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Recapping everything we know + some new expectations about the 2026 NFL Rivalries uniforms so far, with first official teasers set for this Friday! Teasers: Aug. 21 Reveal: Aug. 25 Weeks they’ll be worn 👉 Pre-teaser expectations👇 Packers: “vintage green” Vikings: darker purple w/ Celtic patterns Lions: silver-based w/...

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Zach Cohen

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82,601 次观看 • 1 个月前 •via X (Twitter)

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Thought experiment for people regarding the concept of Absolute Time. Absolute means NO EXCEPTIONS. We are NOT looking back in time when we see galaxies and stars. We are NOT looking back in time 1.25 seconds when we see the moon. We're Not looking back in time 3 minutes when we see Mars. We're Not looking back in time 8.33 minutes when we see the Sun. If an astronaut lit a matchstick on Mars, the distant observer would see predator heat waves at the top of the matchstick in real-time while the matchstick started to blacken towards the astronaut's fingers. But there would be no orange light from that chemical reaction or flame seen. If the matchstick burnt out before the packet of orange light from that particular chemical reaction made it to Earth… then the distant observer would just see a disembodied orange flash of light with a lag. But the Earth-bound observer would never actually see the flame associated with the orange wavelength it put out. The wavelength of color emitted by the flame is not a recording of reality. If the orange light is 650 Thz, that means there are 650 trillion individual and separate bursts of orange light pulsating in 1 second. NOT that "the same light" is "waving" 650 trillion times a second and that light is a recording of reality. There are 650 trillion brand-new lights flashing in 1 second. Each Hertz is a brand-new emission and packet unto itself. Time does not re-emit 650 trillion times a second, nor is a photon a particle or a packet of reality acting like the frame of a reel of footage. The orange light that already left the flame will continue to propagate out until it meets the electrons making up the distant observer. But remember, it is never the same light within that packet. And the electrons making up the observer will absorb all of those different lights within that packet and re-emit brand-new lights that produce the product of illumination. A photon is a massless packet of energy, spherically expanding at the rate of c from the source it comes from. Illumination is the result of that energy being absorbed and RE-emitted by any other electrons that did not output that primary packet. But time is not associated with the same light. It's never the same light and time does not re-emit between packets. Time is not relative. Do NOT allow your mind Carte Blanche to think along the lines of relative time. DROP IT for this thought experiment. We are thinking along the lines of ABSOLUTE TIME/ Galilean VARIANCE. What does absolute time mean? It means time is constant in ALL frames of reference. Any frequency shifts between atomic clocks IS a literal change in the speed of light. But relativity forbids the speed of light from Ever changing, so relativity (Lorentz INVARIANCE) invented the concept of the 4th dimension and space-time. Because Relativity doesn't allow light speed to shift.. they interpret the same frequency shift between atomic clocks as being conclusive, irrefutable evidence that time and reality itself shifts. Rather than say it's just that ONE clock being affected by Earth's gravity and the oscillation of that ONE cesium clock is being altered compared to other clocks. People don't realize that in relativity... time dilation is SYMMETRICAL! Not even most relativists know their own theory. If Clock A and Clock B are synchronized and together... and then they accelerate apart... Einstein said Clock A would see Clock B as being slower itself. And Clock B would view Clock A as slower than ITself. NOT that only one observer would see back in time and the other would see forward or not at all. No... BOTH observers are supposed to see each other BACK in time relative to each other according to Einstein and the consequence of the math. It doesn't make ANY sense!! But relativists toss that part of time dilation under their 4th dimensional rug. The rug is woven from threads of gold that only the smart people can see apparently. So... here's a thought experiment/ Gedankenexperiment for absolute time. NO paradoxes... no nonsense or confusion. What do you see in a club? You see disco lights changing and a color wheel effect. You see everyone in REAL-TIME. Not just because they are so close to the lights. Light is not a recording of reality. Light is simply color. Illuminating reality in a certain color. Just because you can't see something yet or the color hasn't reached you doesn't mean it isn't happening in real-time. Zoom out and look at the people in the club through binoculars a mile away. You are still looking at them in real-time. The colors are shifting with a delay in the club. Now look at the club through a telescope from the surface of the moon. You're still looking at the people in real-time. But now there is a lag of the colors shifting by 1.25 seconds because it takes light 1.25 seconds to travel from the Earth to the moon. Now look at the club through an even bigger telescope from the surface of Mars. You're still looking at the people in real-time, but now there is a lag of the colors shifting by 3 minutes because it takes light 3 minutes to travel from Earth to Mars. fr you are a third hypothetical observer zoomed out and watching the person from Mars AND seeing the club on Earth... you're still seeing everything happening in real-time as well. But you see the colored wavepackets traveling with a delay to the observer on Mars. And the disco color wheel effect is just lagging before it affects the observer from Mars and the observer on the Moon. It doesn't matter how far you zoom out! There is only now to observe. But there WILL be a lag and delay for a given color/wavepacket to reach distant observers. But all points in space are already illuminated by other starlight. So if you're too far away... you'll just see the club in real-time but without any disco lights. Just see them in white light because that's the source already illuminating the scene. This is where it gets the most difficult because people think light itself is a recording of reality that replays a scene from where it came from. But another punch in the gut of relativity is that in order to see REFLECTED light... that would require a TWO-WAY transit. Which means the light would have to be sent out... record the scene of a distant event and then RETURN in order to REplay the event. Which means it would take 6 minutes to see the club from Mars by that logic and 2.5 seconds to see the club from the moon by that logic. The difference in tick rates between clocks has NOTHING to do with time dilation. Wait.. what?! How can that be? Because a clock itself doesn't represent all of time and reality. The difference between clocks is a "Transverse relative time shift." If the only light in the universe was from the lighter… the only way a distant observer would be able to see the astronaut on Mars is if the astronaut held down the button of the lighter for longer than 3 minutes. It takes 3 minutes for the packet of light to travel from Mars to Earth. The distant observer would never be able to see Mars, unless the light stretched from Mars all the way to Earth, and illuminated the path between Mars and Earth. And that would take 3 minutes for the boundary and first part of that wave packet to reach Earth. But if the distant observer wanted to observe Mars in real-time… then that packet of light would have to be on for longer than 3 minutes. So if the astronaut on Mars flicked the lighter at 12:00, the distant observer on Earth wouldn't see anything until 12:03. If the light was on for 3 minutes and 10 seconds, and the distant observer is 3 light minutes away... the distant observer would be able to see Mars in real-time for 10 seconds starting at 12:03. In the 20 second video clip of the rotating planet with shifting colors... just imagine you're a couple light minutes or light seconds away. You're still seeing the planet spin in real-time. But there is simply a delay of switching colors. You are Not looking back in time. It's just a color wheel effect from a great distance away. That's it!! There are many major flaws which tarnish people's critical thinking on this thought experiment. 1. Light does NOT ricochet or bounce. Electrons absorb, emit and re-emit ALL electromagnetic radiation. The electrons, making up the glass of a mirror will absorb the incoming light and re-emit a brand-new light as an equal and opposite reaction. NOT that "the same light" bounced off the mirror and continued on within the same frame of reference.  2. Light is NOT a recording of reality. 3. It is NOT the same light being observed from a source. It's never the same light. Each Hertz is a new light. Think of half of a sine wave as being its own emission. On an oscilloscope, a stimulus generates a peak which initiates an equal and opposite trough. Or vice versa. That repeating process is not "the same light." If you cut and paste that sine wave to another sine wave, the boundary between the waves will always be in phase. (thus refraction) 4. The speed of light is NOT the same in ALL frames of reference, no matter what. 5. Light is NOT made of particles and waves that flip back-and-forth. 6. Time is NOT connected to the speed of light. Time remains constant regardless if you accelerate towards or away from a clock. The clocks themselves will indeed be off! But that's an affect on the electrons making up the atomic clock affecting the oscillation of the isotope which is ASSUMED to ALWAYS be the same. So ANY difference in oscillation is treated as a literal distortion in space-time. 7. Space and time are not linked at all. That is a mathematical artifice under Lorentz invariance. Time is relative under Lorentz invariance. But time is absolute under Galilean VARIANCE. When people hear or see the word GALILEAN... their brains switch to auto pilot to "aether theory" and "classical physics." What people don't realize is that aether theory used Galilean INVARIANCE. Rather than space-time being used as an excuse to explain the difference in frequencies between atomic clocks... it was originally aether being used as an excuse to keep the speed of light the same. But None of those things are valid! We are thinking under the framework of Galilean VARIANCE! Completely new revolutionary model returning to Isaac Newton and Classical physics but without the corpuscular theory (particle) theory for light... without a particle-wave duality... without an aether... without a 4th dimension. Just good ol elementary math within 3D Euclidean space. Everything happening in real-time, right now. This reformulation of Galilean transformations was offered by Dr. Edward Dowdye in 1991 called The Extinction Shift Principle. Effectivity as opposed to Relativity. If light required a two-way transit, in order to travel out… Record an event, and travel back to replay the recording…  then it would take 6 minutes to see the astronaut on Mars instead of 3.  Remember… They say the SAME light is a recording, and must travel there and travel back in order to REplay. Relativity says time is relative: t' ≠ t time is NOT the same from all frames of reference) and t = tₒ / √1 - v²/c² but Galilean Variance says time is not relative: t' = t (Time IS the same from all frames of reference) and τ_tr = τₒ / √1 - v²/c² Relativity says c' = c (The velocity of light is the same from all frames of reference) but Galilean variance says c' ≠ c (The velocity of light is NOT the same from all frames of reference) and that c' = c ± v (The velocity of light in one frame of reference is dependent upon the velocity of the light source relative to an observer in another frame of reference. Whether that light source is approaching or receding away from that observer) Relativity says E = mc² (Energy and mass are universally equivalent and literally interchangeable under All conditions.) but Galilean variance says E = Δmc² = mₒc² (Energy changes in a system are the result from changes in mass. mₒ represents the original mass. Mass and energy do not literally interchange. There is an equivalence, not an interchange.) The Rebirth of Classical Physics: Time, Light & Gravity Star light and illumination: Flicking a Lighter on Mars visual example:
0:21

Thought experiment for people regarding the concept of Absolute Time. Absolute means NO EXCEPTIONS. We are NOT looking back in time when we see galaxies and stars. We are NOT looking back in time 1.25 seconds when we see the moon. We're Not looking back in time 3 minutes when we see Mars. We're Not looking back in time 8.33 minutes when we see the Sun. If an astronaut lit a matchstick on Mars, the distant observer would see predator heat waves at the top of the matchstick in real-time while the matchstick started to blacken towards the astronaut's fingers. But there would be no orange light from that chemical reaction or flame seen. If the matchstick burnt out before the packet of orange light from that particular chemical reaction made it to Earth… then the distant observer would just see a disembodied orange flash of light with a lag. But the Earth-bound observer would never actually see the flame associated with the orange wavelength it put out. The wavelength of color emitted by the flame is not a recording of reality. If the orange light is 650 Thz, that means there are 650 trillion individual and separate bursts of orange light pulsating in 1 second. NOT that "the same light" is "waving" 650 trillion times a second and that light is a recording of reality. There are 650 trillion brand-new lights flashing in 1 second. Each Hertz is a brand-new emission and packet unto itself. Time does not re-emit 650 trillion times a second, nor is a photon a particle or a packet of reality acting like the frame of a reel of footage. The orange light that already left the flame will continue to propagate out until it meets the electrons making up the distant observer. But remember, it is never the same light within that packet. And the electrons making up the observer will absorb all of those different lights within that packet and re-emit brand-new lights that produce the product of illumination. A photon is a massless packet of energy, spherically expanding at the rate of c from the source it comes from. Illumination is the result of that energy being absorbed and RE-emitted by any other electrons that did not output that primary packet. But time is not associated with the same light. It's never the same light and time does not re-emit between packets. Time is not relative. Do NOT allow your mind Carte Blanche to think along the lines of relative time. DROP IT for this thought experiment. We are thinking along the lines of ABSOLUTE TIME/ Galilean VARIANCE. What does absolute time mean? It means time is constant in ALL frames of reference. Any frequency shifts between atomic clocks IS a literal change in the speed of light. But relativity forbids the speed of light from Ever changing, so relativity (Lorentz INVARIANCE) invented the concept of the 4th dimension and space-time. Because Relativity doesn't allow light speed to shift.. they interpret the same frequency shift between atomic clocks as being conclusive, irrefutable evidence that time and reality itself shifts. Rather than say it's just that ONE clock being affected by Earth's gravity and the oscillation of that ONE cesium clock is being altered compared to other clocks. People don't realize that in relativity... time dilation is SYMMETRICAL! Not even most relativists know their own theory. If Clock A and Clock B are synchronized and together... and then they accelerate apart... Einstein said Clock A would see Clock B as being slower itself. And Clock B would view Clock A as slower than ITself. NOT that only one observer would see back in time and the other would see forward or not at all. No... BOTH observers are supposed to see each other BACK in time relative to each other according to Einstein and the consequence of the math. It doesn't make ANY sense!! But relativists toss that part of time dilation under their 4th dimensional rug. The rug is woven from threads of gold that only the smart people can see apparently. So... here's a thought experiment/ Gedankenexperiment for absolute time. NO paradoxes... no nonsense or confusion. What do you see in a club? You see disco lights changing and a color wheel effect. You see everyone in REAL-TIME. Not just because they are so close to the lights. Light is not a recording of reality. Light is simply color. Illuminating reality in a certain color. Just because you can't see something yet or the color hasn't reached you doesn't mean it isn't happening in real-time. Zoom out and look at the people in the club through binoculars a mile away. You are still looking at them in real-time. The colors are shifting with a delay in the club. Now look at the club through a telescope from the surface of the moon. You're still looking at the people in real-time. But now there is a lag of the colors shifting by 1.25 seconds because it takes light 1.25 seconds to travel from the Earth to the moon. Now look at the club through an even bigger telescope from the surface of Mars. You're still looking at the people in real-time, but now there is a lag of the colors shifting by 3 minutes because it takes light 3 minutes to travel from Earth to Mars. fr you are a third hypothetical observer zoomed out and watching the person from Mars AND seeing the club on Earth... you're still seeing everything happening in real-time as well. But you see the colored wavepackets traveling with a delay to the observer on Mars. And the disco color wheel effect is just lagging before it affects the observer from Mars and the observer on the Moon. It doesn't matter how far you zoom out! There is only now to observe. But there WILL be a lag and delay for a given color/wavepacket to reach distant observers. But all points in space are already illuminated by other starlight. So if you're too far away... you'll just see the club in real-time but without any disco lights. Just see them in white light because that's the source already illuminating the scene. This is where it gets the most difficult because people think light itself is a recording of reality that replays a scene from where it came from. But another punch in the gut of relativity is that in order to see REFLECTED light... that would require a TWO-WAY transit. Which means the light would have to be sent out... record the scene of a distant event and then RETURN in order to REplay the event. Which means it would take 6 minutes to see the club from Mars by that logic and 2.5 seconds to see the club from the moon by that logic. The difference in tick rates between clocks has NOTHING to do with time dilation. Wait.. what?! How can that be? Because a clock itself doesn't represent all of time and reality. The difference between clocks is a "Transverse relative time shift." If the only light in the universe was from the lighter… the only way a distant observer would be able to see the astronaut on Mars is if the astronaut held down the button of the lighter for longer than 3 minutes. It takes 3 minutes for the packet of light to travel from Mars to Earth. The distant observer would never be able to see Mars, unless the light stretched from Mars all the way to Earth, and illuminated the path between Mars and Earth. And that would take 3 minutes for the boundary and first part of that wave packet to reach Earth. But if the distant observer wanted to observe Mars in real-time… then that packet of light would have to be on for longer than 3 minutes. So if the astronaut on Mars flicked the lighter at 12:00, the distant observer on Earth wouldn't see anything until 12:03. If the light was on for 3 minutes and 10 seconds, and the distant observer is 3 light minutes away... the distant observer would be able to see Mars in real-time for 10 seconds starting at 12:03. In the 20 second video clip of the rotating planet with shifting colors... just imagine you're a couple light minutes or light seconds away. You're still seeing the planet spin in real-time. But there is simply a delay of switching colors. You are Not looking back in time. It's just a color wheel effect from a great distance away. That's it!! There are many major flaws which tarnish people's critical thinking on this thought experiment. 1. Light does NOT ricochet or bounce. Electrons absorb, emit and re-emit ALL electromagnetic radiation. The electrons, making up the glass of a mirror will absorb the incoming light and re-emit a brand-new light as an equal and opposite reaction. NOT that "the same light" bounced off the mirror and continued on within the same frame of reference.  2. Light is NOT a recording of reality. 3. It is NOT the same light being observed from a source. It's never the same light. Each Hertz is a new light. Think of half of a sine wave as being its own emission. On an oscilloscope, a stimulus generates a peak which initiates an equal and opposite trough. Or vice versa. That repeating process is not "the same light." If you cut and paste that sine wave to another sine wave, the boundary between the waves will always be in phase. (thus refraction) 4. The speed of light is NOT the same in ALL frames of reference, no matter what. 5. Light is NOT made of particles and waves that flip back-and-forth. 6. Time is NOT connected to the speed of light. Time remains constant regardless if you accelerate towards or away from a clock. The clocks themselves will indeed be off! But that's an affect on the electrons making up the atomic clock affecting the oscillation of the isotope which is ASSUMED to ALWAYS be the same. So ANY difference in oscillation is treated as a literal distortion in space-time. 7. Space and time are not linked at all. That is a mathematical artifice under Lorentz invariance. Time is relative under Lorentz invariance. But time is absolute under Galilean VARIANCE. When people hear or see the word GALILEAN... their brains switch to auto pilot to "aether theory" and "classical physics." What people don't realize is that aether theory used Galilean INVARIANCE. Rather than space-time being used as an excuse to explain the difference in frequencies between atomic clocks... it was originally aether being used as an excuse to keep the speed of light the same. But None of those things are valid! We are thinking under the framework of Galilean VARIANCE! Completely new revolutionary model returning to Isaac Newton and Classical physics but without the corpuscular theory (particle) theory for light... without a particle-wave duality... without an aether... without a 4th dimension. Just good ol elementary math within 3D Euclidean space. Everything happening in real-time, right now. This reformulation of Galilean transformations was offered by Dr. Edward Dowdye in 1991 called The Extinction Shift Principle. Effectivity as opposed to Relativity. If light required a two-way transit, in order to travel out… Record an event, and travel back to replay the recording…  then it would take 6 minutes to see the astronaut on Mars instead of 3.  Remember… They say the SAME light is a recording, and must travel there and travel back in order to REplay. Relativity says time is relative: t' ≠ t time is NOT the same from all frames of reference) and t = tₒ / √1 - v²/c² but Galilean Variance says time is not relative: t' = t (Time IS the same from all frames of reference) and τ_tr = τₒ / √1 - v²/c² Relativity says c' = c (The velocity of light is the same from all frames of reference) but Galilean variance says c' ≠ c (The velocity of light is NOT the same from all frames of reference) and that c' = c ± v (The velocity of light in one frame of reference is dependent upon the velocity of the light source relative to an observer in another frame of reference. Whether that light source is approaching or receding away from that observer) Relativity says E = mc² (Energy and mass are universally equivalent and literally interchangeable under All conditions.) but Galilean variance says E = Δmc² = mₒc² (Energy changes in a system are the result from changes in mass. mₒ represents the original mass. Mass and energy do not literally interchange. There is an equivalence, not an interchange.) The Rebirth of Classical Physics: Time, Light & Gravity Star light and illumination: Flicking a Lighter on Mars visual example:

TheRealVerbz (Jason Verbelli)

24,471 次观看 • 2 年前

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

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

1tokki

17,635 次观看 • 1 年前

"What NewJeans Wanted to Say" [Full transcript translated to English] 240911 19:00 KST Hyein: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. Minji: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Hee-jin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. Danielle: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Hee-jin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Hee-jin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Hee-jin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. Haerin: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Hee-jin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. Hanni: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. Minji: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about how many more similar incidents might occur in the future and whether we’ll be subtly ostracized without anyone there to protect us. Hanni: I hope no one else has to go through something like that, but since it’s already happened once, I can’t help but feel scared that other members might experience the same thing. I spoke to the new CEO about it, but since I didn’t have evidence and it was considered too late, they seemed to brush it off, making me feel like there’s no one left to protect us. It really felt like the concern for us was gone, and even though I was being honest, it made me feel like I was suddenly being treated as a liar. Before, Min Hee-jin, our previous CEO, used to take care of us a lot. But now, while the new people say they’ll help, it’s just been months of excuses... excuses... excuses... They keep saying that it’s something they can’t resolve. But this is something that I personally went through and experienced, yet they are trying to dismiss it as if it’s my fault. I’m worried and scared about what might happen next. Minji: Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. Hanni: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Hee-jin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. Minji: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. Danielle: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Hee-jin Daepyonim, as we have done so far. Haerin: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. Hyein: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. Minji: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. Hanni: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow HYBE's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Hee-jin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Hee-jin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. Hyein: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. Danielle: From a human perspective, I hope you stop harassing our CEO, Min Hee-jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. Minji: What we want is the original ADOR, where CEO Min Hee-jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. NewJeans: Thank you. #NewJeans_Never_Die #NeverForget
27:11

"What NewJeans Wanted to Say" [Full transcript translated to English] 240911 19:00 KST Hyein: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. Minji: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Hee-jin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. Danielle: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Hee-jin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Hee-jin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Hee-jin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. Haerin: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Hee-jin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. Hanni: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. Minji: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about how many more similar incidents might occur in the future and whether we’ll be subtly ostracized without anyone there to protect us. Hanni: I hope no one else has to go through something like that, but since it’s already happened once, I can’t help but feel scared that other members might experience the same thing. I spoke to the new CEO about it, but since I didn’t have evidence and it was considered too late, they seemed to brush it off, making me feel like there’s no one left to protect us. It really felt like the concern for us was gone, and even though I was being honest, it made me feel like I was suddenly being treated as a liar. Before, Min Hee-jin, our previous CEO, used to take care of us a lot. But now, while the new people say they’ll help, it’s just been months of excuses... excuses... excuses... They keep saying that it’s something they can’t resolve. But this is something that I personally went through and experienced, yet they are trying to dismiss it as if it’s my fault. I’m worried and scared about what might happen next. Minji: Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. Hanni: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Hee-jin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. Minji: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. Danielle: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Hee-jin Daepyonim, as we have done so far. Haerin: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. Hyein: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. Minji: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. Hanni: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow HYBE's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Hee-jin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Hee-jin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. Hyein: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. Danielle: From a human perspective, I hope you stop harassing our CEO, Min Hee-jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. Minji: What we want is the original ADOR, where CEO Min Hee-jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. NewJeans: Thank you. #NewJeans_Never_Die #NeverForget

1tokki

19,445 次观看 • 10 个月前

Stargate Trivia: Casting Stargate: Atlantis While SG-1 was my first love (We were together for seven years!), my time on Atlantis proved equally memorable. The show was possessed of a similar tone in its mix of high adventure and humor, yet proved distinct in its exploration of Ancient mythology and an unfamiliar galaxy as seen through the eyes of a new set of heroes. Atlantis offered a sense of wonder and camaraderie born of isolation and constant danger. Whereas team SG-1 could always go home at the conclusion of their adventures, the members of the Atlantis expedition (at least for those first few seasons) could only draw comfort from the city of Atlantis itself – and, of course, each other. It was unique and compelling yet, at the same time, comfortingly familiar. Nowhere is this more evident than in its opening theme, composed by the late Joel Goldsmith, which is, at turns fresh, haunting, stirring and, throughout, discernibly Stargate. Stargate: Atlantis wasn’t envisioned as a companion to Stargate: SG-1. It was intended to replace the long-running series. The only problem was, with eight seasons under its belt, SG-1 wasn’t quite done yet. And fans (and the network) weren’t done with it either. And so, instead of passing the torch and segueing to a new Stargate series, we ended up producing both. In retrospect, it was quite an achievement: 40 hours of television! Today's productions can barely manage a third that output, but Stargates SG-1 and Atlantis delivered two fantastic 40 episode seasons before SG-1 took it’s final bow. It wasn’t easy, but it was certainly made easier by all of the enormously talented individuals who made it happen, from the office staff and crew to the cast and my fellow writer/producers. Still, it was not without its challenges. Take casting, for instance. It may surprise you to know that, when it comes to producing a show, not everybody cares about costumes or set design or whether the script’s fifth act denouement is emotionally satisfying - but everybody, and I do mean EVERYBODY, has an opinion on casting. Studio and network execs, producers, hell, even your significant other peering over your shoulder as you screen the auditions on your home computer, will want to weigh in. Of course, the more voices in the mix the more likely there are to be disagreements. So it is with every production and Atlantis was no different. Different individuals envisioned these characters in very different ways and, as a result, consensus was only achieved after many auditions, calls-backs, heated discussions, and not-so-gentle reminders that our start date was fast-approaching and we really needed someone to say the lines on camera. The part of Carson Beckett was one of the first we cast. The other producers were in Rob’s office, screening the first batch of local auditions when Brad called me in and told me to check out the guy onscreen. I hadn’t imagined Beckett with a Scottish accent but, after watching Paul McGillion in the role, I couldn’t imagine him without one. He’d brought something unexpected to the part, something we all responded to. Elizabeth Weir was not an easy character to pull off. She had to be smart, confident and strong yet needed to exude a certain warmth and empathy we were looking for in the civilian leader of the expedition. When it came time to (re)casting the role, several established names were considered (One had her own hit genre show back in the day while another went on to break out on a hit show soon after), but it was Torri Higginson who managed to strike just the right balance and vault her name to the top of the list. The role of Teyla Emmagan was a tough one to cast. Like Weir, she needed to be a strong, empathetic leader. But she also required something even more important – quite literally, an other-worldly quality that made her unique. Some equally talented actresses auditioned for the role but, as good as they were, they were never quite able to achieve that gravitas Rachel pulled off with such grace and seeming ease. Former VJ Rainbow Sun Francks won the role of Lieutenant Ford on the strength of a great audition, preceded by an equally great audition with a funny hat. I recall Brad Wright on the phone with our casting agent, advising him to ensure there would be no hat worn in the callback for fear the network would fixate on it. There wasn't, they didn't, and Rainbow delivered. The role of John Sheppard was the second to last one cast. It came right down to the wire and there were several candidates in play. The character was originally envisioned as a good ole southern boy, so it only made sense that Ben Browder’s name was bandied about early. However, he was too busy shooting Peacekeeper Wars to warrant consideration. A number of other actors were considered (one went on to play the lead in a hugely popular show the following year while another made his mark as a handsome heart throb on another hugely popular medical series) but it was Joe Flanigan who won the part based on his ability to pull off the devil-may-care attitude Brad and Robert were looking for. We come to the final role cast, a character who, in many ways, embodied everything Atlantis was about: exploration, discovery, fun, humor, and seat-of-your-pants-Holy-Sh&%-how-the-hell-am-I-going-to-get-out-of-this-adventure. And, as I mentioned in a previous post, he almost didn’t make the trip to Pegasus. Originally, the casting call went out for a completely different character, an earnest young doctor who would lend the team much-needed medical support on their off-world ventures. Unfortunately, no one could agree on who that actor should be. If the casting of Sheppard went down to the wire, then the casting of this final role went a step past it. Finally, days away from production, Robert Cooper had an idea: Forget the doctor character. Why not use an established character from SG-1? How about Rodney McKay? The writers were on board, but some executives weren't weren’t sold on the idea. They found him annoying! Hell yeah, but he’d be sooo much fun to write for! Rob got on the phone and went to bat for Rodney, pointing out that the character had come a long way since first being introduced way back in SG-1’s 48 Hours. He’d evolved, going from annoying jerk to endearingly irritating. To this day, I’m convinced that they weren’t totally convinced but, with production poised to commence, they relented, I suppose figuring they could just replace the character somewhere down the line. No one, even those who loved the idea of having the endearingly irritating Rodney McKay on board could have predicted how hugely popular the character would become.
0:57

Stargate Trivia: Casting Stargate: Atlantis While SG-1 was my first love (We were together for seven years!), my time on Atlantis proved equally memorable. The show was possessed of a similar tone in its mix of high adventure and humor, yet proved distinct in its exploration of Ancient mythology and an unfamiliar galaxy as seen through the eyes of a new set of heroes. Atlantis offered a sense of wonder and camaraderie born of isolation and constant danger. Whereas team SG-1 could always go home at the conclusion of their adventures, the members of the Atlantis expedition (at least for those first few seasons) could only draw comfort from the city of Atlantis itself – and, of course, each other. It was unique and compelling yet, at the same time, comfortingly familiar. Nowhere is this more evident than in its opening theme, composed by the late Joel Goldsmith, which is, at turns fresh, haunting, stirring and, throughout, discernibly Stargate. Stargate: Atlantis wasn’t envisioned as a companion to Stargate: SG-1. It was intended to replace the long-running series. The only problem was, with eight seasons under its belt, SG-1 wasn’t quite done yet. And fans (and the network) weren’t done with it either. And so, instead of passing the torch and segueing to a new Stargate series, we ended up producing both. In retrospect, it was quite an achievement: 40 hours of television! Today's productions can barely manage a third that output, but Stargates SG-1 and Atlantis delivered two fantastic 40 episode seasons before SG-1 took it’s final bow. It wasn’t easy, but it was certainly made easier by all of the enormously talented individuals who made it happen, from the office staff and crew to the cast and my fellow writer/producers. Still, it was not without its challenges. Take casting, for instance. It may surprise you to know that, when it comes to producing a show, not everybody cares about costumes or set design or whether the script’s fifth act denouement is emotionally satisfying - but everybody, and I do mean EVERYBODY, has an opinion on casting. Studio and network execs, producers, hell, even your significant other peering over your shoulder as you screen the auditions on your home computer, will want to weigh in. Of course, the more voices in the mix the more likely there are to be disagreements. So it is with every production and Atlantis was no different. Different individuals envisioned these characters in very different ways and, as a result, consensus was only achieved after many auditions, calls-backs, heated discussions, and not-so-gentle reminders that our start date was fast-approaching and we really needed someone to say the lines on camera. The part of Carson Beckett was one of the first we cast. The other producers were in Rob’s office, screening the first batch of local auditions when Brad called me in and told me to check out the guy onscreen. I hadn’t imagined Beckett with a Scottish accent but, after watching Paul McGillion in the role, I couldn’t imagine him without one. He’d brought something unexpected to the part, something we all responded to. Elizabeth Weir was not an easy character to pull off. She had to be smart, confident and strong yet needed to exude a certain warmth and empathy we were looking for in the civilian leader of the expedition. When it came time to (re)casting the role, several established names were considered (One had her own hit genre show back in the day while another went on to break out on a hit show soon after), but it was Torri Higginson who managed to strike just the right balance and vault her name to the top of the list. The role of Teyla Emmagan was a tough one to cast. Like Weir, she needed to be a strong, empathetic leader. But she also required something even more important – quite literally, an other-worldly quality that made her unique. Some equally talented actresses auditioned for the role but, as good as they were, they were never quite able to achieve that gravitas Rachel pulled off with such grace and seeming ease. Former VJ Rainbow Sun Francks won the role of Lieutenant Ford on the strength of a great audition, preceded by an equally great audition with a funny hat. I recall Brad Wright on the phone with our casting agent, advising him to ensure there would be no hat worn in the callback for fear the network would fixate on it. There wasn't, they didn't, and Rainbow delivered. The role of John Sheppard was the second to last one cast. It came right down to the wire and there were several candidates in play. The character was originally envisioned as a good ole southern boy, so it only made sense that Ben Browder’s name was bandied about early. However, he was too busy shooting Peacekeeper Wars to warrant consideration. A number of other actors were considered (one went on to play the lead in a hugely popular show the following year while another made his mark as a handsome heart throb on another hugely popular medical series) but it was Joe Flanigan who won the part based on his ability to pull off the devil-may-care attitude Brad and Robert were looking for. We come to the final role cast, a character who, in many ways, embodied everything Atlantis was about: exploration, discovery, fun, humor, and seat-of-your-pants-Holy-Sh&%-how-the-hell-am-I-going-to-get-out-of-this-adventure. And, as I mentioned in a previous post, he almost didn’t make the trip to Pegasus. Originally, the casting call went out for a completely different character, an earnest young doctor who would lend the team much-needed medical support on their off-world ventures. Unfortunately, no one could agree on who that actor should be. If the casting of Sheppard went down to the wire, then the casting of this final role went a step past it. Finally, days away from production, Robert Cooper had an idea: Forget the doctor character. Why not use an established character from SG-1? How about Rodney McKay? The writers were on board, but some executives weren't weren’t sold on the idea. They found him annoying! Hell yeah, but he’d be sooo much fun to write for! Rob got on the phone and went to bat for Rodney, pointing out that the character had come a long way since first being introduced way back in SG-1’s 48 Hours. He’d evolved, going from annoying jerk to endearingly irritating. To this day, I’m convinced that they weren’t totally convinced but, with production poised to commence, they relented, I suppose figuring they could just replace the character somewhere down the line. No one, even those who loved the idea of having the endearingly irritating Rodney McKay on board could have predicted how hugely popular the character would become.

