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Date a live animation release with sound jp sub! Commissioner/producer/author: animefan71109 Assistant editor: CumSkeleton 🔞(!!) Commissions CLOSED! Artist: ZeeN3 (Comm Open) Animator: Kiribasta Translation: Hennojin SFX: Bosh🇦🇺 VA/Sound Engineer Yuzuru Yamai: tohta Kaguya yamai: @meinyanparfait Download links and if you want to order animation from me are in my...

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Kiribasta

39,197 subscribers

86,842 Aufrufe • vor 2 Jahren •via X (Twitter)

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It’s been one week since the release of one of the most special projects I’ve ever been a part of. Thank you to everyone who played a part in this, from Ron Fair, Heather Holly, the Spotify team, Sabrina Carpenter, and MGK. Thank you all for putting so much love and care into making these songs even more meaningful than before. To my team, I feel like the luckiest girl in the WORLD every single day. The hard work you’ve put in to make this anniversary so special has never gone unnoticed and is always appreciated. You fiercely protect, love me with care, and guide me with intention every day. You are my rock, but most importantly, my family. It’s been an honor to be on this journey with you, and I’m so grateful to be surrounded by people who love me the way you do. From glam squad to management team to digital army, what we’ve created is something we can all look back on with immense pride. Thank you for giving me what a girl wants—not just today, but every day. I love you. 💕🥹 CREDITS: Director: Bradley J. Calder Executive Producer: Sarah Patellos, Isabelle Homola, Will Noyce, Sarah Francus, Alejandro Jimenez Production Company: bigkid Producer: Katherine Jordan Line Producer: Vladen Ponomar Edit + Color: Brian Niles Artist Manager: Sarah Francus Management Coordinator: Mary Sparks Lavey Publicist: Brett Ruttenberg, imPRint Production Manager: Narci Martinez Monitor Engineer: Josh Peixoto Backline: David Holman MD/ Playback: Christopher Hartz Tour Manager: Janet Taylor Road Manager: Christopher Miranda Digital Manager/Content: Marcel Frederic Photographer: Dennis Leupold Photographer Assistant: Kevin Leupold Photo Assistant: Tommy Blanco Videographer: Gracie Newman Content/Videographer: Raz Loback Content/Videographer: Hayden Coens Stylist: Chris Horan Styling Assistant: Ian Elmowitz Styling Assistant: Elijah Scott Makeup Artist: Etienne Ortega Hair Artist: Iggy Rosales A&R 5020 RCRDS: Rafa Arcaute, Alejandro Jiménez, Oriana Hidalgo, Edgar Bohorquez
0:23

It’s been one week since the release of one of the most special projects I’ve ever been a part of. Thank you to everyone who played a part in this, from Ron Fair, Heather Holly, the Spotify team, Sabrina Carpenter, and MGK. Thank you all for putting so much love and care into making these songs even more meaningful than before. To my team, I feel like the luckiest girl in the WORLD every single day. The hard work you’ve put in to make this anniversary so special has never gone unnoticed and is always appreciated. You fiercely protect, love me with care, and guide me with intention every day. You are my rock, but most importantly, my family. It’s been an honor to be on this journey with you, and I’m so grateful to be surrounded by people who love me the way you do. From glam squad to management team to digital army, what we’ve created is something we can all look back on with immense pride. Thank you for giving me what a girl wants—not just today, but every day. I love you. 💕🥹 CREDITS: Director: Bradley J. Calder Executive Producer: Sarah Patellos, Isabelle Homola, Will Noyce, Sarah Francus, Alejandro Jimenez Production Company: bigkid Producer: Katherine Jordan Line Producer: Vladen Ponomar Edit + Color: Brian Niles Artist Manager: Sarah Francus Management Coordinator: Mary Sparks Lavey Publicist: Brett Ruttenberg, imPRint Production Manager: Narci Martinez Monitor Engineer: Josh Peixoto Backline: David Holman MD/ Playback: Christopher Hartz Tour Manager: Janet Taylor Road Manager: Christopher Miranda Digital Manager/Content: Marcel Frederic Photographer: Dennis Leupold Photographer Assistant: Kevin Leupold Photo Assistant: Tommy Blanco Videographer: Gracie Newman Content/Videographer: Raz Loback Content/Videographer: Hayden Coens Stylist: Chris Horan Styling Assistant: Ian Elmowitz Styling Assistant: Elijah Scott Makeup Artist: Etienne Ortega Hair Artist: Iggy Rosales A&R 5020 RCRDS: Rafa Arcaute, Alejandro Jiménez, Oriana Hidalgo, Edgar Bohorquez

Christina Aguilera

194,385 Aufrufe • vor 1 Jahr

Introducing Agentic Animator You can now just tell Codex to create new model animations from scratch, here's how it works: - Be precise. Describe exactly the motion, hands, shoulders, legs - Don't expect a oneshot, we're in a completely new field here, it will get the rotation of arms wrong (see demo), just tell it what you see. - The harness: If you try to build a similar app, you will be frustrated very quickly, because a skeleton rig may contain dozens of bones, each with translation, rotation, scale. We're talking about at least 12 properties per bone per frame! Instead, I gave it some high level tool to build an initial animation "blockout", it only places a few keyframes on select bones. That is often enough! ThreeJS can interpolate between the frames and you might not need 30 fps to get a good animation for your model. Anyways it's open source and on github so you can just tell your agent to copy whatever i did and it'll likely work Just promise me to stay open source, yea? Don't you apply to YC with my findings bro
0:44

Introducing Agentic Animator You can now just tell Codex to create new model animations from scratch, here's how it works: - Be precise. Describe exactly the motion, hands, shoulders, legs - Don't expect a oneshot, we're in a completely new field here, it will get the rotation of arms wrong (see demo), just tell it what you see. - The harness: If you try to build a similar app, you will be frustrated very quickly, because a skeleton rig may contain dozens of bones, each with translation, rotation, scale. We're talking about at least 12 properties per bone per frame! Instead, I gave it some high level tool to build an initial animation "blockout", it only places a few keyframes on select bones. That is often enough! ThreeJS can interpolate between the frames and you might not need 30 fps to get a good animation for your model. Anyways it's open source and on github so you can just tell your agent to copy whatever i did and it'll likely work Just promise me to stay open source, yea? Don't you apply to YC with my findings bro

robot

10,555 Aufrufe • vor 4 Monaten

🚨🚨🚨If you’ve been following me, I’ve been warning you about this for a long time…….There is a reason that they financially destroyed everyone👇 Canada 🇨🇦 is introducing Universal Basic Income This UBI will probably be in the form of Central Bank Digital Currencies If CBDC’s get accepted by society, it’s GAME OVER!!! They get to decide how you spend your money from now on - here’s some examples : If you are not up to date with your #Covid #Vaccines? you’re not getting your income If you want to buy more meat than the daily quota, your credit card won’t work You want to buy a gun or bullets? Your credit card won’t work You want to buy something outside of your 15 min city? Your credit card won’t work In my opinion, this has always been their MAIN and FINAL goal!! If you want to live like, free-range chickens in open air prisons, this is the way to go😑 #UBI #CBDC #DigitalPrison
0:35

🚨🚨🚨If you’ve been following me, I’ve been warning you about this for a long time…….There is a reason that they financially destroyed everyone👇 Canada 🇨🇦 is introducing Universal Basic Income This UBI will probably be in the form of Central Bank Digital Currencies If CBDC’s get accepted by society, it’s GAME OVER!!! They get to decide how you spend your money from now on - here’s some examples : If you are not up to date with your #Covid #Vaccines? you’re not getting your income If you want to buy more meat than the daily quota, your credit card won’t work You want to buy a gun or bullets? Your credit card won’t work You want to buy something outside of your 15 min city? Your credit card won’t work In my opinion, this has always been their MAIN and FINAL goal!! If you want to live like, free-range chickens in open air prisons, this is the way to go😑 #UBI #CBDC #DigitalPrison

Kevin - WE THE PEOPLE🦁

1,548,587 Aufrufe • vor 2 Jahren

// a few thoughts on remote work for animators (especially important for aspiring animators) my story: let's rewind the clock back to this animation. You're looking at a very rare 17 year old gameplay prototype animation done for the next gen Prince of Persia series at the time. What crazy about this clip is that it was done by 1 animator in a couple days. I literally saw it animated from start to end with my own eyes. The animation quality in this clip is off the charts, especially when you take into account the animations being released during that era. Now imagine me, in my squeaky chair, swiveling around every few hours to feast my eyes on this animator's dual 27-inch ViewSonic CRT screens. There was an air of magic in those moments, seeing the Prince of Persia coming to life only a few meters from my desk. When I would turn back to try and resume my work, my first thoughts were always "how the heck is he animating so fast and so well!" - What's even more puzzling was how he had so much control over the 3dsmax Biped, it had NO friggen F-curves, for crying out loud! loll - who was this animator? The monitors I would stare at from my desk belonged to Emile Ghorayeb. Just search his name and you'll see his IMDB credits. He was THAT good back then so you can only imagine how insanely good he is right now! Today, he's a very good friend of mine that I love very much and we have a lot of wonderful industry related memories that we share! - why does going to the office matter? Every day going to the office, I'd be really excited to see my team and eager to see what Emile was working on! I couldn't wait to dive into my own animations, driven by the aspiration that one day, just maybe, I could reach a level of skill and finesse comparable to the incredible quality he brought to his animations. - conclusion Remote work is wonderful, don't get me wrong, it's given us all opportunities we would have never had before and I'm super grateful for it. That said, for next generation of talent that hasn't yet experienced it. Try and work from the office, if you can. In my opinion, it's the best place to learn, to get inspired and certainly the best place to make some wonderful friends that will be a part of your animation journey for life! Thanks for reading if you made it this far! ps. turn on the sound and enjoy this rare gem of animation! 💎
0:36

