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Koyin Sanusi;Digital Creative Director for a reason 🤏 While conducting internet research for a brand today, I came across dx creative music video rollout featuring top commercial model, Actor, founder of Active GymWear 💜,nd Breakout Celebrity of d Year nominee, KOYIN SANUSI 💜 . Song Title: Never Walk Alone...

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Ifeoma

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12,216 views • 1 month ago •via X (Twitter)

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Most brands think AI video is about automation. Mirage Studio just proved it's about control. I've tested every AI video tool this year. They all promise "create videos in seconds" but deliver generic, robotic content that screams AI. Mirage is different. Upload your photo (or pick an AI actor). Then control everything: → Switch outfits without reshooting → Drop in any product with just an image → Adjust lighting, angles, expressions → Keep your actor consistent across unlimited scenes The game-changer for brands? Product integration that actually looks real. Upload a photo of your product. Mirage places it naturally in the scene. No green screens. No awkward compositing. Just seamless integration. I watched a creator build 15 product variations in 20 minutes. Same actor. Different products. Perfect consistency. That used to take: • $10K+ production budget • 2-day shoot minimum • 3 weeks of post-production • Endless revision cycles Now it takes an afternoon. For performance marketers, this changes everything: - Test 50 creative variations without 50 shoots - A/B test products, props, backgrounds at scale - Keep your winning actor across every campaign - Own full commercial rights to everything The brands who figure this out first will dominate their creative testing. While competitors burn budgets on traditional shoots, you'll be testing 10x more concepts at 1/10th the cost. See what director-level control actually means: Your creative team will thank you. And yes, I'm proud to be a paid advocate for Mirage.
0:23

Most brands think AI video is about automation. Mirage Studio just proved it's about control. I've tested every AI video tool this year. They all promise "create videos in seconds" but deliver generic, robotic content that screams AI. Mirage is different. Upload your photo (or pick an AI actor). Then control everything: → Switch outfits without reshooting → Drop in any product with just an image → Adjust lighting, angles, expressions → Keep your actor consistent across unlimited scenes The game-changer for brands? Product integration that actually looks real. Upload a photo of your product. Mirage places it naturally in the scene. No green screens. No awkward compositing. Just seamless integration. I watched a creator build 15 product variations in 20 minutes. Same actor. Different products. Perfect consistency. That used to take: • $10K+ production budget • 2-day shoot minimum • 3 weeks of post-production • Endless revision cycles Now it takes an afternoon. For performance marketers, this changes everything: - Test 50 creative variations without 50 shoots - A/B test products, props, backgrounds at scale - Keep your winning actor across every campaign - Own full commercial rights to everything The brands who figure this out first will dominate their creative testing. While competitors burn budgets on traditional shoots, you'll be testing 10x more concepts at 1/10th the cost. See what director-level control actually means: Your creative team will thank you. And yes, I'm proud to be a paid advocate for Mirage.

Chase Dimond | Email Marketing Nerd 📧

39,302 views • 10 months ago

I built an Agency Client Finder in Claude Code that finds DTC brands who need a creative agency, and writes the pitch for you 🤯 Drop in a niche → it scans the Meta Ad Library, finds brands that are spending on ads but running weak creative, and hands you a ranked prospect list with a tailored pitch for each. All inside Claude Code. Perfect for agencies who are great at the work but terrible at the pipeline. The hardest part of running an agency was never the creative, it's finding clients who actually need you AND have the budget to pay. So you cold-DM brands that ignore you, scrape LinkedIn for "Head of Growth" titles, and pitch brands that already have an agency or no budget at all. This finds the ones already raising their hand: → Drop in your niche (skincare, supplements, coffee, pet, men's grooming…) → It scans every brand running ads in the Meta Ad Library → Scores each one: spending on ads, but weak creative — low volume, stale, catalog-only, no video → Pulls their actual ad creatives and critiques them like a creative director → Looks up each brand's email + website so you can actually reach them → Hands you a ranked list with the evidence, a pitch, and the contact info No cold-list spray-and-pray. No pitching brands with no budget. No guessing who actually needs you. What you get: → A ranked list of brands spending on ads but starved for creative → Their real ads, with the exact creative gap named for each → A tailored pitch angle per brand — walk into the call with the evidence → Their actual email + website, so it's an outreach list, not a research list → Run it on any niche, any market, in minutes Built 100% in Claude Code, on the Meta Ad Library. I put together a step-by-step playbook showing you how to build this: the Ad Library scrape, the scoring, the whole pipeline. Want the playbook for free? > Like this post > Comment "CLIENTS" And I'll send it over (must be following so I can DM)
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I built an Agency Client Finder in Claude Code that finds DTC brands who need a creative agency, and writes the pitch for you 🤯 Drop in a niche → it scans the Meta Ad Library, finds brands that are spending on ads but running weak creative, and hands you a ranked prospect list with a tailored pitch for each. All inside Claude Code. Perfect for agencies who are great at the work but terrible at the pipeline. The hardest part of running an agency was never the creative, it's finding clients who actually need you AND have the budget to pay. So you cold-DM brands that ignore you, scrape LinkedIn for "Head of Growth" titles, and pitch brands that already have an agency or no budget at all. This finds the ones already raising their hand: → Drop in your niche (skincare, supplements, coffee, pet, men's grooming…) → It scans every brand running ads in the Meta Ad Library → Scores each one: spending on ads, but weak creative — low volume, stale, catalog-only, no video → Pulls their actual ad creatives and critiques them like a creative director → Looks up each brand's email + website so you can actually reach them → Hands you a ranked list with the evidence, a pitch, and the contact info No cold-list spray-and-pray. No pitching brands with no budget. No guessing who actually needs you. What you get: → A ranked list of brands spending on ads but starved for creative → Their real ads, with the exact creative gap named for each → A tailored pitch angle per brand — walk into the call with the evidence → Their actual email + website, so it's an outreach list, not a research list → Run it on any niche, any market, in minutes Built 100% in Claude Code, on the Meta Ad Library. I put together a step-by-step playbook showing you how to build this: the Ad Library scrape, the scoring, the whole pipeline. Want the playbook for free? > Like this post > Comment "CLIENTS" And I'll send it over (must be following so I can DM)

Mike Futia

22,995 views • 1 month ago

I don't know anyone who is as consistently ahead of culture than Trevor McFedries. I talked to Trev🙃r about culture, markets, technology, curiosity, why selling out is punk now, and why creative people should be rich. Trevor has lived many lives: touring DJ who produced a top 10 album, co-creator of lil miquela, founder of Friends With Benefits... among many others (go watch the last 10 seconds of KATY PERRY's I Kissed a Girl music video). Today, he's the founder of new co runner.rodeo and is 1/2 of electronic dance duo SofTT. He also has a fantastic nose for weird, bridges high and low status worlds across culture, capital, art, and tech, and truly lives natively between the frontiers of tech and culture. We talked about: - Why the only creative people who can "opt out" of the algorithm are trust fund kids - How cultural capital has merged with financial capital - Why speculation is rational - The belief economy: from making → framing → predicting - What he learned working with Kanye for three months - Finding new subcultures in the dark corners of Telegram - Why he's long humanity despite everything Timestamps: 0:00 - Opening Highlights 1:18 - Intro to Trevor 4:12 - Thanks to Notion 5:21 - Start: Creative People Should Be Rich 12:03 - Creative Ignition, Infrastructure, and Why Selling Out is Punk 21:49 - Authenticity, Honesty, Divine Creativity, and Borrowed Nostalgia 30:15 - Low Status Games and High Culture, Cultural & Financial Capital, and Crypto 42:08 - The Belief Economy: From Making to Framing to Predicting 48:45 - Markets, Power, Consensus, and Truth 58:22 - Speculation is Rational 1:06:34 - Developing a Nose for Weird, Being Early and On Time 1:19:06 - Unfettered Cultural Spaces on the Internet 1:26:33 - FWB, Community, and Exclusivity 1:31:02 - LilMiquela, Online Storytelling and Celebrity, Touring as a Performer 1:45:41 - Softt, Music as a Way In, Music as a Business 1:52:45 - Culture & Business 1:54:38 - Kanye 2:06:20 - Optimism, The Next Generation, Parenting, The Stuff that Counts, and Cerulean Available on all platforms now.
2:18:34

I don't know anyone who is as consistently ahead of culture than Trevor McFedries. I talked to Trev🙃r about culture, markets, technology, curiosity, why selling out is punk now, and why creative people should be rich. Trevor has lived many lives: touring DJ who produced a top 10 album, co-creator of lil miquela, founder of Friends With Benefits... among many others (go watch the last 10 seconds of KATY PERRY's I Kissed a Girl music video). Today, he's the founder of new co runner.rodeo and is 1/2 of electronic dance duo SofTT. He also has a fantastic nose for weird, bridges high and low status worlds across culture, capital, art, and tech, and truly lives natively between the frontiers of tech and culture. We talked about: - Why the only creative people who can "opt out" of the algorithm are trust fund kids - How cultural capital has merged with financial capital - Why speculation is rational - The belief economy: from making → framing → predicting - What he learned working with Kanye for three months - Finding new subcultures in the dark corners of Telegram - Why he's long humanity despite everything Timestamps: 0:00 - Opening Highlights 1:18 - Intro to Trevor 4:12 - Thanks to Notion 5:21 - Start: Creative People Should Be Rich 12:03 - Creative Ignition, Infrastructure, and Why Selling Out is Punk 21:49 - Authenticity, Honesty, Divine Creativity, and Borrowed Nostalgia 30:15 - Low Status Games and High Culture, Cultural & Financial Capital, and Crypto 42:08 - The Belief Economy: From Making to Framing to Predicting 48:45 - Markets, Power, Consensus, and Truth 58:22 - Speculation is Rational 1:06:34 - Developing a Nose for Weird, Being Early and On Time 1:19:06 - Unfettered Cultural Spaces on the Internet 1:26:33 - FWB, Community, and Exclusivity 1:31:02 - LilMiquela, Online Storytelling and Celebrity, Touring as a Performer 1:45:41 - Softt, Music as a Way In, Music as a Business 1:52:45 - Culture & Business 1:54:38 - Kanye 2:06:20 - Optimism, The Next Generation, Parenting, The Stuff that Counts, and Cerulean Available on all platforms now.