Joseph Mallozzi 🏴‍☠️

28,063 次观看 • 2 年前

"How do you know you can trust what [a non-human intelligence is] saying?" ~Bigelow Bigelow/Knapp 2: If I Was President, I'd Tell the World We Have Non-Human Craft and Bodies "The President that took on the challenge of Disclosure and of confirmation...is gonna go down in history as having really accomplished something." ~Bigelow Do China and Russia also have non-human bodies and craft? "Oh yeah, freaking yes!" ~Bigelow ~ "You've opened up Pandora's box." ~Bigelow ~ 17:44 (I'm using the KLAS YT video for time stamps. As you'll see, I add a lot to these, so they take forever to put together.) George Knapp (GK): "Would you guess - based on what you know about the topic and how it's been handled over the decades - would you guess that [Trump] had been briefed, or that any other presidents have been briefed? You know that Bill Clinton was not, even though he expressed an interest in it. So at some point, the President has to be told, 'No, we can't tell ya.'" Robert Bigelow (RB): "I think Bush Sr. knew quite a bit because he was the head of the CIA." (Dr. Eric Davis says Bush. Sr. told him some interesting things, including that he (Bush) was partially briefed in 1976 about the alleged 1964 Holloman AFB landing and meeting, and more, when he first became the director of the CIA in 1976. Watch Davis explain it, here. ) ~ RB: "I think Nixon did." (We have the Jackie Gleason story, where Nixon allegedly snuck away from his Secret Service detail and took Gleason to see non-human bodies at Homestead Air Force Base. But that was a claim from his ex-wife, and Gleason, who died in 1987, never said anything about it, on the record. The controversial Larry Warren (Rendlesham) claims Gleason told him the same story, but that's it.) Bigelow: "I think Eisenhower did. So, it's kind of hit and miss over historic...over the period of history as to who has and who hasn't." 18:20 Knapp: "Can you tell us what would be in the briefing document that you left behind? Was it cases? Here's a wave of UFOs, here's a case, here was a crash. Anything like that?" Bigelow: "Yeah, I related conversations I have had with General De Brouwer, who was the chief of the Air Force for Belgium. And there was a very interesting flap that was about 18 months long (1989-1990) with triangular craft. And he was in command of all the Air Force, and he really chased the heck out of these. "And he told me, he said, Bob, 'I'm just burning fuel, and it makes no sense.' He said, 'We're gonna stop because we're not getting anywhere. All we're doing is getting closer, you know, photographs and things, but we're not getting anywhere. We're not getting any information that is really valuable for us to understand anything.'" (I wonder if those were OUR triangles? If so, it's still a solid case/flap of anomalous craft. Dick D'Amato was a longtime (18 years) senior staffer for Senate Democratic Leader Robert C. Byrd of West Virginia.) "Dick D'Amato has returned from Belgium where he met with Colonel De Brouwer, a 'very interesting fellow.' Dick’s conclusion, again, is that the triangular objects are very plain human craft. ~Jacques Vallée's Forbidden Science Volume 4 - November 1992 And then we have this... Jeremy Kenyon Lockyer Corbell: "We hear about all these people on military bases seeing triangles, and you're doing this study, AAWSAP, to try to figure out the physics of how to do that. Do you think it's already been achieved by the U.S. government, or it hasn't, and that's why AAWSAP had a lot of value." Lacatski: "[three-second pause] It hasn't been achieved to its full extent." Video... ~~~ RB: "And I gave [Trump] other examples of where large amounts of witnesses were involved, and so that he could read about these particular [incidents]. And, of course, the one with Fife Simington in '97 was so interesting. Because there you had a governor who was an actual witness, and he made a joke of it on and brought a guy in an alien suit on stage because he was scared to death." GK: "It's the Phoenix Lights case." (Great case for Bigelow to show Trump.) RB: "The Phoenix Lights, which weren't just lights, it was actually friggin' craft, and it came from northern Arizona. I think it started, actually, in southern Nevada, is where the craft began. In the Henderson area (not far from me. ~Joe), I think, somewhere in there. And, so you see this huge triangular craft, gigantic craft, going slowly, and [Symington] was scared to death. "But finally, fast forward 10 years later, and he confesses that he was an eyewitness, but he didn't know what to do. So he was there at a point in time when the dynamic of disclosure could have been forced, and actually, confirmation could have been from a governor of the state like that. He was a credible guy. "So we've had many [incidents] like that in the early 50s, flying over the White House and the Capitol building. We've had so many of those. So, in my report, I included a lot of very dramatic, beyond-a-reasonable-doubt kind of witnesses of exhibitions." GK: "Did you share with him anything about your knowledge of a classified program?" RB: "No." GK: "You got a Top-Secret security clearance, right?" RB: "Yeah" GK: "It was for the AAWSAP program for BAASS." RB: "Right." GK: "Operated under the DIA." RB: "Yeah." GK: "You learned a lot during that program. It's the largest accumulation of UFO info. of any government-funded UFO program ever." RB: "Yeah." GK: "You didn't tell him about it." RB: "It wasn't credible enough, I felt, for him." (Someone on here watched this interview and told me that Bigelow said the AAWSAP data wasn't credible. That is NOT what he said. Not credible enough for Trump, is what he said. And if you read "Skinwalkers at the Pentagon" or listen any of Lacatki's interviews where he talks about UFOs being under a paranormal umbrella, I think Bigelow made the right decision for an 11-minute briefing for someone (Trump) who seems to be struggling (at least in public comments) with the reality of the basics.) RB: "[The AAWSAP data is] just something pertaining to me. And whereas, these other examples are historic, and they're in a lot of literature, they're very famous. The amount of witnesses were huge. We operated under a private situation with the Skinwalker Ranch, and he wouldn't relate to...well, we all had hitchhikers, we all took things home with us. You know, we all saw a lot of stuff. Whether it was at the ranch or where we lived, it didn't make any difference where in the United States we lived. We saw a lot of things, but that wouldn't be relevant for him to be able to relate to that, right?" GK: "Well." RB: "So, why talk about it?" GK: "Yeah, I mean, you know, you're kind of jumping into the deep end of the pool when you get into hitchhikers and skinwalkers." RB: "Yeah." GK: "Maybe for your first big conversation on this topic, that might not be the place to go." RB: "No, you know. And I couldn't even...if he said, 'Oh, I need a beer (Knapp laughs),' I couldn't even give him something to drink. You know, maybe stronger than that. So, I didn't wanna do any, you know." 22:15 GK: "You used the term non-human intelligence in the sentence you gave him. Hey, try this as you're climbing aboard Air Force One. Say that to media, and then, you know, close the door." RB: "Right." GK: "You said non-human intelligence, not ET. Are they the same, and did you share anything with him about what you think it is?" RB: "Well, there have been reports of humans on board, right? But the non-human are more interesting. I mean, if a human's on board and he or she has free reign of the craft, that's pretty damn interesting, right? And you don't know where those people are when they're not on board." (I wonder what cases he's talking about? Travis Walton reported seeing humans with non-humans and John Keel wrote about humans being seen onboard craft.) ~ Bigelow: "But the other ones are...some are scary, you know? It's not surprising, that, in the Universe, everything is [not] gonna look like us. Every intelligent organism is [not] going to look like us. But you have to have... It's also a matter of respect for any really intelligent animal or creature, whatever it is, right? And the more advanced, the more respect because you don't know what they know, and you don't know the future. And they may know. They may know more than just the now." (In interviews (which I can't find right now), Bigelow has hinted at an unstoppable, not-so-rosy future for mankind. Have people in the Legacy programs told him that the NHI have warned us about our doomed future or some cataclysmic event? Or, has Bigelow encountered these non-humans (or humans) and had them make claims about our future?) ~ 23:34 GK: "If you were to have a second conversation with him, would you explain that ET is one idea, but it's not necessarily the only option for a non-human intelligence that's out there?" RB: "You have to tell me first how much time do I have with the second conversation?" GK: "[laughs] Let's make it an hour. You have an hour with the President. What would you tell them about who they are, who they might be?" RB: "Umm... So, I would try to get into the complexity of the relationship. That once you've had confirmation, you know, you've given that text of that little sentence I wrote and quoted there, and you start to go down the path of disclosure, where it's more than than just FLIR videos, and you're seeing other things that are much more crystal clear, you know, in video. "Or, legitimate people in places that you recognize these people, and they're around something, or with some thing, or somebody that's a holy cow, that's wow, you know. That's a very dramatic kind of disclosure about something landing on the lawn somewhere, you know." (I have no idea what he's talking about. Anybody else able to decipher that? Is he saying that there's evidence (that he's seen?) of people that we know (a President or head of state?) hanging with a non-human or next to a downed or landed craft?) RB: "So I think what I would have spent time doing is talking about, how do you establish: You've been in 80 years of denial as a nation, and the world. We have countries who are very upfront, and others that are also in denial. Now you wanna pivot 180 degrees. How do you start that relationship? How do you do that? "And it's not as though that we've ever been in control. We haven't been in control of anything, ever, for this 80 years of modern history. Nothing. We have no ability to control anything." GK: "That's a tough thing to tell the President, right? I would think that would be a tough thing for a President to accept." RB: "Well, you're giving me an hour to talk to him, you said." GK: "[laughs] Yeah, okay." RB: "So I'm using my hour." GK: "All right." 25:46 RB:" So, yeah! So, that's a really intriguing thing is: How do you do that, where do you start? And into a relationship? And I would say more like, well, I would wanna start with, the biggest question I would ask, I would say, what I wanna get from them is... My first question is: What are the chances we are gonna survive ourselves? That we are not going to annihilate ourselves. "Because they already are familiar with a whole lot of other species on a lot of other worlds or other planets. So, chances are they have a pretty good idea of percentage." (That assumes a lot, since we have no idea how long they've been around, what they've seen, or where they're from. Unless...Mr. Bigelow has seen evidence that relates to those questions or heard it from folks who work in the Legacy programs?) RB: "And it's not that we're a spiritual species. You talk to people that have near-death experiences; they're changed for the rest of their life. They've become a spiritual person of a caliber that they've never been. "Well, we're a long way, as an average, from that category, from that level. There are monsters among us, as human beings, and they're angelic people among us. So we are a danger to another species, we're potentially the Klingons. We have a technological maturity that is not just going on a line, but it's vertical and it's segmented because it's jumping. "And meanwhile, our spiritual maturity just bumps along the bottom, you know? So, we look at the 20th century; 60 million people were killed. Are we ever gonna get beyond that? So, the thing of it is, we know so little about how to have a relationship. I'm not in any position to really advise, except for the few ideas I have as to where to start, and the how is really super important. 27:49 "It's not gonna be like a 'Close Encounter of the Third, Kind,' which was a really cool movie. And it's not gonna be because of SETI. You know, it's gonna be by some other kinds of means that you're embarking on. And I'm interested in that kind of research." 28:06 GK: "We go back to your meeting with the President. You walk into the Oval Office, they clear off the Resolute Desk, you spread out your seven piles of stuff, and you start making a presentation about each one, in particular about ET, non-human intelligence. You can't say what he said to you. Can you say whether he asked questions? Was he curious?" RB: "He was distracted by other things. So, he also asked me... He did ask questions, but he asked questions about other stuff that wasn't necessarily just on what I was talking about." GK: "He's getting your input on other things going on in the world." RB: "Yeah, yeah." 28:49 GK: "If you had to make a guess, would you guess that you got through to him on this issue? I mean, he hasn't stood in the doorway of Air Force One and made those remarks yet, but he has taken some pretty dramatic steps on this topic since you met with him. Do you think you made a dent?" RB: "Don't know. I advised him on something that I can measure, and he hasn't taken my advice so far on what I suggested to him, on a totally different, unrelated subject. But so far, he has not taken my advice." GK: Well, somebody seems to have got through to him, because he's been taking steps that we're seeing real results. I mean, people are either..." RB: "Well, I'm talking about an unrelated subject altogether. So, yes, there there are a couple of different task forces that are involved. So, there is an initiation of an activity in this subject, [but] it remains to be seen, though, that he gives actual presidential confirmation. I don't, I haven't... Maybe you're more aware than I am. Has that been...has he done that?" GK: "Not, not really. Nothing like what I'd call confirmation. But that's really what you're talking about. I remember us having a conversation in 2008, right after you had signed the contract with DIA for BAASS to run [AAWSAP]. And you made the case then that what we need is not Disclosure; it's confirmation." RB: "Yeah." 30:25 GK: "For somebody like the President, I'm not sure if it could be anyone less than the President that steps forward and says this, and it carries the same kind of weight." RB: "Yeah. It's a big appetizer. You know, you're looking for the entree, and where's the dessert in this whole buffet? But the confirmation is a huge appetizer to start with, and that's why I started with that in my conversation with him. Is, pushing him to try and make a confirmation. And maybe he wants to get personally more comfortable?" (I have said that I want the entire enchilada NOW, but I'm also a realist, and would take a simple confirmation that somebody else is on this planet with us. That SHOULD wake up the mainstream media and masses, but no guarantees since Trump is so controversial and people might just ignore it, IF he ever did it. I've also said that I'd surround him with people like Schumer, Rubio, Rounds and Gillibrand in order to show that it's bipartisan. And a few firsthand whistleblowers who say they worked hands on, IN one of these alleged Legacy UFO/UAP programs.) 30:57 Bigelow: "And, you know, he will go down in history for a lot of things, for better or worse, that people are on both sides of the fence about him and so forth. But he's involved in so many different things and has been, that I don't know what his legacy is gonna be, I really don't. "He has an opportunity, in this serious subject, to build a legacy using this as part of the blocks, part of the brick and the structure...the content of a structure that is very unique. So, you can have all the political programs that you want, and so forth, and nobody is gonna really remember those as time goes by, as the decades fade away. "Nobody can remember Benghazi and Afghanistan and Iraq, different kinds of things, and that's just recent history. You know, the world goes so fast. But the President that took on the challenge of Disclosure and of confirmation, and actually built a satisfactory conclusion of a relationship between human beings and that subject is gonna go down in history as having really accomplished something. And if it's handled right, it can be done successfully." (To me, it's a no brainer. His presidency would go down as one that changed the world and our species. Or course, I'm sure he has people in his ear telling him that confirmation would cause societal disruption that we're not prepared to handle, and that THAT would be his legacy.) (32:21) GK: "A lot of Presidents have made comments, often after they're out of office, on this topic. 'Yeah, gosh, I'm real interested in that.' Or, 'Wouldn't that be something?' Or, 'I think aliens could exist.' Something like that. But nothing like what you're talking about, which amounts to confirmation, saying, 'It's real. They're here. We gotta figure it out,' and stopping it there, not disclosing..." RB: "Well, the dialogue, the ability to learn something from them is huge. What can we do for you? I mean, that's where...one of the first things I would ask is, not just, are we going to survive ourselves? Yeah, that's pretty damn important. That's like, probably number one, you know? "But close behind that is: Okay, we've been aware of you for a long time, and the government's never admitted it. But us as a public, we know it, and we're really curious. Is there anything that we can do for you? Not just what can you do... I loved what John Kennedy, what he said famously: Don't ask what the country can do for you, ask what you can do for your country. That huge. So that's giving them a kind of a respect that they deserve." (Do they deserve respect? I'm not so sure. It all depends on if they're upfront with us and tell us their true intentions. Of course, how do we know they're telling us the truth? Why have you (or some of you) been abducting us against our will, and injuring some of us? See Jim Semivan's abduction story with his wife. "I don't think [the phenomenon] cares whether it does harm. I think it may go out of its way not to do harm, but, if it does harm... "I had a hole in the back of my neck, and my wife...unexplained bleeding for 17 days." ~Former CIA Officer, Jim Semivan to Engaging The Phenomenon ~ 33:33 GK: "If you were President, would you announce that yes, we've got crash retrievals, yes, we have reverse engineering programs, and yes, we've got bodies?" RB: "Yeah, because the rest of the world already knows that. The people that count in Russia and China already know." GK: "Because they've got their own." RB: "Oh yeah, freaking yes! Yeah! They've had their missiles shut down, they've had their missiles activated. You know, depending on which country you're talking about." 33:56 GK: "Have you considered the political fallout for a President? Let's say it's Trump, because he might be the guy that would do it and just cast his fate to the winds. But, he makes an announcement: 'Yeah, they're here. Yeah, we've got programs. Yeah, we've got crashes, we've got bodies. That's as far as I'm able to go right now.' What happens to him, politically? Is he able to get anything else done?" RB: "That's more than I would have said, for him to say. What you just said." GK: "That goes too far." RB: "I wouldn't advise him to say, initially, what you just said." GK: "You just say, non-human intelligence, been here a long time, and leave it at that." RB: "Yeah, that one sentence is a starter because it's a huge canon. You've opened up Pandora's box, in terms of, 'Oh my gosh, what's gonna happen?' Okay. So now, you can categorize and segment into topics. And you need time to do that, and it needs to be digestible." ~ “I have met with people who I know are in the know. One of them told me the truth is indigestible.” ~Jim Semivan to James Iandoli ~ RB: "And it needs to be not packaged in a scary kind of way, and it can't be packaged in a way that you're divulging what you shouldn't be divulging. You know, other countries aren't, so there's reasons to have national secrets. There really are. I mean, that's kind of like common sense, right?" (Well, David Grusch claimed that some other countries aren't divulging for a specific reason." Grusch on Yes Theory: "So there are certainly friendly governments, both across the pond and say, local to where we...our landmass, that are for this. And a lot of them know that they got a raw deal with the U.S. because they were, basically, part of the secrecy, through kind of agreements like, bilateral, unilateral agreements. And they're like, you know, they kind of wanna be, 'Release me!' Like, you know, because they they do realize it was a bad deal. "With the ecosystem secrecy, some people, one of their arguments is like, 'Well how would they keep the secret?' I'm, like dude, I was cleared to some of the most nation's most sensitive programs, I used to handle the PDB (Presidential Daily Briefing). You know, I had full access to most DoD activities. And most of the stuff, BROAD programs that were enduring, have NEVER leaked. "So the U.S. and its allies are very good at keeping secrecies, to include programs that are, let's say, global in nature. And really, it's been leaking like a sieve in some weird way for many decades. Now it's been mixed in with some BS in ufology and stuff, but the general gist of it's actually been out there for a long time. It has been leaking in some sense, so." ~ 35:06 GK: "We don't want the Russians and Chinese and maybe other adversaries to know how far along we are, or are not, in configuring this out." RB: "Absolutely. Especially of that. I think that the relationship (with he phenomenon) thing is a mankind relationship. It's not just for America. When you are embarking as a President on trying to initiate a solemn relationship, you're not doing for U.S. of A. only. "And so, the...and then we probably can do a show on communication (with a non-human intelligence), but it's really complex because, who are you going to have initiate it? Are you going to have politicians initiate? Are you going to have military people? Because everybody has kind of their own mindset. Are you gonna have a bunch of lawyers initiate it? Are you gonna have scientists only, initiate it? (And what if we're dealing with more than one non-human intelligence? Who do we communicate with? And what if it's one intelligence pretended to be multiple? How would we even figure that out?) "[Hynek] cited the 'poltergeist' phenomena experienced by some...after a close encounter; the fact that some witnesses develop psychic abilities after an encounter. 'Do we have two aspects of one phenomenon or two different sets of phenomena?'" ~J. Allen Hynek ~ RB: "And how do you know to whom you're talking? You know, how do you know you can trust what they're saying?" (I'm so glad he said that. We don't, and we don't.) RB: "Because it depends on the form of communication, and what are you asking for in the way of proof or demonstrations to establish trust, both ways, in the communication process?" "Because, we haven't had that happen before. It is totally new ground, and frankly, we need The Others' help. We need the help of The Others to help, to guide us." (Firs off, it MAY have happened within these Legacy programs. And, if we don't know who we're talking to, or if we can trust them, why would we enlist the help of The Others? Doesn't seem to make sense to me.)
10:24

