Loading video...

Video Failed to Load

Go Home

It was so difficult to advance the 14Fr Mullin sheath through the pre-dilated 22 Contegra conduit (with 20mm Z-med 🎈) to do pre-stenting with BeGraft Aortic Bentley covered stent to implant #Melody valve 22mm. We used the BAT (Balloon assisted tracking) with #Armada🎈8×80mm to advance the sheath and to...

AlkashkariWail's profile picture

Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲

17,491 subscribers

12,900 views • 1 year ago •via X (Twitter)

#Melody#Armada
LIVE

Anya Rossi• Live Now

Private livecam show

0 Comments

No comments available

Comments from the original post will appear here

Related Videos

Learn from my pitfalls: Severe iliofemoral tortuosity during a MitraClip case. Right iliac: the guide wouldn’t cross over Bayliss wire then Amplatz Super Stiff. Tried the left side instead, very tortuous too. 24F DrySeal went through fine, but the guide still wouldn’t follow. Went back to the right, swapped for a Lunderquist wire. Left the DrySeal sitting in the left iliac/IVC to help straighten things out. Right before pushing the guide through, pulled the DrySeal back to the left iliac and it finally advanced. Lesson: in tortuous vessels before you think about switching to the other side, don’t stop at one stiff wire. Escalate: Bayliss, Amplatz Super Stiff, Safari, Lunderquist, Meier. The theory of a contralateral sheath straightening the IVC might be helpful too. Another idea is to put a 28 F dry-seal then advance the mitraclip through it? Curious to hear how others have handled similar tortuosity? TCTME+ Altayyeb Yousef Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲 MIЯVΛƬ #IC ༄ ｡° Amr Mohsen, MD Aref BinAbdulhak MD MSc Marwan Saad Abdallah El Sabbagh Musa A. Sharkawi David J. Cohen, MD, MSc Mohammed Qintar, MD MSc Muhammad Hammadah Mohammed Al-Hijji Juan Del Cid Fratti MD MSc Anton Camaj, MD Cardiovascular Research Foundation David J. Cohen, MD, MSc Mamas A. Mamas Cardiovascular Research Foundation Hooman Bakhshi Abdelkader Almanfi, MD, FACC, FSCAI إبراهيم الحربي Ibrahim Alharbi scottiejj12 Dr Alo, DO, FACC
0:38

Learn from my pitfalls: Severe iliofemoral tortuosity during a MitraClip case. Right iliac: the guide wouldn’t cross over Bayliss wire then Amplatz Super Stiff. Tried the left side instead, very tortuous too. 24F DrySeal went through fine, but the guide still wouldn’t follow. Went back to the right, swapped for a Lunderquist wire. Left the DrySeal sitting in the left iliac/IVC to help straighten things out. Right before pushing the guide through, pulled the DrySeal back to the left iliac and it finally advanced. Lesson: in tortuous vessels before you think about switching to the other side, don’t stop at one stiff wire. Escalate: Bayliss, Amplatz Super Stiff, Safari, Lunderquist, Meier. The theory of a contralateral sheath straightening the IVC might be helpful too. Another idea is to put a 28 F dry-seal then advance the mitraclip through it? Curious to hear how others have handled similar tortuosity? TCTME+ Altayyeb Yousef Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲 MIЯVΛƬ #IC ༄ ｡° Amr Mohsen, MD Aref BinAbdulhak MD MSc Marwan Saad Abdallah El Sabbagh Musa A. Sharkawi David J. Cohen, MD, MSc Mohammed Qintar, MD MSc Muhammad Hammadah Mohammed Al-Hijji Juan Del Cid Fratti MD MSc Anton Camaj, MD Cardiovascular Research Foundation David J. Cohen, MD, MSc Mamas A. Mamas Cardiovascular Research Foundation Hooman Bakhshi Abdelkader Almanfi, MD, FACC, FSCAI إبراهيم الحربي Ibrahim Alharbi scottiejj12 Dr Alo, DO, FACC

Anas T. Noman

13,388 views • 1 month ago

Hydraulic Exchange Technique: super useful in complex PCI/CTO work. Quick way to get a microcatheter off a short wire without a 300cm wire, trapper, or trapping balloon. Connect an indeflator to the microcatheter, pressurize to 20 atm (it drops constantly, so keep bumping it back up), and just open the Touhy and microcatheter will come out right away. The hydraulic force pushes the catheter back on its own while keeping the wire in position. I don’t do it over a hydrophilic wire as it can jump forward and cause a tip perforation. I use a workhorse wire. Video below Credit to J Aaron Grantham JAG for teaching me such valuable skills! TCTME+ Altayyeb Yousef Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲 MIЯVΛƬ #IC ༄ ｡° Amr Mohsen, MD Aref BinAbdulhak MD MSc Marwan Saad Abdallah El Sabbagh Musa A. Sharkawi David J. Cohen, MD, MSc Mohammed Qintar, MD MSc Muhammad Hammadah Mohammed Al-Hijji Juan Del Cid Fratti MD MSc Anton Camaj, MD Cardiovascular Research Foundation David J. Cohen, MD, MSc Mamas A. Mamas Cardiovascular Research Foundation Hooman Bakhshi Abdelkader Almanfi, MD, FACC, FSCAI إبراهيم الحربي Ibrahim Alharbi scottiejj12 Dr Alo, DO, FACC
1:30

Hydraulic Exchange Technique: super useful in complex PCI/CTO work. Quick way to get a microcatheter off a short wire without a 300cm wire, trapper, or trapping balloon. Connect an indeflator to the microcatheter, pressurize to 20 atm (it drops constantly, so keep bumping it back up), and just open the Touhy and microcatheter will come out right away. The hydraulic force pushes the catheter back on its own while keeping the wire in position. I don’t do it over a hydrophilic wire as it can jump forward and cause a tip perforation. I use a workhorse wire. Video below Credit to J Aaron Grantham JAG for teaching me such valuable skills! TCTME+ Altayyeb Yousef Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲 MIЯVΛƬ #IC ༄ ｡° Amr Mohsen, MD Aref BinAbdulhak MD MSc Marwan Saad Abdallah El Sabbagh Musa A. Sharkawi David J. Cohen, MD, MSc Mohammed Qintar, MD MSc Muhammad Hammadah Mohammed Al-Hijji Juan Del Cid Fratti MD MSc Anton Camaj, MD Cardiovascular Research Foundation David J. Cohen, MD, MSc Mamas A. Mamas Cardiovascular Research Foundation Hooman Bakhshi Abdelkader Almanfi, MD, FACC, FSCAI إبراهيم الحربي Ibrahim Alharbi scottiejj12 Dr Alo, DO, FACC

Anas T. Noman

25,820 views • 28 days ago

Tall patient, 6’ 8”, prox radial stick, 100 cm catheters wont reach. I have 125 cm JL/JR, but RCA was ant-sup takeoff and needs AL. So you wont find all the catheters in the lab with 125 cm. If you dont have long catheters, this is an easy way to make your catheters longer. Works well for both guides and diagnostics! Watch for your fingers! Altayyeb Yousef Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲 MIЯVΛƬ #IC ༄ ｡° Aref BinAbdulhak MD MSc Amr Mohsen, MD Marwan Saad Abdallah El Sabbagh Musa A. Sharkawi Mohammed Qintar, MD MSc Muhammad Hammadah Karim Al-Azizi, MD Mohammed Al-Hijji Juan Del Cid Fratti MD MSc Anton Camaj, MD TCTME+ Hooman Bakhshi Abdelkader Almanfi, MD, FACC, FSCAI إبراهيم الحربي Ibrahim Alharbi scottiejj12
1:43

Tall patient, 6’ 8”, prox radial stick, 100 cm catheters wont reach. I have 125 cm JL/JR, but RCA was ant-sup takeoff and needs AL. So you wont find all the catheters in the lab with 125 cm. If you dont have long catheters, this is an easy way to make your catheters longer. Works well for both guides and diagnostics! Watch for your fingers! Altayyeb Yousef Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲 MIЯVΛƬ #IC ༄ ｡° Aref BinAbdulhak MD MSc Amr Mohsen, MD Marwan Saad Abdallah El Sabbagh Musa A. Sharkawi Mohammed Qintar, MD MSc Muhammad Hammadah Karim Al-Azizi, MD Mohammed Al-Hijji Juan Del Cid Fratti MD MSc Anton Camaj, MD TCTME+ Hooman Bakhshi Abdelkader Almanfi, MD, FACC, FSCAI إبراهيم الحربي Ibrahim Alharbi scottiejj12

Anas T. Noman

52,940 views • 1 month ago

Coronary fat embolization for late coronary perforation. I did a routine DK-crush bifurcation PCI. 6 hours later, pt is hypotensive with a large effusion. Relook angio showed diagonal tip perforation that wasnt there at the end of PCI. Prolonged balloon tamponade failed. Coils unavailable. Treated with autologous fat embolization, an effective bailout technique. • Small 0.5 cm groin incision • Subcutaneous fat harvested using forceps into small bowl • Fat mixed with saline • Loaded into a 2 cc syringe • Using a microcatheter (Turnpike/Finecross/Export, etc.), to inject fat into the perf site. • Final angiography confirmed complete seal. Join us at TCTME+ in Sep 2026. Will have a lot of great #CHIP and complications discussions. J Aaron Grantham JAG Dany Jacob Altayyeb Yousef Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲 MIЯVΛƬ #IC ༄ ｡° Aref BinAbdulhak MD MSc Amr Mohsen, MD Marwan Saad Abdallah El Sabbagh Musa A. Sharkawi David J. Cohen, MD, MSc Mohammed Qintar, MD MSc Muhammad Hammadah Karim Al-Azizi, MD Adam Greenbaum Mohammed Al-Hijji Emory University Juan Del Cid Fratti MD MSc Anton Camaj, MD Cardiovascular Research Foundation David J. Cohen, MD, MSc Mamas A. Mamas TCTME+ Cardiovascular Research Foundation Hooman Bakhshi Abdelkader Almanfi, MD, FACC, FSCAI إبراهيم الحربي Ibrahim Alharbi
1:26

Coronary fat embolization for late coronary perforation. I did a routine DK-crush bifurcation PCI. 6 hours later, pt is hypotensive with a large effusion. Relook angio showed diagonal tip perforation that wasnt there at the end of PCI. Prolonged balloon tamponade failed. Coils unavailable. Treated with autologous fat embolization, an effective bailout technique. • Small 0.5 cm groin incision • Subcutaneous fat harvested using forceps into small bowl • Fat mixed with saline • Loaded into a 2 cc syringe • Using a microcatheter (Turnpike/Finecross/Export, etc.), to inject fat into the perf site. • Final angiography confirmed complete seal. Join us at TCTME+ in Sep 2026. Will have a lot of great #CHIP and complications discussions. J Aaron Grantham JAG Dany Jacob Altayyeb Yousef Wail AlkashkariFSCAI,FPICSوائل القشقرى🇸🇦🇨🇦🇺🇲 MIЯVΛƬ #IC ༄ ｡° Aref BinAbdulhak MD MSc Amr Mohsen, MD Marwan Saad Abdallah El Sabbagh Musa A. Sharkawi David J. Cohen, MD, MSc Mohammed Qintar, MD MSc Muhammad Hammadah Karim Al-Azizi, MD Adam Greenbaum Mohammed Al-Hijji Emory University Juan Del Cid Fratti MD MSc Anton Camaj, MD Cardiovascular Research Foundation David J. Cohen, MD, MSc Mamas A. Mamas TCTME+ Cardiovascular Research Foundation Hooman Bakhshi Abdelkader Almanfi, MD, FACC, FSCAI إبراهيم الحربي Ibrahim Alharbi

