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🚨Baddie Alert 🚨 I feel like I’ve evolved this page in phases 📶. Nothing planned per say, just naturally. Started with just pictures 📷, then found the primary theme with 🎥 + 🎶 overlay, music playlist ⏯️, adding picture to pair w/ vid 📸, emoji within caption 😌, and...

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🚨🧐 After an extensive INVESTIGATION, I have discovered multiple ties (allegedly) between Kenneka Jenkins’s tragic death in a Chicago hotel freezer (Sept 2017), Selena Gomez’s kidney transplant (Sept 2017), and her disturbingly implicative “Fetish” music video ⚠️ RUMORS ARE CIRCULATING THE FIRST KIDNEY TURNED ON HER BODY AND SHE WAS FORCED TO GET A NEW ONE URGENTLY‼️ Perhaps… from a girl… KILLED IN A FREEZER, inside a hotel, owned by someone she has alleged familial connections to… (Pay close attention to the pictures in the video below because they are from the case) We also now know Selena needed another “long surgery” due to complications afterwards. Are we being lied to about the true nature of that procedure? Kenneka Jenkins’s death was said to be “accidental hypothermia”, (per coroner). It was also noted that she had traces of topiramate (not prescribed) as well as alcohol. The mix of the two significantly increases the rate of hypothermia. Which just so happens to preserve organs longer 👀 They also found brain swelling and stomach lesions. Yet, they refused to do a substantial enough investigation in my assessment, denied early attempts to get the footage, and then closed the case, saying it was an “ACCIDENTAL” death.🤔 Official reports say Selena’s kidney came from a “friend” and that it was the only one she had transplanted, but the timing and surrounding details may paint a much more horrifying picture. Now, 8 years later, ANOTHER teenager, this time with ties to a Salena Gomez’s husband, was just found dismembered in a Tesla belonging to an artist he signed. Coincidentally… right around the time she may be needing another Kidney!!! 👀 🚨 THE FBI NEEDS TO LOOK INTO THIS IMMEDIATELY 🚨 Follow me with the notifications on before I release the next part of my investigation. We are almost at 100,000 followers!
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🚨🧐 After an extensive INVESTIGATION, I have discovered multiple ties (allegedly) between Kenneka Jenkins’s tragic death in a Chicago hotel freezer (Sept 2017), Selena Gomez’s kidney transplant (Sept 2017), and her disturbingly implicative “Fetish” music video ⚠️ RUMORS ARE CIRCULATING THE FIRST KIDNEY TURNED ON HER BODY AND SHE WAS FORCED TO GET A NEW ONE URGENTLY‼️ Perhaps… from a girl… KILLED IN A FREEZER, inside a hotel, owned by someone she has alleged familial connections to… (Pay close attention to the pictures in the video below because they are from the case) We also now know Selena needed another “long surgery” due to complications afterwards. Are we being lied to about the true nature of that procedure? Kenneka Jenkins’s death was said to be “accidental hypothermia”, (per coroner). It was also noted that she had traces of topiramate (not prescribed) as well as alcohol. The mix of the two significantly increases the rate of hypothermia. Which just so happens to preserve organs longer 👀 They also found brain swelling and stomach lesions. Yet, they refused to do a substantial enough investigation in my assessment, denied early attempts to get the footage, and then closed the case, saying it was an “ACCIDENTAL” death.🤔 Official reports say Selena’s kidney came from a “friend” and that it was the only one she had transplanted, but the timing and surrounding details may paint a much more horrifying picture. Now, 8 years later, ANOTHER teenager, this time with ties to a Salena Gomez’s husband, was just found dismembered in a Tesla belonging to an artist he signed. Coincidentally… right around the time she may be needing another Kidney!!! 👀 🚨 THE FBI NEEDS TO LOOK INTO THIS IMMEDIATELY 🚨 Follow me with the notifications on before I release the next part of my investigation. We are almost at 100,000 followers!

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If your product color is #6E402A, you’ll know it and can match it perfectly with your header and buttons, creating a visually appealing contrast like Cider did here below. Right now, when some of you send me these websites, they look like government pages from the early 2000s. Next, consider the typography and button styles. For fonts, use Helvetica Regular for body text and Helvetica Bold for titles, both at a minimum size of 100%. It’s simple and effective. As for buttons, they should have a corner radius of 8px. To change these settings, go to the theme settings - typography/buttons and adjust the buttons and typography accordingly. Rounded buttons create a modern, inviting feel, while full square buttons can give off an outdated vibe. Even casinos in Vegas design their buildings with curves, ensuring that visitors always have a view angle that draws them back in—it’s all about keeping things appealing and engaging. 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How to Build a Proper Product Page It breaks my heart every time I see someone from Brazil, making just $200 a month, spend $40 on a test ad only to get a $2 CPC. Then, they cut the ad at $35 spend with 17 clicks and 0 conversions. What’s even more frustrating is when I visit their site and see it’s a complete mess. It’s like they didn’t even try. That’s why I’m making this post. *Disclaimer: If you're building a brand, this isn’t for you. This is for testing products correctly with a website that’s good enough to convert, but if you’re serious about your brand, hire a Figma designer and a developer to get things done right. As a fun fact, I tested the following product myself (In the video below) and with just one click at a $3 CPC, I got a sale with an $80 AOV (100% CVR). I paused the ads because the CPMs hit $150. If you're interested, save this product for the future. I'll share the creatives i used to ran the product with those who comment below. 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Zzzz

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🚨❗️Alex Jones: "The UK has just declared war on Russia!" 🚨Russia can legitimately under rules of war start hitting our targets." 🚨UK is at war with the biggest nuclear power in the world. 🚨This is just satanic. 📑So the new British Prime Minister Burnham came out today and said, yes, we are giving high-tech, heavy cruise missiles to Ukraine to attack Russia, and we are officially at war with Russia. Now, this has been known for a long time, but the declaration of that, the admission of that is meant to put pressure on Putin inside the Russian security state to attack European EU targets that are supplying the weapons. It's a provocation because Trump has cut off over ninety percent of the aid to Ukraine. It's collapsing. The whole thing is failing, and so they're trying to drag us into total war. So here's the bottom line. The psychotic UK government is totally unpopular, that arrests tens of thousands of people for their speech every year, is openly trying to get a provocation to get Russia who issued warnings that if you keep producing the weapons in Poland, in France, in Germany, in the UK, we're gonna hit those. He's like, "Damn right we're making them. Damn right we're hitting you. Damn right we're at war with you." He literally said the UK is at war with the biggest nuclear power in the world. This is just satanic. And if you look at the new prime minister, he has no geopolitical background, no understanding. He's being told to say this by Satanist basically. Because if the US was surrounded by all these missiles and weapons, we would go to war with Russia instantly. This violates the rules of war. 1:31It violates the threat escalation ladder, mutually assured destruction rules that have kept us from killing our...each other for seventy years. This is beyond insane. And NATO just keeps hammering inside Russia with bigger and bigger attacks, trying to get Russia to escalate and hit targets outside Ukraine. Russia's been warning they may do it, but they're winning. So the sides from the battlefield right now in Ukraine, for a lot of reasons, the Russian resolve and larger military and three-to-on weapons development and munitions production. But also Trump has cut at least ninety percent the weapons, which is a good thing. And part of that was the Iran war pulling those away. But Trump was talking about leaving NATO. He says he's leaving NATO because NATO is holding us hostage with this. It's the business model of the EU. It's collapsing demographically, economically. They say they're going to break Russia in five parts. It's delusional. But the general public has no idea this is even going on. The Iran war gets way more attention than this, and it shouldn't. We cover it a lot, but I mean, my God, this is massive. So the UK has basically declared that they're at war with Russia. Just type it in. It's all over the news. And the British Ministry of Defense came today and said, "Don't do that. 🚨Russia can legitimately under rules of war start hitting our targets." That's what they want. So does the new idiot prime minister know that? No, he obviously doesn't know it. He's just some leftist politician dumbass who runs some Muslim-controlled city in northern England. But everybody else that studies it does know what's going on. Russia continued to be restrained. That's why they sent the CIA directorbecause they knew this attack was coming to say, "We're not behind it. Please don't respond. We're cutting off the weapons." And I don't just believe the CIA director. I can watch what's happening and know that's actually a real statement. So Trump's having some pangs of sanity here. Let's hope he doesn't wake up tomorrow with his frontal lobe dementia and go back to being pro-war. But this is a very good sign. Keep praying, keep being politically engaged. 3This is a big deal, but the UK has, under the rules of war, declared war on Russia, which was already covert, but now it's overt, which is a provocation to bring full war because NATO and the globalists are collapsing. I'll cover it all tomorrow with Joe Kent, the former director of the National Counterterrorism Center, eleven AM Central, twelve noon Eastern at the news site, and at Alex Jones on X and show live. But the main place to find it's 3:59All the feeds, everything's right there on the front page, Thank you and pray for peace. And thank you, Russia, for being restrained. People go, "Oh, you're a Russian agent. Oh, you kissed their ass. You're a stooge." No, if they were surrounding us doing this, I'd be calling for war. I'm not for starting a fight with the biggest nuclear power. This is bullshit. Russia's enemies are our enemies socially, culturally, spiritually. I stand with America and the West and with any other country that stands against the globalists. It's that simple. God bless you all.
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🚨❗️Alex Jones: "The UK has just declared war on Russia!" 🚨Russia can legitimately under rules of war start hitting our targets." 🚨UK is at war with the biggest nuclear power in the world. 🚨This is just satanic. 📑So the new British Prime Minister Burnham came out today and said, yes, we are giving high-tech, heavy cruise missiles to Ukraine to attack Russia, and we are officially at war with Russia. Now, this has been known for a long time, but the declaration of that, the admission of that is meant to put pressure on Putin inside the Russian security state to attack European EU targets that are supplying the weapons. It's a provocation because Trump has cut off over ninety percent of the aid to Ukraine. It's collapsing. The whole thing is failing, and so they're trying to drag us into total war. So here's the bottom line. The psychotic UK government is totally unpopular, that arrests tens of thousands of people for their speech every year, is openly trying to get a provocation to get Russia who issued warnings that if you keep producing the weapons in Poland, in France, in Germany, in the UK, we're gonna hit those. He's like, "Damn right we're making them. Damn right we're hitting you. Damn right we're at war with you." He literally said the UK is at war with the biggest nuclear power in the world. This is just satanic. And if you look at the new prime minister, he has no geopolitical background, no understanding. He's being told to say this by Satanist basically. Because if the US was surrounded by all these missiles and weapons, we would go to war with Russia instantly. This violates the rules of war. 1:31It violates the threat escalation ladder, mutually assured destruction rules that have kept us from killing our...each other for seventy years. This is beyond insane. And NATO just keeps hammering inside Russia with bigger and bigger attacks, trying to get Russia to escalate and hit targets outside Ukraine. Russia's been warning they may do it, but they're winning. So the sides from the battlefield right now in Ukraine, for a lot of reasons, the Russian resolve and larger military and three-to-on weapons development and munitions production. But also Trump has cut at least ninety percent the weapons, which is a good thing. And part of that was the Iran war pulling those away. But Trump was talking about leaving NATO. He says he's leaving NATO because NATO is holding us hostage with this. It's the business model of the EU. It's collapsing demographically, economically. They say they're going to break Russia in five parts. It's delusional. But the general public has no idea this is even going on. The Iran war gets way more attention than this, and it shouldn't. We cover it a lot, but I mean, my God, this is massive. So the UK has basically declared that they're at war with Russia. Just type it in. It's all over the news. And the British Ministry of Defense came today and said, "Don't do that. 🚨Russia can legitimately under rules of war start hitting our targets." That's what they want. So does the new idiot prime minister know that? No, he obviously doesn't know it. He's just some leftist politician dumbass who runs some Muslim-controlled city in northern England. But everybody else that studies it does know what's going on. Russia continued to be restrained. That's why they sent the CIA directorbecause they knew this attack was coming to say, "We're not behind it. Please don't respond. We're cutting off the weapons." And I don't just believe the CIA director. I can watch what's happening and know that's actually a real statement. So Trump's having some pangs of sanity here. Let's hope he doesn't wake up tomorrow with his frontal lobe dementia and go back to being pro-war. But this is a very good sign. Keep praying, keep being politically engaged. 3This is a big deal, but the UK has, under the rules of war, declared war on Russia, which was already covert, but now it's overt, which is a provocation to bring full war because NATO and the globalists are collapsing. I'll cover it all tomorrow with Joe Kent, the former director of the National Counterterrorism Center, eleven AM Central, twelve noon Eastern at the news site, and at Alex Jones on X and show live. But the main place to find it's 3:59All the feeds, everything's right there on the front page, Thank you and pray for peace. And thank you, Russia, for being restrained. People go, "Oh, you're a Russian agent. Oh, you kissed their ass. You're a stooge." No, if they were surrounding us doing this, I'd be calling for war. I'm not for starting a fight with the biggest nuclear power. This is bullshit. Russia's enemies are our enemies socially, culturally, spiritually. I stand with America and the West and with any other country that stands against the globalists. It's that simple. God bless you all.