"How do you know you can trust what [a non-human intelligence is] saying?" ~Bigelow Bigelow/Knapp 2: If I Was President, I'd Tell the World We Have Non-Human Craft and Bodies "The President that took on the challenge of Disclosure and of confirmation...is gonna go down in history as having really accomplished something." ~Bigelow Do China and Russia also have non-human bodies and craft? "Oh yeah, freaking yes!" ~Bigelow ~ "You've opened up Pandora's box." ~Bigelow ~ 17:44 (I'm using the KLAS YT video for time stamps. As you'll see, I add a lot to these, so they take forever to put together.) George Knapp (GK): "Would you guess - based on what you know about the topic and how it's been handled over the decades - would you guess that [Trump] had been briefed, or that any other presidents have been briefed? You know that Bill Clinton was not, even though he expressed an interest in it. So at some point, the President has to be told, 'No, we can't tell ya.'" Robert Bigelow (RB): "I think Bush Sr. knew quite a bit because he was the head of the CIA." (Dr. Eric Davis says Bush. Sr. told him some interesting things, including that he (Bush) was partially briefed in 1976 about the alleged 1964 Holloman AFB landing and meeting, and more, when he first became the director of the CIA in 1976. Watch Davis explain it, here. ) ~ RB: "I think Nixon did." (We have the Jackie Gleason story, where Nixon allegedly snuck away from his Secret Service detail and took Gleason to see non-human bodies at Homestead Air Force Base. But that was a claim from his ex-wife, and Gleason, who died in 1987, never said anything about it, on the record. The controversial Larry Warren (Rendlesham) claims Gleason told him the same story, but that's it.) Bigelow: "I think Eisenhower did. So, it's kind of hit and miss over historic...over the period of history as to who has and who hasn't." 18:20 Knapp: "Can you tell us what would be in the briefing document that you left behind? Was it cases? Here's a wave of UFOs, here's a case, here was a crash. Anything like that?" Bigelow: "Yeah, I related conversations I have had with General De Brouwer, who was the chief of the Air Force for Belgium. And there was a very interesting flap that was about 18 months long (1989-1990) with triangular craft. And he was in command of all the Air Force, and he really chased the heck out of these. "And he told me, he said, Bob, 'I'm just burning fuel, and it makes no sense.' He said, 'We're gonna stop because we're not getting anywhere. All we're doing is getting closer, you know, photographs and things, but we're not getting anywhere. We're not getting any information that is really valuable for us to understand anything.'" (I wonder if those were OUR triangles? If so, it's still a solid case/flap of anomalous craft. Dick D'Amato was a longtime (18 years) senior staffer for Senate Democratic Leader Robert C. Byrd of West Virginia.) "Dick D'Amato has returned from Belgium where he met with Colonel De Brouwer, a 'very interesting fellow.' Dick’s conclusion, again, is that the triangular objects are very plain human craft. ~Jacques Vallée's Forbidden Science Volume 4 - November 1992 And then we have this... Jeremy Kenyon Lockyer Corbell: "We hear about all these people on military bases seeing triangles, and you're doing this study, AAWSAP, to try to figure out the physics of how to do that. Do you think it's already been achieved by the U.S. government, or it hasn't, and that's why AAWSAP had a lot of value." Lacatski: "[three-second pause] It hasn't been achieved to its full extent." Video... ~~~ RB: "And I gave [Trump] other examples of where large amounts of witnesses were involved, and so that he could read about these particular [incidents]. And, of course, the one with Fife Simington in '97 was so interesting. Because there you had a governor who was an actual witness, and he made a joke of it on and brought a guy in an alien suit on stage because he was scared to death." GK: "It's the Phoenix Lights case." (Great case for Bigelow to show Trump.) RB: "The Phoenix Lights, which weren't just lights, it was actually friggin' craft, and it came from northern Arizona. I think it started, actually, in southern Nevada, is where the craft began. In the Henderson area (not far from me. ~Joe), I think, somewhere in there. And, so you see this huge triangular craft, gigantic craft, going slowly, and [Symington] was scared to death. "But finally, fast forward 10 years later, and he confesses that he was an eyewitness, but he didn't know what to do. So he was there at a point in time when the dynamic of disclosure could have been forced, and actually, confirmation could have been from a governor of the state like that. He was a credible guy. "So we've had many [incidents] like that in the early 50s, flying over the White House and the Capitol building. We've had so many of those. So, in my report, I included a lot of very dramatic, beyond-a-reasonable-doubt kind of witnesses of exhibitions." GK: "Did you share with him anything about your knowledge of a classified program?" RB: "No." GK: "You got a Top-Secret security clearance, right?" RB: "Yeah" GK: "It was for the AAWSAP program for BAASS." RB: "Right." GK: "Operated under the DIA." RB: "Yeah." GK: "You learned a lot during that program. It's the largest accumulation of UFO info. of any government-funded UFO program ever." RB: "Yeah." GK: "You didn't tell him about it." RB: "It wasn't credible enough, I felt, for him." (Someone on here watched this interview and told me that Bigelow said the AAWSAP data wasn't credible. That is NOT what he said. Not credible enough for Trump, is what he said. And if you read "Skinwalkers at the Pentagon" or listen any of Lacatki's interviews where he talks about UFOs being under a paranormal umbrella, I think Bigelow made the right decision for an 11-minute briefing for someone (Trump) who seems to be struggling (at least in public comments) with the reality of the basics.) RB: "[The AAWSAP data is] just something pertaining to me. And whereas, these other examples are historic, and they're in a lot of literature, they're very famous. The amount of witnesses were huge. We operated under a private situation with the Skinwalker Ranch, and he wouldn't relate to...well, we all had hitchhikers, we all took things home with us. You know, we all saw a lot of stuff. Whether it was at the ranch or where we lived, it didn't make any difference where in the United States we lived. We saw a lot of things, but that wouldn't be relevant for him to be able to relate to that, right?" GK: "Well." RB: "So, why talk about it?" GK: "Yeah, I mean, you know, you're kind of jumping into the deep end of the pool when you get into hitchhikers and skinwalkers." RB: "Yeah." GK: "Maybe for your first big conversation on this topic, that might not be the place to go." RB: "No, you know. And I couldn't even...if he said, 'Oh, I need a beer (Knapp laughs),' I couldn't even give him something to drink. You know, maybe stronger than that. So, I didn't wanna do any, you know." 22:15 GK: "You used the term non-human intelligence in the sentence you gave him. Hey, try this as you're climbing aboard Air Force One. Say that to media, and then, you know, close the door." RB: "Right." GK: "You said non-human intelligence, not ET. Are they the same, and did you share anything with him about what you think it is?" RB: "Well, there have been reports of humans on board, right? But the non-human are more interesting. I mean, if a human's on board and he or she has free reign of the craft, that's pretty damn interesting, right? And you don't know where those people are when they're not on board." (I wonder what cases he's talking about? Travis Walton reported seeing humans with non-humans and John Keel wrote about humans being seen onboard craft.) ~ Bigelow: "But the other ones are...some are scary, you know? It's not surprising, that, in the Universe, everything is [not] gonna look like us. Every intelligent organism is [not] going to look like us. But you have to have... It's also a matter of respect for any really intelligent animal or creature, whatever it is, right? And the more advanced, the more respect because you don't know what they know, and you don't know the future. And they may know. They may know more than just the now." (In interviews (which I can't find right now), Bigelow has hinted at an unstoppable, not-so-rosy future for mankind. Have people in the Legacy programs told him that the NHI have warned us about our doomed future or some cataclysmic event? Or, has Bigelow encountered these non-humans (or humans) and had them make claims about our future?) ~ 23:34 GK: "If you were to have a second conversation with him, would you explain that ET is one idea, but it's not necessarily the only option for a non-human intelligence that's out there?" RB: "You have to tell me first how much time do I have with the second conversation?" GK: "[laughs] Let's make it an hour. You have an hour with the President. What would you tell them about who they are, who they might be?" RB: "Umm... So, I would try to get into the complexity of the relationship. That once you've had confirmation, you know, you've given that text of that little sentence I wrote and quoted there, and you start to go down the path of disclosure, where it's more than than just FLIR videos, and you're seeing other things that are much more crystal clear, you know, in video. "Or, legitimate people in places that you recognize these people, and they're around something, or with some thing, or somebody that's a holy cow, that's wow, you know. That's a very dramatic kind of disclosure about something landing on the lawn somewhere, you know." (I have no idea what he's talking about. Anybody else able to decipher that? Is he saying that there's evidence (that he's seen?) of people that we know (a President or head of state?) hanging with a non-human or next to a downed or landed craft?) RB: "So I think what I would have spent time doing is talking about, how do you establish: You've been in 80 years of denial as a nation, and the world. We have countries who are very upfront, and others that are also in denial. Now you wanna pivot 180 degrees. How do you start that relationship? How do you do that? "And it's not as though that we've ever been in control. We haven't been in control of anything, ever, for this 80 years of modern history. Nothing. We have no ability to control anything." GK: "That's a tough thing to tell the President, right? I would think that would be a tough thing for a President to accept." RB: "Well, you're giving me an hour to talk to him, you said." GK: "[laughs] Yeah, okay." RB: "So I'm using my hour." GK: "All right." 25:46 RB:" So, yeah! So, that's a really intriguing thing is: How do you do that, where do you start? And into a relationship? And I would say more like, well, I would wanna start with, the biggest question I would ask, I would say, what I wanna get from them is... My first question is: What are the chances we are gonna survive ourselves? That we are not going to annihilate ourselves. "Because they already are familiar with a whole lot of other species on a lot of other worlds or other planets. So, chances are they have a pretty good idea of percentage." (That assumes a lot, since we have no idea how long they've been around, what they've seen, or where they're from. Unless...Mr. Bigelow has seen evidence that relates to those questions or heard it from folks who work in the Legacy programs?) RB: "And it's not that we're a spiritual species. You talk to people that have near-death experiences; they're changed for the rest of their life. They've become a spiritual person of a caliber that they've never been. "Well, we're a long way, as an average, from that category, from that level. There are monsters among us, as human beings, and they're angelic people among us. So we are a danger to another species, we're potentially the Klingons. We have a technological maturity that is not just going on a line, but it's vertical and it's segmented because it's jumping. "And meanwhile, our spiritual maturity just bumps along the bottom, you know? So, we look at the 20th century; 60 million people were killed. Are we ever gonna get beyond that? So, the thing of it is, we know so little about how to have a relationship. I'm not in any position to really advise, except for the few ideas I have as to where to start, and the how is really super important. 27:49 "It's not gonna be like a 'Close Encounter of the Third, Kind,' which was a really cool movie. And it's not gonna be because of SETI. You know, it's gonna be by some other kinds of means that you're embarking on. And I'm interested in that kind of research." 28:06 GK: "We go back to your meeting with the President. You walk into the Oval Office, they clear off the Resolute Desk, you spread out your seven piles of stuff, and you start making a presentation about each one, in particular about ET, non-human intelligence. You can't say what he said to you. Can you say whether he asked questions? Was he curious?" RB: "He was distracted by other things. So, he also asked me... He did ask questions, but he asked questions about other stuff that wasn't necessarily just on what I was talking about." GK: "He's getting your input on other things going on in the world." RB: "Yeah, yeah." 28:49 GK: "If you had to make a guess, would you guess that you got through to him on this issue? I mean, he hasn't stood in the doorway of Air Force One and made those remarks yet, but he has taken some pretty dramatic steps on this topic since you met with him. Do you think you made a dent?" RB: "Don't know. I advised him on something that I can measure, and he hasn't taken my advice so far on what I suggested to him, on a totally different, unrelated subject. But so far, he has not taken my advice." GK: Well, somebody seems to have got through to him, because he's been taking steps that we're seeing real results. I mean, people are either..." RB: "Well, I'm talking about an unrelated subject altogether. So, yes, there there are a couple of different task forces that are involved. So, there is an initiation of an activity in this subject, [but] it remains to be seen, though, that he gives actual presidential confirmation. I don't, I haven't... Maybe you're more aware than I am. Has that been...has he done that?" GK: "Not, not really. Nothing like what I'd call confirmation. But that's really what you're talking about. I remember us having a conversation in 2008, right after you had signed the contract with DIA for BAASS to run [AAWSAP]. And you made the case then that what we need is not Disclosure; it's confirmation." RB: "Yeah." 30:25 GK: "For somebody like the President, I'm not sure if it could be anyone less than the President that steps forward and says this, and it carries the same kind of weight." RB: "Yeah. It's a big appetizer. You know, you're looking for the entree, and where's the dessert in this whole buffet? But the confirmation is a huge appetizer to start with, and that's why I started with that in my conversation with him. Is, pushing him to try and make a confirmation. And maybe he wants to get personally more comfortable?" (I have said that I want the entire enchilada NOW, but I'm also a realist, and would take a simple confirmation that somebody else is on this planet with us. That SHOULD wake up the mainstream media and masses, but no guarantees since Trump is so controversial and people might just ignore it, IF he ever did it. I've also said that I'd surround him with people like Schumer, Rubio, Rounds and Gillibrand in order to show that it's bipartisan. And a few firsthand whistleblowers who say they worked hands on, IN one of these alleged Legacy UFO/UAP programs.) 30:57 Bigelow: "And, you know, he will go down in history for a lot of things, for better or worse, that people are on both sides of the fence about him and so forth. But he's involved in so many different things and has been, that I don't know what his legacy is gonna be, I really don't. "He has an opportunity, in this serious subject, to build a legacy using this as part of the blocks, part of the brick and the structure...the content of a structure that is very unique. So, you can have all the political programs that you want, and so forth, and nobody is gonna really remember those as time goes by, as the decades fade away. "Nobody can remember Benghazi and Afghanistan and Iraq, different kinds of things, and that's just recent history. You know, the world goes so fast. But the President that took on the challenge of Disclosure and of confirmation, and actually built a satisfactory conclusion of a relationship between human beings and that subject is gonna go down in history as having really accomplished something. And if it's handled right, it can be done successfully." (To me, it's a no brainer. His presidency would go down as one that changed the world and our species. Or course, I'm sure he has people in his ear telling him that confirmation would cause societal disruption that we're not prepared to handle, and that THAT would be his legacy.) (32:21) GK: "A lot of Presidents have made comments, often after they're out of office, on this topic. 'Yeah, gosh, I'm real interested in that.' Or, 'Wouldn't that be something?' Or, 'I think aliens could exist.' Something like that. But nothing like what you're talking about, which amounts to confirmation, saying, 'It's real. They're here. We gotta figure it out,' and stopping it there, not disclosing..." RB: "Well, the dialogue, the ability to learn something from them is huge. What can we do for you? I mean, that's where...one of the first things I would ask is, not just, are we going to survive ourselves? Yeah, that's pretty damn important. That's like, probably number one, you know? "But close behind that is: Okay, we've been aware of you for a long time, and the government's never admitted it. But us as a public, we know it, and we're really curious. Is there anything that we can do for you? Not just what can you do... I loved what John Kennedy, what he said famously: Don't ask what the country can do for you, ask what you can do for your country. That huge. So that's giving them a kind of a respect that they deserve." (Do they deserve respect? I'm not so sure. It all depends on if they're upfront with us and tell us their true intentions. Of course, how do we know they're telling us the truth? Why have you (or some of you) been abducting us against our will, and injuring some of us? See Jim Semivan's abduction story with his wife. "I don't think [the phenomenon] cares whether it does harm. I think it may go out of its way not to do harm, but, if it does harm... "I had a hole in the back of my neck, and my wife...unexplained bleeding for 17 days." ~Former CIA Officer, Jim Semivan to Engaging The Phenomenon ~ 33:33 GK: "If you were President, would you announce that yes, we've got crash retrievals, yes, we have reverse engineering programs, and yes, we've got bodies?" RB: "Yeah, because the rest of the world already knows that. The people that count in Russia and China already know." GK: "Because they've got their own." RB: "Oh yeah, freaking yes! Yeah! They've had their missiles shut down, they've had their missiles activated. You know, depending on which country you're talking about." 33:56 GK: "Have you considered the political fallout for a President? Let's say it's Trump, because he might be the guy that would do it and just cast his fate to the winds. But, he makes an announcement: 'Yeah, they're here. Yeah, we've got programs. Yeah, we've got crashes, we've got bodies. That's as far as I'm able to go right now.' What happens to him, politically? Is he able to get anything else done?" RB: "That's more than I would have said, for him to say. What you just said." GK: "That goes too far." RB: "I wouldn't advise him to say, initially, what you just said." GK: "You just say, non-human intelligence, been here a long time, and leave it at that." RB: "Yeah, that one sentence is a starter because it's a huge canon. You've opened up Pandora's box, in terms of, 'Oh my gosh, what's gonna happen?' Okay. So now, you can categorize and segment into topics. And you need time to do that, and it needs to be digestible." ~ “I have met with people who I know are in the know. One of them told me the truth is indigestible.” ~Jim Semivan to James Iandoli ~ RB: "And it needs to be not packaged in a scary kind of way, and it can't be packaged in a way that you're divulging what you shouldn't be divulging. You know, other countries aren't, so there's reasons to have national secrets. There really are. I mean, that's kind of like common sense, right?" (Well, David Grusch claimed that some other countries aren't divulging for a specific reason." Grusch on Yes Theory: "So there are certainly friendly governments, both across the pond and say, local to where we...our landmass, that are for this. And a lot of them know that they got a raw deal with the U.S. because they were, basically, part of the secrecy, through kind of agreements like, bilateral, unilateral agreements. And they're like, you know, they kind of wanna be, 'Release me!' Like, you know, because they they do realize it was a bad deal. "With the ecosystem secrecy, some people, one of their arguments is like, 'Well how would they keep the secret?' I'm, like dude, I was cleared to some of the most nation's most sensitive programs, I used to handle the PDB (Presidential Daily Briefing). You know, I had full access to most DoD activities. And most of the stuff, BROAD programs that were enduring, have NEVER leaked. "So the U.S. and its allies are very good at keeping secrecies, to include programs that are, let's say, global in nature. And really, it's been leaking like a sieve in some weird way for many decades. Now it's been mixed in with some BS in ufology and stuff, but the general gist of it's actually been out there for a long time. It has been leaking in some sense, so." ~ 35:06 GK: "We don't want the Russians and Chinese and maybe other adversaries to know how far along we are, or are not, in configuring this out." RB: "Absolutely. Especially of that. I think that the relationship (with he phenomenon) thing is a mankind relationship. It's not just for America. When you are embarking as a President on trying to initiate a solemn relationship, you're not doing for U.S. of A. only. "And so, the...and then we probably can do a show on communication (with a non-human intelligence), but it's really complex because, who are you going to have initiate it? Are you going to have politicians initiate? Are you going to have military people? Because everybody has kind of their own mindset. Are you gonna have a bunch of lawyers initiate it? Are you gonna have scientists only, initiate it? (And what if we're dealing with more than one non-human intelligence? Who do we communicate with? And what if it's one intelligence pretended to be multiple? How would we even figure that out?) "[Hynek] cited the 'poltergeist' phenomena experienced by some...after a close encounter; the fact that some witnesses develop psychic abilities after an encounter. 'Do we have two aspects of one phenomenon or two different sets of phenomena?'" ~J. Allen Hynek ~ RB: "And how do you know to whom you're talking? You know, how do you know you can trust what they're saying?" (I'm so glad he said that. We don't, and we don't.) RB: "Because it depends on the form of communication, and what are you asking for in the way of proof or demonstrations to establish trust, both ways, in the communication process?" "Because, we haven't had that happen before. It is totally new ground, and frankly, we need The Others' help. We need the help of The Others to help, to guide us." (Firs off, it MAY have happened within these Legacy programs. And, if we don't know who we're talking to, or if we can trust them, why would we enlist the help of The Others? Doesn't seem to make sense to me.)

Joe Murgia

53,256 次观看 • 1 个月前

"What NewJeans Wanted to Say" [Full transcript translated to English] 🐹: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. 🐻: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Heejin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. This has been today’s news story. 🐶: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Heejin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Heejin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Heejin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Heejin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. 🐱: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Heejin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. 🐰: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. 🐻: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. 🐰: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Heejin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. 🐻: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. 🐶: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Heejin Daepyonim, as we have done so far. 🐱: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. 🐹: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. 🐻: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. 🐰: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow Hybe's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Heejin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Heejin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. 🐹: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. 🐶: From a human perspective, I hope you stop harassing our CEO, Min Hee Jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. 🐻: What we want is the original ADOR, where CEO Min Hee Jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. #하이브어도어_뉴진스지우기_작작해 #HYBE_STOP_SABOTAGING_NEWJEANS #HYBEによるNewJeansへの妨害に抗議します #NEWJEANS_NEVER_DIE
27:11

"What NewJeans Wanted to Say" [Full transcript translated to English] 🐹: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. 🐻: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Heejin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. This has been today’s news story. 🐶: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Heejin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Heejin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Heejin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Heejin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. 🐱: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Heejin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. 🐰: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. 🐻: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. 🐰: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Heejin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. 🐻: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. 🐶: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Heejin Daepyonim, as we have done so far. 🐱: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. 🐹: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. 🐻: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. 🐰: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow Hybe's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Heejin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Heejin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. 🐹: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. 🐶: From a human perspective, I hope you stop harassing our CEO, Min Hee Jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. 🐻: What we want is the original ADOR, where CEO Min Hee Jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. #하이브어도어_뉴진스지우기_작작해 #HYBE_STOP_SABOTAGING_NEWJEANS #HYBEによるNewJeansへの妨害に抗議します #NEWJEANS_NEVER_DIE

1tokki

3,766,692 次观看 • 2 年前

"I'm telling the administration...that if they don't release those [videos I've seen], then I have the capabilities of getting those videos and releasing them." ~Burlison (Transcript and comments by me on one of my fav segments in a long time.) ~ Will Cain: "Missouri Republican Congressman, Rep. Eric Burlison, joins me now. Congressman, thanks for being with us here today. You and I, Congressman, I think we've had a very candid conversation together. We have both talked about the fact that I am open and curious about this subject of UAPs, but I do feel like we're at a place where evidence needs to start meeting expectations. What we've seen today, what does this tell us? Does this meet any expectation?" Burlison: "I think that there's...we have to take a step back and recognize the historic nature of this. Every president prior to President Trump has really demurred any kind of questions on this. They dismissed them, they would not talk about it. People would, if anything, snicker or sneer anytime this kind of subject came up. So the fact that we have a president who is open and willing and trying to be transparent is something to celebrate. "That being said, I think that this is a teaser, this is a kind of a, you know, something to open up with. This was the low-hanging fruit kind of videos and content for this administration to release. A lot of this has been...some of this has been out there before. It's not been acknowledged, right? So, you're looking at Apollo 17 video..." Cain: "I've seen the same thing said by Rep. Tim Burchett Press Office. That this is sort of the beginning, and there will be other releases that could leave Americans with a holy crap moment. I believe that's a direct quote from Congressman Tim Burchett." (This is what Burchett tweeted today: Burchett: "The 1st drop will be big but in comparison to what is coming they will be a drop in the bucket. I would say 'Holy Crap' is coming." I hope so. Or people are going to be upset that the videos and evidence didn't meet the hype, and you may see a lot of people losing interest in this topic. Last month, he told Elizabeth Vargas: “I’ve seen pictures and video of things that defy any reason that we have." ~Burchett And also last month, he told NEWSMAX: “If they would release the things that I've seen, you would stay up. You'd be up at night worrying about or thinking about this stuff... And for the record, I'm not suicidal and I don't take risks.” ~Burchett (That's some major hype there and, again, I hope future videos live up to it. I'm gonna guess that Burlison is NOT a fan of getting people's expectation up like that.) Cain: "My question for you, or the congressman, would be: Why? Why slow roll this out like it's a season of 'Game of Thrones'? Like, why would Episode 1 be somewhat uninspiring - leave us with more questions than answered - if there's something coming after the teaser? What's the point in staging the release?" Burlison: "So, again, this...just from talking with the White House and this administration, this is not an easy thing to do. There's not one huge repository of all of these documents and videos and photos. Despite what most people believe, they're really...at least we haven't found that one, you know, big repository. So what the Agency is doing is going and finding, first and foremost, the items that are readily available to be released. And they wanna be quick...move quickly and release those." (Okay, so they haven't located the best videos yet? Then what was Burchett shown? And if what he was shown is really THAT amazing, why haven't those videos or photos been released? Drip, drip? The excuse that they haven't been able to locate them yet doesn't hold water IF Burchett's take is accurate and they showed him SOMETHING that blew his mind and will blow our minds. Or, did he just hype it up and whatever he saw is really not that impressive? As I've asked several times in the past: Do these amazing videos actually exist?) Burlison: "I would ask you, would you prefer to have them wait for, you know, years, what would probably take years if they were to do a comprehensive study and then release it all at once, in one big batch? I would prefer that they release it as they find it, and I think that that's...this administration wants to be transparent and do that." (Great! How about releasing what Burchett was referring to in his interviews?) Cain: "My criticism is not for the decisions of the administration." (Well, if the Trump administration isn't releasing the best of the best videos that they already have in their possession because they're afraid of how Americans (and the world) might react (fear and panic), then they DO deserve some criticism, right?) Cain: "My criticism is for the expectation built by many out there that have these conversations, that there will soon be a bomb to drop when it comes to revelations about aliens." (Burchett, and then Rep. Anna Paulina Luna with her repeated comments about interdimensional beings. Luna: "...this is something you can go back and watch with the Congressional hearings - but I was actually able to ask some of the witnesses, 'What are these things?' And they keep saying interdimensional. "I wouldn't call them aliens. I really like what Grusch calls it. He says that they're interdimensional beings and he's very specific about that." Grusch has NEVER said that, nor has any witness who testified in front of Congress, so I have no idea where she's getting that from.) Cain: "And, if that's true, are we trying to prepare the American people with a slow drip, drip, drip tease of this stuff? If not, then Congressman, I would say, if this is all we've got, then I'm not sure that there's anything the American government really has that tells us anything about the existence of aliens? I'm just beginning to feel like this entire story is teased out always just beyond our reach." (That's why we need just ONE (for starters) clear and close-up video of an object performing maneuvers that we thought were impossible. And as of right now, we don't have that. I've said this many times. Does that type of video exist?) Burlison: "I can sense your frustration. I've experienced it personally myself. I've seen videos that I think are in the process of being declassified, so I think that there is more to come. If they're not going to be declassified, I'll probably do an effort to release them myself under Speech and Debate." (In short, the Speech or Debate clause says that a Senator or Representative can speak freely about anything, or share anything, in either house of Congress and have absolute immunity from civil or criminal liability. I'll link to an example in the replies.) Burlison: "But again, a lot of the footage that I've seen is similar to what has been released today. There's some that are pretty interesting, and especially given the environment and the circumstances of the videos. Whether they are videos of UAP that are flying around Russian submarines or a video of our aircraft that are firing on some of these UAPs? I've seen those kind of videos. And so I'm teasing that because I know that...I'm telling the administration, through you (Will Cain) at this moment, that if they don't release those, then I have the capabilities of getting those videos and releasing them." (How much better are those videos than what we've seen today?) Cain: "Can I say one more thing about this, congressman? I expect you and I will have much longer conversations like we have in the past, where we have fewer time constraints. But what I'm seeing here, and we're sharing today, and what's been released, there are probably hundreds, perhaps 1000s, of explanations for what we see on these video screens. They don't lead us directly to extraterrestrial or out-of-this-world explanations. "Is there something else? Is there some other proof that you've seen? Is there a more compelling video that can't be described or explained as a drone or a light refraction or any other thing. Again, I'm not cynically dismissing these things, as I've always mentioned to you. I'm open and curious. I just don't think the evidence is meeting the moment." (I agree with Cain. The government-released or government-acquired footage just doesn't get us over the hump with the masses and skeptics.) Burlison: "I think you and I are at the exact same place. I continue to look for these things and try to follow the narrative that people are saying. Follow the historical narrative that we have a crash retrieval program, and this is the kind of information I keep getting presented. It doesn't mean that we don't stop looking." Cain: "Fair." (If we have recovered craft and bodies of non-humans, and it can be PROVEN, then these videos from today will be forgotten instantly.) Burlison: "And I have...and so the White House and the ODNI is looking for the next places to go investigate. And I think that...and they've actually been open in asking me where those next places should be, and so we're offering..we're gonna be working to offer those locations. A lot of this, Will, is gonna be in the hands of these agencies that are quasi-private or private companies, and that's gonna be a harder dig for this, for this administration to do, but that's where I think we're gonna get to the truth." (Let's start with the "holy crap" videos Burchett hyped and saw and see if they are as good as he's claiming.) Cain: "Well, to his defense, the President hasn't made big promises about what this would reveal. I don't think I can say that about everyone who purports to have seen something that there are big revelations, and so far, the evidence in the videos haven't met the promises. I do hope we continue to see more, congressman. I hope you do fight so we can see more. Obviously, transparency and answers is what we're seeking here on what would be a gigantic issue. Congressman Burlison, thanks, as always, for your time." Burlison: "Anytime."
9:08

"I'm telling the administration...that if they don't release those [videos I've seen], then I have the capabilities of getting those videos and releasing them." ~Burlison (Transcript and comments by me on one of my fav segments in a long time.) ~ Will Cain: "Missouri Republican Congressman, Rep. Eric Burlison, joins me now. Congressman, thanks for being with us here today. You and I, Congressman, I think we've had a very candid conversation together. We have both talked about the fact that I am open and curious about this subject of UAPs, but I do feel like we're at a place where evidence needs to start meeting expectations. What we've seen today, what does this tell us? Does this meet any expectation?" Burlison: "I think that there's...we have to take a step back and recognize the historic nature of this. Every president prior to President Trump has really demurred any kind of questions on this. They dismissed them, they would not talk about it. People would, if anything, snicker or sneer anytime this kind of subject came up. So the fact that we have a president who is open and willing and trying to be transparent is something to celebrate. "That being said, I think that this is a teaser, this is a kind of a, you know, something to open up with. This was the low-hanging fruit kind of videos and content for this administration to release. A lot of this has been...some of this has been out there before. It's not been acknowledged, right? So, you're looking at Apollo 17 video..." Cain: "I've seen the same thing said by Rep. Tim Burchett Press Office. That this is sort of the beginning, and there will be other releases that could leave Americans with a holy crap moment. I believe that's a direct quote from Congressman Tim Burchett." (This is what Burchett tweeted today: Burchett: "The 1st drop will be big but in comparison to what is coming they will be a drop in the bucket. I would say 'Holy Crap' is coming." I hope so. Or people are going to be upset that the videos and evidence didn't meet the hype, and you may see a lot of people losing interest in this topic. Last month, he told Elizabeth Vargas: “I’ve seen pictures and video of things that defy any reason that we have." ~Burchett And also last month, he told NEWSMAX: “If they would release the things that I've seen, you would stay up. You'd be up at night worrying about or thinking about this stuff... And for the record, I'm not suicidal and I don't take risks.” ~Burchett (That's some major hype there and, again, I hope future videos live up to it. I'm gonna guess that Burlison is NOT a fan of getting people's expectation up like that.) Cain: "My question for you, or the congressman, would be: Why? Why slow roll this out like it's a season of 'Game of Thrones'? Like, why would Episode 1 be somewhat uninspiring - leave us with more questions than answered - if there's something coming after the teaser? What's the point in staging the release?" Burlison: "So, again, this...just from talking with the White House and this administration, this is not an easy thing to do. There's not one huge repository of all of these documents and videos and photos. Despite what most people believe, they're really...at least we haven't found that one, you know, big repository. So what the Agency is doing is going and finding, first and foremost, the items that are readily available to be released. And they wanna be quick...move quickly and release those." (Okay, so they haven't located the best videos yet? Then what was Burchett shown? And if what he was shown is really THAT amazing, why haven't those videos or photos been released? Drip, drip? The excuse that they haven't been able to locate them yet doesn't hold water IF Burchett's take is accurate and they showed him SOMETHING that blew his mind and will blow our minds. Or, did he just hype it up and whatever he saw is really not that impressive? As I've asked several times in the past: Do these amazing videos actually exist?) Burlison: "I would ask you, would you prefer to have them wait for, you know, years, what would probably take years if they were to do a comprehensive study and then release it all at once, in one big batch? I would prefer that they release it as they find it, and I think that that's...this administration wants to be transparent and do that." (Great! How about releasing what Burchett was referring to in his interviews?) Cain: "My criticism is not for the decisions of the administration." (Well, if the Trump administration isn't releasing the best of the best videos that they already have in their possession because they're afraid of how Americans (and the world) might react (fear and panic), then they DO deserve some criticism, right?) Cain: "My criticism is for the expectation built by many out there that have these conversations, that there will soon be a bomb to drop when it comes to revelations about aliens." (Burchett, and then Rep. Anna Paulina Luna with her repeated comments about interdimensional beings. Luna: "...this is something you can go back and watch with the Congressional hearings - but I was actually able to ask some of the witnesses, 'What are these things?' And they keep saying interdimensional. "I wouldn't call them aliens. I really like what Grusch calls it. He says that they're interdimensional beings and he's very specific about that." Grusch has NEVER said that, nor has any witness who testified in front of Congress, so I have no idea where she's getting that from.) Cain: "And, if that's true, are we trying to prepare the American people with a slow drip, drip, drip tease of this stuff? If not, then Congressman, I would say, if this is all we've got, then I'm not sure that there's anything the American government really has that tells us anything about the existence of aliens? I'm just beginning to feel like this entire story is teased out always just beyond our reach." (That's why we need just ONE (for starters) clear and close-up video of an object performing maneuvers that we thought were impossible. And as of right now, we don't have that. I've said this many times. Does that type of video exist?) Burlison: "I can sense your frustration. I've experienced it personally myself. I've seen videos that I think are in the process of being declassified, so I think that there is more to come. If they're not going to be declassified, I'll probably do an effort to release them myself under Speech and Debate." (In short, the Speech or Debate clause says that a Senator or Representative can speak freely about anything, or share anything, in either house of Congress and have absolute immunity from civil or criminal liability. I'll link to an example in the replies.) Burlison: "But again, a lot of the footage that I've seen is similar to what has been released today. There's some that are pretty interesting, and especially given the environment and the circumstances of the videos. Whether they are videos of UAP that are flying around Russian submarines or a video of our aircraft that are firing on some of these UAPs? I've seen those kind of videos. And so I'm teasing that because I know that...I'm telling the administration, through you (Will Cain) at this moment, that if they don't release those, then I have the capabilities of getting those videos and releasing them." (How much better are those videos than what we've seen today?) Cain: "Can I say one more thing about this, congressman? I expect you and I will have much longer conversations like we have in the past, where we have fewer time constraints. But what I'm seeing here, and we're sharing today, and what's been released, there are probably hundreds, perhaps 1000s, of explanations for what we see on these video screens. They don't lead us directly to extraterrestrial or out-of-this-world explanations. "Is there something else? Is there some other proof that you've seen? Is there a more compelling video that can't be described or explained as a drone or a light refraction or any other thing. Again, I'm not cynically dismissing these things, as I've always mentioned to you. I'm open and curious. I just don't think the evidence is meeting the moment." (I agree with Cain. The government-released or government-acquired footage just doesn't get us over the hump with the masses and skeptics.) Burlison: "I think you and I are at the exact same place. I continue to look for these things and try to follow the narrative that people are saying. Follow the historical narrative that we have a crash retrieval program, and this is the kind of information I keep getting presented. It doesn't mean that we don't stop looking." Cain: "Fair." (If we have recovered craft and bodies of non-humans, and it can be PROVEN, then these videos from today will be forgotten instantly.) Burlison: "And I have...and so the White House and the ODNI is looking for the next places to go investigate. And I think that...and they've actually been open in asking me where those next places should be, and so we're offering..we're gonna be working to offer those locations. A lot of this, Will, is gonna be in the hands of these agencies that are quasi-private or private companies, and that's gonna be a harder dig for this, for this administration to do, but that's where I think we're gonna get to the truth." (Let's start with the "holy crap" videos Burchett hyped and saw and see if they are as good as he's claiming.) Cain: "Well, to his defense, the President hasn't made big promises about what this would reveal. I don't think I can say that about everyone who purports to have seen something that there are big revelations, and so far, the evidence in the videos haven't met the promises. I do hope we continue to see more, congressman. I hope you do fight so we can see more. Obviously, transparency and answers is what we're seeking here on what would be a gigantic issue. Congressman Burlison, thanks, as always, for your time." Burlison: "Anytime."