// a few thoughts on remote work for animators (especially important for aspiring animators) my story: let's rewind the clock back to this animation. You're looking at a very rare 17 year old gameplay prototype animation done for the next gen Prince of Persia series at the time. What crazy about this clip is that it was done by 1 animator in a couple days. I literally saw it animated from start to end with my own eyes. The animation quality in this clip is off the charts, especially when you take into account the animations being released during that era. Now imagine me, in my squeaky chair, swiveling around every few hours to feast my eyes on this animator's dual 27-inch ViewSonic CRT screens. There was an air of magic in those moments, seeing the Prince of Persia coming to life only a few meters from my desk. When I would turn back to try and resume my work, my first thoughts were always "how the heck is he animating so fast and so well!" - What's even more puzzling was how he had so much control over the 3dsmax Biped, it had NO friggen F-curves, for crying out loud! loll - who was this animator? The monitors I would stare at from my desk belonged to Emile Ghorayeb. Just search his name and you'll see his IMDB credits. He was THAT good back then so you can only imagine how insanely good he is right now! Today, he's a very good friend of mine that I love very much and we have a lot of wonderful industry related memories that we share! - why does going to the office matter? Every day going to the office, I'd be really excited to see my team and eager to see what Emile was working on! I couldn't wait to dive into my own animations, driven by the aspiration that one day, just maybe, I could reach a level of skill and finesse comparable to the incredible quality he brought to his animations. - conclusion Remote work is wonderful, don't get me wrong, it's given us all opportunities we would have never had before and I'm super grateful for it. That said, for next generation of talent that hasn't yet experienced it. Try and work from the office, if you can. In my opinion, it's the best place to learn, to get inspired and certainly the best place to make some wonderful friends that will be a part of your animation journey for life! Thanks for reading if you made it this far! ps. turn on the sound and enjoy this rare gem of animation! 💎

John Animates

101,426 Aufrufe • vor 2 Jahren

It's such an exciting time to be an artist on the internet. We now have the technology to build out our worlds, in spaces we own, it is truly the age of ideas. I've built a new home for my projects here, and in advance of my next major release with Transient Labs on June 16th, I want to share what I've made with you all, and open a dialogue about how we can use these tools as artists to enhance the experience of making and sharing our art. This is an overview of davekrugman dot com (link in thread), specifically about new sites for Drip Drop and DRIVE, and to that end, I'll give a work from each project to someone who reshares this post. If you are an artist who is curious on how to build a site for yourself, I would be happy to help, I'm an open book, ask me in the comments below. There are so many tools to use- I mostly used Claude / Anthropic- and now we can literally speak our ideas into reality , the possibilities feel truly infinite, if you have curiosity, patience, and a bit of time to explore a new frontier. For too long, artists have had to build on the rented space of social platforms, and now it feels like we can really create sovereign spaces that we own and make ours with our unique vision. Feel free to skim and skip around the video, and I'd be stoked if you visited the site and saw it for yourself. Thanks for lookin!
19:12

It's such an exciting time to be an artist on the internet. We now have the technology to build out our worlds, in spaces we own, it is truly the age of ideas. I've built a new home for my projects here, and in advance of my next major release with Transient Labs on June 16th, I want to share what I've made with you all, and open a dialogue about how we can use these tools as artists to enhance the experience of making and sharing our art. This is an overview of davekrugman dot com (link in thread), specifically about new sites for Drip Drop and DRIVE, and to that end, I'll give a work from each project to someone who reshares this post. If you are an artist who is curious on how to build a site for yourself, I would be happy to help, I'm an open book, ask me in the comments below. There are so many tools to use- I mostly used Claude / Anthropic- and now we can literally speak our ideas into reality , the possibilities feel truly infinite, if you have curiosity, patience, and a bit of time to explore a new frontier. For too long, artists have had to build on the rented space of social platforms, and now it feels like we can really create sovereign spaces that we own and make ours with our unique vision. Feel free to skim and skip around the video, and I'd be stoked if you visited the site and saw it for yourself. Thanks for lookin!

Dave

20,828 Aufrufe • vor 2 Monaten

🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 StarlightDaryl 🎵✨🔭 VTuber Composer 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ ➡️ VEXPO ‘26 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!
0:22

🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 StarlightDaryl 🎵✨🔭 VTuber Composer 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ ➡️ VEXPO ‘26 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!

WUNDER RiKU 🎵🪽 Songwriter| ✈️ ➡️ OffKai

38,554 Aufrufe • vor 5 Monaten

Caleb Hammer goes off on guest after she calls Tinder date a creep for wanting to hook up. Guest: So because I was in Austin, I’m like, “Oh, let me get Tinder again to explore the area with an attractive male.” He lowkey followed me up to my hotel room. Caleb Hammer: Who? Guest: This guy from Tinder. Caleb Hammer: You met a random guy from Tinder the moment you landed in Austin? Guest: No, I did some things by myself. I actually was like going to try to just find somebody like, “Oh, let’s go to a nice food spot or something.” I’ve never been here. Caleb Hammer: Okay, so you met… Guest: Yes. Caleb Hammer: …a man… Guest: Yes. Caleb Hammer: Okay. Guest: …and then he was trying to hook up with me and I was like, “No, I’m not like that anymore.” And then I lowkey kicked him out. Caleb Hammer: This is… this is so interesting. Ladies and gentlemen, have you followed what she just said? I’m going to show you, unfortunately, the modern young woman in grand display. She went around with a lot of guys and hooked up. Okay, that’s good. She consented to it, they consented to it. Then she flew here in Austin, chose to meet up with a guy, the guy wanted to hook up, and she just made him sound like a creep for coming with her to the hotel and trying to hook up. Guest: Well, we were walking around in public and then I’m like, “Oh, do you want to walk me…” Like, he was just standing there near me at the elevators. I’m like, “Are you going to walk me up?” And he’s like, “I don’t care.” And then I was like, “I’m just going to go,” and he just followed me a bit. Caleb Hammer: Do you not understand what you just said? You were like, “Do you…” You wanted him to walk you up and stuff. Guest: I didn’t! I was just trying to go up. Caleb Hammer: What did you just… You are the modern young woman! You guys are broken. The moment you guys want to hook up, it’s totally good. But if a guy wants to hook up, it’s creepy and weird. You know you can just say no and move on with your life.
3:07

Sensitive content

Caleb Hammer goes off on guest after she calls Tinder date a creep for wanting to hook up. Guest: So because I was in Austin, I’m like, “Oh, let me get Tinder again to explore the area with an attractive male.” He lowkey followed me up to my hotel room. Caleb Hammer: Who? Guest: This guy from Tinder. Caleb Hammer: You met a random guy from Tinder the moment you landed in Austin? Guest: No, I did some things by myself. I actually was like going to try to just find somebody like, “Oh, let’s go to a nice food spot or something.” I’ve never been here. Caleb Hammer: Okay, so you met… Guest: Yes. Caleb Hammer: …a man… Guest: Yes. Caleb Hammer: Okay. Guest: …and then he was trying to hook up with me and I was like, “No, I’m not like that anymore.” And then I lowkey kicked him out. Caleb Hammer: This is… this is so interesting. Ladies and gentlemen, have you followed what she just said? I’m going to show you, unfortunately, the modern young woman in grand display. She went around with a lot of guys and hooked up. Okay, that’s good. She consented to it, they consented to it. Then she flew here in Austin, chose to meet up with a guy, the guy wanted to hook up, and she just made him sound like a creep for coming with her to the hotel and trying to hook up. Guest: Well, we were walking around in public and then I’m like, “Oh, do you want to walk me…” Like, he was just standing there near me at the elevators. I’m like, “Are you going to walk me up?” And he’s like, “I don’t care.” And then I was like, “I’m just going to go,” and he just followed me a bit. Caleb Hammer: Do you not understand what you just said? You were like, “Do you…” You wanted him to walk you up and stuff. Guest: I didn’t! I was just trying to go up. Caleb Hammer: What did you just… You are the modern young woman! You guys are broken. The moment you guys want to hook up, it’s totally good. But if a guy wants to hook up, it’s creepy and weird. You know you can just say no and move on with your life.