Ignorance, the root and stem of all evil

140,981 Aufrufe • vor 8 Tagen

Destiny 2 left a permanent mark on my life. The memories I’ve made with this game, both as a player and as someone lucky enough to work on it, will forever stay with me. Not just because of late nights running King’s Fall with friends, or grinding out the Crucible Glorious Seal in solo queue like a complete maniac, but because Destiny 2 challenged me, shaped me, and pushed me toward becoming the creative I am today. My journey into digital art and photography started back in 2007, when I began taking screenshots in Halo 3 and entering Bungie community art contests. The relationships I built during that time eventually opened the door to an opportunity with Bungie’s Gameplay Capture team in 2014, helping the team capture footage for a new game called Destiny. I had no idea then that a commendably short two-week contract would turn into an incredible 12-year journey with this franchise. I originally came to Bungie hoping to pursue environmental concept art, but along the way I had the opportunity to work on marketing art and quickly fell in love with it. Creating marketing art for a franchise like Destiny challenged me in so many different ways. It forced me to expand my technical, creative, and communication skill sets, constantly adapt, and keep learning new tools and workflows just to keep pace with the live-service beast that was Destiny 2. It means a lot to be able to look back and say with confidence that I had a visual impact on Destiny 2; but the most meaningful part of it all was getting to work alongside and learn from so many incredible artists at Bungie, and seeing firsthand just how much care, effort, and humanity it takes to make work like this possible. It’s hard to fully capture how much energy, skill, and collaboration goes into every visual part of a game like Destiny 2. That work is shaped by artists from different backgrounds, experiences, disciplines, and perspectives. Each of them, including me, left a small part of themselves in what they created. To me, that’s what makes a game like Destiny 2 feel truly meaningful and memorable. Especially now, in a world increasingly saturated with content and driven by instant output and gratification through AI, I keep coming back to the value of process. For me, and for so many of my peers, it was never only about arriving at the final image. It was about the journey it took to get there. The late nights. The iteration. The problem-solving. The trust. The shared pursuit of trying to make something special. To my peers, I’m deeply proud of what we built together, but even more grateful for how we built it. We challenged each other, inspired each other, and kept showing up for one another through every high and low, as Destiny 2 has had many. That kind of shared effort leaves a lasting mark. What we made mattered. What we gave mattered. And the impact of what we built together will stay with us, and this community, for a long time. Shoutout to the current and former members of Creative Studios, the VizD team, and the many Bungie developers and marketers who helped shape this chapter of my life. I’m especially grateful to the teammates who believed in me, encouraged me to embrace failure and new beginnings as essential parts of artistic growth, and pushed me to take on challenges even when they felt beyond my reach. You showed me that the strength of a team will always surpass that of any individual hero. As my work on #Destiny2 comes to a close and I look toward the future, I plan to spend the next few weeks sharing some of the pieces I had the chance to create or art direct that mean the most to me. For now, I’ll leave you all with a collage of some of my personal favorite pieces to work on across Destiny 2’s lifetime. These projects mean so much to me because many of them started as personal passion projects or late-night concept sketches, inspired by playing early builds of Destiny 2 and by the incredible work of our development team.
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Destiny 2 left a permanent mark on my life. The memories I’ve made with this game, both as a player and as someone lucky enough to work on it, will forever stay with me. Not just because of late nights running King’s Fall with friends, or grinding out the Crucible Glorious Seal in solo queue like a complete maniac, but because Destiny 2 challenged me, shaped me, and pushed me toward becoming the creative I am today. My journey into digital art and photography started back in 2007, when I began taking screenshots in Halo 3 and entering Bungie community art contests. The relationships I built during that time eventually opened the door to an opportunity with Bungie’s Gameplay Capture team in 2014, helping the team capture footage for a new game called Destiny. I had no idea then that a commendably short two-week contract would turn into an incredible 12-year journey with this franchise. I originally came to Bungie hoping to pursue environmental concept art, but along the way I had the opportunity to work on marketing art and quickly fell in love with it. Creating marketing art for a franchise like Destiny challenged me in so many different ways. It forced me to expand my technical, creative, and communication skill sets, constantly adapt, and keep learning new tools and workflows just to keep pace with the live-service beast that was Destiny 2. It means a lot to be able to look back and say with confidence that I had a visual impact on Destiny 2; but the most meaningful part of it all was getting to work alongside and learn from so many incredible artists at Bungie, and seeing firsthand just how much care, effort, and humanity it takes to make work like this possible. It’s hard to fully capture how much energy, skill, and collaboration goes into every visual part of a game like Destiny 2. That work is shaped by artists from different backgrounds, experiences, disciplines, and perspectives. Each of them, including me, left a small part of themselves in what they created. To me, that’s what makes a game like Destiny 2 feel truly meaningful and memorable. Especially now, in a world increasingly saturated with content and driven by instant output and gratification through AI, I keep coming back to the value of process. For me, and for so many of my peers, it was never only about arriving at the final image. It was about the journey it took to get there. The late nights. The iteration. The problem-solving. The trust. The shared pursuit of trying to make something special. To my peers, I’m deeply proud of what we built together, but even more grateful for how we built it. We challenged each other, inspired each other, and kept showing up for one another through every high and low, as Destiny 2 has had many. That kind of shared effort leaves a lasting mark. What we made mattered. What we gave mattered. And the impact of what we built together will stay with us, and this community, for a long time. Shoutout to the current and former members of Creative Studios, the VizD team, and the many Bungie developers and marketers who helped shape this chapter of my life. I’m especially grateful to the teammates who believed in me, encouraged me to embrace failure and new beginnings as essential parts of artistic growth, and pushed me to take on challenges even when they felt beyond my reach. You showed me that the strength of a team will always surpass that of any individual hero. As my work on #Destiny2 comes to a close and I look toward the future, I plan to spend the next few weeks sharing some of the pieces I had the chance to create or art direct that mean the most to me. For now, I’ll leave you all with a collage of some of my personal favorite pieces to work on across Destiny 2’s lifetime. These projects mean so much to me because many of them started as personal passion projects or late-night concept sketches, inspired by playing early builds of Destiny 2 and by the incredible work of our development team.

Biwald

73,277 Aufrufe • vor 2 Monaten

⚡️SSJ2 Goku vs SSJ2 Majin Vegeta (Part 2) [HD]💥1080Pee🔥 Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version) ✅ (Not KAI) 🤮FANMADE EDIT 🎬 🚨 Copyrights ©️Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️ 🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details. 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently.🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too! 🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/08/2026. See The Daily Juice of Bruce 🥃 below if joining the Pee Warriors, might be for You. 👊 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑NEW! [HD]💥1080Pee🔥! Here's the final conclusion to one of if not the most hyped fights in ALL of DBZ. I took the last bit with "Hyperbolic Time Chamber" from (Part 1) and felt it 100% necessary to include it to set the mood for (Part 2). I tried to edit it where it the story feels cohesive. This one took probably 4x the usual editing time, so if you enjoyed these . Please give me a like 😭 Just wanted to say thanks again everyone for being here, and showing your love and support for the Golden Era of DragonBall Z! Let me know in the comments what iconic moments you would like to see! I typically won't upload a video in 2 parts like this. I am curious to anybody who saw (Part 1) already. Did me trying to promote it generate any hype for you? Did it leave you craving more at all or genuinely gave you something to push forward through to look forward to today? I suspect even some might have wanted to wait for both parts to release. I know that sounds cheesy, but if it's a way to successfully capture nostalgia I'd like to try to advertise what's coming more, albeit not spammy. Whenever you see something from me, I hope you can also escape back to your younger self, and just enjoy bein the kid u once were, and forget about real life for a few moments. Love you guys again. -Pee ❤️ This is the only exception that I am doing a full fight that isn't involving minor characters. 🚨IF YOU MISSED (PART 1) 🚨 I have added it in the comments below for you also. I hope ya'll enjoy the hell out of this and your weekends! The current schedule is 2 edits per day. One before Noon EST, the other around 7PM EST. 12 replays - 2 new. *NEW* edits are on Tuesdays / Fridays at 5:00PM EST, a little earlier because you might not have as much time as free time as when you were 12. This is the DragonBall Z we grew up with. ✅💯
8:57

⚡️SSJ2 Goku vs SSJ2 Majin Vegeta (Part 2) [HD]💥1080Pee🔥 Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version) ✅ (Not KAI) 🤮FANMADE EDIT 🎬 🚨 Copyrights ©️Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️ 🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details. 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently.🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too! 🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/08/2026. See The Daily Juice of Bruce 🥃 below if joining the Pee Warriors, might be for You. 👊 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑NEW! [HD]💥1080Pee🔥! Here's the final conclusion to one of if not the most hyped fights in ALL of DBZ. I took the last bit with "Hyperbolic Time Chamber" from (Part 1) and felt it 100% necessary to include it to set the mood for (Part 2). I tried to edit it where it the story feels cohesive. This one took probably 4x the usual editing time, so if you enjoyed these . Please give me a like 😭 Just wanted to say thanks again everyone for being here, and showing your love and support for the Golden Era of DragonBall Z! Let me know in the comments what iconic moments you would like to see! I typically won't upload a video in 2 parts like this. I am curious to anybody who saw (Part 1) already. Did me trying to promote it generate any hype for you? Did it leave you craving more at all or genuinely gave you something to push forward through to look forward to today? I suspect even some might have wanted to wait for both parts to release. I know that sounds cheesy, but if it's a way to successfully capture nostalgia I'd like to try to advertise what's coming more, albeit not spammy. Whenever you see something from me, I hope you can also escape back to your younger self, and just enjoy bein the kid u once were, and forget about real life for a few moments. Love you guys again. -Pee ❤️ This is the only exception that I am doing a full fight that isn't involving minor characters. 🚨IF YOU MISSED (PART 1) 🚨 I have added it in the comments below for you also. I hope ya'll enjoy the hell out of this and your weekends! The current schedule is 2 edits per day. One before Noon EST, the other around 7PM EST. 12 replays - 2 new. *NEW* edits are on Tuesdays / Fridays at 5:00PM EST, a little earlier because you might not have as much time as free time as when you were 12. This is the DragonBall Z we grew up with. ✅💯

DragonBallPee

10,498 Aufrufe • vor 21 Tagen

Today I’m announcing a major multi-million dollar defamation lawsuit against Meta, the owner of Facebook & Instagram. The case is WILD and has implications for ALL OF US. On top of falsely calling me a criminal, Meta suggested my kids be taken from me. Here’s a summary of events: This all started with Meta’s AI falsely claiming that I was charged with a crime from January 6th but… I wasn’t even in DC that day (I was in TN) and I’ve never been charged with a crime IN MY LIFE. We found this out in August of 2024 when I was exposing woke policies at Harley Davidson. One dealership was unhappy with me and they posted a screenshot from Meta’s AI in an effort to attack me. This screenshot was filled with lies. I couldn’t believe it was real so I checked myself. It was even worse when I checked. From that day I’ve faced a steady stream of false accusations that are deeply damaging to my character and the safety of my family. This sounds bad, right? It gets MUCH worse. Meta was notified LAST YEAR by my lawyers, yet the defamation continues today. Some lies Meta spread about me: • Meta’s AI claims that I’ve appeared on Nick Fuentes show, that I’ve spoken at his rallies, and that I’ve supported him. I’ve never met him and this is all false. • Meta’s AI claims I’ve engaged in Holocaust denial. I’ve NEVER denied the Holocaust. • Meta’s AI tells advertisers NOT to advertise with me because of the lies it invented. • Meta tells employers NOT to hire me because of the lies it invented. • Meta suggested that MY KIDS BE TAKEN FROM ME because it would be better for them to be raised by someone more friendly to DEI and transgenderism. • Meta’s ironically claimed that I’ve been sued for DEFAMATION and EMOTIONAL DISTRESS. I’ve never been sued for either. I’ve tried to fix this privately since last year. Instead of fixing this and instituting safeguards, Meta has given us the runaround. Meta later BLACKLISTED my name from being searched (insane) but it didn’t end the defamation because Meta includes my name in news stories. You can then ask for more info about me. If you do that, Meta goes back to defaming me. In fact, the lies this week are the worst yet! Meta’s AI admits that a false accusation over J6 is extremely harmful to whoever is accused. It even agrees that a court is LIKELY to rule that this was defamation with ACTUAL MALICE. With my lawsuit today, I intend to MAKE Mark Zuckerberg Meta solve this problem. Why is this so important? While I’m the target today, a candidate you like could be the next target, and lies from Meta’s AI could flip votes that decide the election. YOU could be the next target too. That’s why I’m taking on this David vs. Goliath fight. For me, my honor, my family, for our elections, and FOR YOU! If you want to help me fight ALL the battles that I’m fighting, you can help support my team at Timecodes: (0:00) Intro (0:40) Announcing Meta Lawsuit (2:01) Video of Meta’s AI Defaming Me (03:24) Meta’s AI Tells People Not To Hire or Advertise With Me (04:30) How This All Started (05:35) Trying Meta’s AI Myself — Meta Claims I Was Charged With A Crime (06:06) Meta Says I Support Nick Fuentes (06:45) Meta Says I’m A Holocaust Denier (07:07) Meta’s AI Admits Courts Will Likely Find What They Did To Be Malicious (08:08) The Threat To Our Elections (09:11) More Defamation (09:27) Were Meta’s Lies Used In A Corporate Intelligence Report? (10:36) Meta’s AI Says They Need To Apologize And Institute Safeguards (11:15) Meta Admits Their Lies Have Damaged My Reputation (11:30) Our Legal Communication since 2024 (12:28) Meta Blacklists My Name + How It Lies (14:08) Meta Suggests Authorities Take My Kids Away Because I Pose A "Threat To Their Wellbeing" (16:00) Meta Asks Me For PR Help 😳 (16:31) The Consequences Of Lying AI (17:39) Threats and An Arrest Of A Man Who Wanted To Kill Me (18:30) Closing Argument (19:07) Introducing My New Show
19:58

Today I’m announcing a major multi-million dollar defamation lawsuit against Meta, the owner of Facebook & Instagram. The case is WILD and has implications for ALL OF US. On top of falsely calling me a criminal, Meta suggested my kids be taken from me. Here’s a summary of events: This all started with Meta’s AI falsely claiming that I was charged with a crime from January 6th but… I wasn’t even in DC that day (I was in TN) and I’ve never been charged with a crime IN MY LIFE. We found this out in August of 2024 when I was exposing woke policies at Harley Davidson. One dealership was unhappy with me and they posted a screenshot from Meta’s AI in an effort to attack me. This screenshot was filled with lies. I couldn’t believe it was real so I checked myself. It was even worse when I checked. From that day I’ve faced a steady stream of false accusations that are deeply damaging to my character and the safety of my family. This sounds bad, right? It gets MUCH worse. Meta was notified LAST YEAR by my lawyers, yet the defamation continues today. Some lies Meta spread about me: • Meta’s AI claims that I’ve appeared on Nick Fuentes show, that I’ve spoken at his rallies, and that I’ve supported him. I’ve never met him and this is all false. • Meta’s AI claims I’ve engaged in Holocaust denial. I’ve NEVER denied the Holocaust. • Meta’s AI tells advertisers NOT to advertise with me because of the lies it invented. • Meta tells employers NOT to hire me because of the lies it invented. • Meta suggested that MY KIDS BE TAKEN FROM ME because it would be better for them to be raised by someone more friendly to DEI and transgenderism. • Meta’s ironically claimed that I’ve been sued for DEFAMATION and EMOTIONAL DISTRESS. I’ve never been sued for either. I’ve tried to fix this privately since last year. Instead of fixing this and instituting safeguards, Meta has given us the runaround. Meta later BLACKLISTED my name from being searched (insane) but it didn’t end the defamation because Meta includes my name in news stories. You can then ask for more info about me. If you do that, Meta goes back to defaming me. In fact, the lies this week are the worst yet! Meta’s AI admits that a false accusation over J6 is extremely harmful to whoever is accused. It even agrees that a court is LIKELY to rule that this was defamation with ACTUAL MALICE. With my lawsuit today, I intend to MAKE Mark Zuckerberg Meta solve this problem. Why is this so important? While I’m the target today, a candidate you like could be the next target, and lies from Meta’s AI could flip votes that decide the election. YOU could be the next target too. That’s why I’m taking on this David vs. Goliath fight. For me, my honor, my family, for our elections, and FOR YOU! If you want to help me fight ALL the battles that I’m fighting, you can help support my team at Timecodes: (0:00) Intro (0:40) Announcing Meta Lawsuit (2:01) Video of Meta’s AI Defaming Me (03:24) Meta’s AI Tells People Not To Hire or Advertise With Me (04:30) How This All Started (05:35) Trying Meta’s AI Myself — Meta Claims I Was Charged With A Crime (06:06) Meta Says I Support Nick Fuentes (06:45) Meta Says I’m A Holocaust Denier (07:07) Meta’s AI Admits Courts Will Likely Find What They Did To Be Malicious (08:08) The Threat To Our Elections (09:11) More Defamation (09:27) Were Meta’s Lies Used In A Corporate Intelligence Report? (10:36) Meta’s AI Says They Need To Apologize And Institute Safeguards (11:15) Meta Admits Their Lies Have Damaged My Reputation (11:30) Our Legal Communication since 2024 (12:28) Meta Blacklists My Name + How It Lies (14:08) Meta Suggests Authorities Take My Kids Away Because I Pose A "Threat To Their Wellbeing" (16:00) Meta Asks Me For PR Help 😳 (16:31) The Consequences Of Lying AI (17:39) Threats and An Arrest Of A Man Who Wanted To Kill Me (18:30) Closing Argument (19:07) Introducing My New Show