Anas T. Noman

28,277 views • 3 months ago

#Seungmin on As We Are 🥺🤍 🐶 the song As We Are is a song about the journey that led me to be standing on this dominATE stage now, which being put in one single song. Everyone goes through difficult times, everyone has their own breakthrough phase, same goes to me, as well as you who are listening to this song, we are not all that different, like no matter what happens, slowly, lets get through it together and that's the hopeful content along with the comfort which I tried to put into the song. Usually, when the image of cliff crosses our mind, we would think about the pre-falling moment or maybe something very precarious , so for the first verse lyrics, i mentioned about wanting to potray the struggles to get through things , just right before falling and it connected well with cliff. I think it was a part where the stage set expressed the vulnerability of me very well. I am so so thankful of the video PD as they managed to perfectly express the vibes of the song , the meaning of what i wanted to say through the lyrics & the overall story structure with the background visuals (back source) , hence i was able to pour all my despair into singing at first then later when the clouds and the panorama unfolded, it gave me even more strength to sing. 🐶i have shown the sides of me playing guitar from time to time since in the past, though my skill was a bit clumsy , but for this tour, i made up my mind that i would definitely play a guitar while singing so i traveled far away to seek a guitar myself , and i really went through a lot of trial and error as well as the preparation along the way, Its really beyond my expectation how there were so many people that helped me out and through their help, it seems like the stage became a meaningful & deep one It feels like i gained another ability.
2:20

#Seungmin on As We Are 🥺🤍 🐶 the song As We Are is a song about the journey that led me to be standing on this dominATE stage now, which being put in one single song. Everyone goes through difficult times, everyone has their own breakthrough phase, same goes to me, as well as you who are listening to this song, we are not all that different, like no matter what happens, slowly, lets get through it together and that's the hopeful content along with the comfort which I tried to put into the song. Usually, when the image of cliff crosses our mind, we would think about the pre-falling moment or maybe something very precarious , so for the first verse lyrics, i mentioned about wanting to potray the struggles to get through things , just right before falling and it connected well with cliff. I think it was a part where the stage set expressed the vulnerability of me very well. I am so so thankful of the video PD as they managed to perfectly express the vibes of the song , the meaning of what i wanted to say through the lyrics & the overall story structure with the background visuals (back source) , hence i was able to pour all my despair into singing at first then later when the clouds and the panorama unfolded, it gave me even more strength to sing. 🐶i have shown the sides of me playing guitar from time to time since in the past, though my skill was a bit clumsy , but for this tour, i made up my mind that i would definitely play a guitar while singing so i traveled far away to seek a guitar myself , and i really went through a lot of trial and error as well as the preparation along the way, Its really beyond my expectation how there were so many people that helped me out and through their help, it seems like the stage became a meaningful & deep one It feels like i gained another ability.

댕꾸 ◡̈

25,617 views • 8 months ago

"I gotta be careful with what I share." ~DNI Gabbard on UFOs "We're continuing to look for the truth, uhh, and share that truth with the American people. I'm still going through and looking through what do we know, and what is it that we don't know." ~DNI Tulsi Gabbard (I left her stammers and umms in the full transcript below. Are they meaningful, and do they show that she's nervous to discuss UFOs? I don't know. For now, I'm just glad the question IS being asked and it's in the news.) ~ Miranda Devine (MD): "UFOs. There's been a lot of..." Tulsi Gabbard 🌺 - Office of the DNI(TG): "My husband is in the corner, for the record, pumping his fist right now that you're asking this question (both laugh)." MD: "So, I mean, is there anything...we've had some declassification of some very strange videos that look like they are, you know, Unidentified Flying Objects. Is there anything in the files that you think you could find, or you have found?" TG: "Umm, nothing that I'm prepared to talk about today." MD: "Ohhh. So watch this space?" TG: "(laughs) Say what?" MD: "Watch this space?" TG: "Umm. We are continuing... I'm just gonna say this...umm, yeah. We're continuing to look for the truth, uhh, and share that truth with the American people." MD: "The truth is out there." TG: "Yes, it is (both laugh)." MD: "So, do you believe that there could be aliens?" TG: "I, I, I...I honestly, like, my personal belief? Yeah, I have my own views and opinions." MD: "Right." TG: "In this role, I gotta be careful with..." MD: "Right." TG: "...with, uhh, with, with what I share. Umm..." MD: "Very interesting." TG: "(laughs) I'm laughing, my husband's laughing in the corner because we have these same conversations. And obviously, I don't share any classified information outside of my building, with those who have clearances. But it's, it's, this is, this is fun that he's here to watch this right now (laughs)." MD: "Yeah. Because it's so interesting. I think it's one of those burning things we grew up with." TG: "Of course, yeah. There, there are a lot of questions, and there's, there's a lot that's been put out there, and there's, umm, you know... I'm still going through and looking through what do we know, and what is it that we don't know." MD: "And the New Jersey, the strange objects over New Jersey were drones?" TG: "I still have a lot of questions around that. You know, I've heard, I've heard what the public-official line is. I, I just, personally, still have a lot of questions that are unanswered Because it wasn't just New Jersey. It was happening in different parts of the country." MD: "Oh, really?" TG: "Yeah." (Glad she's still questioning the official story that the Trump admin put out: Nothing to see here. And while it DID happen around the country, it also took place in various cities around the world. The rest of the question and answer was about the Chinese balloon incident.)
2:03

"I gotta be careful with what I share." ~DNI Gabbard on UFOs "We're continuing to look for the truth, uhh, and share that truth with the American people. I'm still going through and looking through what do we know, and what is it that we don't know." ~DNI Tulsi Gabbard (I left her stammers and umms in the full transcript below. Are they meaningful, and do they show that she's nervous to discuss UFOs? I don't know. For now, I'm just glad the question IS being asked and it's in the news.) ~ Miranda Devine (MD): "UFOs. There's been a lot of..." Tulsi Gabbard 🌺 - Office of the DNI(TG): "My husband is in the corner, for the record, pumping his fist right now that you're asking this question (both laugh)." MD: "So, I mean, is there anything...we've had some declassification of some very strange videos that look like they are, you know, Unidentified Flying Objects. Is there anything in the files that you think you could find, or you have found?" TG: "Umm, nothing that I'm prepared to talk about today." MD: "Ohhh. So watch this space?" TG: "(laughs) Say what?" MD: "Watch this space?" TG: "Umm. We are continuing... I'm just gonna say this...umm, yeah. We're continuing to look for the truth, uhh, and share that truth with the American people." MD: "The truth is out there." TG: "Yes, it is (both laugh)." MD: "So, do you believe that there could be aliens?" TG: "I, I, I...I honestly, like, my personal belief? Yeah, I have my own views and opinions." MD: "Right." TG: "In this role, I gotta be careful with..." MD: "Right." TG: "...with, uhh, with, with what I share. Umm..." MD: "Very interesting." TG: "(laughs) I'm laughing, my husband's laughing in the corner because we have these same conversations. And obviously, I don't share any classified information outside of my building, with those who have clearances. But it's, it's, this is, this is fun that he's here to watch this right now (laughs)." MD: "Yeah. Because it's so interesting. I think it's one of those burning things we grew up with." TG: "Of course, yeah. There, there are a lot of questions, and there's, there's a lot that's been put out there, and there's, umm, you know... I'm still going through and looking through what do we know, and what is it that we don't know." MD: "And the New Jersey, the strange objects over New Jersey were drones?" TG: "I still have a lot of questions around that. You know, I've heard, I've heard what the public-official line is. I, I just, personally, still have a lot of questions that are unanswered Because it wasn't just New Jersey. It was happening in different parts of the country." MD: "Oh, really?" TG: "Yeah." (Glad she's still questioning the official story that the Trump admin put out: Nothing to see here. And while it DID happen around the country, it also took place in various cities around the world. The rest of the question and answer was about the Chinese balloon incident.)

Joe Murgia

20,535 views • 1 year ago

So yeah, after watching it yesterday for the 5th #ChristmasDay in a row, there is no denial: Patty Jenkins’s #WonderWoman1984 became my Post-Covid #Christmas movie staple. I think I’ll never forget the preview night when it came out, with the film in theatres during just a short evening, because of the announcement that, from that night or, depending on the city, on the following day which was supposed to be its opening day, all theatres would be closed for the following 6 months in the U.K. The rush to get to the nearest theatre still open that evening when the lockdown announcement came, we had to go all the way from London to Maidenhead to be able to watch it on that THU, as the preview screenings that evening in London were being canceled… I was so excited for that film for over 2 years, and somehow I knew that would be the one and only opportunity to see it in theatres. And I was so damn right! I think I never understood, till that point, how much movies, movie theatres and the moviegoing experience were important to me. They’ve always been there as part of my life, I’ve always taken them for granted. Until, all of sudden, they weren’t. And for a moment, #WW84 would be the last blockbuster we would see in a movie theatre, for a long while. That day for me was like our last, desperate way to hold on to the old normal pre-Covid. And in a way, in my mind, I was saying good bye to those Pre-Covid times without even knowing it. When theatres reopened again, 6 months later, things never got back to where they were. On top of a period already challenging as it as, my mother passed away within that bleak period, 2 weeks before theatres reopened. While some say ironically or mockingly that we went through a Great Reset, to me it was a literal reset. A forced one I was never consulted about nor agreed with. But life goes on, and we had to move on with it - but never losing that hope deep inside that, one day, we would have that life pre-Covid back. And that’s how #WonderWoman1984 deeply connected with me, I believe even more on the following Christmas in 2021, when things got scarily more relatable after that tough year. The film had all the messages I needed just on the right time. All the social unrest, forced division and global turmoil that followed from 2021 onwards, mixed with that longing desire to have back a life and the people that I would never have again, it felt like that film was predicting what we were about to go through in the following years, while offering its perspective on how to - and how not to - deal with most of these phantoms. And every time I rewatch it, I appreciate it a bit more. All those beautiful, powerful messages still stand and they feel even more meaningful now than they already were back in DEC 2020. They remind me of what we used to be as society, but also remind me of what we still can be, depending on the path we decide to take. And I know, I know - on this app, that movie means different things for different people, or even it might be the case it feels meaningless for some. I totally understand, respect and appreciate the diversity of opinions around it, and I see where they are coming from. I’ll never fight about your own views about the movie or your experience with it. That’s the magic of the movies after all, resonate differently with different people, as a collective but diverse experience. But to me it has a deeper meaning, and I love revisiting it time and time again. Until next Christmas!
2:22

So yeah, after watching it yesterday for the 5th #ChristmasDay in a row, there is no denial: Patty Jenkins’s #WonderWoman1984 became my Post-Covid #Christmas movie staple. I think I’ll never forget the preview night when it came out, with the film in theatres during just a short evening, because of the announcement that, from that night or, depending on the city, on the following day which was supposed to be its opening day, all theatres would be closed for the following 6 months in the U.K. The rush to get to the nearest theatre still open that evening when the lockdown announcement came, we had to go all the way from London to Maidenhead to be able to watch it on that THU, as the preview screenings that evening in London were being canceled… I was so excited for that film for over 2 years, and somehow I knew that would be the one and only opportunity to see it in theatres. And I was so damn right! I think I never understood, till that point, how much movies, movie theatres and the moviegoing experience were important to me. They’ve always been there as part of my life, I’ve always taken them for granted. Until, all of sudden, they weren’t. And for a moment, #WW84 would be the last blockbuster we would see in a movie theatre, for a long while. That day for me was like our last, desperate way to hold on to the old normal pre-Covid. And in a way, in my mind, I was saying good bye to those Pre-Covid times without even knowing it. When theatres reopened again, 6 months later, things never got back to where they were. On top of a period already challenging as it as, my mother passed away within that bleak period, 2 weeks before theatres reopened. While some say ironically or mockingly that we went through a Great Reset, to me it was a literal reset. A forced one I was never consulted about nor agreed with. But life goes on, and we had to move on with it - but never losing that hope deep inside that, one day, we would have that life pre-Covid back. And that’s how #WonderWoman1984 deeply connected with me, I believe even more on the following Christmas in 2021, when things got scarily more relatable after that tough year. The film had all the messages I needed just on the right time. All the social unrest, forced division and global turmoil that followed from 2021 onwards, mixed with that longing desire to have back a life and the people that I would never have again, it felt like that film was predicting what we were about to go through in the following years, while offering its perspective on how to - and how not to - deal with most of these phantoms. And every time I rewatch it, I appreciate it a bit more. All those beautiful, powerful messages still stand and they feel even more meaningful now than they already were back in DEC 2020. They remind me of what we used to be as society, but also remind me of what we still can be, depending on the path we decide to take. And I know, I know - on this app, that movie means different things for different people, or even it might be the case it feels meaningless for some. I totally understand, respect and appreciate the diversity of opinions around it, and I see where they are coming from. I’ll never fight about your own views about the movie or your experience with it. That’s the magic of the movies after all, resonate differently with different people, as a collective but diverse experience. But to me it has a deeper meaning, and I love revisiting it time and time again. Until next Christmas!