Mue Deborah

1,519,705 Aufrufe • vor 15 Tagen

Here's my first series of Anime created by Generative AI. Vidu 2.0 is a groundbreaking advancement for storytelling in the Anime style. #vidu @Viduforhuman Hi everyone 😊 😉 Here's my first AI-created Anime series. The name of my anime is Kuro & Yuki. I won't spoil the story for you, but it begins with these two boys locked up in what appears to be a highly secure institute/prison. Yuki has reached the age where he has awakened his power. While wandering the corridors of the institute, he meets Kuro, a boy with autism. It's a fleeting encounter as they end up being separated. As the story unfolds, you'll understand who they really are and why they are locked up. I don't plan on making episode 2 yet, even though I've grown attached to my characters' story. I'll continue the story only if a lot of people are interested and want to know what happens next. Otherwise, I'll explore other universes and styles of Anime 😉 Tools: - Epidemic Sound (For sound effects) - Vidu AI (to transform frames into animation) - ElevenLabs (for certain expressions) When I say Vidu 2.0 is a game-changer, I mean it. I had already made my animation with the previous version of Vidu, but when they gave me access to the beta, I urgently changed my plans and recreated all the animations. Let me tell you, it's a whole new level. My first animation was ultra frustrating to bring my ideas to life! Really! And since Vidu couldn't handle many image styles, I clearly couldn't bring my ideas to life. But with Vidu 2.0, I enjoy it much more! For the first time, I really get to bring my ideas to life! Until now, I always had to make compromises. Of course, Vidu is still not perfect, and there are still many obstacles, but it is a truly magnificent advancement! (and it surpasses all the Anime-style AIs I've tested recently) Moreover, Vidu 2.0 is fantastic for special effects, but also for embedding elements into the video (like a hand that appears and interacts with the character, or another character; and the best part is that they perfectly match the style of the original images!) * The animations/images and voices are AI-generated * The SoundDesign is traditional and done by me * The story was entirely written by me (I don't use AI to create my stories, it's important to me to write them myself) The voices were generated thanks to Nijivoice (for secondary characters) and Hailuo Audio (for main characters). I thank Yachimat (yachimat - AI Short Anime) for introducing me to Nijivoice, it's very generous of him! During the beta, we didn't consume credits, otherwise, this animation would have cost me around 20,000 credits, ha ha. Vidu 2.0, with its superb stability and fidelity to the style of images, offers brand new horizons for storytelling! One problem with Vidu 2.0 is that for now, you have to manually extend videos (by exporting the last frame). As you can see, this allowed me to create long scenes with different actions, and everything fits together perfectly! There are still many obstacles to storytelling, such as character consistency (I use the image to video function; I produce my images with Nijijourney) and it's always laborious to have a consistent character! The same goes for backgrounds. Here are the points I've identified that would facilitate storytelling: For Vidu: - Function to extend videos (you can already do this manually by exporting the last frame) - Function to invent the beginning or end of a video using a single frame (you can already do this manually by putting a completely white or completely black image as the first or last frame; this technique also allows you to have very dynamic results with Vidu 2.0! ) - It's difficult to obtain facial expressions for certain image styles (the same image style that the previous version couldn't handle at all). - More dynamism There's always room for improvement, but Vidu 2.0 has truly opened up exciting new possibilities for creative storytelling. ai aiart aianimation aianime ainews anime animenews aitools aitool
4:52

Here's my first series of Anime created by Generative AI. Vidu 2.0 is a groundbreaking advancement for storytelling in the Anime style. #vidu @Viduforhuman Hi everyone 😊 😉 Here's my first AI-created Anime series. The name of my anime is Kuro & Yuki. I won't spoil the story for you, but it begins with these two boys locked up in what appears to be a highly secure institute/prison. Yuki has reached the age where he has awakened his power. While wandering the corridors of the institute, he meets Kuro, a boy with autism. It's a fleeting encounter as they end up being separated. As the story unfolds, you'll understand who they really are and why they are locked up. I don't plan on making episode 2 yet, even though I've grown attached to my characters' story. I'll continue the story only if a lot of people are interested and want to know what happens next. Otherwise, I'll explore other universes and styles of Anime 😉 Tools: - Epidemic Sound (For sound effects) - Vidu AI (to transform frames into animation) - ElevenLabs (for certain expressions) When I say Vidu 2.0 is a game-changer, I mean it. I had already made my animation with the previous version of Vidu, but when they gave me access to the beta, I urgently changed my plans and recreated all the animations. Let me tell you, it's a whole new level. My first animation was ultra frustrating to bring my ideas to life! Really! And since Vidu couldn't handle many image styles, I clearly couldn't bring my ideas to life. But with Vidu 2.0, I enjoy it much more! For the first time, I really get to bring my ideas to life! Until now, I always had to make compromises. Of course, Vidu is still not perfect, and there are still many obstacles, but it is a truly magnificent advancement! (and it surpasses all the Anime-style AIs I've tested recently) Moreover, Vidu 2.0 is fantastic for special effects, but also for embedding elements into the video (like a hand that appears and interacts with the character, or another character; and the best part is that they perfectly match the style of the original images!) * The animations/images and voices are AI-generated * The SoundDesign is traditional and done by me * The story was entirely written by me (I don't use AI to create my stories, it's important to me to write them myself) The voices were generated thanks to Nijivoice (for secondary characters) and Hailuo Audio (for main characters). I thank Yachimat (yachimat - AI Short Anime) for introducing me to Nijivoice, it's very generous of him! During the beta, we didn't consume credits, otherwise, this animation would have cost me around 20,000 credits, ha ha. Vidu 2.0, with its superb stability and fidelity to the style of images, offers brand new horizons for storytelling! One problem with Vidu 2.0 is that for now, you have to manually extend videos (by exporting the last frame). As you can see, this allowed me to create long scenes with different actions, and everything fits together perfectly! There are still many obstacles to storytelling, such as character consistency (I use the image to video function; I produce my images with Nijijourney) and it's always laborious to have a consistent character! The same goes for backgrounds. Here are the points I've identified that would facilitate storytelling: For Vidu: - Function to extend videos (you can already do this manually by exporting the last frame) - Function to invent the beginning or end of a video using a single frame (you can already do this manually by putting a completely white or completely black image as the first or last frame; this technique also allows you to have very dynamic results with Vidu 2.0! ) - It's difficult to obtain facial expressions for certain image styles (the same image style that the previous version couldn't handle at all). - More dynamism There's always room for improvement, but Vidu 2.0 has truly opened up exciting new possibilities for creative storytelling. ai aiart aianimation aianime ainews anime animenews aitools aitool

Naegiko

66,492 Aufrufe • vor 1 Jahr

What the OP said: "⭐ My friends and I listened to the live stream content frame-by-frame and made a different discovery. Analyzing the content, it seems that after Lei Zi ended the stream, he and Yue Yue went to a relatively hidden place where they didn't think anyone would be (a place quite nearby). However, there were staff members there. My guess is that the staff members are aware of their relationship because the staff's voice appears again later. This suggests that even after being discovered by the staff, they didn't leave or change locations. The two of them are very open/unfazed in front of the staff in private. ⭐ From their very natural dialogue about "giving a hug," it’s evident they have likely been together [locked/dating] for a long time. The dates 24 and 25 gave it a real sense of certainty. ⭐ Based on the volume and type of the two "mua" (kiss) sounds, the first 💋 is more casual/everyday, while the second one is deeper." Translation of the video: "New discovery. Dialogue content after Lei Zi failed to mute the microphone. Regarding yesterday's live stream, I heard many different versions. Next, I will share what my friends and I heard. Staff: You two, come over here. (They were talking before this, but only half a sound can be heard here.) 🌙: I thought nobody was here, haha. (Both of them laughed) Staff: You two are in the live stream room, pay attention. ⚡:Give me a hug, mua! (There was a kiss here; not sure if the hug actually happened.) ⚡: You've been watching my live stream, right? Staff: You two, come over here. 🌙: Let's hug again. (Most people think the first line was Yue Yue saying "I've seen it," but we all agree it was the Staff speaking because the voice and tone are identical to the Staff's previous lines.) Mua! (There was another "pecking" style kiss here; if you listen closely, you can hear the breathing/exhalation.)
0:26

What the OP said: "⭐ My friends and I listened to the live stream content frame-by-frame and made a different discovery. Analyzing the content, it seems that after Lei Zi ended the stream, he and Yue Yue went to a relatively hidden place where they didn't think anyone would be (a place quite nearby). However, there were staff members there. My guess is that the staff members are aware of their relationship because the staff's voice appears again later. This suggests that even after being discovered by the staff, they didn't leave or change locations. The two of them are very open/unfazed in front of the staff in private. ⭐ From their very natural dialogue about "giving a hug," it’s evident they have likely been together [locked/dating] for a long time. The dates 24 and 25 gave it a real sense of certainty. ⭐ Based on the volume and type of the two "mua" (kiss) sounds, the first 💋 is more casual/everyday, while the second one is deeper." Translation of the video: "New discovery. Dialogue content after Lei Zi failed to mute the microphone. Regarding yesterday's live stream, I heard many different versions. Next, I will share what my friends and I heard. Staff: You two, come over here. (They were talking before this, but only half a sound can be heard here.) 🌙: I thought nobody was here, haha. (Both of them laughed) Staff: You two are in the live stream room, pay attention. ⚡:Give me a hug, mua! (There was a kiss here; not sure if the hug actually happened.) ⚡: You've been watching my live stream, right? Staff: You two, come over here. 🌙: Let's hug again. (Most people think the first line was Yue Yue saying "I've seen it," but we all agree it was the Staff speaking because the voice and tone are identical to the Staff's previous lines.) Mua! (There was another "pecking" style kiss here; if you listen closely, you can hear the breathing/exhalation.)