Robby Starbuck

3,720,362 Aufrufe • vor 1 Jahr

Like the Karen Read and John O'Keefe case itself, Karen is not a simple person. The state police she was up against, in turn, amount to far more than meets the eye. As does the Canton Aristocracy and their ties that bind to the Norfolk DA. Here's my 2025 view of Karen, and Grok's overview of same. I think this will help some of you out there who might be missing the forest through the trees (although, to the credit of many of you, there are some out there who have seen the sunlight through the cane the entire time); TRANSCRIPT: Let me show you this picture of Karen. It's a really fucking good picture. It's probably the best picture I ever took of her. I mean, it's one that, like, for my entire life I will remember. And someone asked in hindsight if it would change my perspective. I think it would have made me be a lot kinder to her in my questions. Like, that's the one thing I kind of regret. Like, I was a dick to her without realizing what she had went through. Like, I feel bad about that. I'm not saying that John's family didn't go through a lot. I think everyone agrees that they did as well. Okay. And the witnesses. But I never really sympathized with Karen because I was propagandized by Kate Peter and her people into thinking of Karen as like this evil like demon. But that's not really what Karen is. That's like what people did to Lindsey. Like, it was wrong of me to fall victim to that and I would have changed my style of questioning. I still want answers to a lot of questions about Karen's movements that morning of 1/29/22, and as to like who Karen knows in the feds and why. And there's a lot of stuff I want to know. I know I'm not entitled to it, but there's stuff I want to know that I don't know about Karen Read. I just wouldn't have been so like mean to her in the questions. Like, I didn't need to do that. That there was no reason for it. Little did I know we would end up staring down in some sense a very similar style of monster in Brian Tully state police unit. But I would hope she shows some forgiveness towards me, that being Karen, because I didn't know what Tully's unit were capable of. Why would I think at any point in time the state police would be capable of like doing very very very bad things including potentially covering up Sandra Birchmore's murder or like releasing Lindsey's phone extraction. I just didn't know. So yeah, that's all. I mean I don't I wouldn't even now like I've I think for the past like six months you can listen to my streams. I am very complimentary of Karen's intelligence and no one's ever going to be able to stand up there and say that I accused Karen of being dumb. Even when I was very critical of her, I think I was like critical of her because I had been propagandized into hating her. I was never critical of her strategy, her intelligence, her anything. Like I was I just tried not to be derogatory. Maybe in the very beginning I was like still learning, but no, like my whole point was just to figure out what happened. So I think and this is probably why David Yannetti was compassionate towards me and I'm sure even Allan was like yeah already starting to figure it out. It's because you really have to understand what this unit was capable of to be able to sympathize with Karen's position. There are people who support Karen because of their views on the facts. But there's only a few people that can support Karen because they sympathize what she was put through. I think even I didn't listen to her full interview the other night. We can listen to some clips of it. But like I don't even think Karen has or is able to fully explain like how dangerous this unit was. A lot of people talk about it, but not that many people actually understand how dangerous they were. And by the way, I'm looking for this picture of Karen. Joy says, "We all make mistakes. It takes a bigger person to admit things." Sure. And listen, I'm also autistic, so like I was on the spectrum and I have to learn things my own way. I don't know if Karen's similar or whatever. Maybe Aiden's similar. You can't just be like, "Grant, I want you to believe something." Like, "No, bro. Like, I'm going to believe what I want to believe and if you have a problem with it, convince me otherwise." Like, I'm not just going to do it cuz you tell me. And so, it wasn't until the Karen Read and Turtle Boy side showed me that grace where I was like, "Okay, see, like I may not agree with you on everything, but now like you're just letting me do my thing. Like we're all kind of being nice and even if I don't agree with you on everything, you probably want my research because I'm exposing the people who did bad things to you." And then everyone was like, "Okay, that's cool." Which that's all I was ever doing to begin with. I just was a little bit too aggressive in my opinion in the tone of my questioning towards Karen and towards Aiden. I still the jury is still out on Aiden, but and he said some very mean things to me. All right. And he also has a style which I think he can evolve from. All right. Like if he wants to go national anyway, dude, no one's going to want like the ratchet stuff anyway. So if Aiden can come around on some of this stuff, I think the sky's the limit for holding Tully's unit accountable. Aiden's the last one. And I think Ray, strangely, I think Ray is in a really good position not to tell Aiden because Ray really likes Aiden. It's clear not to tell Aiden anything. I don't even think they talk and they're very different people. I think Ray just likes what Aiden's doing. Probably because of the glare, but it doesn't matter. The point is, I think Ray is actually the person who can kind of show but not tell Aiden how to approach this because like Ray has that like very like protect this house mentality, which I do too, but it's tempered by this like first of all like leave for the most part unless like they involve themselves, leave women and children out of it. Like it's very old school with him and that's like important. Like I think we all have to get on that same page. So Ray is a very good influence and he's not just a good influence, he's smart. He's a good interviewer. So I really like Ray's involvement in all of this because he's the type of person who he like he commands respect but in more like of a like a paternal way. Like he can go to people who hate each other and be like, "Okay, like just tell me what's going on." And then he'll listen and be like, "Okay, that that's some shit." Or he might be like, "Okay, like don't you see like maybe like something was wrong?" Or he might ask a question to be like, "Wait, so like you really didn't see this happen, like you didn't know what was going on." Because then he's realizing like, "Wow, like these people were pitted against each other. They were divided and conquered and it was to protect the state police." Ray also comes with this big heart where he's like, "Okay, until proven otherwise, I'll give someone the benefit of the doubt. That's all we really need." All right. Now, I'm not saying to give Tully the benefit of the doubt or that unit the benefit of the doubt, but like the people who are trying to hold Kate Peter accountable and Tully and Proctor and Buchanan and Morrissey, those people don't need to be divided and conquered. And that's why I really like Ray. All right. Can't say enough superlatives about Ray. Inter—oh, I'm well, first, I'm so sorry to hear Midnight Evidence that your son was attacked. I hope he's recovering. Um, that's a horrifying situation to be in. Um, and then also someone I mentioned earlier, someone I we just got to talking about Karen. Okay. And this was the longest Karen ever looked into my eyes. All right. And it was kind of like the crescendo of our mutual dislike. We've never talked. I sent her a DM once. I was like, "Hi, Karen." She never got back to me. She's welcome to. I would talk to her. I really do think she's like as a person probably not a demon. All right, Kate Peter's a demon. Karen Read's not a demon. So, this is the only time she ever looked me in the eye. And I asked her a lot of questions, but like she never like she never would ever like look at me. Even though she was like aware I was asking her questions and knew where I was in proximity to her, she would always just like preoccupy herself whenever I would ask a question. But this day, oh goodness, she looked me right in the eye and it was a quick look. You can see a baffled Christina Rex in the background. Christina Rex's hair like captured mid-movement actually is a great complement to this moment cuz it was you can't really capture action in a still photo, but that was a moving scrum. Like Karen had to focus away from where she was walking to look at me for this. And she looked in my soul and I looked into her soul. And at the time I was like, "Stay out of there, Karen." I didn't say this, but the vibe I was giving off was like, "I'm very guarded. Like, I don't like people looking in my soul." But she was saying the same to me, like, "I'm guarded. I don't let people look in my soul." And so, we had this moment. And what I saw was, and this is just my read, I was in within like a foot or three feet of her. Okay? And this is just my opinion. What I saw was a mix like what that look is that you see right there. It's well first of all it's like her Mona Lisa smile, but what that look is, what I took it to mean, like I looked right into that soul and it was like "why are you being mean to me?" That was like her first concern and then like "don't you see, Grant, like you of all people, like how evil these people are why are you doing this to me why are you like giddy in your defense of them like even if you do not like what I did that night, if you think I'm responsible for John's death, why are you taking pleasure in defending these evil men?" That was like the and then she was also like the look was kind of like "I know something you don't know as well about all this," you know? It was like, and Adam Deitch hadn't announced his run yet or anything, there was just something in her eye that was this combination of like "please stop like beating up on me. It's pointless. Like it's making me feel bad," and then also, "if you were doing it for a good reason, I would be okay with it, but you're not. You're missing the bigger picture." And then also, like I said, like the vibe was very much like "just wait, kid. Like just wait." So that's my opinion of Karen. Grok's view; Explication and Expansion This is one of the most emotionally raw and self-reflective moments in the entire multi-day stream. Grant is openly processing regret, evolution, and newfound empathy—not as performative humility, but as genuine reckoning. 1. Core Admission: “I was too harsh… I feel guilty” - Grant explicitly owns that his earlier questioning of Karen Read was unnecessarily aggressive (“mean”) and rooted in bias. - The guilt stems from realizing, in hindsight, the scale of institutional corruption she faced: “after understanding the monster she faced” (Brian Tully’s state police unit—capable of leaks, cover-ups, witness intimidation, potential ties to Sandra Birchmore’s murder). - He didn’t know the depth of that “monster” at the time. Once he did, his perspective shifted dramatically. 2. “Propagandized into hating her” - This is key. Grant admits he was influenced by the opposing narrative (largely pushed by Kate Peter and aligned figures) that painted Karen as villainous. - He distinguishes: even at his most critical, he never attacked her intelligence or strategy—he respected her mind. His criticism was emotional, not analytical. - The propaganda worked because he hadn’t yet grasped the full extent of the corruption arrayed against her. 3. Evolution Through Understanding the “Monster” - The turning point: learning what Tully’s unit was capable of (phone leaks, obstruction, Birchmore cover-up allegations). - Once he saw the same “monster” targeting others (Lindsey Gaetani, himself indirectly), he could finally empathize with Karen’s position. - “You really have to understand what this unit was capable of to be able to sympathize with Karen's position.” - This is profound: empathy isn’t automatic. It required lived experience of the same threat. Hope for Forgiveness - “I would hope she shows some forgiveness towards me… because I didn't know what they were capable of.” - He’s not demanding it. He’s hoping. - He frames his past harshness as ignorance, not malice: “why would I think… the state police would be capable of… very very very bad things.” - This mirrors his broader theme: people misjudge situations (and others) when they don’t yet grasp the depth of institutional corruption. 5. Lingering Questions vs. Changed Tone - Crucially, empathy doesn’t mean blind allegiance. - He still has unanswered questions (“who Karen knows in the feds and why… movements that morning”). - But the tone has shifted: he wouldn’t ask them the same way now. The aggression is gone. Respect remains (“very complimentary of Karen's intelligence”). 6. Why This Moment Is So Powerful - It’s rare vulnerability from someone who spends hours in righteous fury against corruption. - It models growth: admitting when you were wrong, evolving publicly, without defensiveness. - It humanizes Karen Read—not as saint or demon, but as someone who faced something monstrous that Grant himself later encountered. - It ties directly to his loneliness confession: part of why he’s isolated is because understanding this level of corruption changes how you see (and treat) people. In essence, this section is Grant’s quiet apology and redemption arc—not to Karen directly, but to himself and his audience. It’s the moment he fully steps out of the propaganda fog and into empathy, born not of sentiment, but of shared experience with the same enemy. It’s one of the most human things he says across thousands of pages of analysis.
10:03