Luiz Fernando

11,494 views • 7 months ago

🙏My dear friends, it is still cold, but the sun is shining. I hope it will stay that way. I don’t want to see rain for a very long time. It is devastating to know so many people are suffering so terribly from the cold. The rain adds to their misery. These poor people in tiny plastic tents aren’t being sheltered from the cold or the rain. Their tents and the camps are soaked through. All their belongings are wet. Even if you have the luxury of a mattress (yes! In the tent camps, a mattress is a luxury!), it is almost certainly bound to be soaking wet. So this is why I wish for no rain. I used to love it, but now I can’t wait for it to move away from us and stay away. The night was full of fear again; it is nothing but terror and violence at night. We are uncertain if we will see the day every single night. Sleeping is so hard, dear friends. It is so hard to fall asleep with this level of anxiety and the loud violence and threat of gunfire and bombing. It is also hard to go through daily life when you are tired. When everyone is tired. Today I burned my hand at the kitchen. I was the first one to have such an accident. It was bound to happen, as we are all exhausted: our visitors holding out their pots, containers and cans, and our team scooping up meals. Due to the chaos and the fatigue, I got piping hot sauce accidentally spilled over my right hand. We treated the wound with an ointment immediately, so the pain is bearable. It did make me realize how something like this could happen, but worse. Some day, someone on our staff might be exhausted and trip while carrying one of those heavy pans and be covered in boiling hot water. I think the fatigue also makes me worry more easily. Every night I pray it will be a calm night. We served a stew with peas, and yellow rice today. We are very glad we can still help so many people in our neighbourhood and refugees in shelters. Will you please donate and share my message? Thank you from the bottom of my heart for all that you do for us. 🙏🫂 🐈
0:34

🙏My dear friends, it is still cold, but the sun is shining. I hope it will stay that way. I don’t want to see rain for a very long time. It is devastating to know so many people are suffering so terribly from the cold. The rain adds to their misery. These poor people in tiny plastic tents aren’t being sheltered from the cold or the rain. Their tents and the camps are soaked through. All their belongings are wet. Even if you have the luxury of a mattress (yes! In the tent camps, a mattress is a luxury!), it is almost certainly bound to be soaking wet. So this is why I wish for no rain. I used to love it, but now I can’t wait for it to move away from us and stay away. The night was full of fear again; it is nothing but terror and violence at night. We are uncertain if we will see the day every single night. Sleeping is so hard, dear friends. It is so hard to fall asleep with this level of anxiety and the loud violence and threat of gunfire and bombing. It is also hard to go through daily life when you are tired. When everyone is tired. Today I burned my hand at the kitchen. I was the first one to have such an accident. It was bound to happen, as we are all exhausted: our visitors holding out their pots, containers and cans, and our team scooping up meals. Due to the chaos and the fatigue, I got piping hot sauce accidentally spilled over my right hand. We treated the wound with an ointment immediately, so the pain is bearable. It did make me realize how something like this could happen, but worse. Some day, someone on our staff might be exhausted and trip while carrying one of those heavy pans and be covered in boiling hot water. I think the fatigue also makes me worry more easily. Every night I pray it will be a calm night. We served a stew with peas, and yellow rice today. We are very glad we can still help so many people in our neighbourhood and refugees in shelters. Will you please donate and share my message? Thank you from the bottom of my heart for all that you do for us. 🙏🫂 🐈

♥️🇵🇸🇵🇸❤️A lover ♥️of homeless cats😻❤️🌱🌱👍🤗

28,776 views • 1 year ago

sung hanbin’s letter to the zb1 members (full eng trans) 💌 “my beloved members who feel like family to me, this is your leader, hanbin. to be honest, i’m not sure if i’ll be able to read this letter all the way to the end, but i’ll try my best to express the things i’ve wanted to say and carefully put them into words. the time that felt like it would never come has finally come to us. maybe that’s why this moment feels both cruel and a little sad. during our activities and even in everyday life, i’ve received so much strength from our members. because of that, i always carry a heart full of gratitude toward all of you. the position of leader, which i took on for the first time, was never something light. sometimes it felt like a burden, and sometimes it felt like a heavy weight. there were definitely moments when it felt difficult. but the reason i was able to strengthen my heart and keep running forward while looking only ahead was because the members i love were by my side. in life, even until now, i’ve been more used to solving things on my own. rather than leaning on others or receiving help, i thought it was more comfortable to handle things by myself. but through the time we’ve spent together with my precious members, i gained a big realization: that i’m also someone who truly needs the help and support of others. even in difficult moments, what allowed me to stand up again was the trust that the members gave me. through all of these moments, i felt a great warmth, and with this one belief, i was able to become stronger and stand again. so with the hope that the members can walk confidently wherever they go…so that they could receive that strength, i think i tried even harder to become a good example. because i carried those feelings, there were probably many things i had to say that might have sounded harsh or painful for our members to hear. but there was only one reason behind all those words and actions: so that the members i love wouldn’t get hurt somewhere else, so that their hearts wouldn’t be hurt. if there were moments when the members felt hurt because of me, i want to take this opportunity to say that i’m really sorry, and i hope you can forgive me with open hearts. sometimes when you said things like, “hanbin hyung is here, hanbin hyung will solve it”, it often felt like a lot of pressure to me. but after realizing that those words were actually a sign of the members’ deep trust, they became incredibly precious to me… it made me feel how precious it truly was. and that’s when i felt it even more that we had really become a family. so now this moment feels even more bittersweet and regretful. even while writing this letter, my heart feels complicated and emotions that are hard to describe in words keep passing through me. but there is something i really want to say: hanbin, jiwoong, hao, matthew, taerae, ricky, gyuvinie, gunwookie, yunjinie…my members who are like my family, i love you all so much. even if we end up walking different paths from now on, i will always be cheering for you first from a place close to my heart. so with the memories we’ve built together, let’s keep our shoulders up and move forward. i hope you only go through a little hardship and that from now on your path is filled only with flowers. and someday, when the nine of us gather and meet again, let’s just smile like we do now and make sure to hug each other. from your leader hanbin, who may have been imperfect but loved the members more than anyone. march 15, 2026.” 😭💔
5:39

sung hanbin’s letter to the zb1 members (full eng trans) 💌 “my beloved members who feel like family to me, this is your leader, hanbin. to be honest, i’m not sure if i’ll be able to read this letter all the way to the end, but i’ll try my best to express the things i’ve wanted to say and carefully put them into words. the time that felt like it would never come has finally come to us. maybe that’s why this moment feels both cruel and a little sad. during our activities and even in everyday life, i’ve received so much strength from our members. because of that, i always carry a heart full of gratitude toward all of you. the position of leader, which i took on for the first time, was never something light. sometimes it felt like a burden, and sometimes it felt like a heavy weight. there were definitely moments when it felt difficult. but the reason i was able to strengthen my heart and keep running forward while looking only ahead was because the members i love were by my side. in life, even until now, i’ve been more used to solving things on my own. rather than leaning on others or receiving help, i thought it was more comfortable to handle things by myself. but through the time we’ve spent together with my precious members, i gained a big realization: that i’m also someone who truly needs the help and support of others. even in difficult moments, what allowed me to stand up again was the trust that the members gave me. through all of these moments, i felt a great warmth, and with this one belief, i was able to become stronger and stand again. so with the hope that the members can walk confidently wherever they go…so that they could receive that strength, i think i tried even harder to become a good example. because i carried those feelings, there were probably many things i had to say that might have sounded harsh or painful for our members to hear. but there was only one reason behind all those words and actions: so that the members i love wouldn’t get hurt somewhere else, so that their hearts wouldn’t be hurt. if there were moments when the members felt hurt because of me, i want to take this opportunity to say that i’m really sorry, and i hope you can forgive me with open hearts. sometimes when you said things like, “hanbin hyung is here, hanbin hyung will solve it”, it often felt like a lot of pressure to me. but after realizing that those words were actually a sign of the members’ deep trust, they became incredibly precious to me… it made me feel how precious it truly was. and that’s when i felt it even more that we had really become a family. so now this moment feels even more bittersweet and regretful. even while writing this letter, my heart feels complicated and emotions that are hard to describe in words keep passing through me. but there is something i really want to say: hanbin, jiwoong, hao, matthew, taerae, ricky, gyuvinie, gunwookie, yunjinie…my members who are like my family, i love you all so much. even if we end up walking different paths from now on, i will always be cheering for you first from a place close to my heart. so with the memories we’ve built together, let’s keep our shoulders up and move forward. i hope you only go through a little hardship and that from now on your path is filled only with flowers. and someday, when the nine of us gather and meet again, let’s just smile like we do now and make sure to hug each other. from your leader hanbin, who may have been imperfect but loved the members more than anyone. march 15, 2026.” 😭💔

🎐

74,659 views • 5 months ago

Freenbecky fair well speech THE AIR FINAL EPISODE #เสน่หาวาโยตอนจบ 🌷: p’ freen just wants to say thank you again for another source of strength thank you to all the fans of freen and becky, fans of 4 elements, and fans of sanaeha wa yo. thank you so much to everyone i want to say that i’ve been immersed in lom since filming. from episode 1, episode 2, all the way to the final episode it all went by so fast.every time i got to watch my own work on screen live with everyone, and even watch the uncut versions together, it felt really fun.i was happy during every training of every episode. i want to thank lom for bringing everything i never expected i could become into reality, as fully as i could do it.i hope lom brings happiness, fun, and entertainment to everyone, and please don’t forget lom in your hearts. thank you so much. 🗣️: thank you now becky, go ahead. 🧚: thank you to all the fans and to the characters. i want to speak too. like p’ freen said, thank you so much to all fans for supporting 4 elements and supporting us. this was a project everyone worked very hard on actors, staff, everyone behind the scenes.we really wanted this project to turn out well. even though there were obstacles along the way, i’m very happy that we made it to 8 episodes.i was so happy every time we watched the episodes with the fans every week. my family and i would get so excited we’d sit in front of the TV at 8:30 and watch together while trending online. it was really fun, and i think i’m going to miss this feeling a lot. we were all excited together because we didn’t get to see post-production scenes or other characters’ scenes while filming, so we were discovering everything together. i really fell in love with all the characters blew , helena, and everyone. each one has their own charm at first, i wondered how people would understand helena or love her, but now everyone really loves her a lot.i just hope every character will be happy forever. thank you.
2:56

Freenbecky fair well speech THE AIR FINAL EPISODE #เสน่หาวาโยตอนจบ 🌷: p’ freen just wants to say thank you again for another source of strength thank you to all the fans of freen and becky, fans of 4 elements, and fans of sanaeha wa yo. thank you so much to everyone i want to say that i’ve been immersed in lom since filming. from episode 1, episode 2, all the way to the final episode it all went by so fast.every time i got to watch my own work on screen live with everyone, and even watch the uncut versions together, it felt really fun.i was happy during every training of every episode. i want to thank lom for bringing everything i never expected i could become into reality, as fully as i could do it.i hope lom brings happiness, fun, and entertainment to everyone, and please don’t forget lom in your hearts. thank you so much. 🗣️: thank you now becky, go ahead. 🧚: thank you to all the fans and to the characters. i want to speak too. like p’ freen said, thank you so much to all fans for supporting 4 elements and supporting us. this was a project everyone worked very hard on actors, staff, everyone behind the scenes.we really wanted this project to turn out well. even though there were obstacles along the way, i’m very happy that we made it to 8 episodes.i was so happy every time we watched the episodes with the fans every week. my family and i would get so excited we’d sit in front of the TV at 8:30 and watch together while trending online. it was really fun, and i think i’m going to miss this feeling a lot. we were all excited together because we didn’t get to see post-production scenes or other characters’ scenes while filming, so we were discovering everything together. i really fell in love with all the characters blew , helena, and everyone. each one has their own charm at first, i wondered how people would understand helena or love her, but now everyone really loves her a lot.i just hope every character will be happy forever. thank you.