GnuTan

27,687 Aufrufe • vor 4 Monaten

🎉🎉🎉 It's my BIRTHDAY! I'm an indie dev. I'm using today to be proud, which is often frowned upon. I made this hex grid w/ level editor in 3 weeks in UE, by myself. MY GOAL: Release new games every 2 weeks by end of year. This is my story, and why you should follow along: --- The video of what I made was made 4 MONTHS before the release of UE for Fortnite, while I worked at Epic a year and a half ago. I did it over our winter break. 80 hours of work across 3 weeks. I time tracked and worklogged the whole thing. This was before we had MoveTo(), SetMesh/Material(), Animation Controller was broken, you couldn't reference to other verse devices in editables. It was PAINFUL. Most of my time was spent duplicating and editing sequences. There were 631 hexes... and like 6 sequences per hex and 13 gameplay devices per hex. It was hacky, but it worked. 😅😅😅 NOTE... this was with a new programming language that NOBODY outside of Epic had really used using a HIGHLY buggy in-development tool. There were no tutorials, or stackoverflow, or communities to ask for help. Even my coworkers were on winter break, so couldn't ask them for help either. Everything I did was from my raw experience as a Software Architect. And I'll argue, that what I did was FAR more advanced and complicated from an engineering aspect than ANYTHING released by the UEFN community to this day. I am SOOO proud of that work and what it represents. 😁😁😁 --- My special interest is productivity in making things, and using that to enable others to make great things easier and faster. User Generated Content (UGC) platforms like Minecraft/Roblox/Fortnite/Halo, have been my passion for 17 years now since Halo 3 released. I've been a software engineer for 22 years... I turn 36 today, so since I was 14. 🎉🎉🎉 I'm autistic, so I literally live, eat, and breath UGC. Because I see it as a path to build what's in your dreams. The dreams of a kid who played a game that made a difference in their life of one day making their own games. I want to enable that for everyone who wants it. Because it took me FAR too long to get into the gaming industry. People see it as complicated and difficult and competitive. I want to lower those barriers as my legacy. 🤓🤓🤓 --- My new company, Creative Force, has a goal of "Building games at the speed of thought". I'm designing a general system to make games faster that could be used in any game engine. A design language that can be read by an engine that will "build your game for you". Basically allowing game designers to make "recipes" for games, and let other people use those recipes anywhere, and modify them easily to experiment and have a creative outlet. Maybe one day be a game chef and make a living doing what they dreamed, without needing crazy technical experience. 👩‍🍳👩‍🍳👩‍🍳 I believe this is possible with modern learnings from software that haven't been used in game development fully yet. A game architecture that will take the technical out of making games, and make it as approachable and as deep as writing a novel or painting a masterpiece. This is my dream... and I hope you'll follow along with me. Cuz my year #36, is quite literally a GAME CHANGING year. Love y'all 💖💖💖
7:05

🎉🎉🎉 It's my BIRTHDAY! I'm an indie dev. I'm using today to be proud, which is often frowned upon. I made this hex grid w/ level editor in 3 weeks in UE, by myself. MY GOAL: Release new games every 2 weeks by end of year. This is my story, and why you should follow along: --- The video of what I made was made 4 MONTHS before the release of UE for Fortnite, while I worked at Epic a year and a half ago. I did it over our winter break. 80 hours of work across 3 weeks. I time tracked and worklogged the whole thing. This was before we had MoveTo(), SetMesh/Material(), Animation Controller was broken, you couldn't reference to other verse devices in editables. It was PAINFUL. Most of my time was spent duplicating and editing sequences. There were 631 hexes... and like 6 sequences per hex and 13 gameplay devices per hex. It was hacky, but it worked. 😅😅😅 NOTE... this was with a new programming language that NOBODY outside of Epic had really used using a HIGHLY buggy in-development tool. There were no tutorials, or stackoverflow, or communities to ask for help. Even my coworkers were on winter break, so couldn't ask them for help either. Everything I did was from my raw experience as a Software Architect. And I'll argue, that what I did was FAR more advanced and complicated from an engineering aspect than ANYTHING released by the UEFN community to this day. I am SOOO proud of that work and what it represents. 😁😁😁 --- My special interest is productivity in making things, and using that to enable others to make great things easier and faster. User Generated Content (UGC) platforms like Minecraft/Roblox/Fortnite/Halo, have been my passion for 17 years now since Halo 3 released. I've been a software engineer for 22 years... I turn 36 today, so since I was 14. 🎉🎉🎉 I'm autistic, so I literally live, eat, and breath UGC. Because I see it as a path to build what's in your dreams. The dreams of a kid who played a game that made a difference in their life of one day making their own games. I want to enable that for everyone who wants it. Because it took me FAR too long to get into the gaming industry. People see it as complicated and difficult and competitive. I want to lower those barriers as my legacy. 🤓🤓🤓 --- My new company, Creative Force, has a goal of "Building games at the speed of thought". I'm designing a general system to make games faster that could be used in any game engine. A design language that can be read by an engine that will "build your game for you". Basically allowing game designers to make "recipes" for games, and let other people use those recipes anywhere, and modify them easily to experiment and have a creative outlet. Maybe one day be a game chef and make a living doing what they dreamed, without needing crazy technical experience. 👩‍🍳👩‍🍳👩‍🍳 I believe this is possible with modern learnings from software that haven't been used in game development fully yet. A game architecture that will take the technical out of making games, and make it as approachable and as deep as writing a novel or painting a masterpiece. This is my dream... and I hope you'll follow along with me. Cuz my year #36, is quite literally a GAME CHANGING year. Love y'all 💖💖💖

RayBenefield

24,418 Aufrufe • vor 2 Jahren

Good Morning America, I don’t want to leave San Francisco but I have to if I want to LIVE. San Francisco used to feel like the future. Now it feels like a cyberpunk dystopian social experiment. Open air fentanyl bazaars from 7th to 24th trading the collective stolen property of California for the cheapest fentanyl in the USA, stepping over government issued crack pipes, used discarded needles, cess pools of blood, urine and feces, women giving birth on the sidewalk, stillborns in public toilets, people living in sewers, people jumping off buildings, the morgue overflowing, bodies dumped in the bay and the constant threat of The Big Earthquake that’ll probably just finish what the politicians started. This sucks. How can I build a life for myself or start a family in this place? Not when fentanyl is showing up on the playgrounds and schools and all of the grocery stores are closing down and our local leaders want to give our kids gender surgery before they have even learned their ABCs and 123s… It’s all just one super Sam fucked up social experiment and I’m tired of the Soddom and Gomorrah hunger games. We have judges who release criminals faster than DoorDash delivers, cops who are exhausted from arresting the same people 47 times a month and a library system that’s basically a daytime shelter for drug dealers and the mentally ill. We have “activists” who scream about equity while ignoring the veterans sleeping on the street and the families fleeing the city because they can’t afford to live here anymore. We have dozens of secret societies and gentlemen clubs and yet nobody has the balls to fight to save San Francisco. $2 for fentanyl? That’s cheaper than a loaf of bread, a gallon of milk and a gallon of gasoline. San Francisco has reached terminal velocity in its economic collapse. When the a.i. bubble pops everybody will be screwed. Techys are being laid off because the ai and robots they built are replacing them and soon they will replace you and me too. The Full House days are long gone. It’s the Holodays and my Family used to go shopping at the mall in downtown San Francisco, I walked in Westfield yesterday and it was a Skelton Building and all the stores were closed like the Led Zeppelin song. It’s not just the mall, everywhere you look downtown are FOR LEASE signs. Between the humanitarian crisis and economic chaos. From the billionaire tech office to the third world conditions across the street. All of my senses are telling me that this is the epitome of human suffering and my once beloved City By The Bay has become a mecca for the destitute. New York, Texas, Arizona, Nevada, Florida, Oklahoma, Oregon, Washington, etc. are all shipping their criminals, homeless and addicts on buses to San Francisco. I’ve seen these groups get off the bus and heard with my own ears them saying “You can do whatever you want in San Francisco, they don’t care about anything.” The culture has shifted from peace, hope and love to steal, rape and murder. All around downtown San Francisco are “Missing Women” flyers and there are news ones every week. Nobody is talking about that. I go to get groceries and the store is being looted. Our grocery store is potted all day, every day. Nobody is talking about that. Even though all of our grocery stores are closing down. Nice “AmericaFest 2025” in Arizona, I’m on the frontlines in the trenches of California in the far left Lion’s den the ultra blue democrat stronghold Dante’s inferno San Francisco. I’m going somewhere I can wake up underneath the trees and watch the sunrise in peace where I don’t have to fear my door being kicked in or go to sleep to the sound of emergency sirens, where I can build a family, where I can actually contribute to something that doesn’t collapse every few months. Where the community actually appreciates my efforts and my energy isn’t wasted because of corrupt and incompetent leaders destroying everything I know and love. San Francisco, I’ll always love you. But it’s time for me to go…
0:57

Good Morning America, I don’t want to leave San Francisco but I have to if I want to LIVE. San Francisco used to feel like the future. Now it feels like a cyberpunk dystopian social experiment. Open air fentanyl bazaars from 7th to 24th trading the collective stolen property of California for the cheapest fentanyl in the USA, stepping over government issued crack pipes, used discarded needles, cess pools of blood, urine and feces, women giving birth on the sidewalk, stillborns in public toilets, people living in sewers, people jumping off buildings, the morgue overflowing, bodies dumped in the bay and the constant threat of The Big Earthquake that’ll probably just finish what the politicians started. This sucks. How can I build a life for myself or start a family in this place? Not when fentanyl is showing up on the playgrounds and schools and all of the grocery stores are closing down and our local leaders want to give our kids gender surgery before they have even learned their ABCs and 123s… It’s all just one super Sam fucked up social experiment and I’m tired of the Soddom and Gomorrah hunger games. We have judges who release criminals faster than DoorDash delivers, cops who are exhausted from arresting the same people 47 times a month and a library system that’s basically a daytime shelter for drug dealers and the mentally ill. We have “activists” who scream about equity while ignoring the veterans sleeping on the street and the families fleeing the city because they can’t afford to live here anymore. We have dozens of secret societies and gentlemen clubs and yet nobody has the balls to fight to save San Francisco. $2 for fentanyl? That’s cheaper than a loaf of bread, a gallon of milk and a gallon of gasoline. San Francisco has reached terminal velocity in its economic collapse. When the a.i. bubble pops everybody will be screwed. Techys are being laid off because the ai and robots they built are replacing them and soon they will replace you and me too. The Full House days are long gone. It’s the Holodays and my Family used to go shopping at the mall in downtown San Francisco, I walked in Westfield yesterday and it was a Skelton Building and all the stores were closed like the Led Zeppelin song. It’s not just the mall, everywhere you look downtown are FOR LEASE signs. Between the humanitarian crisis and economic chaos. From the billionaire tech office to the third world conditions across the street. All of my senses are telling me that this is the epitome of human suffering and my once beloved City By The Bay has become a mecca for the destitute. New York, Texas, Arizona, Nevada, Florida, Oklahoma, Oregon, Washington, etc. are all shipping their criminals, homeless and addicts on buses to San Francisco. I’ve seen these groups get off the bus and heard with my own ears them saying “You can do whatever you want in San Francisco, they don’t care about anything.” The culture has shifted from peace, hope and love to steal, rape and murder. All around downtown San Francisco are “Missing Women” flyers and there are news ones every week. Nobody is talking about that. I go to get groceries and the store is being looted. Our grocery store is potted all day, every day. Nobody is talking about that. Even though all of our grocery stores are closing down. Nice “AmericaFest 2025” in Arizona, I’m on the frontlines in the trenches of California in the far left Lion’s den the ultra blue democrat stronghold Dante’s inferno San Francisco. I’m going somewhere I can wake up underneath the trees and watch the sunrise in peace where I don’t have to fear my door being kicked in or go to sleep to the sound of emergency sirens, where I can build a family, where I can actually contribute to something that doesn’t collapse every few months. Where the community actually appreciates my efforts and my energy isn’t wasted because of corrupt and incompetent leaders destroying everything I know and love. San Francisco, I’ll always love you. But it’s time for me to go…

