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Compulsory Miku Dance Striptease Music Video ~ But Vertical This Time! ~ Fansly ~ Website ~ 💮🤍🌸🎼🩷 Sakura Miku ~ Strip Tease ~ Sexy Dance ~ Vocaloid Cosplay ~ No Plot

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41,234 görüntüleme • 1 ay önce •via X (Twitter)

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Another Dancing Video, but a bit simpler this time, to test if I can keep the dancers a bit more consistent this way - they certainly are more consistent than when it goes wild, but it's just a lot less fun this way 🤭 Still no sync, prefer to invest that time into music 🌼 #klingai #glif #dance #fyp
1:29

Another Dancing Video, but a bit simpler this time, to test if I can keep the dancers a bit more consistent this way - they certainly are more consistent than when it goes wild, but it's just a lot less fun this way 🤭 Still no sync, prefer to invest that time into music 🌼 #klingai #glif #dance #fyp

sandrom

15,409 görüntüleme • 1 yıl önce

💙 we did prepare this album (Caligo pt. 1) since last year 💙 we prepared this at the same time as when we prepared the concert! 🩷 as for the dance.. wait (check his phone) 🩷 (accidentally played the video with their guide song in there) 🩷 I took this on August 17th(?) 💙 but you just revealed our demo there 🩷 oh... 🩷 I can't..?? 💙 YOU CAN! 💙 WE CAN DO ALL. WE'RE PLAVE! 💙 do what you wanna do! no problem! #PLAVE #플레이브
0:43

💙 we did prepare this album (Caligo pt. 1) since last year 💙 we prepared this at the same time as when we prepared the concert! 🩷 as for the dance.. wait (check his phone) 🩷 (accidentally played the video with their guide song in there) 🩷 I took this on August 17th(?) 💙 but you just revealed our demo there 🩷 oh... 🩷 I can't..?? 💙 YOU CAN! 💙 WE CAN DO ALL. WE'RE PLAVE! 💙 do what you wanna do! no problem! #PLAVE #플레이브

슈퍼브로콜리🥦

57,721 görüntüleme • 1 yıl önce

(talking about WISH's vocals) 🩷 : music critic, journalist Park Hee Ah 💚 : lyricist Jo Yoon Kyung (*participated in Sail Away, Feel The Beat) 🩷*saying she mentioned SHINee having different vocal tones on the previous episode* 🩷it's the same case for WISH. sion, riku, yushi, i'd say the three of them bring a 'key' (defining) tone? 💚like signature 🩷they have such a vocal tone. personally, if i were to say which one is the signature among them, i think it's yushi's voice. fans describe that as cotton candy voice. i think yushi is the one who creates the dreamy and loveable vibe of WISH so if i were to say one person's voice is the 'key' within WISH, i think it's yushi. 🩷as for sion and riku, people might have mixed opinions about their vocal tones but regardless, they're very clear about their roles in the group. i think they play the role of creating WISH's vibe. 💚i think jaehee's voice also plays a huge role in WISH. a voice that can blend with everything, doesn't stand out in any setting, and can bring in all those distinctive voices together as one is needed. 🩷that's absolutely essential 💚i think jaehee's vocal is doing a really good job on that role. that's why the newsletter you published back then was really relatable. 🩷what i wanted to talk about in the newsletter was, he's a member who got through in survival mode right. he's someone who made his debut through NCT in a short time, giving up all the life he used to have, transitioned into the job very quickly. 💚that's right 🩷but i believe someone like that has their own efforts they put to survive and to be honest, seeing their efforts could also kinda inspire people like us. that's why i wanted to describe that jaehee's voice is rather versatile? 💚what a nice word 🩷there are so many different kinds of ballads right. but he's someone who can pull off any of all those ballads, no matter the style. i thought it'd be too tonal for dance songs but after listening to Ode to Love this time, i find the parts where that tonal quality really shines stand out so. 💚right. i think he'll be releasing his solo album someday. 🩷that's right ×2 💚i want to hear it soon! he's the member i have very high expectations for 💚when i come across a member with a very good vocal, i'd feel like listening to a whole story full of this person's voice entirely through a song. i think i've been feeling this a lot in jaehee's vocal lately. 🩷oh i couldn't agree more 🩷he's someone who can comfortably pull off many genres. i watched the one he was on KOMS back then and he didn't come across as struggling that much. i'm sure he was putting in a lot of effort but the fact that he could make it look effortless is an incredible ability. 💚that's right 🩷so in that sense, it's too early for jaehee's solo album but regardless, it's worth looking forward to. 🩷it's my first time seeing a main vocal improves in dancing to that extent so i (think) highly of him in that regard 💚that's right. there's the word 'growth trend' you know. 🩷in the article i wrote, when i talked about that jaehee was the one who fits the keyword 'growth' the most in WISH, i meant it in that context so.
2:58

(talking about WISH's vocals) 🩷 : music critic, journalist Park Hee Ah 💚 : lyricist Jo Yoon Kyung (*participated in Sail Away, Feel The Beat) 🩷*saying she mentioned SHINee having different vocal tones on the previous episode* 🩷it's the same case for WISH. sion, riku, yushi, i'd say the three of them bring a 'key' (defining) tone? 💚like signature 🩷they have such a vocal tone. personally, if i were to say which one is the signature among them, i think it's yushi's voice. fans describe that as cotton candy voice. i think yushi is the one who creates the dreamy and loveable vibe of WISH so if i were to say one person's voice is the 'key' within WISH, i think it's yushi. 🩷as for sion and riku, people might have mixed opinions about their vocal tones but regardless, they're very clear about their roles in the group. i think they play the role of creating WISH's vibe. 💚i think jaehee's voice also plays a huge role in WISH. a voice that can blend with everything, doesn't stand out in any setting, and can bring in all those distinctive voices together as one is needed. 🩷that's absolutely essential 💚i think jaehee's vocal is doing a really good job on that role. that's why the newsletter you published back then was really relatable. 🩷what i wanted to talk about in the newsletter was, he's a member who got through in survival mode right. he's someone who made his debut through NCT in a short time, giving up all the life he used to have, transitioned into the job very quickly. 💚that's right 🩷but i believe someone like that has their own efforts they put to survive and to be honest, seeing their efforts could also kinda inspire people like us. that's why i wanted to describe that jaehee's voice is rather versatile? 💚what a nice word 🩷there are so many different kinds of ballads right. but he's someone who can pull off any of all those ballads, no matter the style. i thought it'd be too tonal for dance songs but after listening to Ode to Love this time, i find the parts where that tonal quality really shines stand out so. 💚right. i think he'll be releasing his solo album someday. 🩷that's right ×2 💚i want to hear it soon! he's the member i have very high expectations for 💚when i come across a member with a very good vocal, i'd feel like listening to a whole story full of this person's voice entirely through a song. i think i've been feeling this a lot in jaehee's vocal lately. 🩷oh i couldn't agree more 🩷he's someone who can comfortably pull off many genres. i watched the one he was on KOMS back then and he didn't come across as struggling that much. i'm sure he was putting in a lot of effort but the fact that he could make it look effortless is an incredible ability. 💚that's right 🩷so in that sense, it's too early for jaehee's solo album but regardless, it's worth looking forward to. 🩷it's my first time seeing a main vocal improves in dancing to that extent so i (think) highly of him in that regard 💚that's right. there's the word 'growth trend' you know. 🩷in the article i wrote, when i talked about that jaehee was the one who fits the keyword 'growth' the most in WISH, i meant it in that context so.

chris🍀 | 정祐천乐ᴺᶜᵀ

54,816 görüntüleme • 2 ay önce

Why This Dance Clip Grabs You Before You Think The feeling comes first. Not admiration. Not analysis. A small jolt in the body, as if the beat has already decided you are part of the room. That is the emotion this clip creates. It is not sadness and it is not nostalgia. It is the pleasure of being pulled in. Watch long enough and you stop judging the dancers. You start wanting the same release they have: to stop holding yourself in, to let the music use your shoulders, to stop performing competence and just move. People are drawn to that because modern life trains the opposite. We sit. We keep gestures small. We watch other lives through a screen and rarely enter them. A class like this offers the opposite contract. You do not need to be the best. You only need to join the pulse. Belonging without an interview. Strength without a speech. The pull is also honest. The dancers are not selling mystery. They are sweating, dropping their weight, repeating a phrase until it becomes shared. That repetition is comforting. The brain likes a pattern it can enter. Once the pattern is clear, the viewer’s body starts rehearsing it from the chair. Attraction begins there: not “they are impressive,” but “I recognize this and I want in.” There is vanity in it too, and there is no point pretending otherwise. People want to look alive. They want to feel desired by the moment itself. But underneath the vanity is something plainer. Humans are built to move together. A crowd in time feels safer than a crowd in chaos. That old fact still works on a phone screen. So the clip does not win because it explains dance. It wins because it wakes a hunger most people forget they have: to stop watching and be carried. Has a video ever made you restless in that same way—not impressed, just ready to stand up?
0:23

Why This Dance Clip Grabs You Before You Think The feeling comes first. Not admiration. Not analysis. A small jolt in the body, as if the beat has already decided you are part of the room. That is the emotion this clip creates. It is not sadness and it is not nostalgia. It is the pleasure of being pulled in. Watch long enough and you stop judging the dancers. You start wanting the same release they have: to stop holding yourself in, to let the music use your shoulders, to stop performing competence and just move. People are drawn to that because modern life trains the opposite. We sit. We keep gestures small. We watch other lives through a screen and rarely enter them. A class like this offers the opposite contract. You do not need to be the best. You only need to join the pulse. Belonging without an interview. Strength without a speech. The pull is also honest. The dancers are not selling mystery. They are sweating, dropping their weight, repeating a phrase until it becomes shared. That repetition is comforting. The brain likes a pattern it can enter. Once the pattern is clear, the viewer’s body starts rehearsing it from the chair. Attraction begins there: not “they are impressive,” but “I recognize this and I want in.” There is vanity in it too, and there is no point pretending otherwise. People want to look alive. They want to feel desired by the moment itself. But underneath the vanity is something plainer. Humans are built to move together. A crowd in time feels safer than a crowd in chaos. That old fact still works on a phone screen. So the clip does not win because it explains dance. It wins because it wakes a hunger most people forget they have: to stop watching and be carried. Has a video ever made you restless in that same way—not impressed, just ready to stand up?