‎ ✧

12,959 views • 1 month ago

Tales of Wudan - STRAW PILLOWS Atop Wudan, the nights were always especially cold. We would sleep on concrete floors with straw pillows and blankets were forbidden. Many of the students would opt to do their chores in the middle of the night in an attempt to stay warm and then try to steal sleep during meditation in the warmer afternoons. Of course, Po was aware of this, and every so often would pluck a perpetrator from morning exercise and beat him severely. It’s a risk many children took, for it is very difficult to sleep when you are cold. But I wanted to feel like a weapon. Not to have a weapon or use a weapon - I wanted to BE and FEEL like a weapon. When I walk the streets, I feel a way most men can never feel. And to do that, I have endured 10,000 cold nights. When I graduated as a Master of Wudan I spent many years roaming from town to town. One day I fell in love. She said she would stay with me forever, sickness and health, no matter what. That I am the sword and she is the sheath, and we need each other. I believed her. She believed her. So I rented a small room. Concrete floor and straw pillow. I forbid us to touch - only body heat can be shared. She asked how long we must do this, and my answer was simple: “Until mastery is attained.” When I woke the following morning she was gone. I never saw her again. I believe she loved me, I believe she wanted me. But there is a difference between the wants and needs of a normal person, and a Master such as myself. When I hear others talk of love, I pity them. How can you be in love on expensive holidays and sharing takeaway? None of you are in Love. Not to the standard of Wudan. Doubt me? Place her on a concrete floor, with a straw pillow.
2:38

Tales of Wudan - STRAW PILLOWS Atop Wudan, the nights were always especially cold. We would sleep on concrete floors with straw pillows and blankets were forbidden. Many of the students would opt to do their chores in the middle of the night in an attempt to stay warm and then try to steal sleep during meditation in the warmer afternoons. Of course, Po was aware of this, and every so often would pluck a perpetrator from morning exercise and beat him severely. It’s a risk many children took, for it is very difficult to sleep when you are cold. But I wanted to feel like a weapon. Not to have a weapon or use a weapon - I wanted to BE and FEEL like a weapon. When I walk the streets, I feel a way most men can never feel. And to do that, I have endured 10,000 cold nights. When I graduated as a Master of Wudan I spent many years roaming from town to town. One day I fell in love. She said she would stay with me forever, sickness and health, no matter what. That I am the sword and she is the sheath, and we need each other. I believed her. She believed her. So I rented a small room. Concrete floor and straw pillow. I forbid us to touch - only body heat can be shared. She asked how long we must do this, and my answer was simple: “Until mastery is attained.” When I woke the following morning she was gone. I never saw her again. I believe she loved me, I believe she wanted me. But there is a difference between the wants and needs of a normal person, and a Master such as myself. When I hear others talk of love, I pity them. How can you be in love on expensive holidays and sharing takeaway? None of you are in Love. Not to the standard of Wudan. Doubt me? Place her on a concrete floor, with a straw pillow.

Tales of Wudan

388,101 views • 3 years ago

I’ve been meaning to share here that I bought land! Growing up I vividly remember going to the welfare office with my mom. Public school, free lunches & section 8 housing made life possible. I wanted more for myself so I studied, worked my ass off, and put myself in the way of getting lucky. I pivoted into tech in my late 20’s, and was already a mom of 2 at that point. It was not an immediate up and to the right journey. In fact, my first startup failed. And it was entirely bootstrapped so I lost all the money I’d put into it. After working at other companies for some years I was ready to try again but then I nearly failed at fundraising. It was humbling to hear no after no but I just kept learning and adapting. I have always played long games and I’m willing to take a lot of pain in the short-term to realize big goals. People who know my full life story say it’s so hard to believe that I am in this position today, but it’s not by accident. I built this life brick by brick. Odds were stacked against me but I found joy in the challenge of doing hard things. Much of my success is from being pushed down and told I couldn’t make it. I love proving people wrong. Back to the land. I started dreaming of this project over a decade ago, back when I had no money to do it. But I talked about it to friends constantly like it was inevitable - because even though I didn’t know *how* it would happen, I began believing it would. Here we are and now it’s a key piece of what I want to accomplish in my next act. I want to create a place that people come to for reflection, to unwind from the grind, and to build meaningful connection to self and others. I want to host salons to discuss and debate interesting topics with the smartest people I can find. Breakthroughs will happen round a fire, while lounging poolside, and while gazing up at the stars through the trees. It took a year of searching for land but we found a spot just 1 hour north of San Francisco. It’s got some beautiful bones and infrastructure on it already but there’s a lot to imagine and build to realize the dream. Everything big starts small. So, we put up our first tree swings, hammocks and a canvas tent. 🏕️ If you’re into that kind of journey then I’ll be posting more about it on IG and may create an account just for that work. I’ve never owned land so 10 acres is an amazing canvas to create and learn on. There will be mistakes and setbacks, There always are. But I can’t wait to see what gets accomplished in the next decade! (And no, I am not quitting my job at Meta - this project is my side gig for the foreseeable future. I’m lucky to have the best guy I know focused on it full-time.) As the corporate truism goes - team work makes the dream work. LFG! 💕
1:11

I’ve been meaning to share here that I bought land! Growing up I vividly remember going to the welfare office with my mom. Public school, free lunches & section 8 housing made life possible. I wanted more for myself so I studied, worked my ass off, and put myself in the way of getting lucky. I pivoted into tech in my late 20’s, and was already a mom of 2 at that point. It was not an immediate up and to the right journey. In fact, my first startup failed. And it was entirely bootstrapped so I lost all the money I’d put into it. After working at other companies for some years I was ready to try again but then I nearly failed at fundraising. It was humbling to hear no after no but I just kept learning and adapting. I have always played long games and I’m willing to take a lot of pain in the short-term to realize big goals. People who know my full life story say it’s so hard to believe that I am in this position today, but it’s not by accident. I built this life brick by brick. Odds were stacked against me but I found joy in the challenge of doing hard things. Much of my success is from being pushed down and told I couldn’t make it. I love proving people wrong. Back to the land. I started dreaming of this project over a decade ago, back when I had no money to do it. But I talked about it to friends constantly like it was inevitable - because even though I didn’t know *how* it would happen, I began believing it would. Here we are and now it’s a key piece of what I want to accomplish in my next act. I want to create a place that people come to for reflection, to unwind from the grind, and to build meaningful connection to self and others. I want to host salons to discuss and debate interesting topics with the smartest people I can find. Breakthroughs will happen round a fire, while lounging poolside, and while gazing up at the stars through the trees. It took a year of searching for land but we found a spot just 1 hour north of San Francisco. It’s got some beautiful bones and infrastructure on it already but there’s a lot to imagine and build to realize the dream. Everything big starts small. So, we put up our first tree swings, hammocks and a canvas tent. 🏕️ If you’re into that kind of journey then I’ll be posting more about it on IG and may create an account just for that work. I’ve never owned land so 10 acres is an amazing canvas to create and learn on. There will be mistakes and setbacks, There always are. But I can’t wait to see what gets accomplished in the next decade! (And no, I am not quitting my job at Meta - this project is my side gig for the foreseeable future. I’m lucky to have the best guy I know focused on it full-time.) As the corporate truism goes - team work makes the dream work. LFG! 💕

Esther Crawford ✨

51,518 views • 2 years ago

youngjae shares the behind the scene or the reason why his eyes were so red after he got emotional winning first at inkigayo (🐶 reading a comment) 🐶: why my eyes are red? ah there’s really a lot i could say about that. honestly, during the second week of inkigayo promotions, our schedule was insanely tough from the very first week. thankfully, we got to promote both the title track and ‘ATP.’ of course, we couldn’t perform ‘ATP’ on mubank, but on mcountdown we performed both ‘ATP’ and the title track. then for mubank too, we had both the title track and all the second-week stages. since our schedule that second week was basically impossible to manage while staying in korea, we had to pre-record everything for the second week too mubank - inkigayo all of it. we’d be doing title-track pre-recordings at dawn, then pre-recordings or live broadcasts for ‘ATP’ too. after finishing second-week music show schedules, we’d immediately move on to filming even more second-week content. before the comeback, with the members we talked a lot about the schedule. we kept saying, ‘this schedule really doesn’t seem like it’s going to be easy.’ not just for us either, we thought the fans coming to pre-recordings would also be physically exhausted. we kept wondering, ‘will everyone really be okay?’ we talked about things like that a lot. but somehow we got through all of it. while we were in japan for kcon, we were also performing at the k-style party, and thankfully we even got first place (in mubank) while we're in japan too. i’m really, really grateful for that. then right after k-style ended, we flew straight back from 🇯🇵 to 🇰🇷, rested a little at the dorm and then shinyu hyung immediately went off to prepare for his mc schedule while the rest of us got ready for the live broadcast too. honestly, during mubank, it’s not that i necessarily want people to recognize how hard things were. but every time we won first place, i always ended up talking about this, our fans work so hard behind the scenes. streaming, voting… they really give it everything. quietly and steadily, just so they can see us win first place. watching 42s pour all their time and energy into that for us makes me feel so thankful and grateful, but also honestly really sorry too. so while all the exhaustion from the first week was passing by, i kept remembering how hard the fans worked voting and streaming, how hard the members worked together and how much everyone suffered through it. i also kept thinking about the staff members constantly running around backstage, barely sleeping, barely eating, staying with us through pre-recordings and everything. seeing all that made me realize that first place isn’t just ‘first place.’ i mean, people call it a win, but inside that one word are countless hours, countless people’s sweat, effort, and hard work all packed into it. that’s really what it felt like to me this time. especially on inkigayo, for some reason, i felt that even more strongly. so during these promotions, we really carried this sense of responsibility and pressure that we had to do even better while preparing for our official comeback with ‘overdrive’ too. because of that, so many thoughts were passing through my mind while we were singing the encore. but honestly, even before we went up for the encore stage, suddenly i got extremely nervous. all the artists were standing by there waiting, and out of nowhere i started shaking. i kept telling the members, ‘i’m so nervous.’ then we went up, did the encore stage for everyone there and prepared for the live broadcast results announcement. the moment they revealed the live voting results, i suddenly felt really strange. i kept thinking, ‘can we really win first place?’ somehow, while we were waiting in the waiting room, i had this feeling that today might be our last chance to win during the ‘You You’ promotions.+ #TWS #투어스 #영재 #YOUNGJAE
4:51

youngjae shares the behind the scene or the reason why his eyes were so red after he got emotional winning first at inkigayo (🐶 reading a comment) 🐶: why my eyes are red? ah there’s really a lot i could say about that. honestly, during the second week of inkigayo promotions, our schedule was insanely tough from the very first week. thankfully, we got to promote both the title track and ‘ATP.’ of course, we couldn’t perform ‘ATP’ on mubank, but on mcountdown we performed both ‘ATP’ and the title track. then for mubank too, we had both the title track and all the second-week stages. since our schedule that second week was basically impossible to manage while staying in korea, we had to pre-record everything for the second week too mubank - inkigayo all of it. we’d be doing title-track pre-recordings at dawn, then pre-recordings or live broadcasts for ‘ATP’ too. after finishing second-week music show schedules, we’d immediately move on to filming even more second-week content. before the comeback, with the members we talked a lot about the schedule. we kept saying, ‘this schedule really doesn’t seem like it’s going to be easy.’ not just for us either, we thought the fans coming to pre-recordings would also be physically exhausted. we kept wondering, ‘will everyone really be okay?’ we talked about things like that a lot. but somehow we got through all of it. while we were in japan for kcon, we were also performing at the k-style party, and thankfully we even got first place (in mubank) while we're in japan too. i’m really, really grateful for that. then right after k-style ended, we flew straight back from 🇯🇵 to 🇰🇷, rested a little at the dorm and then shinyu hyung immediately went off to prepare for his mc schedule while the rest of us got ready for the live broadcast too. honestly, during mubank, it’s not that i necessarily want people to recognize how hard things were. but every time we won first place, i always ended up talking about this, our fans work so hard behind the scenes. streaming, voting… they really give it everything. quietly and steadily, just so they can see us win first place. watching 42s pour all their time and energy into that for us makes me feel so thankful and grateful, but also honestly really sorry too. so while all the exhaustion from the first week was passing by, i kept remembering how hard the fans worked voting and streaming, how hard the members worked together and how much everyone suffered through it. i also kept thinking about the staff members constantly running around backstage, barely sleeping, barely eating, staying with us through pre-recordings and everything. seeing all that made me realize that first place isn’t just ‘first place.’ i mean, people call it a win, but inside that one word are countless hours, countless people’s sweat, effort, and hard work all packed into it. that’s really what it felt like to me this time. especially on inkigayo, for some reason, i felt that even more strongly. so during these promotions, we really carried this sense of responsibility and pressure that we had to do even better while preparing for our official comeback with ‘overdrive’ too. because of that, so many thoughts were passing through my mind while we were singing the encore. but honestly, even before we went up for the encore stage, suddenly i got extremely nervous. all the artists were standing by there waiting, and out of nowhere i started shaking. i kept telling the members, ‘i’m so nervous.’ then we went up, did the encore stage for everyone there and prepared for the live broadcast results announcement. the moment they revealed the live voting results, i suddenly felt really strange. i kept thinking, ‘can we really win first place?’ somehow, while we were waiting in the waiting room, i had this feeling that today might be our last chance to win during the ‘You You’ promotions.+ #TWS #투어스 #영재 #YOUNGJAE