Joe Murgia

22,530 次观看 • 4 个月前

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

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

1tokki

39,222 次观看 • 2 年前

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)
0:48

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

DepressedBergman

198,415 次观看 • 9 个月前

Just in $AMD Anush "Speed is the moat"|ROCm🎙️ In the race to define the future of AI, what's the one advantage that truly lasts? It's not proprietary tech, argues Anush Elangovan Elangovan, VP of AI Software at AMD , but the sustainable speed of innovation. He explains why AMD is rejecting the "walled garden" model for its open source ROCm stack, betting that an open community flywheel is the key to victory. Listen to understand how this open strategy is designed to out-innovate closed systems by empowering developers to solve everything from frontier-model challenges to the mundane, everyday problems that define the "last mile" of AI. AMD ROCm Software: Part 1 Transcript [00:00:00] Andrew Zigler: Joining me is Anush Elangovan, VP of AI software at AMD. And when people talk about AI compute, the conversation often stops at hardware specs, but it's more than just physical chips that win the game. It's also the software ecosystems supporting them. [00:00:18] Andrew Zigler: The prevailing strategy in the industry has been to build something like a walled garden. You know, something closed, proprietary locks, developers in. But AMD is betting on an entirely different play, open source acceleration, and with rock, their open source AI software stack. AMD is building not just hardware parity, but an innovation flywheel that's powered by the community with interoperability and the freedom to scale without all of that pesky lockin. [00:00:48] Andrew Zigler: And in this world, speed is your moat and how fast you can innovate while your platform remains open, flexible, and standardize across all of its applications. That's what we're gonna explore [00:01:00] today. So Anush, I'm really excited to have you here. Welcome to Dev Interrupted. [00:01:04] Anush Elangovan: Thanks for having me. Uh, super excited to chat about it. [00:01:07] Andrew Zigler: Amazing. Well, let's go ahead and dive right in with kind of what I laid it out with in the beginning, the idea of the moat and it being about speed. I wanna unpack that a bit because that came from you when you and I first spoke. And I, and I want to know, you know, how do you define speed inside of AMD beyond just things like hardware, benchmarks. [00:01:27] Anush Elangovan: Yeah, that's a very good question. So when we typically talk about speed, everyone's like, Hey, hardware benchmark specs, right? Like, uh, memory bandwidth or, or flops. And that is one important part of it, uh, AMD does very well. With that, we do have, a, a very good history of executing on that axis. [00:01:47] Anush Elangovan: But when I say speed is the moat, it is about, uh, how we prepare, how we build the muscle to run the race for a long time and run it fast. And it is [00:02:00] not about a single point in time that you've, you've beat some you know, benchmark and, and you declare victory. It's about building the ability to consistently develop and deliver. [00:02:13] Anush Elangovan: Both hardware and software innovation at scale and do it fast, right? Like, you know, we we're increasingly getting to a point where models come out and they're, uh, you know, a year or two ago it was like, Hey, they work on AMD on day zero, which is great, but now they are performing on AMD the day it releases, right? [00:02:32] Anush Elangovan: So, what does it take to Prefetch where the industry is going? Be prepared to intercept. At that point is what you know, I, I refer to as you know, the, the speed factor in, in creating this mode, right? And the mode is just shed all things that hold you back and run as fast as you can. [00:02:53] Anush Elangovan: Uh, because the pace of innovation that is, uh, being seen in, in AI [00:03:00] industries is just. Amazing. Right? And it's like, it's transformational at at how you generate electricity. It's transformational as at how you build data centers. It's transformational at how you deploy compute, networking. It's transformational at what kind of use cases you, you know, uh, use AI for. [00:03:17] Anush Elangovan: Uh, and for that, you need to be prepared to, see what comes tomorrow and be prepared to run the race tomorrow. [00:03:23] Andrew Zigler: Yeah, it's a really great perspective because it highlights that it's not just like a checkpoint that you run through. I like how you called out, like it's not just hitting that benchmark or being the best in class at that moment, in that snapshot, it's about having a. The throughput and about having that dedication to the idea and continuing to deliver on it. [00:03:43] Andrew Zigler: It's not just crossing the threshold, but it's also being the engine. And that's what, that's what protects a business. That is the moat, because the moat is that innovation layer, the faster and more, uh, future forward. That you can work and think, [00:04:00] you know, the better. Uh, we, we talk a lot about like future forward work styles. [00:04:04] Andrew Zigler: Like what are the things I could be doing right now today that are gonna be like, way more useful tomorrow? Let, let's abandon those, workflows that are older and that kind of like, that translates into. An advantage when you work that way. You know, what kind of things have you learned working with, uh, like across all spectrums of people who would use ROCm, right? [00:04:23] Andrew Zigler: You have like the developers, but then you also have the enterprises and you have this large span of adoptees, right? So what is the, what does that look like that you learn? [00:04:32] Anush Elangovan: Yeah, so, so the way I look at it is there are gonna be pockets of different, uh, you know, cadences, right? Like, so people who are deploying in enterprises, for example, right? The validation and how long it takes for them to deploy an LLM that's secure. It's, with guardrails, et cetera, maybe longer. [00:04:52] Anush Elangovan: but you still have to go through the process and you have to be prepared to like, walk that walk to deploy an enterprises. That doesn't mean it's [00:05:00] not fast, that's as fast as you can do for that industry, right? And if you are deploying AI in healthcare, right, it's, it's got its own, uh, cycle. [00:05:07] Anush Elangovan: but in each one of these, you want to see how, like, go down to the essence of what is it that you actually have to do. And, you know, I, I, I like how you framed it. It's like it's, you shed your prior assumptions of how things are done, right. And, and you kind of build up from a, uh, first principles, uh, approach to say, this is how I could use AI to unlock, whatever I'm doing. [00:05:33] Anush Elangovan: And, and, some of it, you know, it's good to really step back and look at. Just question every part of it, right? Like right now you're getting chat GPT and, Gemini competing for like, math, olympiads and, and, uh, college, uh, reasoning, uh, tests. Right? And, and those are like that, that is amazing and increasingly like complex tasks that they're trying to do. [00:05:58] Anush Elangovan: But there may also be like. [00:06:00] More mundane things that AI could, could get applied to. Right? And, and so when we think about shedding old ways, you wanna shed it not just in like the tip of the spear. It's like, you know, I'm gonna see what's the frontier model. It's also, it could be something as simple as. [00:06:18] Anush Elangovan: How do you choose a, a movie, uh, you know, like a recommendation system, right? Or, or, uh, an automated, uh, flight, uh, rebooking system. So the moment, you know, your flight is late, uh, right now it's a notification, right? It's like, oh, you got a text message saying your flight's late. And I got that like three times this week. [00:06:38] Anush Elangovan: But anyway, uh, and, and, and, and, I was just like, okay, so if I were to rethink this. All this MCPs that we have that should be hooked up into an MCP that says, your flight's delayed. Here are your options. If you want, you know, these are the paid options. Yeah. Here are the free options. This will get you back into your you know, Toronto airport [00:07:00] tonight. [00:07:00] Anush Elangovan: Or if you stay, here's a hotel plus this, plus this, plus. It's just like, go ahead is all I should say. Versus now I'm like, okay, can someone, you know, can I call a travel agent? Can I do this? Can I go online and log into And you know, so we gotta fundamentally rethink even those like small, nuances of, things that we do that can be automated out and AI is really, really good at doing something like this, right? Maybe I just explained an AI startup idea right now. Somebody should just start that. [00:07:29] Andrew Zigler: I think you did. Yeah, you definitely did. Someone, one of our listeners is definitely going to lift that off of you. I, I, I, you know, I hate being on the receiving end of those. You feel a little helpless and then you have to like, follow the whole flow. So I know what you mean. Like I, I like how you called out that the build and this like. [00:07:45] Andrew Zigler: Where speed is your moat and the innovation layer is protecting you, is what makes you better than your competitors. How you scale that and you bring that to market. So by understanding the problems that you're solving, uh, throwing away those older assumptions, but also [00:08:00] recognizing that like. We're building every single day, new things and new ways of using stuff that we're still figuring out the implications of. [00:08:08] Andrew Zigler: And so when you have a lot of velocity and you're introducing a lot of new ideas, and maybe you have that workflow now that automatically rebook your flight off of your late flight text message, and uh, I know I would certainly use it, but you know, what kind of philosophies guide the way that y'all think about building this ecosystem to manage that stability while letting folks. [00:08:29] Andrew Zigler: Play with the speed and the assumptions and the airplane re bookings. [00:08:34] Anush Elangovan: so, so I think, you know, we need to peel one layer down, right? and the philosophy is, Hey, we, we just discovered electricity, right? And you know what we're gonna do? We are gonna make motors, uh, or dynamos, right? Like engines. Uh, sure. We don't know if it's gonna be a Ferrari that you're gonna make, or it's a a a a dump truck. [00:08:57] Anush Elangovan: That's good for doing this. But let's [00:09:00] let, which is also required, right? You need a dump truck. You need a garbage truck. And, [00:09:04] Andrew Zigler: Yeah. You need the [00:09:04] Anush Elangovan: course you need, uh, a Ferrari for a midlife crisis, right? So, [00:09:09] Andrew Zigler: precisely. [00:09:10] Anush Elangovan: But, but my, uh, point is what do we build next? And, uh, and this is what I meant by like, okay, let's, let's take those baby steps to build the. [00:09:20] Anush Elangovan: Infrastructure that's required that we know we'll have to use, right? So, so if I just discovered electricity, okay, great. Now one, how do I save this electricity and how do I use it? So there's battery technology, so you need to do something like that, right? Like so. But then you also want to make it into an actionable thing. [00:09:37] Anush Elangovan: You want to make it for like automobiles, or you wanna use it for, you know, powering, uh, entire cities. So it is that transformational. So, uh, AI is that transformational. So, if you distill down, it'll, it'll come down to how do we think about, what we can do with this this fundamental technology that, We may not be aware of what it [00:10:00] is gonna unlock next, but at least you know the next step is clear, right? It's like a dense fog, you know, it's gonna be like, it, it's the right path. You see the light, but it's kind of like out there and, and the steps you're taking are concrete and you're like, okay, this is good. [00:10:16] Anush Elangovan: I, this is better than where I was or where we were. So we are moving forward. So you can build with the. Intuition from what you see in the short term and a tactical view, but towards what you think the future is gonna be. [00:10:28] Andrew Zigler: Right. You almost like we're all in this like fog of war, right? And like you said, you're reaching out and you're trying to step through it. You could think of it too, as like you're in the dark and your hands are up in front of you and you know that. You're, you're not gonna run your face into a wall because your hands are out in front of you, but you're not gonna maybe do much better than that. [00:10:45] Andrew Zigler: So that's kind of like, I think the eco, the, the industry, the world that we find ourselves in, uh, and we all have to, then this becomes the power of an ecosystem, of a group of people working together to create that layer of, [00:11:00] uh, of establishing the [00:11:01] Anush Elangovan: exactly. And I, I, I just, instead of, you know, saying fog of war I describe it as like, you're in this. Beautiful valley with like a morning, uh, fog that's in. You can smell the flowers. You, you hear the birds. You are like, okay, it's, we are in like, uh, utopian paradise and yes, I just need to like, continue the walk, right? [00:11:24] Anush Elangovan: and then move forward with that, conviction that you're in the right spot. [00:11:27] Andrew Zigler: Yeah. So let's talk about that ecosystem world. This nice, I love how you describe it, this grassy side of a hill in the morning that's covered in some mist and maybe we can't see 30 feet in one direction, but it sure is a beautiful hill and it smells nice. And so we're all here. And why is, in that world, why is. [00:11:44] Andrew Zigler: You know, open source, their strategic advantage that y'all are going for in the AI hardware market. And, and then how does like ROCm turn that into wins for people within that ecosystem? [00:11:56] Anush Elangovan: you know, the, the way we look at it is this, is kind of like how I view [00:12:00] AI and the ecosystem, right? But, but it is for everyone to enjoy. Uh, and so we do want to make sure that. You know, it is, uh, beneficial for everyone. [00:12:09] Anush Elangovan: The ecosystem can come in and, and innovate. It's an open innovation engine. and uh, it is very different from, you know, having a walled garden with, Hey, only I know how to do this and I'm gonna do it and throw it over the fence and you can use it or keep walking, right? So we'd like to be good citizens that way, but also. [00:12:30] Anush Elangovan: Uh, it is self-fulfilling in a way, right? Like it, the, the pace at which we innovate with open source is unmatched. Like, you know, our serving engines are like VLLM and, and sg l. Those things, uh, those frameworks are like super, super aggressive in terms of how fast they come out with features and how fast they can you know, get performant models out. [00:12:52] Anush Elangovan: And that compared with what, uh, you'd get from, you know, the likes of like T-R-T-L-L-M or something is always lagging, right? Because you [00:13:00] just can't keep up with you know, 200 commits a week just on one particular model to get that model really performant [00:13:06] Andrew Zigler: And, and, and in that world where, you know, everyone can enjoy the winds of this, what kind of customer stories or innovation stories have really stood out to you and excite you about building and creating this place for developers? [00:13:19] Anush Elangovan: Yeah. So I think the parts that are super exciting for me are when when we get to see a customer that is first skeptical. Then they start a little like, okay, fine, we'll give you a chance. Uh, we do a simple, uh, POC and then they're like, huh, this seems to work. Yeah, we told you it works. [00:13:42] Anush Elangovan: You don't have to change one line of code. Really? Yes, no need to change one line of code. Okay, let's try a production workload. So then they try it. Oh, you're more performant than the competition. Yes. We're more performant than, than the competition. So how much does it cost? And we're like, oh, it's your TCO is better with, uh, [00:14:00] AMD. [00:14:00] Anush Elangovan: So again, they're like, wow, okay, good. So now how do we deploy at scale? And then we go deploy it at scale. And when they give a thumbs up on that and they say, this is good, right? That's when you know, you, you see it go full circle from like, oh, we, we've never heard about AMD to like actually deploy to tens of thousands of GPUs In the order of a few months, right? It, it, it really is fascinating to see and very exciting and invigorating to [00:14:28] Andrew Zigler: Yeah. At like a great exposure to a lot of interesting problems. And, and then people using the infrastructure, the, the technology available to solve those problems. Really specific problems by the way, that's often why they're bringing their data and AI to it, uh, is because it is really specific and important for them. [00:14:45] Andrew Zigler: And there's a, a lot I think that other engineering orgs can learn and even emulate from AMD's success and, and having this open source ecosystem and it causing this acceleration within. You [00:15:00] know, uh, customers and enterprises that use and adopt the tools and, and, and that creates an advantage. And that goes back to why we're talking and like the real thesis of our conversation today. [00:15:10] Andrew Zigler: So how do you think engineering leaders that are listening to this and obviously tapping into this great success AMD has from an open source flywheel, how do you think other, other folks building in the same space can foster that open, first, that open source oriented culture in order to, you know, accelerate their innovation goals? [00:15:29] Anush Elangovan: Yeah, that's a very good question. So the startup that um, was acquired by AMD we, we built, I mean, we started off doing iot stuff and you know, smart ring and all that, right? But in the, the end of like, uh, and not the end, the last six years of the company was building ML compilers. [00:15:47] Anush Elangovan: And ml, ML compilers are like super, uh, complicated, sophisticated, advanced algorithms, dah, dah, dah. but it was all open source, right? So our VCs were like, wait, what do you mean your core [00:16:00] IP is open source? And um, the speed is the moat applied even then, right? It was just like, yes, if you have an idea that. [00:16:08] Anush Elangovan: Because someone saw this idea that you are, they're gonna be able to catch up, then you probably have the wrong idea anyway. But if they are, you know, you execute and they're gonna catch up, that you should assume they're gonna catch up. Right? So you gotta move forward. So keeping it open source is super important. [00:16:25] Anush Elangovan: But also to your question on like, you know, the learnings from an AMD standpoint, right? If there are, hard problems, I'd say dig in and work through it, right? Like there's no way but through it, right? That should be the simple mentality. And more, uh, frequently than not. you'll see that you'll just make it through in a, in, in good form. [00:16:52] Anush Elangovan: But if you doubt it and you're like, oh, I don't know if I should commit, if I'm, I, you know, what should just commit to do the right thing [00:17:00] every step, right? Every step, and just keep taking one step in front of the other. And in no time you'll see that you'll be running. Right. And, and yes, the first few steps will be like, yeah, everyone's complaining about your software quality. [00:17:15] Anush Elangovan: Everyone's complaining about this and that, and it doesn't work. And, and a few steps in, you know, you get, you get the hang of all the complaints that are coming in. You get the feedback loop. You're like, okay, what, what are you prioritizing again? One step in front of the other, right? You just keep knocking that out and then you get to a point where you're, it just becomes second nature, right? To do the, to do the right thing. And, and then yes, if someone gives you two options, you'll be like, fine. This is, uh, you know, there's always the resource trade off. There's always a human capital trade off, but what's the right thing to do? of course, I, I'm pragmatic about what we choose, but, but if the right thing for your long-term success is dig in, go first, principles, make it [00:18:00] happen. [00:18:00] Anush Elangovan: Well. Then just go for that. There's, there is no shortcut to [00:18:04] Andrew Zigler: acknowledging, you know, how it aligns with your mission, your core company goals, and what you're looking to achieve. And, and I, I love how you rightfully called out that in the open source world and you know, you have your technology that you've built, what you think is your moat upon, right? [00:18:22] Andrew Zigler: It's your code and, and to open source that, or to just make it where anyone could peer in is, you know. Scary in one regard, but two, it just kind of feels like you're handing away your throne room in some kind of sense, a very direct feeling sense. But the ultimately, you were really right to call out, and this is something I think about all the time, that the real power there is still the speed This the speed. [00:18:42] Andrew Zigler: That was the moat at the beginning of our conversation. It's the speed in combination with your. Very specific domain understanding of what you're building and what you're creating, and your new role as the steward of that world and how people plug into it, which [00:19:00] has frankly, a lot more influence and power than lording over a closed. [00:19:04] Andrew Zigler: You know, repository or an ecosystem, and like you said, like throwing things over the wall. Sure. There, there might be people always on the other side of that wall, but you're not gonna have a great connection with them. You're not gonna be able to really clearly understand them. I, I like your metaphor of the side of the field of the mountain a lot more. [00:19:23] Andrew Zigler: But, but in the, in this world, you know, where. That speed is, is the power and, and open source is just one way that you can harness that speed to get really far ahead and to innovate. , There's other parts of this equation that you can be experimenting with too, and I'd love to pick your brain about them as a software leader and, and, and one of them is about looking forward and kind of understanding that future that we're all building towards and beyond today's models and hardware. [00:19:48] Andrew Zigler: You know, what do you see as the next major bottleneck or opportunity in the AI compute space? As, as you know, enterprises and folks start to get a little more mature about what's available to [00:20:00] them. [00:20:00] Anush Elangovan: Yeah, I think, the bottleneck and opportunity is, uh, what I'd call, call walking the last mile of ai. Right. Uh, and like I I, I gave you an example, uh, previously, but, but it's similar to that. It's like there are cases where Humans have so many, uh, things to do in your day. You know, like the, if we sit down and actually had a customer focus like, okay, these customers lives, I'm gonna save four hours of this customer's life. And if you actually sit down and look at all of that, it'll be. Easily automatable, easily you know, uh, applicable, uh, for ai, right? [00:20:39] Anush Elangovan: Like, but then making it happen is gonna take a little bit, right? It's like maybe it's, uh, paying your utility bill, right? Or something like that, right? Or, or, your healthcare explanation of benefits. Uh, like, I'm sure you get an explanation of benefits, and I'm like, I, I don't even know what that thing is. [00:20:55] Anush Elangovan: It's just like EOB and like. [00:20:57] Andrew Zigler: it's a big, a big old PDF. Yeah, [00:21:00] exactly. [00:21:01] Anush Elangovan: Like, like, I'm like great straight to the, uh, shredder, right? And but that could be, you know, automated with the ai, right? It, it, it'd be like, Hey, the summary of this thing is you went and visited this day. Everything is okay. Everything is paid for, so don't worry, it's not a bill. [00:21:17] Anush Elangovan: That again, the same, uh, thing, but the sense of what that information overload is could be. Digested by ai, uh, accumulated over time and retrieved when you need it. Like, I don't, I actually don't even need to know this EOB right now, unless of course, whenever I need to know it, that maybe, you know, like for some benefits I need to figure out what do, what did I do over the past year and how do I apply it? Source:
31:35