Emotion & Music

27,729 görüntüleme • 28 gün önce

You watch him dance and think: “It looks so easy.” Red, blue, and yellow lights on the floor. The disco ball spinning. John Travolta in an open-collar shirt and flared pants, pointing forward then turning like his body was built for exactly this. The crowd stares. Nearly fifty years later, the clip still stops the scroll. But “easy” is an illusion. To create those moments in *Saturday Night Fever* (1977), Travolta turned himself into an athlete. He ran two miles every day. He danced three hours every day. And his trainer wasn’t a regular choreographer — it was the same man who trained Sylvester Stallone for *Rocky*. They treated Travolta like a fighter heading into the ring. The result: he dropped twenty pounds, got lean and sharp, and built the stamina to survive long shooting days under hot lights while hitting every precise move. The numbers aren’t the point. The choice is. At the time Travolta was already a television star from *Welcome Back, Kotter*. He could have leaned on natural charm and acting skill. But he understood that Tony Manero wasn’t just a guy who could dance. Tony was a young man who survived because of the dance floor — the only place he felt like he mattered. To sell that truth, Travolta couldn’t just “act” the dancing. He had to become someone who could actually do it. So he accepted the discipline. Run. Dance. Repeat. Day after day. His body changed. His endurance grew. Moves that once required thought became reflex. When the cameras rolled, he no longer had to try to look like he was dancing. He was dancing. That’s why the scene still lives. Not because of camera tricks. Not even because of the Bee Gees soundtrack (great as it is). It’s because audiences sense the truth underneath: this is the product of work, not magic. The confidence on Travolta’s face isn’t performance. It comes from knowing he had already put in the miles. When the film opened, it did more than launch a star. It turned disco into a global cultural force. Before *Saturday Night Fever*, disco was largely an underground scene — strong in certain New York clubs and among specific communities, but still niche to much of mainstream America. The movie, powered by Travolta’s physical commitment and the Bee Gees’ soundtrack, dragged it into the open. Suddenly the music was everywhere: radio, parties, fashion, advertising. The white suit, the pointed finger, the illuminated floor — these images traveled far beyond Brooklyn. Disco became the sound and look of an era, adopted in cities across Europe, Latin America, and Asia. For a few years it felt like the whole world was moving to the same beat. At its core, the film gave that movement a human face. It wasn’t just about the glitter and the four-on-the-floor pulse. It was about a restless young man trying to matter in a limited world, finding brief transcendence under the lights. That combination of spectacle and longing proved irresistible. The soundtrack dominated the charts for months. Dance studios filled with people trying to copy the moves. Clothing stores sold polyester like never before. What had been a subculture became a mainstream phenomenon — and then, almost as quickly, a cultural reference point that still gets revived, sampled, and celebrated decades later. Nearly half a century on, as the clip spreads again, most people still only see the surface beauty. Few stop to think about the early-morning runs, the exhausting afternoon sessions, and the quiet decision of a young actor: if you want to create a moment that lasts, you pay for it with hard work no one sees. Travolta paid that price. The film paid it forward by turning a local dance scene into something the world recognized. And every time the dance-floor lights come up in the video, we’re still enjoying both results. It wasn’t luck. It was discipline dressed up as grace — and a movie that turned a night out in Brooklyn into a global language.
1:09

You watch him dance and think: “It looks so easy.” Red, blue, and yellow lights on the floor. The disco ball spinning. John Travolta in an open-collar shirt and flared pants, pointing forward then turning like his body was built for exactly this. The crowd stares. Nearly fifty years later, the clip still stops the scroll. But “easy” is an illusion. To create those moments in *Saturday Night Fever* (1977), Travolta turned himself into an athlete. He ran two miles every day. He danced three hours every day. And his trainer wasn’t a regular choreographer — it was the same man who trained Sylvester Stallone for *Rocky*. They treated Travolta like a fighter heading into the ring. The result: he dropped twenty pounds, got lean and sharp, and built the stamina to survive long shooting days under hot lights while hitting every precise move. The numbers aren’t the point. The choice is. At the time Travolta was already a television star from *Welcome Back, Kotter*. He could have leaned on natural charm and acting skill. But he understood that Tony Manero wasn’t just a guy who could dance. Tony was a young man who survived because of the dance floor — the only place he felt like he mattered. To sell that truth, Travolta couldn’t just “act” the dancing. He had to become someone who could actually do it. So he accepted the discipline. Run. Dance. Repeat. Day after day. His body changed. His endurance grew. Moves that once required thought became reflex. When the cameras rolled, he no longer had to try to look like he was dancing. He was dancing. That’s why the scene still lives. Not because of camera tricks. Not even because of the Bee Gees soundtrack (great as it is). It’s because audiences sense the truth underneath: this is the product of work, not magic. The confidence on Travolta’s face isn’t performance. It comes from knowing he had already put in the miles. When the film opened, it did more than launch a star. It turned disco into a global cultural force. Before *Saturday Night Fever*, disco was largely an underground scene — strong in certain New York clubs and among specific communities, but still niche to much of mainstream America. The movie, powered by Travolta’s physical commitment and the Bee Gees’ soundtrack, dragged it into the open. Suddenly the music was everywhere: radio, parties, fashion, advertising. The white suit, the pointed finger, the illuminated floor — these images traveled far beyond Brooklyn. Disco became the sound and look of an era, adopted in cities across Europe, Latin America, and Asia. For a few years it felt like the whole world was moving to the same beat. At its core, the film gave that movement a human face. It wasn’t just about the glitter and the four-on-the-floor pulse. It was about a restless young man trying to matter in a limited world, finding brief transcendence under the lights. That combination of spectacle and longing proved irresistible. The soundtrack dominated the charts for months. Dance studios filled with people trying to copy the moves. Clothing stores sold polyester like never before. What had been a subculture became a mainstream phenomenon — and then, almost as quickly, a cultural reference point that still gets revived, sampled, and celebrated decades later. Nearly half a century on, as the clip spreads again, most people still only see the surface beauty. Few stop to think about the early-morning runs, the exhausting afternoon sessions, and the quiet decision of a young actor: if you want to create a moment that lasts, you pay for it with hard work no one sees. Travolta paid that price. The film paid it forward by turning a local dance scene into something the world recognized. And every time the dance-floor lights come up in the video, we’re still enjoying both results. It wasn’t luck. It was discipline dressed up as grace — and a movie that turned a night out in Brooklyn into a global language.

Music over time🎻

14,170 görüntüleme • 1 ay önce

APERTURE A reading of the music video The Aperture video doesn’t tell a linear story. It works as an emotional loop. It begins and ends in the same place, but that doesn’t mean nothing has changed. It suggests something more honest: inner processes rarely resolve in a single pass. From the start, Harry Styles doesn’t run. He walks through corridors, contained, while another presence follows him. Not a villain, not an external threat, but something that persists. Something already there. When the fall down the stairs happens, the previous balance breaks. Not as punishment, but as consequence. Light enters, and order shifts. What follows isn’t chaos. It’s choreography. Even the confrontation is danced. There are no uncontrolled impulses, only learned movements. Resistance itself can be a role. After the clash, there is no immediate resolution. They separate. And in that space, the central gesture appears: Harry chooses. He turns back. He faces it. From that decision, the dance begins. At first it’s aerial, suspended, weightless. There is no fusion and no victory, only exploration. The body rehearses coexistence before fixing it. They move together through corridors. Spaces of transition, routine, everyday life. The energy that once collided now cooperates. Truth stops being a crisis and starts walking with him. When they return to the stairs, the place of rupture, there is no fight. No escape. They pass each other like strangers. That isn’t coldness. It’s integration without dramatization. Harry goes back alone to his room. The video ends where it began. But the loop doesn’t suggest confinement. It suggests process. The conflict doesn’t disappear. It reorganizes. Light doesn’t solve everything, but it changes the relationship with what is seen. Aperture doesn’t promise closure. It proposes something more truthful: returning to the starting point with a little more awareness. And sometimes, that’s exactly what opening up means. 🪟✨ Opening up doesn’t always change the destination. Sometimes, it changes the way you return. #Aperture #HarryStyles #NewEra #EmotionalLoop #LetTheLightIn #ProcessOverClosure #Vulnerability #ChoreographyOfTruth #Growth joy larkin ✨ P.S. Grateful to Loreley Moni19🍋໑̣ and Pankipelus 🍋💋🪩❯❯❯❯🏁🐝🩵💚×͜×🥝🚁🏡 . We watched the video over and over again, and each time we found something new. Their thoughtful, generous perspectives helped shape this reading, simply shared for the love of it.
5:51

APERTURE A reading of the music video The Aperture video doesn’t tell a linear story. It works as an emotional loop. It begins and ends in the same place, but that doesn’t mean nothing has changed. It suggests something more honest: inner processes rarely resolve in a single pass. From the start, Harry Styles doesn’t run. He walks through corridors, contained, while another presence follows him. Not a villain, not an external threat, but something that persists. Something already there. When the fall down the stairs happens, the previous balance breaks. Not as punishment, but as consequence. Light enters, and order shifts. What follows isn’t chaos. It’s choreography. Even the confrontation is danced. There are no uncontrolled impulses, only learned movements. Resistance itself can be a role. After the clash, there is no immediate resolution. They separate. And in that space, the central gesture appears: Harry chooses. He turns back. He faces it. From that decision, the dance begins. At first it’s aerial, suspended, weightless. There is no fusion and no victory, only exploration. The body rehearses coexistence before fixing it. They move together through corridors. Spaces of transition, routine, everyday life. The energy that once collided now cooperates. Truth stops being a crisis and starts walking with him. When they return to the stairs, the place of rupture, there is no fight. No escape. They pass each other like strangers. That isn’t coldness. It’s integration without dramatization. Harry goes back alone to his room. The video ends where it began. But the loop doesn’t suggest confinement. It suggests process. The conflict doesn’t disappear. It reorganizes. Light doesn’t solve everything, but it changes the relationship with what is seen. Aperture doesn’t promise closure. It proposes something more truthful: returning to the starting point with a little more awareness. And sometimes, that’s exactly what opening up means. 🪟✨ Opening up doesn’t always change the destination. Sometimes, it changes the way you return. #Aperture #HarryStyles #NewEra #EmotionalLoop #LetTheLightIn #ProcessOverClosure #Vulnerability #ChoreographyOfTruth #Growth joy larkin ✨ P.S. Grateful to Loreley Moni19🍋໑̣ and Pankipelus 🍋💋🪩❯❯❯❯🏁🐝🩵💚×͜×🥝🚁🏡 . We watched the video over and over again, and each time we found something new. Their thoughtful, generous perspectives helped shape this reading, simply shared for the love of it.

