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AOC after losing another debate to an misogynistic N@z! #Colonized #Conquered #BreedWhite #Interracial #WMLF #RaceTraitor #BWC #BWCOnly #WhitesOnly #Bleached #Raceplay #WhiteOwned
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![Oh my, James Kirchick, where does one begin with that one? He's a grifter. Full stop. He's grifted off of losing every campaign he's ever touched or worked on and being WRONG about everything he opines on. He took his ball, went home, and left his party. But in the socialist political-left, he's treated like an "expert" (a perennial loser) who lost every race he's ever worked on. *Oh, but wait, and it gets better. Then, he signed up as digital minion, surrogate, and hatchet man for the Biden 2024 ***reelect*** (whilst being paid by MS NOW...literally as a Biden WH/Reelect surrogate on WH government and Biden Campaign DL talking points) AND carried the water for LITERALLY the worst campaign and candidacy in the history of contemporary American politics. *Oh, but, wait...yes .... just when you think it can't ....it DOES gets better. *THEN Tim throws Biden (and team) under the bus the morning after the June debate and continues to do so for MONTHS after Biden dropped out. Then blames Biden for the reason Kamala lost and the reason we are stuck with Trump (As if HE wasn't part of the problem from the very beginning). You can always count on Tim being WRONG from the start because he has the worst analytical instincts of ANYONE covering politics in the entire media landscape. He's ill-experienced, ill-informed, and ill-suited, YET, he monetizes off of all of his consistently WRONG analysis and opinions .... so therefore he deserves credit!!!! *Who is being played --- his audience or the useful idiots who pay him for always being behind the curve and WRONG? LOL. *But, hey, don't take my word for it. just ask another former MS NOW Political Analyst Steve Schmidt: "[Tim] you can find him online jumping out of a bush.... "😂👇](https://image.24vids.com/tw-2039862370659627476/amplify_video_thumb/2039862264342384640/img/FAO3Yk_0XWcAXVJe.jpg)
![[KimSungSooTV] Misunderstandings and Truths About K-pop Demon Hunters!! What Should We Invest In Under the Changing Environment? Kim Sung-soo (current affairs and culture critic) and Kim Heon-sik (popular culture critic.) Praising K-DNA is just nationalistic hype (국뽕)? – An important case study analyzing the current state of industries related to K-DNA. Kim Heon-sik: No, that’s not it. Yes, so let me explain why the concept of “nationalistic pop” (국봉) came about. It was during the military regime that this idea was artificially pushed—basically to promote their own authority and propaganda. For example, under Park Chung-hee’s rule, there were forced attempts to instill pride in Korea through cultural support. But the truth is, there were also misunderstandings about Hallyu (the Korean Wave). For instance, I know someone who mistakenly presented this idea together with American scholars, and those papers are still circulating today. They argue that Hallyu was created by government support. And this keeps spreading overseas. So, people who study these things in an elite, academic context think they’re playing a decisive role—but the reality is, K-pop and K-content came about naturally as part of the market, in the private sector. To put it simply: it was made by fans. Fans created it. Fans are the most important part. As long as fans remain at the center, artists can keep creating content that fits the global environment. I’ve been asked the same question for 25 years: “How long will Hallyu last?” My answer is always that it’s not something forced or controlled from the top. It’s a cultural product born out of cultural democracy, with fans at the center. That’s why it has naturally earned respect. So to call it 국봉 (nationalistic pop)? That’s just not right. Then by that logic, is Britpop “nationalistic pop”? Honestly, what frustrates me is that people keep asking me questions like that… Kim Sung-soo: There were people who kept throwing questions at me and leaving nasty comments like that. Since I’ve been consistently defending NewJeans on broadcasts, they’d say things like, “Well, once NewJeans fades from memory, that’s it. That’s how pop culture works. Once they’re out of sight, they’re gone.” And they were saying that right in front of a cultural critic. Unbelievable. But look at reality now. Has NewJeans disappeared? No. The thirst for them has only grown stronger. Can a single capitalist suppress the massive yearning of so many fans? They can’t. It’s impossible. People still love The Beatles even now. Kim Heon-sik: Of course—that’s cultural DNA carrying on. Kim Sung-soo: If those people were right, The Beatles should have been forgotten long ago. Kim Heon-sik: But that’s just talking about the physical body. Cultural and artistic DNA endures, and NewJeans’ DNA is no different. Kim Sung-soo: NewJeans is a group that has completely changed the paradigm of Korean girl groups. If there are cultural critics who refuse to acknowledge that, you can just ignore them. Because before NewJeans, K-pop’s peak was defined by groups like KDH (K-pop Demon Hunters) and BLACKPINK, and even aespa can be counted at that summit. Idols used to be constructed as characters, tied to a fixed worldview and narrative, constantly producing music to match those characters. But NewJeans isn’t like that. They don’t come with a pre-packaged storyline. Instead, they build their stories out of everyday life. They’re lively, witty, talented teenagers you could easily find around you. So how can they be idols? Because in a prosumer society, if people around them think, “They’re cool,” society elevates them into idols. And that’s why those kinds of idols actually last longer—they were created by us, they resemble us, and they share our era. That’s why we can stay connected to them for longer. If idols are constructed as aliens or supernatural beings, eventually that feels unnatural. Kim Heon-sik: Ah, that connects back to what we could call the original SM model of K-pop. Idols who looked almost inhuman, like beings from the East, like gods, or like aespa—giving the feeling of aliens, even physically. That model still has its place, but it no longer dominates. New