Just in $AMD Anush "Speed is the moat"|ROCm🎙️ In the race to define the future of AI, what's the one advantage that truly lasts? It's not proprietary tech, argues Anush Elangovan Elangovan, VP of AI Software at AMD , but the sustainable speed of innovation. He explains why AMD is rejecting the "walled garden" model for its open source ROCm stack, betting that an open community flywheel is the key to victory. Listen to understand how this open strategy is designed to out-innovate closed systems by empowering developers to solve everything from frontier-model challenges to the mundane, everyday problems that define the "last mile" of AI. AMD ROCm Software: Part 1 Transcript [00:00:00] Andrew Zigler: Joining me is Anush Elangovan, VP of AI software at AMD. And when people talk about AI compute, the conversation often stops at hardware specs, but it's more than just physical chips that win the game. It's also the software ecosystems supporting them. [00:00:18] Andrew Zigler: The prevailing strategy in the industry has been to build something like a walled garden. You know, something closed, proprietary locks, developers in. But AMD is betting on an entirely different play, open source acceleration, and with rock, their open source AI software stack. AMD is building not just hardware parity, but an innovation flywheel that's powered by the community with interoperability and the freedom to scale without all of that pesky lockin. [00:00:48] Andrew Zigler: And in this world, speed is your moat and how fast you can innovate while your platform remains open, flexible, and standardize across all of its applications. That's what we're gonna explore [00:01:00] today. So Anush, I'm really excited to have you here. Welcome to Dev Interrupted. [00:01:04] Anush Elangovan: Thanks for having me. Uh, super excited to chat about it. [00:01:07] Andrew Zigler: Amazing. Well, let's go ahead and dive right in with kind of what I laid it out with in the beginning, the idea of the moat and it being about speed. I wanna unpack that a bit because that came from you when you and I first spoke. And I, and I want to know, you know, how do you define speed inside of AMD beyond just things like hardware, benchmarks. [00:01:27] Anush Elangovan: Yeah, that's a very good question. So when we typically talk about speed, everyone's like, Hey, hardware benchmark specs, right? Like, uh, memory bandwidth or, or flops. And that is one important part of it, uh, AMD does very well. With that, we do have, a, a very good history of executing on that axis. [00:01:47] Anush Elangovan: But when I say speed is the moat, it is about, uh, how we prepare, how we build the muscle to run the race for a long time and run it fast. And it is [00:02:00] not about a single point in time that you've, you've beat some you know, benchmark and, and you declare victory. It's about building the ability to consistently develop and deliver. [00:02:13] Anush Elangovan: Both hardware and software innovation at scale and do it fast, right? Like, you know, we we're increasingly getting to a point where models come out and they're, uh, you know, a year or two ago it was like, Hey, they work on AMD on day zero, which is great, but now they are performing on AMD the day it releases, right? [00:02:32] Anush Elangovan: So, what does it take to Prefetch where the industry is going? Be prepared to intercept. At that point is what you know, I, I refer to as you know, the, the speed factor in, in creating this mode, right? And the mode is just shed all things that hold you back and run as fast as you can. [00:02:53] Anush Elangovan: Uh, because the pace of innovation that is, uh, being seen in, in AI [00:03:00] industries is just. Amazing. Right? And it's like, it's transformational at at how you generate electricity. It's transformational as at how you build data centers. It's transformational at how you deploy compute, networking. It's transformational at what kind of use cases you, you know, uh, use AI for. [00:03:17] Anush Elangovan: Uh, and for that, you need to be prepared to, see what comes tomorrow and be prepared to run the race tomorrow. [00:03:23] Andrew Zigler: Yeah, it's a really great perspective because it highlights that it's not just like a checkpoint that you run through. I like how you called out, like it's not just hitting that benchmark or being the best in class at that moment, in that snapshot, it's about having a. The throughput and about having that dedication to the idea and continuing to deliver on it. [00:03:43] Andrew Zigler: It's not just crossing the threshold, but it's also being the engine. And that's what, that's what protects a business. That is the moat, because the moat is that innovation layer, the faster and more, uh, future forward. That you can work and think, [00:04:00] you know, the better. Uh, we, we talk a lot about like future forward work styles. [00:04:04] Andrew Zigler: Like what are the things I could be doing right now today that are gonna be like, way more useful tomorrow? Let, let's abandon those, workflows that are older and that kind of like, that translates into. An advantage when you work that way. You know, what kind of things have you learned working with, uh, like across all spectrums of people who would use ROCm, right? [00:04:23] Andrew Zigler: You have like the developers, but then you also have the enterprises and you have this large span of adoptees, right? So what is the, what does that look like that you learn? [00:04:32] Anush Elangovan: Yeah, so, so the way I look at it is there are gonna be pockets of different, uh, you know, cadences, right? Like, so people who are deploying in enterprises, for example, right? The validation and how long it takes for them to deploy an LLM that's secure. It's, with guardrails, et cetera, maybe longer. [00:04:52] Anush Elangovan: but you still have to go through the process and you have to be prepared to like, walk that walk to deploy an enterprises. That doesn't mean it's [00:05:00] not fast, that's as fast as you can do for that industry, right? And if you are deploying AI in healthcare, right, it's, it's got its own, uh, cycle. [00:05:07] Anush Elangovan: but in each one of these, you want to see how, like, go down to the essence of what is it that you actually have to do. And, you know, I, I, I like how you framed it. It's like it's, you shed your prior assumptions of how things are done, right. And, and you kind of build up from a, uh, first principles, uh, approach to say, this is how I could use AI to unlock, whatever I'm doing. [00:05:33] Anush Elangovan: And, and, some of it, you know, it's good to really step back and look at. Just question every part of it, right? Like right now you're getting chat GPT and, Gemini competing for like, math, olympiads and, and, uh, college, uh, reasoning, uh, tests. Right? And, and those are like that, that is amazing and increasingly like complex tasks that they're trying to do. [00:05:58] Anush Elangovan: But there may also be like. [00:06:00] More mundane things that AI could, could get applied to. Right? And, and so when we think about shedding old ways, you wanna shed it not just in like the tip of the spear. It's like, you know, I'm gonna see what's the frontier model. It's also, it could be something as simple as. [00:06:18] Anush Elangovan: How do you choose a, a movie, uh, you know, like a recommendation system, right? Or, or, uh, an automated, uh, flight, uh, rebooking system. So the moment, you know, your flight is late, uh, right now it's a notification, right? It's like, oh, you got a text message saying your flight's late. And I got that like three times this week. [00:06:38] Anush Elangovan: But anyway, uh, and, and, and, and, I was just like, okay, so if I were to rethink this. All this MCPs that we have that should be hooked up into an MCP that says, your flight's delayed. Here are your options. If you want, you know, these are the paid options. Yeah. Here are the free options. This will get you back into your you know, Toronto airport [00:07:00] tonight. [00:07:00] Anush Elangovan: Or if you stay, here's a hotel plus this, plus this, plus. It's just like, go ahead is all I should say. Versus now I'm like, okay, can someone, you know, can I call a travel agent? Can I do this? Can I go online and log into And you know, so we gotta fundamentally rethink even those like small, nuances of, things that we do that can be automated out and AI is really, really good at doing something like this, right? Maybe I just explained an AI startup idea right now. Somebody should just start that. [00:07:29] Andrew Zigler: I think you did. Yeah, you definitely did. Someone, one of our listeners is definitely going to lift that off of you. I, I, I, you know, I hate being on the receiving end of those. You feel a little helpless and then you have to like, follow the whole flow. So I know what you mean. Like I, I like how you called out that the build and this like. [00:07:45] Andrew Zigler: Where speed is your moat and the innovation layer is protecting you, is what makes you better than your competitors. How you scale that and you bring that to market. So by understanding the problems that you're solving, uh, throwing away those older assumptions, but also [00:08:00] recognizing that like. We're building every single day, new things and new ways of using stuff that we're still figuring out the implications of. [00:08:08] Andrew Zigler: And so when you have a lot of velocity and you're introducing a lot of new ideas, and maybe you have that workflow now that automatically rebook your flight off of your late flight text message, and uh, I know I would certainly use it, but you know, what kind of philosophies guide the way that y'all think about building this ecosystem to manage that stability while letting folks. [00:08:29] Andrew Zigler: Play with the speed and the assumptions and the airplane re bookings. [00:08:34] Anush Elangovan: so, so I think, you know, we need to peel one layer down, right? and the philosophy is, Hey, we, we just discovered electricity, right? And you know what we're gonna do? We are gonna make motors, uh, or dynamos, right? Like engines. Uh, sure. We don't know if it's gonna be a Ferrari that you're gonna make, or it's a a a a dump truck. [00:08:57] Anush Elangovan: That's good for doing this. But let's [00:09:00] let, which is also required, right? You need a dump truck. You need a garbage truck. And, [00:09:04] Andrew Zigler: Yeah. You need the [00:09:04] Anush Elangovan: course you need, uh, a Ferrari for a midlife crisis, right? So, [00:09:09] Andrew Zigler: precisely. [00:09:10] Anush Elangovan: But, but my, uh, point is what do we build next? And, uh, and this is what I meant by like, okay, let's, let's take those baby steps to build the. [00:09:20] Anush Elangovan: Infrastructure that's required that we know we'll have to use, right? So, so if I just discovered electricity, okay, great. Now one, how do I save this electricity and how do I use it? So there's battery technology, so you need to do something like that, right? Like so. But then you also want to make it into an actionable thing. [00:09:37] Anush Elangovan: You want to make it for like automobiles, or you wanna use it for, you know, powering, uh, entire cities. So it is that transformational. So, uh, AI is that transformational. So, if you distill down, it'll, it'll come down to how do we think about, what we can do with this this fundamental technology that, We may not be aware of what it [00:10:00] is gonna unlock next, but at least you know the next step is clear, right? It's like a dense fog, you know, it's gonna be like, it, it's the right path. You see the light, but it's kind of like out there and, and the steps you're taking are concrete and you're like, okay, this is good. [00:10:16] Anush Elangovan: I, this is better than where I was or where we were. So we are moving forward. So you can build with the. Intuition from what you see in the short term and a tactical view, but towards what you think the future is gonna be. [00:10:28] Andrew Zigler: Right. You almost like we're all in this like fog of war, right? And like you said, you're reaching out and you're trying to step through it. You could think of it too, as like you're in the dark and your hands are up in front of you and you know that. You're, you're not gonna run your face into a wall because your hands are out in front of you, but you're not gonna maybe do much better than that. [00:10:45] Andrew Zigler: So that's kind of like, I think the eco, the, the industry, the world that we find ourselves in, uh, and we all have to, then this becomes the power of an ecosystem, of a group of people working together to create that layer of, [00:11:00] uh, of establishing the [00:11:01] Anush Elangovan: exactly. And I, I, I just, instead of, you know, saying fog of war I describe it as like, you're in this. Beautiful valley with like a morning, uh, fog that's in. You can smell the flowers. You, you hear the birds. You are like, okay, it's, we are in like, uh, utopian paradise and yes, I just need to like, continue the walk, right? [00:11:24] Anush Elangovan: and then move forward with that, conviction that you're in the right spot. [00:11:27] Andrew Zigler: Yeah. So let's talk about that ecosystem world. This nice, I love how you describe it, this grassy side of a hill in the morning that's covered in some mist and maybe we can't see 30 feet in one direction, but it sure is a beautiful hill and it smells nice. And so we're all here. And why is, in that world, why is. [00:11:44] Andrew Zigler: You know, open source, their strategic advantage that y'all are going for in the AI hardware market. And, and then how does like ROCm turn that into wins for people within that ecosystem? [00:11:56] Anush Elangovan: you know, the, the way we look at it is this, is kind of like how I view [00:12:00] AI and the ecosystem, right? But, but it is for everyone to enjoy. Uh, and so we do want to make sure that. You know, it is, uh, beneficial for everyone. [00:12:09] Anush Elangovan: The ecosystem can come in and, and innovate. It's an open innovation engine. and uh, it is very different from, you know, having a walled garden with, Hey, only I know how to do this and I'm gonna do it and throw it over the fence and you can use it or keep walking, right? So we'd like to be good citizens that way, but also. [00:12:30] Anush Elangovan: Uh, it is self-fulfilling in a way, right? Like it, the, the pace at which we innovate with open source is unmatched. Like, you know, our serving engines are like VLLM and, and sg l. Those things, uh, those frameworks are like super, super aggressive in terms of how fast they come out with features and how fast they can you know, get performant models out. [00:12:52] Anush Elangovan: And that compared with what, uh, you'd get from, you know, the likes of like T-R-T-L-L-M or something is always lagging, right? Because you [00:13:00] just can't keep up with you know, 200 commits a week just on one particular model to get that model really performant [00:13:06] Andrew Zigler: And, and, and in that world where, you know, everyone can enjoy the winds of this, what kind of customer stories or innovation stories have really stood out to you and excite you about building and creating this place for developers? [00:13:19] Anush Elangovan: Yeah. So I think the parts that are super exciting for me are when when we get to see a customer that is first skeptical. Then they start a little like, okay, fine, we'll give you a chance. Uh, we do a simple, uh, POC and then they're like, huh, this seems to work. Yeah, we told you it works. [00:13:42] Anush Elangovan: You don't have to change one line of code. Really? Yes, no need to change one line of code. Okay, let's try a production workload. So then they try it. Oh, you're more performant than the competition. Yes. We're more performant than, than the competition. So how much does it cost? And we're like, oh, it's your TCO is better with, uh, [00:14:00] AMD. [00:14:00] Anush Elangovan: So again, they're like, wow, okay, good. So now how do we deploy at scale? And then we go deploy it at scale. And when they give a thumbs up on that and they say, this is good, right? That's when you know, you, you see it go full circle from like, oh, we, we've never heard about AMD to like actually deploy to tens of thousands of GPUs In the order of a few months, right? It, it, it really is fascinating to see and very exciting and invigorating to [00:14:28] Andrew Zigler: Yeah. At like a great exposure to a lot of interesting problems. And, and then people using the infrastructure, the, the technology available to solve those problems. Really specific problems by the way, that's often why they're bringing their data and AI to it, uh, is because it is really specific and important for them. [00:14:45] Andrew Zigler: And there's a, a lot I think that other engineering orgs can learn and even emulate from AMD's success and, and having this open source ecosystem and it causing this acceleration within. You [00:15:00] know, uh, customers and enterprises that use and adopt the tools and, and, and that creates an advantage. And that goes back to why we're talking and like the real thesis of our conversation today. [00:15:10] Andrew Zigler: So how do you think engineering leaders that are listening to this and obviously tapping into this great success AMD has from an open source flywheel, how do you think other, other folks building in the same space can foster that open, first, that open source oriented culture in order to, you know, accelerate their innovation goals? [00:15:29] Anush Elangovan: Yeah, that's a very good question. So the startup that um, was acquired by AMD we, we built, I mean, we started off doing iot stuff and you know, smart ring and all that, right? But in the, the end of like, uh, and not the end, the last six years of the company was building ML compilers. [00:15:47] Anush Elangovan: And ml, ML compilers are like super, uh, complicated, sophisticated, advanced algorithms, dah, dah, dah. but it was all open source, right? So our VCs were like, wait, what do you mean your core [00:16:00] IP is open source? And um, the speed is the moat applied even then, right? It was just like, yes, if you have an idea that. [00:16:08] Anush Elangovan: Because someone saw this idea that you are, they're gonna be able to catch up, then you probably have the wrong idea anyway. But if they are, you know, you execute and they're gonna catch up, that you should assume they're gonna catch up. Right? So you gotta move forward. So keeping it open source is super important. [00:16:25] Anush Elangovan: But also to your question on like, you know, the learnings from an AMD standpoint, right? If there are, hard problems, I'd say dig in and work through it, right? Like there's no way but through it, right? That should be the simple mentality. And more, uh, frequently than not. you'll see that you'll just make it through in a, in, in good form. [00:16:52] Anush Elangovan: But if you doubt it and you're like, oh, I don't know if I should commit, if I'm, I, you know, what should just commit to do the right thing [00:17:00] every step, right? Every step, and just keep taking one step in front of the other. And in no time you'll see that you'll be running. Right. And, and yes, the first few steps will be like, yeah, everyone's complaining about your software quality. [00:17:15] Anush Elangovan: Everyone's complaining about this and that, and it doesn't work. And, and a few steps in, you know, you get, you get the hang of all the complaints that are coming in. You get the feedback loop. You're like, okay, what, what are you prioritizing again? One step in front of the other, right? You just keep knocking that out and then you get to a point where you're, it just becomes second nature, right? To do the, to do the right thing. And, and then yes, if someone gives you two options, you'll be like, fine. This is, uh, you know, there's always the resource trade off. There's always a human capital trade off, but what's the right thing to do? of course, I, I'm pragmatic about what we choose, but, but if the right thing for your long-term success is dig in, go first, principles, make it [00:18:00] happen. [00:18:00] Anush Elangovan: Well. Then just go for that. There's, there is no shortcut to [00:18:04] Andrew Zigler: acknowledging, you know, how it aligns with your mission, your core company goals, and what you're looking to achieve. And, and I, I love how you rightfully called out that in the open source world and you know, you have your technology that you've built, what you think is your moat upon, right? [00:18:22] Andrew Zigler: It's your code and, and to open source that, or to just make it where anyone could peer in is, you know. Scary in one regard, but two, it just kind of feels like you're handing away your throne room in some kind of sense, a very direct feeling sense. But the ultimately, you were really right to call out, and this is something I think about all the time, that the real power there is still the speed This the speed. [00:18:42] Andrew Zigler: That was the moat at the beginning of our conversation. It's the speed in combination with your. Very specific domain understanding of what you're building and what you're creating, and your new role as the steward of that world and how people plug into it, which [00:19:00] has frankly, a lot more influence and power than lording over a closed. [00:19:04] Andrew Zigler: You know, repository or an ecosystem, and like you said, like throwing things over the wall. Sure. There, there might be people always on the other side of that wall, but you're not gonna have a great connection with them. You're not gonna be able to really clearly understand them. I, I like your metaphor of the side of the field of the mountain a lot more. [00:19:23] Andrew Zigler: But, but in the, in this world, you know, where. That speed is, is the power and, and open source is just one way that you can harness that speed to get really far ahead and to innovate. , There's other parts of this equation that you can be experimenting with too, and I'd love to pick your brain about them as a software leader and, and, and one of them is about looking forward and kind of understanding that future that we're all building towards and beyond today's models and hardware. [00:19:48] Andrew Zigler: You know, what do you see as the next major bottleneck or opportunity in the AI compute space? As, as you know, enterprises and folks start to get a little more mature about what's available to [00:20:00] them. [00:20:00] Anush Elangovan: Yeah, I think, the bottleneck and opportunity is, uh, what I'd call, call walking the last mile of ai. Right. Uh, and like I I, I gave you an example, uh, previously, but, but it's similar to that. It's like there are cases where Humans have so many, uh, things to do in your day. You know, like the, if we sit down and actually had a customer focus like, okay, these customers lives, I'm gonna save four hours of this customer's life. And if you actually sit down and look at all of that, it'll be. Easily automatable, easily you know, uh, applicable, uh, for ai, right? [00:20:39] Anush Elangovan: Like, but then making it happen is gonna take a little bit, right? It's like maybe it's, uh, paying your utility bill, right? Or something like that, right? Or, or, your healthcare explanation of benefits. Uh, like, I'm sure you get an explanation of benefits, and I'm like, I, I don't even know what that thing is. [00:20:55] Anush Elangovan: It's just like EOB and like. [00:20:57] Andrew Zigler: it's a big, a big old PDF. Yeah, [00:21:00] exactly. [00:21:01] Anush Elangovan: Like, like, I'm like great straight to the, uh, shredder, right? And but that could be, you know, automated with the ai, right? It, it, it'd be like, Hey, the summary of this thing is you went and visited this day. Everything is okay. Everything is paid for, so don't worry, it's not a bill. [00:21:17] Anush Elangovan: That again, the same, uh, thing, but the sense of what that information overload is could be. Digested by ai, uh, accumulated over time and retrieved when you need it. Like, I don't, I actually don't even need to know this EOB right now, unless of course, whenever I need to know it, that maybe, you know, like for some benefits I need to figure out what do, what did I do over the past year and how do I apply it? Source:

Mike

15,248 次观看 • 9 个月前

"The label just says No Brand" GRWM w Desi Generated on Atlas Cloud Wan 3.0 Prime Esr upscale stitched together on ElevenCreative studio prompt Desi: South Asian woman, mid-20s, warm brown skin with natural, realistic texture — visible pores, subtle natural sheen, no airbrushed smoothness. Expressive dark brown eyes, defined brows, full lips. Long dark wavy hair, undone/messy at the start. No jewelry until the earrings beat. Gold jhumka earrings and thin gold necklace are her fixed accessories once applied. Environment — Desi's Bedroom: Modest, lived-in bedroom, soft neutral-toned walls, single window with sheer curtains, warm diffused morning light with real shadow falloff. Wooden/laminate flooring, small woven area rug. Flows from bed area to vanity/mirror corner to a closet/wardrobe area to a doorway. Bed: simple platform frame, unmade, muted duvet, mismatched pillows, folded throw, nightstand with a plain ceramic mug, analog alarm clock, small lamp. Vanity: wooden dresser, plain oval mirror, small ceramic dish holding her rings/studs/jhumka earrings, a plain glass jar labeled "NO BRAND" in small black sans-serif text, a plain wooden hairbrush — all visible on the surface from the start. Wardrobe area: simple open wardrobe/hangers with a small handful of plain unbranded clothing already visible. Doorway: simple wooden door, softly lit hallway beyond. Visual style (all blocks): Cinematic realism, not commercial polish. Soft natural film-like grain, warm slightly imperfect color grading true to real morning light. Skin genuinely textured, never smoothed or beauty-filtered. Smooth floating steadicam/gimbal camera movement throughout, cinematic framing sensibility, not raw flat phone footage. Audio style (all blocks): Warm, natural, close-mic room-tone quality, not sterile or studio-clean. Real object-contact sounds, natural room reverb on her voice. No music, no artificial sound effects. Standing negatives (repeat in every block): No AI morphing of any kind — no shifting, warping, or unstable facial features, body proportions, or object shapes. No items suddenly appearing or disappearing in frame — every object must already be visible in its place before she interacts with it. No over-polished or beauty-filtered skin — natural texture and imperfection required throughout. No overly clean, sterile, or commercial visual grade. No duplicate Desi in any frame. No identity drift from block to block. Every product/container shows either no text/logo or exactly the plain "NO BRAND" mark — simple black sans-serif on plain packaging. No recognizable real-world brand names, logos, or trademarked packaging/clothing design anywhere in frame. No extra fingers, fused hands, or distorted anatomy. No text overlays or captions. No music — natural ambient audio only. Mirror reflections physically accurate and consistent; camera never visible in any reflection. No sudden speed changes, no time-lapse compression, no rushed dialogue delivery. BLOCK 1 — [0:00–0:15] The Alarm, Waking, Yawn, First Line Continuity note: Opening block — no prior frame to match. Action: Dark, close frame on Desi's sleeping face, soft warm morning light beginning to catch her skin's natural texture. A phone alarm begins ringing on the nightstand. Hold on her unmoving for a real beat as it rings. Her hand fumbles slowly toward the sound, silences it. She lies still a moment longer, then opens her eyes slowly, squinting at the light. She yawns — full, unhurried, genuine — stretching slightly where she lies. A long pause settles after. Dialogue: (after the yawn, slow, groggy, real pauses) "Okay... (pause) ...so it is way too early for this..." (long pause, slow exhale) "...but let's get ready anyway." Camera: Static-to-slow-float — begins locked close on her face, only beginning the faintest float as she finishes speaking, ending the block just as she starts to shift toward sitting up. Block-specific negatives: The alarm sound must play first, before any dialogue or visible movement. Do not have her wake up abruptly or sit up quickly — the entire block stays in slow, groggy stillness. Do not begin the standing/sitting motion before the final line completes. BLOCK 2 — [0:15–0:30] Five More Minutes + Coffee Stretch Continuity note: Opens exactly where Block 1 ended — Desi still lying down, having just finished her line, beginning to shift toward sitting up. Match her position, the room's lighting, and her expression precisely to Block 1's final frame. Action: She sits up fully, stretches with a real, full arms-overhead extension, laughs softly at herself. She reaches for the ceramic mug already present on the nightstand, takes a slow sip, holds it a moment, exhales contentedly. Only after finishing the sip does she swing her legs out and stand, unhurried. Dialogue: "Five more minutes..." (pause, small laugh) "...turned into not five minutes." (beat) "Classic." (pause, after the sip) "Okay." (beat) "...That helps." Camera: Smooth floating steadicam, holding a steady elevated angle through the stretch, following her rise to standing by the block's end. Block-specific negatives: Do not skip or shorten the full stretch. The sip of coffee must complete before she stands — no simultaneous drinking-and-standing. Do not have her rush to her feet; the stand is the final motion of the block, unhurried. BLOCK 3 — [0:30–0:45] Moisturizer Continuity note: Opens exactly where Block 2 ended — Desi just risen to standing beside the bed. This block covers her walk to the vanity and the full moisturizer application. Match her position and the room's light to Block 2's final frame. Action: Camera drifts with her as she walks unhurried from the bed to the vanity, arriving at the mirror. The plain glass jar labeled "NO BRAND" is already visible on the vanity surface as she arrives. She unscrews the lid slowly, scoops a small amount, and applies it in full, unhurried circular motions across her face — the entire application shown start to finish within this block. Dialogue: (spoken only once the application is fully finished, near the block's end) "This is like..." (pause) "...the one step I actually never skip." (beat) "Everything else is negotiable." Camera: Floating lateral tracking during the walk, settling into a steady medium shot at the mirror for the application itself. Block-specific negatives: The jar must already be visible on the vanity before she reaches for it — no appearing mid-motion. The application must be shown completing in full before any dialogue begins. Do not rush the walk to the mirror to make room for the application — both get real, unhurried time within the 15 seconds. BLOCK 4 — [0:45–1:00] Hairbrush + Earrings Continuity note: Opens exactly where Block 3 ended — Desi standing at the mirror, moisturizer just applied. Match her position and expression to Block 3's final frame. Action: She picks up the plain wooden hairbrush, already resting on the vanity, and brushes out her hair with several full, unhurried strokes, working through it completely. She sets the brush down, then picks up her gold jhumka earrings from the ceramic dish and puts them on one at a time — each fully finished and settled before she begins the second. Dialogue: (mid-brushing) "Yeah, I don't even know what's in that jar anymore." (soft laugh) "The label just says 'No Brand.'" (beat, as she puts in the second earring) "...Works though." Camera: Steady medium-close shot at the mirror, holding through both the brushing and the earrings without cutting away. Block-specific negatives: The hairbrush and earrings must both already be visible on the vanity from the block's start. The first earring must be fully in place before she begins the second — no simultaneous application. Do not shorten the number of brush strokes to save time; let the motion read as genuinely unhurried. BLOCK 5 — [1:00–1:15] Wardrobe Change (Revised: Explicit Detail + Locked Outfit) Continuity note: Opens exactly where Block 4 ended — Desi at the mirror, both earrings now in place. This block covers her moving to the wardrobe area and changing. New Outfit — Locked Reference (carries into Block 6 and any future scenes): A simple, plain white or cream-colored short-sleeve cotton top with a round or slightly scooped neckline, no graphics, no visible branding — soft, everyday fabric with natural draping and slight creasing. Paired with plain straight-leg or slightly relaxed-fit trousers in a muted neutral tone (soft khaki, warm taupe, or dark grey), no visible logos, no stitched branding on pockets or waistband. Simple flat sandals or bare feet, consistent with the casual, staying-home-in-the-morning energy of the piece. This exact combination — top, trousers, footwear — must remain identical through Block 6 and any subsequent generation; treat it as a locked reference image once established. Action, explicitly detailed: Camera follows her as she walks from the vanity toward the wardrobe area, where the clothing has been visible on the rod/hangers since the environment was established — including the specific white/cream top and neutral trousers she will select, already hanging there from the start. She reaches the wardrobe, looks over the few items for a moment, unhurried, and lifts the plain white top and the neutral trousers off their hangers, laying them briefly over her arm or the chair. She turns slightly away from camera or angles herself naturally at the wardrobe (matter-of-fact, not performative), and removes her sleep t-shirt first — pulling it up and off in one unhurried motion, setting it aside on the chair or a nearby surface. She then pulls the plain white top on over her head, arms finding the sleeves naturally, settling the fabric down over her torso with a small adjusting tug at the hem. She then steps out of her sleep bottoms or loungewear pants — sitting briefly on the edge of the chair or bed if needed for balance, one leg at a time — and pulls on the neutral trousers, standing to fasten or settle them at the waist, a small natural motion to smooth them down her hips. Once fully dressed, she does a small self-check — glancing down at the outfit, smoothing the top's hem once more, rolling one sleeve cuff slightly — before turning back toward the mirror. Dialogue: "Okay..." (pause, mid-change) "...let's see." (beat, once dressed, considering the outfit) "...Yeah. That works." Camera: Floating steadicam following her to the wardrobe, holding a respectful medium distance throughout the change — matter-of-fact framing, never a close or lingering angle, treating the change the way an ordinary morning routine would actually look on camera, not stylized or drawn out for effect. Block-specific negatives: The white top and neutral trousers must already be visible hanging in the wardrobe from the start of the block — no appearing only once she reaches for them. The change must be shown as a clear, complete sequence — sleep shirt removed, new top pulled on, sleep bottoms removed, new trousers pulled on — with no skipped steps or instant swaps between states. The change must read as ordinary and unhurried but not sexualized or dwelt upon — medium-distance framing throughout, natural body positioning, nothing posed. No outfit teleporting at any point — every layer change must be visibly performed by her, not implied through a cut or dissolve (there are no cuts in this piece regardless). This exact outfit (plain white/cream short-sleeve top, neutral trousers, sandals or bare feet) is now the locked wardrobe reference for the remainder of the piece — it must not vary in color, cut, or detail in Block 6 or any subsequent scene. BLOCK 6 — 1:15–1:30 FINAL LOOK → WALK OUT CONTINUITY OPEN Block 6 begins immediately from the final frame of Block 5. There is no cut. Desi stands in front of the mirror wearing the exact outfit established in Block 5. Her: white/cream top; neutral trousers; footwear; gold jhumka earrings; gold necklace; hairstyle; makeup; facial features remain exactly consistent. --- 1:15–1:20 FINAL MIRROR CHECK Desi faces the oval mirror. The camera floats gently into position behind/alongside her. She looks at her reflection. A genuine pause. She looks down briefly at the outfit. Smooths the top once. Looks back at herself. A tiny satisfied nod. No exaggerated posing. No influencer-style presentation. She simply looks like someone deciding that she is ready enough to leave. --- 1:20–1:26 WALK TOWARD DOOR Desi turns away from the mirror. The camera smoothly follows. She walks through the bedroom toward the doorway. Her pace remains natural and unhurried. The camera never overtakes her. No whip-pan. No sudden acceleration. No speed ramp. The hallway beyond the doorway is already visible. Morning light spills naturally from the hallway. Dialogue Desi: "Okay." pause "Human." beat "Presentable." pause "Good enough." A small genuine laugh. --- 1:26–1:30 EXIT Desi reaches the doorway. She opens the wooden door. Warm hallway light falls across her. She steps through. The camera continues following her naturally. Just before she disappears completely, she turns her head slightly toward the camera. A genuine late-arriving smile. Dialogue "Alright..." pause "...let's go be a person today." beat "Bye." She exits. The camera remains inside the bedroom. It settles naturally on the empty doorway. Hold for one quiet beat. END. --- MASTER NEGATIVES & CONSTRAINTS BLOCKS 5–6 CONTINUITY One continuous physical camera take. Zero hard cuts. Zero hidden cuts. Zero jump cuts. Zero dissolves. Zero fades between states. Zero time skips. Zero time-lapse. Zero teleportation. Zero duplicated footage. Zero sudden camera repositioning. WHIP-PAN ONE WHIP-PAN ONLY. It occurs exclusively during the wardrobe change in Block 5. The whip-pan must: physically originate from the camera's current position; move through the same bedroom; temporarily obscure Desi; return naturally to the wardrobe area. It must never be used as a disguised cut. No whip-pan during Block 6. --- NO MORPHING / NO MESHING Absolutely no: face morphing; facial meshing; body morphing; wardrobe morphing; texture morphing; object morphing; environmental morphing; frame interpolation artifacts; identity blending; unstable facial geometry; unstable hands; unstable hair; unstable jewelry. Desi must remain the same woman throughout the entire sequence. --- IDENTITY LOCK Do not alter: eyes; eyebrows; nose; lips; jaw; cheekbones; skin tone; face shape; body proportions; age; hair texture; hairline. No identity drift. No alternate version of Desi. No duplicate Desi. No phantom Desi. --- WARDROBE CHANGE The wardrobe change must be physically believable. No: instant outfit swap; outfit teleportation; clothing appearing on her body; clothing disappearing from her body; clothing growing onto her; magical transition; glowing transformation; particle effect; dissolve; morph. The single whip-pan simply gives privacy while maintaining the continuous physical flow of the camera. --- OBJECT CONTINUITY No object may suddenly appear or disappear. The following must remain spatially consistent: wardrobe; clothing; chair; vanity; mirror; jewelry; dresser; plants; rug; door; hallway. The white/cream top and neutral trousers must be visibly hanging in the wardrobe before Desi selects them. --- OUTFIT LOCK Once Desi finishes changing: WHITE/CREAM SHORT-SLEEVE TOP + EXACT NEUTRAL TROUSERS + SAME FOOTWEAR must remain unchanged through the end. No recoloring. No redesign. No different sleeve length. No different trouser cut. No different footwear. No spontaneous accessories. --- MIRROR CONSISTENCY Mirror reflection must be physically accurate at all times. One Desi. Reflection matches her movements exactly. No reflection drift. No alternate face. No duplicated reflection. No delayed reflection. Camera never appears in the mirror. --- ANATOMY No: extra fingers; missing fingers; fused fingers; duplicated hands; malformed hands; warped arms; elongated limbs; distorted torso; unnatural joints; anatomical meshing. --- VISUAL STYLE Cinematic realism. Natural morning light. Natural skin pores and texture. Subtle film-like grain. Slightly imperfect real-world color. No: beauty filter; plastic skin; excessive skin smoothing; glossy commercial lighting; HDR; hyper-clean advertising aesthetic; artificial glow; excessive sharpening. --- AUDIO Continuous natural audio only: footsteps; fabric movement; clothing rustle; jewelry movement; room ambience; natural breathing; door movement; hallway ambience; Desi's natural voice. No music. No cinematic impact sounds. No artificial transition sounds. No sound effect accompanying the whip-pan. --- VOICE Warm low-mid female voice. Natural morning rasp. Close and intimate. Slow. Unhurried. Conversational. Real pauses between phrases. Never sounds like a commercial, narrator, actress, or influencer reading a script. Do not compress dialogue to fit the timestamps. Natural delivery takes priority. --- FINAL GENERATION LOCK ONE DESI. ONE BEDROOM. ONE CAMERA. ONE CONTINUOUS PHYSICAL FLOW. ONE WHIP-PAN ONLY — BLOCK 5 WARDROBE CHANGE. NO CUTS. NO MORPHING. NO MESHING. NO TELEPORTATION. NO IDENTITY DRIFT. NO OBJECT POP-IN. NO WARDROBE TELEPORTATION. NO DUPLICATION. NO TIME-LAPSE. NO RUSHED MOTION. Block 6 must begin exactly where Block 5 ends, with the exact same Desi, exact same face, exact same jewelry, exact same hairstyle, exact same outfit, exact same environment, and exact same spatial continuity. #AtlasCloud
1:22

