lost. Many simply write: “I don’t know why, but it still gets me every time.” No further explanation needed. The song speaks for itself. Looking back at that moment in 2005, Dido wasn’t trying to move the audience. She just stood there and sang exactly what she felt. No exaggeration, no polish. That honesty is what carried the song further than any trend. More than twenty years later, “White Flag” is still here. Not because it’s perfect. But because it’s true. Do you still carry any “white flag” of your own?

Music over time🎻

12,562 görüntüleme • 8 gün önce

Min Hee-jin (NewJeans Producer) NHK Music Interview 🔗 “Meticulously planned debut ‘Attention’” 🧢: When I was preparing to launch NewJeans, I really struggled with deciding what our first piece of content should be. I thought about it for a long time and considered many possibilities. It was a project that came with high expectations, and for me personally, it was also my first opportunity to prove myself. So how I presented it mattered enormously. Even down to the smallest details… like the impression the very first released photo might give, or what kind of impact we could make at launch. I thought hard about what kind of content would be the most effective… should it be a video or a photo? What time of day would be most effective to release it? I consider things like that very carefully. For example, the way a person experiences content at night versus during the day can feel quite different emotionally. So I even thought about those subtle aspects. Eventually, the conclusion I reached was: “Let’s make the most of our situation.” At the time, the members hadn’t been revealed, and no one knew how many of them there were or what kind of group this would be. So I wanted to maximize that curiosity. You know how the more something is concealed, the more curious people become? I wanted to build that curiosity to a peak and then release everything all at once. That’s why we decided not to release a teaser and instead go straight into a full music video. (This was actually inspired by Hyein suggesting we skip teasers.) I didn’t think still images or photos would be enough to fully convey the feeling I wanted to express. I felt that video and music together would evoke the emotional response I was looking for because people experience things synesthetically. When sound, image, and feeling come together, the emotional impact is stronger. I believed the best way to present the members’ images was through music and a moving picture… that’s why we led with a music video. In the debut music video, “Attention,” there’s a scene where the members act out a little drama. I paid very close attention to that moment and created music that would fit it precisely. For me, I don’t just make content… I design the entire process of how it should be shown for the greatest effect. And I believe that’s incredibly important. That first feeling someone gets when they encounter something… that emotion, that spark… is so important to me. I’m very detail-oriented, but I also value fun deeply. So rather than just releasing content, I want to enjoy the process leading up to it. Even when we released our second album, since we shot the entire music video across the country, the sequence of how we released the videos was critical for me. It’s hard to explain all this simply in an interview, but maybe some people noticed: the first content we released that time was actually a teaser for the last track, “ASAP,” and then we followed that with the full music video for “New Jeans,” which was the first track. That order was a carefully calculated strategy. It was designed to guide the audience’s emotional journey. Seeing the audience react just as I had hoped—that whole process was honestly so fun and thrilling for me. I think I really enjoy that kind of thing. ——— “How 'Ditto' was born” 🧢: People often praise the music of NewJeans, and I hear a lot of talk about genres. But actually, I don’t feel bound by genre at all. I love a wide variety of music. I’m not the type to insist on only one particular genre. What I love are songs that blend genres cleverly… those are my personal favorites. So going forward, my focus is not on genre but on whether something feels fresh and whether it can create an emotional moment. I don’t want to define what kind of music we make. And I think you have to experience the flow of the times to really understand what’s meaningful in a given moment. For instance, the song “Ditto” was chosen because it delivered emotion. It matched perfectly with the winter album concept I had envisioned, both in terms of timing and mood. When I hear a song, I tend to trust my gut. I have a pretty strong intuition for which songs will resonate. It’s not about objectively predicting what will be a “hit,” but about whether a song moves your heart… you can just feel it. Of course, my own taste plays a big role. But I think that’s actually my strength as a producer, not as a composer. When I hear a song, I can immediately picture the visual… what kind of story, what kind of vibe it could carry. That allows me to work faster. For example, when expressing something like school uniforms, there are so many possible variations. But I always like to start from the basics… what’s the original idea of a school uniform? I try to return to that. So with “Ditto,” I wanted to tap into something primal… the pure, basic feeling of liking someone. That kind of emotion is universal. Everyone has it; it’s wired into us. When I saw Director Shin Woo-seok’s interpretation of it, I thought, “Yes, that’s it.” That’s the kind of complete interpretation I look for. I believe the completion of a project comes from every person involved thinking about their part down to the final detail… the maximum quality they can bring out. My role is to unify and refine all of that. I draw out the essence of each person’s creativity, trimming away anything unnecessary. So the final product is something that’s polished and high-quality, just the way I envisioned it. That’s my working style. So it’s not like I’m fixated on retro or stuck in a particular style. I don’t think human taste has changed all that much. Things people liked in the past are the same things we like now. It’s just the form of expression that changes with time. I don’t feel bound by “past” or “present.” I don’t even think in those boundaries. To me, it’s all just good taste. You know how kids sometimes have their own little treasure boxes when they’re young? I think my work is kind of like that. I want to make things that never feel dated—that are timelessly enjoyable. ——— “Dance Expression and 'Hype Boy'” 🧢: I had a vision of what kind of girl group I wanted to create. That’s why I chose a song like “Hype Boy.” And to bring out that feeling, we created four different versions of the music video. Every choice had a purpose, everything was designed to maximize the experience of the song. “Hype Boy” is such a unique song. It has this strange, piercing melody that gives people chills in a good way. To emphasize that tingling feeling, I had to break away from the standard K-pop choreography format… you know, the kind where everyone is in perfect formation, doing synchronized moves. But our songs don’t suit that kind of choreography. Our dances are much harder. They require the body to move very naturally with the groove of the melody and beat. So I think our members are incredible. It’s not easy to express naturalness with your body, and you have to really enjoy it to make it look effortless. But they pulled it off so well. They’re still young, but they’re so talented. And through it all, I wanted to avoid making them look like they were performing just for business. I wanted them to show the pure joy and bright spirit that’s natural for people their age… genuine, carefree, radiant. ——— “The difference between NewJeans and conventional K-POP” 🧢: Ah, for me, it’s all about naturalness. And honestly, naturalness isn’t something you can produce or direct into existence. It comes from how I interact with the NewJeans members on a daily basis… what kind of environment they practice in, how they live and work. There are so many things that don’t appear on camera, but those unseen aspects have to be in place in order for true naturalness to come through. That’s why I wanted to create that kind of environment for the girls. And also, I wanted to shape my own working environment in that way too. Only then can something truly natural, something unforced and not overly stimulating, really come out. To begin with, I don’t believe anyone can be completely natural in front of a camera or under the gaze of others. It’s human nature to become self-conscious. That’s why I think naturalness is our strength, but it can’t be our concept. If you try to turn “naturalness” into a concept, it actually becomes incredibly artificial. So why do I place so much importance on naturalness? It’s because the girls are still so young. While other kids their age are going through school and having a wide range of life experiences, these members are living very different lives. Before they officially debuted, I told them, “This is like studying together with me.” Our standard contract is seven years, which is about the same length as going through high school and college in Korea: three years of high school and four years of university. So I told them, “We’re going to school together. We’re learning together.” And in that sense, I want to be a good teacher to them. They’re also surrounded by an incredibly professional team, people they’d never meet even in a traditional school setting. I’ve never really liked the word idol. These days, that word is used more like a job title, something manufactured by the industry, and it’s far from its original meaning. To me, the term idol feels misplaced. It doesn’t really reflect who these artists are or what they represent. And I’m not the kind of person who clings to labels or terminology. In fact, what I really want is to break the stereotypes and preconceptions that come with the idol industry. I want us to show people something different… to challenge those assumptions and redefine what this can look like. That’s the kind of mindset I have. ——— “Isn't it difficult for the members to express "naturalness"?” 🧢: There were a lot of things I considered when forming the group. First and foremost, I think it was important that the members shared a similar vibe… like how I prefer working with staff who align with my taste. It’s important for the crew to be on the same wavelength. And by that, I mean more than just getting along… it also extends to shared values. Of course, people won’t all share identical values, but when we’re facing in a similar direction, everything becomes easier. It’s also just more efficient to work with people who have overlapping tastes. Now, when it comes to our members, they each have their own individual tastes, but those preferences are still in development. Just like we all went through as kids, they’re still growing, still discovering themselves. They’re not in a finished state. So we didn’t cast them based on some complete or polished version of themselves. It wasn’t like, “This person is fully formed, let’s pick her.” It was more like, “Ah, she has potential, there’s something there.” That sense of a spark… those were the kinds of subtleties I paid attention to. I didn’t cast anyone just because they were pretty or could sing well. I don’t work like that. I really value those finer, more delicate aspects. Even the design of the light stick wasn’t something that came from a long strategic planning session… it was actually a spontaneous idea. I didn’t sit down and think, “Let’s make a light stick like this.” NewJeans didn’t have a fixed logo, but I felt we still needed a unifying symbol. So one night, just before going to sleep, I kept thinking about it. Right before dozing off, I started sketching and it turned into a rabbit’s face. When I drew it out, the shape just continued and turned into a bunny. To me, the NewJeans members are like little bunnies… playful, innocent. Their visuals also resemble rabbits in a way. And rabbits symbolize abundance. That made me think: “Ah, maybe our fans will multiply like rabbits. That would be great.” So that bunny face became both a symbol for the members and the fans. The image came to me all at once, and I imagined a venue completely filled with bunny light sticks. That vision led to the creation of the light stick itself. Since I always prioritize fun in everything I do, the next idea that came to mind was making the light stick customizable. I thought, “Wouldn’t it be great if fans could personalize their bunny?” That way, each rabbit would represent a different person’s character. So we included accessories, allowing everyone to customize their own bunny. It’s symbolic of all these different bunnies coming together and enjoying a good time as one. Our light stick has a big head, so when it’s used in a concert hall, it lights up in heart shapes that are very visible. That was the image I really wanted. And that bunny face… it’s also a heart. It represents both the face of NewJeans and our hearts. It’s the love we’re showing to our fans, and the love we want to receive in return. Every time I see it, I feel deeply moved. It’s very emotional for me because it’s a perfect realization of what I envisioned. As someone with a background in creative direction, there’s nothing more satisfying than seeing an idea materialize exactly the way you imagined it. That kind of work holds deep meaning for me. ⸻ 🧢: Looking back, I think in 2023 we were able to achieve almost everything we had hoped for. I’m so incredibly grateful for that. Of course, this is an ongoing challenge… and the better things go, the more pressure there is. That’s why I always try to return to my original mindset. Just like I tell the members, I try to remind myself of the beginning and keep things fun. Back then, when we were first putting out content, planning the music, and working on visuals, I felt this thrill… this rush of excitement. I don’t want to forget that feeling. So I try hard to engrave that emotion into every album we release. I’m constantly working to rediscover the joy in all of it. So for 2024, I hope everyone can look forward to us with fresh anticipation. And even if we come out with something completely new, I hope people will receive it warmly and with excitement. That’s really my deepest wish. 🙏
21:30