Jackson Dahl

40,837 views • 7 months ago

. #NCT127 #KPOPNARA #KPOPNARASUMMERFANTASY Sticker converted me into a 127zen in 2022. Since then, NCT 127 has given me endless joy through not just their amazing music, but also the friendships I built along the way at concerts across 3 continents and 6 cities. Over the years, I've channeled my love for the group into creating 127Central and launching creative projects meant to hype the group and bring fans together. I designed a video game for fans to play as well as a Netflix mockumentary for their 7th anniversary, launched a digital magazine featuring interviews with the producers who've shaped their sound for this year's 10th anniversary, coordinated a high-turnout 127-themed Fanzone with a photobooth at KCON, conducted interviews with the professionals behind their documentary, held song ranking competitions that sparked crazy debates, and got everyone talking with April Fools' posts that somehow fooled everyone every single year… I hope to share some of these projects with NCT 127 if I ever get a chance to meet them! P.S. Visit and read our interviews!
0:22

. #NCT127 #KPOPNARA #KPOPNARASUMMERFANTASY Sticker converted me into a 127zen in 2022. Since then, NCT 127 has given me endless joy through not just their amazing music, but also the friendships I built along the way at concerts across 3 continents and 6 cities. Over the years, I've channeled my love for the group into creating 127Central and launching creative projects meant to hype the group and bring fans together. I designed a video game for fans to play as well as a Netflix mockumentary for their 7th anniversary, launched a digital magazine featuring interviews with the producers who've shaped their sound for this year's 10th anniversary, coordinated a high-turnout 127-themed Fanzone with a photobooth at KCON, conducted interviews with the professionals behind their documentary, held song ranking competitions that sparked crazy debates, and got everyone talking with April Fools' posts that somehow fooled everyone every single year… I hope to share some of these projects with NCT 127 if I ever get a chance to meet them! P.S. Visit and read our interviews!

NCT 127 Central

37,512 views • 18 days ago

A year ago, I would NEVER have been able to create this AI COMMERCIAL. Shooting this on set and creating Fluffy with CGI would have cost a small fortune. If you're interesting in learning AI, go for it! If you're interested in commissioning a creative agency to make your next commercial with AI, go for it! This is the greatest technological revolution since the internet and the world is officially your oyster. Also, I've been pumped to enter this into Freepik (now Magnific)'s #Freepik24AIDays challenge. Freepik was and is a MASSIVE part of my workflow, so winning MILLIONS of credits or a LIFETIME sub would be a huge deal. Here's hoping, and thank you Freepik for putting this awesome campaign together! 👍 Team: Created by Jordan Daniel Chesney Co-Creator: David LaChance, Jr. Produced by JDC Entertainment Client: DoControl 👌 Tools: Images: Freepik (now Magnific), Midjourney, Flux & NB 🍌 Image Editing: Photoshop Beta Videos: Kling AI 2.1 & 2.5 Turbo Video Extension: Freepik (now Magnific) Kling + Veo 2 VFX: Qwen Wan Vace on fal + AE Upscalers: Magnific.ai & SeedVR2 Music & Foley: Epidemic Sound Post: After Effects (AE) Edit: Premiere Pro
1:00

A year ago, I would NEVER have been able to create this AI COMMERCIAL. Shooting this on set and creating Fluffy with CGI would have cost a small fortune. If you're interesting in learning AI, go for it! If you're interested in commissioning a creative agency to make your next commercial with AI, go for it! This is the greatest technological revolution since the internet and the world is officially your oyster. Also, I've been pumped to enter this into Freepik (now Magnific)'s #Freepik24AIDays challenge. Freepik was and is a MASSIVE part of my workflow, so winning MILLIONS of credits or a LIFETIME sub would be a huge deal. Here's hoping, and thank you Freepik for putting this awesome campaign together! 👍 Team: Created by Jordan Daniel Chesney Co-Creator: David LaChance, Jr. Produced by JDC Entertainment Client: DoControl 👌 Tools: Images: Freepik (now Magnific), Midjourney, Flux & NB 🍌 Image Editing: Photoshop Beta Videos: Kling AI 2.1 & 2.5 Turbo Video Extension: Freepik (now Magnific) Kling + Veo 2 VFX: Qwen Wan Vace on fal + AE Upscalers: Magnific.ai & SeedVR2 Music & Foley: Epidemic Sound Post: After Effects (AE) Edit: Premiere Pro

Jordan Daniel Chesney

66,693 views • 8 months ago

The hardest part of being a brand designer and content creator isn't having the skills. It's proving them in the wild. I'm Oloba, a full-stack creative brand designer, illustrator, NFT artist, and UGC creator. Over the past 12 months, I worked closely with Zerion and Lyvely as a Content Partner and Brand Ambassador. As a content partner, I created short form videos, long form videos and street-style video contents for X, Instagram, Tiktok and Lyvely. The video contents ranged from 30 seconds to 15 minutes and it aimed at engaging and educating the target audience. While working with Zerion, I created engaging, educational and conversion focused content using storytelling. The content I created highlighted Zerion's value clearly and pushed users to download the app and get onboard. At Lyvely, I hold the title of first Nigerian Ambassador and Growth Lead on the platform. My responsibilities included delivering educational and conversation driven content leveraging storytelling and motion design to boost engagement. Below is a summary of my work and achievements for both Zerion and Lyvely: For Zerion: → 70+ content pieces created on both X and Tiktok → 5,000,000+ impressions generated in 12 months across various platforms. → 1000+ users onboarded to Zerion and active users For Lyvely: → 50+ content pieces created across various platforms → 500,000+ impressions generated across multiple platforms → 700+ creatives onboarded organically → 200+ member community built from scratch → 300 active participants in live sessions I hosted Every piece of content was shot, edited, animated, and produced entirely by me. Beyond content, my design work has also helped secure over $50,000 in grants for Web3 projects including colosseum, supported a sold-out photobooth activation, and significantly increased brand awareness for the projects I've worked with. On the NFT side, I've developed collections totaling over 50,000 pieces deployed across Solana, Ethereum, TON, and other chains. These collections sold out quickly and generated ~$100,000 in revenue. What I bring to any project isn't just execution. It's strategy, sales positioning, storytelling and creative direction. I don't create content just to follow a content calendar. I create content that onboards real people, builds real communities, and boosts visibility. If your project needs a creator who educates, converts, and shows up with proof, send me a DM or an email at onyechereelizabethh@gmail.com. If you happen to think that everything I've mentioned is all “talk”, check out my portfolio in my bio
1:00

The hardest part of being a brand designer and content creator isn't having the skills. It's proving them in the wild. I'm Oloba, a full-stack creative brand designer, illustrator, NFT artist, and UGC creator. Over the past 12 months, I worked closely with Zerion and Lyvely as a Content Partner and Brand Ambassador. As a content partner, I created short form videos, long form videos and street-style video contents for X, Instagram, Tiktok and Lyvely. The video contents ranged from 30 seconds to 15 minutes and it aimed at engaging and educating the target audience. While working with Zerion, I created engaging, educational and conversion focused content using storytelling. The content I created highlighted Zerion's value clearly and pushed users to download the app and get onboard. At Lyvely, I hold the title of first Nigerian Ambassador and Growth Lead on the platform. My responsibilities included delivering educational and conversation driven content leveraging storytelling and motion design to boost engagement. Below is a summary of my work and achievements for both Zerion and Lyvely: For Zerion: → 70+ content pieces created on both X and Tiktok → 5,000,000+ impressions generated in 12 months across various platforms. → 1000+ users onboarded to Zerion and active users For Lyvely: → 50+ content pieces created across various platforms → 500,000+ impressions generated across multiple platforms → 700+ creatives onboarded organically → 200+ member community built from scratch → 300 active participants in live sessions I hosted Every piece of content was shot, edited, animated, and produced entirely by me. Beyond content, my design work has also helped secure over $50,000 in grants for Web3 projects including colosseum, supported a sold-out photobooth activation, and significantly increased brand awareness for the projects I've worked with. On the NFT side, I've developed collections totaling over 50,000 pieces deployed across Solana, Ethereum, TON, and other chains. These collections sold out quickly and generated ~$100,000 in revenue. What I bring to any project isn't just execution. It's strategy, sales positioning, storytelling and creative direction. I don't create content just to follow a content calendar. I create content that onboards real people, builds real communities, and boosts visibility. If your project needs a creator who educates, converts, and shows up with proof, send me a DM or an email at [email protected]. If you happen to think that everything I've mentioned is all “talk”, check out my portfolio in my bio