"The label just says No Brand" GRWM w Desi Generated on Atlas Cloud Wan 3.0 Prime Esr upscale stitched together on ElevenCreative studio prompt Desi: South Asian woman, mid-20s, warm brown skin with natural, realistic texture — visible pores, subtle natural sheen, no airbrushed smoothness. Expressive dark brown eyes, defined brows, full lips. Long dark wavy hair, undone/messy at the start. No jewelry until the earrings beat. Gold jhumka earrings and thin gold necklace are her fixed accessories once applied. Environment — Desi's Bedroom: Modest, lived-in bedroom, soft neutral-toned walls, single window with sheer curtains, warm diffused morning light with real shadow falloff. Wooden/laminate flooring, small woven area rug. Flows from bed area to vanity/mirror corner to a closet/wardrobe area to a doorway. Bed: simple platform frame, unmade, muted duvet, mismatched pillows, folded throw, nightstand with a plain ceramic mug, analog alarm clock, small lamp. Vanity: wooden dresser, plain oval mirror, small ceramic dish holding her rings/studs/jhumka earrings, a plain glass jar labeled "NO BRAND" in small black sans-serif text, a plain wooden hairbrush — all visible on the surface from the start. Wardrobe area: simple open wardrobe/hangers with a small handful of plain unbranded clothing already visible. Doorway: simple wooden door, softly lit hallway beyond. Visual style (all blocks): Cinematic realism, not commercial polish. Soft natural film-like grain, warm slightly imperfect color grading true to real morning light. Skin genuinely textured, never smoothed or beauty-filtered. Smooth floating steadicam/gimbal camera movement throughout, cinematic framing sensibility, not raw flat phone footage. Audio style (all blocks): Warm, natural, close-mic room-tone quality, not sterile or studio-clean. Real object-contact sounds, natural room reverb on her voice. No music, no artificial sound effects. Standing negatives (repeat in every block): No AI morphing of any kind — no shifting, warping, or unstable facial features, body proportions, or object shapes. No items suddenly appearing or disappearing in frame — every object must already be visible in its place before she interacts with it. No over-polished or beauty-filtered skin — natural texture and imperfection required throughout. No overly clean, sterile, or commercial visual grade. No duplicate Desi in any frame. No identity drift from block to block. Every product/container shows either no text/logo or exactly the plain "NO BRAND" mark — simple black sans-serif on plain packaging. No recognizable real-world brand names, logos, or trademarked packaging/clothing design anywhere in frame. No extra fingers, fused hands, or distorted anatomy. No text overlays or captions. No music — natural ambient audio only. Mirror reflections physically accurate and consistent; camera never visible in any reflection. No sudden speed changes, no time-lapse compression, no rushed dialogue delivery. BLOCK 1 — [0:00–0:15] The Alarm, Waking, Yawn, First Line Continuity note: Opening block — no prior frame to match. Action: Dark, close frame on Desi's sleeping face, soft warm morning light beginning to catch her skin's natural texture. A phone alarm begins ringing on the nightstand. Hold on her unmoving for a real beat as it rings. Her hand fumbles slowly toward the sound, silences it. She lies still a moment longer, then opens her eyes slowly, squinting at the light. She yawns — full, unhurried, genuine — stretching slightly where she lies. A long pause settles after. Dialogue: (after the yawn, slow, groggy, real pauses) "Okay... (pause) ...so it is way too early for this..." (long pause, slow exhale) "...but let's get ready anyway." Camera: Static-to-slow-float — begins locked close on her face, only beginning the faintest float as she finishes speaking, ending the block just as she starts to shift toward sitting up. Block-specific negatives: The alarm sound must play first, before any dialogue or visible movement. Do not have her wake up abruptly or sit up quickly — the entire block stays in slow, groggy stillness. Do not begin the standing/sitting motion before the final line completes. BLOCK 2 — [0:15–0:30] Five More Minutes + Coffee Stretch Continuity note: Opens exactly where Block 1 ended — Desi still lying down, having just finished her line, beginning to shift toward sitting up. Match her position, the room's lighting, and her expression precisely to Block 1's final frame. Action: She sits up fully, stretches with a real, full arms-overhead extension, laughs softly at herself. She reaches for the ceramic mug already present on the nightstand, takes a slow sip, holds it a moment, exhales contentedly. Only after finishing the sip does she swing her legs out and stand, unhurried. Dialogue: "Five more minutes..." (pause, small laugh) "...turned into not five minutes." (beat) "Classic." (pause, after the sip) "Okay." (beat) "...That helps." Camera: Smooth floating steadicam, holding a steady elevated angle through the stretch, following her rise to standing by the block's end. Block-specific negatives: Do not skip or shorten the full stretch. The sip of coffee must complete before she stands — no simultaneous drinking-and-standing. Do not have her rush to her feet; the stand is the final motion of the block, unhurried. BLOCK 3 — [0:30–0:45] Moisturizer Continuity note: Opens exactly where Block 2 ended — Desi just risen to standing beside the bed. This block covers her walk to the vanity and the full moisturizer application. Match her position and the room's light to Block 2's final frame. Action: Camera drifts with her as she walks unhurried from the bed to the vanity, arriving at the mirror. The plain glass jar labeled "NO BRAND" is already visible on the vanity surface as she arrives. She unscrews the lid slowly, scoops a small amount, and applies it in full, unhurried circular motions across her face — the entire application shown start to finish within this block. Dialogue: (spoken only once the application is fully finished, near the block's end) "This is like..." (pause) "...the one step I actually never skip." (beat) "Everything else is negotiable." Camera: Floating lateral tracking during the walk, settling into a steady medium shot at the mirror for the application itself. Block-specific negatives: The jar must already be visible on the vanity before she reaches for it — no appearing mid-motion. The application must be shown completing in full before any dialogue begins. Do not rush the walk to the mirror to make room for the application — both get real, unhurried time within the 15 seconds. BLOCK 4 — [0:45–1:00] Hairbrush + Earrings Continuity note: Opens exactly where Block 3 ended — Desi standing at the mirror, moisturizer just applied. Match her position and expression to Block 3's final frame. Action: She picks up the plain wooden hairbrush, already resting on the vanity, and brushes out her hair with several full, unhurried strokes, working through it completely. She sets the brush down, then picks up her gold jhumka earrings from the ceramic dish and puts them on one at a time — each fully finished and settled before she begins the second. Dialogue: (mid-brushing) "Yeah, I don't even know what's in that jar anymore." (soft laugh) "The label just says 'No Brand.'" (beat, as she puts in the second earring) "...Works though." Camera: Steady medium-close shot at the mirror, holding through both the brushing and the earrings without cutting away. Block-specific negatives: The hairbrush and earrings must both already be visible on the vanity from the block's start. The first earring must be fully in place before she begins the second — no simultaneous application. Do not shorten the number of brush strokes to save time; let the motion read as genuinely unhurried. BLOCK 5 — [1:00–1:15] Wardrobe Change (Revised: Explicit Detail + Locked Outfit) Continuity note: Opens exactly where Block 4 ended — Desi at the mirror, both earrings now in place. This block covers her moving to the wardrobe area and changing. New Outfit — Locked Reference (carries into Block 6 and any future scenes): A simple, plain white or cream-colored short-sleeve cotton top with a round or slightly scooped neckline, no graphics, no visible branding — soft, everyday fabric with natural draping and slight creasing. Paired with plain straight-leg or slightly relaxed-fit trousers in a muted neutral tone (soft khaki, warm taupe, or dark grey), no visible logos, no stitched branding on pockets or waistband. Simple flat sandals or bare feet, consistent with the casual, staying-home-in-the-morning energy of the piece. This exact combination — top, trousers, footwear — must remain identical through Block 6 and any subsequent generation; treat it as a locked reference image once established. Action, explicitly detailed: Camera follows her as she walks from the vanity toward the wardrobe area, where the clothing has been visible on the rod/hangers since the environment was established — including the specific white/cream top and neutral trousers she will select, already hanging there from the start. She reaches the wardrobe, looks over the few items for a moment, unhurried, and lifts the plain white top and the neutral trousers off their hangers, laying them briefly over her arm or the chair. She turns slightly away from camera or angles herself naturally at the wardrobe (matter-of-fact, not performative), and removes her sleep t-shirt first — pulling it up and off in one unhurried motion, setting it aside on the chair or a nearby surface. She then pulls the plain white top on over her head, arms finding the sleeves naturally, settling the fabric down over her torso with a small adjusting tug at the hem. She then steps out of her sleep bottoms or loungewear pants — sitting briefly on the edge of the chair or bed if needed for balance, one leg at a time — and pulls on the neutral trousers, standing to fasten or settle them at the waist, a small natural motion to smooth them down her hips. Once fully dressed, she does a small self-check — glancing down at the outfit, smoothing the top's hem once more, rolling one sleeve cuff slightly — before turning back toward the mirror. Dialogue: "Okay..." (pause, mid-change) "...let's see." (beat, once dressed, considering the outfit) "...Yeah. That works." Camera: Floating steadicam following her to the wardrobe, holding a respectful medium distance throughout the change — matter-of-fact framing, never a close or lingering angle, treating the change the way an ordinary morning routine would actually look on camera, not stylized or drawn out for effect. Block-specific negatives: The white top and neutral trousers must already be visible hanging in the wardrobe from the start of the block — no appearing only once she reaches for them. The change must be shown as a clear, complete sequence — sleep shirt removed, new top pulled on, sleep bottoms removed, new trousers pulled on — with no skipped steps or instant swaps between states. The change must read as ordinary and unhurried but not sexualized or dwelt upon — medium-distance framing throughout, natural body positioning, nothing posed. No outfit teleporting at any point — every layer change must be visibly performed by her, not implied through a cut or dissolve (there are no cuts in this piece regardless). This exact outfit (plain white/cream short-sleeve top, neutral trousers, sandals or bare feet) is now the locked wardrobe reference for the remainder of the piece — it must not vary in color, cut, or detail in Block 6 or any subsequent scene. BLOCK 6 — 1:15–1:30 FINAL LOOK → WALK OUT CONTINUITY OPEN Block 6 begins immediately from the final frame of Block 5. There is no cut. Desi stands in front of the mirror wearing the exact outfit established in Block 5. Her: white/cream top; neutral trousers; footwear; gold jhumka earrings; gold necklace; hairstyle; makeup; facial features remain exactly consistent. --- 1:15–1:20 FINAL MIRROR CHECK Desi faces the oval mirror. The camera floats gently into position behind/alongside her. She looks at her reflection. A genuine pause. She looks down briefly at the outfit. Smooths the top once. Looks back at herself. A tiny satisfied nod. No exaggerated posing. No influencer-style presentation. She simply looks like someone deciding that she is ready enough to leave. --- 1:20–1:26 WALK TOWARD DOOR Desi turns away from the mirror. The camera smoothly follows. She walks through the bedroom toward the doorway. Her pace remains natural and unhurried. The camera never overtakes her. No whip-pan. No sudden acceleration. No speed ramp. The hallway beyond the doorway is already visible. Morning light spills naturally from the hallway. Dialogue Desi: "Okay." pause "Human." beat "Presentable." pause "Good enough." A small genuine laugh. --- 1:26–1:30 EXIT Desi reaches the doorway. She opens the wooden door. Warm hallway light falls across her. She steps through. The camera continues following her naturally. Just before she disappears completely, she turns her head slightly toward the camera. A genuine late-arriving smile. Dialogue "Alright..." pause "...let's go be a person today." beat "Bye." She exits. The camera remains inside the bedroom. It settles naturally on the empty doorway. Hold for one quiet beat. END. --- MASTER NEGATIVES & CONSTRAINTS BLOCKS 5–6 CONTINUITY One continuous physical camera take. Zero hard cuts. Zero hidden cuts. Zero jump cuts. Zero dissolves. Zero fades between states. Zero time skips. Zero time-lapse. Zero teleportation. Zero duplicated footage. Zero sudden camera repositioning. WHIP-PAN ONE WHIP-PAN ONLY. It occurs exclusively during the wardrobe change in Block 5. The whip-pan must: physically originate from the camera's current position; move through the same bedroom; temporarily obscure Desi; return naturally to the wardrobe area. It must never be used as a disguised cut. No whip-pan during Block 6. --- NO MORPHING / NO MESHING Absolutely no: face morphing; facial meshing; body morphing; wardrobe morphing; texture morphing; object morphing; environmental morphing; frame interpolation artifacts; identity blending; unstable facial geometry; unstable hands; unstable hair; unstable jewelry. Desi must remain the same woman throughout the entire sequence. --- IDENTITY LOCK Do not alter: eyes; eyebrows; nose; lips; jaw; cheekbones; skin tone; face shape; body proportions; age; hair texture; hairline. No identity drift. No alternate version of Desi. No duplicate Desi. No phantom Desi. --- WARDROBE CHANGE The wardrobe change must be physically believable. No: instant outfit swap; outfit teleportation; clothing appearing on her body; clothing disappearing from her body; clothing growing onto her; magical transition; glowing transformation; particle effect; dissolve; morph. The single whip-pan simply gives privacy while maintaining the continuous physical flow of the camera. --- OBJECT CONTINUITY No object may suddenly appear or disappear. The following must remain spatially consistent: wardrobe; clothing; chair; vanity; mirror; jewelry; dresser; plants; rug; door; hallway. The white/cream top and neutral trousers must be visibly hanging in the wardrobe before Desi selects them. --- OUTFIT LOCK Once Desi finishes changing: WHITE/CREAM SHORT-SLEEVE TOP + EXACT NEUTRAL TROUSERS + SAME FOOTWEAR must remain unchanged through the end. No recoloring. No redesign. No different sleeve length. No different trouser cut. No different footwear. No spontaneous accessories. --- MIRROR CONSISTENCY Mirror reflection must be physically accurate at all times. One Desi. Reflection matches her movements exactly. No reflection drift. No alternate face. No duplicated reflection. No delayed reflection. Camera never appears in the mirror. --- ANATOMY No: extra fingers; missing fingers; fused fingers; duplicated hands; malformed hands; warped arms; elongated limbs; distorted torso; unnatural joints; anatomical meshing. --- VISUAL STYLE Cinematic realism. Natural morning light. Natural skin pores and texture. Subtle film-like grain. Slightly imperfect real-world color. No: beauty filter; plastic skin; excessive skin smoothing; glossy commercial lighting; HDR; hyper-clean advertising aesthetic; artificial glow; excessive sharpening. --- AUDIO Continuous natural audio only: footsteps; fabric movement; clothing rustle; jewelry movement; room ambience; natural breathing; door movement; hallway ambience; Desi's natural voice. No music. No cinematic impact sounds. No artificial transition sounds. No sound effect accompanying the whip-pan. --- VOICE Warm low-mid female voice. Natural morning rasp. Close and intimate. Slow. Unhurried. Conversational. Real pauses between phrases. Never sounds like a commercial, narrator, actress, or influencer reading a script. Do not compress dialogue to fit the timestamps. Natural delivery takes priority. --- FINAL GENERATION LOCK ONE DESI. ONE BEDROOM. ONE CAMERA. ONE CONTINUOUS PHYSICAL FLOW. ONE WHIP-PAN ONLY — BLOCK 5 WARDROBE CHANGE. NO CUTS. NO MORPHING. NO MESHING. NO TELEPORTATION. NO IDENTITY DRIFT. NO OBJECT POP-IN. NO WARDROBE TELEPORTATION. NO DUPLICATION. NO TIME-LAPSE. NO RUSHED MOTION. Block 6 must begin exactly where Block 5 ends, with the exact same Desi, exact same face, exact same jewelry, exact same hairstyle, exact same outfit, exact same environment, and exact same spatial continuity. #AtlasCloud

Kayno

20,528 次观看 • 26 天前

RESCUE OF THE KEEPER OF TARA EARTH This is going to sound like absolute fiction, but the story still needs to be told. Let me preface by saying I’m not just sane, but an autodidact polymath with multiple quantum physics patents under exclusively my own name, not part of any collaboration. So by dismissing my testimony as someone who is just nuts is really reading a book strictly through its cover. This all actually happened, even if you’ve never heard of anything like this before. What we don’t know about ‘the real worlds’ out there you could barely fit in all of our skies, we’ve been that isolated here. Everyone in this preschool dimension have preconceived notions about who ‘god’ is, inflated to the realm of all-knowing and all-powerful, able to create whole worlds, complete with millions of species of flora and fauna, and all in just 6 days. And while it is true such powers do exist, they are not without collaboration with other ‘gods’ to make that all happen, no matter how grandiose your captors want to make themselves seem. Just one species of your apples or oranges here represents possibly trillions of years of development and perfection. They didn’t just magically appear. “God” is a psyop term that stands for the word “perfect”, of which there is no such thing. The term perfect is strictly subjective, because what may seem perfect to a caveman is going to seem rudimentary kid’s stuff to George Jetson. The real term for the creator of all things is not ‘god’, but rather Prime Creator. “God” is actually DOG spelled backward and got its name from the Dog Star, also known as Sirius A, the headquarters of the Anuhazi Elohim’s breakaway group that call themselves The Michaelube, Suns of Ba’al. The ‘Arch Angels’ want you to believe they are the creator god of all things in this world. That was a lie 560m years ago and it is still a lie today. In reality, Tara Earth existed more than 4 billion years prior to the Anuhazi’s arrival to take the Human Elohim Project spirit essences hostage. They DID in fact help create Tara earth, just like you did, because they are fractals of Prime Creator. But to present themselves as ‘one guy with a long white beard who created the world and everything in it’ is word magic and gaslighting, designed to demoralize and subjugate Humans. For more on the why to this psychopathic plan, see my article: 👉 HISTORY OF THE CHIMERA. With that said, there are MANY beings in the world around you that are secretly ancient ‘gods’ of past eras who really do have more powers than humans do. I know, because I’ve met some and dealt with others during my years of education from the keeper of our simulation. There are also beings here who have roles to play to keep our world functioning correctly so Tara is able to continue offering a holographic platform for your manifestation adventure, who also have god-like powers, such as the keeper mentioned above, and others that are part of the team I refer to as the ‘crew’. You would call them angels, I call them people. Scary powerful people, but still people. Among the ‘crew’ is the main ‘keeper’ of the simulation that you wind up referring to as god down through the ages, because once in a while humans get to meet the keeper and witness the power for themselves which is very obviously not human. But the keeper doesn’t have a long flowing white beard, doesn’t sit on a throne in the sky and certainly isn’t perfect. But like you, a work in progress. Always seeking greater balance. That is the one common denominator among all fractals of Prime Creator, regardless if they are currently playing ‘bad guy’ roles, or ‘good guy’ roles. Understand there are beings here constantly at war against the keeper that has control of the universal elements of the hologram. Also understand, like the other beings who came here from much higher dimension with ‘god-like’ powers, they fractalize themselves into many, many different bodies, so it is effectively impossible to ever ‘kill’ each other. You would have to not only find all the many hundreds or thousands of them, but have a fool-proof way of killing them all at the same exact moment, making sure they are gone-gone, not just that one avatar holding their spirit awareness. That’s not going to happen. Not to any of them from what I’ve witnessed. Which means simply, as far as you are concerned, they are eternal beings, continuously here since 560m years ago in some case, depending when each one of them arrived. The ‘gods’, and the keeper, live in mortal bodies that age and die. But their positions are always held by the next one of themselves that can step into that role to maintain continuity of their offices. These are all the same person and can appear exactly identical to each other, or they can take on totally different appearances as well. I’m not sure why or how, but I’ve seen them both ways. After I was contacted by the keeper and informed of my role where I was in contract to supply protection and help to the crew back in 2013, eventually I was activated for that help in September of 2017. Both the keeper and a portion of the worldwide crew support staff as it were, had been taken hostage in California. I was tasked to bring them out to safety. I won’t go deeply into the details of this, but it was a serious situation where the invader races had stripped the keeper of all access to banks and cash, making it impossible to remain safe inside of the place they had been using as headquarters, literally casting them into the streets. And before you imagine this would be ‘impossible’, the keeper can’t just manifest stacks of cash out of thin air, and also there were a massive amount of beings all working together to neutralize them so they could possibly remove them from the levers of power of the simulation. That’s really all I can offer for details about that for now. The alphabet agencies were keeping the entire crew isolated in that one city, living in a car, camping in the woods and basically making it impossible to look after Tara. The keeper was able to get donations through various support mechanisms, but were shut out of getting off the streets. They brought in specialists to help them all escape, but the agencies wound up permanently disabling them, or taking them out altogether. That’s when I was contacted for assignment. Not being one of ‘the gods’ like they are, I was naturally terrified of having anything to do with this mission because I had no powers I was aware of that could provide anything they couldn’t. Which is really a fantastic understatement, since the keeper and crew can translocate anywhere in the world in seconds, have ‘thousands of avatars’ scattered out as vessels they can use in any city around the world, and basically everything they can do we can’t are about as intimidating as they can be. But I was told I was the only one who could rescue them. And while that may sound like the perfect scenario for a deluded mind seeking validation with illusions of grandeur, like a classic mental patient would come up with in their insane mind, this is what I was actually told, and I do mean in real life. To this day I find it as confusing to believe as you will trying to believe me now. Nonetheless, I carry certain powers I have been fitted with for my contract here on earth that I have had no education about at all. And the main one I’ve learned of now is I have a frequency shield that blocks out ‘the gods’ from doing harm. As long as the keeper and crew were within that field, the invaders were rendered powerless. Wow, even I want to roll my eyes at that. But I watched it play out first hand now multiple times after I got the crew off the streets in a ‘place of safety’ over the next couple of years. As long as I was at the safe house, nothing nefarious happened. When I went shopping every other week for groceries in town over 10 miles away, that’s when all hell would break out back at the compound. Those stories too would seem impossible to you to believe, just like everything else I am covering here, so I won’t go deeply into them. But they included black helicopters, 10’ long rattlesnakes sealing off the safe house & even assassinations. I was even requested to get to town and back as quickly as possible and not to linger due to these threats. I was told that my frequency shield while blended to the natural frequency shield the keeper and crew all have reached ‘87.3 miles’ apart (or so, going by memory now. But it was a very specific number). But even though the overall power of our combined fields still increased within that distance, the closer I was to the group, the more powerful the shield. I’m just telling you what I was told. You can believe it or not. I certainly wouldn’t believe it had I not actually witnessed it myself, so I’m right there with you if that’s your position. That brings us to the story I intended to pass along to you here; regarding that flight from ‘homeless bondage’ out across the deserts that spanned well over 1000 miles I was brought in for. The keeper and crew had been held hostage and homeless for 2 ½ years by the time I got the call requesting me to sell everything I owned and fly half way around the world for their rescue. Their lives had been hell, trust me. I arrived late at night where they picked me up and the hard part of the journey began. I will skip the details of the truly insane things I witnessed starting then for another time after the separation, for obvious reasons having to do with breadcrumbs and the very real fluid war we’re inside of still. But I will tell you about the ‘angels’ that were with us for that escape I would only learn about myself after 2 days of running. In the video below you will see what appear to be asteroids or a meteor shower, but they are traveling horizontally, not downward at all. We’ve seen this now since late 2024 a few times. This time I saved one of the videos taken on 2/19/2025 in Germany so I could actually show people what I saw first hand on that second night of our escape. We had covered whole states by this time, but we couldn’t stop and rest until we made it to a ‘frequency zone’ that was somehow outside of the reaches of the keeper’s enemies. I’m under the impression that there are certain key cross-leyline areas on earth that are too high in frequency for the low-vibration invader races to penetrate with their hyper-advanced psychotronic & scalar weapons, and that had been our destination ever since our escape that began at about 3:30-4am in the dead of night when the least amount of eyes would be surveilling us. Boy do I have outrageous stories about just how absolute that surveillance really is too. It is like they are not just tracking us, but using time travel to put agents in areas we would be arriving to, posing like homeless people and everyday folks. While in real life they were monitoring my every word in secret. I was surveilled many times during the weeks in that city while arranging for the escape and it blew my mind every time. The asteroids that really look more like comets in the video is what the "guardian angels" that had been secretly escorting us from overhead looked like, WHEN they were uncloaked. They only showed up in my visible view at the moment we broke over a ridge at about 3:30 in the morning 2 days later after our run began, at the exact same moment I could see the city lights way off in the distance below that was the ‘safe zone’. Suddenly overhead three giant comets appeared immediately above my head. I was in the lead vehicle the whole way, because the keeper was following my taillights. This is the only way they can navigate at night, because they don’t see like you and I do, looking at solid shapes and images, but everything through their eyes are light waves. I couldn’t make up something like that if I spent 10 years trying to write this article, mostly because it is still not believable to me now, 8 years later. These 3 comets were massive, what looked to be around 50 feet across, with tails of flame coming off that must have been 150-200 feet behind streaking VERY low across the sky. As I came down the hill to the desert floor for the final 10 miles between us and the safe zone (small town lights), the ‘comets’ started coming straight down toward ground, one at a time. They appeared they were going to crash into the highway, now traveling vertically at hypersonic speed, then just stopped 50 ft away from impact and vanished. You would have to try to imagine being in the total dark desert with only very faint, far-away lights off in the distance, only to have 3 comets traveling RIGHT DIRECTLY overhead suddenly uncloak, then turn straight down to get an idea of how insanely frightening they appeared, since their trajectory was to strike directly in front of your vehicle on the highway, as if you were about to slam right into them as they hit like giant bombs that would certainly blow up on impact and basically vaporize you and your moving van, to appreciate how absurd this event was. I was only about 150 feet away from where they were set to strike, so there was no hitting the brakes and avoiding anything. They were right there. Which means it was sort of like watching 'god' just fill the night's sky with fire. I saw 3 of them myself, but I was informed there were an additional 9 ‘angels’ that my own frequency wouldn't allow me to see according to the keeper. It is because this story is so unbelievable that I avoid talking about it, as you can imagine. Since 99 people out of a hundred are only going to accuse you of being insane upon hearing it, some possibly trying to have you committed at the same time, and the other person is likely already crazy themselves, so they just glaze over it. Until you see something like that with your own eyes, I'm pretty sure you will *never believe it could be a real thing. But this is what we call angels look like when they are decloaked and traveling at night. I don’t personally know if they were inside vehicles, or they are just simply traveling in their own Merkabah fields. That part was never explained to me. I was told they were with us 'flying overhead the entire journey' since we escaped California and were basically ‘signing off’ as I gathered it, now that we had reached the safe zone. You can believe I'm crazy all you want to, but now you can see them with your own eyes in this video, sure as hell not acting like meteors, but acting more like flaming time crafts (‘space’ ships). Are you crazy too? - On X, to search for my articles, simply type in the name of the piece, enter one space, then from: plus my username in parenthesis such as shown here: CASTING THE APOCOLYPSE (from:iontecs_pemf) Off-site, you can look up any of my writings through this link below for my other more than 100 recent articles and many thousands of comments on X, regularly updated thanks to Justin This message will only be seen by your eyes if not shared, and if you want to reference this article again later, you will need to cut and paste it in your own notes off line, as it will surely be erased. This is the most accurate translation of these events I am aware of at this time.
0:20