Min Hee-jin (NewJeans Producer) NHK Music Interview 🔗 “Meticulously planned debut ‘Attention’” 🧢: When I was preparing to launch NewJeans, I really struggled with deciding what our first piece of content should be. I thought about it for a long time and considered many possibilities. It was a project that came with high expectations, and for me personally, it was also my first opportunity to prove myself. So how I presented it mattered enormously. Even down to the smallest details… like the impression the very first released photo might give, or what kind of impact we could make at launch. I thought hard about what kind of content would be the most effective… should it be a video or a photo? What time of day would be most effective to release it? I consider things like that very carefully. For example, the way a person experiences content at night versus during the day can feel quite different emotionally. So I even thought about those subtle aspects. Eventually, the conclusion I reached was: “Let’s make the most of our situation.” At the time, the members hadn’t been revealed, and no one knew how many of them there were or what kind of group this would be. So I wanted to maximize that curiosity. You know how the more something is concealed, the more curious people become? I wanted to build that curiosity to a peak and then release everything all at once. That’s why we decided not to release a teaser and instead go straight into a full music video. (This was actually inspired by Hyein suggesting we skip teasers.) I didn’t think still images or photos would be enough to fully convey the feeling I wanted to express. I felt that video and music together would evoke the emotional response I was looking for because people experience things synesthetically. When sound, image, and feeling come together, the emotional impact is stronger. I believed the best way to present the members’ images was through music and a moving picture… that’s why we led with a music video. In the debut music video, “Attention,” there’s a scene where the members act out a little drama. I paid very close attention to that moment and created music that would fit it precisely. For me, I don’t just make content… I design the entire process of how it should be shown for the greatest effect. And I believe that’s incredibly important. That first feeling someone gets when they encounter something… that emotion, that spark… is so important to me. I’m very detail-oriented, but I also value fun deeply. So rather than just releasing content, I want to enjoy the process leading up to it. Even when we released our second album, since we shot the entire music video across the country, the sequence of how we released the videos was critical for me. It’s hard to explain all this simply in an interview, but maybe some people noticed: the first content we released that time was actually a teaser for the last track, “ASAP,” and then we followed that with the full music video for “New Jeans,” which was the first track. That order was a carefully calculated strategy. It was designed to guide the audience’s emotional journey. Seeing the audience react just as I had hoped—that whole process was honestly so fun and thrilling for me. I think I really enjoy that kind of thing. ——— “How 'Ditto' was born” 🧢: People often praise the music of NewJeans, and I hear a lot of talk about genres. But actually, I don’t feel bound by genre at all. I love a wide variety of music. I’m not the type to insist on only one particular genre. What I love are songs that blend genres cleverly… those are my personal favorites. So going forward, my focus is not on genre but on whether something feels fresh and whether it can create an emotional moment. I don’t want to define what kind of music we make. And I think you have to experience the flow of the times to really understand what’s meaningful in a given moment. For instance, the song “Ditto” was chosen because it delivered emotion. It matched perfectly with the winter album concept I had envisioned, both in terms of timing and mood. When I hear a song, I tend to trust my gut. I have a pretty strong intuition for which songs will resonate. It’s not about objectively predicting what will be a “hit,” but about whether a song moves your heart… you can just feel it. Of course, my own taste plays a big role. But I think that’s actually my strength as a producer, not as a composer. When I hear a song, I can immediately picture the visual… what kind of story, what kind of vibe it could carry. That allows me to work faster. For example, when expressing something like school uniforms, there are so many possible variations. But I always like to start from the basics… what’s the original idea of a school uniform? I try to return to that. So with “Ditto,” I wanted to tap into something primal… the pure, basic feeling of liking someone. That kind of emotion is universal. Everyone has it; it’s wired into us. When I saw Director Shin Woo-seok’s interpretation of it, I thought, “Yes, that’s it.” That’s the kind of complete interpretation I look for. I believe the completion of a project comes from every person involved thinking about their part down to the final detail… the maximum quality they can bring out. My role is to unify and refine all of that. I draw out the essence of each person’s creativity, trimming away anything unnecessary. So the final product is something that’s polished and high-quality, just the way I envisioned it. That’s my working style. So it’s not like I’m fixated on retro or stuck in a particular style. I don’t think human taste has changed all that much. Things people liked in the past are the same things we like now. It’s just the form of expression that changes with time. I don’t feel bound by “past” or “present.” I don’t even think in those boundaries. To me, it’s all just good taste. You know how kids sometimes have their own little treasure boxes when they’re young? I think my work is kind of like that. I want to make things that never feel dated—that are timelessly enjoyable. ——— “Dance Expression and 'Hype Boy'” 🧢: I had a vision of what kind of girl group I wanted to create. That’s why I chose a song like “Hype Boy.” And to bring out that feeling, we created four different versions of the music video. Every choice had a purpose, everything was designed to maximize the experience of the song. “Hype Boy” is such a unique song. It has this strange, piercing melody that gives people chills in a good way. To emphasize that tingling feeling, I had to break away from the standard K-pop choreography format… you know, the kind where everyone is in perfect formation, doing synchronized moves. But our songs don’t suit that kind of choreography. Our dances are much harder. They require the body to move very naturally with the groove of the melody and beat. So I think our members are incredible. It’s not easy to express naturalness with your body, and you have to really enjoy it to make it look effortless. But they pulled it off so well. They’re still young, but they’re so talented. And through it all, I wanted to avoid making them look like they were performing just for business. I wanted them to show the pure joy and bright spirit that’s natural for people their age… genuine, carefree, radiant. ——— “The difference between NewJeans and conventional K-POP” 🧢: Ah, for me, it’s all about naturalness. And honestly, naturalness isn’t something you can produce or direct into existence. It comes from how I interact with the NewJeans members on a daily basis… what kind of environment they practice in, how they live and work. There are so many things that don’t appear on camera, but those unseen aspects have to be in place in order for true naturalness to come through. That’s why I wanted to create that kind of environment for the girls. And also, I wanted to shape my own working environment in that way too. Only then can something truly natural, something unforced and not overly stimulating, really come out. To begin with, I don’t believe anyone can be completely natural in front of a camera or under the gaze of others. It’s human nature to become self-conscious. That’s why I think naturalness is our strength, but it can’t be our concept. If you try to turn “naturalness” into a concept, it actually becomes incredibly artificial. So why do I place so much importance on naturalness? It’s because the girls are still so young. While other kids their age are going through school and having a wide range of life experiences, these members are living very different lives. Before they officially debuted, I told them, “This is like studying together with me.” Our standard contract is seven years, which is about the same length as going through high school and college in Korea: three years of high school and four years of university. So I told them, “We’re going to school together. We’re learning together.” And in that sense, I want to be a good teacher to them. They’re also surrounded by an incredibly professional team, people they’d never meet even in a traditional school setting. I’ve never really liked the word idol. These days, that word is used more like a job title, something manufactured by the industry, and it’s far from its original meaning. To me, the term idol feels misplaced. It doesn’t really reflect who these artists are or what they represent. And I’m not the kind of person who clings to labels or terminology. In fact, what I really want is to break the stereotypes and preconceptions that come with the idol industry. I want us to show people something different… to challenge those assumptions and redefine what this can look like. That’s the kind of mindset I have. ——— “Isn't it difficult for the members to express "naturalness"?” 🧢: There were a lot of things I considered when forming the group. First and foremost, I think it was important that the members shared a similar vibe… like how I prefer working with staff who align with my taste. It’s important for the crew to be on the same wavelength. And by that, I mean more than just getting along… it also extends to shared values. Of course, people won’t all share identical values, but when we’re facing in a similar direction, everything becomes easier. It’s also just more efficient to work with people who have overlapping tastes. Now, when it comes to our members, they each have their own individual tastes, but those preferences are still in development. Just like we all went through as kids, they’re still growing, still discovering themselves. They’re not in a finished state. So we didn’t cast them based on some complete or polished version of themselves. It wasn’t like, “This person is fully formed, let’s pick her.” It was more like, “Ah, she has potential, there’s something there.” That sense of a spark… those were the kinds of subtleties I paid attention to. I didn’t cast anyone just because they were pretty or could sing well. I don’t work like that. I really value those finer, more delicate aspects. Even the design of the light stick wasn’t something that came from a long strategic planning session… it was actually a spontaneous idea. I didn’t sit down and think, “Let’s make a light stick like this.” NewJeans didn’t have a fixed logo, but I felt we still needed a unifying symbol. So one night, just before going to sleep, I kept thinking about it. Right before dozing off, I started sketching and it turned into a rabbit’s face. When I drew it out, the shape just continued and turned into a bunny. To me, the NewJeans members are like little bunnies… playful, innocent. Their visuals also resemble rabbits in a way. And rabbits symbolize abundance. That made me think: “Ah, maybe our fans will multiply like rabbits. That would be great.” So that bunny face became both a symbol for the members and the fans. The image came to me all at once, and I imagined a venue completely filled with bunny light sticks. That vision led to the creation of the light stick itself. Since I always prioritize fun in everything I do, the next idea that came to mind was making the light stick customizable. I thought, “Wouldn’t it be great if fans could personalize their bunny?” That way, each rabbit would represent a different person’s character. So we included accessories, allowing everyone to customize their own bunny. It’s symbolic of all these different bunnies coming together and enjoying a good time as one. Our light stick has a big head, so when it’s used in a concert hall, it lights up in heart shapes that are very visible. That was the image I really wanted. And that bunny face… it’s also a heart. It represents both the face of NewJeans and our hearts. It’s the love we’re showing to our fans, and the love we want to receive in return. Every time I see it, I feel deeply moved. It’s very emotional for me because it’s a perfect realization of what I envisioned. As someone with a background in creative direction, there’s nothing more satisfying than seeing an idea materialize exactly the way you imagined it. That kind of work holds deep meaning for me. ⸻ 🧢: Looking back, I think in 2023 we were able to achieve almost everything we had hoped for. I’m so incredibly grateful for that. Of course, this is an ongoing challenge… and the better things go, the more pressure there is. That’s why I always try to return to my original mindset. Just like I tell the members, I try to remind myself of the beginning and keep things fun. Back then, when we were first putting out content, planning the music, and working on visuals, I felt this thrill… this rush of excitement. I don’t want to forget that feeling. So I try hard to engrave that emotion into every album we release. I’m constantly working to rediscover the joy in all of it. So for 2024, I hope everyone can look forward to us with fresh anticipation. And even if we come out with something completely new, I hope people will receive it warmly and with excitement. That’s really my deepest wish. 🙏

1tokki

17,635 görüntüleme • 1 yıl önce

❤️#DBoss #RockingStarYash #Abishekambareesh ❤️ Never Before !! Feast for Fans !! Song #HeyJaleela From the Movie #AmbiNingVayassaytho 🔥#AnandAudio aanandaaudio
0:45

❤️#DBoss #RockingStarYash #Abishekambareesh ❤️ Never Before !! Feast for Fans !! Song #HeyJaleela From the Movie #AmbiNingVayassaytho 🔥#AnandAudio aanandaaudio

aanandaaudio

27,760 görüntüleme • 3 yıl önce

Recently I got some hands-on time with Crimson Desert and below are my first impressions as well as some of the gameplay I was able to capture. Crimson Desert is a good game, but it won’t be for everyone. I know the devs claim this isn’t an RPG, but I don’t know any other way to describe this game other than a HARDCORE action RPG. If you need the yellow paint to know where to climb this game isn’t for you. But if you love getting lost in a whimsical world with a boat load of content this game is going to be right up your alley. I think what impressed me most is the attention to detail. There’s so many little things the dev team took into consideration that I think people who enjoy being immersed into a world are going to appreciate. Even if you aren’t that person; on a basic level I think most will enjoy the game's combat. It’s fast, fluid and provides a ton of player expression with its deep skill tree. The world of Pywel is vibrant, large in scale and full of life. It’s easy to get lost off the main quest line as there’s always something to do and someone to speak to. An example being I was wandering through the open world and encountered a distressed woman seeking help. I agreed to follow her only to find out moments later she was with a gang and they were trying to back door me. That had me cracking up. I think if the open world is consistently full of fun, unique side content like that & the main quest line is fire this game has a lot of potential to impress. It’s just a shame that I didn’t get to spend more time with the main quests as I kept getting side tracked with cool stuff to do in the open world. So I can’t give you much insight into that. What I can say is after the opening section there’s NEXT TO NO tutorials in this game, the puzzles are hard & the default controls are a bit clunky. You will be getting lost and I can see that frustrating some people who aren’t interested in a challenge. That’s why I mentioned earlier that this is a hardcore RPG. It does not do a lot of hand holding. Because of that I predict you and your friends will be sharing tips and tricks similar to when Elden Ring first launched and nobody knew what they were doing. If you are a patient person and take the time to learn the game's systems I promise you will be able to put together some awesome combos that will make you feel like the main character. My biggest fear for this game is that I won't finish it. Not because it’s a bad game, but I can just tell from my brief time with it that it’s next level massive. As someone who's been gaming for 30+ years it’s very rare you’ll hear me say a game was overwhelming, but this game is. For people who lack a ton of free time I can see that being a turn off because once again the game doesn’t give much direction or tutorials outside the opening area. Not to mention this game could be big just for the sake of being big. I was curious to know how much of the content was engaging versus just open world bloat? Hard to tell because I only got a few hours with the game. I also fear that the Ai isn’t the best in this game. The Ai issues I encountered zapped all immersion away for those moments. I’m not sure if the final build will differ from the vertical slice we played, but what I can tell you is that on the build we played I wasn’t impressed by the Ai. Several times I attacked enemy camps and they never reacted to me attacking them. They just stood there and took it which made the world feel less alive. There were also times where enemies were looking dead at me just standing still as the battle music played threatening to beat me up, but they never did anything. It was 3 or 4 times I encountered this poor Ai which is a red flag for me because I only got two hours of hands on time with the game. Mind you in those two hours a good portion of it was just me working my way through the prologue and the early quests, so I didn't spend a ton of time in the open world. What I'm trying to get at is the janky ai was very noticeable. It wasn't something that took long to find. I will say when the game works it's great, but when I tell you the Ai was bad at times it was bad. It reminded me of the dumb NPC’s often found in Ubisoft open world games. I’m not looking for this to be a Souls game but I want some level of challenge in the combat. Hopefully that stuff gets patched out. That being said, I’m confident in saying this game is good. I just didn’t have enough time with it to determine if it’s good, or GREAT. Only time will tell when Crimson Desert drops on March 19th, 2026 for the PC, PS5 and Xbox Series. Pros —---------- - Combat makes you feel like demon - Deep Skill tree - Vibrant world - Solid voice acting - Fire OST - The little details (trust system, you can commit crimes ect.) - No Fall damage - Puzzles are creative & challenging - Game doesn’t hold you hand (some people will hate this) - You can swap in and out of 3rd and 1st person at will. Wasn’t able to explore much of how that changes the game, but it’s nice that it's an option. - EASILY over 100hrs of content (some will hate this though) Cons —---------- - Clunky controls (Default controls take some time adjusting too. I hope there’s other control schemes at launch) - Inconsistent Ai (Ubisoft bad at times. sometimes the enemies wouldn’t attack during combat or act like they never saw you) - Long load times (we were playing on PC’s, but idk the specs) - Your horse can faint & when they do traveling the large world wasn’t as fun (and I couldn’t figure out how to get him back - most likely a skill issue) - Early stamina management is OD. Early game it’s easy to drown & get tired running. I’d imagine it gets better late game, but early game it’s frustrating trying to explore. - Camera takes some getting used to in combat. Sometimes its too close and others too far. - Early arrows have no impact. Felt useless. Hoping later upgrades fix that
3:17

Recently I got some hands-on time with Crimson Desert and below are my first impressions as well as some of the gameplay I was able to capture. Crimson Desert is a good game, but it won’t be for everyone. I know the devs claim this isn’t an RPG, but I don’t know any other way to describe this game other than a HARDCORE action RPG. If you need the yellow paint to know where to climb this game isn’t for you. But if you love getting lost in a whimsical world with a boat load of content this game is going to be right up your alley. I think what impressed me most is the attention to detail. There’s so many little things the dev team took into consideration that I think people who enjoy being immersed into a world are going to appreciate. Even if you aren’t that person; on a basic level I think most will enjoy the game's combat. It’s fast, fluid and provides a ton of player expression with its deep skill tree. The world of Pywel is vibrant, large in scale and full of life. It’s easy to get lost off the main quest line as there’s always something to do and someone to speak to. An example being I was wandering through the open world and encountered a distressed woman seeking help. I agreed to follow her only to find out moments later she was with a gang and they were trying to back door me. That had me cracking up. I think if the open world is consistently full of fun, unique side content like that & the main quest line is fire this game has a lot of potential to impress. It’s just a shame that I didn’t get to spend more time with the main quests as I kept getting side tracked with cool stuff to do in the open world. So I can’t give you much insight into that. What I can say is after the opening section there’s NEXT TO NO tutorials in this game, the puzzles are hard & the default controls are a bit clunky. You will be getting lost and I can see that frustrating some people who aren’t interested in a challenge. That’s why I mentioned earlier that this is a hardcore RPG. It does not do a lot of hand holding. Because of that I predict you and your friends will be sharing tips and tricks similar to when Elden Ring first launched and nobody knew what they were doing. If you are a patient person and take the time to learn the game's systems I promise you will be able to put together some awesome combos that will make you feel like the main character. My biggest fear for this game is that I won't finish it. Not because it’s a bad game, but I can just tell from my brief time with it that it’s next level massive. As someone who's been gaming for 30+ years it’s very rare you’ll hear me say a game was overwhelming, but this game is. For people who lack a ton of free time I can see that being a turn off because once again the game doesn’t give much direction or tutorials outside the opening area. Not to mention this game could be big just for the sake of being big. I was curious to know how much of the content was engaging versus just open world bloat? Hard to tell because I only got a few hours with the game. I also fear that the Ai isn’t the best in this game. The Ai issues I encountered zapped all immersion away for those moments. I’m not sure if the final build will differ from the vertical slice we played, but what I can tell you is that on the build we played I wasn’t impressed by the Ai. Several times I attacked enemy camps and they never reacted to me attacking them. They just stood there and took it which made the world feel less alive. There were also times where enemies were looking dead at me just standing still as the battle music played threatening to beat me up, but they never did anything. It was 3 or 4 times I encountered this poor Ai which is a red flag for me because I only got two hours of hands on time with the game. Mind you in those two hours a good portion of it was just me working my way through the prologue and the early quests, so I didn't spend a ton of time in the open world. What I'm trying to get at is the janky ai was very noticeable. It wasn't something that took long to find. I will say when the game works it's great, but when I tell you the Ai was bad at times it was bad. It reminded me of the dumb NPC’s often found in Ubisoft open world games. I’m not looking for this to be a Souls game but I want some level of challenge in the combat. Hopefully that stuff gets patched out. That being said, I’m confident in saying this game is good. I just didn’t have enough time with it to determine if it’s good, or GREAT. Only time will tell when Crimson Desert drops on March 19th, 2026 for the PC, PS5 and Xbox Series. Pros —---------- - Combat makes you feel like demon - Deep Skill tree - Vibrant world - Solid voice acting - Fire OST - The little details (trust system, you can commit crimes ect.) - No Fall damage - Puzzles are creative & challenging - Game doesn’t hold you hand (some people will hate this) - You can swap in and out of 3rd and 1st person at will. Wasn’t able to explore much of how that changes the game, but it’s nice that it's an option. - EASILY over 100hrs of content (some will hate this though) Cons —---------- - Clunky controls (Default controls take some time adjusting too. I hope there’s other control schemes at launch) - Inconsistent Ai (Ubisoft bad at times. sometimes the enemies wouldn’t attack during combat or act like they never saw you) - Long load times (we were playing on PC’s, but idk the specs) - Your horse can faint & when they do traveling the large world wasn’t as fun (and I couldn’t figure out how to get him back - most likely a skill issue) - Early stamina management is OD. Early game it’s easy to drown & get tired running. I’d imagine it gets better late game, but early game it’s frustrating trying to explore. - Camera takes some getting used to in combat. Sometimes its too close and others too far. - Early arrows have no impact. Felt useless. Hoping later upgrades fix that