Darren Stallcup - World Peace Movement

31,503 Aufrufe • vor 7 Monaten

Catherine Austin Fitts: "The problem isn't that [our] currency is fiat...[and] you are not going to fix this situation by going to gold...the central bankers have accumulated all [of it]. [And] now...you're [saying] we're going to go to a gold system? Are you out of your mind?" This clip of Fitts, a former Assistant Secretary of Housing and Urban Development, investment banker, and founder of the Solari Report (The Solari Report | Catherine Austin Fitts), is taken from a discussion with Jerm Warfare posted to the UK Column News (UK Column) YouTube channel on January 26, 2026. ----------------Partial transcription of clip--------------- "The thing that makes the current system what they would call slavery is debt-basing and secrecy, okay? And the failure of their elected representatives to obey the law. "So you have lawlessness, you have debt basing and you have secrecy, okay? The problem is not that the currency is fiat, because what I will tell you is if you go back through history, if you read Alexander Del Mar, the most effective currencies in the world are fiat currencies that are well governed. "We have a debt-based fiat currency that is not well governed in my opinion. But it could be. Now, remember, there has been almost no support in the general population for managing it responsibly. Everybody was like, no, don't manage it responsibly, get me my check. And if that means you're irresponsible, that's okay, I want my check. "But you are not going to fix this situation by going to gold and silver. You're going to make it much worse. Because while we've done this sort of hear no evil, see no evil, speak no evil, for 30 years the central bankers have accumulated all the gold. So now that they have all the gold, you're going to tell me we're going to go to a gold system? Are you out of your mind? "Because now they've got the gold and if you start a gold transaction system now you need gold from them and they've got you over a barrel, right? And what are you going to do to get gold? You're going to have to sell your land, you're going to have to sell your kids, you're going to have to sell real assets to get their gold, right? Why would you do that? "Why would you create— You know, you're dependent on your enemy now you're going to increase your dependency on your enemy now. You're out of your mind, okay? That's not a sound money system. Especially because they want to make it digital. And so they're going to have fiat gold, which is even— I mean, if you think fiat is bad, wait til you see fiat gold when they own all the gold. "So you know, what we want is we want a fiat system and we want it with lawful and no secrecy or minimal secrecy. You're going to have to have some secrecy and a good governance system. Can we get there? Of course we can get there, but we can't get there if you have an entire population that is absolutely committed to corrupt short-term behavior."
2:40

Catherine Austin Fitts: "The problem isn't that [our] currency is fiat...[and] you are not going to fix this situation by going to gold...the central bankers have accumulated all [of it]. [And] now...you're [saying] we're going to go to a gold system? Are you out of your mind?" This clip of Fitts, a former Assistant Secretary of Housing and Urban Development, investment banker, and founder of the Solari Report (The Solari Report | Catherine Austin Fitts), is taken from a discussion with Jerm Warfare posted to the UK Column News (UK Column) YouTube channel on January 26, 2026. ----------------Partial transcription of clip--------------- "The thing that makes the current system what they would call slavery is debt-basing and secrecy, okay? And the failure of their elected representatives to obey the law. "So you have lawlessness, you have debt basing and you have secrecy, okay? The problem is not that the currency is fiat, because what I will tell you is if you go back through history, if you read Alexander Del Mar, the most effective currencies in the world are fiat currencies that are well governed. "We have a debt-based fiat currency that is not well governed in my opinion. But it could be. Now, remember, there has been almost no support in the general population for managing it responsibly. Everybody was like, no, don't manage it responsibly, get me my check. And if that means you're irresponsible, that's okay, I want my check. "But you are not going to fix this situation by going to gold and silver. You're going to make it much worse. Because while we've done this sort of hear no evil, see no evil, speak no evil, for 30 years the central bankers have accumulated all the gold. So now that they have all the gold, you're going to tell me we're going to go to a gold system? Are you out of your mind? "Because now they've got the gold and if you start a gold transaction system now you need gold from them and they've got you over a barrel, right? And what are you going to do to get gold? You're going to have to sell your land, you're going to have to sell your kids, you're going to have to sell real assets to get their gold, right? Why would you do that? "Why would you create— You know, you're dependent on your enemy now you're going to increase your dependency on your enemy now. You're out of your mind, okay? That's not a sound money system. Especially because they want to make it digital. And so they're going to have fiat gold, which is even— I mean, if you think fiat is bad, wait til you see fiat gold when they own all the gold. "So you know, what we want is we want a fiat system and we want it with lawful and no secrecy or minimal secrecy. You're going to have to have some secrecy and a good governance system. Can we get there? Of course we can get there, but we can't get there if you have an entire population that is absolutely committed to corrupt short-term behavior."

Sense Receptor

36,952 Aufrufe • vor 6 Monaten

Jimmy: I had no f*cking idea how to run a company. None. Zero. David: Is this when David Geffen sold Geffen Records [for $550 million]? Jimmy: Yeah. David: Can you tell that story? Jimmy: David Geffen is brilliant. He comes from right near my neighborhood in Brooklyn. He's exactly 10 years older than me. He's five seven. I'm five seven. He's Jewish. I'm Italian. We were buddies. He was great with artists. He signed Joni Mitchell and The Eagles and all this great sh*t. So I felt real comradery with him. I'm producing records. I'm actually in the studio for 20 years making music. I wake up one day and he sold his company for $500 million. I'm from Brooklyn. I want to make a lot of money. I'm not embarrassed by that. I wanted to live like I saw on tv. David: What I love in “The Defiant Ones” …cause everybody feels this way. Especially if you didn't grow up with money. I know exactly what you're talking about. This story comes from when you were an engineer, not a record producer [yet]. You see this producer and he comes in and he's got a leather jacket, a fancy bag, and he's got a beautiful girl. And you’re like: That’s it! Jimmy: Yeah, you bet. That's it. You gotta tell yourself the truth. I'm not Bob Dylan, Mick Jagger. Bruce Springsteen, Stevie Wonder. Marvin Gaye. So I felt the next best way in was producing. That was my way in. So I'm like, well this feels really good. And then I saw Geffen and I said… David: That feels better! Jimmy: Oh sh*t! He's doing the same thing. He's not even in the studio all night. He goes home at six o'clock. I'm working until three o'clock in the morning, So I said I bet I can do that. David: And then you go talk to him and what does he say? Jimmy: He said to me, “You could start a record company. You know how many stupid people there are that have record companies?” So I started a record company.
2:31

Jimmy: I had no f*cking idea how to run a company. None. Zero. David: Is this when David Geffen sold Geffen Records [for $550 million]? Jimmy: Yeah. David: Can you tell that story? Jimmy: David Geffen is brilliant. He comes from right near my neighborhood in Brooklyn. He's exactly 10 years older than me. He's five seven. I'm five seven. He's Jewish. I'm Italian. We were buddies. He was great with artists. He signed Joni Mitchell and The Eagles and all this great sh*t. So I felt real comradery with him. I'm producing records. I'm actually in the studio for 20 years making music. I wake up one day and he sold his company for $500 million. I'm from Brooklyn. I want to make a lot of money. I'm not embarrassed by that. I wanted to live like I saw on tv. David: What I love in “The Defiant Ones” …cause everybody feels this way. Especially if you didn't grow up with money. I know exactly what you're talking about. This story comes from when you were an engineer, not a record producer [yet]. You see this producer and he comes in and he's got a leather jacket, a fancy bag, and he's got a beautiful girl. And you’re like: That’s it! Jimmy: Yeah, you bet. That's it. You gotta tell yourself the truth. I'm not Bob Dylan, Mick Jagger. Bruce Springsteen, Stevie Wonder. Marvin Gaye. So I felt the next best way in was producing. That was my way in. So I'm like, well this feels really good. And then I saw Geffen and I said… David: That feels better! Jimmy: Oh sh*t! He's doing the same thing. He's not even in the studio all night. He goes home at six o'clock. I'm working until three o'clock in the morning, So I said I bet I can do that. David: And then you go talk to him and what does he say? Jimmy: He said to me, “You could start a record company. You know how many stupid people there are that have record companies?” So I started a record company.