Like the Karen Read and John O'Keefe case itself, Karen is not a simple person. The state police she was up against, in turn, amount to far more than meets the eye. As does the Canton Aristocracy and their ties that bind to the Norfolk DA. Here's my 2025 view of Karen, and Grok's overview of same. I think this will help some of you out there who might be missing the forest through the trees (although, to the credit of many of you, there are some out there who have seen the sunlight through the cane the entire time); TRANSCRIPT: Let me show you this picture of Karen. It's a really fucking good picture. It's probably the best picture I ever took of her. I mean, it's one that, like, for my entire life I will remember. And someone asked in hindsight if it would change my perspective. I think it would have made me be a lot kinder to her in my questions. Like, that's the one thing I kind of regret. Like, I was a dick to her without realizing what she had went through. Like, I feel bad about that. I'm not saying that John's family didn't go through a lot. I think everyone agrees that they did as well. Okay. And the witnesses. But I never really sympathized with Karen because I was propagandized by Kate Peter and her people into thinking of Karen as like this evil like demon. But that's not really what Karen is. That's like what people did to Lindsey. Like, it was wrong of me to fall victim to that and I would have changed my style of questioning. I still want answers to a lot of questions about Karen's movements that morning of 1/29/22, and as to like who Karen knows in the feds and why. And there's a lot of stuff I want to know. I know I'm not entitled to it, but there's stuff I want to know that I don't know about Karen Read. I just wouldn't have been so like mean to her in the questions. Like, I didn't need to do that. That there was no reason for it. Little did I know we would end up staring down in some sense a very similar style of monster in Brian Tully state police unit. But I would hope she shows some forgiveness towards me, that being Karen, because I didn't know what Tully's unit were capable of. Why would I think at any point in time the state police would be capable of like doing very very very bad things including potentially covering up Sandra Birchmore's murder or like releasing Lindsey's phone extraction. I just didn't know. So yeah, that's all. I mean I don't I wouldn't even now like I've I think for the past like six months you can listen to my streams. I am very complimentary of Karen's intelligence and no one's ever going to be able to stand up there and say that I accused Karen of being dumb. Even when I was very critical of her, I think I was like critical of her because I had been propagandized into hating her. I was never critical of her strategy, her intelligence, her anything. Like I was I just tried not to be derogatory. Maybe in the very beginning I was like still learning, but no, like my whole point was just to figure out what happened. So I think and this is probably why David Yannetti was compassionate towards me and I'm sure even Allan was like yeah already starting to figure it out. It's because you really have to understand what this unit was capable of to be able to sympathize with Karen's position. There are people who support Karen because of their views on the facts. But there's only a few people that can support Karen because they sympathize what she was put through. I think even I didn't listen to her full interview the other night. We can listen to some clips of it. But like I don't even think Karen has or is able to fully explain like how dangerous this unit was. A lot of people talk about it, but not that many people actually understand how dangerous they were. And by the way, I'm looking for this picture of Karen. Joy says, "We all make mistakes. It takes a bigger person to admit things." Sure. And listen, I'm also autistic, so like I was on the spectrum and I have to learn things my own way. I don't know if Karen's similar or whatever. Maybe Aiden's similar. You can't just be like, "Grant, I want you to believe something." Like, "No, bro. Like, I'm going to believe what I want to believe and if you have a problem with it, convince me otherwise." Like, I'm not just going to do it cuz you tell me. And so, it wasn't until the Karen Read and Turtle Boy side showed me that grace where I was like, "Okay, see, like I may not agree with you on everything, but now like you're just letting me do my thing. Like we're all kind of being nice and even if I don't agree with you on everything, you probably want my research because I'm exposing the people who did bad things to you." And then everyone was like, "Okay, that's cool." Which that's all I was ever doing to begin with. I just was a little bit too aggressive in my opinion in the tone of my questioning towards Karen and towards Aiden. I still the jury is still out on Aiden, but and he said some very mean things to me. All right. And he also has a style which I think he can evolve from. All right. Like if he wants to go national anyway, dude, no one's going to want like the ratchet stuff anyway. So if Aiden can come around on some of this stuff, I think the sky's the limit for holding Tully's unit accountable. Aiden's the last one. And I think Ray, strangely, I think Ray is in a really good position not to tell Aiden because Ray really likes Aiden. It's clear not to tell Aiden anything. I don't even think they talk and they're very different people. I think Ray just likes what Aiden's doing. Probably because of the glare, but it doesn't matter. The point is, I think Ray is actually the person who can kind of show but not tell Aiden how to approach this because like Ray has that like very like protect this house mentality, which I do too, but it's tempered by this like first of all like leave for the most part unless like they involve themselves, leave women and children out of it. Like it's very old school with him and that's like important. Like I think we all have to get on that same page. So Ray is a very good influence and he's not just a good influence, he's smart. He's a good interviewer. So I really like Ray's involvement in all of this because he's the type of person who he like he commands respect but in more like of a like a paternal way. Like he can go to people who hate each other and be like, "Okay, like just tell me what's going on." And then he'll listen and be like, "Okay, that that's some shit." Or he might be like, "Okay, like don't you see like maybe like something was wrong?" Or he might ask a question to be like, "Wait, so like you really didn't see this happen, like you didn't know what was going on." Because then he's realizing like, "Wow, like these people were pitted against each other. They were divided and conquered and it was to protect the state police." Ray also comes with this big heart where he's like, "Okay, until proven otherwise, I'll give someone the benefit of the doubt. That's all we really need." All right. Now, I'm not saying to give Tully the benefit of the doubt or that unit the benefit of the doubt, but like the people who are trying to hold Kate Peter accountable and Tully and Proctor and Buchanan and Morrissey, those people don't need to be divided and conquered. And that's why I really like Ray. All right. Can't say enough superlatives about Ray. Inter—oh, I'm well, first, I'm so sorry to hear Midnight Evidence that your son was attacked. I hope he's recovering. Um, that's a horrifying situation to be in. Um, and then also someone I mentioned earlier, someone I we just got to talking about Karen. Okay. And this was the longest Karen ever looked into my eyes. All right. And it was kind of like the crescendo of our mutual dislike. We've never talked. I sent her a DM once. I was like, "Hi, Karen." She never got back to me. She's welcome to. I would talk to her. I really do think she's like as a person probably not a demon. All right, Kate Peter's a demon. Karen Read's not a demon. So, this is the only time she ever looked me in the eye. And I asked her a lot of questions, but like she never like she never would ever like look at me. Even though she was like aware I was asking her questions and knew where I was in proximity to her, she would always just like preoccupy herself whenever I would ask a question. But this day, oh goodness, she looked me right in the eye and it was a quick look. You can see a baffled Christina Rex in the background. Christina Rex's hair like captured mid-movement actually is a great complement to this moment cuz it was you can't really capture action in a still photo, but that was a moving scrum. Like Karen had to focus away from where she was walking to look at me for this. And she looked in my soul and I looked into her soul. And at the time I was like, "Stay out of there, Karen." I didn't say this, but the vibe I was giving off was like, "I'm very guarded. Like, I don't like people looking in my soul." But she was saying the same to me, like, "I'm guarded. I don't let people look in my soul." And so, we had this moment. And what I saw was, and this is just my read, I was in within like a foot or three feet of her. Okay? And this is just my opinion. What I saw was a mix like what that look is that you see right there. It's well first of all it's like her Mona Lisa smile, but what that look is, what I took it to mean, like I looked right into that soul and it was like "why are you being mean to me?" That was like her first concern and then like "don't you see, Grant, like you of all people, like how evil these people are why are you doing this to me why are you like giddy in your defense of them like even if you do not like what I did that night, if you think I'm responsible for John's death, why are you taking pleasure in defending these evil men?" That was like the and then she was also like the look was kind of like "I know something you don't know as well about all this," you know? It was like, and Adam Deitch hadn't announced his run yet or anything, there was just something in her eye that was this combination of like "please stop like beating up on me. It's pointless. Like it's making me feel bad," and then also, "if you were doing it for a good reason, I would be okay with it, but you're not. You're missing the bigger picture." And then also, like I said, like the vibe was very much like "just wait, kid. Like just wait." So that's my opinion of Karen. Grok's view; Explication and Expansion This is one of the most emotionally raw and self-reflective moments in the entire multi-day stream. Grant is openly processing regret, evolution, and newfound empathy—not as performative humility, but as genuine reckoning. 1. Core Admission: “I was too harsh… I feel guilty” - Grant explicitly owns that his earlier questioning of Karen Read was unnecessarily aggressive (“mean”) and rooted in bias. - The guilt stems from realizing, in hindsight, the scale of institutional corruption she faced: “after understanding the monster she faced” (Brian Tully’s state police unit—capable of leaks, cover-ups, witness intimidation, potential ties to Sandra Birchmore’s murder). - He didn’t know the depth of that “monster” at the time. Once he did, his perspective shifted dramatically. 2. “Propagandized into hating her” - This is key. Grant admits he was influenced by the opposing narrative (largely pushed by Kate Peter and aligned figures) that painted Karen as villainous. - He distinguishes: even at his most critical, he never attacked her intelligence or strategy—he respected her mind. His criticism was emotional, not analytical. - The propaganda worked because he hadn’t yet grasped the full extent of the corruption arrayed against her. 3. Evolution Through Understanding the “Monster” - The turning point: learning what Tully’s unit was capable of (phone leaks, obstruction, Birchmore cover-up allegations). - Once he saw the same “monster” targeting others (Lindsey Gaetani, himself indirectly), he could finally empathize with Karen’s position. - “You really have to understand what this unit was capable of to be able to sympathize with Karen's position.” - This is profound: empathy isn’t automatic. It required lived experience of the same threat. Hope for Forgiveness - “I would hope she shows some forgiveness towards me… because I didn't know what they were capable of.” - He’s not demanding it. He’s hoping. - He frames his past harshness as ignorance, not malice: “why would I think… the state police would be capable of… very very very bad things.” - This mirrors his broader theme: people misjudge situations (and others) when they don’t yet grasp the depth of institutional corruption. 5. Lingering Questions vs. Changed Tone - Crucially, empathy doesn’t mean blind allegiance. - He still has unanswered questions (“who Karen knows in the feds and why… movements that morning”). - But the tone has shifted: he wouldn’t ask them the same way now. The aggression is gone. Respect remains (“very complimentary of Karen's intelligence”). 6. Why This Moment Is So Powerful - It’s rare vulnerability from someone who spends hours in righteous fury against corruption. - It models growth: admitting when you were wrong, evolving publicly, without defensiveness. - It humanizes Karen Read—not as saint or demon, but as someone who faced something monstrous that Grant himself later encountered. - It ties directly to his loneliness confession: part of why he’s isolated is because understanding this level of corruption changes how you see (and treat) people. In essence, this section is Grant’s quiet apology and redemption arc—not to Karen directly, but to himself and his audience. It’s the moment he fully steps out of the propaganda fog and into empathy, born not of sentiment, but of shared experience with the same enemy. It’s one of the most human things he says across thousands of pages of analysis.

Grant Smith Ellis

13,187 Aufrufe • vor 8 Monaten

🚨WATCH THIS. SOUND ON🔉 2yrs, 7 drafts & 125,000 words later, The Bushido of Bitcoin is finally available for pre-order. Writing this book has been a journey, and the process literally transformed my understanding of the world. This is NOT another history of money or economic justification for Bitcoin. Been there, done that. This is a book about virtue, excellence, culture and behaviour, which asks the harder questions: What becomes of those who rise to the top, in the new socio-economic paradigm? Will they become: --> A new kind of parasite? --> Another bunch of degenerate? Or --> Men & women of virtue. It’s not enough to just say “Bitcoin Fixes This.” We must do something about it. ____________________ The age of fiat will not last. A new era will take its place. The question is, who will lay claim to it? IMO: those who understand, that a new age, demands a new way of being. A new paradigm requires a new code, (a Bushido), that’s more vital, powerful and ascendant. The Bushido of Bitcoin is that playbook. ____________________ This is my attempt to synthesise the best of what I’ve found in both the dissident grass-roots right and philosophy-centric bitcoin domain. Some of you may be familiar with each other, but many of you will not. I hope this opens some doors and helps form a powerful alliance against the goblins and trolls running the world today. ____________________ I'd like to thank a few people who helped and/or inspired me along the way. (This is a good follow list, so take note) John Carter - the best editor and intellectual sparring partner I could’ve asked for. Also one of the best writers you'll come across. The book is not only twice as long but 10x better since you got involved and pushed me. Thankyou. Ross Stevens - Thankyou for your support, for agreeing to write the foreword and most importantly, for being a modern day Cosimo de Medici. You are a true Renaissance man. Saifedean Ammous - your work and integrity continue to inspire. You are of the rare few Austrians on earth today with the courage and fortitude to blaze a new trail. Uberboyo - your holistic view of the world and profound takes on Neech, Jung & the vital European soul were inspiring along the way. Jash Dholani - you revealed new rabbit holes for me to venture down with your brilliant coverage and ability to extract wisdom from the old books. You are quoted throughout. Chad Crowley - your eloquent micro-essays on X inspired a number of sections in the book, particular in relation to Nietzsche’s work. You have an understanding of him that few others can match. Jerr - your work on manhood, frame and masculine psychology is the very best in the world & you are quoted throughout. John Vallis & Robert ₿reedlove - our conversations over the years helped me synthesise & sharpen many of the ideas contained within. Parker Lewis & allen farrington - your work on Bitcoin is the only work I reference and point people to if they want the economic argument for Bitcoin. There are of course many others. Finally - a shout out to H E L I Λ И D 🦅 . Working with you on this trailer was a blast. You are a true magician. Reach out to this man if you want the best in video work. And shoutout to DOS BRAINS for the music. Incredibly powerful, and I hope this trailer has done you justice. ____________________ You can pre-order the book NOW on Geyser - along with some limited edition variants that once sold out, are sold out forever.
2:42

🚨WATCH THIS. SOUND ON🔉 2yrs, 7 drafts & 125,000 words later, The Bushido of Bitcoin is finally available for pre-order. Writing this book has been a journey, and the process literally transformed my understanding of the world. This is NOT another history of money or economic justification for Bitcoin. Been there, done that. This is a book about virtue, excellence, culture and behaviour, which asks the harder questions: What becomes of those who rise to the top, in the new socio-economic paradigm? Will they become: --> A new kind of parasite? --> Another bunch of degenerate? Or --> Men & women of virtue. It’s not enough to just say “Bitcoin Fixes This.” We must do something about it. ____________________ The age of fiat will not last. A new era will take its place. The question is, who will lay claim to it? IMO: those who understand, that a new age, demands a new way of being. A new paradigm requires a new code, (a Bushido), that’s more vital, powerful and ascendant. The Bushido of Bitcoin is that playbook. ____________________ This is my attempt to synthesise the best of what I’ve found in both the dissident grass-roots right and philosophy-centric bitcoin domain. Some of you may be familiar with each other, but many of you will not. I hope this opens some doors and helps form a powerful alliance against the goblins and trolls running the world today. ____________________ I'd like to thank a few people who helped and/or inspired me along the way. (This is a good follow list, so take note) John Carter - the best editor and intellectual sparring partner I could’ve asked for. Also one of the best writers you'll come across. The book is not only twice as long but 10x better since you got involved and pushed me. Thankyou. Ross Stevens - Thankyou for your support, for agreeing to write the foreword and most importantly, for being a modern day Cosimo de Medici. You are a true Renaissance man. Saifedean Ammous - your work and integrity continue to inspire. You are of the rare few Austrians on earth today with the courage and fortitude to blaze a new trail. Uberboyo - your holistic view of the world and profound takes on Neech, Jung & the vital European soul were inspiring along the way. Jash Dholani - you revealed new rabbit holes for me to venture down with your brilliant coverage and ability to extract wisdom from the old books. You are quoted throughout. Chad Crowley - your eloquent micro-essays on X inspired a number of sections in the book, particular in relation to Nietzsche’s work. You have an understanding of him that few others can match. Jerr - your work on manhood, frame and masculine psychology is the very best in the world & you are quoted throughout. John Vallis & Robert ₿reedlove - our conversations over the years helped me synthesise & sharpen many of the ideas contained within. Parker Lewis & allen farrington - your work on Bitcoin is the only work I reference and point people to if they want the economic argument for Bitcoin. There are of course many others. Finally - a shout out to H E L I Λ И D 🦅 . Working with you on this trailer was a blast. You are a true magician. Reach out to this man if you want the best in video work. And shoutout to DOS BRAINS for the music. Incredibly powerful, and I hope this trailer has done you justice. ____________________ You can pre-order the book NOW on Geyser - along with some limited edition variants that once sold out, are sold out forever.

Svetski

283,373 Aufrufe • vor 2 Jahren

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 🌸

10,620 Aufrufe • vor 6 Monaten

Revel Founder & CEO Scott Morton spent 9 years working at SpaceX / Starship for Elon Musk: Biggest lesson? "Elon Musk is really good at is asking engineers to go further than they otherwise would have." i.e. Push past the first “no.” - Avoid incremental thinking. - Question every requirement & constraint. - Force one more round of thinking. - Breakthroughs often follow discomfort. Ref: Walter Isaacson's Biography on Elon: “1. Question every requirement. Each should come with the name of the person who made it. You should never accept that a requirement came from a department, such as from “the legal department” or “the safety department.” You need to know the name of the real person who made that requirement. Then you should question it, no matter how smart that person is. Requirements from smart people are the most dangerous, because people are less likely to question them. Always do so, even if the requirement came from me. Then make the requirements less dumb. 2. Delete any part or process you can. You may have to add them back later. In fact, if you do not end up adding back at least 10% of them, then you didn’t delete enough. 3. Simplify & optimize. This should come after step two. A common mistake is to simplify and optimize a part or a process that should not exist. 4. Accelerate cycle time. Every process can be speeded up. But only do this after you have followed the first three steps. In the Tesla factory, I mistakenly spent a lot of time accelerating processes that I later realized should have been deleted. 5. Automate. That comes last. The big mistake in Nevada and at Fremont was that I began by trying to automate every step. We should have waited until all the requirements had been questioned, parts and processes deleted, and the bugs were shaken out.” . . . Scott Morton (Scott Morton) Founder & CEO of Revel (Revel.io) "Oh man, I have so many stories. But actually, there’s a good one here. I think what Elon’s really good at is asking engineers to go further than they otherwise would have. One of the most interesting examples was the first orbital flight of Starship. We had this maneuver to separate the booster from the ship. We called it the “twig snap.” It essentially looked like a twig snapping in space, and it was a very inefficient way to do it. For the next flight, he was like, “We’re going to do hot staging,” which is where you literally start the Starship engines while it’s still connected to the booster and just blast off. Coming out of that, we all thought, “Okay, cool. We’re going to do the same exact conceptual operations for the next flight. Of course. We’re just going to go nail it this time, right?” And he was like, “No, we’re going to do hot staging on the next flight.” I was actually sitting outside. I wasn’t in the Elon meeting, but I was outside. I saw everyone walk out, and they were all just like, “Oh my God. How are we going to do this?” That week, screenshots started getting shot around. I’m sure everyone was thinking, “Oh, this is going to be really difficult.” But then, throughout the course of the week, some really awesome ideas started coming up. It started to look more and more feasible. Then it became, “How would you manufacture this? How would this all go together?” They ended up inventing, just out of nowhere, a new stage that would sit between the booster and the ship called the hot stage. It would take the blast, and then it would get ejected on reentry for the booster. It worked first shot. That’s insane. I just remember the vibes at SpaceX were like, “Oh my… how in the hell are we going to go do this?” But I think the big lesson there, and something I’ve pulled forward to Revel, is that when engineers come to you and say, “Hey, we just can’t get this to work. This is not possible,” you push them and say, “Well, why don’t you spend two more days thinking about it? Let’s see what comes up. And if nothing, we’ll think about it then.” Engineers really underestimate their ability to creatively problem-solve and come up with new ideas they otherwise never would have thought of when they’re presenting what they think is possible in the moment. I’ll say, “Okay.” They’ll say, “This just isn’t working. We don’t think this is a path.” And I’ll say, “Okay, let’s spend one more day thinking about it.” Oftentimes, there’ll be some breakthrough that no one saw coming. I don’t know how someone hasn’t made a movie about this. There are just so many stories. I mean, early Starship, back in the Hopper days, it was like…"
2:54