The Black Hokage

1,175,183 görüntüleme • 5 ay önce

ನಿನ್ನನ್ನು ಊರನ್ನೇ ಬೆಳಗೋ ವಜ್ರ ನೀನು 🙏 ನೀನು ನಮ್ಮ ಪಾಲಿಗೆ ಎಂದು ದೇವರಯ್ಯ 🙏🙏 #Kaatera #DBoss Darshan Thoogudeepa Tharun Sudhir Aradhanaa RocklineEnt V Harikrishna Shyam Anand Chabria Creative Guyz D Company(R)Official aanandaaudio #AnandAudio #OneYearForKaatera
2:03

ನಿನ್ನನ್ನು ಊರನ್ನೇ ಬೆಳಗೋ ವಜ್ರ ನೀನು 🙏 ನೀನು ನಮ್ಮ ಪಾಲಿಗೆ ಎಂದು ದೇವರಯ್ಯ 🙏🙏 #Kaatera #DBoss Darshan Thoogudeepa Tharun Sudhir Aradhanaa RocklineEnt V Harikrishna Shyam Anand Chabria Creative Guyz D Company(R)Official aanandaaudio #AnandAudio #OneYearForKaatera

aanandaaudio

12,073 görüntüleme • 1 yıl önce

how I’m building fractl for a $10M exit in 6 months, so I can produce my dream musical 🎤🎬 I don't know how 🤷🏼‍♀️ That's what the show is about ha. Figuring it out, in real time. Wish me luck lol fractl's new docu-series ‘‘The Crypto Hustle’ launches feb 26. Final-fucking-ly. thank you Superteam Canada & Solana for the funding and for making Episode 1 possible 🥰 For those of you who are new here, hiiii 🙋🏼‍♀️ my name is Rime Salmi, I'm an artist who accidentally built the biggest investor network in web3. And now we're producing a 12 episode documentary about how I'm working my way back to being an artist, with funding. the origin story. when I crashed with the last crypto cycle, back to zero (plus tax) at my grown age, I had to ask myself what the hell I was gonna do with my life. I always just wanted be an artist. With agency. So i worked and paid for everything, studio, music videos, started a record label, all that to keep my artistic freedom, for my entire career. Had some success, lots of failed experiments, lots of tears, and lots of fun. After I lost everything to the terra luna crash (mistakes were made 🥲), I had to figure out how I would fund the dream next. I needed a break from the emotional roller coaster of trading crypto, so I went back to school for the grant money (thank you government of Canada). I relocated to madrid for a change, and started making tiktoks. Skits that I thought were funny. Skits that i thought were risky but honest and necessary. I’ve always loved saying out loud what others are ashamed to even think 🤓 if you follow me on ig or tt you know ha I was having a blast. Creating all day. Some tiktoks took off. Ones that felt very personal. I felt seen. I was at my happiest, filming, editing, singing and pretending to listen in class, for the grant money. Then it hit me. That's what i want. I wanna be telling stories. I dont wanna be just a singer, just a songwriter, just an actress waiting for auditions to come my way. I wanna do it all, tell more stories, write and produce them. so…A musical? But I hate musicals 😭 why do they start singing in the middle of a conversation?!? whyyyyy A musical for people who don't like musicals??!!! 🥹 That’s it!! A MUSICAL FOR PEOPLE WHO DONT LIKE MUSICALS 🤩 DONE. So from the lowest of my finances, in the middle of career confusion, with a bruised ego from failing so miserably at my first crypto cycle, I found something great to get excited about for the rest of my life. I needed to validate the feasibility… because I know I’m a dreamer who gets shit done, but I’m very much a idealist. so I asked my good friend of mine and the producer of my first 2 albums Benny Adam (now a rising star, this is me clout chasing) for advice. I asked him: ‘is this too much? For me to wanna produce a whole as* Netflix series, music and all?? He’s the most talented, ambitious yet realistic guy I know. And I knew he would tell it to me like it is, but kindly. Because he’s also a nice human 🫶🏽 ‘So?? Is it too big of a project??’ He paused… I looked at him, hopeful 🥹 ‘Ya. It’s a reeeally big project 😕’, he said. Fuck. and then he paused, again. Just tell me, I thought. Tell me aaaall the reasons this is a bad idea… 😞 beat. ‘But if anyone can do it, it’s you’ cue inspiring battle field music Reeeallyyyyy? 🥹 I teared up. I’m tearing up now writing this. Because at that low point in my life, that’s what I needed. Just one person who really knew me, to remind me, despite my circumstances, of who I am and what I’m capable of. That I’m crazy, yes, but in a good way 👉🏽👈🏽 Shokran Benny. I don’t think you know how much that meant to me (I’m gonna tell him again because he’s on episode 4 of the Crypto Hustle ha) Ok. So. Musical it is. When I ran out of back-to-school government money, and needed to be an adult again, I reintegrated the crypto space, with a purpose. I called my friend and mentor Armando Pantoja and asked him what he thought I should go for in terms of job (I needed a break from entrepreneurship). He said ‘I’ve seen you at conferences, you’re really good with people, you know marketing, and you actually understand crypto. He said go to conferences, you’ll figure it out. Just show up’ I did. I showed up to eth denver 2022 and I started the first iteration of what became fractl as an influencer marketing agency, because I saw a good skill-market fit and because I couldn't find a job lol but I hated it. I dont wanna manage influencers, I don't wanna manage artists. I’m an artist, I would never manage me, that's crazy 😂 One thing led to the other I became a fractional CMO. An opinionated one 🤓 I found myself always trying to lead founders towards personal storytelling… suggesting they put themselves out there more. I really believed that it would help them build trust in a space that so desperately needs it. Then, I started hosting our investor events (to get leads for the agency), and saw the struggle of founders building and fundraising at the same time and the original idea for this show started to form. We need bolder marketing in this space. What if we followed these founders around the world at all these conferences and followed their journey, building a company, raising, launching a token, failing. In these ruthless markets, with the drama of personal sacrifices… I could see it so clearly 😃 So I started pitching it. THE BEST MARKETING CAMPAIGN EVER GUYS!! WHO'S IN?? No one. I couldn't convince a single founder of the vision.🥲 Maybe I wasn’t qualified enough in their eyes to carry out such a big vision, following multiple founders on a 6 month production around the world. They were probably right lol But I’m also a little crazy. And really really stubborn. That's something right?? A few months later, inspiration still strong, I told pablo erminy who's worked on multiple Netflix shows about it and he said: ‘why dont you just tell YOUR story? You have a great story, people will wanna watch you build in public to fund your artist dream. As a first reality tv production, one story is more than enough to handle.’ Wise man. Maybe i did underestimate how complex a multi-lead, international, real-time, film production would be 😬 Done. because I know great advice when I hear it. PIVOT! 🛋️ So that’s how ’The Crypto Hustle’ was born. This journey I was trying to sell to other founders, I would do it for myself. show not tell. Now the funding. I tried selling the project to sponsors on and off for over a year, between the normal fractl operations, hiring, training, firing, messing up, learning. And only ended up spreading myself so thin, that I neglected the core business. Company became a mess (for others reasons too, that I will come up on the show, hint: boys) Bottom line is, we lost more money than we made, trying to sell a show. I should've known. Film fundraising is a producer’s full time job lol Fast forward 1 year, 2 pilots and a near bankruptcy later, I’m now launching Episode 1 from Korea and just wrapping episode 2 from Hong Kong. No funding. (except for Episode 1, thank you again Superteam Canada 🥰) Fuck it. Might not be the big production I had envisioned, but all the core principles and the emotions, and team talent is there.. An MVP. Now. because waiting for things to align would just delay this indefinitely. And because I have more conviction than ever. not only in authentic storytelling as the best marketing, but also because my soul needs this. I need creativity to keep going. If i stay too long in business mode without publishing art, stories, songs, dances, funny skits, I find no reason to wake up in the morning. Not to be dramatic, but I really only wanna be an artist 😂 Also, the timing IS ideal. because in my mess, I got lucky 🥰 I found a production team that felt right instantly. Love at first meeting. not only are they aligned with the docu-series concept, but with the end vision too. The cultural impact I wanna have with the musical. vegetable Badr, Momo, @JuicySocialAgency, you're my favorite part of 2026 🫶🏽 So here we are. About to launch episode 1. Documenting the process of building fractl for a $10M exit in 6 MONTHS, so i can produce my dream musical 🥰 It’s about to be epic. Or a massive failure, in public. can girl with the pink hair make this happen? 👀 let the adventure begin 💚☺️ full episodes will be on my youtube channel. go subscribe ok?
0:51

how I’m building fractl for a $10M exit in 6 months, so I can produce my dream musical 🎤🎬 I don't know how 🤷🏼‍♀️ That's what the show is about ha. Figuring it out, in real time. Wish me luck lol fractl's new docu-series ‘‘The Crypto Hustle’ launches feb 26. Final-fucking-ly. thank you Superteam Canada & Solana for the funding and for making Episode 1 possible 🥰 For those of you who are new here, hiiii 🙋🏼‍♀️ my name is Rime Salmi, I'm an artist who accidentally built the biggest investor network in web3. And now we're producing a 12 episode documentary about how I'm working my way back to being an artist, with funding. the origin story. when I crashed with the last crypto cycle, back to zero (plus tax) at my grown age, I had to ask myself what the hell I was gonna do with my life. I always just wanted be an artist. With agency. So i worked and paid for everything, studio, music videos, started a record label, all that to keep my artistic freedom, for my entire career. Had some success, lots of failed experiments, lots of tears, and lots of fun. After I lost everything to the terra luna crash (mistakes were made 🥲), I had to figure out how I would fund the dream next. I needed a break from the emotional roller coaster of trading crypto, so I went back to school for the grant money (thank you government of Canada). I relocated to madrid for a change, and started making tiktoks. Skits that I thought were funny. Skits that i thought were risky but honest and necessary. I’ve always loved saying out loud what others are ashamed to even think 🤓 if you follow me on ig or tt you know ha I was having a blast. Creating all day. Some tiktoks took off. Ones that felt very personal. I felt seen. I was at my happiest, filming, editing, singing and pretending to listen in class, for the grant money. Then it hit me. That's what i want. I wanna be telling stories. I dont wanna be just a singer, just a songwriter, just an actress waiting for auditions to come my way. I wanna do it all, tell more stories, write and produce them. so…A musical? But I hate musicals 😭 why do they start singing in the middle of a conversation?!? whyyyyy A musical for people who don't like musicals??!!! 🥹 That’s it!! A MUSICAL FOR PEOPLE WHO DONT LIKE MUSICALS 🤩 DONE. So from the lowest of my finances, in the middle of career confusion, with a bruised ego from failing so miserably at my first crypto cycle, I found something great to get excited about for the rest of my life. I needed to validate the feasibility… because I know I’m a dreamer who gets shit done, but I’m very much a idealist. so I asked my good friend of mine and the producer of my first 2 albums Benny Adam (now a rising star, this is me clout chasing) for advice. I asked him: ‘is this too much? For me to wanna produce a whole as* Netflix series, music and all?? He’s the most talented, ambitious yet realistic guy I know. And I knew he would tell it to me like it is, but kindly. Because he’s also a nice human 🫶🏽 ‘So?? Is it too big of a project??’ He paused… I looked at him, hopeful 🥹 ‘Ya. It’s a reeeally big project 😕’, he said. Fuck. and then he paused, again. Just tell me, I thought. Tell me aaaall the reasons this is a bad idea… 😞 beat. ‘But if anyone can do it, it’s you’ cue inspiring battle field music Reeeallyyyyy? 🥹 I teared up. I’m tearing up now writing this. Because at that low point in my life, that’s what I needed. Just one person who really knew me, to remind me, despite my circumstances, of who I am and what I’m capable of. That I’m crazy, yes, but in a good way 👉🏽👈🏽 Shokran Benny. I don’t think you know how much that meant to me (I’m gonna tell him again because he’s on episode 4 of the Crypto Hustle ha) Ok. So. Musical it is. When I ran out of back-to-school government money, and needed to be an adult again, I reintegrated the crypto space, with a purpose. I called my friend and mentor Armando Pantoja and asked him what he thought I should go for in terms of job (I needed a break from entrepreneurship). He said ‘I’ve seen you at conferences, you’re really good with people, you know marketing, and you actually understand crypto. He said go to conferences, you’ll figure it out. Just show up’ I did. I showed up to eth denver 2022 and I started the first iteration of what became fractl as an influencer marketing agency, because I saw a good skill-market fit and because I couldn't find a job lol but I hated it. I dont wanna manage influencers, I don't wanna manage artists. I’m an artist, I would never manage me, that's crazy 😂 One thing led to the other I became a fractional CMO. An opinionated one 🤓 I found myself always trying to lead founders towards personal storytelling… suggesting they put themselves out there more. I really believed that it would help them build trust in a space that so desperately needs it. Then, I started hosting our investor events (to get leads for the agency), and saw the struggle of founders building and fundraising at the same time and the original idea for this show started to form. We need bolder marketing in this space. What if we followed these founders around the world at all these conferences and followed their journey, building a company, raising, launching a token, failing. In these ruthless markets, with the drama of personal sacrifices… I could see it so clearly 😃 So I started pitching it. THE BEST MARKETING CAMPAIGN EVER GUYS!! WHO'S IN?? No one. I couldn't convince a single founder of the vision.🥲 Maybe I wasn’t qualified enough in their eyes to carry out such a big vision, following multiple founders on a 6 month production around the world. They were probably right lol But I’m also a little crazy. And really really stubborn. That's something right?? A few months later, inspiration still strong, I told pablo erminy who's worked on multiple Netflix shows about it and he said: ‘why dont you just tell YOUR story? You have a great story, people will wanna watch you build in public to fund your artist dream. As a first reality tv production, one story is more than enough to handle.’ Wise man. Maybe i did underestimate how complex a multi-lead, international, real-time, film production would be 😬 Done. because I know great advice when I hear it. PIVOT! 🛋️ So that’s how ’The Crypto Hustle’ was born. This journey I was trying to sell to other founders, I would do it for myself. show not tell. Now the funding. I tried selling the project to sponsors on and off for over a year, between the normal fractl operations, hiring, training, firing, messing up, learning. And only ended up spreading myself so thin, that I neglected the core business. Company became a mess (for others reasons too, that I will come up on the show, hint: boys) Bottom line is, we lost more money than we made, trying to sell a show. I should've known. Film fundraising is a producer’s full time job lol Fast forward 1 year, 2 pilots and a near bankruptcy later, I’m now launching Episode 1 from Korea and just wrapping episode 2 from Hong Kong. No funding. (except for Episode 1, thank you again Superteam Canada 🥰) Fuck it. Might not be the big production I had envisioned, but all the core principles and the emotions, and team talent is there.. An MVP. Now. because waiting for things to align would just delay this indefinitely. And because I have more conviction than ever. not only in authentic storytelling as the best marketing, but also because my soul needs this. I need creativity to keep going. If i stay too long in business mode without publishing art, stories, songs, dances, funny skits, I find no reason to wake up in the morning. Not to be dramatic, but I really only wanna be an artist 😂 Also, the timing IS ideal. because in my mess, I got lucky 🥰 I found a production team that felt right instantly. Love at first meeting. not only are they aligned with the docu-series concept, but with the end vision too. The cultural impact I wanna have with the musical. vegetable Badr, Momo, @JuicySocialAgency, you're my favorite part of 2026 🫶🏽 So here we are. About to launch episode 1. Documenting the process of building fractl for a $10M exit in 6 MONTHS, so i can produce my dream musical 🥰 It’s about to be epic. Or a massive failure, in public. can girl with the pink hair make this happen? 👀 let the adventure begin 💚☺️ full episodes will be on my youtube channel. go subscribe ok?