David Senra

172,884 Aufrufe • vor 6 Monaten

#TAEMIN Global Spin Live at the Grammy Museum - Fan Questions segment [FULL] 🎙️Host: What was the first song you heard from Taemin? 💎Audience: [shouts a bunch of songs] 🐣Taemin: What is your guys’ favorite song? 💎Fan: NEMO! My cat is named Nemo! Taemin: Oh my cat is named Ggung! 1:55 🎙️Question 1: Do you get embarrassed listening to your own voice? [from Denise] 🐣Taemin: When I record my sexy songs like Sexuality, Criminal, something something, I have to acting more emotional—sexy vibe right? Sometimes very embarssed [demonstrates with the sexy part of Want] 2:55 🎙️Question 2: Taemin, your choreo is always so unique. What’s your favorite choreo that you’ve ever danced? [from Stasia] 🐣Taemin: Honestly my choreographer is in here, Kasper! His choreo is very cool but very hard and fast and aggressive, energetic, but I love that style. So for example—Advice. Recently my favorite song is Flame of Love. It’s Korean style, the moves are more contemporary style, that’s more interesting to me recently Lastly my favorite song is Criminal. That song is very conceptive and also choreographed by Kasper. 5:00 🎙️Question 3: What would you consider to be your greatest achievement in live? [from Emily] 🐣Taemin: When I was young I go to audition for…to be artist. So that is my very important moment. I did it! I debuted! 5:50 🎙️Question 4: What is your favorite pre-show ritual [from Gloria] 🐣Taemin: I always clean my teeth, it’s refreshing….and then recently I started consuming things that are a little sour like lemon juice. It helps with the bloating a little bit. And they said it helps with anxiety. 🎙️Host: It helps with bloating?? 🐣Taemin: ah yes!… ah…maybe? That is not… please search it please! [lololololol he was scared he was giving unproven medical advice] 7:20 🎙️Question 5: If you could collaborate with any artist globally who would it be and what kind of sound do you want to create together? [from Jihae] 🐣Taemin: Ah that’s what you’re curious about! There’s so many artist that I love so it’s really hard to pick one but maybe Billie Eilish? I love her attitude. She could draw in concentration even when she makes small sounds and in contrast I can do something much more energetic and maybe the contrast could create something very special. 9:00 🎙️Question 6: Do you ever sing or perform for your cats? 🐣Taemin: I put them on my lap and I maneuver them a little bit and they dance a little bit [Taemin demonstrates the song he sings them] 🎙️Host: Do you do it to your music or other people’s music? 🐣Taemin: It’s an improvised song! 🎙️Host: Are you gonna show these videos? 🐣Taemin: I don’t have hands to film it! Lol 10:15 🎙️Question 7: What’s the style of your new album? 🐣Taemin: You know just yesterday I was sorting through all the music that I wrote and it kind of gets categorized into 3 categories! We have songs that are really powerful and energetic, and songs that are really emotional and beautiful, and then the third category is a little different…maybe RnB? and now it’s something I have to think about how to present these all together. #TAEMIN_Grammy_Museum
12:14

#TAEMIN Global Spin Live at the Grammy Museum - Fan Questions segment [FULL] 🎙️Host: What was the first song you heard from Taemin? 💎Audience: [shouts a bunch of songs] 🐣Taemin: What is your guys’ favorite song? 💎Fan: NEMO! My cat is named Nemo! Taemin: Oh my cat is named Ggung! 1:55 🎙️Question 1: Do you get embarrassed listening to your own voice? [from Denise] 🐣Taemin: When I record my sexy songs like Sexuality, Criminal, something something, I have to acting more emotional—sexy vibe right? Sometimes very embarssed [demonstrates with the sexy part of Want] 2:55 🎙️Question 2: Taemin, your choreo is always so unique. What’s your favorite choreo that you’ve ever danced? [from Stasia] 🐣Taemin: Honestly my choreographer is in here, Kasper! His choreo is very cool but very hard and fast and aggressive, energetic, but I love that style. So for example—Advice. Recently my favorite song is Flame of Love. It’s Korean style, the moves are more contemporary style, that’s more interesting to me recently Lastly my favorite song is Criminal. That song is very conceptive and also choreographed by Kasper. 5:00 🎙️Question 3: What would you consider to be your greatest achievement in live? [from Emily] 🐣Taemin: When I was young I go to audition for…to be artist. So that is my very important moment. I did it! I debuted! 5:50 🎙️Question 4: What is your favorite pre-show ritual [from Gloria] 🐣Taemin: I always clean my teeth, it’s refreshing….and then recently I started consuming things that are a little sour like lemon juice. It helps with the bloating a little bit. And they said it helps with anxiety. 🎙️Host: It helps with bloating?? 🐣Taemin: ah yes!… ah…maybe? That is not… please search it please! [lololololol he was scared he was giving unproven medical advice] 7:20 🎙️Question 5: If you could collaborate with any artist globally who would it be and what kind of sound do you want to create together? [from Jihae] 🐣Taemin: Ah that’s what you’re curious about! There’s so many artist that I love so it’s really hard to pick one but maybe Billie Eilish? I love her attitude. She could draw in concentration even when she makes small sounds and in contrast I can do something much more energetic and maybe the contrast could create something very special. 9:00 🎙️Question 6: Do you ever sing or perform for your cats? 🐣Taemin: I put them on my lap and I maneuver them a little bit and they dance a little bit [Taemin demonstrates the song he sings them] 🎙️Host: Do you do it to your music or other people’s music? 🐣Taemin: It’s an improvised song! 🎙️Host: Are you gonna show these videos? 🐣Taemin: I don’t have hands to film it! Lol 10:15 🎙️Question 7: What’s the style of your new album? 🐣Taemin: You know just yesterday I was sorting through all the music that I wrote and it kind of gets categorized into 3 categories! We have songs that are really powerful and energetic, and songs that are really emotional and beautiful, and then the third category is a little different…maybe RnB? and now it’s something I have to think about how to present these all together. #TAEMIN_Grammy_Museum

cindy 🌥️

17,455 Aufrufe • vor 6 Monaten

Good morning, towel friends. I annotated my interview with Will The Glarer and I thought this section was interesting. "You couldn’t honeypot me if you fucking wanted to. I’ll reverse-honeypot you, motherfucker. Go ahead—try to honeypot me. See what happens. I’ll get more intel out of your agent than you’re going to get out of me." **Grant:** It’s because he doesn’t think straight when he has a woman in front of him, for some reason. **Will:** Grant, you’re projecting, my friend. Grant (Analysis): I mean, that’s what I was going to say to Will. He doesn’t understand this, and I don’t know... I don’t feel a need to defend myself, but you’re out of your mind if you think I didn’t date people in college. I mean, I lost 130 pounds from September 2007 to May 2008—specifically because I was at Boston College and I wanted to date people. I’ve had plenty of relationships. I’m just very disciplined—not because I necessarily wanted to be, but because I heard the call to be a priest in 2013, in the spring, right before I became disabled. I was praying to the Virgin Mary—the Virgin Mother, who’s the patroness of the Jesuit order—outside of Bapst Library. I think it was Bapst. I was praying outside. They have these little shrines to the Virgin Mother all around Boston College. I hope they’re still there; I really liked them. But anyway, I was praying to the Virgin Mother, and I’ll never forget that when you hear the call, it is not a joke. You may not choose to pursue discernment, but you are not getting away from that. It’s not your choice. If you hear the call, you’ve been called to serve. That’s it. It’s not a pact. You’ve literally been called to serve. Your life’s never going to be the same again. I was praying, and I heard the call. It was very clear. The call is different for everyone, but for me, it was like: “The world is yours to behold if you can abscond from your temporal inclinations.” Okay, I know what that means. It was not a choice. My entire life changed from that moment. From that moment on, I never thought about video games or Fridays or the weekend—or women—ever the same way again. I would like to have a partner, to love someone and take on the world together, but I never thought about the world the same way again. So a lot of people don’t understand me. People chase me all the time. I’m not interested in that. I turn people down all the time. I’m not being rude; I just don’t want that. I live to serve. Okay, imagine what it would come down to if I tried to be in the life of every person who wanted me to be intimate with them. I cannot do that. I’m meant to help people. If I was just in one person’s life, I’d have commitments to them and their family—and to my family—that would inhibit me from serving, and I can’t do that. I’m married to the cause: my cause, my principles, and the work that I do. And so it’s not... It’s just that people misunderstand—and will misunderstand—how disciplined I am. I am extremely disciplined over my own urges, over my brain. Everything is just logic. So no, it’s not the same for me. You couldn’t honeypot me if you fucking wanted to. I’ll reverse-honeypot you, motherfucker. Go ahead—try to honeypot me. See what happens. I’ll get more intel out of your agent than you’re going to get out of me. So don’t even do it. Most people don’t even bother because I’ll fuck with their head, and I will take the intel. You have to use intel to get intel, and if the person you’re targeting knows what you’re doing, you’re going to get nothing—and they’re going to rip intel out of your honeypot, and you’re going to end up in a negative tactical position. So that’s why I’m like, “No, Will, no.” I could be in a strip club and trade stocks, motherfucker. It does not affect me at all—at all, whatsoever. Completely disciplined. Zero impact. You couldn’t honeypot me if you wanted to. I’ve seen them try. They did try multiple times—blonde women, brunette women, whatever. I don’t have a type. Okay? I only like intelligent women, and I screen them, so you’re not getting anyone in my orbit at all, ever. My point is, though: No, we’re not the same. Will totally tactically misread that. I am not the same. You cannot do that to me because I’m not really interested in that—not because I don’t find it pleasurable or interesting, but because I’m smarter than that. I work in a very high-level apparatus of government as to the coverage that I do. You’re not honeypotting me. So no, I’ve suppressed those urges, and I don’t want to be involved with that. And the call to serve helped, by the way. It’s just not as interesting when you realize there are so many people to help. Why would you... Like, 97% of the population is there to procreate. We need that to happen. Three percent of the people are going to mold society. All right? You know what I’m saying?
4:46