OLOBA THE ARTIST

42,850 views • 5 months ago

Context/Details: Roy Purdy, born in 1998 in Appleton, Wisconsin, has carved out a niche for himself as a multifaceted internet personality encompassing roles as a rapper, dancer, YouTuber, and skateboarder. Purdy's rise to internet fame began in 2016 with a viral Running Man Challenge video during his time in high school. He followed up with another viral hit capturing his high school graduation, where he performed a dabbing dance. Over the years, Purdy has developed a distinctive style marked by his use of pink and green sunglasses and a flair for 1980s fashion aesthetics. Purdy's music and videos are distributed across various platforms, including YouTube, where he has amassed over 3.04 million subscribers as of today, SoundCloud, and Spotify. His musical style has been likened to that of Asher Roth, known for its smooth delivery. Some of his notable singles include "When We Were Just Kids," "Guacamole," "Pink and Green," "Livin These Days," "Walk It Out," and "Oh Wow." In 2017, his growing popularity led to a contract with InARTists and later representation by Creative Artists Agency in 2018. Purdy also toured with rapper Yung Gravy in April 2018, further establishing his presence in the music and entertainment industry. I provide context and detailed explanations under similar posts. If you enjoy the insights and would like to keep receiving them, please consider following. Your support means everything to me!
1:03

Context/Details: Roy Purdy, born in 1998 in Appleton, Wisconsin, has carved out a niche for himself as a multifaceted internet personality encompassing roles as a rapper, dancer, YouTuber, and skateboarder. Purdy's rise to internet fame began in 2016 with a viral Running Man Challenge video during his time in high school. He followed up with another viral hit capturing his high school graduation, where he performed a dabbing dance. Over the years, Purdy has developed a distinctive style marked by his use of pink and green sunglasses and a flair for 1980s fashion aesthetics. Purdy's music and videos are distributed across various platforms, including YouTube, where he has amassed over 3.04 million subscribers as of today, SoundCloud, and Spotify. His musical style has been likened to that of Asher Roth, known for its smooth delivery. Some of his notable singles include "When We Were Just Kids," "Guacamole," "Pink and Green," "Livin These Days," "Walk It Out," and "Oh Wow." In 2017, his growing popularity led to a contract with InARTists and later representation by Creative Artists Agency in 2018. Purdy also toured with rapper Yung Gravy in April 2018, further establishing his presence in the music and entertainment industry. I provide context and detailed explanations under similar posts. If you enjoy the insights and would like to keep receiving them, please consider following. Your support means everything to me!

BoreCure

939,154 views • 2 years ago

🏝️ HAPPY 1ST ANNIVERSARY TO #ISLAND 🗡️ CHA EUNWOO (CHA EUN-WOO OFFICIAL): — #CHAEUNWOO as Yohan in Island nominated as "Best new actor" at the '2023 Blue Dragon Series Awards' — Cha Eunwoo as Yohan in Island win the "Popularity Award" at the '2023 Blue Dragon Series Awards' — Cha Eunwoo as Yohan in Island nominated as "Scene Stealer of the Year" at the '2023 TVING Awards' — Cha Eunwoo as Yohan in Island nominated as Excellence in Acting Awards "Best Actor in an OTT Drama" at the '2023 APAN STAR Awards' — Cha Eunwoo as Yohan in Island highlighted by multiple reviews as the best character of Island — Cha Eunwoo is #4 in Brand Reputation ranking - actor — Cha Eunwoo is #7 in Good data ranking - actor — Cha Eunwoo wins the title of most handsome exorcist priest — Cha Eunwoo is nicknamed as the new 'Chungmuro', praised for his good looks & acting skills, showing passion for acting, incluided his 1st action performance & proficiency in Latin & Italian languages — Cha Eunwoo as Yohan goes viral on Instagram, Weibo, Facebook, TikTok, Youtube & X(Twitter) ISLAND (#아일랜드): — First K-content (drama, movie & show) to enter the top 10 on Amazon Prime Video in 63 countries around the world — #1 in most watched 2023 K-drama serie on Amazon Prime — #1 in the number of weekly paid subscription contributors for 4 consecutive weeks among TVING original dramas in Korea — #1 across cable network (when it was available on tvN channel) — #1 in 'Best Korean drama in 2023' by OTT Play — #2 in TVING Top 9 Drama for the first half of 2023 — #2 6 best thriller Korean dramas of 2023 by GQ — #4 in list of Integrated Issue - Power of Kdrama TV/OTT, by good data — #5 in 10 Best K-dramas of 2023 by Hindustan Times — Listed in "The Best K-Dramas on Prime Video" by Collider — Listed in "Best Korean Dramas" on Amazon Prime Video US by Marie Claire — Listed in the non-competitive Rendezvous section of the '2023 Cannes International Series Festival' — "National Winner" drama representing Korea at the 2023 Asian Academy Creative Awards — Nominated as "Best Original Productions By A Streamer/OTT" at the '2023 Asian Academy Creative Awards' — Nominated as "Best Original Digital Drama Series" at the '2023 Asian Television Awards' (ATA) — "Drama of the Year" on Amazon Prime in 2023, by News Culture Korea — Selected as one of nine TVING "Content of the Year" at the 2023 TVING Awards CHA EUNWOO X ISLAND #차은우_아일랜드_1주년축하합니다 #차은우 #チャウヌ #ชาอึนอู #車銀優
4:36

🏝️ HAPPY 1ST ANNIVERSARY TO #ISLAND 🗡️ CHA EUNWOO (CHA EUN-WOO OFFICIAL): — #CHAEUNWOO as Yohan in Island nominated as "Best new actor" at the '2023 Blue Dragon Series Awards' — Cha Eunwoo as Yohan in Island win the "Popularity Award" at the '2023 Blue Dragon Series Awards' — Cha Eunwoo as Yohan in Island nominated as "Scene Stealer of the Year" at the '2023 TVING Awards' — Cha Eunwoo as Yohan in Island nominated as Excellence in Acting Awards "Best Actor in an OTT Drama" at the '2023 APAN STAR Awards' — Cha Eunwoo as Yohan in Island highlighted by multiple reviews as the best character of Island — Cha Eunwoo is #4 in Brand Reputation ranking - actor — Cha Eunwoo is #7 in Good data ranking - actor — Cha Eunwoo wins the title of most handsome exorcist priest — Cha Eunwoo is nicknamed as the new 'Chungmuro', praised for his good looks & acting skills, showing passion for acting, incluided his 1st action performance & proficiency in Latin & Italian languages — Cha Eunwoo as Yohan goes viral on Instagram, Weibo, Facebook, TikTok, Youtube & X(Twitter) ISLAND (#아일랜드): — First K-content (drama, movie & show) to enter the top 10 on Amazon Prime Video in 63 countries around the world — #1 in most watched 2023 K-drama serie on Amazon Prime — #1 in the number of weekly paid subscription contributors for 4 consecutive weeks among TVING original dramas in Korea — #1 across cable network (when it was available on tvN channel) — #1 in 'Best Korean drama in 2023' by OTT Play — #2 in TVING Top 9 Drama for the first half of 2023 — #2 6 best thriller Korean dramas of 2023 by GQ — #4 in list of Integrated Issue - Power of Kdrama TV/OTT, by good data — #5 in 10 Best K-dramas of 2023 by Hindustan Times — Listed in "The Best K-Dramas on Prime Video" by Collider — Listed in "Best Korean Dramas" on Amazon Prime Video US by Marie Claire — Listed in the non-competitive Rendezvous section of the '2023 Cannes International Series Festival' — "National Winner" drama representing Korea at the 2023 Asian Academy Creative Awards — Nominated as "Best Original Productions By A Streamer/OTT" at the '2023 Asian Academy Creative Awards' — Nominated as "Best Original Digital Drama Series" at the '2023 Asian Television Awards' (ATA) — "Drama of the Year" on Amazon Prime in 2023, by News Culture Korea — Selected as one of nine TVING "Content of the Year" at the 2023 TVING Awards CHA EUNWOO X ISLAND #차은우_아일랜드_1주년축하합니다 #차은우 #チャウヌ #ชาอึนอู #車銀優