🌸 Rime Salmi 🌸

10,429 görüntüleme • 6 ay önce

SM Krishna: A personal tribute I woke up today to the news of the passing of Sri SM Krishna, one of the most progressive and visionary former Chief Minister of Karnataka. Though my personal interactions with him have been limited to a few interactions at public events, the loss seemed deeply personal. As I booked tickets to Bengaluru to pay my last respects to the great man, I realised how deeply I was inspired by him in a multitude of ways. Mr. Krishna was the CM of Karnataka when I was in school, when I was first forming my worldview of politics and public life. It was the days when I was contesting my school elections for Head Boy and was tasting action in democracy for the first time. Naturally, as CM, Krishna dominated the newspapers and TV channels and I would follow his interactions with great interest. Also, it was the time when Dr. Rajkumar was abducted by Veerappan and we would have school holidays declared regularly. Many school children of my age, we would watch news with curiosity to know if the CM would declare another holiday. In all those interviews, the CM’s poise, his weighted choice of words and his resoluteness impressed my young mind. This inspired me deeply and drew me to him. The more I followed him, as a young boy interested in politics, the more I wanted to model myself after him. Mr. Krishna was in many respects a leader ahead of his times. At a time when political leaders were deeply influenced by socialism to the point of opposing industrialisation and urbanisation, Krishna was a clear believer in free markets, industrialisation and the need for urbanisation to create mass level prosperity. It was under his leadership that Bengaluru emerged as the country’s IT capital, leveraging its unique educational and human resource capabilities. Most of the now big IT services firms of the country received immense policy support during Krishna’s time. Bengaluru also saw its infrastructure develop rapidly. From the metro to the flyovers to the ring roads to the work on the new airport - all received tremendous attention under SM Krishna. He clearly understood that cities are the engines of growth and prosperity and that they needed to be given the political and financial capital needed. Even to this day, unfortunately, many political leaders and parties do not understand this and continue to ignore our urban development needs. Perhaps, this distance from socialism also had a role in his sartorial choices. While it was expected that political leaders should dress in the modest Khadi and shun flamboyance in an attempt to resonate with the poor masses, Krishna was flamboyant, stylish and savvy. He dressed well, like how the leader of an aspiring global city should. I have never seen him dressed shabbily ever, even in photos from the hospital bed. There was something regal about his appearance. I have googled so many of his pictures to try and buy similar clothes, ties and pocket squares. He is undoubtedly the most stylish politician of Karnataka. Mr. Krishna’s term as CM was not a bed of roses. The abduction of Dr. Rajkumar was one of the most difficult challenges that faced him and the way he handled the issue tactically, coordinating with CM Jayalalitha and also initiating track two dialogues with the forest brigand, and finally ensuring the release of Rajkumar is a lesson for many in crisis management and diplomacy. Unfortunately, the state suffered continuous drought during his CM-ship and despite his best efforts, the farmers crisis across the state remained quite acute and even led to the eventual loss of the Congress Party in the elections. Despite these challenges, his leadership transformed Bengaluru and created tremendous wealth for people of Karnataka. If Karnataka is among the wealthiest states in the country and Bengaluru is the richest city in the country in terms of per capita income, Krishna’s role is significant. While SM Krishna will be remembered for his developmental role, his crisis handling skills and his contribution to modern Bengaluru, he will mostly be loved by Kannadigas for the decency and dignity with which he carried his public life - a value so rare in Indian politics. All his interviews, in both English and Kannada are a treat to watch for his command over the languages and the depth in which he addressed the subjects and importantly for the decency with which he addressed all, including his sharpest rivals. His dignified personal conduct won him many admirers across political divides - even traditional BJP voting families like mine were ardent supporters of Krishna. It was like homecoming when Krishna joined the BJP in 2019, inspired by PM Modi. An ardent connoisseur of arts, Mr. Krishna and his wife Prema were often spotted at the cultural and theatre circuit of Bengaluru. I have seen him and his wife at the Rama Seva Mandali Ramotsava music festival many times. He was in the mould of our Mysuru Maharajas who were not only great patrons of our classical arts, but were passionate connoisseurs themselves. A state’s cultural life gets enriched with such political leaders. Even a year ago, I met Mr. Krishna at a play where we both were guests and I got an opportunity to take his blessings. In many ways, SM Krishna deeply influenced me in my formative days as a young school boy aspiring to get into politics. From his dignified public conduct to his focus on industrialisation and urbanisation to his impeccable sartorial choices - his influence was immense. I was delighted when he joined the BJP just before the 2019 elections and even came to campaign for me. He was not in the best of health then, but despite that, he stood in the heat in the campaign vehicle for more than an hour and even indulged my selfie videos. His support meant a lot to me personally. As we bid farewell to him, those of us in public life must resolve to conduct our politics in his mould - dignified, accommodating, progressive and prosperity creating for our people. I appeal to CM Siddaramaiah and DCM DK Shivakumar to institute an award in Sri SM Krishna’s name to honour those who make a significant contribution to the development of Bengaluru - it will not only inspire many to work for our city but also keep the memory of an inspired life alive. As a proud Kannadiga and a Bengaluru boy, I thank Sri SM Krishna for everything. Go well, Sir.
3:16

SM Krishna: A personal tribute I woke up today to the news of the passing of Sri SM Krishna, one of the most progressive and visionary former Chief Minister of Karnataka. Though my personal interactions with him have been limited to a few interactions at public events, the loss seemed deeply personal. As I booked tickets to Bengaluru to pay my last respects to the great man, I realised how deeply I was inspired by him in a multitude of ways. Mr. Krishna was the CM of Karnataka when I was in school, when I was first forming my worldview of politics and public life. It was the days when I was contesting my school elections for Head Boy and was tasting action in democracy for the first time. Naturally, as CM, Krishna dominated the newspapers and TV channels and I would follow his interactions with great interest. Also, it was the time when Dr. Rajkumar was abducted by Veerappan and we would have school holidays declared regularly. Many school children of my age, we would watch news with curiosity to know if the CM would declare another holiday. In all those interviews, the CM’s poise, his weighted choice of words and his resoluteness impressed my young mind. This inspired me deeply and drew me to him. The more I followed him, as a young boy interested in politics, the more I wanted to model myself after him. Mr. Krishna was in many respects a leader ahead of his times. At a time when political leaders were deeply influenced by socialism to the point of opposing industrialisation and urbanisation, Krishna was a clear believer in free markets, industrialisation and the need for urbanisation to create mass level prosperity. It was under his leadership that Bengaluru emerged as the country’s IT capital, leveraging its unique educational and human resource capabilities. Most of the now big IT services firms of the country received immense policy support during Krishna’s time. Bengaluru also saw its infrastructure develop rapidly. From the metro to the flyovers to the ring roads to the work on the new airport - all received tremendous attention under SM Krishna. He clearly understood that cities are the engines of growth and prosperity and that they needed to be given the political and financial capital needed. Even to this day, unfortunately, many political leaders and parties do not understand this and continue to ignore our urban development needs. Perhaps, this distance from socialism also had a role in his sartorial choices. While it was expected that political leaders should dress in the modest Khadi and shun flamboyance in an attempt to resonate with the poor masses, Krishna was flamboyant, stylish and savvy. He dressed well, like how the leader of an aspiring global city should. I have never seen him dressed shabbily ever, even in photos from the hospital bed. There was something regal about his appearance. I have googled so many of his pictures to try and buy similar clothes, ties and pocket squares. He is undoubtedly the most stylish politician of Karnataka. Mr. Krishna’s term as CM was not a bed of roses. The abduction of Dr. Rajkumar was one of the most difficult challenges that faced him and the way he handled the issue tactically, coordinating with CM Jayalalitha and also initiating track two dialogues with the forest brigand, and finally ensuring the release of Rajkumar is a lesson for many in crisis management and diplomacy. Unfortunately, the state suffered continuous drought during his CM-ship and despite his best efforts, the farmers crisis across the state remained quite acute and even led to the eventual loss of the Congress Party in the elections. Despite these challenges, his leadership transformed Bengaluru and created tremendous wealth for people of Karnataka. If Karnataka is among the wealthiest states in the country and Bengaluru is the richest city in the country in terms of per capita income, Krishna’s role is significant. While SM Krishna will be remembered for his developmental role, his crisis handling skills and his contribution to modern Bengaluru, he will mostly be loved by Kannadigas for the decency and dignity with which he carried his public life - a value so rare in Indian politics. All his interviews, in both English and Kannada are a treat to watch for his command over the languages and the depth in which he addressed the subjects and importantly for the decency with which he addressed all, including his sharpest rivals. His dignified personal conduct won him many admirers across political divides - even traditional BJP voting families like mine were ardent supporters of Krishna. It was like homecoming when Krishna joined the BJP in 2019, inspired by PM Modi. An ardent connoisseur of arts, Mr. Krishna and his wife Prema were often spotted at the cultural and theatre circuit of Bengaluru. I have seen him and his wife at the Rama Seva Mandali Ramotsava music festival many times. He was in the mould of our Mysuru Maharajas who were not only great patrons of our classical arts, but were passionate connoisseurs themselves. A state’s cultural life gets enriched with such political leaders. Even a year ago, I met Mr. Krishna at a play where we both were guests and I got an opportunity to take his blessings. In many ways, SM Krishna deeply influenced me in my formative days as a young school boy aspiring to get into politics. From his dignified public conduct to his focus on industrialisation and urbanisation to his impeccable sartorial choices - his influence was immense. I was delighted when he joined the BJP just before the 2019 elections and even came to campaign for me. He was not in the best of health then, but despite that, he stood in the heat in the campaign vehicle for more than an hour and even indulged my selfie videos. His support meant a lot to me personally. As we bid farewell to him, those of us in public life must resolve to conduct our politics in his mould - dignified, accommodating, progressive and prosperity creating for our people. I appeal to CM Siddaramaiah and DCM DK Shivakumar to institute an award in Sri SM Krishna’s name to honour those who make a significant contribution to the development of Bengaluru - it will not only inspire many to work for our city but also keep the memory of an inspired life alive. As a proud Kannadiga and a Bengaluru boy, I thank Sri SM Krishna for everything. Go well, Sir.

Tejasvi Surya

71,999 görüntüleme • 1 yıl önce

ಸಿಡಿಸಿಡ ಕೋಪನೇ ಸಿಂಗಾರ ಇವಳ ಬಡ ಬಡ ಮಾತೆಲ್ಲ ಬಂಗಾರ ಸುಮ್ಸುಮ್ನೆ ಇದ್ರೂನೂ ಅರಸಾನೇ ನಂಗೆ ಬುಳ್ ಬುಳನೆ ನಕ್ಕುಬುಟ್ರೆ ಚಂದಿರ ❤ Movie: #ayogya2 Song: #muddmudduputlakshmi Music On: #anandaudio
0:34

ಸಿಡಿಸಿಡ ಕೋಪನೇ ಸಿಂಗಾರ ಇವಳ ಬಡ ಬಡ ಮಾತೆಲ್ಲ ಬಂಗಾರ ಸುಮ್ಸುಮ್ನೆ ಇದ್ರೂನೂ ಅರಸಾನೇ ನಂಗೆ ಬುಳ್ ಬುಳನೆ ನಕ್ಕುಬುಟ್ರೆ ಚಂದಿರ ❤ Movie: #ayogya2 Song: #muddmudduputlakshmi Music On: #anandaudio