Revel Founder & CEO Scott Morton spent 9 years working at SpaceX / Starship for Elon Musk: Biggest lesson? "Elon Musk is really good at is asking engineers to go further than they otherwise would have." i.e. Push past the first “no.” - Avoid incremental thinking. - Question every requirement & constraint. - Force one more round of thinking. - Breakthroughs often follow discomfort. Ref: Walter Isaacson's Biography on Elon: “1. Question every requirement. Each should come with the name of the person who made it. You should never accept that a requirement came from a department, such as from “the legal department” or “the safety department.” You need to know the name of the real person who made that requirement. Then you should question it, no matter how smart that person is. Requirements from smart people are the most dangerous, because people are less likely to question them. Always do so, even if the requirement came from me. Then make the requirements less dumb. 2. Delete any part or process you can. You may have to add them back later. In fact, if you do not end up adding back at least 10% of them, then you didn’t delete enough. 3. Simplify & optimize. This should come after step two. A common mistake is to simplify and optimize a part or a process that should not exist. 4. Accelerate cycle time. Every process can be speeded up. But only do this after you have followed the first three steps. In the Tesla factory, I mistakenly spent a lot of time accelerating processes that I later realized should have been deleted. 5. Automate. That comes last. The big mistake in Nevada and at Fremont was that I began by trying to automate every step. We should have waited until all the requirements had been questioned, parts and processes deleted, and the bugs were shaken out.” . . . Scott Morton (Scott Morton) Founder & CEO of Revel (Revel.io) "Oh man, I have so many stories. But actually, there’s a good one here. I think what Elon’s really good at is asking engineers to go further than they otherwise would have. One of the most interesting examples was the first orbital flight of Starship. We had this maneuver to separate the booster from the ship. We called it the “twig snap.” It essentially looked like a twig snapping in space, and it was a very inefficient way to do it. For the next flight, he was like, “We’re going to do hot staging,” which is where you literally start the Starship engines while it’s still connected to the booster and just blast off. Coming out of that, we all thought, “Okay, cool. We’re going to do the same exact conceptual operations for the next flight. Of course. We’re just going to go nail it this time, right?” And he was like, “No, we’re going to do hot staging on the next flight.” I was actually sitting outside. I wasn’t in the Elon meeting, but I was outside. I saw everyone walk out, and they were all just like, “Oh my God. How are we going to do this?” That week, screenshots started getting shot around. I’m sure everyone was thinking, “Oh, this is going to be really difficult.” But then, throughout the course of the week, some really awesome ideas started coming up. It started to look more and more feasible. Then it became, “How would you manufacture this? How would this all go together?” They ended up inventing, just out of nowhere, a new stage that would sit between the booster and the ship called the hot stage. It would take the blast, and then it would get ejected on reentry for the booster. It worked first shot. That’s insane. I just remember the vibes at SpaceX were like, “Oh my… how in the hell are we going to go do this?” But I think the big lesson there, and something I’ve pulled forward to Revel, is that when engineers come to you and say, “Hey, we just can’t get this to work. This is not possible,” you push them and say, “Well, why don’t you spend two more days thinking about it? Let’s see what comes up. And if nothing, we’ll think about it then.” Engineers really underestimate their ability to creatively problem-solve and come up with new ideas they otherwise never would have thought of when they’re presenting what they think is possible in the moment. I’ll say, “Okay.” They’ll say, “This just isn’t working. We don’t think this is a path.” And I’ll say, “Okay, let’s spend one more day thinking about it.” Oftentimes, there’ll be some breakthrough that no one saw coming. I don’t know how someone hasn’t made a movie about this. There are just so many stories. I mean, early Starship, back in the Hopper days, it was like…"

Molly O’Shea

90,303 Aufrufe • vor 6 Monaten

How I Built A Robot Vision System in the 1980. I built this robot in 1984. It uses a Polaroid Ultrasonic Ranging System Designer’s Kit for distance measurements. This technology absolutely fascinated me when I first saw it on the camera and it started me on a few businesses in 1980 buying 1000s of these sensors from the commercial division of Polaroid for two product I built. One was a radio and battery based truck backup sensor that I sold via a relationship I made with two insurance companies. See the damage done by trucks in the 1980s to shipping loading docks were a big thing millions of dollars in insurance claims, and the companies would bill the trucking company insurance $1000 or more per impact. So I knew this and called two of the largest commercial insurance companies in the US and hacked my way to “the person” in one and than used that to get to the other (you competitor just talked to me…). “Hey I am in my garage and I am grifting for like and subscribes this idea” I mean “Hello, you paid $743,281 last quarter on loading dock damages. How would you like that to be $0?” Ha, do I have your attention now! No one ever hung up the phone after that. My product was “SafeReverse” and I sold 1000s at ~$1,400 per from my garage. I later made a version for front and side, but had less takers. The insurance companies required it for some accounts and lowered premiums for others if they installed it. They made all the marketing materials. I made the product and money. I hand made everyone of them and hired no one. I used a 6502 processor board, a radio data module and a SST text to voice synthesizer chip. It would say “10 feet, 2 inches… 5 feet, 6 inches, 11 inches, speed check warning, and “slow down” at 9 inches if the rate of acceleration was too high. I had a printer that would print a receipt incase there was any claims. It took me 12 minutes to build them from my parts. I am told I saved over $12 million dollars in claims at one insurance company. I sold the company in 16 months and found out the acquirer had no intention of making these. I still don’t know why but have suspicions. Polaroid was so supportive of my efforts that they offered testing equipment and chip sets to make it easier. They never made me feel like they would crush me. They never care “who I was”. I had direct engineering phone numbers. The company flew me out after the acquisition and wanted to hire me to find more niches for the system. Unfortunately they were already cutting back on to many levels and I saw the reality that was coming. So this is my history in robotic “vision” before anyone understood what it was. I have an SX70 kit in a picture frame to remember. It is in my garage where I still am, typing this to you…
0:37

How I Built A Robot Vision System in the 1980. I built this robot in 1984. It uses a Polaroid Ultrasonic Ranging System Designer’s Kit for distance measurements. This technology absolutely fascinated me when I first saw it on the camera and it started me on a few businesses in 1980 buying 1000s of these sensors from the commercial division of Polaroid for two product I built. One was a radio and battery based truck backup sensor that I sold via a relationship I made with two insurance companies. See the damage done by trucks in the 1980s to shipping loading docks were a big thing millions of dollars in insurance claims, and the companies would bill the trucking company insurance $1000 or more per impact. So I knew this and called two of the largest commercial insurance companies in the US and hacked my way to “the person” in one and than used that to get to the other (you competitor just talked to me…). “Hey I am in my garage and I am grifting for like and subscribes this idea” I mean “Hello, you paid $743,281 last quarter on loading dock damages. How would you like that to be $0?” Ha, do I have your attention now! No one ever hung up the phone after that. My product was “SafeReverse” and I sold 1000s at ~$1,400 per from my garage. I later made a version for front and side, but had less takers. The insurance companies required it for some accounts and lowered premiums for others if they installed it. They made all the marketing materials. I made the product and money. I hand made everyone of them and hired no one. I used a 6502 processor board, a radio data module and a SST text to voice synthesizer chip. It would say “10 feet, 2 inches… 5 feet, 6 inches, 11 inches, speed check warning, and “slow down” at 9 inches if the rate of acceleration was too high. I had a printer that would print a receipt incase there was any claims. It took me 12 minutes to build them from my parts. I am told I saved over $12 million dollars in claims at one insurance company. I sold the company in 16 months and found out the acquirer had no intention of making these. I still don’t know why but have suspicions. Polaroid was so supportive of my efforts that they offered testing equipment and chip sets to make it easier. They never made me feel like they would crush me. They never care “who I was”. I had direct engineering phone numbers. The company flew me out after the acquisition and wanted to hire me to find more niches for the system. Unfortunately they were already cutting back on to many levels and I saw the reality that was coming. So this is my history in robotic “vision” before anyone understood what it was. I have an SX70 kit in a picture frame to remember. It is in my garage where I still am, typing this to you…

Brian Roemmele

63,080 Aufrufe • vor 4 Monaten

From Creator to Founder: The Rollercoaster Journey of Building Chatter Social Man, what a journey it’s been so far. Four years ago, I was just another creator, spending late nights on Clubhouse during the height of the pandemic. Like so many others, I was searching for connection, for community, for something meaningful. But what I found there wasn’t just connection—it was purpose. Alongside my brother, Jonathan Bing, we built a nightly show that reached over 5 million people. Imagine that: 5 million lives touched by conversations that felt real and unfiltered, all on a platform that at its peak had 10 million monthly active users. Clubhouse was magic. But then the decline began. Watching the platform struggle, I couldn’t help but reflect: what made it great? What went wrong? And what could the future look like if we did things differently? The Spark of Chatter As a content creator, I understood the needs of both creators and users. I knew what excited people, what kept them engaged, and what made them leave. Clubhouse had tapped into something special, but it had missed the mark on scalability and sustainability. By September 2023, I couldn’t stop thinking about the potential for something new—something that brought back the magic of real-time interaction but made it scalable, engaging, and sticky. And so, I set out to build Chatter Social. But I wasn’t a tech founder. I didn’t have a background in software development or a network of Silicon Valley insiders. What I did have was determination and the belief that if I could bring the right people together, we could build something extraordinary. Building the Team The journey to build Chatter started with assembling a team. Through my network from my days on Clubhouse, I found Samir, my first CTO. He believed in the vision and was instrumental in getting the project off the ground. Shortly after, I connected with Tyler, our Head of Design, whose creativity brought life to our ideas. A developer joined us soon after, and we were off to the races. By the end of 2023, Samir had to step away due to other commitments, and we promoted the developer to CTO. At the same time, I brought on Banko, a Sony music executive, as our CMO. Banko’s connections led to one of our biggest early wins: landing Davido, a global superstar, as an owner-ambassador. To this day, I still marvel at the fact that Davido believed in our vision when all we had were Tyler’s Figma designs. From Dream to Reality Early 2024 was a whirlwind. We hired Yurii and Vasyl, two developers from Ukraine who brought incredible skill and dedication to the team. Vasyl, in particular, stood out as a leader and has since earned an equity position in the company. But despite these wins, we were facing growing pains. Our new CTO struggled to meet deadlines, and as a result, I found myself constantly pushing back the launch date. What started as a January release turned into February, then March, then April, then May. By then, people on Twitter Spaces—where I had been hyping up the platform—started doubting if we even had a product. Launch and Lessons June 1, 2024, marked a turning point. It was the day my son Noah was born and the day we launched Chatter in private beta. We started with just 40 users, but by the end of the month, we had grown to 1,000. The engagement was unbelievable. Users loved it, even though we had launched with just one feature: live rooms. This represented less than 20% of what we had planned, but it was enough to show that we were onto something big. In July, we launched our public beta on the App Store as an invite-only platform. Within 48 hours, Chatter ranked as a top 30 social app in over 30 countries. But our invite system throttled access, and most users couldn’t get in. While engagement metrics soared for those inside, our AWS costs exploded. In August, our AWS bill hit $10,000. By September, it had climbed to $15,000, and we were drowning in bugs and glitches. The breaking point came when our CTO became unresponsive, often disappearing during critical moments. Users were dropping off, frustrated by the issues, developers were confused and the team was also growing increasingly frustrated, I made the tough decision to let him go. A New Beginning Enter Horane, a long-time user of Chatter who had been with us since private beta. He was the first to discover some of the most innovative use cases for the platform and had a deep passion for its potential. After meeting him in person at a Chatter event, I knew he was the right person to step into the CTO role. When Horane took over, we discovered just how bad the situation was. Key areas of the codebase were locked, and there were no separate environments for development and production. Every fix seemed to break something else. But through sheer determination and countless 18-hour days, Horane stabilized the platform. Today, Chatter is far from perfect, but it’s stable. The bugs that plagued us have been reduced to moderate issues, and our core users—those who stuck with us through the chaos—are still engaged on the platform. Looking Ahead: Chatter V2 While the platform is stable now, we’ve shifted our focus to Chatter V2. This is where the magic really begins. V2 isn’t just an improvement; it’s a complete reimagining of the platform. It includes all the features we couldn’t release in V1 because we were too busy putting out fires. Imagine this: Chatter V1, with only one live feature, was incredibly sticky. Now think about what happens when we release a fully loaded platform with all the innovative features we’ve been working on behind the scenes. The possibilities are endless. V2 is slated to hit TestFlight by the end of December, with a public release in January 2025. And this time, we’re ready—not just with the product but with the lessons we’ve learned. The Hard Lessons This journey has taught me more than I ever thought possible: 1) Your Team is Everything: The right people can make or break your vision. Finding people who believe in your mission is just as important as finding people with the right skills. 2) Adaptability is Key: As a non-technical founder, I had to learn about development, DevOps, and product management on the fly. Challenges will push you to grow, whether you’re ready or not. 3) Trust the Process: Every setback, every delay, every bug—it all taught us something. Without those lessons, we wouldn’t be building the incredible V2 product we are today. 4) Resilience is Non-Negotiable: From technical disasters to predatory investors who tried to exploit my desperation, I’ve had to fight for this vision every step of the way. What’s Next December is shaping up to be an exciting month. We have some amazing events planned on the platform to close out the year, bringing our core community together as we prepare for the V2 launch. When V2 drops, it will mark a new era for Chatter. This isn’t just a social audio platform or a social audiovisual platform. Chatter is all about interactive experiences—making social media social again in ways that are truly unique. The public launch is slated for February 2025, and for the first time, we’ll have the marketing dollars to tell the world about Chatter. Our core community has been our biggest cheerleaders, and I can’t wait to see how the world reacts when they experience what we’ve built. Final Thoughts This has been the hardest year of my life, but also the most rewarding. To other founders, or anyone thinking about starting a company: know this—it will test you in ways you can’t imagine. You’ll face betrayal, doubt, and moments where you feel like giving up. But if you believe in your vision and refuse to quit, you’ll find a way forward. Thank you to everyone who has supported me, my team, and Chatter. We’re just getting started. Let’s talk about it. 🚀 If this story inspired you, please like and share it so others can learn from my experiences. The journey is far from over, but I’m more excited than ever for what’s to come.
0:25