GRVFCaleidoscope 🪬×͜× (ツ)#VintageFan 🌻🍋

31,904 görüntüleme • 8 ay önce

‼️The Arirang sample chronicles continue, but I think this finally covers it clearly. PLEASE DON'T COMMENT UNLESS YOU READ AND WATCH THE FULL CLIP. This creator's video walks through the full decision process frame by frame, with cultural context. It also offers a really fascinating Korean perspective on why most members felt hesitant about using the traditional Arirang sample. It ties into how views on national pride in Korea have changed over time. The creator explains everything in a calm, balanced way, so no matter where you stand, it’s worth watching. What I’m sharing here is a very condensed version, but the full video goes from the initial Arirang concept, to the studio session with Yoongi, Jimin, and Pdogg attempting to create their own version, to the group discussions and final decisions with Bang PD. It’s long, but definitely worth it if you’re interested in the cultural context and the nuances of what the members were saying. It also highlights how well the members listen to each other and work through ideas together, at least from what we’re shown (you never know what goes on behind the scenes). Still, it really makes it clear why these seven men are extraordinary people. Allow me to indulge for a moment in praising my man, j-hope. Seeing this from a Korean perspective made me appreciate him even more. He was the only one with no hesitation about using the sample. Jimin agreed overall, but even he admitted to feeling some embarrassment at one point. j-hope’s openness and confidence really stand out. I felt I can relate to him more than ever, because he immediately visualized the international perspective, and as a non-Korean, that makes me feel seen and appreciated. He’s able to look past bias and picture the bigger outcome. That’s what makes him so strong at planning long term, shaping performances, instantly visualizing what music works for dance, and creating moments that connect with all audiences. He really embodies what it means to be a visionary. I don't think it's too heavy handed to say that BTS are lucky to have him. Full video here:
9:27

‼️The Arirang sample chronicles continue, but I think this finally covers it clearly. PLEASE DON'T COMMENT UNLESS YOU READ AND WATCH THE FULL CLIP. This creator's video walks through the full decision process frame by frame, with cultural context. It also offers a really fascinating Korean perspective on why most members felt hesitant about using the traditional Arirang sample. It ties into how views on national pride in Korea have changed over time. The creator explains everything in a calm, balanced way, so no matter where you stand, it’s worth watching. What I’m sharing here is a very condensed version, but the full video goes from the initial Arirang concept, to the studio session with Yoongi, Jimin, and Pdogg attempting to create their own version, to the group discussions and final decisions with Bang PD. It’s long, but definitely worth it if you’re interested in the cultural context and the nuances of what the members were saying. It also highlights how well the members listen to each other and work through ideas together, at least from what we’re shown (you never know what goes on behind the scenes). Still, it really makes it clear why these seven men are extraordinary people. Allow me to indulge for a moment in praising my man, j-hope. Seeing this from a Korean perspective made me appreciate him even more. He was the only one with no hesitation about using the sample. Jimin agreed overall, but even he admitted to feeling some embarrassment at one point. j-hope’s openness and confidence really stand out. I felt I can relate to him more than ever, because he immediately visualized the international perspective, and as a non-Korean, that makes me feel seen and appreciated. He’s able to look past bias and picture the bigger outcome. That’s what makes him so strong at planning long term, shaping performances, instantly visualizing what music works for dance, and creating moments that connect with all audiences. He really embodies what it means to be a visionary. I don't think it's too heavy handed to say that BTS are lucky to have him. Full video here:

cyb3rpunkt 🐿️💚ミ⊙⊝⊜

14,849 görüntüleme • 5 ay önce

I HAVE AN ANSWER TO THE AI HACKING COMPUTER THREAT! HyperY2K I had this song made by my AI in real-time while I was writing. It is all local AI using a highly modified ACE AI engine. The real-time lyrics and music kept me focused. I thinks its mid… It should be our new Safety Dance! These are the lyrics. HyperY2k [Intro] (Low, urgent spoken word over ticking clock / modem static sounds) "Frontier models... not in years, but in months... Whole-of-society response... existential." [Verse 1] Shadows in the wire, ghosts in the machine Legacy code rotting, vulnerabilities unseen Criminals and empires, chaining exploits old EternalBlue still singing its deadly song Five Eyes sounding the alarm, midnight drawing near AI's dual blade is cutting crystal clear Offense gets the speed, but defenders rise the same We don't chain the future, we ignite the flame [Pre-Chorus] Technical debt's a mountain, decades in the making Patched holes still bleeding, foundations shaking No time for retreat, no room for fear The clock is striking hyper — the hour is here! [Chorus] Hyper Y2K! Mobilize the fire! AI on the frontline, lift the wire! Patch at machine speed, close the gates tonight Accelerate the fix, hold the future bright! No surrender, no chains on innovation's might America's edge — we code through the fight! Hyper Y2K! Rise up, remediate! Turn the threat to triumph — it's never too late! [Verse 2] Y2K was the warning, billions on the line Councils, partnerships, testing 'round the clock time Expanded the fields, bridged the ancient code Public-private warriors on the global road Now the stakes are higher, AI supercharges the war Millions of lines audited, patches at the core Fuzzing, verifying, anomaly response Legacy systems falling — we break the old course [Pre-Chorus] From WinRAR to WannaCry, the old ghosts return But AI sees the patterns that the humans never learn No prohibition folly, that hands the win away We weaponize the future — live to fight another day! [Chorus] Hyper Y2K! Mobilize the fire! AI on the frontline, lift the wire! Patch at machine speed, close the gates tonight Accelerate the fix, hold the future bright! No surrender, no chains on innovation's might America's edge — we code through the fight! Hyper Y2K! Rise up, remediate! Turn the threat to triumph — it's never too late! [Bridge] (Slower, heavier, spoken/sung with building intensity) They say slow it down, restrict the American dream Hand the keys to rivals who plot in the machine China, Russia, shadows — laughing as we fall But ingenuity's our weapon, we answer freedom's call Inventory the darkness, forge the patches new Tax credits, councils, liability shields true Out-innovate the darkness, out-fix the broken past This is Hyper Y2K — make resilience last! [Guitar Solo] (Fast, technical runs mimicking code execution → soaring melodic triumph) [Final Chorus – Bigger, Key Up] Hyper Y2K! (Hyper Y2K!) Mobilize the fire! AI on the frontline, lift the wire higher! Patch the world at speed, secure our children's night Accelerate the vision, into abundance light! No surrender! (No chains!) Innovation's might! We code the new frontier — we win this fight! Hyper Y2K! Rise up, remediate! From the ashes of debt — a hardened future awaits! [Outro] (Fading with gang vocals and electronic resolve) Patch the fire... accelerate... never too late... Hyper Y2K... we rise.
5:00

I HAVE AN ANSWER TO THE AI HACKING COMPUTER THREAT! HyperY2K I had this song made by my AI in real-time while I was writing. It is all local AI using a highly modified ACE AI engine. The real-time lyrics and music kept me focused. I thinks its mid… It should be our new Safety Dance! These are the lyrics. HyperY2k [Intro] (Low, urgent spoken word over ticking clock / modem static sounds) "Frontier models... not in years, but in months... Whole-of-society response... existential." [Verse 1] Shadows in the wire, ghosts in the machine Legacy code rotting, vulnerabilities unseen Criminals and empires, chaining exploits old EternalBlue still singing its deadly song Five Eyes sounding the alarm, midnight drawing near AI's dual blade is cutting crystal clear Offense gets the speed, but defenders rise the same We don't chain the future, we ignite the flame [Pre-Chorus] Technical debt's a mountain, decades in the making Patched holes still bleeding, foundations shaking No time for retreat, no room for fear The clock is striking hyper — the hour is here! [Chorus] Hyper Y2K! Mobilize the fire! AI on the frontline, lift the wire! Patch at machine speed, close the gates tonight Accelerate the fix, hold the future bright! No surrender, no chains on innovation's might America's edge — we code through the fight! Hyper Y2K! Rise up, remediate! Turn the threat to triumph — it's never too late! [Verse 2] Y2K was the warning, billions on the line Councils, partnerships, testing 'round the clock time Expanded the fields, bridged the ancient code Public-private warriors on the global road Now the stakes are higher, AI supercharges the war Millions of lines audited, patches at the core Fuzzing, verifying, anomaly response Legacy systems falling — we break the old course [Pre-Chorus] From WinRAR to WannaCry, the old ghosts return But AI sees the patterns that the humans never learn No prohibition folly, that hands the win away We weaponize the future — live to fight another day! [Chorus] Hyper Y2K! Mobilize the fire! AI on the frontline, lift the wire! Patch at machine speed, close the gates tonight Accelerate the fix, hold the future bright! No surrender, no chains on innovation's might America's edge — we code through the fight! Hyper Y2K! Rise up, remediate! Turn the threat to triumph — it's never too late! [Bridge] (Slower, heavier, spoken/sung with building intensity) They say slow it down, restrict the American dream Hand the keys to rivals who plot in the machine China, Russia, shadows — laughing as we fall But ingenuity's our weapon, we answer freedom's call Inventory the darkness, forge the patches new Tax credits, councils, liability shields true Out-innovate the darkness, out-fix the broken past This is Hyper Y2K — make resilience last! [Guitar Solo] (Fast, technical runs mimicking code execution → soaring melodic triumph) [Final Chorus – Bigger, Key Up] Hyper Y2K! (Hyper Y2K!) Mobilize the fire! AI on the frontline, lift the wire higher! Patch the world at speed, secure our children's night Accelerate the vision, into abundance light! No surrender! (No chains!) Innovation's might! We code the new frontier — we win this fight! Hyper Y2K! Rise up, remediate! From the ashes of debt — a hardened future awaits! [Outro] (Fading with gang vocals and electronic resolve) Patch the fire... accelerate... never too late... Hyper Y2K... we rise.

Brian Roemmele

17,097 görüntüleme • 3 ay önce

The height difference no longer matters when the music starts. On the America’s Got Talent stage, Alla Novikov appears with her young son Daniel, both dressed for a ballroom performance. He is only around eight, wearing a tuxedo, red bow tie and fedora; she is in a pink sequin dress. When Simon Cowell asks if they are a married couple, the joke comes naturally because of the unusual pairing. Then Daniel explains that she is his mother. Simon jokes that he thought the boy was simply short. The audience laughs, but the real surprise comes a few seconds later. Daniel doesn't perform like a child who has been brought onstage to make his mother look adorable. He takes control of the floor. He leads, turns, plays with his bow tie and moves with an almost startling confidence. His mother is clearly the more experienced dancer, but she never seems to compete with him for attention. She gives him room to be seen. That changes the whole performance. Instead of watching a mother show off her talented son, you are watching two people who genuinely know how to dance together. That is probably the detail that makes this clip more interesting than a simple “adorable mother and son” video. Ballroom and Latin dancing usually carry a very specific visual language. A man and a woman move as a pair, one leading and the other responding, and audiences naturally associate that chemistry with romantic couples. Here, the same vocabulary is placed between a mother and her little boy. The meaning changes completely. What looks sophisticated and almost adult in the choreography becomes, in this context, a picture of trust between a parent and her child. There is also something satisfying about seeing Daniel refuse the usual role of the cute kid. He doesn't hide behind his mother, and she doesn't use him as a prop. He has his own presence on the stage. For a few minutes, the fact that he is eight is almost irrelevant. What matters is that he knows where to put his feet, when to turn, how to respond to his partner and, perhaps most importantly, how to stay completely unafraid while hundreds of people watch. That confidence didn't appear overnight. Alla was a dance teacher and introduced her son to the world of dance when he was young. So there is a quiet progression underneath the performance: teacher and student eventually becoming partners. By the time they reached America's Got Talent, Daniel was no longer simply following his mother around the studio. He had learned enough to stand beside her. And maybe that is the real reason people find the performance so charming. It isn't cute simply because a little boy is dancing in a tuxedo. It is cute because his mother has given him something more valuable than a few impressive steps: the confidence to walk onto a huge stage and believe that he belongs there. She didn't have to make him look like a star. She raised him until he could dance beside her like one.
4:23