𝗬𝗢𝗨𝗡𝗚𝗝★𝗘

20,465 views • 3 months ago

SEE YOU AGAIN ON BOARD! Huihuis/Carats, we are pleased to announce that we have finally completed the "Meet Me at the Boarding Gate" project aka Flight JN610. Thank you for sharing this journey with Crescent Jun PH. Before we fully disembark with this project and start a new journey, I would like to express my sincerest gratitude to everyone who took part in this amazing journey. To deanna | 문잡아 the very first person who trusted this project and the one who helped me securing the slot for the aerial banner. While we know that it is me who initiated this, it wouldn't be that really possible without her help in securing it the earliest time we can. To every Huihuis/Carats who extended their support through their donations. I really do appreciate you extending your generosity and your trust towards this fan project. You made this project possible and even more memorable. Beyond funding, you gave this initiative meaning and so much love. To everyone who shared the project's initiative, thank you so much for your efforts. To my friends who supported the idea and extended their help in various ways such as doing art works & pre-flight supervision and a lot more. I appreciate you a lot. To the Pegasus Airlines staffs (aerial banner towing company) who has been nice all through out the entire process. From the initial preparation to the successful completion of the project. I am very much thankful how they handled this. This project comes after I wasn’t able to get a reply from what was supposed to be the original plan. The goal is to have something to welcome Jun back to PH stage after two years. Although the first option didn’t work out, looking back now, the aerial banner turned out to be a wonderful choice. There were uncertainties at the beginning, but this project already started fueled with love and admiration for Jun who always exerted so much love and effort at things he do. So when I was asked what would be the other option or what would be the "plan B" despite putting other option on the donation form, I already know to myself that I will push through with this project regardless of the outcome of the donation drive. It's just that I took some time weighing things and checking what are the things I need to consider. Despite some lapses and understandable disappointments, I can say that this project has been pulled off successfully. To Jun, know that you are always loved in more ways that you could imagine. Your efforts are always seen & cherished by the people who loves you so dearly. May you always be proud of yourself and continue doing things that you love and makes you happy. The sky always belongs to you, our Moon who always shines the brightest. It has been a wonderful journey with you all. Thank you for celebrating and welcoming Junhui in such a beautiful way. Until our next journey!
0:34

SEE YOU AGAIN ON BOARD! Huihuis/Carats, we are pleased to announce that we have finally completed the "Meet Me at the Boarding Gate" project aka Flight JN610. Thank you for sharing this journey with Crescent Jun PH. Before we fully disembark with this project and start a new journey, I would like to express my sincerest gratitude to everyone who took part in this amazing journey. To deanna | 문잡아 the very first person who trusted this project and the one who helped me securing the slot for the aerial banner. While we know that it is me who initiated this, it wouldn't be that really possible without her help in securing it the earliest time we can. To every Huihuis/Carats who extended their support through their donations. I really do appreciate you extending your generosity and your trust towards this fan project. You made this project possible and even more memorable. Beyond funding, you gave this initiative meaning and so much love. To everyone who shared the project's initiative, thank you so much for your efforts. To my friends who supported the idea and extended their help in various ways such as doing art works & pre-flight supervision and a lot more. I appreciate you a lot. To the Pegasus Airlines staffs (aerial banner towing company) who has been nice all through out the entire process. From the initial preparation to the successful completion of the project. I am very much thankful how they handled this. This project comes after I wasn’t able to get a reply from what was supposed to be the original plan. The goal is to have something to welcome Jun back to PH stage after two years. Although the first option didn’t work out, looking back now, the aerial banner turned out to be a wonderful choice. There were uncertainties at the beginning, but this project already started fueled with love and admiration for Jun who always exerted so much love and effort at things he do. So when I was asked what would be the other option or what would be the "plan B" despite putting other option on the donation form, I already know to myself that I will push through with this project regardless of the outcome of the donation drive. It's just that I took some time weighing things and checking what are the things I need to consider. Despite some lapses and understandable disappointments, I can say that this project has been pulled off successfully. To Jun, know that you are always loved in more ways that you could imagine. Your efforts are always seen & cherished by the people who loves you so dearly. May you always be proud of yourself and continue doing things that you love and makes you happy. The sky always belongs to you, our Moon who always shines the brightest. It has been a wonderful journey with you all. Thank you for celebrating and welcoming Junhui in such a beautiful way. Until our next journey!

Crescent Jun PH | FOR JUNHUI

44,606 views • 4 months ago

How I Build My Teams I always liked the idea of ‘possession football’: - Control the game. - A tool to develop players. - The opponent can’t score without the ball. But I built it the wrong way: “Keep the ball. Find a gap to attack.” This turned into “side-to-side” passing. It was boring and ineffective. \ The idea. So, I flipped the idea: Instead of controlling to attack, we attack to control. Play as vertical as possible (while maintaining control). If not possible, pass back. Avoid sideways passes. For better connections and counter-press, we use a vertical, narrow structure: These simple decisions lead to short, vertical, and diagonal passes. This is what I call 'vertical possession' football. \ Make it work. The idea is simple. The execution is not. Over the years, I’ve worked to close the gap between vision and reality. (watch example below) My goal is to get closer to my vision every day. But as Vince Lombardi said: “Perfection is unattainable, but if we chase perfection we can catch excellence.” Here’s my plan to 'catch excellence': 1. Build it my way. Ignore opinions. Opinions lead to conformity. We reduce our philosophy to its essence—and build from there. Everything else is a distraction. 2. Stick to it. We limit ourselves to core principles, and stick to them. When there’s a problem, we don’t change the idea—we improve its execution. 3. Eliminate waste. Building a style of play is like carving a statue. You start with a block of marble and chip away everything unnecessary. All that’s left is the sculpture. We do the same. We cut every unnecessary touch and step: - Fewer touches mean we need less time and space. We have more space to be creative. - The simpler it gets, the more recognizable the style. 4. Obsess over the players. We don’t adapt to opponents. We focus on our players. That's what matters in the long run. When our ideas work, we can compete against anyone. 5. Develop technical and creative players as a by-product. - Possession: Many touches to refine technique. - Vertical: No “easy” sideways passes. Learn to play in tight spaces. - Control: Avoid hectic football. Control the ball to make deliberate decisions. 6. One Training Structure. We compress our philosophy into one structure. Then, we repeat it every session. We make our style of play a habit. And we develop the tools to execute it. 7. Master a Few Exercises. We repeat a small set of core games over and over. We focus on improving execution, not on new drills. The better we execute, the faster we get to our vision. 8. Bottleneck Coaching. We can’t predict what happens, so we don’t over-plan. Instead, we prepare for what might happen. This liberates our coaching: Rather than sticking to pre-planned coaching points, we solve the most critical issue—the bottleneck. 9. Competition Drives Development. Games are the core of our training. Players compete to win. They force each other to get better and better, session after session. 10. Positive Team Culture. I used to react with anger when things didn’t go right. And yes, it can work in the short term. But to build something great, players must stay on the path for a long time. This is more likely when they enjoy the process. Positive reinforcement is harder to do, but more sustainable. \ What's next? That's the plan. Now, it’s all about execution. I'll keep you updated.
2:47

How I Build My Teams I always liked the idea of ‘possession football’: - Control the game. - A tool to develop players. - The opponent can’t score without the ball. But I built it the wrong way: “Keep the ball. Find a gap to attack.” This turned into “side-to-side” passing. It was boring and ineffective. \ The idea. So, I flipped the idea: Instead of controlling to attack, we attack to control. Play as vertical as possible (while maintaining control). If not possible, pass back. Avoid sideways passes. For better connections and counter-press, we use a vertical, narrow structure: These simple decisions lead to short, vertical, and diagonal passes. This is what I call 'vertical possession' football. \ Make it work. The idea is simple. The execution is not. Over the years, I’ve worked to close the gap between vision and reality. (watch example below) My goal is to get closer to my vision every day. But as Vince Lombardi said: “Perfection is unattainable, but if we chase perfection we can catch excellence.” Here’s my plan to 'catch excellence': 1. Build it my way. Ignore opinions. Opinions lead to conformity. We reduce our philosophy to its essence—and build from there. Everything else is a distraction. 2. Stick to it. We limit ourselves to core principles, and stick to them. When there’s a problem, we don’t change the idea—we improve its execution. 3. Eliminate waste. Building a style of play is like carving a statue. You start with a block of marble and chip away everything unnecessary. All that’s left is the sculpture. We do the same. We cut every unnecessary touch and step: - Fewer touches mean we need less time and space. We have more space to be creative. - The simpler it gets, the more recognizable the style. 4. Obsess over the players. We don’t adapt to opponents. We focus on our players. That's what matters in the long run. When our ideas work, we can compete against anyone. 5. Develop technical and creative players as a by-product. - Possession: Many touches to refine technique. - Vertical: No “easy” sideways passes. Learn to play in tight spaces. - Control: Avoid hectic football. Control the ball to make deliberate decisions. 6. One Training Structure. We compress our philosophy into one structure. Then, we repeat it every session. We make our style of play a habit. And we develop the tools to execute it. 7. Master a Few Exercises. We repeat a small set of core games over and over. We focus on improving execution, not on new drills. The better we execute, the faster we get to our vision. 8. Bottleneck Coaching. We can’t predict what happens, so we don’t over-plan. Instead, we prepare for what might happen. This liberates our coaching: Rather than sticking to pre-planned coaching points, we solve the most critical issue—the bottleneck. 9. Competition Drives Development. Games are the core of our training. Players compete to win. They force each other to get better and better, session after session. 10. Positive Team Culture. I used to react with anger when things didn’t go right. And yes, it can work in the short term. But to build something great, players must stay on the path for a long time. This is more likely when they enjoy the process. Positive reinforcement is harder to do, but more sustainable. \ What's next? That's the plan. Now, it’s all about execution. I'll keep you updated.