Good morning, towel friends. I annotated my interview with Will The Glarer and I thought this section was interesting. "You couldn’t honeypot me if you fucking wanted to. I’ll reverse-honeypot you, motherfucker. Go ahead—try to honeypot me. See what happens. I’ll get more intel out of your agent than you’re going to get out of me." **Grant:** It’s because he doesn’t think straight when he has a woman in front of him, for some reason. **Will:** Grant, you’re projecting, my friend. Grant (Analysis): I mean, that’s what I was going to say to Will. He doesn’t understand this, and I don’t know... I don’t feel a need to defend myself, but you’re out of your mind if you think I didn’t date people in college. I mean, I lost 130 pounds from September 2007 to May 2008—specifically because I was at Boston College and I wanted to date people. I’ve had plenty of relationships. I’m just very disciplined—not because I necessarily wanted to be, but because I heard the call to be a priest in 2013, in the spring, right before I became disabled. I was praying to the Virgin Mary—the Virgin Mother, who’s the patroness of the Jesuit order—outside of Bapst Library. I think it was Bapst. I was praying outside. They have these little shrines to the Virgin Mother all around Boston College. I hope they’re still there; I really liked them. But anyway, I was praying to the Virgin Mother, and I’ll never forget that when you hear the call, it is not a joke. You may not choose to pursue discernment, but you are not getting away from that. It’s not your choice. If you hear the call, you’ve been called to serve. That’s it. It’s not a pact. You’ve literally been called to serve. Your life’s never going to be the same again. I was praying, and I heard the call. It was very clear. The call is different for everyone, but for me, it was like: “The world is yours to behold if you can abscond from your temporal inclinations.” Okay, I know what that means. It was not a choice. My entire life changed from that moment. From that moment on, I never thought about video games or Fridays or the weekend—or women—ever the same way again. I would like to have a partner, to love someone and take on the world together, but I never thought about the world the same way again. So a lot of people don’t understand me. People chase me all the time. I’m not interested in that. I turn people down all the time. I’m not being rude; I just don’t want that. I live to serve. Okay, imagine what it would come down to if I tried to be in the life of every person who wanted me to be intimate with them. I cannot do that. I’m meant to help people. If I was just in one person’s life, I’d have commitments to them and their family—and to my family—that would inhibit me from serving, and I can’t do that. I’m married to the cause: my cause, my principles, and the work that I do. And so it’s not... It’s just that people misunderstand—and will misunderstand—how disciplined I am. I am extremely disciplined over my own urges, over my brain. Everything is just logic. So no, it’s not the same for me. You couldn’t honeypot me if you fucking wanted to. I’ll reverse-honeypot you, motherfucker. Go ahead—try to honeypot me. See what happens. I’ll get more intel out of your agent than you’re going to get out of me. So don’t even do it. Most people don’t even bother because I’ll fuck with their head, and I will take the intel. You have to use intel to get intel, and if the person you’re targeting knows what you’re doing, you’re going to get nothing—and they’re going to rip intel out of your honeypot, and you’re going to end up in a negative tactical position. So that’s why I’m like, “No, Will, no.” I could be in a strip club and trade stocks, motherfucker. It does not affect me at all—at all, whatsoever. Completely disciplined. Zero impact. You couldn’t honeypot me if you wanted to. I’ve seen them try. They did try multiple times—blonde women, brunette women, whatever. I don’t have a type. Okay? I only like intelligent women, and I screen them, so you’re not getting anyone in my orbit at all, ever. My point is, though: No, we’re not the same. Will totally tactically misread that. I am not the same. You cannot do that to me because I’m not really interested in that—not because I don’t find it pleasurable or interesting, but because I’m smarter than that. I work in a very high-level apparatus of government as to the coverage that I do. You’re not honeypotting me. So no, I’ve suppressed those urges, and I don’t want to be involved with that. And the call to serve helped, by the way. It’s just not as interesting when you realize there are so many people to help. Why would you... Like, 97% of the population is there to procreate. We need that to happen. Three percent of the people are going to mold society. All right? You know what I’m saying?

Grant Smith Ellis

19,128 Aufrufe • vor 10 Monaten

Thank you Centre Pompidou Centre Pompidou, everyone who made Nature Manifesto happen, and all the people that took it in. We were happy to see the conversations that the use of AI in Nature Manifesto sparked !! Below is a message from Björk: ~~~ “ the flood of all things from AI is overwhelming !! i am super grateful for your concerns about it´s effects on the environment , it shows you care , are curious and have integrity . i am curious too , i would like to be more informed about the difference of "frugal" AI and the ones that do hugeenvironmental damage and want to be able to choose . i asked around and found out that both the visuals and the audio in our pompidou project were done with "frugal" AI . but i have a lot to learn . when we used some of the AI softwares to merge the animals voices to mine , some of the sounds were great but to be honest , the best blends of their voices and a human were done "manually" , me editing the sounds , choosing piece by piece , looking for personality , musicality and soul . with new technology , i try to use it as a tool to grow , not a crutch . for example when i used melodyne , i used it not for lazy voice progressions but spent even more time when using it . every note in every chord became intentionally more complex . ( for example choir in "thunderbolt" ) and hopefully stretched the potential more out , further than i would have in "normal analog" physical improvisations ... i felt with this new tool i could reach new places in my musical DNA , become MORE personal . more myself . in my opinion , this is how we will work in the future . humans can read emotions on an incredibly high scale . nature made us that way . if there is no soul in tomorrow's music made by AI it is because no-one put it there and we have to speak out and guard this as listeners . ( tbh there is a lot of soulless muzak on spotify already ... they don’t need any AI help for that ...) anything that is mass manufactured without the attention of creativity , is that way . AI or not so it is not about the tool it is what you do with it . " ~~~ The visuals for Nature Manifesto were crafted by the talented Sam Balfus, artificial intelligence being one of the multiple tools used in the process. The sound was produced in collaboration with artist Robin Meier and IRCAM IRCAM. IRCAM develops “frugal AI” capable of generating audio in real-time on local servers without a GPU, thus their models can f.ex. be embedded on tiny Raspberry Pi cards. We asked associate professor and researcher Philippe Esling to provide us with readings; Constance Douwe’s thesis “On the environmental impact of deep generative models for audio” and more, see links below. Nature Manifesto Immersive sound piece 3’40” (2024) 20 November to 9 December, 2024, Centre Pompidou, Paris. Presented as part of the forum “Biodiversity: Which culture for which future?” #ForumBiodiversité Concept and words by Björk & Aleph Music written and composed by Björk Curatorship: Chloé Siganos and Aleph Molinari Associate curator: Delphine Le Gatt Ircam Musical Computing: Robin Meier Wiratunga Sound engineer: Bergur Þórisson Animation: Sam Balfua Video editing: Santiago Molinari With activists: Camille Etienne, Claire Nouvian, Sigrun Perla Gísladóttir, Sæunn Júlía Sigurjónsdóttir, Titouan Pilliard, of BLOOM, Sustainable Ocean Alliance, and Ungir umhverfissinnar. In partnership with D&B Audio and Southby Productions. Reccommended resources :
0:15

Thank you Centre Pompidou Centre Pompidou, everyone who made Nature Manifesto happen, and all the people that took it in. We were happy to see the conversations that the use of AI in Nature Manifesto sparked !! Below is a message from Björk: ~~~ “ the flood of all things from AI is overwhelming !! i am super grateful for your concerns about it´s effects on the environment , it shows you care , are curious and have integrity . i am curious too , i would like to be more informed about the difference of "frugal" AI and the ones that do hugeenvironmental damage and want to be able to choose . i asked around and found out that both the visuals and the audio in our pompidou project were done with "frugal" AI . but i have a lot to learn . when we used some of the AI softwares to merge the animals voices to mine , some of the sounds were great but to be honest , the best blends of their voices and a human were done "manually" , me editing the sounds , choosing piece by piece , looking for personality , musicality and soul . with new technology , i try to use it as a tool to grow , not a crutch . for example when i used melodyne , i used it not for lazy voice progressions but spent even more time when using it . every note in every chord became intentionally more complex . ( for example choir in "thunderbolt" ) and hopefully stretched the potential more out , further than i would have in "normal analog" physical improvisations ... i felt with this new tool i could reach new places in my musical DNA , become MORE personal . more myself . in my opinion , this is how we will work in the future . humans can read emotions on an incredibly high scale . nature made us that way . if there is no soul in tomorrow's music made by AI it is because no-one put it there and we have to speak out and guard this as listeners . ( tbh there is a lot of soulless muzak on spotify already ... they don’t need any AI help for that ...) anything that is mass manufactured without the attention of creativity , is that way . AI or not so it is not about the tool it is what you do with it . " ~~~ The visuals for Nature Manifesto were crafted by the talented Sam Balfus, artificial intelligence being one of the multiple tools used in the process. The sound was produced in collaboration with artist Robin Meier and IRCAM IRCAM. IRCAM develops “frugal AI” capable of generating audio in real-time on local servers without a GPU, thus their models can f.ex. be embedded on tiny Raspberry Pi cards. We asked associate professor and researcher Philippe Esling to provide us with readings; Constance Douwe’s thesis “On the environmental impact of deep generative models for audio” and more, see links below. Nature Manifesto Immersive sound piece 3’40” (2024) 20 November to 9 December, 2024, Centre Pompidou, Paris. Presented as part of the forum “Biodiversity: Which culture for which future?” #ForumBiodiversité Concept and words by Björk & Aleph Music written and composed by Björk Curatorship: Chloé Siganos and Aleph Molinari Associate curator: Delphine Le Gatt Ircam Musical Computing: Robin Meier Wiratunga Sound engineer: Bergur Þórisson Animation: Sam Balfua Video editing: Santiago Molinari With activists: Camille Etienne, Claire Nouvian, Sigrun Perla Gísladóttir, Sæunn Júlía Sigurjónsdóttir, Titouan Pilliard, of BLOOM, Sustainable Ocean Alliance, and Ungir umhverfissinnar. In partnership with D&B Audio and Southby Productions. Reccommended resources :