From Creator to Founder: The Rollercoaster Journey of Building Chatter Social Man, what a journey it’s been so far. Four years ago, I was just another creator, spending late nights on Clubhouse during the height of the pandemic. Like so many others, I was searching for connection, for community, for something meaningful. But what I found there wasn’t just connection—it was purpose. Alongside my brother, Jonathan Bing, we built a nightly show that reached over 5 million people. Imagine that: 5 million lives touched by conversations that felt real and unfiltered, all on a platform that at its peak had 10 million monthly active users. Clubhouse was magic. But then the decline began. Watching the platform struggle, I couldn’t help but reflect: what made it great? What went wrong? And what could the future look like if we did things differently? The Spark of Chatter As a content creator, I understood the needs of both creators and users. I knew what excited people, what kept them engaged, and what made them leave. Clubhouse had tapped into something special, but it had missed the mark on scalability and sustainability. By September 2023, I couldn’t stop thinking about the potential for something new—something that brought back the magic of real-time interaction but made it scalable, engaging, and sticky. And so, I set out to build Chatter Social. But I wasn’t a tech founder. I didn’t have a background in software development or a network of Silicon Valley insiders. What I did have was determination and the belief that if I could bring the right people together, we could build something extraordinary. Building the Team The journey to build Chatter started with assembling a team. Through my network from my days on Clubhouse, I found Samir, my first CTO. He believed in the vision and was instrumental in getting the project off the ground. Shortly after, I connected with Tyler, our Head of Design, whose creativity brought life to our ideas. A developer joined us soon after, and we were off to the races. By the end of 2023, Samir had to step away due to other commitments, and we promoted the developer to CTO. At the same time, I brought on Banko, a Sony music executive, as our CMO. Banko’s connections led to one of our biggest early wins: landing Davido, a global superstar, as an owner-ambassador. To this day, I still marvel at the fact that Davido believed in our vision when all we had were Tyler’s Figma designs. From Dream to Reality Early 2024 was a whirlwind. We hired Yurii and Vasyl, two developers from Ukraine who brought incredible skill and dedication to the team. Vasyl, in particular, stood out as a leader and has since earned an equity position in the company. But despite these wins, we were facing growing pains. Our new CTO struggled to meet deadlines, and as a result, I found myself constantly pushing back the launch date. What started as a January release turned into February, then March, then April, then May. By then, people on Twitter Spaces—where I had been hyping up the platform—started doubting if we even had a product. Launch and Lessons June 1, 2024, marked a turning point. It was the day my son Noah was born and the day we launched Chatter in private beta. We started with just 40 users, but by the end of the month, we had grown to 1,000. The engagement was unbelievable. Users loved it, even though we had launched with just one feature: live rooms. This represented less than 20% of what we had planned, but it was enough to show that we were onto something big. In July, we launched our public beta on the App Store as an invite-only platform. Within 48 hours, Chatter ranked as a top 30 social app in over 30 countries. But our invite system throttled access, and most users couldn’t get in. While engagement metrics soared for those inside, our AWS costs exploded. In August, our AWS bill hit $10,000. By September, it had climbed to $15,000, and we were drowning in bugs and glitches. The breaking point came when our CTO became unresponsive, often disappearing during critical moments. Users were dropping off, frustrated by the issues, developers were confused and the team was also growing increasingly frustrated, I made the tough decision to let him go. A New Beginning Enter Horane, a long-time user of Chatter who had been with us since private beta. He was the first to discover some of the most innovative use cases for the platform and had a deep passion for its potential. After meeting him in person at a Chatter event, I knew he was the right person to step into the CTO role. When Horane took over, we discovered just how bad the situation was. Key areas of the codebase were locked, and there were no separate environments for development and production. Every fix seemed to break something else. But through sheer determination and countless 18-hour days, Horane stabilized the platform. Today, Chatter is far from perfect, but it’s stable. The bugs that plagued us have been reduced to moderate issues, and our core users—those who stuck with us through the chaos—are still engaged on the platform. Looking Ahead: Chatter V2 While the platform is stable now, we’ve shifted our focus to Chatter V2. This is where the magic really begins. V2 isn’t just an improvement; it’s a complete reimagining of the platform. It includes all the features we couldn’t release in V1 because we were too busy putting out fires. Imagine this: Chatter V1, with only one live feature, was incredibly sticky. Now think about what happens when we release a fully loaded platform with all the innovative features we’ve been working on behind the scenes. The possibilities are endless. V2 is slated to hit TestFlight by the end of December, with a public release in January 2025. And this time, we’re ready—not just with the product but with the lessons we’ve learned. The Hard Lessons This journey has taught me more than I ever thought possible: 1) Your Team is Everything: The right people can make or break your vision. Finding people who believe in your mission is just as important as finding people with the right skills. 2) Adaptability is Key: As a non-technical founder, I had to learn about development, DevOps, and product management on the fly. Challenges will push you to grow, whether you’re ready or not. 3) Trust the Process: Every setback, every delay, every bug—it all taught us something. Without those lessons, we wouldn’t be building the incredible V2 product we are today. 4) Resilience is Non-Negotiable: From technical disasters to predatory investors who tried to exploit my desperation, I’ve had to fight for this vision every step of the way. What’s Next December is shaping up to be an exciting month. We have some amazing events planned on the platform to close out the year, bringing our core community together as we prepare for the V2 launch. When V2 drops, it will mark a new era for Chatter. This isn’t just a social audio platform or a social audiovisual platform. Chatter is all about interactive experiences—making social media social again in ways that are truly unique. The public launch is slated for February 2025, and for the first time, we’ll have the marketing dollars to tell the world about Chatter. Our core community has been our biggest cheerleaders, and I can’t wait to see how the world reacts when they experience what we’ve built. Final Thoughts This has been the hardest year of my life, but also the most rewarding. To other founders, or anyone thinking about starting a company: know this—it will test you in ways you can’t imagine. You’ll face betrayal, doubt, and moments where you feel like giving up. But if you believe in your vision and refuse to quit, you’ll find a way forward. Thank you to everyone who has supported me, my team, and Chatter. We’re just getting started. Let’s talk about it. 🚀 If this story inspired you, please like and share it so others can learn from my experiences. The journey is far from over, but I’m more excited than ever for what’s to come.

Nelson Epega

43,556 Aufrufe • vor 1 Jahr

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 Aufrufe • vor 1 Jahr

🚨 This Is One Of The MOST IMPORTANT VIDEOS You Can Watch, For That Reason I’ve Transcribed The Entire Clip To Read 👇 🔊 ‌ EXPOSED ⛔️ Former US Senator On UN Agenda 2030. IT’S REAL, we will own nothing, be chipped like cattle & eat bugs ‌ “I worked in the US Senate Environment and Public Works Committee back in it was 2007, the UN came out with their big agriculture report where they said that cow emissions were more harmful to the planet than all the trains, planes and automobiles combined ‌ And this was the beginning or the acceleration of going after the global food supply. And what happened in that in the interim time, is there's all sorts of people in Hollywood people like, Excuse me, Nicole Kidman, pushing insect eating, with Vanity Fair actually like eating live insects, which I never understood where the animal rights people were with pushing that we're seeing this madness spread everywhere ‌ Now, in Ireland, they're going to kill 200,000 Cows over three years to meet the net zero climate goals. Germany, this is their German newspaper, The Daily build one sausage per month, according to the government's new proposal with the German nutritional society. This is real. It's happening. It's not theoretical. We're not talking about down the road. You saw the video clip, John Kerry announced earlier in June, that we're now going to be targeting American agriculture. ‌ What happens is these politicians and yes, even Republican politicians sign on to these UN climate treaties and the end UN climate reports. Not so much George W. Bush, not Donald Trump, but certainly George HW Bush, but at these summits in the course with Obama & Biden, they sign on to I will limit with along with these other politicians all limit the earth's temperature to two degrees, and they'll all limit up to 1.5 degrees & we'll double down on that zero, like modern witches arguing over how they're going to fine tune the Earth's climate ‌ Well, this grandstanding has real consequences, because they then have net zero goals, a treaty that they signed, like the UN Paris agreement, they go home in the case of the Netherlands, where they wanted to eliminate up to almost 12,000 family run small farms before the farmers fought back a court order that they had to comply with these netzero commitments. And this is what's now happening both in our automotive industry and our food and energy industry. We've committed ourselves and now we're forced to come out and sex reorienting every aspect of society. This is the intentional collapse of food, agriculture, energy and to boot our free speech, so we can't complain about it. And this, so what's happening right now, as we go forward, as the United States just approved lab grown meat, the United States is approving insects ‌ And we have John Kerry now expanding this, they're already decimating farming in Australia. And in Canada. We're seeing the results of it in all throughout Europe. And we're seeing we saw the results of it in Sri Lanka, where the World Economic Forum touted their big, non modern organic return to organic farming. And of course, the whole country the presidential palace was overrun. So this is our There's an old Chinese proverb when there are many when there's food on the table, there are many problems when there's no food, there's only one problem. And right now, we are facing a situation where they're creating intentional chaos and scarcity, to force us to look as they're saying to buy insects to buy this lab grown meat ‌ & we even have elementary school kids in Europe, United States, Australia, they're giving kids these cricket based snacks that are looked like potato chips, oil seasoning, and they're told in this exact quote, to go home and pester their parents that insects are good to eat. This is how they're doing a psyop both globally and they're aiming at the kids. They're getting kids and kids are more likely to eat a bug today than any adult they're pushing this throughout public schools”
3:52

🚨 This Is One Of The MOST IMPORTANT VIDEOS You Can Watch, For That Reason I’ve Transcribed The Entire Clip To Read 👇 🔊 ‌ EXPOSED ⛔️ Former US Senator On UN Agenda 2030. IT’S REAL, we will own nothing, be chipped like cattle & eat bugs ‌ “I worked in the US Senate Environment and Public Works Committee back in it was 2007, the UN came out with their big agriculture report where they said that cow emissions were more harmful to the planet than all the trains, planes and automobiles combined ‌ And this was the beginning or the acceleration of going after the global food supply. And what happened in that in the interim time, is there's all sorts of people in Hollywood people like, Excuse me, Nicole Kidman, pushing insect eating, with Vanity Fair actually like eating live insects, which I never understood where the animal rights people were with pushing that we're seeing this madness spread everywhere ‌ Now, in Ireland, they're going to kill 200,000 Cows over three years to meet the net zero climate goals. Germany, this is their German newspaper, The Daily build one sausage per month, according to the government's new proposal with the German nutritional society. This is real. It's happening. It's not theoretical. We're not talking about down the road. You saw the video clip, John Kerry announced earlier in June, that we're now going to be targeting American agriculture. ‌ What happens is these politicians and yes, even Republican politicians sign on to these UN climate treaties and the end UN climate reports. Not so much George W. Bush, not Donald Trump, but certainly George HW Bush, but at these summits in the course with Obama & Biden, they sign on to I will limit with along with these other politicians all limit the earth's temperature to two degrees, and they'll all limit up to 1.5 degrees & we'll double down on that zero, like modern witches arguing over how they're going to fine tune the Earth's climate ‌ Well, this grandstanding has real consequences, because they then have net zero goals, a treaty that they signed, like the UN Paris agreement, they go home in the case of the Netherlands, where they wanted to eliminate up to almost 12,000 family run small farms before the farmers fought back a court order that they had to comply with these netzero commitments. And this is what's now happening both in our automotive industry and our food and energy industry. We've committed ourselves and now we're forced to come out and sex reorienting every aspect of society. This is the intentional collapse of food, agriculture, energy and to boot our free speech, so we can't complain about it. And this, so what's happening right now, as we go forward, as the United States just approved lab grown meat, the United States is approving insects ‌ And we have John Kerry now expanding this, they're already decimating farming in Australia. And in Canada. We're seeing the results of it in all throughout Europe. And we're seeing we saw the results of it in Sri Lanka, where the World Economic Forum touted their big, non modern organic return to organic farming. And of course, the whole country the presidential palace was overrun. So this is our There's an old Chinese proverb when there are many when there's food on the table, there are many problems when there's no food, there's only one problem. And right now, we are facing a situation where they're creating intentional chaos and scarcity, to force us to look as they're saying to buy insects to buy this lab grown meat ‌ & we even have elementary school kids in Europe, United States, Australia, they're giving kids these cricket based snacks that are looked like potato chips, oil seasoning, and they're told in this exact quote, to go home and pester their parents that insects are good to eat. This is how they're doing a psyop both globally and they're aiming at the kids. They're getting kids and kids are more likely to eat a bug today than any adult they're pushing this throughout public schools”