The height difference no longer matters when the music starts. On the America’s Got Talent stage, Alla Novikov appears with her young son Daniel, both dressed for a ballroom performance. He is only around eight, wearing a tuxedo, red bow tie and fedora; she is in a pink sequin dress. When Simon Cowell asks if they are a married couple, the joke comes naturally because of the unusual pairing. Then Daniel explains that she is his mother. Simon jokes that he thought the boy was simply short. The audience laughs, but the real surprise comes a few seconds later. Daniel doesn't perform like a child who has been brought onstage to make his mother look adorable. He takes control of the floor. He leads, turns, plays with his bow tie and moves with an almost startling confidence. His mother is clearly the more experienced dancer, but she never seems to compete with him for attention. She gives him room to be seen. That changes the whole performance. Instead of watching a mother show off her talented son, you are watching two people who genuinely know how to dance together. That is probably the detail that makes this clip more interesting than a simple “adorable mother and son” video. Ballroom and Latin dancing usually carry a very specific visual language. A man and a woman move as a pair, one leading and the other responding, and audiences naturally associate that chemistry with romantic couples. Here, the same vocabulary is placed between a mother and her little boy. The meaning changes completely. What looks sophisticated and almost adult in the choreography becomes, in this context, a picture of trust between a parent and her child. There is also something satisfying about seeing Daniel refuse the usual role of the cute kid. He doesn't hide behind his mother, and she doesn't use him as a prop. He has his own presence on the stage. For a few minutes, the fact that he is eight is almost irrelevant. What matters is that he knows where to put his feet, when to turn, how to respond to his partner and, perhaps most importantly, how to stay completely unafraid while hundreds of people watch. That confidence didn't appear overnight. Alla was a dance teacher and introduced her son to the world of dance when he was young. So there is a quiet progression underneath the performance: teacher and student eventually becoming partners. By the time they reached America's Got Talent, Daniel was no longer simply following his mother around the studio. He had learned enough to stand beside her. And maybe that is the real reason people find the performance so charming. It isn't cute simply because a little boy is dancing in a tuxedo. It is cute because his mother has given him something more valuable than a few impressive steps: the confidence to walk onto a huge stage and believe that he belongs there. She didn't have to make him look like a star. She raised him until he could dance beside her like one.

💖🌼Music, Kindness, and Inspiring Stories

91,023 görüntüleme • 17 gün önce

Hilary Hahn's performance of J.S. Bach's Partita No. 2 Sarabande, with its most subtle and profound details, highlights: 1. The perfect harmony between “Sound” and “Silence” — A symbol of reverence for the Divine The Sarabande has a very slow rhythm. When Hilary Hahn draws a note, she allows the sound to resonate fully and gradually fade into space before touching the next note. The silence between the notes in this video carries enormous weight. Listeners cherish this detail because it expresses the highest Humility and Reverence before the Creator. Hilary Hahn’s solo violin sound is pure, without any noise, standing alone in the silent space like the image of a pure soul kneeling in prayer inside an empty church. It is precisely that stillness where humans connect with the Divine. 2. The moral meaning of “Self-Mastery” through the technique of playing two strings simultaneously Playing chords (multiple strings sounding at the same time) on the violin with such smoothness at the extremely slow tempo of this ancient dance is a challenge that tests the limits of the human body. Many modern artists deliberately emphasize the pressure of the bow, creating “rustling” or jerky sounds to express their strong personality and inner conflicts. But Hilary Hahn does the opposite; she keeps her hands soft as silk yet precise like a metronome. The notes sound simultaneously, round and elegant, like the sound of a church organ. Keen listeners will see in this detail the Harmony and Order of Divine Law. The restraint of the ego, the maintenance of measured and disciplined sound, along with absolute obedience to J.S. Bach’s intention (a man who devoted his life to composing music to glorify God) is the expression of using Reason to master Instinct. True beauty lies in discipline, moderation, and respect for heritage, not in meaningless rebellion. 3. The purification of the soul (Cleansing) from the chaos of the age The Sarabande in D minor carries a profound sadness but is never sentimental. When listening to Hilary Hahn perform this piece, the listener feels serenity. The image of the artist standing firm with a dignified posture, using the strictest academic technique to serve pure music — they are not merely performing, but restoring the greatest inherited treasure of human art. 🎻Hilary Hahn • Sarabande from Bach Violin Partita No. 2 in D Minor, BWV 1004
5:45

Hilary Hahn's performance of J.S. Bach's Partita No. 2 Sarabande, with its most subtle and profound details, highlights: 1. The perfect harmony between “Sound” and “Silence” — A symbol of reverence for the Divine The Sarabande has a very slow rhythm. When Hilary Hahn draws a note, she allows the sound to resonate fully and gradually fade into space before touching the next note. The silence between the notes in this video carries enormous weight. Listeners cherish this detail because it expresses the highest Humility and Reverence before the Creator. Hilary Hahn’s solo violin sound is pure, without any noise, standing alone in the silent space like the image of a pure soul kneeling in prayer inside an empty church. It is precisely that stillness where humans connect with the Divine. 2. The moral meaning of “Self-Mastery” through the technique of playing two strings simultaneously Playing chords (multiple strings sounding at the same time) on the violin with such smoothness at the extremely slow tempo of this ancient dance is a challenge that tests the limits of the human body. Many modern artists deliberately emphasize the pressure of the bow, creating “rustling” or jerky sounds to express their strong personality and inner conflicts. But Hilary Hahn does the opposite; she keeps her hands soft as silk yet precise like a metronome. The notes sound simultaneously, round and elegant, like the sound of a church organ. Keen listeners will see in this detail the Harmony and Order of Divine Law. The restraint of the ego, the maintenance of measured and disciplined sound, along with absolute obedience to J.S. Bach’s intention (a man who devoted his life to composing music to glorify God) is the expression of using Reason to master Instinct. True beauty lies in discipline, moderation, and respect for heritage, not in meaningless rebellion. 3. The purification of the soul (Cleansing) from the chaos of the age The Sarabande in D minor carries a profound sadness but is never sentimental. When listening to Hilary Hahn perform this piece, the listener feels serenity. The image of the artist standing firm with a dignified posture, using the strictest academic technique to serve pure music — they are not merely performing, but restoring the greatest inherited treasure of human art. 🎻Hilary Hahn • Sarabande from Bach Violin Partita No. 2 in D Minor, BWV 1004

🎼🌺Music Love♥️

14,482 görüntüleme • 3 ay önce

There’s Something About Watching Someone Who Really Knows How to Dance The first thing I noticed was how little he seemed to care about the camera. He was dressed in a black suit and a fedora, dancing in front of some old-looking buildings, and at first I thought I would watch for a few seconds and move on. But then one step caught my attention. He slid into the beat, stopped almost exactly where the music seemed to ask him to, and moved on without making the transition look difficult. What I liked most was that you could actually see the dancing. His feet were doing the work. His shoulders moved with the music, his weight shifted from one side to the other, and every turn seemed to have a reason for being there. Nothing felt thrown in just to make the routine look complicated. I ended up watching the clip a few times, and that was when I realized what I found so satisfying about it. The movements were precise, but they didn’t look stiff. He had obviously spent a lot of time learning how to control his body, yet none of that effort was visible anymore. He looked relaxed. That kind of ease is difficult to fake. It also made me think about how differently we usually watch dance online. So many videos are built around quick cuts and short bursts of movement. You see a few seconds, get the most exciting part, and then the video moves on to something else. This one gives the dancing room to breathe. You can follow an entire sequence instead of trying to piece it together from edits. Maybe that is why the old-fashioned details work so well here. The suit and fedora, the architecture behind him, and the rhythm of the music all give the performance a particular character. But I don't think I enjoyed it simply because it reminded me of another era. The interesting thing is that the movement itself doesn't feel dated. A good dancer still looks like a good dancer. What surprised me most, though, was how much enjoyment seemed to be in it. He wasn’t dancing as if he were trying to prove something. There was a lightness to the performance, almost as if he knew the rhythm well enough that he could stop thinking about the steps and simply enjoy them. That is probably what kept me there. We spend so much time online watching people trying to catch our attention that it can be refreshing to watch someone who has already earned it without asking for it. No dramatic setup. No complicated explanation. Just music, movement, and someone who clearly knows what he is doing. And maybe that is why I watched it more than once. Not because it was spectacular. Because it was satisfying to watch someone be genuinely good at something. Have you ever stopped scrolling because a person was simply so good at what they were doing that you wanted to watch the whole thing?
0:59

There’s Something About Watching Someone Who Really Knows How to Dance The first thing I noticed was how little he seemed to care about the camera. He was dressed in a black suit and a fedora, dancing in front of some old-looking buildings, and at first I thought I would watch for a few seconds and move on. But then one step caught my attention. He slid into the beat, stopped almost exactly where the music seemed to ask him to, and moved on without making the transition look difficult. What I liked most was that you could actually see the dancing. His feet were doing the work. His shoulders moved with the music, his weight shifted from one side to the other, and every turn seemed to have a reason for being there. Nothing felt thrown in just to make the routine look complicated. I ended up watching the clip a few times, and that was when I realized what I found so satisfying about it. The movements were precise, but they didn’t look stiff. He had obviously spent a lot of time learning how to control his body, yet none of that effort was visible anymore. He looked relaxed. That kind of ease is difficult to fake. It also made me think about how differently we usually watch dance online. So many videos are built around quick cuts and short bursts of movement. You see a few seconds, get the most exciting part, and then the video moves on to something else. This one gives the dancing room to breathe. You can follow an entire sequence instead of trying to piece it together from edits. Maybe that is why the old-fashioned details work so well here. The suit and fedora, the architecture behind him, and the rhythm of the music all give the performance a particular character. But I don't think I enjoyed it simply because it reminded me of another era. The interesting thing is that the movement itself doesn't feel dated. A good dancer still looks like a good dancer. What surprised me most, though, was how much enjoyment seemed to be in it. He wasn’t dancing as if he were trying to prove something. There was a lightness to the performance, almost as if he knew the rhythm well enough that he could stop thinking about the steps and simply enjoy them. That is probably what kept me there. We spend so much time online watching people trying to catch our attention that it can be refreshing to watch someone who has already earned it without asking for it. No dramatic setup. No complicated explanation. Just music, movement, and someone who clearly knows what he is doing. And maybe that is why I watched it more than once. Not because it was spectacular. Because it was satisfying to watch someone be genuinely good at something. Have you ever stopped scrolling because a person was simply so good at what they were doing that you wanted to watch the whole thing?