aanandaaudio

70,890 görüntüleme • 2 ay önce

"Come on, folks. Do we see what's playing out here? Marbury v. Mad might have just brought down the Commissioner of the Boston Police Department." - Towel, November 6, 2025 Rule #1 in Massachusetts politics right now; Do not mess with Attorney Corey Hopkins. She's going to get barred here just to reform the government (then I'll become her paralegal and we'll submit public records requests all day). Good plan. TRANSCRIPT (from Towel's coverage of the letter in question, uncovered by Attorney Hopkins); Hello and good evening. It is just past 6 p.m. on Monday, November 3rd, 2025. My name is Grant Smith-Ellis, and I'm back with you again for another developing news update, this time related to Boston Police Commissioner Cox responding to a developing series of scandals, in particular related to former Boston Police Officer—well, first former Canton Police Officer, then former Boston Police Officer—Kelly Dever. Now, Kelly Dever was an integral witness during the John O'Keefe and Karen Read trial about one specific series of events in the early morning of January 29, 2022—not really related to John's death per se, but related to the then-chief of the Canton Police Department, Ken Berkowitz, who was also potentially the person that went to the FBI about Brian Tully's MSP unit, Massachusetts State Police unit, detailed to the Norfolk DA, who were the same people that investigated Karen Read for John's death. Berkowitz was the same person who apparently went to the FBI in 2022 about Tully's unit through John Fanning covering up Sandra Birchmore's death at the hands of former Stoughton PD officer Matthew Farwell. Okay, Ken Berkowitz and Brian Higgins—then undercover ATF agent who himself had been in a relationship of some kind, we'll call it that, with Karen in the months before John's death. That's a whole story we will not get into. The point is, Higgins and Berkowitz go into the sally port. Now, Kelly Dever had been working since, I think it was 12 a.m. on January 28th. She worked—let me make sure I get this right now—she worked at 12 p.m., noon on January 28th to 8 p.m. Then she worked the 8 p.m. to 4 a.m. shift. Okay, she was doing 16 hours over those two days. At like 1:30 a.m., she saw Berkowitz and Higgins—or around there, maybe a little later—go into the area, an area of the Canton PD. Then—and we're going to find out—she had a meeting with Boston Police Commissioner Cox. Now, why did Commissioner Cox get himself in trouble? Well, not because of the interview we're going to watch, but instead because of an interview about a year ago where he said he knew nothing about the Kelly Dever situation or the Karen Read case. All right, now we're going to quickly come to find out that what we're about to hear from the commissioner is not the best answer in light of this little document found by the incredible Marbury v. Madison on X, Corey A. Hopkins, a business litigator based in North Carolina. Towel really likes Marbury v. Madison because, first of all, Marbury v. Madison is an awesome case, and it entrenched the supremacy of the judiciary as to saying what the law is by virtue of the Constitution. Solved a very complex problem related to the Judiciary Act of 1789 and, in particular, the emergence of political parties in 1796 and, in particular, 1800, and a slew of last-minute appointments by President Adams and a refusal by President Jefferson to commission—or one of the refusal by Jefferson's Secretary of State Madison to commission a justice of the peace. But it really was about the supremacy of the judiciary branch. Marbury v. Madison uses a lot of FOIAs, and what you're going to see right here is a FOIA request that resulted in this wonderful little document. And what does this show? All right, this document shows, folks, a letter from Stephen J. Kelleher, who's with the White Collar Public Corruption and Civil Rights Division of the FBI in Boston. It is a letter that Marbury v. Madison obtained via a FOIA, and it shows the DOJ reaching out to Commissioner Cox and saying, "Sir, hope all is well. Just a reminder—this was on February 22nd, 2024. The documents were released to the DA's office late last night." This has to do with federal documents about the investigation of John's death by the MSP unit run by Brian Tully working for the Norfolk DA. "The officer we spoke about is Kelly Dever. If you have any questions at all, feel free to call me. Vr. Steve." Okay, folks, this proves that Commissioner Cox was told about Kelly Dever and documents related to her testimony and what she saw Higgins and Berkowitz doing—which I don't think was related to John's death, but it's just embarrassing for Higgins. He was an undercover ATF agent, and embarrassing for Berkowitz. And although Berkowitz is now dead, he was either dying or not dead in 2024. And clearly, this was embarrassing, okay, to the Canton Police Chief, to the Boston Police, to Higgins, to all these people. All right. And so we see here, Cox knows about it. Cox then goes on a few months later—I think it was either after, I think it was right after Karen's second trial, but it was some months after this initial email was sent to Cox. And Cox, in his infinite wisdom, tells Boston 25 or Channel 5 or whatever it was at a news conference that he's basically never heard of Kelly Dever or the Karen Read and John O'Keefe case. Okay, that was a stupid thing to say because then this FOIA comes out in recent weeks. That leads to Alan Jackson to send a Brady letter to Mayor Michelle Wu, the Democratic mayor of Boston running unopposed in the coming election, saying that Cox should be on the Brady list. I think it was—yes, because Cox was not forthcoming about what he was told by the feds about Dever. Okay, now this is Cox's response. I just want to show you how bad of a response this is. Okay, this is a clip via Boston 25, just Cox's comment on these new developments, which—although Alan Jackson's Brady letter is what Cox was asked for comment on—even Alan Jackson himself has rightfully so given credit to Marbury v. Madison for their excellent find on this FOIA document that was unearthed. And this could cost Cox his position. All right, the Democrats in Boston already have the eye of President Trump. The DOJ is all over this unit, in my opinion, and the cover-up of Birchmore's death. Look at the DOJ's pattern of indictments, okay? Recently, not just the Jessica LeClair leaks, but also Sheriff Tompkins and other major Democrats. Look at what's going on here, folks. Think about the larger picture—the most recent indictment, the superseding indictment of Matt Farwell for the murder of Sandra Birchmore's unborn child. It's all coming together. And Commissioner Cox's answer is bad. And that's why I want to analyze it. It's not just like inappropriate. It is a bad, bad, bad answer. When I heard it, I had to immediately make a video to analyze it because that's how bad this answer is. It's short, but I'm going to tell you how bad it is after we listen to it. "But what I need, you know, it's not to be asked this question ever again because it's not—it has to pertain to anything to do with the police department. My condolences to the O'Keefe family for, you know, what they've gone through. And because we did lose a department member. But outside of that, this has nothing to do with us. And I'm not going to speak with this again." Okay, let me just make something clear. I'm not saying he was wrong. It's not wrong to invoke John's name. But doing it that way—that's grotesque. Okay, he didn't answer the question. He basically refused to do so. And again, if you didn't hear the statement—although I'm sure you did—he said, "What I need is to not be asked this question ever again pertaining to anything to do with the police department." What? "My condolences to the O'Keefe family for what they've gone through because we did lose a department member." John O'Keefe was an honorable member of the Boston PD and the SA offenders unit. "But outside of that, this has nothing to do with us, the Boston PD, and I'm not going to speak on this again." No, no, no, no—that you just cost yourself your job right there. I'm sorry. That was a terrible, terrible answer. I'm sorry for the volume. I'm just running it back. Terrible answer. The worst possible answer. You may well have just cost yourself your job because you ducked the question. Everyone knows that the question is about this document. Anyone following this knows. The implications are what Dever knew about Berkowitz and Higgins, and maybe that's not the most serious thing. But as President Nixon said, it is not the crime, it's the cover-up. Dever, whatever she did—not wanting to talk about certain things about Higgins and Berkowitz, unrelated to John's death, just because it's kind of embarrassing—that is not a problem really. It's a minor thing. You know what's a big deal? Dever definitely got Brady-listed or whatever because her testimony was a little weird. I think Alan Jackson also pressured her a little bit. But whatever, that's not the point here. Cox's response—that was bad. That was bad PR. That's like the kind of thing when Prince Andrew was forced to go out and do an interview with BBC One about Epstein, and it just cost him all his titles because he got no PR help; he got sandbagged. That kind of thing—somebody didn't prep him, or the people he was talking to didn't even think this would come up. That's a horrible answer. Twenty seconds can cost you your career if you have done something bad and you answer a tough question like that. It's defensive; it shows you have something to hide; it undermines people's faith in your ability to answer those kind of questions. That's the biggest problem for Commissioner Cox here. Instead of inspiring confidence and making it look like it was nothing or it was just a routine, he couldn't even address the fact that he was made aware in February, in particular, about Kelly Dever and he had knowledge—he had a meeting with her. Let's be clear: He put her on his schedule the very next day. Not only did he have recipient knowledge of what was going on with the federal investigation and the John O'Keefe and Karen Read case—Dever got called into his office the next day, which of course Cox initially tried to play off as just some routine meeting, as if he meets with all 2,600 or whatever of the Boston police force. No. Come on, folks. Come on, folks. Do we see what's playing out here? Marbury v. Madison might have just brought down the Commissioner of the Boston Police Department. My name is Grant Smith-Ellis. Enjoy the rest of your Monday. We'll see what other news comes in today. Sean Good on suspension. Michael Proctor's cell phone gate engulfing the world in a conflagration. Little towel basically running down the street from the masses, trying to insulate himself from the fallout of this God-forsaken situation. Institutional reform is coming—to the Norfolk DA, hopefully throughout the state police—so that the good people in law enforcement can keep helping the vulnerable and that the exploited, no matter how much pressure they come under, continue to speak their truth. And let me just say this: Whenever we stand against the flow of opinion on hotly contested issues, a man, a woman, and a Towel—do what they must in spite of the personal consequences, in spite of the dangers and obstacles and pressures. For that is the basis of all human morality. We will be there for each other in times of struggle. We will be side by side in times of joy. And when everything is on the line and when our principles matter the most, there will be no price too high to pay to center the voices of the unheard, to bring justice to the vulnerable, and to reform this God-forsaken justice system in Massachusetts so that we can all hand down a structural system to our future generations that is worthy of our Constitution, that is worthy of our collective intelligence, and that is worthy of the due reverence we all should be providing to the pursuit of justice. My name is Grant Smith-Ellis. Until next time, you're a towel, I am as well. Be well. God bless.
12:38

"Come on, folks. Do we see what's playing out here? Marbury v. Mad might have just brought down the Commissioner of the Boston Police Department." - Towel, November 6, 2025 Rule #1 in Massachusetts politics right now; Do not mess with Attorney Corey Hopkins. She's going to get barred here just to reform the government (then I'll become her paralegal and we'll submit public records requests all day). Good plan. TRANSCRIPT (from Towel's coverage of the letter in question, uncovered by Attorney Hopkins); Hello and good evening. It is just past 6 p.m. on Monday, November 3rd, 2025. My name is Grant Smith-Ellis, and I'm back with you again for another developing news update, this time related to Boston Police Commissioner Cox responding to a developing series of scandals, in particular related to former Boston Police Officer—well, first former Canton Police Officer, then former Boston Police Officer—Kelly Dever. Now, Kelly Dever was an integral witness during the John O'Keefe and Karen Read trial about one specific series of events in the early morning of January 29, 2022—not really related to John's death per se, but related to the then-chief of the Canton Police Department, Ken Berkowitz, who was also potentially the person that went to the FBI about Brian Tully's MSP unit, Massachusetts State Police unit, detailed to the Norfolk DA, who were the same people that investigated Karen Read for John's death. Berkowitz was the same person who apparently went to the FBI in 2022 about Tully's unit through John Fanning covering up Sandra Birchmore's death at the hands of former Stoughton PD officer Matthew Farwell. Okay, Ken Berkowitz and Brian Higgins—then undercover ATF agent who himself had been in a relationship of some kind, we'll call it that, with Karen in the months before John's death. That's a whole story we will not get into. The point is, Higgins and Berkowitz go into the sally port. Now, Kelly Dever had been working since, I think it was 12 a.m. on January 28th. She worked—let me make sure I get this right now—she worked at 12 p.m., noon on January 28th to 8 p.m. Then she worked the 8 p.m. to 4 a.m. shift. Okay, she was doing 16 hours over those two days. At like 1:30 a.m., she saw Berkowitz and Higgins—or around there, maybe a little later—go into the area, an area of the Canton PD. Then—and we're going to find out—she had a meeting with Boston Police Commissioner Cox. Now, why did Commissioner Cox get himself in trouble? Well, not because of the interview we're going to watch, but instead because of an interview about a year ago where he said he knew nothing about the Kelly Dever situation or the Karen Read case. All right, now we're going to quickly come to find out that what we're about to hear from the commissioner is not the best answer in light of this little document found by the incredible Marbury v. Madison on X, Corey A. Hopkins, a business litigator based in North Carolina. Towel really likes Marbury v. Madison because, first of all, Marbury v. Madison is an awesome case, and it entrenched the supremacy of the judiciary as to saying what the law is by virtue of the Constitution. Solved a very complex problem related to the Judiciary Act of 1789 and, in particular, the emergence of political parties in 1796 and, in particular, 1800, and a slew of last-minute appointments by President Adams and a refusal by President Jefferson to commission—or one of the refusal by Jefferson's Secretary of State Madison to commission a justice of the peace. But it really was about the supremacy of the judiciary branch. Marbury v. Madison uses a lot of FOIAs, and what you're going to see right here is a FOIA request that resulted in this wonderful little document. And what does this show? All right, this document shows, folks, a letter from Stephen J. Kelleher, who's with the White Collar Public Corruption and Civil Rights Division of the FBI in Boston. It is a letter that Marbury v. Madison obtained via a FOIA, and it shows the DOJ reaching out to Commissioner Cox and saying, "Sir, hope all is well. Just a reminder—this was on February 22nd, 2024. The documents were released to the DA's office late last night." This has to do with federal documents about the investigation of John's death by the MSP unit run by Brian Tully working for the Norfolk DA. "The officer we spoke about is Kelly Dever. If you have any questions at all, feel free to call me. Vr. Steve." Okay, folks, this proves that Commissioner Cox was told about Kelly Dever and documents related to her testimony and what she saw Higgins and Berkowitz doing—which I don't think was related to John's death, but it's just embarrassing for Higgins. He was an undercover ATF agent, and embarrassing for Berkowitz. And although Berkowitz is now dead, he was either dying or not dead in 2024. And clearly, this was embarrassing, okay, to the Canton Police Chief, to the Boston Police, to Higgins, to all these people. All right. And so we see here, Cox knows about it. Cox then goes on a few months later—I think it was either after, I think it was right after Karen's second trial, but it was some months after this initial email was sent to Cox. And Cox, in his infinite wisdom, tells Boston 25 or Channel 5 or whatever it was at a news conference that he's basically never heard of Kelly Dever or the Karen Read and John O'Keefe case. Okay, that was a stupid thing to say because then this FOIA comes out in recent weeks. That leads to Alan Jackson to send a Brady letter to Mayor Michelle Wu, the Democratic mayor of Boston running unopposed in the coming election, saying that Cox should be on the Brady list. I think it was—yes, because Cox was not forthcoming about what he was told by the feds about Dever. Okay, now this is Cox's response. I just want to show you how bad of a response this is. Okay, this is a clip via Boston 25, just Cox's comment on these new developments, which—although Alan Jackson's Brady letter is what Cox was asked for comment on—even Alan Jackson himself has rightfully so given credit to Marbury v. Madison for their excellent find on this FOIA document that was unearthed. And this could cost Cox his position. All right, the Democrats in Boston already have the eye of President Trump. The DOJ is all over this unit, in my opinion, and the cover-up of Birchmore's death. Look at the DOJ's pattern of indictments, okay? Recently, not just the Jessica LeClair leaks, but also Sheriff Tompkins and other major Democrats. Look at what's going on here, folks. Think about the larger picture—the most recent indictment, the superseding indictment of Matt Farwell for the murder of Sandra Birchmore's unborn child. It's all coming together. And Commissioner Cox's answer is bad. And that's why I want to analyze it. It's not just like inappropriate. It is a bad, bad, bad answer. When I heard it, I had to immediately make a video to analyze it because that's how bad this answer is. It's short, but I'm going to tell you how bad it is after we listen to it. "But what I need, you know, it's not to be asked this question ever again because it's not—it has to pertain to anything to do with the police department. My condolences to the O'Keefe family for, you know, what they've gone through. And because we did lose a department member. But outside of that, this has nothing to do with us. And I'm not going to speak with this again." Okay, let me just make something clear. I'm not saying he was wrong. It's not wrong to invoke John's name. But doing it that way—that's grotesque. Okay, he didn't answer the question. He basically refused to do so. And again, if you didn't hear the statement—although I'm sure you did—he said, "What I need is to not be asked this question ever again pertaining to anything to do with the police department." What? "My condolences to the O'Keefe family for what they've gone through because we did lose a department member." John O'Keefe was an honorable member of the Boston PD and the SA offenders unit. "But outside of that, this has nothing to do with us, the Boston PD, and I'm not going to speak on this again." No, no, no, no—that you just cost yourself your job right there. I'm sorry. That was a terrible, terrible answer. I'm sorry for the volume. I'm just running it back. Terrible answer. The worst possible answer. You may well have just cost yourself your job because you ducked the question. Everyone knows that the question is about this document. Anyone following this knows. The implications are what Dever knew about Berkowitz and Higgins, and maybe that's not the most serious thing. But as President Nixon said, it is not the crime, it's the cover-up. Dever, whatever she did—not wanting to talk about certain things about Higgins and Berkowitz, unrelated to John's death, just because it's kind of embarrassing—that is not a problem really. It's a minor thing. You know what's a big deal? Dever definitely got Brady-listed or whatever because her testimony was a little weird. I think Alan Jackson also pressured her a little bit. But whatever, that's not the point here. Cox's response—that was bad. That was bad PR. That's like the kind of thing when Prince Andrew was forced to go out and do an interview with BBC One about Epstein, and it just cost him all his titles because he got no PR help; he got sandbagged. That kind of thing—somebody didn't prep him, or the people he was talking to didn't even think this would come up. That's a horrible answer. Twenty seconds can cost you your career if you have done something bad and you answer a tough question like that. It's defensive; it shows you have something to hide; it undermines people's faith in your ability to answer those kind of questions. That's the biggest problem for Commissioner Cox here. Instead of inspiring confidence and making it look like it was nothing or it was just a routine, he couldn't even address the fact that he was made aware in February, in particular, about Kelly Dever and he had knowledge—he had a meeting with her. Let's be clear: He put her on his schedule the very next day. Not only did he have recipient knowledge of what was going on with the federal investigation and the John O'Keefe and Karen Read case—Dever got called into his office the next day, which of course Cox initially tried to play off as just some routine meeting, as if he meets with all 2,600 or whatever of the Boston police force. No. Come on, folks. Come on, folks. Do we see what's playing out here? Marbury v. Madison might have just brought down the Commissioner of the Boston Police Department. My name is Grant Smith-Ellis. Enjoy the rest of your Monday. We'll see what other news comes in today. Sean Good on suspension. Michael Proctor's cell phone gate engulfing the world in a conflagration. Little towel basically running down the street from the masses, trying to insulate himself from the fallout of this God-forsaken situation. Institutional reform is coming—to the Norfolk DA, hopefully throughout the state police—so that the good people in law enforcement can keep helping the vulnerable and that the exploited, no matter how much pressure they come under, continue to speak their truth. And let me just say this: Whenever we stand against the flow of opinion on hotly contested issues, a man, a woman, and a Towel—do what they must in spite of the personal consequences, in spite of the dangers and obstacles and pressures. For that is the basis of all human morality. We will be there for each other in times of struggle. We will be side by side in times of joy. And when everything is on the line and when our principles matter the most, there will be no price too high to pay to center the voices of the unheard, to bring justice to the vulnerable, and to reform this God-forsaken justice system in Massachusetts so that we can all hand down a structural system to our future generations that is worthy of our Constitution, that is worthy of our collective intelligence, and that is worthy of the due reverence we all should be providing to the pursuit of justice. My name is Grant Smith-Ellis. Until next time, you're a towel, I am as well. Be well. God bless.