RESCUE OF THE KEEPER OF TARA EARTH This is going to sound like absolute fiction, but the story still needs to be told. Let me preface by saying I’m not just sane, but an autodidact polymath with multiple quantum physics patents under exclusively my own name, not part of any collaboration. So by dismissing my testimony as someone who is just nuts is really reading a book strictly through its cover. This all actually happened, even if you’ve never heard of anything like this before. What we don’t know about ‘the real worlds’ out there you could barely fit in all of our skies, we’ve been that isolated here. Everyone in this preschool dimension have preconceived notions about who ‘god’ is, inflated to the realm of all-knowing and all-powerful, able to create whole worlds, complete with millions of species of flora and fauna, and all in just 6 days. And while it is true such powers do exist, they are not without collaboration with other ‘gods’ to make that all happen, no matter how grandiose your captors want to make themselves seem. Just one species of your apples or oranges here represents possibly trillions of years of development and perfection. They didn’t just magically appear. “God” is a psyop term that stands for the word “perfect”, of which there is no such thing. The term perfect is strictly subjective, because what may seem perfect to a caveman is going to seem rudimentary kid’s stuff to George Jetson. The real term for the creator of all things is not ‘god’, but rather Prime Creator. “God” is actually DOG spelled backward and got its name from the Dog Star, also known as Sirius A, the headquarters of the Anuhazi Elohim’s breakaway group that call themselves The Michaelube, Suns of Ba’al. The ‘Arch Angels’ want you to believe they are the creator god of all things in this world. That was a lie 560m years ago and it is still a lie today. In reality, Tara Earth existed more than 4 billion years prior to the Anuhazi’s arrival to take the Human Elohim Project spirit essences hostage. They DID in fact help create Tara earth, just like you did, because they are fractals of Prime Creator. But to present themselves as ‘one guy with a long white beard who created the world and everything in it’ is word magic and gaslighting, designed to demoralize and subjugate Humans. For more on the why to this psychopathic plan, see my article: 👉 HISTORY OF THE CHIMERA. With that said, there are MANY beings in the world around you that are secretly ancient ‘gods’ of past eras who really do have more powers than humans do. I know, because I’ve met some and dealt with others during my years of education from the keeper of our simulation. There are also beings here who have roles to play to keep our world functioning correctly so Tara is able to continue offering a holographic platform for your manifestation adventure, who also have god-like powers, such as the keeper mentioned above, and others that are part of the team I refer to as the ‘crew’. You would call them angels, I call them people. Scary powerful people, but still people. Among the ‘crew’ is the main ‘keeper’ of the simulation that you wind up referring to as god down through the ages, because once in a while humans get to meet the keeper and witness the power for themselves which is very obviously not human. But the keeper doesn’t have a long flowing white beard, doesn’t sit on a throne in the sky and certainly isn’t perfect. But like you, a work in progress. Always seeking greater balance. That is the one common denominator among all fractals of Prime Creator, regardless if they are currently playing ‘bad guy’ roles, or ‘good guy’ roles. Understand there are beings here constantly at war against the keeper that has control of the universal elements of the hologram. Also understand, like the other beings who came here from much higher dimension with ‘god-like’ powers, they fractalize themselves into many, many different bodies, so it is effectively impossible to ever ‘kill’ each other. You would have to not only find all the many hundreds or thousands of them, but have a fool-proof way of killing them all at the same exact moment, making sure they are gone-gone, not just that one avatar holding their spirit awareness. That’s not going to happen. Not to any of them from what I’ve witnessed. Which means simply, as far as you are concerned, they are eternal beings, continuously here since 560m years ago in some case, depending when each one of them arrived. The ‘gods’, and the keeper, live in mortal bodies that age and die. But their positions are always held by the next one of themselves that can step into that role to maintain continuity of their offices. These are all the same person and can appear exactly identical to each other, or they can take on totally different appearances as well. I’m not sure why or how, but I’ve seen them both ways. After I was contacted by the keeper and informed of my role where I was in contract to supply protection and help to the crew back in 2013, eventually I was activated for that help in September of 2017. Both the keeper and a portion of the worldwide crew support staff as it were, had been taken hostage in California. I was tasked to bring them out to safety. I won’t go deeply into the details of this, but it was a serious situation where the invader races had stripped the keeper of all access to banks and cash, making it impossible to remain safe inside of the place they had been using as headquarters, literally casting them into the streets. And before you imagine this would be ‘impossible’, the keeper can’t just manifest stacks of cash out of thin air, and also there were a massive amount of beings all working together to neutralize them so they could possibly remove them from the levers of power of the simulation. That’s really all I can offer for details about that for now. The alphabet agencies were keeping the entire crew isolated in that one city, living in a car, camping in the woods and basically making it impossible to look after Tara. The keeper was able to get donations through various support mechanisms, but were shut out of getting off the streets. They brought in specialists to help them all escape, but the agencies wound up permanently disabling them, or taking them out altogether. That’s when I was contacted for assignment. Not being one of ‘the gods’ like they are, I was naturally terrified of having anything to do with this mission because I had no powers I was aware of that could provide anything they couldn’t. Which is really a fantastic understatement, since the keeper and crew can translocate anywhere in the world in seconds, have ‘thousands of avatars’ scattered out as vessels they can use in any city around the world, and basically everything they can do we can’t are about as intimidating as they can be. But I was told I was the only one who could rescue them. And while that may sound like the perfect scenario for a deluded mind seeking validation with illusions of grandeur, like a classic mental patient would come up with in their insane mind, this is what I was actually told, and I do mean in real life. To this day I find it as confusing to believe as you will trying to believe me now. Nonetheless, I carry certain powers I have been fitted with for my contract here on earth that I have had no education about at all. And the main one I’ve learned of now is I have a frequency shield that blocks out ‘the gods’ from doing harm. As long as the keeper and crew were within that field, the invaders were rendered powerless. Wow, even I want to roll my eyes at that. But I watched it play out first hand now multiple times after I got the crew off the streets in a ‘place of safety’ over the next couple of years. As long as I was at the safe house, nothing nefarious happened. When I went shopping every other week for groceries in town over 10 miles away, that’s when all hell would break out back at the compound. Those stories too would seem impossible to you to believe, just like everything else I am covering here, so I won’t go deeply into them. But they included black helicopters, 10’ long rattlesnakes sealing off the safe house & even assassinations. I was even requested to get to town and back as quickly as possible and not to linger due to these threats. I was told that my frequency shield while blended to the natural frequency shield the keeper and crew all have reached ‘87.3 miles’ apart (or so, going by memory now. But it was a very specific number). But even though the overall power of our combined fields still increased within that distance, the closer I was to the group, the more powerful the shield. I’m just telling you what I was told. You can believe it or not. I certainly wouldn’t believe it had I not actually witnessed it myself, so I’m right there with you if that’s your position. That brings us to the story I intended to pass along to you here; regarding that flight from ‘homeless bondage’ out across the deserts that spanned well over 1000 miles I was brought in for. The keeper and crew had been held hostage and homeless for 2 ½ years by the time I got the call requesting me to sell everything I owned and fly half way around the world for their rescue. Their lives had been hell, trust me. I arrived late at night where they picked me up and the hard part of the journey began. I will skip the details of the truly insane things I witnessed starting then for another time after the separation, for obvious reasons having to do with breadcrumbs and the very real fluid war we’re inside of still. But I will tell you about the ‘angels’ that were with us for that escape I would only learn about myself after 2 days of running. In the video below you will see what appear to be asteroids or a meteor shower, but they are traveling horizontally, not downward at all. We’ve seen this now since late 2024 a few times. This time I saved one of the videos taken on 2/19/2025 in Germany so I could actually show people what I saw first hand on that second night of our escape. We had covered whole states by this time, but we couldn’t stop and rest until we made it to a ‘frequency zone’ that was somehow outside of the reaches of the keeper’s enemies. I’m under the impression that there are certain key cross-leyline areas on earth that are too high in frequency for the low-vibration invader races to penetrate with their hyper-advanced psychotronic & scalar weapons, and that had been our destination ever since our escape that began at about 3:30-4am in the dead of night when the least amount of eyes would be surveilling us. Boy do I have outrageous stories about just how absolute that surveillance really is too. It is like they are not just tracking us, but using time travel to put agents in areas we would be arriving to, posing like homeless people and everyday folks. While in real life they were monitoring my every word in secret. I was surveilled many times during the weeks in that city while arranging for the escape and it blew my mind every time. The asteroids that really look more like comets in the video is what the "guardian angels" that had been secretly escorting us from overhead looked like, WHEN they were uncloaked. They only showed up in my visible view at the moment we broke over a ridge at about 3:30 in the morning 2 days later after our run began, at the exact same moment I could see the city lights way off in the distance below that was the ‘safe zone’. Suddenly overhead three giant comets appeared immediately above my head. I was in the lead vehicle the whole way, because the keeper was following my taillights. This is the only way they can navigate at night, because they don’t see like you and I do, looking at solid shapes and images, but everything through their eyes are light waves. I couldn’t make up something like that if I spent 10 years trying to write this article, mostly because it is still not believable to me now, 8 years later. These 3 comets were massive, what looked to be around 50 feet across, with tails of flame coming off that must have been 150-200 feet behind streaking VERY low across the sky. As I came down the hill to the desert floor for the final 10 miles between us and the safe zone (small town lights), the ‘comets’ started coming straight down toward ground, one at a time. They appeared they were going to crash into the highway, now traveling vertically at hypersonic speed, then just stopped 50 ft away from impact and vanished. You would have to try to imagine being in the total dark desert with only very faint, far-away lights off in the distance, only to have 3 comets traveling RIGHT DIRECTLY overhead suddenly uncloak, then turn straight down to get an idea of how insanely frightening they appeared, since their trajectory was to strike directly in front of your vehicle on the highway, as if you were about to slam right into them as they hit like giant bombs that would certainly blow up on impact and basically vaporize you and your moving van, to appreciate how absurd this event was. I was only about 150 feet away from where they were set to strike, so there was no hitting the brakes and avoiding anything. They were right there. Which means it was sort of like watching 'god' just fill the night's sky with fire. I saw 3 of them myself, but I was informed there were an additional 9 ‘angels’ that my own frequency wouldn't allow me to see according to the keeper. It is because this story is so unbelievable that I avoid talking about it, as you can imagine. Since 99 people out of a hundred are only going to accuse you of being insane upon hearing it, some possibly trying to have you committed at the same time, and the other person is likely already crazy themselves, so they just glaze over it. Until you see something like that with your own eyes, I'm pretty sure you will *never believe it could be a real thing. But this is what we call angels look like when they are decloaked and traveling at night. I don’t personally know if they were inside vehicles, or they are just simply traveling in their own Merkabah fields. That part was never explained to me. I was told they were with us 'flying overhead the entire journey' since we escaped California and were basically ‘signing off’ as I gathered it, now that we had reached the safe zone. You can believe I'm crazy all you want to, but now you can see them with your own eyes in this video, sure as hell not acting like meteors, but acting more like flaming time crafts (‘space’ ships). Are you crazy too? - On X, to search for my articles, simply type in the name of the piece, enter one space, then from: plus my username in parenthesis such as shown here: CASTING THE APOCOLYPSE (from:iontecs_pemf) Off-site, you can look up any of my writings through this link below for my other more than 100 recent articles and many thousands of comments on X, regularly updated thanks to Justin This message will only be seen by your eyes if not shared, and if you want to reference this article again later, you will need to cut and paste it in your own notes off line, as it will surely be erased. This is the most accurate translation of these events I am aware of at this time.

W.R. Schock, QBD

62,828 次观看 • 1 年前

Here’s my written & video review of the new 2026 Tesla Model Y Performance after driving it for a week. This is the best-value new Tesla you can buy. Crazy performance, no real drawbacks, and all for just $57,490. Let’s dive in. Price: I haven’t seen many others mention this: every option on the Model Y Performance is included at no extra cost in the US (except FSD). So if you spec a Model Y Premium AWD with an upgraded paint color, tow package, white interior, and upgraded 20" wheels, a fully loaded Model Y Premium AWD ends up only about $2,500 less expensive than a fully loaded Model Y Performance. Ride Quality: I thought I might feel worse ride quality vs my Premium AWD Model Y with 20" wheels, but I struggled to find any real difference, despite the larger 21" wheels, firmer suspension setting, and 0.6" lower ride height on the Performance trim. A true testament to Tesla's engineering magic on this thing. Exterior Design: Unlike the previous Model Y Performance, Tesla made some exterior design tweaks with a new front and rear fascia to spice things up a bit. The result, in my opinion, is the best-looking Model Y trim you can buy. It definitely has a more aggressive presence in person, even if it's subtle. The carbon-fiber spoiler boosts high-speed stability and cuts aerodynamic drag by 10%. The new 21’’ Arachnid 2.0 wheels look fantastic in person, one of my favorite designs ever from Tesla. Staggered wheel and tire fitment provides better grip and steering. The beefier 275mm rear tires (255mm in the front) give the vehicle a better stance from behind. Vehicle-to-Load (V2L): For the first time on a Model Y in North America, you can now plug in anything you want to the exterior charge port with an adapter, even a campsite! It provides up to 2.4 kW of power (120V at 20A) from two household outlets. It's a great feature. Interior: It’s what you know and love, but with a few changes that elevate the ownership experience. New with the Performance is a larger 16" center screen (vs. 15.4" on non-Performance models), with thinner bezels and higher resolution. It’s not a huge difference on paper, but you definitely notice it in daily use. The carbon-fiber décor on the door cards and dash is a nice touch, though I would like to see it extended to the center console. The new performance seats are the best seats of any Tesla I've ever experienced. While they retain aggressive bolstering in the torso area, the bottom seat cushion has less aggressive bolstering than on the Model 3 Performance seats, making it easier to get in and out. It also doesn’t squeeze your thighs too tightly. The powered thigh extenders add comfort on longer drives, especially for taller people who want extra support. And of course, they’re heated and ventilated. The headrests also feel more comfortable than the ones in my Model Y. I want these seats. Unlike the old Model Y Performance, the new one has no Track Mode. Why? Because nobody used it lol. No point in putting engineering resources into something people won’t use. The refreshed Model 3 Performance still has it, though. Cabin Quietness: Despite the thinner-profile tires, there is no noticeable difference vs my Premium Model Y. Decibel reading results at highway speeds were visually the same compared to my 2026 Model Y Premium (65-66). Driving Impressions: It’s amazing. Sharp, precise, and agile. The vehicle feels stable at all times. Acceleration is blistering (3.3s 0–60 mph), with plenty of punch even at higher speeds. The tires offer good grip, and cornering is fantastic for an SUV. The suspension setup is great. More steering wheel feedback would be nice, though. Cruising around traffic is a joy. The brakes are much improved over the previous Model Y Performance and are far better suited for spirited driving. There are three acceleration modes: Chill, Standard, and Insane. Just stay in Insane. You’d be insane not to lol. The car also lets you switch between two ride and handling modes: Standard and Sport. The difference isn’t huge, but Standard is better if you’ve got passengers. FSD: I unfortunately wasn’t able to get FSD V14 on this car. It had V13.2.9, so I didn’t use it much. But in the little time I did, it was smooth and comfortable. It didn’t bother me because V14 will perform just as well here as it does on my 2026 Model Y Premium AWD. Conclusion: You won’t find another new SUV today that offers this level of performance for the price. Back in 2022, when Tesla couldn’t build Model Ys fast enough, a fully loaded Model Y Performance cost over $90,440. Today, the refreshed and far more capable 2026 Model Y Performance is just $57,490 fully loaded, and you can simply subscribe to FSD for $99/month. The 2026 Model Y Performance delivers utility, great performance, comfort, tech, self-driving and everything else people love about the Model Y. It’s a no-brainer purchase. I want one badly, but I'll need to show restraint, as I’m saving up for a house lol.
15:48

Here’s my written & video review of the new 2026 Tesla Model Y Performance after driving it for a week. This is the best-value new Tesla you can buy. Crazy performance, no real drawbacks, and all for just $57,490. Let’s dive in. Price: I haven’t seen many others mention this: every option on the Model Y Performance is included at no extra cost in the US (except FSD). So if you spec a Model Y Premium AWD with an upgraded paint color, tow package, white interior, and upgraded 20" wheels, a fully loaded Model Y Premium AWD ends up only about $2,500 less expensive than a fully loaded Model Y Performance. Ride Quality: I thought I might feel worse ride quality vs my Premium AWD Model Y with 20" wheels, but I struggled to find any real difference, despite the larger 21" wheels, firmer suspension setting, and 0.6" lower ride height on the Performance trim. A true testament to Tesla's engineering magic on this thing. Exterior Design: Unlike the previous Model Y Performance, Tesla made some exterior design tweaks with a new front and rear fascia to spice things up a bit. The result, in my opinion, is the best-looking Model Y trim you can buy. It definitely has a more aggressive presence in person, even if it's subtle. The carbon-fiber spoiler boosts high-speed stability and cuts aerodynamic drag by 10%. The new 21’’ Arachnid 2.0 wheels look fantastic in person, one of my favorite designs ever from Tesla. Staggered wheel and tire fitment provides better grip and steering. The beefier 275mm rear tires (255mm in the front) give the vehicle a better stance from behind. Vehicle-to-Load (V2L): For the first time on a Model Y in North America, you can now plug in anything you want to the exterior charge port with an adapter, even a campsite! It provides up to 2.4 kW of power (120V at 20A) from two household outlets. It's a great feature. Interior: It’s what you know and love, but with a few changes that elevate the ownership experience. New with the Performance is a larger 16" center screen (vs. 15.4" on non-Performance models), with thinner bezels and higher resolution. It’s not a huge difference on paper, but you definitely notice it in daily use. The carbon-fiber décor on the door cards and dash is a nice touch, though I would like to see it extended to the center console. The new performance seats are the best seats of any Tesla I've ever experienced. While they retain aggressive bolstering in the torso area, the bottom seat cushion has less aggressive bolstering than on the Model 3 Performance seats, making it easier to get in and out. It also doesn’t squeeze your thighs too tightly. The powered thigh extenders add comfort on longer drives, especially for taller people who want extra support. And of course, they’re heated and ventilated. The headrests also feel more comfortable than the ones in my Model Y. I want these seats. Unlike the old Model Y Performance, the new one has no Track Mode. Why? Because nobody used it lol. No point in putting engineering resources into something people won’t use. The refreshed Model 3 Performance still has it, though. Cabin Quietness: Despite the thinner-profile tires, there is no noticeable difference vs my Premium Model Y. Decibel reading results at highway speeds were visually the same compared to my 2026 Model Y Premium (65-66). Driving Impressions: It’s amazing. Sharp, precise, and agile. The vehicle feels stable at all times. Acceleration is blistering (3.3s 0–60 mph), with plenty of punch even at higher speeds. The tires offer good grip, and cornering is fantastic for an SUV. The suspension setup is great. More steering wheel feedback would be nice, though. Cruising around traffic is a joy. The brakes are much improved over the previous Model Y Performance and are far better suited for spirited driving. There are three acceleration modes: Chill, Standard, and Insane. Just stay in Insane. You’d be insane not to lol. The car also lets you switch between two ride and handling modes: Standard and Sport. The difference isn’t huge, but Standard is better if you’ve got passengers. FSD: I unfortunately wasn’t able to get FSD V14 on this car. It had V13.2.9, so I didn’t use it much. But in the little time I did, it was smooth and comfortable. It didn’t bother me because V14 will perform just as well here as it does on my 2026 Model Y Premium AWD. Conclusion: You won’t find another new SUV today that offers this level of performance for the price. Back in 2022, when Tesla couldn’t build Model Ys fast enough, a fully loaded Model Y Performance cost over $90,440. Today, the refreshed and far more capable 2026 Model Y Performance is just $57,490 fully loaded, and you can simply subscribe to FSD for $99/month. The 2026 Model Y Performance delivers utility, great performance, comfort, tech, self-driving and everything else people love about the Model Y. It’s a no-brainer purchase. I want one badly, but I'll need to show restraint, as I’m saving up for a house lol.

Sawyer Merritt

225,461 次观看 • 9 个月前

//The Wire//2300Z August 17, 2026// //ROUTINE// //BLUF: WAR IN MIDDLE EAST REMAINS STAGNANT. WHITE HOUSE SIGNALS SHIFT AWAY FROM PACOM AS PRESIDENT TRUMP ATTEMPTS TO IMPROVE RELATIONS WITH NORTH KOREA. TONGAN CRIP GANG SHOOTING REPORTED AT FUNERAL IN SALT LAKE CITY.// -----BEGIN TEARLINE----- -International Events- Middle East: The situation remains much the same, no major changes over the weekend. Iran did not conduct any major strikes over the past few days, and the Houthis have also not engaged any Saudi oil refineries since last week. Otherwise the situation remains as before. South Korea: Over the weekend President Trump announced a significant change to the American diplomatic position regarding the Korean Peninsula. Due to South Korea not participating in hostilities during the Gulf War, President Trump has ordered the United States to reduce American participation in ROK military exercises. Analyst Comment: This is a big deal, but one that has been boiling since the Gulf War began. Pinning American diplomatic efforts to whether or not nations supported us during the war highlights the priority the White House is placing on the conflict. Supplies and missile defenses have been taken from PACOM for months now, and this halting of joint exercises with South Korea is the latest development in the de-prioritization of all operational theaters in order to support the war. Similarly, the other effect of de-prioritizing South Korea, is to improve relations with North Korea, which in turn might lead to another round of diplomatic talks soon. -HomeFront- Michigan: More details have come to light regarding a series of small arms attacks carried out a few days ago. On Friday, authorities responded to a private residence in Missaukee County, where a mass shooting had occurred. 3x deceased victims and 1x severely wounded victim were located at the residence, with the suspect having fled the scene. At the scene, the immediate investigation resulted in the discovery of another fatality located at a different residence adjacent to the initial shooting site. The suspect was identified as Chad Hickman, and a large-scale manhunt was conducted throughout the area. Some time later, Hickman's vehicle was located near Whitlock Lake, where the remains of one additional victim and the deceased suspect were discovered. Analyst Comment: So far, no motive has been disclosed for this attack, but right now this looks like a domestic incident. The suspect's sister is reportedly among the casualties, and Hickman had also recently been involved in a messy divorce. Utah: This morning a riot and subsequent mass shooting was reported at an LDS Ward in Salt Lake City. Local authorities initially responded to the 13th Ward in Kearns, after a street fight involving 80+ people broke out during a Tongan cultural event and funeral. At some point during the fray, several people were shot as a state of mutual combat broke out between suspected members of the Tongan Crip Gang, and local rivals. After the initial shooting at the funeral, the wounded suspected gang members were transported to Intermountain Medical Center, where another skirmish possibly broke out in the parking area. Several reports of shots-fired were issued, and the hospital was locked down throughout the afternoon. No details have been provided on this second incident, or the status of the reported shootings at the hospital. However, ambulances are being diverted away from Intermountain Health, and armored police vehicles are reportedly parked at the facility providing security. Analyst Comment: These shootings are directly linked to a different shooting. This was the funeral for Ofa'tangikivaha Angilau, a Tongan man who was neutralized by Good Samaritans two weeks ago. On August 7th, Angilau attempted to purchase alcohol without showing ID at the Holiday Oil gas station in Riverton. After the clerk denied his purchase, he left the store and returned with a shotgun, and attempted to murder the clerk. Before Angilau could bring the shotgun to bear, he was promptly shot dead by two different bystanders in the store. His funeral was this morning, and due to the shooting breaking out during the funeral, this retroactively indicates that Angilau was probably affiliated with the Tongan Crip Gang. -----END TEARLINE----- Analyst Comments: For wider context, the Tongan community has a major foothold in Salt Lake County, and have been running operations inside LDS Wards throughout the city for some time. The LDS Church has organized several different Tongan Stakes (districts) which serve as the administrative hierarchy solely for immigrants from the Pacific island of Tonga. Around 13,000 Tongans live throughout the Salt Lake County area, which is roughly a quarter of the entire Tongan population in the United States, and as a result the LDS Church has provided substantial resources for this community, including a few dozen cultural centers and dedicated Wards just for Tongans. At these facilities, no English is spoken and even the websites are in the Tongan language. Over time, the Tongan Crip Gang has emerged as a major threat to the local area. In many cases, the Tongan Wards within Salt Lake City are not really houses of worship, but actually safehouses for the Tongan Crip Gang, as demonstrated by gang colors being placed all around these structures, only gang members attending these wards, and the frequent shootings at these facilities. Due to the gang seeking refuge within LDS churches...in the heartland of where the LDS Church was founded...this rarely gets mentioned by local mainstream media sources, which in many cases have either been financially motivated (or even outright ordered) to ignore this major gang threat. Most outsiders are rather shocked to learn that a violent gang can not just occupy houses of worship, but be invited in to use the facilities to continue their criminal enterprises. But that's what's been happening in Salt Lake City for a long time, and as unpleasant as it is, this must be acknowledged as the body count keeps rising. The Tongan Crip problem has become so bad that local police pre-stage at Tongan funerals, because they assess with a high degree of certainty that there is going to be a shootout at some point. This morning's shooting is the second shooting this year involving a funeral for a Tongan Crip Gang member; back in January, nearly the exact same event took place. Tongan Crips were having a funeral for one of their leaders, and a rival gang showed up to conduct a shooting in the parking lot. This morning's shooting occurred under nearly identical circumstances. Also during both shootings, upwards of a dozen officers were already staged at these Wards with rifles, prepared for the active shooting, knowing that a small arms engagement would be occurring at some point. Nevertheless, nobody wants to ruffle any feathers when a faith-based organization is involved, even if that organization is knowingly and deliberately allowing a gang to operate within their facilities, so these shootings (but especially the Tongan Crip angle) will continue to be ignored by local media, politicians, and Church leadership alike. However, both today's shooting, and the prior one in January took place in close proximity to schools, where children could have been wounded or killed by the gunfights in the parking lots, so this is not merely an internal Church problem. Further investigation will be needed to truly determine how widespread the problem is, but this is probably more significant than most people realize, and pretending everything is fine is resulting in clear and present dangers being allowed to threaten innocent citizens. Analyst: S2A1 Research: NomadNet: 5fa68c88be727a0e1a250a75e5e79269 Disclaimer: No LLMs were used in the writing of this report. //END REPORT//
6:11

//The Wire//2300Z August 17, 2026// //ROUTINE// //BLUF: WAR IN MIDDLE EAST REMAINS STAGNANT. WHITE HOUSE SIGNALS SHIFT AWAY FROM PACOM AS PRESIDENT TRUMP ATTEMPTS TO IMPROVE RELATIONS WITH NORTH KOREA. TONGAN CRIP GANG SHOOTING REPORTED AT FUNERAL IN SALT LAKE CITY.// -----BEGIN TEARLINE----- -International Events- Middle East: The situation remains much the same, no major changes over the weekend. Iran did not conduct any major strikes over the past few days, and the Houthis have also not engaged any Saudi oil refineries since last week. Otherwise the situation remains as before. South Korea: Over the weekend President Trump announced a significant change to the American diplomatic position regarding the Korean Peninsula. Due to South Korea not participating in hostilities during the Gulf War, President Trump has ordered the United States to reduce American participation in ROK military exercises. Analyst Comment: This is a big deal, but one that has been boiling since the Gulf War began. Pinning American diplomatic efforts to whether or not nations supported us during the war highlights the priority the White House is placing on the conflict. Supplies and missile defenses have been taken from PACOM for months now, and this halting of joint exercises with South Korea is the latest development in the de-prioritization of all operational theaters in order to support the war. Similarly, the other effect of de-prioritizing South Korea, is to improve relations with North Korea, which in turn might lead to another round of diplomatic talks soon. -HomeFront- Michigan: More details have come to light regarding a series of small arms attacks carried out a few days ago. On Friday, authorities responded to a private residence in Missaukee County, where a mass shooting had occurred. 3x deceased victims and 1x severely wounded victim were located at the residence, with the suspect having fled the scene. At the scene, the immediate investigation resulted in the discovery of another fatality located at a different residence adjacent to the initial shooting site. The suspect was identified as Chad Hickman, and a large-scale manhunt was conducted throughout the area. Some time later, Hickman's vehicle was located near Whitlock Lake, where the remains of one additional victim and the deceased suspect were discovered. Analyst Comment: So far, no motive has been disclosed for this attack, but right now this looks like a domestic incident. The suspect's sister is reportedly among the casualties, and Hickman had also recently been involved in a messy divorce. Utah: This morning a riot and subsequent mass shooting was reported at an LDS Ward in Salt Lake City. Local authorities initially responded to the 13th Ward in Kearns, after a street fight involving 80+ people broke out during a Tongan cultural event and funeral. At some point during the fray, several people were shot as a state of mutual combat broke out between suspected members of the Tongan Crip Gang, and local rivals. After the initial shooting at the funeral, the wounded suspected gang members were transported to Intermountain Medical Center, where another skirmish possibly broke out in the parking area. Several reports of shots-fired were issued, and the hospital was locked down throughout the afternoon. No details have been provided on this second incident, or the status of the reported shootings at the hospital. However, ambulances are being diverted away from Intermountain Health, and armored police vehicles are reportedly parked at the facility providing security. Analyst Comment: These shootings are directly linked to a different shooting. This was the funeral for Ofa'tangikivaha Angilau, a Tongan man who was neutralized by Good Samaritans two weeks ago. On August 7th, Angilau attempted to purchase alcohol without showing ID at the Holiday Oil gas station in Riverton. After the clerk denied his purchase, he left the store and returned with a shotgun, and attempted to murder the clerk. Before Angilau could bring the shotgun to bear, he was promptly shot dead by two different bystanders in the store. His funeral was this morning, and due to the shooting breaking out during the funeral, this retroactively indicates that Angilau was probably affiliated with the Tongan Crip Gang. -----END TEARLINE----- Analyst Comments: For wider context, the Tongan community has a major foothold in Salt Lake County, and have been running operations inside LDS Wards throughout the city for some time. The LDS Church has organized several different Tongan Stakes (districts) which serve as the administrative hierarchy solely for immigrants from the Pacific island of Tonga. Around 13,000 Tongans live throughout the Salt Lake County area, which is roughly a quarter of the entire Tongan population in the United States, and as a result the LDS Church has provided substantial resources for this community, including a few dozen cultural centers and dedicated Wards just for Tongans. At these facilities, no English is spoken and even the websites are in the Tongan language. Over time, the Tongan Crip Gang has emerged as a major threat to the local area. In many cases, the Tongan Wards within Salt Lake City are not really houses of worship, but actually safehouses for the Tongan Crip Gang, as demonstrated by gang colors being placed all around these structures, only gang members attending these wards, and the frequent shootings at these facilities. Due to the gang seeking refuge within LDS churches...in the heartland of where the LDS Church was founded...this rarely gets mentioned by local mainstream media sources, which in many cases have either been financially motivated (or even outright ordered) to ignore this major gang threat. Most outsiders are rather shocked to learn that a violent gang can not just occupy houses of worship, but be invited in to use the facilities to continue their criminal enterprises. But that's what's been happening in Salt Lake City for a long time, and as unpleasant as it is, this must be acknowledged as the body count keeps rising. The Tongan Crip problem has become so bad that local police pre-stage at Tongan funerals, because they assess with a high degree of certainty that there is going to be a shootout at some point. This morning's shooting is the second shooting this year involving a funeral for a Tongan Crip Gang member; back in January, nearly the exact same event took place. Tongan Crips were having a funeral for one of their leaders, and a rival gang showed up to conduct a shooting in the parking lot. This morning's shooting occurred under nearly identical circumstances. Also during both shootings, upwards of a dozen officers were already staged at these Wards with rifles, prepared for the active shooting, knowing that a small arms engagement would be occurring at some point. Nevertheless, nobody wants to ruffle any feathers when a faith-based organization is involved, even if that organization is knowingly and deliberately allowing a gang to operate within their facilities, so these shootings (but especially the Tongan Crip angle) will continue to be ignored by local media, politicians, and Church leadership alike. However, both today's shooting, and the prior one in January took place in close proximity to schools, where children could have been wounded or killed by the gunfights in the parking lots, so this is not merely an internal Church problem. Further investigation will be needed to truly determine how widespread the problem is, but this is probably more significant than most people realize, and pretending everything is fine is resulting in clear and present dangers being allowed to threaten innocent citizens. Analyst: S2A1 Research: NomadNet: 5fa68c88be727a0e1a250a75e5e79269 Disclaimer: No LLMs were used in the writing of this report. //END REPORT//