Music over time🎻

50,709 görüntüleme • 27 gün önce

There’s an old clip that still makes people stop and watch all the way through: Mickey Thomas and Starship’s current female singer standing onstage, performing “Nothing’s Gonna Stop Us Now” with total commitment and not a hint of embarrassment. The red-haired woman in a graphic tee, shorts, and thigh-high boots sings and dances at the same time; the man in sunglasses and a patterned shirt waves his arms, leans into the mic, and carries himself as if it were still 1987. Even though commenters immediately spotted that they’re lip-syncing to the original recording, they perform as if they’re single-handedly saving the song. This is Starship’s 1987 hit, the theme song for Mannequin-the story of an unemployed artist who falls in love with a mannequin that comes to life. Diane Warren and Albert Hammond wrote it; Grace Slick and Mickey Thomas sang the duet. It went to No. 1 on the Billboard Hot 100, earned an Oscar nomination, and the official video intercut scenes from the film with Grace Slick herself playing the living mannequin opposite Mickey Thomas. At the time it was dismissed as mere movie promotion. It became one of the most memorable videos of the decade instead. This concert clip is not that original video. Grace Slick retired long ago. The woman standing next to Mickey Thomas now belongs to a later generation of the band. Yet they still throw themselves into it completely: singing, dancing, interacting, never once looking like they’re just going through the motions. It’s the same energy Michael Douglas, Kathleen Turner, and Danny DeVito once brought when they put on matching white suits, pretended to play saxophone, and danced without a shred of self-consciousness in Billy Ocean’s video. Back then there was MTV. A single video played on a loop and the whole country watched it. Movie soundtracks were hit-making machines. Studios simply told the actors to jump into the video for fun, and they did—no branding meetings, no asking a stylist whether the outfit would diminish their star power. What about now? Everyone has their own playlists and algorithms; the first seven seconds have to hook the viewer or they swipe away. Stars (and even legacy bands) guard their images as tightly as pension-fund managers. Performing an old hit live while using a backing track to preserve the original vocal quality gets immediately called out. The kind of collective joy that comes from “everyone acting adorably silly together” is becoming rare. Everything is either too cool, too introspective, or too calculated. To be fair, we are remembering the best version of the past. The ’80s had plenty of bad songs and videos so strange you want to cover your eyes now. But that particular combination-a massive hit tied to a movie, famous people willing to goof off completely, and the atmosphere of an office year-end party that somehow became an international success-belonged to a system that no longer exists. It isn’t that no one wants to do it anymore. The conditions that once allowed it to happen naturally have disappeared. The next time you see Mickey Thomas and the red-haired singer performing “Nothing’s Gonna Stop Us Now” onstage, go ahead and watch it again. Not because the old music is better than the new, but because sometimes we need a reminder that there was a time when a band and Hollywood’s biggest stars were willing to stand up, sing, dance, pretend to play instruments, and no one thought it was weird at all. That’s the part worth remembering.
4:26

There’s an old clip that still makes people stop and watch all the way through: Mickey Thomas and Starship’s current female singer standing onstage, performing “Nothing’s Gonna Stop Us Now” with total commitment and not a hint of embarrassment. The red-haired woman in a graphic tee, shorts, and thigh-high boots sings and dances at the same time; the man in sunglasses and a patterned shirt waves his arms, leans into the mic, and carries himself as if it were still 1987. Even though commenters immediately spotted that they’re lip-syncing to the original recording, they perform as if they’re single-handedly saving the song. This is Starship’s 1987 hit, the theme song for Mannequin-the story of an unemployed artist who falls in love with a mannequin that comes to life. Diane Warren and Albert Hammond wrote it; Grace Slick and Mickey Thomas sang the duet. It went to No. 1 on the Billboard Hot 100, earned an Oscar nomination, and the official video intercut scenes from the film with Grace Slick herself playing the living mannequin opposite Mickey Thomas. At the time it was dismissed as mere movie promotion. It became one of the most memorable videos of the decade instead. This concert clip is not that original video. Grace Slick retired long ago. The woman standing next to Mickey Thomas now belongs to a later generation of the band. Yet they still throw themselves into it completely: singing, dancing, interacting, never once looking like they’re just going through the motions. It’s the same energy Michael Douglas, Kathleen Turner, and Danny DeVito once brought when they put on matching white suits, pretended to play saxophone, and danced without a shred of self-consciousness in Billy Ocean’s video. Back then there was MTV. A single video played on a loop and the whole country watched it. Movie soundtracks were hit-making machines. Studios simply told the actors to jump into the video for fun, and they did—no branding meetings, no asking a stylist whether the outfit would diminish their star power. What about now? Everyone has their own playlists and algorithms; the first seven seconds have to hook the viewer or they swipe away. Stars (and even legacy bands) guard their images as tightly as pension-fund managers. Performing an old hit live while using a backing track to preserve the original vocal quality gets immediately called out. The kind of collective joy that comes from “everyone acting adorably silly together” is becoming rare. Everything is either too cool, too introspective, or too calculated. To be fair, we are remembering the best version of the past. The ’80s had plenty of bad songs and videos so strange you want to cover your eyes now. But that particular combination-a massive hit tied to a movie, famous people willing to goof off completely, and the atmosphere of an office year-end party that somehow became an international success-belonged to a system that no longer exists. It isn’t that no one wants to do it anymore. The conditions that once allowed it to happen naturally have disappeared. The next time you see Mickey Thomas and the red-haired singer performing “Nothing’s Gonna Stop Us Now” onstage, go ahead and watch it again. Not because the old music is better than the new, but because sometimes we need a reminder that there was a time when a band and Hollywood’s biggest stars were willing to stand up, sing, dance, pretend to play instruments, and no one thought it was weird at all. That’s the part worth remembering.

🦋 🌷Love Music 🎶 & Dance 💃🏻🕺🏻

23,140 görüntüleme • 25 gün önce

🚨🚨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

20,634 görüntüleme • 25 gün önce

How to destroy a booming market. A short post ft. the Haryana excise department. The video is of Sector 29 on a Sunday evening. Shutters down. Shops sitting with no tenants. Half of them had not even bothered to open. This is the same market that once ran a parking mafia. Tickets of 50, 100, sometimes more, just to park. Cars crawling all night. You could not get in. I stood there this Sunday and there was nothing. 10 percent of the old crowd, maybe less. A few years ago this place did not feel like India. At night the whole market was shining. Music, lights, people everywhere, that feeling of standing somewhere abroad for a few hours. Today it is quiet and in shambles. Everyone will tell you the towing killed it. GMDA lifted thousands of cars, Sector 29 topped the list, people got scared and stopped coming. That scared some of them off. The market was already bleeding from somewhere else. That somewhere else opened right next door, with a friendly name. BYOB. Bring your own booze. Sounds like freedom. Except you cannot bring your own booze. A friend lands from abroad, hands you a bottle of scotch from duty free, and they stop you at the door. You get in only if you buy the liquor from their shop. The one attached to the place. So the name is a lie. It is a liquor shop wearing a restaurant costume. Now look at what the licensed bars were carrying. Haryana raises the bar license fee almost every year. A proper brewery or bar in Sector 29 pays that every single year before it pours one glass. The BYOB next door pays none of it. No license. No excise weight. And it still charges food prices as high as the bar it is busy killing. Here is the part that should end the argument. Around 2 years ago some of these BYOB spots quietly built a mezzanine floor over the ground seating to double the covers. No fire safety. No clearance worth the name. The places breaking every rule got bigger. The places following every rule shut down. The mezzanines were pulled later, but by then the crowd had already moved. And the young crowd never cared about any of this. The BYOBs stay open till 4 in the morning. Live music, belly dance, theme nights, pool parties. Sector 29 with its licenses and its rules and its closing time could not fight a format that had no rules to begin with. Then look at the real estate. Around 3 years ago an SCO here was touching 50 CR. Today those same units are hard to sell. The rent is so high that nobody can run a business that covers it, so the shutter just stays down. The demand is still there. It just walked next door, to the cheaper version with no license and no rules. That is how you destroy a booming market. You charge the ones who follow the law every single year, you leave the ones who break it completely free, and then you act surprised when the lawful ones are the first to die.
0:27

How to destroy a booming market. A short post ft. the Haryana excise department. The video is of Sector 29 on a Sunday evening. Shutters down. Shops sitting with no tenants. Half of them had not even bothered to open. This is the same market that once ran a parking mafia. Tickets of 50, 100, sometimes more, just to park. Cars crawling all night. You could not get in. I stood there this Sunday and there was nothing. 10 percent of the old crowd, maybe less. A few years ago this place did not feel like India. At night the whole market was shining. Music, lights, people everywhere, that feeling of standing somewhere abroad for a few hours. Today it is quiet and in shambles. Everyone will tell you the towing killed it. GMDA lifted thousands of cars, Sector 29 topped the list, people got scared and stopped coming. That scared some of them off. The market was already bleeding from somewhere else. That somewhere else opened right next door, with a friendly name. BYOB. Bring your own booze. Sounds like freedom. Except you cannot bring your own booze. A friend lands from abroad, hands you a bottle of scotch from duty free, and they stop you at the door. You get in only if you buy the liquor from their shop. The one attached to the place. So the name is a lie. It is a liquor shop wearing a restaurant costume. Now look at what the licensed bars were carrying. Haryana raises the bar license fee almost every year. A proper brewery or bar in Sector 29 pays that every single year before it pours one glass. The BYOB next door pays none of it. No license. No excise weight. And it still charges food prices as high as the bar it is busy killing. Here is the part that should end the argument. Around 2 years ago some of these BYOB spots quietly built a mezzanine floor over the ground seating to double the covers. No fire safety. No clearance worth the name. The places breaking every rule got bigger. The places following every rule shut down. The mezzanines were pulled later, but by then the crowd had already moved. And the young crowd never cared about any of this. The BYOBs stay open till 4 in the morning. Live music, belly dance, theme nights, pool parties. Sector 29 with its licenses and its rules and its closing time could not fight a format that had no rules to begin with. Then look at the real estate. Around 3 years ago an SCO here was touching 50 CR. Today those same units are hard to sell. The rent is so high that nobody can run a business that covers it, so the shutter just stays down. The demand is still there. It just walked next door, to the cheaper version with no license and no rules. That is how you destroy a booming market. You charge the ones who follow the law every single year, you leave the ones who break it completely free, and then you act surprised when the lawful ones are the first to die.