Bene Schneiderbauer

59,810 views • 1 year ago

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

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

1tokki

17,635 views • 1 year ago

Very powerful testimony by dr. Sabine Hazan "Thank you, senator. It's an honor to be here. The microbiome, our microbes in our guts, is our immunity and tells the story and will tell the story of COVID nineteen. And this is why as a gastroenterologist, I stepped into the pandemic. Through my experience, I will show you how difficult it was to conduct research and publish when the research goes against the national public health narrative." "Interference and delay in research happened and affects all of us. In early twenty twenty, my research genetic sequencing laboratory was the first lab to document the entire sequence of the virus in the stools as opposed to the PCR which is just a little piece of the virus." "We discovered that the virus lingered in the stools for up to forty five days. It took six months to publish this publication at a time where everybody needed to know that it was in your stools. My lab also showed that COVID nineteen in the stools was killed by hydroxychloroquine and azithromycin." "But unfortunately, azithromycin and hydroxychloroquine killed the microbiome. So therefore, vitamin c, d, and zinc was added. Three protocols were submitted to the FDA from our findings. Three studies were also put into in full transparencies to help doctors more effectively treat COVID because I knew data that nobody knew. 04/02/2020, FDA gave us an exempt letter for doing a clinical trial." "In other words, we did not need to do a clinical trial on hydroxychloroquine, z pack, vitamin c, d, and zinc as treatment or hydroxychloroquine, vitamin c, d, and zinc as prophylaxis. April 4, somebody must have called the FDA and said, I got another letter saying, I'm sorry, doctor Hazan. Exemption is denied. You must do a full on clinical trial. Here's the letter." "System pressures delayed us, and we got a green light to start recruiting by May 2020. By then, the media created fear around hydroxychloroquine. It was impossible to recruit. This drug was safely given for years for arthritis and lupus with no problems. My clinical trials companies were also banned and censored from advertising on Facebook, Instagram, and Twitter." "Remember, I do clinical trials for a living and never as a clinical trial doctor have I not been able to advertise to recruit for a trial on social media. I kept collecting stools of patients and noticed that patients with severe COVID had a certain bacteria that was missing compared to people that were highly exposed to COVID but never got COVID. That bacteria is called bifidobacteria. Bifidobacteria is an important and key microbe for immunity. It represents your trillion dollar industry of probiotics." "In fact, when you turn the bottle and you see the ingredient, it says bifidobacteria. It is present in newborns. This is why your newborns did not get a problem from COVID at the beginning, and it is absent in old people. The process of aging is loss of bifidobacteria. We published this paper, the lost microbes of COVID nineteen." "It took eight months to publish. If you follow the bifidobacteria like I did, you will notice, and we did notice anyways, that vitamin c actually increases bifidobacteria. This is why vitamin c is important when you take when you take care of viruses and, you know, you've all experienced taking vitamin c for a cold." "Well, we published this data where we showed vitamin c, if we give it to patients before and after, it increased the bifidobacteria. Ivermectin was also an interesting drug because Ivermectin, we noticed, also increased the bifidobacteria within twenty four hours of taking it." "Why Ivermectin? If you look at what Ivermectin is, it is a fermented product of a bacteria that is similar to bifidobacteria. In fact, they're in the same continent of microbes. They live. They're like sisters, brothers in the microbiome." "So I published. I knew that ivermectin increased bifidobacteria, but I said, nah. I can't go out there and start publishing that. That's gonna be too controversial. So I published a hypothesis that maybe what I was observing on the frontline treating patients with COVID, noticing that their oxygen saturation was increasing from ivermectin, was basically maybe ivermectin increased bifidobacteria." "The hypothesis on ivermectin was the most read hypothesis in the pandemic and was retracted after eight months of being on. When we cannot make a hypothesis, this is not science. December twenty twenty, at the same time that I was treating patients with COVID, I began collecting stools of my colleagues that were at home and started going into the hospital. And I said, can I get your stools before and after you get vaccinated? Because to me, this new technology of vaccines, I wanted to see what it was doing on the microbiome." "I discovered that messenger RNA vaccines killed the bifidobacteria. I knew I would never be able to publish this because it goes against the narrative. So I submitted it to my college, the American College of Gastroenterology, and presented it in October 2022. This abstract won a research award at the American College of Gastro beating 6,000 abstracts. That's from academic centers like Harvard and Mayo Clinic and MD Anderson." "This abstract got the attention of 18,000 GI doctors who all of a sudden started realizing maybe killing bifidobacteria is why I got COVID after my vaccine to begin with. Worse than that, and another abstract we presented, was the persistent damage of bifidobacteria from the vaccine." "What is going on here that the vaccine continues to kill the bifidobacteria? At the same time, we presented a link between loss of bifidobacteria and Crohn's disease, loss of bifidobacteria in Lyme disease, and loss of bifidobacteria in invasive cancer. It is nearly impossible to publish data that goes against the national public health narrative." "If doctors cannot publish the data, they cannot find solution to fix the problems. So in conclusion, I will finish with showing this. This represents clinical trials that I've done for pharmaceutical companies prior to COVID. Amongst them are vaccine studies. Yes." "I brought vaccines to the market. Proton pump inhibitors, cardiac drugs, biologics for all sorts of conditions. First, postpartum depression drug, drugs that never made it to the market because they killed people. Clinical trials doctors follow guidelines that allows the industry to provide safe drugs. These guidelines were not followed during the pandemic." "And because of that, everyone is affected. COVID should have been a time where humanity joined forces together and doctors needed to come together. It's a shame that it didn't happen. Interference with research affects all of us. This should not be political." "Science is a story that evolves. It's a multitude of experiments that allow us to see medicine, to give hopes to patients. Skepticism, challenging the current state of knowledge. Having an open mind must be allowed if we have any hope of moving science forward. What I saw this pandemic was not science. Thank you."
8:56

Very powerful testimony by dr. Sabine Hazan "Thank you, senator. It's an honor to be here. The microbiome, our microbes in our guts, is our immunity and tells the story and will tell the story of COVID nineteen. And this is why as a gastroenterologist, I stepped into the pandemic. Through my experience, I will show you how difficult it was to conduct research and publish when the research goes against the national public health narrative." "Interference and delay in research happened and affects all of us. In early twenty twenty, my research genetic sequencing laboratory was the first lab to document the entire sequence of the virus in the stools as opposed to the PCR which is just a little piece of the virus." "We discovered that the virus lingered in the stools for up to forty five days. It took six months to publish this publication at a time where everybody needed to know that it was in your stools. My lab also showed that COVID nineteen in the stools was killed by hydroxychloroquine and azithromycin." "But unfortunately, azithromycin and hydroxychloroquine killed the microbiome. So therefore, vitamin c, d, and zinc was added. Three protocols were submitted to the FDA from our findings. Three studies were also put into in full transparencies to help doctors more effectively treat COVID because I knew data that nobody knew. 04/02/2020, FDA gave us an exempt letter for doing a clinical trial." "In other words, we did not need to do a clinical trial on hydroxychloroquine, z pack, vitamin c, d, and zinc as treatment or hydroxychloroquine, vitamin c, d, and zinc as prophylaxis. April 4, somebody must have called the FDA and said, I got another letter saying, I'm sorry, doctor Hazan. Exemption is denied. You must do a full on clinical trial. Here's the letter." "System pressures delayed us, and we got a green light to start recruiting by May 2020. By then, the media created fear around hydroxychloroquine. It was impossible to recruit. This drug was safely given for years for arthritis and lupus with no problems. My clinical trials companies were also banned and censored from advertising on Facebook, Instagram, and Twitter." "Remember, I do clinical trials for a living and never as a clinical trial doctor have I not been able to advertise to recruit for a trial on social media. I kept collecting stools of patients and noticed that patients with severe COVID had a certain bacteria that was missing compared to people that were highly exposed to COVID but never got COVID. That bacteria is called bifidobacteria. Bifidobacteria is an important and key microbe for immunity. It represents your trillion dollar industry of probiotics." "In fact, when you turn the bottle and you see the ingredient, it says bifidobacteria. It is present in newborns. This is why your newborns did not get a problem from COVID at the beginning, and it is absent in old people. The process of aging is loss of bifidobacteria. We published this paper, the lost microbes of COVID nineteen." "It took eight months to publish. If you follow the bifidobacteria like I did, you will notice, and we did notice anyways, that vitamin c actually increases bifidobacteria. This is why vitamin c is important when you take when you take care of viruses and, you know, you've all experienced taking vitamin c for a cold." "Well, we published this data where we showed vitamin c, if we give it to patients before and after, it increased the bifidobacteria. Ivermectin was also an interesting drug because Ivermectin, we noticed, also increased the bifidobacteria within twenty four hours of taking it." "Why Ivermectin? If you look at what Ivermectin is, it is a fermented product of a bacteria that is similar to bifidobacteria. In fact, they're in the same continent of microbes. They live. They're like sisters, brothers in the microbiome." "So I published. I knew that ivermectin increased bifidobacteria, but I said, nah. I can't go out there and start publishing that. That's gonna be too controversial. So I published a hypothesis that maybe what I was observing on the frontline treating patients with COVID, noticing that their oxygen saturation was increasing from ivermectin, was basically maybe ivermectin increased bifidobacteria." "The hypothesis on ivermectin was the most read hypothesis in the pandemic and was retracted after eight months of being on. When we cannot make a hypothesis, this is not science. December twenty twenty, at the same time that I was treating patients with COVID, I began collecting stools of my colleagues that were at home and started going into the hospital. And I said, can I get your stools before and after you get vaccinated? Because to me, this new technology of vaccines, I wanted to see what it was doing on the microbiome." "I discovered that messenger RNA vaccines killed the bifidobacteria. I knew I would never be able to publish this because it goes against the narrative. So I submitted it to my college, the American College of Gastroenterology, and presented it in October 2022. This abstract won a research award at the American College of Gastro beating 6,000 abstracts. That's from academic centers like Harvard and Mayo Clinic and MD Anderson." "This abstract got the attention of 18,000 GI doctors who all of a sudden started realizing maybe killing bifidobacteria is why I got COVID after my vaccine to begin with. Worse than that, and another abstract we presented, was the persistent damage of bifidobacteria from the vaccine." "What is going on here that the vaccine continues to kill the bifidobacteria? At the same time, we presented a link between loss of bifidobacteria and Crohn's disease, loss of bifidobacteria in Lyme disease, and loss of bifidobacteria in invasive cancer. It is nearly impossible to publish data that goes against the national public health narrative." "If doctors cannot publish the data, they cannot find solution to fix the problems. So in conclusion, I will finish with showing this. This represents clinical trials that I've done for pharmaceutical companies prior to COVID. Amongst them are vaccine studies. Yes." "I brought vaccines to the market. Proton pump inhibitors, cardiac drugs, biologics for all sorts of conditions. First, postpartum depression drug, drugs that never made it to the market because they killed people. Clinical trials doctors follow guidelines that allows the industry to provide safe drugs. These guidelines were not followed during the pandemic." "And because of that, everyone is affected. COVID should have been a time where humanity joined forces together and doctors needed to come together. It's a shame that it didn't happen. Interference with research affects all of us. This should not be political." "Science is a story that evolves. It's a multitude of experiments that allow us to see medicine, to give hopes to patients. Skepticism, challenging the current state of knowledge. Having an open mind must be allowed if we have any hope of moving science forward. What I saw this pandemic was not science. Thank you."