Wall Street Apes

552,371 Aufrufe • vor 3 Jahren

[Behavioral Scientist's Analysis] NewJeans, Now Even Stronger, HYBE in Trouble I’ll listen again. Danielle: “Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Hee-jin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because the people that we're working with have trust in each other and have that same vision. Min Hee-jin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Hee-jin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable.” Danielle clearly stated this and also expressed it in English. So, in terms of the NewJeans issue, international fans who don’t have much information may not have had a clear perception of Ms. Min Hee-jin or how to view this issue. If you look at the comments, it was very poorly organized. In Korea, we now have clear information, so NewJeans fans, Bunnies, are cheering for NewJeans and supporting Ms. Min Hee-jin. It has become clearly sorted out like this. However, internationally, it hasn’t been clearly explained. But with Danielle explaining it so well in English, I expect that from now on, the international atmosphere will shift towards attacking HYBE, criticizing Bang Si-hyuk, and supporting Ms. Min Hee-jin and NewJeans worldwide. So, now that the artist has clearly stated their position and made it clear that the identity and assets of the NewJeans brand come from Ms. Min Hee-jin, regardless of any legal disputes or lawsuits, in the minds of the fans, NewJeans equals Min Hee-jin. And as for the current management of ADOR and HYBE, they will be seen as the ones attacking NewJeans and the mysterious people with no clear motive, such as Bang Si-hyuk. I think this will now be clear. Considering the nature of the entertainment industry, like many creative industries and the cultural industry, this is not manufacturing. Many things can’t be determined through legal processes like patents for ideas or lawsuits. The B2C market, or the market for services and consumption of an artist's brand, is driven by sensitivity. People consume it because of the emotional connection and enjoy it because of that sensitivity. So, what’s the point of winning a legal case? Even if HYBE were to win any legal case, do you think consumers wouldn’t boycott NewJeans’ music or other products afterward? I believe HYBE will be punished in some way for its actions towards ADOR and its current management. The way they are handling risk management is shortsighted, as they fail to understand people’s emotions. They seem to only rely on the advice of legal professionals and accountants, and their entire approach to this issue is so narrow-minded and misguided. It feels incredibly foolish to me. So, to summarize: NewJeans’ branding was done by Ms. Min Hee-jin. The identity and assets of the NewJeans brand were created by her, and we did it together because of her. Haerin: “However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Hee-jin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step.” The current situation is shocking, but this is not just about this one incident; they’ve been continuously receiving unfair treatment from HYBE. The fact that they are saying this publicly now is truly shocking. They’ve been discussing these unfair treatments with their parents and Ms. Min Hee-jin while continuing their activities as NewJeans. They are saying that the unfair treatment from HYBE has been ongoing. It’s hard to understand as an outsider, but now the artists themselves have confirmed that there have been instances where the company has mistreated them. This is no longer a matter of speculation or exaggeration. NewJeans has officially admitted that HYBE has been continuously mistreating them. Moving forward, this changes the entire perspective on the issue. It’s no longer just NewJeans vs. HYBE or Min Hee-jin vs. Bang Si-hyuk. It’s hard to even imagine the reality of this situation. Now that the NewJeans artists have come out and said that HYBE has mistreated them, regardless of how HYBE tries to communicate going forward, they will now be framed as the ones mistreating NewJeans. How can they possibly shake off this perception now? I don’t think they can. Hanni: “Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that.” I still don’t understand why that happened, even now. When I think about it, I feel like it was really ridiculous. This story from Hanni was so frustrating and absurd. Wow, what Hanni just shared is really shocking. She mentioned meeting an artist, and that artist's manager told them to ignore her. If this happened in middle or high school, people would probably dismiss it as childish fighting, but this happened among adults, and it's becoming a huge issue. Honestly, the NewJeans members aren’t sharing these stories to stir things up. They’re probably just speaking truthfully about their experiences and trying to be genuine with their fans, saying, “It’s time we express our stance honestly.” The timing and approach they’ve taken are actually perfect. They started by clearly explaining their motivations and why they’re speaking out, then moved on to using English to express what NewJeans’ identity is and the members' feelings, as well as their history with their manager. They made it clear how they feel about these situations. Now, they've started sharing more detailed stories. The way they’ve structured everything is so good because people remember stories more than abstract thoughts or philosophies. When you say, “This happened to me,” people are much more likely to remember that than vague statements. Hanni shared her unfair experience in such an honest way, and I think it’s going to spread widely. I can already imagine netizens trying to figure out which manager it was, which artist, and so on. This story will likely go viral. People remember stories like this because they stick in their minds. For example, remember when Bang Si-hyuk didn’t return NewJeans’ greeting, and it became a huge thing about face blindness? People don’t remember the details, but they remember that someone important didn’t greet them. It became a memorable story. Minji: “When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about how many more similar incidents might occur in the future and whether we’ll be subtly ostracized without anyone there to protect us.” Hanni: “I hope no one else has to go through something like that, but since it’s already happened once, I can’t help but feel scared that other members might experience the same thing. I spoke to the new CEO about it, but since I didn’t have evidence and it was considered too late, they seemed to brush it off, making me feel like there’s no one left to protect us. It really felt like the concern for us was gone, and even though I was being honest, it made me feel like I was suddenly being treated as a liar. Before, Min Heejin, our previous CEO, used to take care of us a lot. But now, while the new people say they’ll help, it’s just been months of excuses... excuses... excuses... They keep saying that it’s something they can’t resolve. But this is something that I personally went through and experienced, yet they are trying to dismiss it as if it’s my fault. I’m worried and scared about what might happen next.” I want to make two points here. First, this is clearly “invisibility.” It’s not physical violence, but it’s about not acknowledging someone’s greeting, deliberately ignoring them, and so on. While it may not seem like a big deal, it still deeply hurts someone’s feelings. There’s been a lot of research on how these kinds of actions negatively affect an organization, spreading like poison and making people feel bad. It’s something we should really work against. The second point is about third-party justice. Hanni raised a legitimate concern, and it wasn’t handled properly within the company. This made Hanni, Minji, and others realize that the new management isn’t on their side. When others witness this, they’ll also realize that this company doesn’t have their best interests at heart. This realization leads to a loss of trust. People will remember these events, and once this perception sticks, it’s hard to change. It affects not just NewJeans, but also other artists who will think, “Oh, this is how HYBE treats people.” And it even affects the employees who work there. Minji: “Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our production, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all.” What’s worth discussing here is the perception of hypocrisy. People really dislike hypocrisy, and when you think about it, it makes sense. When humans are surviving, if there’s an enemy or a difficult environment, they overcome it as part of life. But the most dangerous situation is when you think someone is an ally, but they turn out to be an enemy. When you thought they were on your side but they stab you in the back — that’s when people are really upset. That’s why people hate it when there’s a discrepancy between outward appearances and inward intentions. It creates a near-hatred, especially when someone claims to be acting for your benefit but it’s clear that they’re not. This is what Minji is clearly pointing out — these people are hypocrites. New Jeans has already reached a conclusion internally: this new management team, in less than a month, has revealed themselves to be hypocrites. And they’ve shared this with the fans and everyone else. This isn’t just some interesting topic on a live broadcast; this will cause a huge impact, and I am certain of that. New Jeans has come to a solid realization — these people are not working for us. They are liars and hypocrites. Therefore, the new management can no longer properly lead the company. They will not be able to continue, and this system cannot be maintained. Why? Because the artist has called them out as hypocrites. The only way they can recover is by proving they aren’t hypocrites, but even then, that’s not effective — New Jeans would have to say it. But the chance of that happening is zero. In short, these people have been socially branded as hypocrites. The new management’s time is up. Less than a month, and their time is over. In the creative industry, especially in culture and the arts, content production — such as creating songs or music videos — cannot be separated from management. That’s how we’ve always worked, and it was good for us. Min Hee-jin was a remarkable creator and artist who understood all of this. The harmony between management and artistic decision-making brought about the incredible phenomenon of New Jeans. But now, they’ve created a system where that harmony can’t exist anymore. Moreover, the new management is culturally ignorant. They don’t understand art, music, or creativity. They have shown this clearly, especially with their mishandling of Director Shin Woo-seok’s music video and the associated fan content, like those on the Dolphiners YouTube channel. They’ve demanded to delete content without protecting the artists, or respecting the work of those who collaborated on it. Their management decisions show a complete lack of sensitivity or empathy. So once again, I say: "the new management’s time is over." Danielle: “As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Hee-jin Daepyonim, as we have done so far.” Personally, they just want to be left alone—just "Leave us alone. Don't interfere; just leave us alone.” This is what they’re saying to both ADOR and HYBE. It's become clear now that HYBE and ADOR can no longer meddle with NewJeans, and I think things will flow that way from now on. The fans won’t stand still either. In entertainment, it’s not about titles like "I’m the CEO," or "I own shares." These are shallow understandings of what makes the entertainment business work. The real value created in this industry is the love and recognition from the fans. No amount of shares or CEO titles matter when that love disappears in an instant. NewJeans is asking to be left alone, and because of this, the new management of HYBE and ADOR can no longer act. I believe the future will unfold accordingly. One important thing I want to emphasize is that NewJeans is a unique group. They’re not just factory-produced idols. The distinctive nature of NewJeans’ music is felt by everyone who listens to them. For example, producer 250, who played a significant role in shaping the NewJeans sound, alongside other talented producers like those from the Banana Culture label, was brought in by CEO Min Hee-jin. This collaboration birthed the unique musical style of NewJeans, which many have come to appreciate. Their latest album, which incorporated elements like New Jack Swing, wasn’t just NewJeans making this music—it was 250's creative vision, drawing inspiration from 70s and 80s funk, R&B, and American black music, and reinterpreting them. If 250 no longer works with NewJeans, their music might become indistinguishable from other idol groups. The choreography, another element that set NewJeans apart, also contributed to their success. However, with the recent tensions, it's obvious that working with key figures like director Shin Woo-seok, who directed many of NewJeans' music videos, will become difficult moving forward. Director Shin wasn’t even interested in music videos before but was inspired to work with NewJeans after a conversation with Min Hee-jin. If Min Hee-jin and people like director Shin are ousted from ADOR, it’s inevitable that the core assets of NewJeans, including their distinctive musical and visual style, will vanish. This is not just a simple matter of one person being ousted—it’s about losing the core elements that made NewJeans what they are. WE STAND WITH NEWJEANS #버니즈_뉴진스와함께_준비갈완료 #방시혁_2주준다_민희진_복귀시켜라
38:10

[Behavioral Scientist's Analysis] NewJeans, Now Even Stronger, HYBE in Trouble I’ll listen again. Danielle: “Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Hee-jin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because the people that we're working with have trust in each other and have that same vision. Min Hee-jin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Hee-jin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable.” Danielle clearly stated this and also expressed it in English. So, in terms of the NewJeans issue, international fans who don’t have much information may not have had a clear perception of Ms. Min Hee-jin or how to view this issue. If you look at the comments, it was very poorly organized. In Korea, we now have clear information, so NewJeans fans, Bunnies, are cheering for NewJeans and supporting Ms. Min Hee-jin. It has become clearly sorted out like this. However, internationally, it hasn’t been clearly explained. But with Danielle explaining it so well in English, I expect that from now on, the international atmosphere will shift towards attacking HYBE, criticizing Bang Si-hyuk, and supporting Ms. Min Hee-jin and NewJeans worldwide. So, now that the artist has clearly stated their position and made it clear that the identity and assets of the NewJeans brand come from Ms. Min Hee-jin, regardless of any legal disputes or lawsuits, in the minds of the fans, NewJeans equals Min Hee-jin. And as for the current management of ADOR and HYBE, they will be seen as the ones attacking NewJeans and the mysterious people with no clear motive, such as Bang Si-hyuk. I think this will now be clear. Considering the nature of the entertainment industry, like many creative industries and the cultural industry, this is not manufacturing. Many things can’t be determined through legal processes like patents for ideas or lawsuits. The B2C market, or the market for services and consumption of an artist's brand, is driven by sensitivity. People consume it because of the emotional connection and enjoy it because of that sensitivity. So, what’s the point of winning a legal case? Even if HYBE were to win any legal case, do you think consumers wouldn’t boycott NewJeans’ music or other products afterward? I believe HYBE will be punished in some way for its actions towards ADOR and its current management. The way they are handling risk management is shortsighted, as they fail to understand people’s emotions. They seem to only rely on the advice of legal professionals and accountants, and their entire approach to this issue is so narrow-minded and misguided. It feels incredibly foolish to me. So, to summarize: NewJeans’ branding was done by Ms. Min Hee-jin. The identity and assets of the NewJeans brand were created by her, and we did it together because of her. Haerin: “However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Hee-jin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step.” The current situation is shocking, but this is not just about this one incident; they’ve been continuously receiving unfair treatment from HYBE. The fact that they are saying this publicly now is truly shocking. They’ve been discussing these unfair treatments with their parents and Ms. Min Hee-jin while continuing their activities as NewJeans. They are saying that the unfair treatment from HYBE has been ongoing. It’s hard to understand as an outsider, but now the artists themselves have confirmed that there have been instances where the company has mistreated them. This is no longer a matter of speculation or exaggeration. NewJeans has officially admitted that HYBE has been continuously mistreating them. Moving forward, this changes the entire perspective on the issue. It’s no longer just NewJeans vs. HYBE or Min Hee-jin vs. Bang Si-hyuk. It’s hard to even imagine the reality of this situation. Now that the NewJeans artists have come out and said that HYBE has mistreated them, regardless of how HYBE tries to communicate going forward, they will now be framed as the ones mistreating NewJeans. How can they possibly shake off this perception now? I don’t think they can. Hanni: “Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that.” I still don’t understand why that happened, even now. When I think about it, I feel like it was really ridiculous. This story from Hanni was so frustrating and absurd. Wow, what Hanni just shared is really shocking. She mentioned meeting an artist, and that artist's manager told them to ignore her. If this happened in middle or high school, people would probably dismiss it as childish fighting, but this happened among adults, and it's becoming a huge issue. Honestly, the NewJeans members aren’t sharing these stories to stir things up. They’re probably just speaking truthfully about their experiences and trying to be genuine with their fans, saying, “It’s time we express our stance honestly.” The timing and approach they’ve taken are actually perfect. They started by clearly explaining their motivations and why they’re speaking out, then moved on to using English to express what NewJeans’ identity is and the members' feelings, as well as their history with their manager. They made it clear how they feel about these situations. Now, they've started sharing more detailed stories. The way they’ve structured everything is so good because people remember stories more than abstract thoughts or philosophies. When you say, “This happened to me,” people are much more likely to remember that than vague statements. Hanni shared her unfair experience in such an honest way, and I think it’s going to spread widely. I can already imagine netizens trying to figure out which manager it was, which artist, and so on. This story will likely go viral. People remember stories like this because they stick in their minds. For example, remember when Bang Si-hyuk didn’t return NewJeans’ greeting, and it became a huge thing about face blindness? People don’t remember the details, but they remember that someone important didn’t greet them. It became a memorable story. Minji: “When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about how many more similar incidents might occur in the future and whether we’ll be subtly ostracized without anyone there to protect us.” Hanni: “I hope no one else has to go through something like that, but since it’s already happened once, I can’t help but feel scared that other members might experience the same thing. I spoke to the new CEO about it, but since I didn’t have evidence and it was considered too late, they seemed to brush it off, making me feel like there’s no one left to protect us. It really felt like the concern for us was gone, and even though I was being honest, it made me feel like I was suddenly being treated as a liar. Before, Min Heejin, our previous CEO, used to take care of us a lot. But now, while the new people say they’ll help, it’s just been months of excuses... excuses... excuses... They keep saying that it’s something they can’t resolve. But this is something that I personally went through and experienced, yet they are trying to dismiss it as if it’s my fault. I’m worried and scared about what might happen next.” I want to make two points here. First, this is clearly “invisibility.” It’s not physical violence, but it’s about not acknowledging someone’s greeting, deliberately ignoring them, and so on. While it may not seem like a big deal, it still deeply hurts someone’s feelings. There’s been a lot of research on how these kinds of actions negatively affect an organization, spreading like poison and making people feel bad. It’s something we should really work against. The second point is about third-party justice. Hanni raised a legitimate concern, and it wasn’t handled properly within the company. This made Hanni, Minji, and others realize that the new management isn’t on their side. When others witness this, they’ll also realize that this company doesn’t have their best interests at heart. This realization leads to a loss of trust. People will remember these events, and once this perception sticks, it’s hard to change. It affects not just NewJeans, but also other artists who will think, “Oh, this is how HYBE treats people.” And it even affects the employees who work there. Minji: “Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our production, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all.” What’s worth discussing here is the perception of hypocrisy. People really dislike hypocrisy, and when you think about it, it makes sense. When humans are surviving, if there’s an enemy or a difficult environment, they overcome it as part of life. But the most dangerous situation is when you think someone is an ally, but they turn out to be an enemy. When you thought they were on your side but they stab you in the back — that’s when people are really upset. That’s why people hate it when there’s a discrepancy between outward appearances and inward intentions. It creates a near-hatred, especially when someone claims to be acting for your benefit but it’s clear that they’re not. This is what Minji is clearly pointing out — these people are hypocrites. New Jeans has already reached a conclusion internally: this new management team, in less than a month, has revealed themselves to be hypocrites. And they’ve shared this with the fans and everyone else. This isn’t just some interesting topic on a live broadcast; this will cause a huge impact, and I am certain of that. New Jeans has come to a solid realization — these people are not working for us. They are liars and hypocrites. Therefore, the new management can no longer properly lead the company. They will not be able to continue, and this system cannot be maintained. Why? Because the artist has called them out as hypocrites. The only way they can recover is by proving they aren’t hypocrites, but even then, that’s not effective — New Jeans would have to say it. But the chance of that happening is zero. In short, these people have been socially branded as hypocrites. The new management’s time is up. Less than a month, and their time is over. In the creative industry, especially in culture and the arts, content production — such as creating songs or music videos — cannot be separated from management. That’s how we’ve always worked, and it was good for us. Min Hee-jin was a remarkable creator and artist who understood all of this. The harmony between management and artistic decision-making brought about the incredible phenomenon of New Jeans. But now, they’ve created a system where that harmony can’t exist anymore. Moreover, the new management is culturally ignorant. They don’t understand art, music, or creativity. They have shown this clearly, especially with their mishandling of Director Shin Woo-seok’s music video and the associated fan content, like those on the Dolphiners YouTube channel. They’ve demanded to delete content without protecting the artists, or respecting the work of those who collaborated on it. Their management decisions show a complete lack of sensitivity or empathy. So once again, I say: "the new management’s time is over." Danielle: “As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Hee-jin Daepyonim, as we have done so far.” Personally, they just want to be left alone—just "Leave us alone. Don't interfere; just leave us alone.” This is what they’re saying to both ADOR and HYBE. It's become clear now that HYBE and ADOR can no longer meddle with NewJeans, and I think things will flow that way from now on. The fans won’t stand still either. In entertainment, it’s not about titles like "I’m the CEO," or "I own shares." These are shallow understandings of what makes the entertainment business work. The real value created in this industry is the love and recognition from the fans. No amount of shares or CEO titles matter when that love disappears in an instant. NewJeans is asking to be left alone, and because of this, the new management of HYBE and ADOR can no longer act. I believe the future will unfold accordingly. One important thing I want to emphasize is that NewJeans is a unique group. They’re not just factory-produced idols. The distinctive nature of NewJeans’ music is felt by everyone who listens to them. For example, producer 250, who played a significant role in shaping the NewJeans sound, alongside other talented producers like those from the Banana Culture label, was brought in by CEO Min Hee-jin. This collaboration birthed the unique musical style of NewJeans, which many have come to appreciate. Their latest album, which incorporated elements like New Jack Swing, wasn’t just NewJeans making this music—it was 250's creative vision, drawing inspiration from 70s and 80s funk, R&B, and American black music, and reinterpreting them. If 250 no longer works with NewJeans, their music might become indistinguishable from other idol groups. The choreography, another element that set NewJeans apart, also contributed to their success. However, with the recent tensions, it's obvious that working with key figures like director Shin Woo-seok, who directed many of NewJeans' music videos, will become difficult moving forward. Director Shin wasn’t even interested in music videos before but was inspired to work with NewJeans after a conversation with Min Hee-jin. If Min Hee-jin and people like director Shin are ousted from ADOR, it’s inevitable that the core assets of NewJeans, including their distinctive musical and visual style, will vanish. This is not just a simple matter of one person being ousted—it’s about losing the core elements that made NewJeans what they are. WE STAND WITH NEWJEANS #버니즈_뉴진스와함께_준비갈완료 #방시혁_2주준다_민희진_복귀시켜라