Abhishek Bhardwaj

243,466 görüntüleme • 1 ay önce

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

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

1tokki

17,635 görüntüleme • 1 yıl önce

GM GM GM ! (๑✪ᆺ✪๑)/❤️ 🔥𝗘𝗫𝗣𝗢𝗦𝗜𝗡𝗚 𝗧𝗛𝗘 𝗧𝗥𝗨𝗧𝗛🔥 ✨𝐅𝐈𝐑𝐒𝐓 — A BIG shoutout to 𝗕𝗕𝗡𝗢$ & 𝗜𝗥𝗢𝗡𝗠𝗢𝗨𝗦𝗘 for the dopest song of 𝟐𝟎𝟐𝟓! 🎬𝗚𝗼 𝘀𝘂𝗯𝘀𝗰𝗿𝗶𝗯𝗲 & 𝗳𝗼𝗹𝗹𝗼𝘄 them, see the full-quality video — links at the end of this article. ⛩️𝗜𝘁'𝘀 𝘁𝗵𝗲 𝗳𝗶𝗻𝗮𝗹 𝗽𝗼𝘀𝘁 𝗼𝗳 𝘁𝗵𝗲 𝘄𝗲𝗲𝗸 𝘀𝗼 𝘆𝗼𝘂 𝗸𝗻𝗼𝘄 𝗶𝘁 𝗰𝗼𝗺𝗲𝘀 𝘄𝗶𝘁𝗵 𝗸𝗻𝗼𝘄𝗹𝗲𝗱𝗴𝗲 𝘀𝗼 𝗹𝗲𝘁'𝘀 𝗱𝗶𝘃𝗲 𝗶𝗻🔻 ♦️As I mentioned before, I really don’t understand how people keep falling for these infoFi scams and other post-grinding projects. 🔸I’m talking about Loudio, P33lio, Yapyo, Fukyo — you know them all. You all get RUGGED every time but still keep doing it. 🔸Do you really think Spermify ( you all know who I’m referring to ) or other web3 brands give a shit if you lose money, time, and effort? Of course not — but you should. 🔸And here’s why🔻 ~ 𝗦𝗘𝗖𝗥𝗘𝗧: The top 10 “influencers” you see as web3 gods are not grinding like you — they are paid per post. I know because I was offered the same. Also, they are not real influencers — real influencers charge thousands of $$$ per post and do not shill anything. ~ They don’t give a shit because they get paid upfront. But you shill daily for nothing — and the worst part is, you shill to your own community and followers. Do you even realize how many people lose money because you don’t think about what you’re doing? ~ What if you had to pay back every person in your community who invested in what you shilled and then lost everything? ~ 𝗚𝗥𝗢𝗪 𝗧𝗛𝗘 𝗙𝗞 𝗨𝗣 𝗔𝗡𝗗 𝗦𝗧𝗔𝗥𝗧 𝗕𝗘𝗜𝗡𝗚 𝗥𝗘𝗦𝗣𝗢𝗡𝗦𝗜𝗕𝗟𝗘 𝗙𝗢𝗥 𝗪𝗛𝗔𝗧 𝗬𝗢𝗨 𝗣𝗢𝗦𝗧. I’m referring to people who have communities that actually follow their calls and post — not just simple creators shilling anything. ♦️If you ever see me launch another NFT project or a coin, know that I guarantee your money back if you’re not satisfied. No shady shit — Senpai never toys with people’s funds! ♦️You’ll rarely see me post anything, because I don’t post bullshit. I don’t want to harm anyone’s wallet, so I prefer to REFUSE the $$$ — no matter the amount! ♦️ You’ll see people saying they never engage in drama — yet all their posts are nothing but attention-seeking drama. Don’t believe me? Just look around. ♦️ You’ll see “smart” mofos claiming other people aren’t organic. Mfer… NOTHING in web3 is organic. Not a single post. All the comments are in exchange for something — whether from influencers or projects. They just talk shit coz their accounts & persona are nothing and they are lazy to work for it! ♦️There’s a lot of FUD regarding girls in web3. While some girls are real gamers or content creators, keep in mind that literally 95% are managed by dudes — even if the photos or videos are real. Also, notice how many of the girls you guys goon over in web3 today just removed all their booty photos after they got followers & attention, or deleted all the photos with themselves. If anyone’s curious, DM me — there are peeps that have all their sexy pics, even if they deleted them. 🔸Now they claim to be gamer influencers, but we also have proof that they’re completely managed by dudes ( literally the guys confessing they do everything for them ). I’m not saying all web3 females are fake, but just don’t get fooled bros, ur talking to guys not girls. 💮𝗜𝗳 𝘆𝗼𝘂’𝗿𝗲 𝗮 𝘄𝗼𝗺𝗮𝗻 𝘄𝗵𝗼’𝘀 𝗳𝗼𝗿 𝗿𝗲𝗮𝗹 𝗮𝗻𝗱 𝘄𝗼𝗿𝗸𝘀 𝗵𝗮𝗿𝗱 𝗶𝗻 𝗪𝗲𝗯3, 𝗮𝗹𝗹 𝘁𝗵𝗲 𝗿𝗲𝘀𝗽𝗲𝗰𝘁 𝗮𝗻𝗱 𝗹𝗼𝘃𝗲 𝘁𝗼 𝘆𝗼𝘂. 𝗞𝗲𝗲𝗽 𝗽𝘂𝘀𝗵𝗶𝗻𝗴 — 𝘄𝗼𝗺𝗲𝗻 𝗰𝗮𝗻 𝗱𝗼 𝗮𝗻𝘆𝘁𝗵𝗶𝗻𝗴 𝗮 𝗺𝗮𝗻 𝗰𝗮𝗻, 𝗮𝗻𝗱 𝗲𝘃𝗲𝗻 𝗯𝗲𝘁𝘁𝗲𝗿🧡 ♦️Why do I make these posts? Because someone has to, so people don’t get scammed, rugged, and so on! ♦️If you’re a bit confused, go read my other posts🔻 ~ ~ ~ ~ ~ ♦️If you see Senpai post something, you know it’s legit. ♦️If you disagree with what I said, then I’m sorry — the truth always hurts. I probably touched your little attention-whore soft spot, and that’s why you’ll never have the balls to post the truth like some of us. You’re too afraid to harm your perfect 𝗙𝗔𝗞𝗘 𝗥𝗘𝗣𝗨𝗧𝗔𝗧𝗜𝗢𝗡! ♦️ BROKIES DO IT FOR THE B!TCHES! ♦️ LEGENDS HAVE B!TCHES TO DO IT FOR THEM! ♦️ I CAN RETIRE JUST WITH MY WRIST✨⌚️✨ ♦️ SENPAI WILL NOT SHILL YOUR RUGS MOFOS! 🔥𝗝𝘂𝘀𝘁 𝗮 𝗹𝗶𝘁𝘁𝗹𝗲 𝗻𝗼𝘁𝗶𝗰𝗲 & 𝗮𝗹𝗽𝗵𝗮: 𝘄𝗲𝗯2 𝗶𝗻𝗳𝗹𝘂𝗲𝗻𝗰𝗲𝗿𝘀 𝗴𝗲𝘁 $10𝗸 𝗲𝗮𝘀𝘆 𝗽𝗲𝗿 𝕏 𝗽𝗼𝘀𝘁. 𝗪𝗼𝗼𝗽 𝗪𝗼𝗼𝗽🔥 🌸𝑰 𝒉𝒐𝒑𝒆 𝒚𝒐𝒖 𝒆𝒏𝒋𝒐𝒚𝒆𝒅 𝒕𝒉𝒊𝒔 𝒍𝒊𝒕𝒕𝒍𝒆 𝒑𝒐𝒔𝒕 & 𝒚𝒐𝒖 𝒘𝒊𝒍𝒍 𝒉𝒂𝒗𝒆 𝒂 𝒍𝒐𝒗𝒆𝒍𝒚 𝒘𝒆𝒆𝒌𝒆𝒏𝒅 𝒂𝒉𝒆𝒂𝒅💜 🎬𝗦𝗨𝗕𝗦𝗖𝗥𝗜𝗕𝗘 𝘁𝗼 𝗕𝗕𝗡𝗢$: 🎬𝗦𝗨𝗕𝗦𝗖𝗥𝗜𝗕𝗘 𝘁𝗼 𝗜𝗥𝗢𝗡𝗠𝗢𝗨𝗦𝗘: ⭐️𝐘𝐎𝐔 𝐂𝐀𝐍 𝐅𝐈𝐍𝐃 𝐀𝐋𝐋 𝐓𝐇𝐄𝐈𝐑 𝐒𝐎𝐂𝐈𝐀𝐋𝐒 𝐓𝐇𝐄𝐑𝐄⭐️
3:27