CHA EUNWOO 차은우 INTERNATIONAL

19,095 views • 2 years ago

Earlier today, I had the honour of attending a public lecture delivered by my father, His Highness, Khalifa Muhammad Sanusi II, PhD (London), CON, Emir of Kano, on "Eco Currency and Monetary Integration in West Africa: Implications for Nigeria," at the National Institute for Legislative and Democratic Studies (NILDS). The lecture was insightful, engaging, and rich with practical lessons on economic governance, institutional development, and the pathway to sustainable growth in Nigeria and across West Africa. His Highness emphasized that visions for our nation must be matched by deliberate actions if they are to become reality. He spoke extensively on the importance of strong public institutions led by principled and competent individuals, noting that true strength in public service lies not in exercising power without restraint, but in understanding and respecting the legal framework of institutions. According to him, the misuse of institutions is not a sign of strength but of weakness. Particularly noteworthy were his remarks on the role of every citizen in nation-building. As he aptly observed, it is our collective responsibility to commend what is good and criticize what is bad. While Nigerians must adapt to unavoidable challenges and necessary sacrifices, we must never become docile in the face of avoidable, preventable, or deliberate decisions that impose unnecessary burdens on the people. As Chairman of the House Committee on Banking Regulations, I was encouraged by his recognition of the importance of preserving the independence of key public institutions. His commendation of the ongoing efforts of the Governor of the Central Bank of Nigeria, Mr. Yemi Cardoso, to stabilize the economy, and his acknowledgement of our Committee's commitment to respecting the Bank's statutory independence while carrying out effective legislative oversight, were particularly gratifying. I thank the Director-General of NILDS, Prof. Abubakar O. Sulaiman, and his dedicated team for organizing and hosting this important lecture. I also express my profound appreciation to His Highness, for sharing from his immense wealth of knowledge and experience. It was a truly enlightening engagement and a timely reminder that strong institutions, principled leadership, and active citizenship remain indispensable to Nigeria's progress. Attached is a video of my remarks as insisted by the DG. Signed Hon. Mohammed Bello El-Rufai Member. Kaduna North Federal Constituency Chairman, Committee on Banking Regulations. June 25, 2026.
2:24

Earlier today, I had the honour of attending a public lecture delivered by my father, His Highness, Khalifa Muhammad Sanusi II, PhD (London), CON, Emir of Kano, on "Eco Currency and Monetary Integration in West Africa: Implications for Nigeria," at the National Institute for Legislative and Democratic Studies (NILDS). The lecture was insightful, engaging, and rich with practical lessons on economic governance, institutional development, and the pathway to sustainable growth in Nigeria and across West Africa. His Highness emphasized that visions for our nation must be matched by deliberate actions if they are to become reality. He spoke extensively on the importance of strong public institutions led by principled and competent individuals, noting that true strength in public service lies not in exercising power without restraint, but in understanding and respecting the legal framework of institutions. According to him, the misuse of institutions is not a sign of strength but of weakness. Particularly noteworthy were his remarks on the role of every citizen in nation-building. As he aptly observed, it is our collective responsibility to commend what is good and criticize what is bad. While Nigerians must adapt to unavoidable challenges and necessary sacrifices, we must never become docile in the face of avoidable, preventable, or deliberate decisions that impose unnecessary burdens on the people. As Chairman of the House Committee on Banking Regulations, I was encouraged by his recognition of the importance of preserving the independence of key public institutions. His commendation of the ongoing efforts of the Governor of the Central Bank of Nigeria, Mr. Yemi Cardoso, to stabilize the economy, and his acknowledgement of our Committee's commitment to respecting the Bank's statutory independence while carrying out effective legislative oversight, were particularly gratifying. I thank the Director-General of NILDS, Prof. Abubakar O. Sulaiman, and his dedicated team for organizing and hosting this important lecture. I also express my profound appreciation to His Highness, for sharing from his immense wealth of knowledge and experience. It was a truly enlightening engagement and a timely reminder that strong institutions, principled leadership, and active citizenship remain indispensable to Nigeria's progress. Attached is a video of my remarks as insisted by the DG. Signed Hon. Mohammed Bello El-Rufai Member. Kaduna North Federal Constituency Chairman, Committee on Banking Regulations. June 25, 2026.

Hon. Mohammed Bello El-Rufai

97,480 views • 2 months ago

I used to think Brand was bullsh*t, so imagine my surprise when I was asked to speak at Meta's Performance Marketing Summit about Brand to a room of performance marketers How'd this happen? Many moons ago, I co-founded Chubbies. It's a nine-figure brand now: 8 straight years of top and bottom-line growth, EBITDA up 40% yoy But we almost went out of business first — running the exact playbook a lot of performance marketers are running right now CAC creeping up every year. Only 'growing' when we discounted harder, longer, wider. Same ads, same people, growth on loan from the algorithm Then we incorporated Brand into our 'performance' media, and revenue re-accelerated. More importantly, so did profit Here are 3 mistakes I made, 3 things I learned, and 3 actions you can take on Monday: Here's what I had wrong: 1. I thought brand was logos, fonts, or a brand book nobody opens 2. I thought spending ANY dollars on ads that didn't drive a conversion was the dumbest thing a performance marketer could do 3. And when I finally tried it, I chased the wrong thing — we went for meme-lord reach, piling up views with no connection back to the brand Here's what I know now: 1. Brand is the moat. It's pricing power. It's why people buy from you without you competing on price and features 2. The "trough of despair" everyone's scared of? It doesn't show up — because you fund brand by reallocating your least-efficient dollars, not by adding budget (and other reasons) 3. And it's accountable. Build a behavioral funnel, drive a real action like branded search, measure it with a geo-holdout. It's not a vibes contest More on this "trough of despair" being a nothing burger: 1. The brands we do this for don't see the trough. A ~$75M denim brand grew contribution dollars roughly 50% year over year — with new customers and total revenue climbing the whole time 2. An outdoor brand ran brand media alone — and the lift showed up everywhere its customers shop: its own site, Amazon, TikTok Shop, and strongest of all, 2.5x incremental revenue on a major brick-and-mortar retailer's shelves 3. A six-month geo-holdout showed brand driving 1.93x incremental revenue — while the saturated direct-response they'd been relying on was returning a blended 0.91x Les Binet's research concurs: grow your share of search, and good things follow So, three things you can do Monday: 1. Find the marginal return on your least-efficient dollars. Those can move to brand with no short-term revenue drop 2. Look at the creative you ship. Would your friends be hyped to see it — or "ugh, he's selling me something"? You want a healthy mix 3. Build your behavioral funnel. Define the action at every stage so brand stops being soft and starts being math The full vid is attached. Case studies in the comments. If you still think "performance" brand is bullsh*t — let's discuss What's the data you'd need to see to change your mind? Tell me where you're stuck/skeptical and let's get into it below
14:58

I used to think Brand was bullsh*t, so imagine my surprise when I was asked to speak at Meta's Performance Marketing Summit about Brand to a room of performance marketers How'd this happen? Many moons ago, I co-founded Chubbies. It's a nine-figure brand now: 8 straight years of top and bottom-line growth, EBITDA up 40% yoy But we almost went out of business first — running the exact playbook a lot of performance marketers are running right now CAC creeping up every year. Only 'growing' when we discounted harder, longer, wider. Same ads, same people, growth on loan from the algorithm Then we incorporated Brand into our 'performance' media, and revenue re-accelerated. More importantly, so did profit Here are 3 mistakes I made, 3 things I learned, and 3 actions you can take on Monday: Here's what I had wrong: 1. I thought brand was logos, fonts, or a brand book nobody opens 2. I thought spending ANY dollars on ads that didn't drive a conversion was the dumbest thing a performance marketer could do 3. And when I finally tried it, I chased the wrong thing — we went for meme-lord reach, piling up views with no connection back to the brand Here's what I know now: 1. Brand is the moat. It's pricing power. It's why people buy from you without you competing on price and features 2. The "trough of despair" everyone's scared of? It doesn't show up — because you fund brand by reallocating your least-efficient dollars, not by adding budget (and other reasons) 3. And it's accountable. Build a behavioral funnel, drive a real action like branded search, measure it with a geo-holdout. It's not a vibes contest More on this "trough of despair" being a nothing burger: 1. The brands we do this for don't see the trough. A ~$75M denim brand grew contribution dollars roughly 50% year over year — with new customers and total revenue climbing the whole time 2. An outdoor brand ran brand media alone — and the lift showed up everywhere its customers shop: its own site, Amazon, TikTok Shop, and strongest of all, 2.5x incremental revenue on a major brick-and-mortar retailer's shelves 3. A six-month geo-holdout showed brand driving 1.93x incremental revenue — while the saturated direct-response they'd been relying on was returning a blended 0.91x Les Binet's research concurs: grow your share of search, and good things follow So, three things you can do Monday: 1. Find the marginal return on your least-efficient dollars. Those can move to brand with no short-term revenue drop 2. Look at the creative you ship. Would your friends be hyped to see it — or "ugh, he's selling me something"? You want a healthy mix 3. Build your behavioral funnel. Define the action at every stage so brand stops being soft and starts being math The full vid is attached. Case studies in the comments. If you still think "performance" brand is bullsh*t — let's discuss What's the data you'd need to see to change your mind? Tell me where you're stuck/skeptical and let's get into it below