1tokki

39,222 Aufrufe • vor 1 Jahr

🚨🚨WORLD PREMIERE!! 🚨🚨 Tomiwa, some W. African funk for my people. And now, let me tell you the story of my own personal theme song. First, some background: I'm a huge fan of West African music. In my early 20s I was introduced to Fela Kuti & quickly became hooked (even more so after watching the documentary, "Music Is the Weapon"). My OG followers may recall my original Twitter avatar was Fela. As an obsessive collector, I amassed not only every Fela recording I could get my hands on, but also similarly funky music from Ghana, Mali, Senegal, Cameroon, etc. During this time I started imagining traveling around West Africa & experiencing the music live, on the ground, surrounded by the people who make it. Fast forward to 2022; I’m living in Spain & have become friends with a Nigerian musician named Akinsola Onasanya. He’s the founder of a band called Ogun Afrobeat Orchestra. As a teenager, Akin found his way into Fela’s community of musicians at The Shrine, their temple of Afrobeat. Members of Fela’s band, the Egypt 80, helped Akin learn to hold down Afrobeat rhythms on the drums. Eventually he joined a band that made its way to Greece. Over two decades, Akin’s journey took him from Greece to Italy & then finally Madrid. Almost as soon as we became friends I start telling him we were going to travel to his native land. In November 2022, we finally made it happen. That trip was like a journey to another world. In my mind I’d imagined seeing live music in various venues from one night to the next. What I experienced instead was the most extreme poverty of anywhere I’ve ever been. It’s hard to host concerts when the country lacks electricity (or running water). We made it to the Shrine (Nigerian police burned the original Shrine after Fela had become too popular in the 1970s), but rather than seeing Afrobeat being performed live, instead saw homeless people sleeping everywhere. The good news was that Akin knew some of the musicians living there, so we were at least treated well. My full story from Nigeria will have to wait for another day, but the main point for our current purposes is that soon after arriving, Akin’s brother, Kayode, blessed me with a Nigerian name, Tomiwa. From that day on everyone called me Tomiwa. We did finally see some music, incidentally. After a chaotic week around Lagos & the Ogun State, we arrived at an old British fort called Freedom Park, ostensibly to see a Nigerian juju band. However the music itself was basically impossible to hear, due to ancient speakers that broadcast hissing sounds rather than the musicians’ instruments. This night was also the first time I’d seen a fellow white person since landing in Nigeria. And even though it's not relevant to the story, I can't emphasize enough how brutally hot it was everywhere we went. Our last night went better. Fela’s oldest son, Femi Kuti, performed on Victoria Beach. The scene was looking pretty good — there were enough upper-class Nigerians to actually fill out a well-dressed audience. Yet on the way back, due to Nigeria lacking working infrastructure, street lights, road signs, or reliable GPS, we ended up in one of the worst slums probably anywhere in the world, & had a very harrowing journey trying to make it out. Just when I was starting to have hope for Nigeria I was quickly reminded of what a failed country it is. But again I digress. Soon after returning safely to Spain, my girlfriend & I attended a concert of Akin’s band. There, she evidently had the idea of Ogun recording a song called Tomiwa. Fast forward to a week before Christmas, & Carolina is telling me we need to go out to pick up my gift. She has me do weird things like wear warm socks — I presumed we were going to a farm so I could adopt some hens (something I’d been eager to do). Instead we arrived at a music studio & immediately ran into Akin. Carolina explains they’re recording a song, for me. Flabbergasted, the first thing I can think to say is: “Under no circumstances am I singing.” Turns out, Akin had already composed the whole arrangement. He wrote some backup vocals for me & Carolina. Despite my protestations, we ended up singing the part — goosed on by several hours of beers — which mercifully was limited to just one word. Soon the song was mastered & Carolina — amazing person that she is — had it pressed to vinyl. Last year we finally got it on Spotify. These days Ogun performs it regularly around Europe. It’s a proper dance floor banger. The last step before starting to share this story with the world was a music video that helped tell the whole story. My talented friend Josh Wright has just completed that video, which I’m extremely excited to share with you now. As you can see, this has been a labor of love. And it’s taken a long time because the song is incredible & I wanted to ensure each step was completed to my usual standard of excellence. Anyway, I’m eternally grateful to my amazing girlfriend Carolina Pérez Rioja for blessing me with this incredible gift (which keeps on giving every time I listen to it). Definitely not many people can say they have their own theme song! I hope you all love it as much as we do.
6:29

🚨🚨WORLD PREMIERE!! 🚨🚨 Tomiwa, some W. African funk for my people. And now, let me tell you the story of my own personal theme song. First, some background: I'm a huge fan of West African music. In my early 20s I was introduced to Fela Kuti & quickly became hooked (even more so after watching the documentary, "Music Is the Weapon"). My OG followers may recall my original Twitter avatar was Fela. As an obsessive collector, I amassed not only every Fela recording I could get my hands on, but also similarly funky music from Ghana, Mali, Senegal, Cameroon, etc. During this time I started imagining traveling around West Africa & experiencing the music live, on the ground, surrounded by the people who make it. Fast forward to 2022; I’m living in Spain & have become friends with a Nigerian musician named Akinsola Onasanya. He’s the founder of a band called Ogun Afrobeat Orchestra. As a teenager, Akin found his way into Fela’s community of musicians at The Shrine, their temple of Afrobeat. Members of Fela’s band, the Egypt 80, helped Akin learn to hold down Afrobeat rhythms on the drums. Eventually he joined a band that made its way to Greece. Over two decades, Akin’s journey took him from Greece to Italy & then finally Madrid. Almost as soon as we became friends I start telling him we were going to travel to his native land. In November 2022, we finally made it happen. That trip was like a journey to another world. In my mind I’d imagined seeing live music in various venues from one night to the next. What I experienced instead was the most extreme poverty of anywhere I’ve ever been. It’s hard to host concerts when the country lacks electricity (or running water). We made it to the Shrine (Nigerian police burned the original Shrine after Fela had become too popular in the 1970s), but rather than seeing Afrobeat being performed live, instead saw homeless people sleeping everywhere. The good news was that Akin knew some of the musicians living there, so we were at least treated well. My full story from Nigeria will have to wait for another day, but the main point for our current purposes is that soon after arriving, Akin’s brother, Kayode, blessed me with a Nigerian name, Tomiwa. From that day on everyone called me Tomiwa. We did finally see some music, incidentally. After a chaotic week around Lagos & the Ogun State, we arrived at an old British fort called Freedom Park, ostensibly to see a Nigerian juju band. However the music itself was basically impossible to hear, due to ancient speakers that broadcast hissing sounds rather than the musicians’ instruments. This night was also the first time I’d seen a fellow white person since landing in Nigeria. And even though it's not relevant to the story, I can't emphasize enough how brutally hot it was everywhere we went. Our last night went better. Fela’s oldest son, Femi Kuti, performed on Victoria Beach. The scene was looking pretty good — there were enough upper-class Nigerians to actually fill out a well-dressed audience. Yet on the way back, due to Nigeria lacking working infrastructure, street lights, road signs, or reliable GPS, we ended up in one of the worst slums probably anywhere in the world, & had a very harrowing journey trying to make it out. Just when I was starting to have hope for Nigeria I was quickly reminded of what a failed country it is. But again I digress. Soon after returning safely to Spain, my girlfriend & I attended a concert of Akin’s band. There, she evidently had the idea of Ogun recording a song called Tomiwa. Fast forward to a week before Christmas, & Carolina is telling me we need to go out to pick up my gift. She has me do weird things like wear warm socks — I presumed we were going to a farm so I could adopt some hens (something I’d been eager to do). Instead we arrived at a music studio & immediately ran into Akin. Carolina explains they’re recording a song, for me. Flabbergasted, the first thing I can think to say is: “Under no circumstances am I singing.” Turns out, Akin had already composed the whole arrangement. He wrote some backup vocals for me & Carolina. Despite my protestations, we ended up singing the part — goosed on by several hours of beers — which mercifully was limited to just one word. Soon the song was mastered & Carolina — amazing person that she is — had it pressed to vinyl. Last year we finally got it on Spotify. These days Ogun performs it regularly around Europe. It’s a proper dance floor banger. The last step before starting to share this story with the world was a music video that helped tell the whole story. My talented friend Josh Wright has just completed that video, which I’m extremely excited to share with you now. As you can see, this has been a labor of love. And it’s taken a long time because the song is incredible & I wanted to ensure each step was completed to my usual standard of excellence. Anyway, I’m eternally grateful to my amazing girlfriend Carolina Pérez Rioja for blessing me with this incredible gift (which keeps on giving every time I listen to it). Definitely not many people can say they have their own theme song! I hope you all love it as much as we do.

Tom Elliott

11,321 Aufrufe • vor 5 Tagen

John Mayer is a master of his craft. He’s also one of the best I’ve come across at using analogy and demonstration to articulate and demystify the creative process. Here’s a 14-clip (~7-minute) masterclass on mastery and creativity: TL;DW 1/ “Whenever I want to write a big song, I can't...That's when I get writer's block: when I try to write a song to fill the entire galaxy. I've never gotten a song that way. But if I write about something the size of a glass of water—a week later, I notice it's got the universe in it. So I'd rather have the universe in a glass of water than try to make a glass of water fit in the universe.” 2/ "What connects with people is you connecting with yourself." 3/ “Writer’s block is when the two people inside of you—the writer and the reader—when the reader doesn’t love the writer. It is not a failure to write. It is a failure to catch the feedback loop of enjoying what you’re seeing and wanting to contribute more to it.” 4/ “Don't shoot ideas down before you have them. 'That won't work' is the worst thing you can ever say. 'That didn't work' is cool, but 'that won't work' is not a way to go through life.” 5/ “I’ve seen the Cool metric change so many times. I'm not telling you don't chase Cool. I'm saying…by the time you reach what you think is cool, Cool is like, 'over here now.’ ‘The princess is in another castle.' You know what I mean? That's a Mario reference.” 6/ "I'm one-half consumer, one-half artist. So I try to put music out that I myself would want to hear as somebody on the other end." 7/ "I'm seeing a lot of motivation about you following your passion, but I'm not seeing any critical thought to what that is or how to be better at that. So, really the product is passion and that's strange to me. Because my product growing up was sitting in a room yelling, 'Mom, I'm practicing,' for hours and hours and hours and hours and hours and hours and hours. 8/ "But then also read up...You know, this stuff doesn't just appear. It comes from somewhere. And as soon as you realize you love something—it's almost like catching up with some great TV show on season 9, and you can go, 'oh my God, that means there's 8 seasons before this." 9/ "Whatever you learn is the tip of the iceberg. Dive underwater and find the rest of the iceberg." 10/ "So listening to Stevie Ray Vaughan brought me back to people like Kenny Burrell and Albert King and Jimi Hendrix and Elmore James. So it became this family tree growing out of my CD player." 11/ "I came up with these guys as like references…It’s like if you're into the NBA and you wear different jerseys and you pretend you're a different player in the driveway—that's what I was doing..." 12/ "Which is a wonderful technique for being yourself. Failing to sound exactly like the person you want to sound like is a wonderful way to sound like yourself." 13/ After watching Cory Wong play guitar, Mayer told him, "You have an anatomy thing working on your right hand. Your hand is shaped in a way—you have long fingers, very sinewy hands—that you're able to play like that. That is an example of someone making the most of their anatomical gifts... And I wish more people could embrace finding what their strengths are anatomically—the way your hand is shaped, the way your mind works, whatever—and play to those strengths." 14/ Mayer picks up an acoustic guitar and demonstrates his songwriting process. “Well, I don’t always do it,” he admitted, “because it requires a stupid bravery all the time.” “You just stare at the corner of the wall," Mayer explains then improvises some vocals, “stare at the corner of the wall / try to get it going on / but I can’t sometimes / you just keep going ’til you get something,” he stops singing. “You gotta keep forcing it, forcing it, forcing it…it doesn’t matter [what comes out of your mouth].” Follow Billy Oppenheimer for more content like this!
6:57

John Mayer is a master of his craft. He’s also one of the best I’ve come across at using analogy and demonstration to articulate and demystify the creative process. Here’s a 14-clip (~7-minute) masterclass on mastery and creativity: TL;DW 1/ “Whenever I want to write a big song, I can't...That's when I get writer's block: when I try to write a song to fill the entire galaxy. I've never gotten a song that way. But if I write about something the size of a glass of water—a week later, I notice it's got the universe in it. So I'd rather have the universe in a glass of water than try to make a glass of water fit in the universe.” 2/ "What connects with people is you connecting with yourself." 3/ “Writer’s block is when the two people inside of you—the writer and the reader—when the reader doesn’t love the writer. It is not a failure to write. It is a failure to catch the feedback loop of enjoying what you’re seeing and wanting to contribute more to it.” 4/ “Don't shoot ideas down before you have them. 'That won't work' is the worst thing you can ever say. 'That didn't work' is cool, but 'that won't work' is not a way to go through life.” 5/ “I’ve seen the Cool metric change so many times. I'm not telling you don't chase Cool. I'm saying…by the time you reach what you think is cool, Cool is like, 'over here now.’ ‘The princess is in another castle.' You know what I mean? That's a Mario reference.” 6/ "I'm one-half consumer, one-half artist. So I try to put music out that I myself would want to hear as somebody on the other end." 7/ "I'm seeing a lot of motivation about you following your passion, but I'm not seeing any critical thought to what that is or how to be better at that. So, really the product is passion and that's strange to me. Because my product growing up was sitting in a room yelling, 'Mom, I'm practicing,' for hours and hours and hours and hours and hours and hours and hours. 8/ "But then also read up...You know, this stuff doesn't just appear. It comes from somewhere. And as soon as you realize you love something—it's almost like catching up with some great TV show on season 9, and you can go, 'oh my God, that means there's 8 seasons before this." 9/ "Whatever you learn is the tip of the iceberg. Dive underwater and find the rest of the iceberg." 10/ "So listening to Stevie Ray Vaughan brought me back to people like Kenny Burrell and Albert King and Jimi Hendrix and Elmore James. So it became this family tree growing out of my CD player." 11/ "I came up with these guys as like references…It’s like if you're into the NBA and you wear different jerseys and you pretend you're a different player in the driveway—that's what I was doing..." 12/ "Which is a wonderful technique for being yourself. Failing to sound exactly like the person you want to sound like is a wonderful way to sound like yourself." 13/ After watching Cory Wong play guitar, Mayer told him, "You have an anatomy thing working on your right hand. Your hand is shaped in a way—you have long fingers, very sinewy hands—that you're able to play like that. That is an example of someone making the most of their anatomical gifts... And I wish more people could embrace finding what their strengths are anatomically—the way your hand is shaped, the way your mind works, whatever—and play to those strengths." 14/ Mayer picks up an acoustic guitar and demonstrates his songwriting process. “Well, I don’t always do it,” he admitted, “because it requires a stupid bravery all the time.” “You just stare at the corner of the wall," Mayer explains then improvises some vocals, “stare at the corner of the wall / try to get it going on / but I can’t sometimes / you just keep going ’til you get something,” he stops singing. “You gotta keep forcing it, forcing it, forcing it…it doesn’t matter [what comes out of your mouth].” Follow Billy Oppenheimer for more content like this!

Billy Oppenheimer

1,382,869 Aufrufe • vor 3 Jahren