GM GM GM ! (๑✪ᆺ✪๑)/❤️ 🔥𝗘𝗫𝗣𝗢𝗦𝗜𝗡𝗚 𝗧𝗛𝗘 𝗧𝗥𝗨𝗧𝗛🔥 ✨𝐅𝐈𝐑𝐒𝐓 — A BIG shoutout to 𝗕𝗕𝗡𝗢$ & 𝗜𝗥𝗢𝗡𝗠𝗢𝗨𝗦𝗘 for the dopest song of 𝟐𝟎𝟐𝟓! 🎬𝗚𝗼 𝘀𝘂𝗯𝘀𝗰𝗿𝗶𝗯𝗲 & 𝗳𝗼𝗹𝗹𝗼𝘄 them, see the full-quality video — links at the end of this article. ⛩️𝗜𝘁'𝘀 𝘁𝗵𝗲 𝗳𝗶𝗻𝗮𝗹 𝗽𝗼𝘀𝘁 𝗼𝗳 𝘁𝗵𝗲 𝘄𝗲𝗲𝗸 𝘀𝗼 𝘆𝗼𝘂 𝗸𝗻𝗼𝘄 𝗶𝘁 𝗰𝗼𝗺𝗲𝘀 𝘄𝗶𝘁𝗵 𝗸𝗻𝗼𝘄𝗹𝗲𝗱𝗴𝗲 𝘀𝗼 𝗹𝗲𝘁'𝘀 𝗱𝗶𝘃𝗲 𝗶𝗻🔻 ♦️As I mentioned before, I really don’t understand how people keep falling for these infoFi scams and other post-grinding projects. 🔸I’m talking about Loudio, P33lio, Yapyo, Fukyo — you know them all. You all get RUGGED every time but still keep doing it. 🔸Do you really think Spermify ( you all know who I’m referring to ) or other web3 brands give a shit if you lose money, time, and effort? Of course not — but you should. 🔸And here’s why🔻 ~ 𝗦𝗘𝗖𝗥𝗘𝗧: The top 10 “influencers” you see as web3 gods are not grinding like you — they are paid per post. I know because I was offered the same. Also, they are not real influencers — real influencers charge thousands of $$$ per post and do not shill anything. ~ They don’t give a shit because they get paid upfront. But you shill daily for nothing — and the worst part is, you shill to your own community and followers. Do you even realize how many people lose money because you don’t think about what you’re doing? ~ What if you had to pay back every person in your community who invested in what you shilled and then lost everything? ~ 𝗚𝗥𝗢𝗪 𝗧𝗛𝗘 𝗙𝗞 𝗨𝗣 𝗔𝗡𝗗 𝗦𝗧𝗔𝗥𝗧 𝗕𝗘𝗜𝗡𝗚 𝗥𝗘𝗦𝗣𝗢𝗡𝗦𝗜𝗕𝗟𝗘 𝗙𝗢𝗥 𝗪𝗛𝗔𝗧 𝗬𝗢𝗨 𝗣𝗢𝗦𝗧. I’m referring to people who have communities that actually follow their calls and post — not just simple creators shilling anything. ♦️If you ever see me launch another NFT project or a coin, know that I guarantee your money back if you’re not satisfied. No shady shit — Senpai never toys with people’s funds! ♦️You’ll rarely see me post anything, because I don’t post bullshit. I don’t want to harm anyone’s wallet, so I prefer to REFUSE the $$$ — no matter the amount! ♦️ You’ll see people saying they never engage in drama — yet all their posts are nothing but attention-seeking drama. Don’t believe me? Just look around. ♦️ You’ll see “smart” mofos claiming other people aren’t organic. Mfer… NOTHING in web3 is organic. Not a single post. All the comments are in exchange for something — whether from influencers or projects. They just talk shit coz their accounts & persona are nothing and they are lazy to work for it! ♦️There’s a lot of FUD regarding girls in web3. While some girls are real gamers or content creators, keep in mind that literally 95% are managed by dudes — even if the photos or videos are real. Also, notice how many of the girls you guys goon over in web3 today just removed all their booty photos after they got followers & attention, or deleted all the photos with themselves. If anyone’s curious, DM me — there are peeps that have all their sexy pics, even if they deleted them. 🔸Now they claim to be gamer influencers, but we also have proof that they’re completely managed by dudes ( literally the guys confessing they do everything for them ). I’m not saying all web3 females are fake, but just don’t get fooled bros, ur talking to guys not girls. 💮𝗜𝗳 𝘆𝗼𝘂’𝗿𝗲 𝗮 𝘄𝗼𝗺𝗮𝗻 𝘄𝗵𝗼’𝘀 𝗳𝗼𝗿 𝗿𝗲𝗮𝗹 𝗮𝗻𝗱 𝘄𝗼𝗿𝗸𝘀 𝗵𝗮𝗿𝗱 𝗶𝗻 𝗪𝗲𝗯3, 𝗮𝗹𝗹 𝘁𝗵𝗲 𝗿𝗲𝘀𝗽𝗲𝗰𝘁 𝗮𝗻𝗱 𝗹𝗼𝘃𝗲 𝘁𝗼 𝘆𝗼𝘂. 𝗞𝗲𝗲𝗽 𝗽𝘂𝘀𝗵𝗶𝗻𝗴 — 𝘄𝗼𝗺𝗲𝗻 𝗰𝗮𝗻 𝗱𝗼 𝗮𝗻𝘆𝘁𝗵𝗶𝗻𝗴 𝗮 𝗺𝗮𝗻 𝗰𝗮𝗻, 𝗮𝗻𝗱 𝗲𝘃𝗲𝗻 𝗯𝗲𝘁𝘁𝗲𝗿🧡 ♦️Why do I make these posts? Because someone has to, so people don’t get scammed, rugged, and so on! ♦️If you’re a bit confused, go read my other posts🔻 ~ ~ ~ ~ ~ ♦️If you see Senpai post something, you know it’s legit. ♦️If you disagree with what I said, then I’m sorry — the truth always hurts. I probably touched your little attention-whore soft spot, and that’s why you’ll never have the balls to post the truth like some of us. You’re too afraid to harm your perfect 𝗙𝗔𝗞𝗘 𝗥𝗘𝗣𝗨𝗧𝗔𝗧𝗜𝗢𝗡! ♦️ BROKIES DO IT FOR THE B!TCHES! ♦️ LEGENDS HAVE B!TCHES TO DO IT FOR THEM! ♦️ I CAN RETIRE JUST WITH MY WRIST✨⌚️✨ ♦️ SENPAI WILL NOT SHILL YOUR RUGS MOFOS! 🔥𝗝𝘂𝘀𝘁 𝗮 𝗹𝗶𝘁𝘁𝗹𝗲 𝗻𝗼𝘁𝗶𝗰𝗲 & 𝗮𝗹𝗽𝗵𝗮: 𝘄𝗲𝗯2 𝗶𝗻𝗳𝗹𝘂𝗲𝗻𝗰𝗲𝗿𝘀 𝗴𝗲𝘁 $10𝗸 𝗲𝗮𝘀𝘆 𝗽𝗲𝗿 𝕏 𝗽𝗼𝘀𝘁. 𝗪𝗼𝗼𝗽 𝗪𝗼𝗼𝗽🔥 🌸𝑰 𝒉𝒐𝒑𝒆 𝒚𝒐𝒖 𝒆𝒏𝒋𝒐𝒚𝒆𝒅 𝒕𝒉𝒊𝒔 𝒍𝒊𝒕𝒕𝒍𝒆 𝒑𝒐𝒔𝒕 & 𝒚𝒐𝒖 𝒘𝒊𝒍𝒍 𝒉𝒂𝒗𝒆 𝒂 𝒍𝒐𝒗𝒆𝒍𝒚 𝒘𝒆𝒆𝒌𝒆𝒏𝒅 𝒂𝒉𝒆𝒂𝒅💜 🎬𝗦𝗨𝗕𝗦𝗖𝗥𝗜𝗕𝗘 𝘁𝗼 𝗕𝗕𝗡𝗢$: 🎬𝗦𝗨𝗕𝗦𝗖𝗥𝗜𝗕𝗘 𝘁𝗼 𝗜𝗥𝗢𝗡𝗠𝗢𝗨𝗦𝗘: ⭐️𝐘𝐎𝐔 𝐂𝐀𝐍 𝐅𝐈𝐍𝐃 𝐀𝐋𝐋 𝐓𝐇𝐄𝐈𝐑 𝐒𝐎𝐂𝐈𝐀𝐋𝐒 𝐓𝐇𝐄𝐑𝐄⭐️

🌸𝐒𝐄𝐍𝐏𝐀𝐈 先輩🍜

304,968 görüntüleme • 1 yıl önce

Wow…. Donald Trump’s rally in Tucson, Arizona was a mess. Bro was totally slurry and as utterly incoherent he’s ever been. Let’s recap it: JD Vance is nowhere to be found. Bro hasn’t been invited to a rally in a while. Telling. He starts by hyping up the crowd despite the Linda Ronstadt Music Hall only having a capacity for 2195 people. There were empty seats too. In comparison, VP Harris had 8600 people at her rally today. You could tell his tiny crowd size was bothering him. He claimed he had a “monumental victory” against VP Harris in the debate. Sure, bro… He said she “spewed lies.” Pure projection. He whined about Linsey Davis and David Muir. He had issues saying “industry,” “Snopes” (he called it “Snoops”), “confiscation,” “notice,” “and,” “interest,” “Russia,” “jokingly,” and “woman." The cognitive decline is fierce. He lied about the abortion after birth thing again, disgusting. He’s giggling at his own jokes. I think he’s on something. This is super weird. He called VP Kamala Harris “the leader of the movement Defund the Police.” Uh, no. He says Project 2025 “never had my authorization.” He implemented over 2/3 of their policies in 2017. He says that crime is so much worse now than when he was in office. False. Crime has gone down since the spike when he was POTUS. He falls back on his Twitter polls as proof that he “won the debate.” Nah, bro. He seems to think that his debate with Biden counts as debating Harris. Not the case. He claims his weird “Town Hall” with Tulsi Gabbard had the best ratings. It didn’t. He tried to diss David Muir’s hair. Odd since I’d take David’s hair over Donald’s…whatever that is…any day of the week. He claims VP Harris is “a threat to democracy.” So much projection. He’s slurring calling Harris and Tim Walz “weird.” He clearly doesn’t like being called weird himself, so we should keep doing it. A lot. He called Tim Walz “the future Vice President.” Well, he got one thing right! He repeats that he won’t do a “third debate” because it’s “too late” since early voting has already started. Donald Trump is a chicken. He goes on an angry rant about immigrants and migrants. He whines that VP Harris smiled during the debate. Bro, she was LAUGHING AT YOU. He’s pushing lies about Springfield, Ohio. FAFO in a swing state, bro. I can’t wait for Haitians to help flip Florida. He claims people in Hollywood vote for him because of “low taxes.” Further proof Donald only cares about giving tax cuts to the wealthy. He says they lie and say they’re not voting for him and then secretly vote for him. Not happening, bro. He claimed he got “more votes than any sitting president in the history of the country” in 2020. HE LOST THE ELECTION and he’s once again claiming he didn’t lose after admitting he did multiple times in the past month. He said “we’re never gonna let that happen again.” We all need to be prepared for what he’s gonna make his base do when he loses AGAIN. He claims that “in a couple more years they’ll be fired” about Linsey Davis and David Muir. Is he threatening them if he wins? He called Linsey Davis “nasty.” What a dick. He now goes back to people in Hollywood voting for him. Delusional man can’t even keep his own train of thought. He claims someone named Martha cried when he won the debate. Uh. He’s bragging about crowd size again. He’s also saying he did 7 rallies in 2 days. He did not. He’s now asking how many rallies Biden would do…he keeps forgetting who he’s running against. He tries to get the crowd excited and it sounded like less than 50 people were clapping. Sad. He’s now talking about Venezuelans taking over places with AK47s. He was the one who stayed the deportation of Venezuelans right before he left office. He’s now calling Kari Lake “Border Kari Lake.” Super lame nickname and of course he praises himself for it. He’s crying about Biden again. Yikes. Bro’s mind is mashed potatoes. He’s back talking about Venezuelans with guns and he’s trying to do math. No joke. He claims Harris is flying in migrants on jets. He whines about the Forbes 400 and claims Forbes “isn’t doing so well.” He’s still butthurt that they dropped him from their list. He’s back to demonizing “20,000” Haitian migrants in Springfield, Ohio. FAFO bro. He said “they’re taking the geese…and walking off with their pets. My has been stolen.” He keeps talking about someone named “Art.” I’m smirking. He says he’ll “stop World War 3.” Bro is gonna try to start it. He’s crying about Biden not talking to Putin. He claims that immigrants and migrants can’t pay rent. He immediately talks about the “explosion in rent” in Springfield, Ohio. Pick one or the other, doofus. He’s talking about sleeping with a chart “every night.” I mean, that’s more than Melania is sleeping with him. She won’t even be in the same state as him, let alone the same bedroom. He’s going to “ban mortgages for all illegal aliens.” I thought he said they can’t pay rent but now they can afford to buy a home? Again, pick a lane dingleberry. You’re embarrassing. He claimed the average income raised $7000 under him. False. 3 million people lost their jobs. Donald says he’s going to save the average person in Arizona “$800 and $1000 a month” on their mortgages. Is he planning on giving away free homes? Bro is straight up lying. He arbitrarily says he’s going to cut their power bills by 50% in the first year. How do people believe this absolute bullsh*.t? He said people “can’t afford to buy cereal” and that people bring three apples to the checkout and then put one back because they can’t afford it. Fruity Pebbles near me are $3.49 and an apple costs $.59. He wants to repeal “every unnecessary rule” for construction of homes. Let’s make houses implode again! He claims “government regulation” is to blame for “40% of the cost of single family homes.” Bro is legit just making up numbers as he goes along. This is painful to watch. He says he’s going to cut the cost of new homes by 30-50%. Is he gonna give away land for free? FFS. Bro is mental. Ah. He just said he’s going to open up federal land for “large scale housing development.” Great. Let’s turn Yellowstone into a strip mall while we’re at it. He’s complaining that the media covers his inability to say words and calling him “cognitively impaired.” The media genuinely needs to call this out. He calls Melania “our great First Lady.” She’s not the First Lady, and she’s not great either. He said Melania complains about his hair at his rallies. Good. He looks like a bum with an animal living in that weird hair nest. He’s complaining about low income housing. He’ll take away any safety net that people who are struggling have. He said he “doesn’t have problems with women” and that suburban women love him. E. Jean Carroll would like a word. So would Stormy Daniels. He said women “don’t want to be hurt, molested, killed.” I don’t want to have to carry my rapist’s baby, bro. And that’s now happening to women in 13 states thanks to you. He asked “why wouldn’t they like me” about women. UHHHHHHHH. How much time do you have, Donald? He said women want choice and that he’s for choice. But he’s talking about school choice, not bodily autonomy. I hate this man. He’s whining about “copycat” VP Harris saying “no taxes on tips.” Hahahaha. She still lives rent free in his head about this. He’s now trying to bribe people by saying that he’ll end taxes on overtime. We all know he’ll never implement this. He’s bragging about Biden’s student loan debt elimination being stopped. Vile. He claims he took in more money from the IRS after he cut taxes for the wealthy, “by a lot.” Not true. Our national debt was skyrocketing under him even prior to the pandemic. The crowd cheers the loudest for his hateful speech about transgender people. He lies and says schools are transing kids after parents drop them off. He claims VP Harris was “the leader of that.” Fake news. He lies about the boxers in the Olympics again. I really hope they sue the ever-loving sh-i.t out of him. He does some lewd gestures and talks about “getting it up.” I want to vomit in my mouth. He makes up a story about a trans swimmer who won the Olympics and some female swimmer getting “wind burn” as a result. WHAT THE ACTUAL EFF?!?! See the video below. I couldn’t stop laughing. Sorry for that! He’s begging people to get their friends to vote. He knows he’s gonna lose. Oh. Now he's doing the air jerk dance going off the stage. It makes my skin crawl. - Fin I’m sorry this one took a while. I kept pausing and leaving the tv because he was royally pissing me off. I genuinely cannot wait until I don’t have to do these anymore. This man is one giant ball of hatred and we need this cancerous negativity removed from our society. Is the media gonna cover any of this or nah?
1:16