Preston Rutherford

12,336 views • 3 months ago

Hermes + Claude + Higgsfield MCP + ViralBuilder = 💰💰💰 Four tools. One prompt chain. Hook to finished video in 10 minutes. I built a Claude skill that writes shot-by-shot Higgsfield prompts from a single creative brief. ViralBuilder tells you what's winning. The skill turns it into a production-ready prompt. Higgsfield renders it. No creative director. No guessing. No separate tools. Here is the setup: Higgsfield MCP → Open Claude Code → Settings → Connectors → Enter: → Connect your account Hermes → The agent layer running underneath Claude Code → It holds your skills, crons, memory, and routing rules → When you prompt Claude, Hermes feeds it the context it needs ViralBuilder (like Gethookd) → The winning ecom video database → Scrapes top performing ecom videos across platforms → Claude reads the data and extracts what styles, hooks, and formats are actually scaling The skill: video-prompt-builder → Installed inside Claude via Hermes → Takes a creative brief and outputs a full shot-by-shot prompt → Covers camera work, effects, transitions, pacing, and energy arc → Every output is structured for Higgsfield to render without ambiguity No switching apps. No export steps. Everything runs from one place. ▸ FIND WINNING CREATIVE ANGLES ViralBuilder tells you what the market already validated. Claude reads it and extracts the pattern. Prompts to run: "Search ViralBuilder for the top performing ecom videos in [niche] over the last 21 days. Extract the 3 dominant hook styles and rank by view velocity." "Pull the winning video formats in [niche] from ViralBuilder. Which opening 3 seconds appears most across videos spending over $10k?" "Find what video style is scaling right now in [niche] for the US market. UGC, talking head, or product demo. Filter for videos with over 1M views." "Pull the last 30 days of viral ecom hooks in [niche] from ViralBuilder. Cluster by emotional trigger. Which cluster has the most longevity?" You are not guessing at angles. You are reading what the market already spent money validating. ▸ BUILD THE PROMPT WITH THE SKILL This is where the video-prompt-builder skill takes over. You give Claude the winning angle. The skill outputs a complete shot-by-shot prompt with effects, transitions, pacing, and energy arc ready to fire into Higgsfield. Prompts to run: "Use the video-prompt-builder skill. Brief: 15-second UGC ad for [product] in [niche]. Hook style: [style from ViralBuilder]. Tone: direct to camera, US English. Output the full shot-by-shot effects timeline, effects inventory, density map, and energy arc." "Use the video-prompt-builder skill. The dominant hook in [niche] this week is [hook]. Build a 10-second product video prompt that opens with a speed ramp into a close-up product reveal. Include a signature visual effect and a low-density CTA landing." "Use the video-prompt-builder skill. Brief: replicate the pacing and energy of a [style description] video for [product]. Target duration: 20 seconds. Output all four sections. Then generate the video with Higgsfield using the shot-by-shot prompt." The skill outputs four sections every time: → Shot-by-shot effects timeline with camera, movement, and transitions per shot → Master effects inventory showing every technique used and where → Effects density map showing high, medium, and low intensity across the timeline → Energy arc describing how the video opens, builds, and lands That output goes directly into Higgsfield. No rewriting. No translating. ▸ GENERATE THE CREATIVE Claude writes the brief via the skill. Higgsfield MCP builds the video. Both happen in the same session. Prompts to run: "Use the video-prompt-builder skill to write a 15-second UGC prompt for [product]. Hook in the first 3 seconds, speed ramp into product reveal, slow-motion CTA landing. Then generate with Higgsfield in 9:16 format." "Build 3 prompt variations on this winning angle: [angle]. Each variation opens with a different effect — speed ramp, digital zoom, whip pan. Use the video-prompt-builder skill for each. Then generate all three with Higgsfield." "Use the video-prompt-builder skill. Brief: problem-solution ad for [product], 20 seconds, US market. Problem shot at high density, product reveal at medium, result and CTA at low. Generate with Higgsfield in 9:16." No separate tool. No file transfer. The video comes back in the same thread. ▸ CHAIN THE WHOLE STACK One prompt. All four tools firing together. "You are my ad creative director. Hermes has loaded my brand context. Pull the top performing video style in [niche] from ViralBuilder this week. Use the video-prompt-builder skill to write a full shot-by-shot prompt for [product] that replicates that style — 20 seconds, 9:16, US market, hook in the first 3 seconds. Output the effects timeline, inventory, density map, and energy arc. Then generate the video with Higgsfield." That single prompt replaces a half-day of production. The math before this stack: Brief: 30 minutes Script: 1 hour Creative production: 2 to 3 hours Agency or freelancer cost: $500 to $2,000 per creative With this stack: Hook to finished creative: 10 minutes Cost per creative: tool subscription, a fraction of agency rate 5 product tests in the time it used to take to brief one Bad product tests are where US ad budget disappears. $600 to $1,500 per failed test, before you even know if the angle works. This stack shows you what the market already validated before you spend a dollar on production. Hermes = your context layer. Brand, goals, past performance. Claude is always informed. ViralBuilder = your winning video database. See exactly what styles, hooks, and formats are scaling before you produce anything. video-prompt-builder skill = the translation layer. Turns a creative brief into a structured, production-ready Higgsfield prompt every time. Claude = the brain. Reads the market, writes the brief, chains the tools. Higgsfield MCP = the output. Video generated directly from the prompt. No export step. Four tools. One session. 10 minutes. Comment + RT "STACK" and I'll DM you the full workflow + the video-prompt-builder skill file.
0:26

Hermes + Claude + Higgsfield MCP + ViralBuilder = 💰💰💰 Four tools. One prompt chain. Hook to finished video in 10 minutes. I built a Claude skill that writes shot-by-shot Higgsfield prompts from a single creative brief. ViralBuilder tells you what's winning. The skill turns it into a production-ready prompt. Higgsfield renders it. No creative director. No guessing. No separate tools. Here is the setup: Higgsfield MCP → Open Claude Code → Settings → Connectors → Enter: → Connect your account Hermes → The agent layer running underneath Claude Code → It holds your skills, crons, memory, and routing rules → When you prompt Claude, Hermes feeds it the context it needs ViralBuilder (like Gethookd) → The winning ecom video database → Scrapes top performing ecom videos across platforms → Claude reads the data and extracts what styles, hooks, and formats are actually scaling The skill: video-prompt-builder → Installed inside Claude via Hermes → Takes a creative brief and outputs a full shot-by-shot prompt → Covers camera work, effects, transitions, pacing, and energy arc → Every output is structured for Higgsfield to render without ambiguity No switching apps. No export steps. Everything runs from one place. ▸ FIND WINNING CREATIVE ANGLES ViralBuilder tells you what the market already validated. Claude reads it and extracts the pattern. Prompts to run: "Search ViralBuilder for the top performing ecom videos in [niche] over the last 21 days. Extract the 3 dominant hook styles and rank by view velocity." "Pull the winning video formats in [niche] from ViralBuilder. Which opening 3 seconds appears most across videos spending over $10k?" "Find what video style is scaling right now in [niche] for the US market. UGC, talking head, or product demo. Filter for videos with over 1M views." "Pull the last 30 days of viral ecom hooks in [niche] from ViralBuilder. Cluster by emotional trigger. Which cluster has the most longevity?" You are not guessing at angles. You are reading what the market already spent money validating. ▸ BUILD THE PROMPT WITH THE SKILL This is where the video-prompt-builder skill takes over. You give Claude the winning angle. The skill outputs a complete shot-by-shot prompt with effects, transitions, pacing, and energy arc ready to fire into Higgsfield. Prompts to run: "Use the video-prompt-builder skill. Brief: 15-second UGC ad for [product] in [niche]. Hook style: [style from ViralBuilder]. Tone: direct to camera, US English. Output the full shot-by-shot effects timeline, effects inventory, density map, and energy arc." "Use the video-prompt-builder skill. The dominant hook in [niche] this week is [hook]. Build a 10-second product video prompt that opens with a speed ramp into a close-up product reveal. Include a signature visual effect and a low-density CTA landing." "Use the video-prompt-builder skill. Brief: replicate the pacing and energy of a [style description] video for [product]. Target duration: 20 seconds. Output all four sections. Then generate the video with Higgsfield using the shot-by-shot prompt." The skill outputs four sections every time: → Shot-by-shot effects timeline with camera, movement, and transitions per shot → Master effects inventory showing every technique used and where → Effects density map showing high, medium, and low intensity across the timeline → Energy arc describing how the video opens, builds, and lands That output goes directly into Higgsfield. No rewriting. No translating. ▸ GENERATE THE CREATIVE Claude writes the brief via the skill. Higgsfield MCP builds the video. Both happen in the same session. Prompts to run: "Use the video-prompt-builder skill to write a 15-second UGC prompt for [product]. Hook in the first 3 seconds, speed ramp into product reveal, slow-motion CTA landing. Then generate with Higgsfield in 9:16 format." "Build 3 prompt variations on this winning angle: [angle]. Each variation opens with a different effect — speed ramp, digital zoom, whip pan. Use the video-prompt-builder skill for each. Then generate all three with Higgsfield." "Use the video-prompt-builder skill. Brief: problem-solution ad for [product], 20 seconds, US market. Problem shot at high density, product reveal at medium, result and CTA at low. Generate with Higgsfield in 9:16." No separate tool. No file transfer. The video comes back in the same thread. ▸ CHAIN THE WHOLE STACK One prompt. All four tools firing together. "You are my ad creative director. Hermes has loaded my brand context. Pull the top performing video style in [niche] from ViralBuilder this week. Use the video-prompt-builder skill to write a full shot-by-shot prompt for [product] that replicates that style — 20 seconds, 9:16, US market, hook in the first 3 seconds. Output the effects timeline, inventory, density map, and energy arc. Then generate the video with Higgsfield." That single prompt replaces a half-day of production. The math before this stack: Brief: 30 minutes Script: 1 hour Creative production: 2 to 3 hours Agency or freelancer cost: $500 to $2,000 per creative With this stack: Hook to finished creative: 10 minutes Cost per creative: tool subscription, a fraction of agency rate 5 product tests in the time it used to take to brief one Bad product tests are where US ad budget disappears. $600 to $1,500 per failed test, before you even know if the angle works. This stack shows you what the market already validated before you spend a dollar on production. Hermes = your context layer. Brand, goals, past performance. Claude is always informed. ViralBuilder = your winning video database. See exactly what styles, hooks, and formats are scaling before you produce anything. video-prompt-builder skill = the translation layer. Turns a creative brief into a structured, production-ready Higgsfield prompt every time. Claude = the brain. Reads the market, writes the brief, chains the tools. Higgsfield MCP = the output. Video generated directly from the prompt. No export step. Four tools. One session. 10 minutes. Comment + RT "STACK" and I'll DM you the full workflow + the video-prompt-builder skill file.