generations—especially Gen Alpha and Gen Z—align much more closely with the NewJeans paradigm. Now, if we connect this to the whole nationalistic hype (국뽕) debate: the funny thing is that there are actually more people overseas than in Korea who show respect (respec) for this culture. If it were just “nationalistic hype,” why would foreigners, who have no stake in Korean nationalism, be showing it? That would be contradictory, right? Kim Sung-soo: So, to put it simply, KDH (K-pop Demon Hunters) is an incredibly important case. It re-illuminates the cultural value we’re enjoying right now and proves just how many industries are possible under “K-DNA.” At the core of this, again, are the consumers — the fans. For example, from what I know, KDH was practically the only Netflix title that hit it big with almost no marketing. Kim Heon-sik: I’ll be honest: when they first announced it back in 2021 as a theatrical anime called K-pop Demon Hunters, and then no news followed, I thought it would be a flop. They barely promoted it, so I figured it wasn’t worth watching. But then, when it suddenly dropped in June, my phone was blowing up with messages, and I thought, “Fine, I’ll check it out.” And after watching — wow. It was a revolution. It was so well-made, completely unexpected. After that, a lot of things happened. Kim Sung-soo: In my case, I really felt how cut off from reality I’d become because of being blacklisted. Journalists only ever called me to talk about Korean dramas, never about K-pop or popular culture. It’s like the mainstream had erased my name. Nobody reached out to me about KDH (K-pop Demon Hunters). Then one day, my son just came out for dinner, turned on the TV, and started watching it. I knew the series had been released, but honestly, I thought, “That’s going to be a flop.” Still, since my son was watching, I sat with him. Eventually, he went back to his room to play games, but I stayed behind and watched until the end — then I even rewatched it by myself. I got choked up. That’s the kind of emotional impact it had. Kim Heon-sik: Even among my friends, I hear the same thing. Their kids enjoyed it so much, but when they themselves watched, they found it deeply moving too. That doesn’t mean the show itself is childish — it’s just that if you’re not usually paying attention, you won’t catch its layers. There’s a certain depth to it. Once you understand the broader context, it really clicks. Kim Sung-soo: K-pop, in fact, is a unique global genre. Yes, it was initially planned by producers, but it quickly grew beyond their control — maybe the first genre ever to do so. Kim Heon-sik: Today, it’s almost a living organism, self-sustaining. That’s why it’s dangerous to analyze it only from a producer’s perspective. When people say, “K-pop has problems,” yes, but the real issue lies with the capitalists — the management — not the artists or the content. That’s why now, more than ever, it’s important to support groups like NewJeans and works like KDH — they represent the healthier, fan-centered side of the culture. And KDH has something that speaks to all ages. Take Golden, sung by Huntrix — it reflects modern psychology precisely. Look at BTS’s message of “Love Yourself.” That’s not just a slogan; it’s rooted in psychology. Since the Renaissance, humans have emphasized the importance of selfhood. If you can’t love yourself, you can’t love others. If you love yourself, then you can love others, and from there you can love community, society, even humanity. Golden carries that exact same message. That’s why people who feel powerless or invisible in real life find healing through this work. Content like this isn’t just entertainment; it’s therapeutic. That’s why I don’t want people to see K-pop simply as “ours” or as nationalistic pride. At its core, cultural content is about healing, and that’s the perspective we need to adopt. Kim Sung-soo: For example — yes, spoiler here — Jinu could sacrifice himself in place of Rumi because he had already answered her question. Someone who doesn’t love themselves cannot sacrifice for another. Only someone who has achieved self-love can give themselves up. That’s why that scene hits so hard, especially for Western audiences. Sacrifice alone doesn’t move people; sacrifice rooted in self-understanding and love does. I even cried when Bada covered Golden ( At the end of her cover video, she says, “The person who wrote this really knows what despair is.” That’s why she cried too. And it’s the same for so many artists — S.E.S, Fin.K.L, and others — who endured hardships and pain yet remained. We shouldn’t objectify them just because they’re celebrities. Instead, we should recognize how the culture we share operates and heals us through those mechanisms. Kim Heon-sik: If I were to sum up K-pop’s worldview and identity: it’s centered on youth. It reflects their struggles and anxieties. Everyone was young once, and those feelings never completely disappear. Growth is key — growth through pain, through shortcomings, through personal and social struggles. Overcoming them and offering hope — that’s what K-pop tries to do. It doesn’t pretend the world is perfect; it says, “We can endure, and we can move forward together.” That’s why values like “we” and “togetherness” are always emphasized. So when music and content are created with that worldview — youth, growth, struggle, shared hope — that’s what makes it K-content, K-pop. It transcends nationality or ownership. It’s about establishing the identity of our content for what it is. Kim Sung-soo: Honestly, I hope these perspectives even reach our president. Kim Heon-sik: I was surprised when President Lee Jae-myung, unlike President Yoon’s administration which rushed to meet Netflix executives, instead chose to meet artists. The result of the meeting isn’t what matters — the signal it sends is. That’s the kind of precedent I hope continues. Kim Sung-soo: Our president must invest in people. Investments elsewhere are meaningless if not centered on people. Yet right now, there’s so little support for artists. So I’ll end with this: KDH is not “국뽕” (cheap nationalism). KDH is the culture itself — the culture we’re living and enjoying today. Watch the full video:](https://image.24vids.com/tw-1959263295426416869/amplify_video_thumb/1959262545061330944/img/qgOXFqyUyu97SeH3.jpg)