björk

51,637 Aufrufe • vor 1 Jahr

I built a mobile app to check Paddle revenue (because they don't have one): 👉 - Use your Paddle API key (read-only and scoped) - Live data with beautiful and useful graphs built with native Swift UI. - Multi-account supported, unified revenue metrics. - Data stay on device, no server (api requests are sent directly from your phone) - Home widgets - I made it free to download on App Store (once it's approved) - Buy the source code for $19 and customize it however you want (save 5hrs of prompting if you try to do it yourself). Some interesting facts about this side project: - I vibe coded with 100% claude code remotely on my Mac Mini (with my AI assistant setup) in less than 24 hours. - I have read 0 line of code in this project and never opened Xcode myself. - My AI assistant designed the app with GPT Image 2, built the app with Swift UI, test it on simulator (via screenshots), send the test build to TestFlight for me to test, and invited me to the app store connect account so I can test on my phone, then the AI submitted the app to App Store and currently waiting for approval. - For the website, I ask it to come up with a domain name, I bought it via manually and give it access via Cloudflare API, the AI design and create a static website with GitHub, test it with lighthouse CLI, deploy via GitHub pages, config the domain DNS, deploy the website. - Then I sign up an account with Polar payment, create an API key and ask the AI to setup a store, add payment, link with the account, and add the payment to the website. The entire process happened in the last 24 hours with me only talking to the AI via Telegram. This is such a fun side project not only to create an app that I wish exists, but also to push the limit of what I can use AI for, and so far I'm very impressed. I'll create so much more apps! It feels like I have unlocked a super power.
0:33

I built a mobile app to check Paddle revenue (because they don't have one): 👉 - Use your Paddle API key (read-only and scoped) - Live data with beautiful and useful graphs built with native Swift UI. - Multi-account supported, unified revenue metrics. - Data stay on device, no server (api requests are sent directly from your phone) - Home widgets - I made it free to download on App Store (once it's approved) - Buy the source code for $19 and customize it however you want (save 5hrs of prompting if you try to do it yourself). Some interesting facts about this side project: - I vibe coded with 100% claude code remotely on my Mac Mini (with my AI assistant setup) in less than 24 hours. - I have read 0 line of code in this project and never opened Xcode myself. - My AI assistant designed the app with GPT Image 2, built the app with Swift UI, test it on simulator (via screenshots), send the test build to TestFlight for me to test, and invited me to the app store connect account so I can test on my phone, then the AI submitted the app to App Store and currently waiting for approval. - For the website, I ask it to come up with a domain name, I bought it via manually and give it access via Cloudflare API, the AI design and create a static website with GitHub, test it with lighthouse CLI, deploy via GitHub pages, config the domain DNS, deploy the website. - Then I sign up an account with Polar payment, create an API key and ask the AI to setup a store, add payment, link with the account, and add the payment to the website. The entire process happened in the last 24 hours with me only talking to the AI via Telegram. This is such a fun side project not only to create an app that I wish exists, but also to push the limit of what I can use AI for, and so far I'm very impressed. I'll create so much more apps! It feels like I have unlocked a super power.

Tony Dinh

43,922 Aufrufe • vor 2 Monaten

If you have followed my journey as a solo artiste and even before, you will notice that I give people their due credit where necessary as I am a firm believer in team work; I know my strengths, where I need assistance or guidance I am not afraid to ask or work with those who are strong in the areas I am not; this includes the process of creating music, executing concepts and ideas etc. I will always give people their due credit for their contributions to my projects. Sometime in June 2022, I stumbled upon a producer based in Ghana named Vampire, and had my team and I also personally reached out to him via DM, that I liked his work and was interested in working with him. Before getting him to Lagos, I presented the idea of this producer to my twin brother and our team, getting their buy in before I got him flight tickets and flew him to Lagos. It was when he got into Lagos I asked if he would be open to working on P-SQUARE’s next album project, that the 5 songs I had penned down from my end to be presented to our A&R team for the album project these were: JAIYE, WINNING, FIND SOMEBODY, LEGENDARY, and ATTENTION, based on tracks he had produced. We started with my own 5 songs that needed to be submitted for PSQUARE's album, which he produced for me: The idea for WINNING came from one of his beats that I discovered. I came up with the idea of changing the chord progression from the original version to what it is today with my own producer Goldswarm who is the co-producer of the song WINNING. I had also engaged a songwriter known as CALYPSO who wrote and composed the song WINNING and sent it to me on the beats through a voice note. And we started working on the song. Mind you, he worked on some other songs that were to make the album as well, so my brother was aware of his input to the production as we were all in the studio during this period. Then when my twin brother heard the song WINNING, which we had already created the hook/chorus for, he then wanted to start creating a verse. Our agreed-on process for each song presented by us was: arrange the song, leave a verse for the other person, then we both harmonise the chorus and refrain bits together. He wasn’t supposed to until Calypso and I finished it as part of my own song submission to the LEGENDARY ALBUM. After that, we finished and shared verses among ourselves. I do not wish to get into details of why the album didn’t see the light of day till date but it takes a different level of psychosis for one to steal what is theirs already; as since the release of this song, I have been labeled and called all sorts online and they have even gone as far as asking for the song to be taken down on various platforms, to what end? It was never part of his 5, now 6 (according to him) songs for submission, yet when he felt I was not interested in making music because I chose my sanity over the constant berating and drama that seemed to come up over creative direction in the group. If it were his song, why do I have all the music data including initial conversations and picture/video evidence on the above-mentioned titles/songs? Which of his songs do I have its data in my possession in that case? All because he was hoping for me to quit music. Even when I learnt that he had removed my vocals on songs we did together, suggesting that he sing the entire songs including the ones that he planned to present for the album without my input (a very absurd idea as we both make up the duo not just the one), but we both perform them on stage, I begun to have a rethink of the entire situation. Let me leave this here. Maybe because I was not posting anything music related on my social media page for over 4 months. He believes I have lost interest in music. I took a breather to get my mind and head in the right space and when that was done, my epiphany was WINNING!
3:48

If you have followed my journey as a solo artiste and even before, you will notice that I give people their due credit where necessary as I am a firm believer in team work; I know my strengths, where I need assistance or guidance I am not afraid to ask or work with those who are strong in the areas I am not; this includes the process of creating music, executing concepts and ideas etc. I will always give people their due credit for their contributions to my projects. Sometime in June 2022, I stumbled upon a producer based in Ghana named Vampire, and had my team and I also personally reached out to him via DM, that I liked his work and was interested in working with him. Before getting him to Lagos, I presented the idea of this producer to my twin brother and our team, getting their buy in before I got him flight tickets and flew him to Lagos. It was when he got into Lagos I asked if he would be open to working on P-SQUARE’s next album project, that the 5 songs I had penned down from my end to be presented to our A&R team for the album project these were: JAIYE, WINNING, FIND SOMEBODY, LEGENDARY, and ATTENTION, based on tracks he had produced. We started with my own 5 songs that needed to be submitted for PSQUARE's album, which he produced for me: The idea for WINNING came from one of his beats that I discovered. I came up with the idea of changing the chord progression from the original version to what it is today with my own producer Goldswarm who is the co-producer of the song WINNING. I had also engaged a songwriter known as CALYPSO who wrote and composed the song WINNING and sent it to me on the beats through a voice note. And we started working on the song. Mind you, he worked on some other songs that were to make the album as well, so my brother was aware of his input to the production as we were all in the studio during this period. Then when my twin brother heard the song WINNING, which we had already created the hook/chorus for, he then wanted to start creating a verse. Our agreed-on process for each song presented by us was: arrange the song, leave a verse for the other person, then we both harmonise the chorus and refrain bits together. He wasn’t supposed to until Calypso and I finished it as part of my own song submission to the LEGENDARY ALBUM. After that, we finished and shared verses among ourselves. I do not wish to get into details of why the album didn’t see the light of day till date but it takes a different level of psychosis for one to steal what is theirs already; as since the release of this song, I have been labeled and called all sorts online and they have even gone as far as asking for the song to be taken down on various platforms, to what end? It was never part of his 5, now 6 (according to him) songs for submission, yet when he felt I was not interested in making music because I chose my sanity over the constant berating and drama that seemed to come up over creative direction in the group. If it were his song, why do I have all the music data including initial conversations and picture/video evidence on the above-mentioned titles/songs? Which of his songs do I have its data in my possession in that case? All because he was hoping for me to quit music. Even when I learnt that he had removed my vocals on songs we did together, suggesting that he sing the entire songs including the ones that he planned to present for the album without my input (a very absurd idea as we both make up the duo not just the one), but we both perform them on stage, I begun to have a rethink of the entire situation. Let me leave this here. Maybe because I was not posting anything music related on my social media page for over 4 months. He believes I have lost interest in music. I took a breather to get my mind and head in the right space and when that was done, my epiphany was WINNING!

Mr Psquare

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