Kid Pak

58,113 views • 3 months ago

today is a HUGE day... my first project as a director is out now!! "kid for life" by lulu la (full music video) shot, produced & edited by myself & Xavier Jimenez featuring performances by lulu la & Avi Julia Brown with assistance from Jackie Kay & Dan Stadnicki title graphics by FishyPond _________________________ almost a year ago, my roommate Xavier & i were tired of doing nothing but auditioning & had so many stories we wanted to tell. we realized that the only thing stopping us from just doing it was knowing that we had to commit 100% of our time and energy - so i decided to quit streaming & we formed a production company. since then we've been building out sets of high quality cameras, amazing lights, beautiful lenses (some being vintage lenses from the 40s and 50s, rehousing them ourselves to fit modern cameras) & other awesome film equipment *and* learning how to edit, color grade & sound engineer to make an all-encompassing production company that does pre-production, production, & post production. we've played just about every film crew role on our projects so far (to the point where on our upcoming short film i was running sound while operating our b-cam while pulling focus while also directing) & it's been such a fulfilling learning experience. since my exit from the walking dead over 5 years ago i keep hearing the question "so what are you doing now?" and for the longest time all i could say is that i was auditioning for new stuff - and i wasn't proud that i didn't have a better answer. i was fortunate enough to do some amazing projects here & there over the years, but none of them lasted longer than a couple months. now i do have an answer i'm proud of! i'm constantly creating my own projects and telling stories i want to tell, and i get to do it with some of my best friends. so being able to visually tell a story like this music video - wanting to be a kid again, when everything was easier, feels full circle to how i constantly felt when i was in that limbo-stage. and don't worry, i'm still acting. this is just another way for me to be able to create meaningful art that you can watch, feel for & relate to. enjoy!
4:56

today is a HUGE day... my first project as a director is out now!! "kid for life" by lulu la (full music video) shot, produced & edited by myself & Xavier Jimenez featuring performances by lulu la & Avi Julia Brown with assistance from Jackie Kay & Dan Stadnicki title graphics by FishyPond _________________________ almost a year ago, my roommate Xavier & i were tired of doing nothing but auditioning & had so many stories we wanted to tell. we realized that the only thing stopping us from just doing it was knowing that we had to commit 100% of our time and energy - so i decided to quit streaming & we formed a production company. since then we've been building out sets of high quality cameras, amazing lights, beautiful lenses (some being vintage lenses from the 40s and 50s, rehousing them ourselves to fit modern cameras) & other awesome film equipment *and* learning how to edit, color grade & sound engineer to make an all-encompassing production company that does pre-production, production, & post production. we've played just about every film crew role on our projects so far (to the point where on our upcoming short film i was running sound while operating our b-cam while pulling focus while also directing) & it's been such a fulfilling learning experience. since my exit from the walking dead over 5 years ago i keep hearing the question "so what are you doing now?" and for the longest time all i could say is that i was auditioning for new stuff - and i wasn't proud that i didn't have a better answer. i was fortunate enough to do some amazing projects here & there over the years, but none of them lasted longer than a couple months. now i do have an answer i'm proud of! i'm constantly creating my own projects and telling stories i want to tell, and i get to do it with some of my best friends. so being able to visually tell a story like this music video - wanting to be a kid again, when everything was easier, feels full circle to how i constantly felt when i was in that limbo-stage. and don't worry, i'm still acting. this is just another way for me to be able to create meaningful art that you can watch, feel for & relate to. enjoy!

chandler riggs

311,564 views • 3 years ago

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

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

Mr Psquare

713,107 views • 1 year ago

Suno's mission is to make it possible for everyone to make music. We imagine a future where music is a bigger, more valuable, and more meaningful part of people's lives than it even is today. Technology enables a future where the whole world can explore, create, and be active participants in an art form most have only ever consumed. From professional musicians seeking inspiration to friends and family writing songs for each other, we are exploring new ways to create, listen to, and experience music. So far, more than 12 million people are engaging with music in new ways that wouldn't be possible without Suno. We see this as early but promising progress. Major record labels see this vision as a threat to their business. Each and every time there's been innovation in music — from the earliest forms of recorded music, to sampling, to drum machines, to remixing, MP3s, and streaming music — the record labels have attempted to limit progress. They have spent decades attempting to control the terms of how we create and enjoy music, and this time is no different. So, it is perhaps not a surprise that on June 24th, members of the Recording Industry Association of America, which represents the major record labels, filed a lawsuit against Suno, alleging that the data used in training our music generation technologies infringed on the copyrights of the major record labels that they represent. This lawsuit is fundamentally flawed on both the facts and the law, and is nothing more than yet another instance where they chose litigation over innovation. For starters, the major record labels clearly hold misconceptions about how our technology works. Suno helps people create music through a similar process to one humans have used forever: by learning styles, patterns, and forms (in essence, the "grammar" or music), and then inventing new music around them. The major record labels are trying to argue that neural networks are mere parrots — copying and repeating — when in reality model training looks a lot more like a kid learning to write new rock songs by listening religiously to rock music. Like that kid, Suno gets better the more our AI learns. We train our models on medium- and high-quality music we can find on the open internet — just as Google's Gemini, Microsoft's Copilot, Anthropic's Claude, OpenAI's ChatGPT, and even Apple's new Apple Intelligence train their models on the open internet. Much of the open internet indeed contains copyrighted materials, and some of it is owned by major record labels. But, just like the kid writing their own rock songs after listening to the genre — or a teacher or a journalist reviewing existing materials to draw new insights — learning is not infringing. It never has been, and it is not now. The timing of this lawsuit was somewhat surprising. When this lawsuit landed, Suno was, in fact, having productive discussions with a number of the RIAA's major record label members to find ways of expanding the pie for music together. We did so not because we had to, but because we believe that the music industry could help us lead this expansion of opportunity for everyone, rather than resisting it. Whether this lawsuit is the result of over-eager lawyers throwing their weight around, or a conscious strategy to gain leverage in our commercial discussions, we believe that this lawsuit is an unnecessary impediment to a larger and more valuable future for music. This is particularly the case because Suno is a new kind of musical instrument, one that enables a new kind of creative process for everyone and opens new business opportunities for the industry. Suno is designed for original music, and we prize originality, both in how we build our product and in how people use it. People who use Suno are using the product to create their own, original music. They are not trying to recreate an existing song that can be heard somewhere else on the internet for free. But, even if they were trying to copy existing music, we have myriad controls in place to encourage originality and prevent duplicative use cases. We do so more aggressively than any other company in the industry, including other startups. Some of our originality-guarding features include checking for and preventing copyrighted content in audio uploads, and disallowing artist-based descriptions in requests to generate music. Why do we work to encourage originality? We do this because it makes for a more fun and engaging experience to create entirely original compositions on Suno. We do it because we think it makes Suno incredibly valuable to be a place where new musical talent can shine. AI allows anyone to realize the songs in their head, regardless of the money, equipment, or connections that they have. The future is an explosion of new artists that are creating music in new ways, building fan bases, finding new reasons to smile, and getting famous. We hope that the major record labels realize that we can build a stronger foundation for the music industry of tomorrow, together. With or without them, we will continue pursuing our mission on behalf of the many millions of music fans already creating with Suno, and all those who will in the coming months. We are excited and humbled to support this next generation of musicians and the music they create. --- 🎥: shing86 jams with Suno
0:28