Grant Smith Ellis

13,006 görüntüleme • 7 ay önce

BOOM!!! 💥💥💥 Dr. Aseem Malhotra's testimony was delivered in the Helsinski District Court on April 12, 2024, with the understanding that any deviation from the truth would constitute perjury. This clip was immediately banned by YouTube so please share widely. I've trimmed the clip, removing the interpreter's segment for a smoother listening experience. Here's the first hour of the testimony. ---------------------------------- My name is Doctor Aseem Malhotra. I am a consultant cardiologist. I've been a qualified doctor since 2001. I have held various roles both in academic health policy. In England, in the United Kingdom, and of the various roles, I won't bore you with all the details. I think three of the most relevant and prominent are the fact that I was an ambassador for the Academy of Medical Royal Colleges for six years, which represented every doctor in the UK. I served a full term of six years as a trustee of the King's fund. I was the youngest member to be appointed to this body which advises government on health policy. I was a founding member of Action on Sugar and a first science director. And through that role I'm considered the lead campaigner on bringing about a sugary drinks tax in the UK. And also, finally I served for five years as visiting professor of evidence based medicine at the Bahiana School of Medicine in Salvador, Brazil. In early 2020, at the beginning of the pandemic I was most vocal doctor on the mainstream, making the link very early on between COVID and those who are vulnerable to suffering serious complications from COVID In fact, in March 2020, I was asked to go on Sky News to explain my initial research findings of the link between especially obesity and COVID, but also to give people an opportunity and to suggest to the government this was a great time for them to implement public health policy to help people enhance or optimise their immune system, which could happen within just a few weeks of dietary changes and optimising vitamin D. This was later also backed up by medical journal publications a few months later. And I was first to mention on the back of an article I published in the Daily Telegraph newspaper, which became a front page commentary and was picked up by BBC News and Good Morning Britain, where I had said that it's likely our prime minister, Boris Johnson, was hospitalised because of his weight. As a result of that, the then secretary for health, Matt Hancock, and this was publicised in the news, had asked me to advise him on the link between COVID and obesity. ...before I explain my journey and in many ways U-turn on my understanding in terms of the benefits and harms of the COVID vaccine, my experience in this area over the last couple of years has made me realise more than ever that even for that the greatest barrier to the truth are not factual or intellectual barriers, but psychological. I think all of us as human beings are vulnerable to these psychological barriers and we should have compassion for ourselves. And I will just very briefly summarise those three psychological barriers before I get into my detailed account of what I was involved in in regards to the COVID vaccine. The first psychological barrier is one of fear. And many of us understandably, and I still remember from early on in the pandemic, we were all scared. We did not know what we were dealing with. The issue with fear is that when people and populations are in a state of fear, we are less likely to engage in critical thinking and we are more likely to be compliant. Although COVID was particularly devastating for vulnerable groups in the elderly and I even have managed and still manage people with long COVID, the fear was grossly exaggerated. And one of the examples of that is that when we had good information on the mortality rate of COVID in the United States, one survey in 2020 revealed that 50% of Americans believed that if they caught COVID, the risk of 19 hospitalisation was 50% one and two, when the actual figure, certainly an average for people in middle age, was less than 1%. The second barrier to the truth, which I think is very relevant to the situation we find ourselves in now, is one called willful blindness. This is when human beings, all of us, are vulnerable to this, turn a blind eye to the truth in order to feel safe, avoid conflict, reduce anxiety and to protect prestige and fragile egos. Some examples of this include, on a personal level, willful blindness can occur when a spouse turns a blind eye to the affair of their partner. On an institutional level, some great examples of willful blindness include Hollywood and Harvey Weinstein, the Catholic Church and child molestation. I believe the current situation we find ourselves in, with much of the mainstream narrative and the medical establishment and policy makers not acknowledging quite horrific, serious and common harms from this vaccine, is another example of willful blindness. And I also say this with full empathy, because I was one of those people that was for a very long time, willfully blind to the harms of the COVID vaccine. In January 2021, I was one of the first people to take two doses of the COVID mRNA vaccine because I volunteered in a vaccine centre. I still believe that traditional vaccines are some of the safest amongst all pharmacological interventions in medicine and I could not conceive of any possibility whatsoever of this vaccine causing harm. As a public figure and respected doctor in the UK, I have built relationships across the board with many other public figures, including celebrities and politicians, who often come to me for medical advice. One of those people was film director Gurinder Chadha, who you may be familiar with some of her work, including the movie "Bend It like Beckham", who had asked me whether or not she should take the vaccine and had sent me blogs which I dismissed and regarded as anti vax nonsense. I was then asked to go on good morning, Britain because Gurinder Chadha, the director herself tweeted that I had convinced her to take the vaccine. The main reason for this TV appearance was to help tackle vaccine hesitancy, which was very prominent amongst people from ethnic minority groups in the UK. I made the point on that programme that I understand where vaccine hesitancy was coming from because of the history that I have been involved with over many years in highlighting the shortcomings of pharmaceutical industry influence over medicine. And I even made the point, if I remember correctly, that they have been found guilty of fraud on many occasions, that the third most common cause of death, prepandemic after heart disease and cancer, is prescribed medications. I, however, reassured the public and said that despite these figures, of everything we do in medicine, traditional vaccinations are amongst the safest. I still believe this to be the case. A few months later, in April 2021, I met with a colleague and friend of mine who I regard as one of the brightest cardiologists in the United Kingdom. I was surprised when he told me that he had not taken the COVID vaccine. He explained to me that he had concerns because he had seen in the supplementary appendix of Pfizer's original trial that there were four cardiac arrests in the vaccine group and only one in the placebo. These numbers were small and did not reach statistical significance. So this could be random chance, or his concern was it could represent a signal of problems in the future. And if this was the case, we are going to have a huge problem. He said he'd rather wait and see what happens before taking the vaccine. On July 26, 2021, my father, aged 73, who was a very prominent, well known doctor in the UK, including being the honorary vice president of the British Medical Association and had received honours from the Queen of England with an OBE, suffered an unexpected sudden cardiac arrest. I was particularly devastated by this happening and I was also I find it difficult to understand why my father, who was a fit and well man, I knew his cardiac history and his cardiac status, would suffer a cardiac arrest. But also my initial investigation was to try and understand why there had been a 30 minutes ambulance delay arriving to his apartment. Two weeks later, the deputy chief nurse of NHS England, a government health body, called me up. She was very upset, she knew my father very well and she was crying and she told me, Aseem, there's something I need to tell you. She in effect told me that throughout the country, for the last two months prior to my father's cardiac arrest in most regions of the UK, ambulances were not getting to patients in time for heart attacks and cardiac arrests. And there had been a deliberate, and I will use these words because I mentioned it, I've mentioned it before, a cover up involving the government and the Department of Health to withhold this information from doctors and the public. I worked with an investigative journalist with the I newspaper in the UK to write an article and a news story that became BBC News headlines a few months later, exposing this. Just before I exposed this, I messaged a professor of cardiology who I trust in the UK. He has a leadership role to explain to him what had happened and what I was about to do. I have text message evidence of this. He told me not to do this because it would make me enemies. I explained to him that I had a duty to patients and the public. I'm highlighting this as one example and I'll give you more examples of a cultural problem within medicine. The next part of this story is the post mortem findings of my father. They did not make any sense to me. I am considered a leading expert, maybe in the world, on the development and progression of coronary artery disease. My father had two severe blockages in his coronary arteries. There was no actual evidence of heart attack and likely there was a rhythm disturbance because of reduced blood supply that led to his cardiac arrest. Then in, within the space of a few weeks, around October and November, 3, different sources of information was brought to my attention that made me realise that there was probably a significant problem with the COVID mRNA vaccine. The first in October 2021. I remember I was giving lectures in Stockholm. I was contacted by a journalist with a Times newspaper who reported to me and said, Dr Malhotra, we have reports of an unexplained 25% increase in heart attacks in hospitals in Scotland and asked me what I thought was going on. I explained to her that at that time, with the evidence I knew in my own experience, I said that two likely contributory factors were lockdown stress. We know that when populations undergo severe stress after war, for example, there is an increase in heart attacks and strokes that can last for many years. She asked me whether I thought that there was a contribution. I was surprised when she asked me whether I thought there may be a contribution of the COVID vaccine to these heart attacks. I said to her, a good scientist should never exclude any possibility. But I felt at the time it was unlikely to be related to the COVID vaccine. But we should watch this space and keep our eyes open. A few weeks later, a publication appeared in the Journal Circulation, which is considered the highest impact cardiology journal in the United States that revealed a potentially very strong link between the COVID mRNA vaccines and acceleration in heart attack risk. Very specifically, in several hundred people of middle age, there was a plausible mechanism, by use of inflammatory markers in the blood, that increased the baseline risk of those people having a heart attack in five years, from 11% to 25%, just within two months of having the COVID mRNA vaccines. Of course, this is one bit of data, but even if partially true, that is a huge increase in risk in a very short space of time. And for me now made me think and link back to why my father may have suffered a cardiac arrest six months after having two doses of the vaccine. I remember thinking and speaking to a colleague, that if this was true, then we were going to see an increase in cardiac arrests, heart attacks and excess deaths in heavily vaccinated countries for the next few years. Then within a few weeks, I was called up by a whistleblower at a very prestigious british institution. I will name that institution, which I have not done publicly before as a University of Oxford. This cardiologist explained to me that a group of researchers in his department had accidentally found, through the use of very specialised imaging of the heart, that there was a signal of increased inflammation of the heart arteries, which was there in the vaccinated, but not there in the unvaccinated. The lead researcher of that group had sat down, the juniors, and had said that we are not going to explore these findings any further because it may affect our funding from the pharmaceutical industry. At that point, with these three bits of information, I then felt it was my ethical duty to speak out. And I went on GBNews to talk about what I'd found what I'd heard and I'd asked for the Vaccine Committee of the UK on TV to investigate this, to see whether there was a real problem with the vaccine in relation to heart issues. Around the same time which I found very strange is that the Secretary of State for Health at that stage, who was not Matt Hancock, was Sajid Javid, had announced in parliament that we are going to introduce legislation to ensure that all healthcare workers are mandated to have the COVID vaccine. For me, this, by that stage had no ethical or scientific justification, because certainly after the summer of 2021, it had become very apparent that the COVID mRNA vaccine was not stopping infection and it certainly was not stopping transmission. It was understood that approximately 80,000 NHS workers had refused at this stage to have the COVID vaccine. And now they were threatened with losing their job if by April the following year they had not been fully vaccinated. Many of these people were very concerned and contacted me around that time, I was also conducting many interviews, both through the BBC and Sky News and GBNews in regards to what happened with my father's ambulance delay. And I used it as an opportunity on the mainstream media to call for Sajid Javid, the secretary for health, to U-turn on the introduction of a mandate for healthcare workers based upon the fact that I felt it was not scientific and it was unethical. I also received my own personal backlash from these comments where I was contacted by the Royal College of Physicians who I had an affiliation with, and they asked me to respond to anonymous complaints from doctors that I was spreading, in quotes, antivax disinformation. I felt with my own knowledge and experience of the healthcare system that this was a direct response probably fueled by a combination of willful blindness and institutional corruption. To elaborate a bit further, when I say institutional corruption, I mean that my view was that the complaints were likely being fueled by academics with financial ties to the pharmaceutical industry. I felt very concerned about the potential introduction of the vaccine, well, the vaccine mandate. And therefore I decided there were two things that I decided to do. The first was I made a phone call to the chairman of the British Medical Association in December 2021. I had a good relationship with him and he respected my opinion. And I spent 2 hours on the phone explaining to him everything that I knew up to that stage about my concerns of the COVID mRNA vaccine. He said to me, "Aseem, nobody appears to critically appraise the evidence on the COVID mRNA vaccine as well as you have from our conversation, he said, most of my colleagues are getting their information on the benefits and harms of the vaccine from the BBC". This was replicated by the former chair of the CDC in the United States, Rochelle Walensky, who in an interview later on had said that her initial optimism of the vaccine benefits came from CNN News report. I say this just to emphasise that we should all accept our vulnerabilities to where we receive health information. Even doctors, policymakers, judges and lawyers are all influenced on the public massively by mainstream media. The chairman of the BMA also agreed with me. There was no ethical or scientific justification for mandating the COVID vaccine. He said the BMA also did not support it. And he said because of my conversation with him, he would speak directly to the secretary for health, Sajid Javid. One month later, at the end of January 2022, the COVID vaccine mandate for healthcare workers was overturned. I at that stage, given the fact that there was some backlash happening towards me, I realised that because this is a very big issue and area, and not my initial area of expertise, I needed to carry out my own critical analysis of the COVID mRNA vaccines. I spent six to nine months critically appraising the data, including speaking to two Pfizer whistleblowers, three investigative medical journalists and eminent scientists from the University of Oxford, Stanford and Harvard. The most critical bit, the most critical research that was published on this issue, which I think the whole court should acknowledge in August 2022, was published in the journal Vaccine. That research was conducted by some of the world's top independent of drug industry influence academics. That research, we was able to reanalyze the original randomised control trials conducted by Pfizer and Moderna. They were able to do this because new information was made available on the FDA's website and Health Canada's website. The conclusions of that paper were really very disturbing. The original trials that led to the drug regulatory approval of these vaccines revealed that you were more likely to suffer serious harm from taking the vaccine, specifically hospitalisation, life changing event or disability, than you were to be hospitalised with COVID That rate of harm at two months was very high at 1 in 800. Just to give you some perspective, historically we have suspended other vaccines for much less. In 1976, the swine flu vaccine was pulled because it was found to cause a neurological syndrome called Guillain-Barre syndrome In one in 100,000 people. In 1999, the rotavirus vaccine was suspended because it was found to cause a form of bowel obstruction in children affecting 1 in 10,000. This was 1 in 800. In my view, it was very clear that given this information, published in the highest impact Vaccine journal in the world, peer reviewed, and has not had any significant rebuttals, that this vaccine now, in my view, should never have been approved for use in a single human being in the first place. In my view, this very important court case in some ways, actually is a distraction from the much bigger issue, which is there should be court cases around the world with a full inquiry into the pharmaceutical industry and an inquiry as to how we got this so very wrong. Of course, one could argue this is just one bit of research, but actually, unfortunately, there are different, many different strands of research that are showing a signal of considerable and common serious harm from these vaccines. From pharmacovigilance data that is reporting what we call yellow card reports from the public. We have plausible biological mechanism of harm. We have other research called observational data. We have autopsy data also confirming that certainly with the majority of people who died within a short space of time of having the vaccine in relation to the heart, was definitively caused by the vaccine. This is really a very, very, very horrific situation we find ourselves in. One would hope and expect that the regulators should be independently evaluating all medications. But of course, the evidence reveals this is far from true. There was an investigation by the BMJ, also published in the summer of 2022, which revealed that most of the major regulators across the world were taking most of their money from the drug industry. For example, the MHRA in the UK receives 86% of its funding from the drug industry, and the FDA in America receives 65% of its funding from the drug industry, A fact that most doctors do not know. And therefore, I would not expect members of the court to know this either, is that very, very rarely do drug industry sponsored research get independently evaluated. Clinical trial data can often involve thousands of pages of information on individual patients. The drug companies hold onto that raw data. They then give summary results to the regulator, who are then paying, who have an incentive to approve the drugs, and the drugs are then approved. I made these points in my peer reviewed article published in the Journal of Insulin Resistance in September 2022, where I concluded that we should pause and investigate the issue around the COVID mRNA vaccines. I have since then been campaigning and advocating for a return to ethical evidence based medical practise around the world. Some of the clear solutions moving forward would be changes in the law that are required so that patients, doctors, members of the public can have greater confidence in the information they receive to make decisions about their health. Two very clear, low hanging fruit solutions, which are both ethical, scientific and democratic, would be that the drug industry should be allowed to develop drugs, but they shouldn't be allowed to test them themselves. And they certainly shouldn't be allowed to design their own research to and hold onto the raw data. Their information needs to be independently evaluated. One other clear solution would also be that the medical regulators, again, should not be taking any money from the industry, as this is a gross conflict of interest. I also want to highlight for people to understand the bigger picture. Prior to the pandemic, I had realised that there was a big problem with the reliability of clinical research, where invariably the results of clinical trials on all drugs sponsored by the drug industry, grossly exaggerate their safety and benefits. I have taken this information to the European Parliament, where I spoke in 2019, and I spoke to very senior politicians in the UK government. But although they were sympathetic, they felt that the issue was much bigger than them as individuals, and therefore it also needed media attention to get public awareness on the importance of such an inquiry. Before we continue with further questions, as I've been speaking for quite a long time now I'll just finish with two references just for the court and the judges to understand just how bad this problem is. Prepandemic the man who I call the Stephen Hawking of medicine is Professor John Ioannidis from the University of Stanford. The reason I call him the Stephen Hawking of Medicine is he's the most cited medical researcher in the world and is a mathematical genius. In 2006, he published a paper which was entitled why most published research findings are false. In that paper, he makes a point that the greater the financial interests in a given field, the less likely the research findings are to be true. I say this in context of the Pfizer mRNA vaccine which has made the company $100 billion. The other point that he makes in a further paper in 2017 is, again, the reason the system continues as it is is most doctors are unaware of the information they receive when they make clinical decisions has been corrupted by commercial influence. The other credible name I will mention is the editor of the Lancet, Richard Horton, who I personally know. In 2015, he wrote an article in the Lancet in relation to a secret meeting that had taken place with himself and some of the world's top medical academics. In that, he wrote that possibly half of the medical published literature may simply be untrue. And he said that science has taken a turn towards darkness. But who's going to take the first step to clean up the system? I believe in this case and in this court today, this is going to be a very pivotal potential moment in history for that first step. ---------------------- Dr Aseem Malhotra H/T: Tiina Keskimäki 🇫🇮
29:17