Wow…. Donald Trump’s rally in Tucson, Arizona was a mess. Bro was totally slurry and as utterly incoherent he’s ever been. Let’s recap it: JD Vance is nowhere to be found. Bro hasn’t been invited to a rally in a while. Telling. He starts by hyping up the crowd despite the Linda Ronstadt Music Hall only having a capacity for 2195 people. There were empty seats too. In comparison, VP Harris had 8600 people at her rally today. You could tell his tiny crowd size was bothering him. He claimed he had a “monumental victory” against VP Harris in the debate. Sure, bro… He said she “spewed lies.” Pure projection. He whined about Linsey Davis and David Muir. He had issues saying “industry,” “Snopes” (he called it “Snoops”), “confiscation,” “notice,” “and,” “interest,” “Russia,” “jokingly,” and “woman." The cognitive decline is fierce. He lied about the abortion after birth thing again, disgusting. He’s giggling at his own jokes. I think he’s on something. This is super weird. He called VP Kamala Harris “the leader of the movement Defund the Police.” Uh, no. He says Project 2025 “never had my authorization.” He implemented over 2/3 of their policies in 2017. He says that crime is so much worse now than when he was in office. False. Crime has gone down since the spike when he was POTUS. He falls back on his Twitter polls as proof that he “won the debate.” Nah, bro. He seems to think that his debate with Biden counts as debating Harris. Not the case. He claims his weird “Town Hall” with Tulsi Gabbard had the best ratings. It didn’t. He tried to diss David Muir’s hair. Odd since I’d take David’s hair over Donald’s…whatever that is…any day of the week. He claims VP Harris is “a threat to democracy.” So much projection. He’s slurring calling Harris and Tim Walz “weird.” He clearly doesn’t like being called weird himself, so we should keep doing it. A lot. He called Tim Walz “the future Vice President.” Well, he got one thing right! He repeats that he won’t do a “third debate” because it’s “too late” since early voting has already started. Donald Trump is a chicken. He goes on an angry rant about immigrants and migrants. He whines that VP Harris smiled during the debate. Bro, she was LAUGHING AT YOU. He’s pushing lies about Springfield, Ohio. FAFO in a swing state, bro. I can’t wait for Haitians to help flip Florida. He claims people in Hollywood vote for him because of “low taxes.” Further proof Donald only cares about giving tax cuts to the wealthy. He says they lie and say they’re not voting for him and then secretly vote for him. Not happening, bro. He claimed he got “more votes than any sitting president in the history of the country” in 2020. HE LOST THE ELECTION and he’s once again claiming he didn’t lose after admitting he did multiple times in the past month. He said “we’re never gonna let that happen again.” We all need to be prepared for what he’s gonna make his base do when he loses AGAIN. He claims that “in a couple more years they’ll be fired” about Linsey Davis and David Muir. Is he threatening them if he wins? He called Linsey Davis “nasty.” What a dick. He now goes back to people in Hollywood voting for him. Delusional man can’t even keep his own train of thought. He claims someone named Martha cried when he won the debate. Uh. He’s bragging about crowd size again. He’s also saying he did 7 rallies in 2 days. He did not. He’s now asking how many rallies Biden would do…he keeps forgetting who he’s running against. He tries to get the crowd excited and it sounded like less than 50 people were clapping. Sad. He’s now talking about Venezuelans taking over places with AK47s. He was the one who stayed the deportation of Venezuelans right before he left office. He’s now calling Kari Lake “Border Kari Lake.” Super lame nickname and of course he praises himself for it. He’s crying about Biden again. Yikes. Bro’s mind is mashed potatoes. He’s back talking about Venezuelans with guns and he’s trying to do math. No joke. He claims Harris is flying in migrants on jets. He whines about the Forbes 400 and claims Forbes “isn’t doing so well.” He’s still butthurt that they dropped him from their list. He’s back to demonizing “20,000” Haitian migrants in Springfield, Ohio. FAFO bro. He said “they’re taking the geese…and walking off with their pets. My has been stolen.” He keeps talking about someone named “Art.” I’m smirking. He says he’ll “stop World War 3.” Bro is gonna try to start it. He’s crying about Biden not talking to Putin. He claims that immigrants and migrants can’t pay rent. He immediately talks about the “explosion in rent” in Springfield, Ohio. Pick one or the other, doofus. He’s talking about sleeping with a chart “every night.” I mean, that’s more than Melania is sleeping with him. She won’t even be in the same state as him, let alone the same bedroom. He’s going to “ban mortgages for all illegal aliens.” I thought he said they can’t pay rent but now they can afford to buy a home? Again, pick a lane dingleberry. You’re embarrassing. He claimed the average income raised $7000 under him. False. 3 million people lost their jobs. Donald says he’s going to save the average person in Arizona “$800 and $1000 a month” on their mortgages. Is he planning on giving away free homes? Bro is straight up lying. He arbitrarily says he’s going to cut their power bills by 50% in the first year. How do people believe this absolute bullsh*.t? He said people “can’t afford to buy cereal” and that people bring three apples to the checkout and then put one back because they can’t afford it. Fruity Pebbles near me are $3.49 and an apple costs $.59. He wants to repeal “every unnecessary rule” for construction of homes. Let’s make houses implode again! He claims “government regulation” is to blame for “40% of the cost of single family homes.” Bro is legit just making up numbers as he goes along. This is painful to watch. He says he’s going to cut the cost of new homes by 30-50%. Is he gonna give away land for free? FFS. Bro is mental. Ah. He just said he’s going to open up federal land for “large scale housing development.” Great. Let’s turn Yellowstone into a strip mall while we’re at it. He’s complaining that the media covers his inability to say words and calling him “cognitively impaired.” The media genuinely needs to call this out. He calls Melania “our great First Lady.” She’s not the First Lady, and she’s not great either. He said Melania complains about his hair at his rallies. Good. He looks like a bum with an animal living in that weird hair nest. He’s complaining about low income housing. He’ll take away any safety net that people who are struggling have. He said he “doesn’t have problems with women” and that suburban women love him. E. Jean Carroll would like a word. So would Stormy Daniels. He said women “don’t want to be hurt, molested, killed.” I don’t want to have to carry my rapist’s baby, bro. And that’s now happening to women in 13 states thanks to you. He asked “why wouldn’t they like me” about women. UHHHHHHHH. How much time do you have, Donald? He said women want choice and that he’s for choice. But he’s talking about school choice, not bodily autonomy. I hate this man. He’s whining about “copycat” VP Harris saying “no taxes on tips.” Hahahaha. She still lives rent free in his head about this. He’s now trying to bribe people by saying that he’ll end taxes on overtime. We all know he’ll never implement this. He’s bragging about Biden’s student loan debt elimination being stopped. Vile. He claims he took in more money from the IRS after he cut taxes for the wealthy, “by a lot.” Not true. Our national debt was skyrocketing under him even prior to the pandemic. The crowd cheers the loudest for his hateful speech about transgender people. He lies and says schools are transing kids after parents drop them off. He claims VP Harris was “the leader of that.” Fake news. He lies about the boxers in the Olympics again. I really hope they sue the ever-loving sh-i.t out of him. He does some lewd gestures and talks about “getting it up.” I want to vomit in my mouth. He makes up a story about a trans swimmer who won the Olympics and some female swimmer getting “wind burn” as a result. WHAT THE ACTUAL EFF?!?! See the video below. I couldn’t stop laughing. Sorry for that! He’s begging people to get their friends to vote. He knows he’s gonna lose. Oh. Now he's doing the air jerk dance going off the stage. It makes my skin crawl. - Fin I’m sorry this one took a while. I kept pausing and leaving the tv because he was royally pissing me off. I genuinely cannot wait until I don’t have to do these anymore. This man is one giant ball of hatred and we need this cancerous negativity removed from our society. Is the media gonna cover any of this or nah?

Art Candee 🍿🥤

449,514 görüntüleme • 2 yıl önce