Suno's mission is to make it possible for everyone to make music. We imagine a future where music is a bigger, more valuable, and more meaningful part of people's lives than it even is today. Technology enables a future where the whole world can explore, create, and be active participants in an art form most have only ever consumed. From professional musicians seeking inspiration to friends and family writing songs for each other, we are exploring new ways to create, listen to, and experience music. So far, more than 12 million people are engaging with music in new ways that wouldn't be possible without Suno. We see this as early but promising progress. Major record labels see this vision as a threat to their business. Each and every time there's been innovation in music — from the earliest forms of recorded music, to sampling, to drum machines, to remixing, MP3s, and streaming music — the record labels have attempted to limit progress. They have spent decades attempting to control the terms of how we create and enjoy music, and this time is no different. So, it is perhaps not a surprise that on June 24th, members of the Recording Industry Association of America, which represents the major record labels, filed a lawsuit against Suno, alleging that the data used in training our music generation technologies infringed on the copyrights of the major record labels that they represent. This lawsuit is fundamentally flawed on both the facts and the law, and is nothing more than yet another instance where they chose litigation over innovation. For starters, the major record labels clearly hold misconceptions about how our technology works. Suno helps people create music through a similar process to one humans have used forever: by learning styles, patterns, and forms (in essence, the "grammar" or music), and then inventing new music around them. The major record labels are trying to argue that neural networks are mere parrots — copying and repeating — when in reality model training looks a lot more like a kid learning to write new rock songs by listening religiously to rock music. Like that kid, Suno gets better the more our AI learns. We train our models on medium- and high-quality music we can find on the open internet — just as Google's Gemini, Microsoft's Copilot, Anthropic's Claude, OpenAI's ChatGPT, and even Apple's new Apple Intelligence train their models on the open internet. Much of the open internet indeed contains copyrighted materials, and some of it is owned by major record labels. But, just like the kid writing their own rock songs after listening to the genre — or a teacher or a journalist reviewing existing materials to draw new insights — learning is not infringing. It never has been, and it is not now. The timing of this lawsuit was somewhat surprising. When this lawsuit landed, Suno was, in fact, having productive discussions with a number of the RIAA's major record label members to find ways of expanding the pie for music together. We did so not because we had to, but because we believe that the music industry could help us lead this expansion of opportunity for everyone, rather than resisting it. Whether this lawsuit is the result of over-eager lawyers throwing their weight around, or a conscious strategy to gain leverage in our commercial discussions, we believe that this lawsuit is an unnecessary impediment to a larger and more valuable future for music. This is particularly the case because Suno is a new kind of musical instrument, one that enables a new kind of creative process for everyone and opens new business opportunities for the industry. Suno is designed for original music, and we prize originality, both in how we build our product and in how people use it. People who use Suno are using the product to create their own, original music. They are not trying to recreate an existing song that can be heard somewhere else on the internet for free. But, even if they were trying to copy existing music, we have myriad controls in place to encourage originality and prevent duplicative use cases. We do so more aggressively than any other company in the industry, including other startups. Some of our originality-guarding features include checking for and preventing copyrighted content in audio uploads, and disallowing artist-based descriptions in requests to generate music. Why do we work to encourage originality? We do this because it makes for a more fun and engaging experience to create entirely original compositions on Suno. We do it because we think it makes Suno incredibly valuable to be a place where new musical talent can shine. AI allows anyone to realize the songs in their head, regardless of the money, equipment, or connections that they have. The future is an explosion of new artists that are creating music in new ways, building fan bases, finding new reasons to smile, and getting famous. We hope that the major record labels realize that we can build a stronger foundation for the music industry of tomorrow, together. With or without them, we will continue pursuing our mission on behalf of the many millions of music fans already creating with Suno, and all those who will in the coming months. We are excited and humbled to support this next generation of musicians and the music they create. --- 🎥: shing86 jams with Suno

Suno

46,955 views • 2 years ago

ANNOUNCEMENT TOLEDO MUSEUM OF ART ACQUIRES ABYSSINIAN QUEEN NFT BY YATREDA ያጥሬዳ The museum has purchased the work using cryptocurrency on the Ethereum blockchain, the first time a major institution has made an acquisition of this kind. The Toledo Museum of Art (TMA) announces the acquisition of Abyssinian Queen by Yatreda ያጥሬዳ, the first work purchased by the museum in cryptocurrency. The work was purchased using a USD-stable coin called USDC, and the transfer will be made on the Ethereum blockchain. This acquisition marks the first time a major cultural institution has utilized cryptocurrency to purchase work for its collection. Abyssinian Queen is a unique, 1-of-1 NFT created from a single-channel video. The work is part of a series of four NFTs also titled “Abyssinian Queen,” recently on view in the House of Yatreda immersive installation within TMA’s Ethiopia at the Crossroads exhibition. The exhibition closed on November 10. Another work from the series, The Queen’s Guard, 2024, will be sold by Christie’s as part of the fall Christie’s 3.0 digital art sale, taking place online from December 4 through 17, 2024. This acquisition will diversify TMA’s growing digital art collection as it is the museum's first purchase of a work by Yatreda ያጥሬዳ, the digital artist collective based between Ethiopia, Kenya, and the United States, and TMA Labs’ 2024 Digital Artist in Residence. TMA also plans to acquire a digital artwork by Toledo-based Jordan Buschur, TMA Lab’s 2024 Community Digital Artist in Residence. Buschur and Yatreda ያጥሬዳ worked alongside one another throughout the residency, and their works will join TMA’s collection of works by 2023 Digital Artists in Residence Osinachi and Yusuf Lateef. “Abyssinian Queen is a welcome addition to our growing digital art collection,” said Adam Levine, Edward Drummond and Florence Scott Libbey President, Director and CEO of the Toledo Museum of Art. “The work connects with our historic holdings in meaningful ways while also contributing to our ongoing efforts to support the evolving digital arts ecosystem. When we buy a new artwork from a French gallery, we pay in euros; when we buy from an English auction house, we pay in pounds. In this case, we are purchasing from the web3 artist collective Yatreda ያጥሬዳ, so it only made sense to try to transact in their preferred currency.” Abyssinian Queen pays homage to the legendary queens of ancient Ethiopia, vividly bringing to life the rich history and folklore passed down through generations as cultural memory, now preserved in perpetuity on the blockchain. In Yatreda’s signature slow-motion, black-and-white format, the artwork showcases the queen journeying across ancient Ethiopia, carried and escorted by her devoted attendants. Vigilant guards stand watch, protecting the queen and her entourage within the lush, ancient forest. Adorned in traditional jewelry that reflects her exalted status and impressive lineage, the queen sits aloft on a throne strewn with grass—a symbol of fertility and renewal. As she moves between lands and kingdoms, she enacts the careful diplomacy for which she is known, a measured display of leadership and grace. The “Abyssinian Queen” series marks a new direction in Yatreda’s artistic practice. It moves away from recorded Ethiopian history and draws instead from Ethiopian cultural memory and the childhood imaginings of Kiya Tadele, founder and creative director of Yatreda ያጥሬዳ, and her sister, Roman Tadele. For Yatreda ያጥሬዳ, this turn towards the fantastical serves as a therapeutic counterbalance to the challenge of modernization, and blockchain ensures the lasting celebration and preservation of their Ethiopian heritage. "We are deeply honored by the Toledo Museum of Art’s decision to welcome a Yatreda ያጥሬዳ artwork into their permanent collection—an artwork that remains pure to the collective memory of my family and my country,” said Tadele. “What makes this moment truly remarkable is the museum’s recognition that Ethiopian art is not simply a collection of ancient artifacts but a living narrative. By embracing the blockchain as a modern canvas for this evolving story, the TMA team is pioneering a bold direction for institutions worldwide. We are deeply grateful to walk together down this path with TMA."
0:51

ANNOUNCEMENT TOLEDO MUSEUM OF ART ACQUIRES ABYSSINIAN QUEEN NFT BY YATREDA ያጥሬዳ The museum has purchased the work using cryptocurrency on the Ethereum blockchain, the first time a major institution has made an acquisition of this kind. The Toledo Museum of Art (TMA) announces the acquisition of Abyssinian Queen by Yatreda ያጥሬዳ, the first work purchased by the museum in cryptocurrency. The work was purchased using a USD-stable coin called USDC, and the transfer will be made on the Ethereum blockchain. This acquisition marks the first time a major cultural institution has utilized cryptocurrency to purchase work for its collection. Abyssinian Queen is a unique, 1-of-1 NFT created from a single-channel video. The work is part of a series of four NFTs also titled “Abyssinian Queen,” recently on view in the House of Yatreda immersive installation within TMA’s Ethiopia at the Crossroads exhibition. The exhibition closed on November 10. Another work from the series, The Queen’s Guard, 2024, will be sold by Christie’s as part of the fall Christie’s 3.0 digital art sale, taking place online from December 4 through 17, 2024. This acquisition will diversify TMA’s growing digital art collection as it is the museum's first purchase of a work by Yatreda ያጥሬዳ, the digital artist collective based between Ethiopia, Kenya, and the United States, and TMA Labs’ 2024 Digital Artist in Residence. TMA also plans to acquire a digital artwork by Toledo-based Jordan Buschur, TMA Lab’s 2024 Community Digital Artist in Residence. Buschur and Yatreda ያጥሬዳ worked alongside one another throughout the residency, and their works will join TMA’s collection of works by 2023 Digital Artists in Residence Osinachi and Yusuf Lateef. “Abyssinian Queen is a welcome addition to our growing digital art collection,” said Adam Levine, Edward Drummond and Florence Scott Libbey President, Director and CEO of the Toledo Museum of Art. “The work connects with our historic holdings in meaningful ways while also contributing to our ongoing efforts to support the evolving digital arts ecosystem. When we buy a new artwork from a French gallery, we pay in euros; when we buy from an English auction house, we pay in pounds. In this case, we are purchasing from the web3 artist collective Yatreda ያጥሬዳ, so it only made sense to try to transact in their preferred currency.” Abyssinian Queen pays homage to the legendary queens of ancient Ethiopia, vividly bringing to life the rich history and folklore passed down through generations as cultural memory, now preserved in perpetuity on the blockchain. In Yatreda’s signature slow-motion, black-and-white format, the artwork showcases the queen journeying across ancient Ethiopia, carried and escorted by her devoted attendants. Vigilant guards stand watch, protecting the queen and her entourage within the lush, ancient forest. Adorned in traditional jewelry that reflects her exalted status and impressive lineage, the queen sits aloft on a throne strewn with grass—a symbol of fertility and renewal. As she moves between lands and kingdoms, she enacts the careful diplomacy for which she is known, a measured display of leadership and grace. The “Abyssinian Queen” series marks a new direction in Yatreda’s artistic practice. It moves away from recorded Ethiopian history and draws instead from Ethiopian cultural memory and the childhood imaginings of Kiya Tadele, founder and creative director of Yatreda ያጥሬዳ, and her sister, Roman Tadele. For Yatreda ያጥሬዳ, this turn towards the fantastical serves as a therapeutic counterbalance to the challenge of modernization, and blockchain ensures the lasting celebration and preservation of their Ethiopian heritage. "We are deeply honored by the Toledo Museum of Art’s decision to welcome a Yatreda ያጥሬዳ artwork into their permanent collection—an artwork that remains pure to the collective memory of my family and my country,” said Tadele. “What makes this moment truly remarkable is the museum’s recognition that Ethiopian art is not simply a collection of ancient artifacts but a living narrative. By embracing the blockchain as a modern canvas for this evolving story, the TMA team is pioneering a bold direction for institutions worldwide. We are deeply grateful to walk together down this path with TMA."