BOOM!!! 💥💥💥 Dr. Aseem Malhotra's testimony was delivered in the Helsinski District Court on April 12, 2024, with the understanding that any deviation from the truth would constitute perjury. This clip was immediately banned by YouTube so please share widely. I've trimmed the clip, removing the interpreter's segment for a smoother listening experience. Here's the first hour of the testimony. ---------------------------------- My name is Doctor Aseem Malhotra. I am a consultant cardiologist. I've been a qualified doctor since 2001. I have held various roles both in academic health policy. In England, in the United Kingdom, and of the various roles, I won't bore you with all the details. I think three of the most relevant and prominent are the fact that I was an ambassador for the Academy of Medical Royal Colleges for six years, which represented every doctor in the UK. I served a full term of six years as a trustee of the King's fund. I was the youngest member to be appointed to this body which advises government on health policy. I was a founding member of Action on Sugar and a first science director. And through that role I'm considered the lead campaigner on bringing about a sugary drinks tax in the UK. And also, finally I served for five years as visiting professor of evidence based medicine at the Bahiana School of Medicine in Salvador, Brazil. In early 2020, at the beginning of the pandemic I was most vocal doctor on the mainstream, making the link very early on between COVID and those who are vulnerable to suffering serious complications from COVID In fact, in March 2020, I was asked to go on Sky News to explain my initial research findings of the link between especially obesity and COVID, but also to give people an opportunity and to suggest to the government this was a great time for them to implement public health policy to help people enhance or optimise their immune system, which could happen within just a few weeks of dietary changes and optimising vitamin D. This was later also backed up by medical journal publications a few months later. And I was first to mention on the back of an article I published in the Daily Telegraph newspaper, which became a front page commentary and was picked up by BBC News and Good Morning Britain, where I had said that it's likely our prime minister, Boris Johnson, was hospitalised because of his weight. As a result of that, the then secretary for health, Matt Hancock, and this was publicised in the news, had asked me to advise him on the link between COVID and obesity. ...before I explain my journey and in many ways U-turn on my understanding in terms of the benefits and harms of the COVID vaccine, my experience in this area over the last couple of years has made me realise more than ever that even for that the greatest barrier to the truth are not factual or intellectual barriers, but psychological. I think all of us as human beings are vulnerable to these psychological barriers and we should have compassion for ourselves. And I will just very briefly summarise those three psychological barriers before I get into my detailed account of what I was involved in in regards to the COVID vaccine. The first psychological barrier is one of fear. And many of us understandably, and I still remember from early on in the pandemic, we were all scared. We did not know what we were dealing with. The issue with fear is that when people and populations are in a state of fear, we are less likely to engage in critical thinking and we are more likely to be compliant. Although COVID was particularly devastating for vulnerable groups in the elderly and I even have managed and still manage people with long COVID, the fear was grossly exaggerated. And one of the examples of that is that when we had good information on the mortality rate of COVID in the United States, one survey in 2020 revealed that 50% of Americans believed that if they caught COVID, the risk of 19 hospitalisation was 50% one and two, when the actual figure, certainly an average for people in middle age, was less than 1%. The second barrier to the truth, which I think is very relevant to the situation we find ourselves in now, is one called willful blindness. This is when human beings, all of us, are vulnerable to this, turn a blind eye to the truth in order to feel safe, avoid conflict, reduce anxiety and to protect prestige and fragile egos. Some examples of this include, on a personal level, willful blindness can occur when a spouse turns a blind eye to the affair of their partner. On an institutional level, some great examples of willful blindness include Hollywood and Harvey Weinstein, the Catholic Church and child molestation. I believe the current situation we find ourselves in, with much of the mainstream narrative and the medical establishment and policy makers not acknowledging quite horrific, serious and common harms from this vaccine, is another example of willful blindness. And I also say this with full empathy, because I was one of those people that was for a very long time, willfully blind to the harms of the COVID vaccine. In January 2021, I was one of the first people to take two doses of the COVID mRNA vaccine because I volunteered in a vaccine centre. I still believe that traditional vaccines are some of the safest amongst all pharmacological interventions in medicine and I could not conceive of any possibility whatsoever of this vaccine causing harm. As a public figure and respected doctor in the UK, I have built relationships across the board with many other public figures, including celebrities and politicians, who often come to me for medical advice. One of those people was film director Gurinder Chadha, who you may be familiar with some of her work, including the movie "Bend It like Beckham", who had asked me whether or not she should take the vaccine and had sent me blogs which I dismissed and regarded as anti vax nonsense. I was then asked to go on good morning, Britain because Gurinder Chadha, the director herself tweeted that I had convinced her to take the vaccine. The main reason for this TV appearance was to help tackle vaccine hesitancy, which was very prominent amongst people from ethnic minority groups in the UK. I made the point on that programme that I understand where vaccine hesitancy was coming from because of the history that I have been involved with over many years in highlighting the shortcomings of pharmaceutical industry influence over medicine. And I even made the point, if I remember correctly, that they have been found guilty of fraud on many occasions, that the third most common cause of death, prepandemic after heart disease and cancer, is prescribed medications. I, however, reassured the public and said that despite these figures, of everything we do in medicine, traditional vaccinations are amongst the safest. I still believe this to be the case. A few months later, in April 2021, I met with a colleague and friend of mine who I regard as one of the brightest cardiologists in the United Kingdom. I was surprised when he told me that he had not taken the COVID vaccine. He explained to me that he had concerns because he had seen in the supplementary appendix of Pfizer's original trial that there were four cardiac arrests in the vaccine group and only one in the placebo. These numbers were small and did not reach statistical significance. So this could be random chance, or his concern was it could represent a signal of problems in the future. And if this was the case, we are going to have a huge problem. He said he'd rather wait and see what happens before taking the vaccine. On July 26, 2021, my father, aged 73, who was a very prominent, well known doctor in the UK, including being the honorary vice president of the British Medical Association and had received honours from the Queen of England with an OBE, suffered an unexpected sudden cardiac arrest. I was particularly devastated by this happening and I was also I find it difficult to understand why my father, who was a fit and well man, I knew his cardiac history and his cardiac status, would suffer a cardiac arrest. But also my initial investigation was to try and understand why there had been a 30 minutes ambulance delay arriving to his apartment. Two weeks later, the deputy chief nurse of NHS England, a government health body, called me up. She was very upset, she knew my father very well and she was crying and she told me, Aseem, there's something I need to tell you. She in effect told me that throughout the country, for the last two months prior to my father's cardiac arrest in most regions of the UK, ambulances were not getting to patients in time for heart attacks and cardiac arrests. And there had been a deliberate, and I will use these words because I mentioned it, I've mentioned it before, a cover up involving the government and the Department of Health to withhold this information from doctors and the public. I worked with an investigative journalist with the I newspaper in the UK to write an article and a news story that became BBC News headlines a few months later, exposing this. Just before I exposed this, I messaged a professor of cardiology who I trust in the UK. He has a leadership role to explain to him what had happened and what I was about to do. I have text message evidence of this. He told me not to do this because it would make me enemies. I explained to him that I had a duty to patients and the public. I'm highlighting this as one example and I'll give you more examples of a cultural problem within medicine. The next part of this story is the post mortem findings of my father. They did not make any sense to me. I am considered a leading expert, maybe in the world, on the development and progression of coronary artery disease. My father had two severe blockages in his coronary arteries. There was no actual evidence of heart attack and likely there was a rhythm disturbance because of reduced blood supply that led to his cardiac arrest. Then in, within the space of a few weeks, around October and November, 3, different sources of information was brought to my attention that made me realise that there was probably a significant problem with the COVID mRNA vaccine. The first in October 2021. I remember I was giving lectures in Stockholm. I was contacted by a journalist with a Times newspaper who reported to me and said, Dr Malhotra, we have reports of an unexplained 25% increase in heart attacks in hospitals in Scotland and asked me what I thought was going on. I explained to her that at that time, with the evidence I knew in my own experience, I said that two likely contributory factors were lockdown stress. We know that when populations undergo severe stress after war, for example, there is an increase in heart attacks and strokes that can last for many years. She asked me whether I thought that there was a contribution. I was surprised when she asked me whether I thought there may be a contribution of the COVID vaccine to these heart attacks. I said to her, a good scientist should never exclude any possibility. But I felt at the time it was unlikely to be related to the COVID vaccine. But we should watch this space and keep our eyes open. A few weeks later, a publication appeared in the Journal Circulation, which is considered the highest impact cardiology journal in the United States that revealed a potentially very strong link between the COVID mRNA vaccines and acceleration in heart attack risk. Very specifically, in several hundred people of middle age, there was a plausible mechanism, by use of inflammatory markers in the blood, that increased the baseline risk of those people having a heart attack in five years, from 11% to 25%, just within two months of having the COVID mRNA vaccines. Of course, this is one bit of data, but even if partially true, that is a huge increase in risk in a very short space of time. And for me now made me think and link back to why my father may have suffered a cardiac arrest six months after having two doses of the vaccine. I remember thinking and speaking to a colleague, that if this was true, then we were going to see an increase in cardiac arrests, heart attacks and excess deaths in heavily vaccinated countries for the next few years. Then within a few weeks, I was called up by a whistleblower at a very prestigious british institution. I will name that institution, which I have not done publicly before as a University of Oxford. This cardiologist explained to me that a group of researchers in his department had accidentally found, through the use of very specialised imaging of the heart, that there was a signal of increased inflammation of the heart arteries, which was there in the vaccinated, but not there in the unvaccinated. The lead researcher of that group had sat down, the juniors, and had said that we are not going to explore these findings any further because it may affect our funding from the pharmaceutical industry. At that point, with these three bits of information, I then felt it was my ethical duty to speak out. And I went on GBNews to talk about what I'd found what I'd heard and I'd asked for the Vaccine Committee of the UK on TV to investigate this, to see whether there was a real problem with the vaccine in relation to heart issues. Around the same time which I found very strange is that the Secretary of State for Health at that stage, who was not Matt Hancock, was Sajid Javid, had announced in parliament that we are going to introduce legislation to ensure that all healthcare workers are mandated to have the COVID vaccine. For me, this, by that stage had no ethical or scientific justification, because certainly after the summer of 2021, it had become very apparent that the COVID mRNA vaccine was not stopping infection and it certainly was not stopping transmission. It was understood that approximately 80,000 NHS workers had refused at this stage to have the COVID vaccine. And now they were threatened with losing their job if by April the following year they had not been fully vaccinated. Many of these people were very concerned and contacted me around that time, I was also conducting many interviews, both through the BBC and Sky News and GBNews in regards to what happened with my father's ambulance delay. And I used it as an opportunity on the mainstream media to call for Sajid Javid, the secretary for health, to U-turn on the introduction of a mandate for healthcare workers based upon the fact that I felt it was not scientific and it was unethical. I also received my own personal backlash from these comments where I was contacted by the Royal College of Physicians who I had an affiliation with, and they asked me to respond to anonymous complaints from doctors that I was spreading, in quotes, antivax disinformation. I felt with my own knowledge and experience of the healthcare system that this was a direct response probably fueled by a combination of willful blindness and institutional corruption. To elaborate a bit further, when I say institutional corruption, I mean that my view was that the complaints were likely being fueled by academics with financial ties to the pharmaceutical industry. I felt very concerned about the potential introduction of the vaccine, well, the vaccine mandate. And therefore I decided there were two things that I decided to do. The first was I made a phone call to the chairman of the British Medical Association in December 2021. I had a good relationship with him and he respected my opinion. And I spent 2 hours on the phone explaining to him everything that I knew up to that stage about my concerns of the COVID mRNA vaccine. He said to me, "Aseem, nobody appears to critically appraise the evidence on the COVID mRNA vaccine as well as you have from our conversation, he said, most of my colleagues are getting their information on the benefits and harms of the vaccine from the BBC". This was replicated by the former chair of the CDC in the United States, Rochelle Walensky, who in an interview later on had said that her initial optimism of the vaccine benefits came from CNN News report. I say this just to emphasise that we should all accept our vulnerabilities to where we receive health information. Even doctors, policymakers, judges and lawyers are all influenced on the public massively by mainstream media. The chairman of the BMA also agreed with me. There was no ethical or scientific justification for mandating the COVID vaccine. He said the BMA also did not support it. And he said because of my conversation with him, he would speak directly to the secretary for health, Sajid Javid. One month later, at the end of January 2022, the COVID vaccine mandate for healthcare workers was overturned. I at that stage, given the fact that there was some backlash happening towards me, I realised that because this is a very big issue and area, and not my initial area of expertise, I needed to carry out my own critical analysis of the COVID mRNA vaccines. I spent six to nine months critically appraising the data, including speaking to two Pfizer whistleblowers, three investigative medical journalists and eminent scientists from the University of Oxford, Stanford and Harvard. The most critical bit, the most critical research that was published on this issue, which I think the whole court should acknowledge in August 2022, was published in the journal Vaccine. That research was conducted by some of the world's top independent of drug industry influence academics. That research, we was able to reanalyze the original randomised control trials conducted by Pfizer and Moderna. They were able to do this because new information was made available on the FDA's website and Health Canada's website. The conclusions of that paper were really very disturbing. The original trials that led to the drug regulatory approval of these vaccines revealed that you were more likely to suffer serious harm from taking the vaccine, specifically hospitalisation, life changing event or disability, than you were to be hospitalised with COVID That rate of harm at two months was very high at 1 in 800. Just to give you some perspective, historically we have suspended other vaccines for much less. In 1976, the swine flu vaccine was pulled because it was found to cause a neurological syndrome called Guillain-Barre syndrome In one in 100,000 people. In 1999, the rotavirus vaccine was suspended because it was found to cause a form of bowel obstruction in children affecting 1 in 10,000. This was 1 in 800. In my view, it was very clear that given this information, published in the highest impact Vaccine journal in the world, peer reviewed, and has not had any significant rebuttals, that this vaccine now, in my view, should never have been approved for use in a single human being in the first place. In my view, this very important court case in some ways, actually is a distraction from the much bigger issue, which is there should be court cases around the world with a full inquiry into the pharmaceutical industry and an inquiry as to how we got this so very wrong. Of course, one could argue this is just one bit of research, but actually, unfortunately, there are different, many different strands of research that are showing a signal of considerable and common serious harm from these vaccines. From pharmacovigilance data that is reporting what we call yellow card reports from the public. We have plausible biological mechanism of harm. We have other research called observational data. We have autopsy data also confirming that certainly with the majority of people who died within a short space of time of having the vaccine in relation to the heart, was definitively caused by the vaccine. This is really a very, very, very horrific situation we find ourselves in. One would hope and expect that the regulators should be independently evaluating all medications. But of course, the evidence reveals this is far from true. There was an investigation by the BMJ, also published in the summer of 2022, which revealed that most of the major regulators across the world were taking most of their money from the drug industry. For example, the MHRA in the UK receives 86% of its funding from the drug industry, and the FDA in America receives 65% of its funding from the drug industry, A fact that most doctors do not know. And therefore, I would not expect members of the court to know this either, is that very, very rarely do drug industry sponsored research get independently evaluated. Clinical trial data can often involve thousands of pages of information on individual patients. The drug companies hold onto that raw data. They then give summary results to the regulator, who are then paying, who have an incentive to approve the drugs, and the drugs are then approved. I made these points in my peer reviewed article published in the Journal of Insulin Resistance in September 2022, where I concluded that we should pause and investigate the issue around the COVID mRNA vaccines. I have since then been campaigning and advocating for a return to ethical evidence based medical practise around the world. Some of the clear solutions moving forward would be changes in the law that are required so that patients, doctors, members of the public can have greater confidence in the information they receive to make decisions about their health. Two very clear, low hanging fruit solutions, which are both ethical, scientific and democratic, would be that the drug industry should be allowed to develop drugs, but they shouldn't be allowed to test them themselves. And they certainly shouldn't be allowed to design their own research to and hold onto the raw data. Their information needs to be independently evaluated. One other clear solution would also be that the medical regulators, again, should not be taking any money from the industry, as this is a gross conflict of interest. I also want to highlight for people to understand the bigger picture. Prior to the pandemic, I had realised that there was a big problem with the reliability of clinical research, where invariably the results of clinical trials on all drugs sponsored by the drug industry, grossly exaggerate their safety and benefits. I have taken this information to the European Parliament, where I spoke in 2019, and I spoke to very senior politicians in the UK government. But although they were sympathetic, they felt that the issue was much bigger than them as individuals, and therefore it also needed media attention to get public awareness on the importance of such an inquiry. Before we continue with further questions, as I've been speaking for quite a long time now I'll just finish with two references just for the court and the judges to understand just how bad this problem is. Prepandemic the man who I call the Stephen Hawking of medicine is Professor John Ioannidis from the University of Stanford. The reason I call him the Stephen Hawking of Medicine is he's the most cited medical researcher in the world and is a mathematical genius. In 2006, he published a paper which was entitled why most published research findings are false. In that paper, he makes a point that the greater the financial interests in a given field, the less likely the research findings are to be true. I say this in context of the Pfizer mRNA vaccine which has made the company $100 billion. The other point that he makes in a further paper in 2017 is, again, the reason the system continues as it is is most doctors are unaware of the information they receive when they make clinical decisions has been corrupted by commercial influence. The other credible name I will mention is the editor of the Lancet, Richard Horton, who I personally know. In 2015, he wrote an article in the Lancet in relation to a secret meeting that had taken place with himself and some of the world's top medical academics. In that, he wrote that possibly half of the medical published literature may simply be untrue. And he said that science has taken a turn towards darkness. But who's going to take the first step to clean up the system? I believe in this case and in this court today, this is going to be a very pivotal potential moment in history for that first step. ---------------------- Dr Aseem Malhotra H/T: Tiina Keskimäki 🇫🇮