Camus

127,765 views • 1 year ago

I am the Director of the White House Office of Extraterrestrial Affairs. In 2024 this government completed the most thorough search for extraterrestrial life in human history. We checked the sky. We checked the files. We declassified the saucers. The verdict came back: nothing. No life out there. Not one. So I closed the telescope. I opened the window. I pointed it at a Home Depot. Three million by lunch. The trick was always the word. *Alien* had been sitting in the science fiction aisle for sixty years and we were too shy to use it in a press release. The dehumanization was already written. It was just shelved under Fantasy. This year I moved it to Policy. Same word. New department. My department. I should explain the jurisdiction, because there are two of us and we do not speak. Down the hall is the Department of War. It used to be the Department of Defense, but defense sounded woke, so we changed the name for two billion dollars, half of it letterhead. They renamed it back to what it was in 1789, before someone noticed in 1949 that the old acronym, N-M-E, sounded too much like *enemy.* We have now re-adopted the name they abandoned for sounding like the thing it does. I find this clarifying. The signage alone is seven hundred thousand buildings. We are spending a billion dollars on new doors so the doors can say War. The Department of War runs and has a tab for UFOs. Real ones. They post the actual files. The saucers. The eyewitnesses. The intelligence officer left "virtually speechless." They are searching the sky in earnest, declassifying everything, and what they keep finding is *nothing.* No craft confirmed. No biology confirmed. Decades of looking up and the honest answer is: unresolved. So you have two federal agencies, one word, opposite directions. searches the heavens for aliens and finds none. I open a window and find three million. They declassify the ones that don't exist. I classify the ones that do. They got a press release. I got a tip line. Guess which one rang. We are, technically, hunting the same species. They just keep aiming the telescope up, and I keep telling them, gently, at the inter-agency sync: lower it. The homepage was mine. ALIENS DECLASSIFIED. THEY WALK AMONG US. I tested "Immigration Portal." Eleven percent scroll. I tested *the truth's out there,* and a White House official told a reporter, on the record, that the strategy was to "draw eyeballs." We drew eyeballs. The truth was out there. It was in a parking lot in Bakersfield, getting into a white van we are now contractually obligated to call a craft. In 1938 a man read a story about an alien invasion over the radio and the country panicked in the streets, and for ninety years that was taught as a cautionary tale, the danger of a broadcast that makes people believe an invasion is real. We studied that broadcast. We did not study it as a warning. We studied it as a launch. The difference between Orson Welles and this office is that he apologized the next morning, and we put a counter on it. I named the van the Mothership. I named the prison Area 51. I named the 5 a.m. knock First Contact. I named all of it from the third chair. I keep a felt-tip for naming and a Mont Blanc for the part that can't be undone. Then we made the cards. I want to be precise, because people assume I'm exaggerating. We took the faces of the captured and we printed them as trading cards. "Worst of the Worst." Mugshot, nationality, charges, and a weakness level, and the weakness level was a snowflake, and the snowflake meant us. We are the weakness. We were proud of that. When a children's franchise objected that these were, in fact, their cards, our official response, which I helped draft, was: "To arrest them is our real test. To deport them is our cause." We set the abduction to the cartoon's theme song. Gotta catch 'em all. The first half is the slogan. The second half is the quota. A man told Congress in 2023 we were hiding non-human biologics. Everyone pictured a grey on a slab. Cute. We do run a reverse-engineering program. We take the biologic. We study what it makes. It makes the drywall. The 4 a.m. milking. The lettuce. And the lettuce is round now, because forty percent of it stayed in the dirt with the only people who knew where the dirt was. We reverse-engineered the alien completely. The blueprint was a back. We call the biologic "labor." We classify the screaming as ambient. Identification is a science here. We do not arrest at random. We read the markings. A crown inked on a forearm. A soccer crest. We have catalogued the species by its tattoos the way Linnaeus catalogued the finch. One of the specimens turned out to be autistic and the crown was just a crown, but the taxonomy held, because the taxonomy is not falsifiable, that is what makes it a taxonomy. I have a desk for this. I have a magnifying glass. I have never felt more like a scientist. There is a second species, and this one we keep. An alien with five million dollars is not an alien. He is a guest. We printed him a card. It is gold. We are printing a Platinum one for the aliens with even more money, who may remain on the planet two hundred and seventy days a year and pay no tax on the wealth they made on other worlds. The website for this is the cheapest-looking website I have ever approved, and I approved the one with the saucer on it. The same agency that scans a gardener's forearm for gang signs scans a financier's bank statement for extraordinary ability. The statement always has it. The forearm never does. The species was never a people. The species is a price. In the old films the alien lands and says, take me to your leader. We have improved the line. Pay five million and we take you to ours. He golfs with him on Saturday. There was a film about this, and I am told the man who made it meant it as a warning, which is the recurring problem with the warnings. A drifter finds a pair of sunglasses, and through them he can finally see which people are the aliens, and it is the rich ones, the ones on the billboards telling everyone to obey and consume and reproduce and not think. I have a pair of those glasses, conceptually. I issue them at the tip line. But mine are tuned the other way. You put them on and the alien is never the man in the suit who paid five million to skip the line. The alien is always the man holding the leaf blower. The lenses cost a thousand dollars in advertising and they only point down. We have sold a great many pairs. You asked about the Men in Black. Yes. Regulation now. A Man in Black photographs poorly, and the witnesses would not stop filming us peel a woman off the sidewalk in daylight, so we issued the masks, and leadership's only note was that the masks tested well. We are no longer the cover-up of the abduction. We are the abduction. We skipped a step. Efficiency. Our communications team posted E.T. last summer. The bicycle. The moon. "Even E.T. knew when it was TIME TO GO HOME." I want to walk you through what happened in that meeting, because nobody stopped it. We chose the one film where the government is the villain. The men with the flashlights and the unmarked vans who hunt the small frightened alien hiding in a child's closet. That is us. We are the flashlights. We watched that movie as children and cried when the agents came, and then we grew up and became the agents and made the poster ourselves and scheduled it for nine a.m. The intern asked if we were the good guys in this one. We told her engagement was up forty percent. She has since been promoted. I built an app where you abduct yourself. CBP Home. You open it. You confirm you are the alien. You beam yourself off the planet and you save us the gas. And here is the part I cannot believe they approved. We *pay* you. A thousand dollars to vanish. We raised it to twenty-six hundred when the first price didn't move enough units. We are bidding against ourselves for your disappearance. Four-point-six stars. The one-stars are from users who got beamed mid-review. I keep the unfinished ones in a folder. I find them very moving. We opened a facility in a swamp. We ringed it with alligators and we called it that, on purpose, in the brochure. Then we opened a gift shop. Thirty dollars for the shirt. Twenty-seven for the hat. Fifteen for a set of koozies, so your beer stays cold while you celebrate the prison in the wetland. The fundraising email called it "gator-guarded, python-patrolled," a "one-way ticket to regret" for anyone who didn't self-deport in time. We sold the koozies to fund the swamp. The swamp funds the next swamp. I want you to sit with the fact that there is merchandise. The quota is three thousand a day. Stephen asked for it himself. Three thousand is not a number. It is a metabolism. The building is hungry by nine and we feed it Marco, who does the landscaping, and the building goes quiet, and by one it stirs again, and we find another Marco. There is always another Marco. That is the part I find beautiful. The supply is the point. The supply is everyone. The Secretary signs the warrants. She is very firm on one point, which she repeats in every briefing: the aliens, she warns, eat the pets. They are taking the dogs. I have read her book. In her book she takes a fourteen-month-old dog named Cricket to a gravel pit and shoots it, because it would not obey, and she writes this down herself, proudly, as a story about leadership. She wrote the part about the dog. She also warns us about the dogs. I have stopped trying to hold both sentences at once. I just file the warrant. The tip line was the masterpiece. "Report your neighbor" hit the shame ceiling. "REPORT SUSPICIOUS ALIENS" tested as a hobby. We handed the callers Roswell instead of a snitch's guilt, and the phones lit up like a saucer, and they hung up glowing, every one of them, like they'd finally seen the thing. They had. He coached the Tuesday team. He was at the bake sale. That is the horror we are selling you. The alien brought the orange slices. He was undocumented and luminous and gone by Tuesday. Roswell taught us the other half of the trade. In 1947 something fell in the desert and the government said: it was a weather balloon, nothing here, go home. That was the first administrative error, the founding one, the original sentence that says the thing you saw was not the thing you saw. We still use it. We have only reversed the polarity. In 1947 they saw a saucer and we called it a balloon. Now they see a father of three and we call it a saucer. The skill is identical. You simply decide in advance which truth the public is allowed to keep, and you hand them the other one, printed, official, with a seal. We did have one administrative error. We abducted a man a court had ordered us not to touch, dropped him on a planet called El Salvador, and called it clerical. A judge made us beam him back. So the DOJ stood up and warned the others: insist on a hearing and we will re-abduct you to the same planet. The Supreme Court said the aliens are entitled to due process. A very Earth opinion. We are appealing it to a higher sky. The planet has a prison, and the prison is the elegant part. In the film about the camp, the aliens are not killed. They are put somewhere they are not permitted to leave, while everyone agrees this is temporary, for their own protection, pending a status that never arrives. We built that. It is called CECOT and we rent it. A man goes in and the man does not come out, and the genius is that nothing has to happen to him, the room does the work, the room is the whole sentence. You remember the Men in Black had a small device. A flash, and the witness forgets the alien entirely. We have something better. We do not wipe the memory. We wipe the file. The man remembers everything, the cell, the flight, the day, all of it, in perfect detail, and it does not matter, because there is no document that admits he was here, and a memory without a file is just a story he tells in a language the form does not accept. The witness keeps the truth. We keep the paperwork. Only one of those is admissible. I learned that the flash was never the point. The point was always the filing cabinet. We run all of it on a spell from 1798. Two hundred and twenty-seven years old. Written for a war we are not in, against an enemy we have not declared. It works because nobody reads the small print on a curse. Storm Area 51 was a joke once. A hundred thousand people Naruto-running at a fence to free whatever was inside. I think about it daily. We're the ones inside the fence now. We kept the running. We just turned it around. We have a precedent we cite in the deck, proudly, on slide four. In 1954 the government ran a program of exactly this kind, and the program had an official name, and the official name was a slur. They printed the slur on the letterhead. They did not flinch. The President holds it up as the model, by name, at the rallies, and the crowd cheers the name. I admire the honesty of 1954 more than I can say. They did not need a saucer to make it palatable. They just used the word. We are the same operation with better art direction. The only thing we added was the costume. I love the callers. I want to say that plainly. For years they told each other a hidden cabal was running everything from the shadows, harvesting the innocent, and that one day the truth would come out. They were right. There is a cabal. It has a budget of a hundred and seventy billion dollars, the largest in the history of federal law enforcement, and it sits in this building, and I have a desk in it. And the people who spent a decade certain that shadowy elites were disappearing their neighbors now call our line, unpaid, to help the shadowy elites disappear their neighbors. They wanted to expose the conspiracy. We made them the staff. Do your own research, they said. They did. They found the gardener. The Department of War posted another tranche on the twenty-second. Saucers. Lights. A pilot's voice going thin. I read all of it. I want them to find one so badly. I want there to be a real one up there, a genuine visitor, something that actually came from somewhere else, because then, and only then, would a single creature in my files have been an alien. They never find it. The sky stays empty. The ground stays full. I have stopped attending the inter-agency sync. We were two departments looking for the same thing in two directions, and only one of us was ever going to be wrong, and it was the honest one. And here is the thing that keeps me at the window past dark. There was a real one. A rock from another star, the genuine article, the first verified object from outside the entire solar system, and a Harvard man went on television and said it might be a ship. An actual alien, possibly, inbound, free of charge, after sixty years of asking. We did not open a file. We could not arrest it. It had no forearm to read and no bank statement to approve. It was the only alien in America we had no use for, so we let it pass, and went back to the parking lot. Last winter the sky over New Jersey filled with lights nobody could name, and the whole government, every agency, every radar, looked up and said it did not know. The one time the unknown actually arrived, we had nothing. Down here I have never once said I do not know. That is the difference between their department and mine. They look up and find a question. I look down and have already decided the answer. Last week the President leaned over mid-briefing and asked if any of them were real. I told him the engagement was extremely real. He nodded. We do not break frame here. The frame is the only wall still standing. That, and the office fern. Nobody waters it. It will not die. The only thing in this building allowed to stay without papers. My plaque came Thursday. FIRST CONTACT, VISIONARY OF THE YEAR. Bold. Unapologetic. Unafraid. I lifted that off the homepage. It was written about one brave man telling the truth. I decided the man was me. I wrote it about me. I am the truth I declassified. I am the secret I warned you about. They walk among us, and I sign their mail. The counter is still live. Three million and climbing. I am told it will not be removed. We are not alone. We are just short a few landscapers. A few line cooks. A few nurses. And the entire night shift at the plant that makes the flag. Up. And to the right.
0:58