Yatreda ያጥሬዳ

77,592 views • 1 year ago

What many people don’t know is that between 2007 and 2009, Solid Star recorded a lot of songs, but as the A&R and CEO of the label, I knew something was still missing. The talent was obvious, the vocals were amazing, but there was a particular spark I was searching for that I hadn’t heard yet in any of the records. One day, I called him and said, “Look, I don’t want another fast-tempo song. I need something different. Give me a mid-tempo record, something with a bounce, something emotional. Just write a proper love song.” He agreed and went to work on it. After a while, he came back and said, “I’ve written the love song. Do you want to hear it?” I told him yes immediately. Around that same period, we were at Comfort Suites in Festac, and luckily for us, the late legendary producer OJB Jezreel was there that night working with 2Baba. I introduced Solid Star to OJB and told him we really wanted to work with him. OJB welcomed the idea and asked us to come back in a few days. When we got to the appointment, OJB said he wanted to hear the song first.Solidstar sang the song for him, and almost instantly he caught the vision. Within less than 40 minutes, OJB had already created the beat, Solid Star had voiced the track, and the foundation of One in a Million was born. After the recording, OJB looked at me and said something I would never forget: “If you can get 2Face on this song, it will be massive. This sounds like something he would naturally jump on.” That advice changed everything. As soon as I got back to Festac, I took the song to 2Baba. Before he even traveled to Abuja for his 10-year anniversary celebration, he was already vibing heavily to the song. By the time he got to Abuja, he knew the lyrics almost word for word. He told me he already had ideas for what he wanted to add to the record. Then he said something that became another major turning point in Solid Star’s career: “If you don’t mind, bring Solidstar to Abuja to perform.” That Abuja event — 2Face’s 10-year anniversary — became Solid Star’s very first major stage performance. After they returned from Abuja, 2Face called me again and said, “Bring Solo to the house. I want to record my verse.” And that was how the legendary collaboration finally came together. Once the audio was done, I approached Clarence Peters with the song. He listened carefully and immediately said he had a strong visual concept for it. He suggested we travel all the way to Erin Ijesha water falls for the shoot and also involve legendary photographer Kelechi Amadi-Obi in the creative process. Everything sounded incredible — until he gave me the budget. It was a seven-figure production cost, which at that time was a huge risk for us as a growing label. I took the proposal back to my directors and explained everything to them. After deliberating, we all agreed on one thing: “Let’s give it a shot.” And that was how we traveled toOsun state and shot the iconic One in a Million video. On another note, I’ll still tell the full story of how I eventually got 2Baba to personally appear in that video.
0:44

What many people don’t know is that between 2007 and 2009, Solid Star recorded a lot of songs, but as the A&R and CEO of the label, I knew something was still missing. The talent was obvious, the vocals were amazing, but there was a particular spark I was searching for that I hadn’t heard yet in any of the records. One day, I called him and said, “Look, I don’t want another fast-tempo song. I need something different. Give me a mid-tempo record, something with a bounce, something emotional. Just write a proper love song.” He agreed and went to work on it. After a while, he came back and said, “I’ve written the love song. Do you want to hear it?” I told him yes immediately. Around that same period, we were at Comfort Suites in Festac, and luckily for us, the late legendary producer OJB Jezreel was there that night working with 2Baba. I introduced Solid Star to OJB and told him we really wanted to work with him. OJB welcomed the idea and asked us to come back in a few days. When we got to the appointment, OJB said he wanted to hear the song first.Solidstar sang the song for him, and almost instantly he caught the vision. Within less than 40 minutes, OJB had already created the beat, Solid Star had voiced the track, and the foundation of One in a Million was born. After the recording, OJB looked at me and said something I would never forget: “If you can get 2Face on this song, it will be massive. This sounds like something he would naturally jump on.” That advice changed everything. As soon as I got back to Festac, I took the song to 2Baba. Before he even traveled to Abuja for his 10-year anniversary celebration, he was already vibing heavily to the song. By the time he got to Abuja, he knew the lyrics almost word for word. He told me he already had ideas for what he wanted to add to the record. Then he said something that became another major turning point in Solid Star’s career: “If you don’t mind, bring Solidstar to Abuja to perform.” That Abuja event — 2Face’s 10-year anniversary — became Solid Star’s very first major stage performance. After they returned from Abuja, 2Face called me again and said, “Bring Solo to the house. I want to record my verse.” And that was how the legendary collaboration finally came together. Once the audio was done, I approached Clarence Peters with the song. He listened carefully and immediately said he had a strong visual concept for it. He suggested we travel all the way to Erin Ijesha water falls for the shoot and also involve legendary photographer Kelechi Amadi-Obi in the creative process. Everything sounded incredible — until he gave me the budget. It was a seven-figure production cost, which at that time was a huge risk for us as a growing label. I took the proposal back to my directors and explained everything to them. After deliberating, we all agreed on one thing: “Let’s give it a shot.” And that was how we traveled toOsun state and shot the iconic One in a Million video. On another note, I’ll still tell the full story of how I eventually got 2Baba to personally appear in that video.

Chiori Paul Cole

49,248 views • 3 months ago

tripleS’ Dahyun and DJ Kim Shinyoung talk about Taeyeon on radio 📻 💌💜 Dahyun: (reading message from viewer) I heard our Dahyun's role model is Taeyeon sunbaenim. Since you're Taeyeon's close friend, Shin-DJ, could you play matchmaker and build a bridge between them? Shinyoung: Ah really, are you a Taeyeon kid? (meaning grew up being influenced by Taeyeon) Dahyun: I really really love her! Shinyoung: Since when have you liked her? Dahyun: Since my first year of middle school. Shinyoung: If it was then… which song got you into her? Dahyun: It was when ‘I’ came out. Shinyoung: What really gives me goosebumps right now is that you were in middle school when ‘I’ came out! (…) What was the moment that made you fall for her as a fan? Dahyun: At the beginning, I watched the music video, as soon as I saw it, I don’t know, it was like why is my heart beating? I felt like this. Shinyoung: It’s a romantic comic. Dahyun: It was a difficult time for me, I was thinking ‘I want to be an idol, but I don’t have the confidence’ it was a time like that. When I heard her voice, it gave me a lot of comfort, I got the hope to live. Shinyoung: Ah, so it was comforting to you. Then let’s give a voice letter to Taengoo Taengoo Kim Taengoo! Dahyun: Taeyeon sunbaenim, hello! I’m the main vocalist Seo Dahyun of tripleS! I really hope you see this. I’m so nervous that a day like this has come so I can say this. I really love you so so so much. I listen to your songs about 5 times a day before sleeping. If it weren’t for Taeyeon sunbaenim, I can’t even predict what I would be doing right now. If I get the chance next time, I want to do a duet with you! I love you!
2:00

tripleS’ Dahyun and DJ Kim Shinyoung talk about Taeyeon on radio 📻 💌💜 Dahyun: (reading message from viewer) I heard our Dahyun's role model is Taeyeon sunbaenim. Since you're Taeyeon's close friend, Shin-DJ, could you play matchmaker and build a bridge between them? Shinyoung: Ah really, are you a Taeyeon kid? (meaning grew up being influenced by Taeyeon) Dahyun: I really really love her! Shinyoung: Since when have you liked her? Dahyun: Since my first year of middle school. Shinyoung: If it was then… which song got you into her? Dahyun: It was when ‘I’ came out. Shinyoung: What really gives me goosebumps right now is that you were in middle school when ‘I’ came out! (…) What was the moment that made you fall for her as a fan? Dahyun: At the beginning, I watched the music video, as soon as I saw it, I don’t know, it was like why is my heart beating? I felt like this. Shinyoung: It’s a romantic comic. Dahyun: It was a difficult time for me, I was thinking ‘I want to be an idol, but I don’t have the confidence’ it was a time like that. When I heard her voice, it gave me a lot of comfort, I got the hope to live. Shinyoung: Ah, so it was comforting to you. Then let’s give a voice letter to Taengoo Taengoo Kim Taengoo! Dahyun: Taeyeon sunbaenim, hello! I’m the main vocalist Seo Dahyun of tripleS! I really hope you see this. I’m so nervous that a day like this has come so I can say this. I really love you so so so much. I listen to your songs about 5 times a day before sleeping. If it weren’t for Taeyeon sunbaenim, I can’t even predict what I would be doing right now. If I get the chance next time, I want to do a duet with you! I love you!

TAEYEON UPDATES

23,156 views • 2 months ago