aussie17

798,441 görüntüleme • 2 yıl önce

I've spent hours and hours thinking about how AI is going to change writing. This is a 90-minute distillation of everything I've learned. Some things I believe: 1. The combination of LLM-driven humor and image generation means that we're about to enter the golden age of memes. 2. The best writers will be fine. Robert Caro and Dostoevsky aren’t about to be disrupted by ChatGPT. 3. What are the different models like? ChatGPT is your friend who makes a lot of good points, but it’s kinda boring, Claude is your hippie friend who loves to get vulnerable but takes the whole “express yourself” thing a little too far, and Grok is your unhinged friend who leans a little too hard into tinfoil hat theories, but is always a trip to jam on ideas with. 4. People who say that AI writing is low-quality aren’t realizing that quality exists along two dimensions: (1) the absolute quality of the writing and (2) how tailored the writing is to your interests at the time. 5. I’ll tell you this: What writers are doing with AI behind closed doors is a long way ahead of what's publicly understood. I don't expect this to change anytime soon because of the social stigma associated with AI-enhanced writing. Because of that, if you want to see the cutting edge, you're gonna have to piece things together through private conversations and group chats. 6. If you want to follow what's happening in AI, remember this quote from William Gibson: “The future is here, it’s just not evenly distributed yet.” You can get a glimpse of the future by looking at how a small percentage of writers are already using AI. 7. I’m bearish on writers who are currently using AI to write for them, and bullish on writers who are currently using AI to write with them. 8. What kinds of writing will continue to be written by humans? Ones that speak to our humanity. People are interested in people. Their stories, their struggles, their emotions, their drama. 9. Almost all utilitarian writing, where the goal is to convey information, not do it beautifully, will be written by AI. 10. In some ways, AI is the end of slop. So many Google search results are slop. LinkedIn posts are slop. The way Twitter got taken over by Threadbois in 2021 was also slop. AI-generated writing is already better than all of those things, so why would you read them now? 11. AI will be tougher on writers than readers. Readers will be exposed to some slop, but the Internet will be good about filtering it out. Writers, though, are now competing against ever-improving LLMs, which are getting better and better by the month. 12. Humans will contribute with unique data or perspectives. The famous Peter Thiel interview question doubles as a good writing prompt: “What very important truth do few people agree with you on?” 13. New technologies breed new kinds of art. Ever notice how flat 13th or 14th century Medieval art looks? And how different that art looks from the Renaissance art created in the 15th and 16th centuries? Technical innovations like the camera obscura and perspective grids are behind this. Similarly profound changes will come to the writing world because of AI (credit to Justin Murphy for the idea here). 14. Satya Nadella says: “The new workflow for me is I think with AI and work with my colleagues.” When it comes to discovering ideas, I've also found that jamming with an LLM is more productive than doing it with most people I know (save for a few giga-brain conversationalists). 15. Thought experiment: Will AI-writing be more like music or chess? With music, we don't care how a song is made. We just want it to be good. With chess, there's a huge market for watching human beings play even though the computers are already better. I think non-fiction writing will go the way of music. People won’t care how it was made. They’ll just care that it’s good. 16. AI has flipped the rules of tech adoption. Seasoned managers usually drag their feet with adopting new technology, but the ones I know love AI, while frontline workers struggle to see the point. My theory is that AI matches how managers already operate. Management has always been a kind of prompt engineering: set a vision, delegate, give feedback, iterate. But LLMs remove the drama that used to come with having a team. No 1-on-1s. No emotional tangles. It's like management without the headache. For frontline employees, things are different. They aren't as accustomed to setting a vision and giving feedback, so LLM prompting is a daunting and unfamiliar kind of work for them. 17. AI editors are already quite good. Sure, they aren’t as good as the world’s best editors, but they’re a fraction of the cost, they’ll instantly give you 80th percentile feedback, and they work 24/7. As a novelist recently said to me: “Paying an editor to review my novel costs me $7,000 and a 4-6 week turnaround time, whereas Claude costs me $1.25 and gets me results a few minutes later.” The edits definitely aren’t as good, but there’s a virtue to speed (and this guy isn’t a chump writer). 18. The way AI-skeptics hate on LLMs while using old models is like driving a ‘92 Honda while hating on a self-driving Tesla. 19. AI-generated fiction makes people very upset. A friend insists it’s like having sex with a robot. Doesn’t matter how good it is. It ain’t human-generated, and there’s something uniquely repulsive about that. I’ve shared the full conversation below. It’s a solo-episode of me riffing on what I’ve learned about AI for ~90 minutes. If you’d rather watch it on YouTube or listen on Apple or Spotify, I’ve shared the links in the reply tweets. And if you have any questions, I’ll be extra active in the replies for this episode.
1:29:31

I've spent hours and hours thinking about how AI is going to change writing. This is a 90-minute distillation of everything I've learned. Some things I believe: 1. The combination of LLM-driven humor and image generation means that we're about to enter the golden age of memes. 2. The best writers will be fine. Robert Caro and Dostoevsky aren’t about to be disrupted by ChatGPT. 3. What are the different models like? ChatGPT is your friend who makes a lot of good points, but it’s kinda boring, Claude is your hippie friend who loves to get vulnerable but takes the whole “express yourself” thing a little too far, and Grok is your unhinged friend who leans a little too hard into tinfoil hat theories, but is always a trip to jam on ideas with. 4. People who say that AI writing is low-quality aren’t realizing that quality exists along two dimensions: (1) the absolute quality of the writing and (2) how tailored the writing is to your interests at the time. 5. I’ll tell you this: What writers are doing with AI behind closed doors is a long way ahead of what's publicly understood. I don't expect this to change anytime soon because of the social stigma associated with AI-enhanced writing. Because of that, if you want to see the cutting edge, you're gonna have to piece things together through private conversations and group chats. 6. If you want to follow what's happening in AI, remember this quote from William Gibson: “The future is here, it’s just not evenly distributed yet.” You can get a glimpse of the future by looking at how a small percentage of writers are already using AI. 7. I’m bearish on writers who are currently using AI to write for them, and bullish on writers who are currently using AI to write with them. 8. What kinds of writing will continue to be written by humans? Ones that speak to our humanity. People are interested in people. Their stories, their struggles, their emotions, their drama. 9. Almost all utilitarian writing, where the goal is to convey information, not do it beautifully, will be written by AI. 10. In some ways, AI is the end of slop. So many Google search results are slop. LinkedIn posts are slop. The way Twitter got taken over by Threadbois in 2021 was also slop. AI-generated writing is already better than all of those things, so why would you read them now? 11. AI will be tougher on writers than readers. Readers will be exposed to some slop, but the Internet will be good about filtering it out. Writers, though, are now competing against ever-improving LLMs, which are getting better and better by the month. 12. Humans will contribute with unique data or perspectives. The famous Peter Thiel interview question doubles as a good writing prompt: “What very important truth do few people agree with you on?” 13. New technologies breed new kinds of art. Ever notice how flat 13th or 14th century Medieval art looks? And how different that art looks from the Renaissance art created in the 15th and 16th centuries? Technical innovations like the camera obscura and perspective grids are behind this. Similarly profound changes will come to the writing world because of AI (credit to Justin Murphy for the idea here). 14. Satya Nadella says: “The new workflow for me is I think with AI and work with my colleagues.” When it comes to discovering ideas, I've also found that jamming with an LLM is more productive than doing it with most people I know (save for a few giga-brain conversationalists). 15. Thought experiment: Will AI-writing be more like music or chess? With music, we don't care how a song is made. We just want it to be good. With chess, there's a huge market for watching human beings play even though the computers are already better. I think non-fiction writing will go the way of music. People won’t care how it was made. They’ll just care that it’s good. 16. AI has flipped the rules of tech adoption. Seasoned managers usually drag their feet with adopting new technology, but the ones I know love AI, while frontline workers struggle to see the point. My theory is that AI matches how managers already operate. Management has always been a kind of prompt engineering: set a vision, delegate, give feedback, iterate. But LLMs remove the drama that used to come with having a team. No 1-on-1s. No emotional tangles. It's like management without the headache. For frontline employees, things are different. They aren't as accustomed to setting a vision and giving feedback, so LLM prompting is a daunting and unfamiliar kind of work for them. 17. AI editors are already quite good. Sure, they aren’t as good as the world’s best editors, but they’re a fraction of the cost, they’ll instantly give you 80th percentile feedback, and they work 24/7. As a novelist recently said to me: “Paying an editor to review my novel costs me $7,000 and a 4-6 week turnaround time, whereas Claude costs me $1.25 and gets me results a few minutes later.” The edits definitely aren’t as good, but there’s a virtue to speed (and this guy isn’t a chump writer). 18. The way AI-skeptics hate on LLMs while using old models is like driving a ‘92 Honda while hating on a self-driving Tesla. 19. AI-generated fiction makes people very upset. A friend insists it’s like having sex with a robot. Doesn’t matter how good it is. It ain’t human-generated, and there’s something uniquely repulsive about that. I’ve shared the full conversation below. It’s a solo-episode of me riffing on what I’ve learned about AI for ~90 minutes. If you’d rather watch it on YouTube or listen on Apple or Spotify, I’ve shared the links in the reply tweets. And if you have any questions, I’ll be extra active in the replies for this episode.

David Perell

257,480 görüntüleme • 1 yıl önce