I am the Director of the White House Office of Extraterrestrial Affairs. In 2024 this government completed the most thorough search for extraterrestrial life in human history. We checked the sky. We checked the files. We declassified the saucers. The verdict came back: nothing. No life out there. Not one. So I closed the telescope. I opened the window. I pointed it at a Home Depot. Three million by lunch. The trick was always the word. *Alien* had been sitting in the science fiction aisle for sixty years and we were too shy to use it in a press release. The dehumanization was already written. It was just shelved under Fantasy. This year I moved it to Policy. Same word. New department. My department. I should explain the jurisdiction, because there are two of us and we do not speak. Down the hall is the Department of War. It used to be the Department of Defense, but defense sounded woke, so we changed the name for two billion dollars, half of it letterhead. They renamed it back to what it was in 1789, before someone noticed in 1949 that the old acronym, N-M-E, sounded too much like *enemy.* We have now re-adopted the name they abandoned for sounding like the thing it does. I find this clarifying. The signage alone is seven hundred thousand buildings. We are spending a billion dollars on new doors so the doors can say War. The Department of War runs and has a tab for UFOs. Real ones. They post the actual files. The saucers. The eyewitnesses. The intelligence officer left "virtually speechless." They are searching the sky in earnest, declassifying everything, and what they keep finding is *nothing.* No craft confirmed. No biology confirmed. Decades of looking up and the honest answer is: unresolved. So you have two federal agencies, one word, opposite directions. searches the heavens for aliens and finds none. I open a window and find three million. They declassify the ones that don't exist. I classify the ones that do. They got a press release. I got a tip line. Guess which one rang. We are, technically, hunting the same species. They just keep aiming the telescope up, and I keep telling them, gently, at the inter-agency sync: lower it. The homepage was mine. ALIENS DECLASSIFIED. THEY WALK AMONG US. I tested "Immigration Portal." Eleven percent scroll. I tested *the truth's out there,* and a White House official told a reporter, on the record, that the strategy was to "draw eyeballs." We drew eyeballs. The truth was out there. It was in a parking lot in Bakersfield, getting into a white van we are now contractually obligated to call a craft. In 1938 a man read a story about an alien invasion over the radio and the country panicked in the streets, and for ninety years that was taught as a cautionary tale, the danger of a broadcast that makes people believe an invasion is real. We studied that broadcast. We did not study it as a warning. We studied it as a launch. The difference between Orson Welles and this office is that he apologized the next morning, and we put a counter on it. I named the van the Mothership. I named the prison Area 51. I named the 5 a.m. knock First Contact. I named all of it from the third chair. I keep a felt-tip for naming and a Mont Blanc for the part that can't be undone. Then we made the cards. I want to be precise, because people assume I'm exaggerating. We took the faces of the captured and we printed them as trading cards. "Worst of the Worst." Mugshot, nationality, charges, and a weakness level, and the weakness level was a snowflake, and the snowflake meant us. We are the weakness. We were proud of that. When a children's franchise objected that these were, in fact, their cards, our official response, which I helped draft, was: "To arrest them is our real test. To deport them is our cause." We set the abduction to the cartoon's theme song. Gotta catch 'em all. The first half is the slogan. The second half is the quota. A man told Congress in 2023 we were hiding non-human biologics. Everyone pictured a grey on a slab. Cute. We do run a reverse-engineering program. We take the biologic. We study what it makes. It makes the drywall. The 4 a.m. milking. The lettuce. And the lettuce is round now, because forty percent of it stayed in the dirt with the only people who knew where the dirt was. We reverse-engineered the alien completely. The blueprint was a back. We call the biologic "labor." We classify the screaming as ambient. Identification is a science here. We do not arrest at random. We read the markings. A crown inked on a forearm. A soccer crest. We have catalogued the species by its tattoos the way Linnaeus catalogued the finch. One of the specimens turned out to be autistic and the crown was just a crown, but the taxonomy held, because the taxonomy is not falsifiable, that is what makes it a taxonomy. I have a desk for this. I have a magnifying glass. I have never felt more like a scientist. There is a second species, and this one we keep. An alien with five million dollars is not an alien. He is a guest. We printed him a card. It is gold. We are printing a Platinum one for the aliens with even more money, who may remain on the planet two hundred and seventy days a year and pay no tax on the wealth they made on other worlds. The website for this is the cheapest-looking website I have ever approved, and I approved the one with the saucer on it. The same agency that scans a gardener's forearm for gang signs scans a financier's bank statement for extraordinary ability. The statement always has it. The forearm never does. The species was never a people. The species is a price. In the old films the alien lands and says, take me to your leader. We have improved the line. Pay five million and we take you to ours. He golfs with him on Saturday. There was a film about this, and I am told the man who made it meant it as a warning, which is the recurring problem with the warnings. A drifter finds a pair of sunglasses, and through them he can finally see which people are the aliens, and it is the rich ones, the ones on the billboards telling everyone to obey and consume and reproduce and not think. I have a pair of those glasses, conceptually. I issue them at the tip line. But mine are tuned the other way. You put them on and the alien is never the man in the suit who paid five million to skip the line. The alien is always the man holding the leaf blower. The lenses cost a thousand dollars in advertising and they only point down. We have sold a great many pairs. You asked about the Men in Black. Yes. Regulation now. A Man in Black photographs poorly, and the witnesses would not stop filming us peel a woman off the sidewalk in daylight, so we issued the masks, and leadership's only note was that the masks tested well. We are no longer the cover-up of the abduction. We are the abduction. We skipped a step. Efficiency. Our communications team posted E.T. last summer. The bicycle. The moon. "Even E.T. knew when it was TIME TO GO HOME." I want to walk you through what happened in that meeting, because nobody stopped it. We chose the one film where the government is the villain. The men with the flashlights and the unmarked vans who hunt the small frightened alien hiding in a child's closet. That is us. We are the flashlights. We watched that movie as children and cried when the agents came, and then we grew up and became the agents and made the poster ourselves and scheduled it for nine a.m. The intern asked if we were the good guys in this one. We told her engagement was up forty percent. She has since been promoted. I built an app where you abduct yourself. CBP Home. You open it. You confirm you are the alien. You beam yourself off the planet and you save us the gas. And here is the part I cannot believe they approved. We *pay* you. A thousand dollars to vanish. We raised it to twenty-six hundred when the first price didn't move enough units. We are bidding against ourselves for your disappearance. Four-point-six stars. The one-stars are from users who got beamed mid-review. I keep the unfinished ones in a folder. I find them very moving. We opened a facility in a swamp. We ringed it with alligators and we called it that, on purpose, in the brochure. Then we opened a gift shop. Thirty dollars for the shirt. Twenty-seven for the hat. Fifteen for a set of koozies, so your beer stays cold while you celebrate the prison in the wetland. The fundraising email called it "gator-guarded, python-patrolled," a "one-way ticket to regret" for anyone who didn't self-deport in time. We sold the koozies to fund the swamp. The swamp funds the next swamp. I want you to sit with the fact that there is merchandise. The quota is three thousand a day. Stephen asked for it himself. Three thousand is not a number. It is a metabolism. The building is hungry by nine and we feed it Marco, who does the landscaping, and the building goes quiet, and by one it stirs again, and we find another Marco. There is always another Marco. That is the part I find beautiful. The supply is the point. The supply is everyone. The Secretary signs the warrants. She is very firm on one point, which she repeats in every briefing: the aliens, she warns, eat the pets. They are taking the dogs. I have read her book. In her book she takes a fourteen-month-old dog named Cricket to a gravel pit and shoots it, because it would not obey, and she writes this down herself, proudly, as a story about leadership. She wrote the part about the dog. She also warns us about the dogs. I have stopped trying to hold both sentences at once. I just file the warrant. The tip line was the masterpiece. "Report your neighbor" hit the shame ceiling. "REPORT SUSPICIOUS ALIENS" tested as a hobby. We handed the callers Roswell instead of a snitch's guilt, and the phones lit up like a saucer, and they hung up glowing, every one of them, like they'd finally seen the thing. They had. He coached the Tuesday team. He was at the bake sale. That is the horror we are selling you. The alien brought the orange slices. He was undocumented and luminous and gone by Tuesday. Roswell taught us the other half of the trade. In 1947 something fell in the desert and the government said: it was a weather balloon, nothing here, go home. That was the first administrative error, the founding one, the original sentence that says the thing you saw was not the thing you saw. We still use it. We have only reversed the polarity. In 1947 they saw a saucer and we called it a balloon. Now they see a father of three and we call it a saucer. The skill is identical. You simply decide in advance which truth the public is allowed to keep, and you hand them the other one, printed, official, with a seal. We did have one administrative error. We abducted a man a court had ordered us not to touch, dropped him on a planet called El Salvador, and called it clerical. A judge made us beam him back. So the DOJ stood up and warned the others: insist on a hearing and we will re-abduct you to the same planet. The Supreme Court said the aliens are entitled to due process. A very Earth opinion. We are appealing it to a higher sky. The planet has a prison, and the prison is the elegant part. In the film about the camp, the aliens are not killed. They are put somewhere they are not permitted to leave, while everyone agrees this is temporary, for their own protection, pending a status that never arrives. We built that. It is called CECOT and we rent it. A man goes in and the man does not come out, and the genius is that nothing has to happen to him, the room does the work, the room is the whole sentence. You remember the Men in Black had a small device. A flash, and the witness forgets the alien entirely. We have something better. We do not wipe the memory. We wipe the file. The man remembers everything, the cell, the flight, the day, all of it, in perfect detail, and it does not matter, because there is no document that admits he was here, and a memory without a file is just a story he tells in a language the form does not accept. The witness keeps the truth. We keep the paperwork. Only one of those is admissible. I learned that the flash was never the point. The point was always the filing cabinet. We run all of it on a spell from 1798. Two hundred and twenty-seven years old. Written for a war we are not in, against an enemy we have not declared. It works because nobody reads the small print on a curse. Storm Area 51 was a joke once. A hundred thousand people Naruto-running at a fence to free whatever was inside. I think about it daily. We're the ones inside the fence now. We kept the running. We just turned it around. We have a precedent we cite in the deck, proudly, on slide four. In 1954 the government ran a program of exactly this kind, and the program had an official name, and the official name was a slur. They printed the slur on the letterhead. They did not flinch. The President holds it up as the model, by name, at the rallies, and the crowd cheers the name. I admire the honesty of 1954 more than I can say. They did not need a saucer to make it palatable. They just used the word. We are the same operation with better art direction. The only thing we added was the costume. I love the callers. I want to say that plainly. For years they told each other a hidden cabal was running everything from the shadows, harvesting the innocent, and that one day the truth would come out. They were right. There is a cabal. It has a budget of a hundred and seventy billion dollars, the largest in the history of federal law enforcement, and it sits in this building, and I have a desk in it. And the people who spent a decade certain that shadowy elites were disappearing their neighbors now call our line, unpaid, to help the shadowy elites disappear their neighbors. They wanted to expose the conspiracy. We made them the staff. Do your own research, they said. They did. They found the gardener. The Department of War posted another tranche on the twenty-second. Saucers. Lights. A pilot's voice going thin. I read all of it. I want them to find one so badly. I want there to be a real one up there, a genuine visitor, something that actually came from somewhere else, because then, and only then, would a single creature in my files have been an alien. They never find it. The sky stays empty. The ground stays full. I have stopped attending the inter-agency sync. We were two departments looking for the same thing in two directions, and only one of us was ever going to be wrong, and it was the honest one. And here is the thing that keeps me at the window past dark. There was a real one. A rock from another star, the genuine article, the first verified object from outside the entire solar system, and a Harvard man went on television and said it might be a ship. An actual alien, possibly, inbound, free of charge, after sixty years of asking. We did not open a file. We could not arrest it. It had no forearm to read and no bank statement to approve. It was the only alien in America we had no use for, so we let it pass, and went back to the parking lot. Last winter the sky over New Jersey filled with lights nobody could name, and the whole government, every agency, every radar, looked up and said it did not know. The one time the unknown actually arrived, we had nothing. Down here I have never once said I do not know. That is the difference between their department and mine. They look up and find a question. I look down and have already decided the answer. Last week the President leaned over mid-briefing and asked if any of them were real. I told him the engagement was extremely real. He nodded. We do not break frame here. The frame is the only wall still standing. That, and the office fern. Nobody waters it. It will not die. The only thing in this building allowed to stay without papers. My plaque came Thursday. FIRST CONTACT, VISIONARY OF THE YEAR. Bold. Unapologetic. Unafraid. I lifted that off the homepage. It was written about one brave man telling the truth. I decided the man was me. I wrote it about me. I am the truth I declassified. I am the secret I warned you about. They walk among us, and I sign their mail. The counter is still live. Three million and climbing. I am told it will not be removed. We are not alone. We are just short a few landscapers. A few line cooks. A few nurses. And the entire night shift at the plant that makes the flag. Up. And to the right.

Peter Girnus 🦅

60,870 views • 2 months ago