S2 Underground

28,850 次观看 • 1 个月前

//The Wire//1500Z November 27, 2025// //ROUTINE// //BLUF: DC SHOOTER IDENTIFIED AS FORMER AFGHAN SOLDIER BROUGHT TO USA AFTER THE FALL OF KABUL. HONG KONG FIRE RESULTS IN DOZENS OF FATALITIES.// -----BEGIN TEARLINE----- -International Events- Africa: A military coup was reported yesterday in Guinea-Bissau, with President Umaro Sissoco Embaló being arrested at his residence in Bissau. This follows a few weeks of election issues after the President disqualified his political opponent from the election. Analyst Comment: The fall of Guinea-Bissau is the latest addition to what has been colloquially referred to as the "coup belt", a line of nations stretching east-west across Africa, which have been host to overthrowing their governments over the past five years. Hong Kong: Yesterday a multiple-alarm fire broke out at a series of high-rise apartment buildings that were undergoing renovation in Tai Po. Around one thousand firefighters, medical, and police officers worked to extinguished the fires, which involved 7 of the 8 skyscrapers that comprise the Wang Fuk Court housing project. Concerning casualties, 65x fatalities are confirmed so far, however potentially hundreds of people remain missing as this complex provided housing for roughly 4,000 people. A few hours after the fire broke out, three people who worked for the construction company conducting repairs on the buildings were arrested on suspicion of arson. Analyst Comment: Although several people were arrested, it's not clear as to if this was a deliberate attack or a preventable accident. Right now, locals suspect criminal negligence: the contractor is said to have cut corners during the renovation project, by using highly flammable netting and foam insulation during construction. If this is really what happened, this would explain the rapid spread of the fire to seven different structures. An investigation will be needed to confirm the origin and explain the rapid spread of the fire, but right now this incident bears striking resemblance to the Grenfell Tower fire, which rapidly consumed the London apartment building in a similar manner back in 2017. That incident occurred in nearly the same manner, with highly flammable foam insulation being used to insulate the structure, which caught fire and allowed the flames to spread rapidly. -HomeFront- Washington D.C. - The suspect in yesterday's shooting has been identified as Rahmanullah Lakanwal, a former Afghan soldier who worked with the United States as part of the Afghan intelligence services during the Global War on Terrorism. Ramanullah was granted entry to the United States in 2021 under Operation ALLIES WELCOME, the program to evacuate Afghans who worked with the US government during the occupation. Regarding the attack itself, more details have come to light which help explain how the attack was carried out. Rahmanullah approached the two soldiers with a revolver, shooting one in the head immediately and severely wounding the other. This took both soldiers out of the fight immediately, as neither had time to react. By happenstance, one of their officers (a Major) was walking on foot in their vicinity, conducting an informal spot check of the various security posts set up in the area. This Major was not armed with a service weapon, but was the primary responder at the time of the attack. After the two soldiers were engaged, the Major took up a position of cover and concealment near the shooter. When the shooter stopped firing and began reloading, the Major attacked the shooter with a personally owned pocket knife, stabbing the attacker in the head and torso. As this hand-to-hand engagement was occurring, another armed soldier arrived and engaged the attacker with his firearm, striking the suspect several times in the extremities. From there, a dogpile situation occurred and the attacker was detained. Analyst Comment: Though details will certainly be clarified in due time, at present this appears to be a classic case of everyone doing everything right, and tragedy still being the result. Both soldiers were armed and wearing body armor at the time, however the speed and extremely close range of the attack rendered these tools ineffective. The Major who helped end the attack was not armed as he was not occupying a security post himself, so this is not out of the ordinary. The soldier who was armed and shot the suspect, arrived almost immediately after hearing the shots. Concerning the wounded, yesterday afternoon confusion emerged regarding the status of the soldiers. Governor Morrisey retracted his statement on their condition, as both soldiers have not succumbed to their wounds and still remain in critical condition at local hospitals. Prayers are strongly encouraged all around for their recovery. -----END TEARLINE----- Analyst Comments: The shooting in Washington also highlights the importance of having fast *and* accurate information during a crisis. Immediately after the shooting, one photo of the suspect being loaded into an ambulance began circulating online. However, some people took this photo and ran it through AI models to clean up the image, as a shaky photo taken with a smartphone from a long distance doesn't usually offer the best image quality. The problem is that the AI models significantly altered the face of the suspect. In short, someone tried to clean up the image with AI, but in doing so, the face of the suspect was slightly altered and no longer looked like him. The effect was subtle, but enough to actually change what the man looked like. This photo spread like wildfire, with everyone craving the higher-resolution photo of the suspect, despite this AI-manipulated photo not actually being accurate. At the height of a terror attack, the primary photo of the suspect that circulated social media...was an AI photoshop job. In most cases, the fact that this image was AI "enhanced" was NOT disclosed...people had no idea they were looking at (and sharing) a manipulated photo. As if this wasn't serious enough, a second wave of AI-manipulated photos hit the timeline shortly after the suspect was identified. The actual photo of the suspect as leaked on social media was a cellphone photo of a computer screen, and not the best quality. So, some journalists took it upon themselves to manipulate yet another photo of the suspect, which once again changed details of the suspect's face. In this case, the AI-model was a little more accurate, and did a better job of cleaning up a poor-quality image, but the concerns still stand...no one disclosed that this image was generated by AI, and based on a different photo. Sometimes, we have to be content with the information that we have at the time of a crisis. Not everything can be in 4k ultra-high resolution, and right now all AI models have shown weaknesses in producing false information at times. This would be very wise to consider as this situation is very likely to happen again; some fugitive wanted by police might only have one or two blurry photos to share with the media. And if the media decide to alter the photos themselves, changing the physical features of the suspect, the public will be on the lookout for the wrong man. During the heat of the moment, the fast-paced nature of an emergency might result in the internet not realizing that AI-models are being used by people who are not disclosing it. During a crisis, photos of suspects are often released very quickly, especially if there are continued threats. These photos are usually never high resolution or perfect quality, but due to the speed at which the public must be aware of something, authorities share what information they have at the time. If journalists are going to start taking the photos given to them by the police, and running those photos through AI models before publishing them to the public...this is a major problem. This has been a concern for some time, however now the proof is in the pudding. In effect, this was a test that most people on the internet failed. It is not just theoretically possible for inaccurate and manipulative AI-generated content to slip in during a real-time disaster...this case proves that it already happened, and very few people noticed. If we recall, this exact same situation has already happened as well. In the hours after the Charlie Kirk shooting, for example, AI-manipulated renderings of the suspect circulated more widely than the official photos as released by the FBI. In that case, a wanted fugitive was actively being sought, and the fake photos of the suspect circulated more widely than the official photos. People want pretty pictures, but this is almost never the reality of emergencies that are in progress. Nevertheless, the nature of engagement farming on social media often impacts the situation, as AI-created content is often more desirable than the truth. As such, when it comes to future emergencies, one of the major concerns will now be imagery of a suspect or a crime scene, which may be heavily manipulated by AI. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//
7:29

//The Wire//1500Z November 27, 2025// //ROUTINE// //BLUF: DC SHOOTER IDENTIFIED AS FORMER AFGHAN SOLDIER BROUGHT TO USA AFTER THE FALL OF KABUL. HONG KONG FIRE RESULTS IN DOZENS OF FATALITIES.// -----BEGIN TEARLINE----- -International Events- Africa: A military coup was reported yesterday in Guinea-Bissau, with President Umaro Sissoco Embaló being arrested at his residence in Bissau. This follows a few weeks of election issues after the President disqualified his political opponent from the election. Analyst Comment: The fall of Guinea-Bissau is the latest addition to what has been colloquially referred to as the "coup belt", a line of nations stretching east-west across Africa, which have been host to overthrowing their governments over the past five years. Hong Kong: Yesterday a multiple-alarm fire broke out at a series of high-rise apartment buildings that were undergoing renovation in Tai Po. Around one thousand firefighters, medical, and police officers worked to extinguished the fires, which involved 7 of the 8 skyscrapers that comprise the Wang Fuk Court housing project. Concerning casualties, 65x fatalities are confirmed so far, however potentially hundreds of people remain missing as this complex provided housing for roughly 4,000 people. A few hours after the fire broke out, three people who worked for the construction company conducting repairs on the buildings were arrested on suspicion of arson. Analyst Comment: Although several people were arrested, it's not clear as to if this was a deliberate attack or a preventable accident. Right now, locals suspect criminal negligence: the contractor is said to have cut corners during the renovation project, by using highly flammable netting and foam insulation during construction. If this is really what happened, this would explain the rapid spread of the fire to seven different structures. An investigation will be needed to confirm the origin and explain the rapid spread of the fire, but right now this incident bears striking resemblance to the Grenfell Tower fire, which rapidly consumed the London apartment building in a similar manner back in 2017. That incident occurred in nearly the same manner, with highly flammable foam insulation being used to insulate the structure, which caught fire and allowed the flames to spread rapidly. -HomeFront- Washington D.C. - The suspect in yesterday's shooting has been identified as Rahmanullah Lakanwal, a former Afghan soldier who worked with the United States as part of the Afghan intelligence services during the Global War on Terrorism. Ramanullah was granted entry to the United States in 2021 under Operation ALLIES WELCOME, the program to evacuate Afghans who worked with the US government during the occupation. Regarding the attack itself, more details have come to light which help explain how the attack was carried out. Rahmanullah approached the two soldiers with a revolver, shooting one in the head immediately and severely wounding the other. This took both soldiers out of the fight immediately, as neither had time to react. By happenstance, one of their officers (a Major) was walking on foot in their vicinity, conducting an informal spot check of the various security posts set up in the area. This Major was not armed with a service weapon, but was the primary responder at the time of the attack. After the two soldiers were engaged, the Major took up a position of cover and concealment near the shooter. When the shooter stopped firing and began reloading, the Major attacked the shooter with a personally owned pocket knife, stabbing the attacker in the head and torso. As this hand-to-hand engagement was occurring, another armed soldier arrived and engaged the attacker with his firearm, striking the suspect several times in the extremities. From there, a dogpile situation occurred and the attacker was detained. Analyst Comment: Though details will certainly be clarified in due time, at present this appears to be a classic case of everyone doing everything right, and tragedy still being the result. Both soldiers were armed and wearing body armor at the time, however the speed and extremely close range of the attack rendered these tools ineffective. The Major who helped end the attack was not armed as he was not occupying a security post himself, so this is not out of the ordinary. The soldier who was armed and shot the suspect, arrived almost immediately after hearing the shots. Concerning the wounded, yesterday afternoon confusion emerged regarding the status of the soldiers. Governor Morrisey retracted his statement on their condition, as both soldiers have not succumbed to their wounds and still remain in critical condition at local hospitals. Prayers are strongly encouraged all around for their recovery. -----END TEARLINE----- Analyst Comments: The shooting in Washington also highlights the importance of having fast *and* accurate information during a crisis. Immediately after the shooting, one photo of the suspect being loaded into an ambulance began circulating online. However, some people took this photo and ran it through AI models to clean up the image, as a shaky photo taken with a smartphone from a long distance doesn't usually offer the best image quality. The problem is that the AI models significantly altered the face of the suspect. In short, someone tried to clean up the image with AI, but in doing so, the face of the suspect was slightly altered and no longer looked like him. The effect was subtle, but enough to actually change what the man looked like. This photo spread like wildfire, with everyone craving the higher-resolution photo of the suspect, despite this AI-manipulated photo not actually being accurate. At the height of a terror attack, the primary photo of the suspect that circulated social media...was an AI photoshop job. In most cases, the fact that this image was AI "enhanced" was NOT disclosed...people had no idea they were looking at (and sharing) a manipulated photo. As if this wasn't serious enough, a second wave of AI-manipulated photos hit the timeline shortly after the suspect was identified. The actual photo of the suspect as leaked on social media was a cellphone photo of a computer screen, and not the best quality. So, some journalists took it upon themselves to manipulate yet another photo of the suspect, which once again changed details of the suspect's face. In this case, the AI-model was a little more accurate, and did a better job of cleaning up a poor-quality image, but the concerns still stand...no one disclosed that this image was generated by AI, and based on a different photo. Sometimes, we have to be content with the information that we have at the time of a crisis. Not everything can be in 4k ultra-high resolution, and right now all AI models have shown weaknesses in producing false information at times. This would be very wise to consider as this situation is very likely to happen again; some fugitive wanted by police might only have one or two blurry photos to share with the media. And if the media decide to alter the photos themselves, changing the physical features of the suspect, the public will be on the lookout for the wrong man. During the heat of the moment, the fast-paced nature of an emergency might result in the internet not realizing that AI-models are being used by people who are not disclosing it. During a crisis, photos of suspects are often released very quickly, especially if there are continued threats. These photos are usually never high resolution or perfect quality, but due to the speed at which the public must be aware of something, authorities share what information they have at the time. If journalists are going to start taking the photos given to them by the police, and running those photos through AI models before publishing them to the public...this is a major problem. This has been a concern for some time, however now the proof is in the pudding. In effect, this was a test that most people on the internet failed. It is not just theoretically possible for inaccurate and manipulative AI-generated content to slip in during a real-time disaster...this case proves that it already happened, and very few people noticed. If we recall, this exact same situation has already happened as well. In the hours after the Charlie Kirk shooting, for example, AI-manipulated renderings of the suspect circulated more widely than the official photos as released by the FBI. In that case, a wanted fugitive was actively being sought, and the fake photos of the suspect circulated more widely than the official photos. People want pretty pictures, but this is almost never the reality of emergencies that are in progress. Nevertheless, the nature of engagement farming on social media often impacts the situation, as AI-created content is often more desirable than the truth. As such, when it comes to future emergencies, one of the major concerns will now be imagery of a suspect or a crime scene, which may be heavily manipulated by AI. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//

S2 Underground

23,409 次观看 • 10 个月前

"I may be wrong about Elizondo...but I think that the rush to condemn him strikes me as premature [and], potentially, damaging to the community and to the disclosure effort." ~Dolan (This is WAY too long, and I probably should have spent my time on something else. But here it is. The video clips give you a taste of Richard Dolan's excellent 31-minute video.) "The theory that's been put out (by Gerb) contains, at least in my view, substantial problems of evidence, of chronology, and, at times, I just have to say, basic logic." ~Dolan "I am suggesting that Elizondo probably helped to create the opening that allowed Grusch to go even further." ~Dolan ~~~ Gerb in March: "When did Lue Elizondo start talking about crash retrievals? That was after David Grusch went public. You will not find him speaking about it beforehand." (As I've shown before, that's just not true. Did Gerb not do his research on that? I'll share A LOT of quotes from this Richard Dolan (Richard Dolan Intelligent Disclosure) podcast, and from my previous posts detailing the various times Lue has addressed crash retrievals. Plus, my take on various points. Dolan starts out by praising Gerb's research. I agree. Then he moves on to the Lue-was-brought-in-by Clapper claim.) Dolan: "The theory that's been put out (by Gerb) contains, at least in my view, substantial problems of evidence, of chronology, and, at times, I just have to say, basic logic." Dolan: Gerb claims Elizondo had to adapt his public position on crash retrievals because Grusch coming forward changed the game. "Gerb called this, adapt or die. "I think I understand what [Gerb] means by the controlled narrative and what it was intended to reveal and what it was supposed to hide (crash retrievals). What I still do NOT understand is why anyone protecting a retrieval program would initiate this type of a strategy." Dolan: Before 2017, one of the most significant protections for any alleged Legacy program was ridicule, silence and ignoring. "As long as UFOs remained culturally disreputable, any claims of crash retrievals were easily just brushed aside without any bother to investigate. That didn't change until December of 2017," and the two NYT articles. "That kickstarted a major, mainstream, national-security discussion. "So, if this was a controlled-disclosure program, my question simply is: You get the government, eventually admitting, that non-human intelligence seem to be operating advanced craft here, who could not know that the next questions would be inevitable? Like, have any of these crashed? Were any of these recovered? Where did the material go? Who's been studying it? In other words, this would, obviously, increase pressure on the retrieval secret. It would not protect it in any logical way. The most safest option would have to be continued silence. "Maybe this strategy could become plausible if insiders believed that something was about to emerge beyond their control, right? Some kind of trigger. Maybe there would be an imminent whistleblower that we do not know about 'til this day, that they were afraid of and they wanted to get out ahead of the narrative. Or some kind of foreign disclosure. Some other reason, some other cause that would prompt the secret keepers to think, 'Okay, we need to get out a controlled disclosure.' But, there really is no evidence that's presented, in any of Gerb's analysis, for such a triggering event. Why would the custodians of this secret, voluntarily, weaken the whole system that had protected them for decades and decades?" (Agree. I've had this convo with friends over the years about the theory that TTSA was created to get ahead of a disclosure effort that was coming from someone/somewhere else. But it never made sense because we could never find anything (disclosure-wise) that was happening before 2017 that would force the hand of the gatekeepers into starting some type of controlled disclosure such as what TTSA was allegedly doing. Except maybe... Dolan talks about how, when Hillary Clinton was running for President in 2015 and 2016, she mentioned UFOs and UAP in various interviews on the campaign trail. Dolan: That was gradually making UFOs, "slightly, and I would say, very slightly, becoming more acceptable to discuss." Plus, John Podesta (her campaign manager) was pushing for declassification of UFO files. "There were people at that time who really did believe that Hillary Clinton would become the Disclosure president." (I wanted to vote 3rd party in 2016 and didn't want to vote for Hillary, but did so, in part, in the hopes (slim hopes) that she would engage in some sort of disclosure, if she won.) Dolan: "I've always interpreted [Hillary talking UFOs during her campaign] as a much more, just pragmatic, you could almost say, cynical, if you want, treatment of the [UFO] subject, just to win some votes. The most that she ever said as a candidate, I think was, she would try to get to the bottom of this, whatever that means." (Well, she said more than that... ⬇️⬇️⬇️ “I think we may have been (visited already). We don’t know for sure.” ~Hillary Clinton That was covered in the NYT in 2015 My full post on that Hillary quote is here. ⬇️⬇️⬇️ And let's not forget the photo of Hillary from August 1995 where she's with Laurance Rockefeller on his ranch and holding Paul Davies' book, "Are We Alone? Philosophical Implications of the Discovery of Extraterrestrial Life." She and President Clinton have an interest in this subject.) ~~~ Dolan: "I just think that the leap from a political opportunity - talking about UFOs during the campaign - to a kind of, James Clapper-managed disclosure operation? I just don't think that's been demonstrated and I don't find it very persuasive." ~~~ Dolan then gets back to this claim by Gerb... Gerb in March: "When did Lue Elizondo start talking about crash retrievals? That was after David Grusch went public (in 2023). You will not find him speaking about it beforehand." Dolan: Gerb said that, "Elizondo, essentially, avoided discussing crash retrievals, except for Roswell, And that is just not accurate." (The Lue-avoided-crash-retrievals-until-Grusch quote from Gerb in March didn't include an exception about Roswell so maybe Gerb saw my posts on that and updated his claim? But it's still wrong. Dolan brought up Lue's comments on Tucker Carlson in May of 2019, but no other comments from Lue. I covered that and much more in various posts, which I'll share here.) Did Lue Avoid Talking About Crash Retrievals Before Grusch Went Public in 2023? From the 12/16/17 NYT article that started it all. "Under Mr. Bigelow’s direction, [BAASS] modified buildings in Las Vegas for the storage of metal alloys and other materials that Mr. Elizondo and program contractors said had been recovered from unidentified aerial phenomena." (Not a direct quote, and not exactly "crash retrievals of vehicles" but the seed had been planted in that first article. We know now (allegedly) that at least one of those buildings was supposed to store exotic materials that Lockheed was going to divest itself from, but the CIA nixed it all. Again, allegedly.) ~May of 2019~ Tucker Carlson: "Do you believe, based on your decade of serving in the U.S. government, on this question, that the U.S. government has in its possession any material from one of these aircrafts?" Lue: "Whoa. Umm…I do, yes." Tucker Carlson: "You think the U.S. government has debris from a UFO in its possession right now?" Lue: "Unfortunately, Tucker, I really have to be careful of my NDA. I really can’t go into a lot of…more detail than that." Tucker Carlson: "Okay." (And that could have been the end of the interview. But Lue decided to add this.) Lue: "But…simply put, yes." ~ NYT article in July of 2020... "Mr. Elizondo is among a small group of former government officials and scientists with security clearances who, without presenting physical proof, say they are convinced that objects of undetermined origin have crashed on earth with materials retrieved for study." ~ "My personal belief in Roswell? 100%. But I cannot speak officially and I cannot discuss about anything else that may or may not have transcribed." ~Lue on "Disclosure Tonight in Feb. 2021 Source: ~ Lue on Clubhouse in July of 2021 Lue: "Am I aware of the notion that there was some sort of retrieval of biological samples? Yes, I am aware of that notion. Am I aware that there may have been some U.S. government involvement in that? Yes, I am aware of that as well. I am aware that people have talked about it and I have heard it as well...regarding, anecdotally, of biological recovery." Source and longer transcript... ~ Lue on Dossier X in April of 2021 Lue: "You said something...that (Roswell) was the 1st time the U.S. gov't was engaged, and I'll share with you, that may not necessarily be true. There may be anecdotal information that indicates that perhaps the U.S. government was involved even before that, in purported, recovery-type activities." Host: "You mean probably 1942, in Los Angeles or something?" Lue: "I don't wanna elaborate, yet. I think some information's gonna come to light here, probably pretty soon, about some interesting incidents. Again, it's not up to me...there are some people out there are willing to come forward, I think. I'm just providing you the information that was indicated to me. I think we need to be careful jumping to presumptions or assumptions that Roswell was the first event similar to what we're thinking about." Source: ~ "I think people would be surprised to know there's more to Roswell than I think most people are aware of. Some people are aware of it. But, you know, there's more to Roswell and there's other similar incidents that are equally compelling." ~Lue on UFO Garage in 2022 Source: ~~~ March of 2022 - My Interview with Lue Murgia: "You said you believe Roswell was real. Are you as confident in other incidents as you are with Roswell?" Lue: "Yeah." Murgia: "Yes?" Lue: "Yeah." Murgia: "Okay." Lue: "Yeah." Murgia: After you were on Tucker and said you believed the U.S. government had material and debris from a UFO, "Eric Davis came out and said, '100%!' And he said landed craft, too. Did you see that when that came out?" Lue: "I'm aware of that." Murgia: "(laughs) Okay." (Probably an inappropriate laugh by me as Lue was dead serious and probably pushing the limits of what he was allowed to say in public about crash retrievals. He later said this in his November 2024 congressional testimony.) Lue in 2024: "I signed documentation three years ago that restricts my ability to discuss, specifically, crash retrievals." (I wonder what would have happened if he had refused to sign that?) ~~~ Dolan: "Grusch definitely went further (than Lue), much further, yes. That's a lot different from claiming that Elizondo kept retrievals outside the public narrative until Grusch forced his hand. And you really have to ask, if Elizondo's job was NOT to reveal the crash retrieval program, why, in 2019 - again, four years before David Grusch, is he going on and putting it out there? It just seems like there's a chronology problem there." (1000%, Richard! Makes no sense. My June 29th post was entitled... If Elizondo Was Brought in to Control the UFO Narrative Away from Crash Retrievals, He Did a Poor Job 🛸 Nice to see Richard and I on the same page with that. Richard speculates how the disclosure effort would look like right now if Lue hadn't gone public. Would we have several UAP hearings in the books by now? Would David Grusch had come forward? No way to know.) Dolan: "But I will say, or suggest, that it's entirely reasonable to think that Elizondo helped to create the institutional and cultural conditions that made someone like David Grusch possible. Elizondo did not keep retrieval out of the discussion." (In July of 2023, I directed this tweet to Lue.) "None of this would be happening without you." ~Murgia (Over the top and a bit fan-boyish? Probably. But... Knapp talking with Senator Harry Reid about Lazar and UFOs in 1989 - in a limo headed to the airport that would later bear Reid’s name - was a vital part of getting this whole thing started. Lacatski and Stratton launching the more recent effort around 2005, which eventually led to AAWSAP, AATIP and the UAPTF, was also REALLY important. But Lue going public in 2017 was MASSIVE. The media coverage that followed brought a ton of new people into the topic, and I’m not sure where we’d be today without it. Dolan goes on to talk about Clapper and how it's conceivable he would be on top of any alleged Legacy UAP/crash retrieval program. But he failed to note what Grusch said this past January on "The Megyn Kelly Show." Grusch: "General Clapper was well aware of the crash retrieval issue, managed the crash retrieval issue, and...he placed people in critical roles to manage this issue." (Is Lue one of the people Grusch was referring to? Does he have proof of that? From my own information, I have no doubt that Clapper was instrumental in Lue being connected to the UFO topic. But exactly how that went down and what did it entail? I don't know. I hope Clapper speaks to all of this in detail one day soon.) ~ Dolan: "Gerb has stated that Clapper gave cover to AATIP and, basically, directed the National Security Council retrieval activities. And that he selected Elizondo as the front man. Gerb described Clapper as the mob boss of the NSC crash-retrieval portfolio. "Those are very, very powerful allegations. I'm not saying they're NOT true, but that interview with Ross Coulthart, I would say, did not produce anything in the way that anyone would actually call evidence. Like, there was no documents...or firsthand witnesses that were named, or anything like that. "So you have this, basically, a link from Clapper, to the NSC operation, to AATIP, to Elizondo, to controlled disclosure. This could be true, but no one's seen any receipts on this, and I would like to. "And there's more things that I think raise questions about this whole scenario, frankly. I mean, I think of the Pentagon campaign against Lue Elizondo, which lasted for many years. Any theory that has Elizondo as a controlled-disclosure frontman, I think has to account for the documented, institutional effort by the Pentagon to undermine Lue Elizondo." (When the Pentagon spokespeople said that Lue had no assigned responsibilities for AATIP, it's not so clear cut to say they were trying to undermine Lue, since AAWSAP also had the nickname of AATIP, which I'll call AATIP 1. So, if we're talking about AATIP 1 (AAWSAP), Lue did NOT have any assigned responsibilities, except early on when he did some counter-intelligence. And if we're talking AATIP 2, which Stratton said he created in 2015, Knapp explained in 2019 that it was, "not so much a program as it was a loose network of intelligence officials in different agencies." And on April 8th of this year, Lacatski told Knapp that, "they started using AATIP in 2015-16 to describe their uh...what would you describe that as, more lunchtime get togethers? And George Knapp is laughing. I don't know how else to describe it." That tells me Lacatski felt AATIP was REALLY informal, and that could explain why Lue's role wasn't clear cut in the minds of those spokespeople, and why so many of my contacts told me he wasn't the director of AATIP. But those same folks also told me Lue played in an important role in that effort. My guess is that, since AATIP was so informal, there really was NO official director, but that should be clarified when Stratton's book comes out. Semantics? Maybe.) Dolan: Gerb's hypothesis featuring, "the management of an approved public representative (Lue) of a controlled-disclosure narrative...just doesn't make sense to me. What does make sense to me is something like a factional conflict. I think [that's] much more of a logical explanation for everything that we have seen. You have one group that may have supported some kind of opening - not even necessarily a complete opening - while another fought to preserve the secrecy as much as possible. "But that's a bureaucratic struggle. That's not, necessarily, a unified, controlled-disclosure operation. So I think that is a contradiction that was not really adequately discussed in this hypothesis. "I may be wrong about Elizondo, and I'm not here, again, to be his defense attorney. But I think that the rush to condemn him strikes me as premature. It strikes me also as, potentially, damaging to the community and to the disclosure effort, frankly. We can investigate serious allegations without first assigning everyone the role of either hero or villain. "So, I guess I would say that Gerb may have genuinely identified some real relationships and hidden activity. In fact, knowing his excellent research track record, I would be surprised if he didn't. "Elizondo - probably - does have undisclosed elements in his background, and I have no doubt he knows much more than he has said. When I look at the this idea of, like. you look at TTSA coming out at the end of 2016, and you see, basically, a kind of faction that had a very managed narrative indeed. Like, they did not come out and talk about crash retrievals. They did not at all. They talked about these military encounters and sensor readings and this type of thing. And that's a lot less interesting than crash retrievals. "But I try to look at it from, let's say you're a Pentagon insider and you are trying to fight for an opening in the public conversation. You're not gonna start with crash retrievals. First of all, you may not have the receipts on them yourself, to provide to the public. And also you're gonna know, right off the bat, that that's going to be a bigger hill to climb than just trying to get Congress to look at some of the more easily-verifiable reports that you probably have available. So, you're probably going to take it in a very tactical, strategic way. "That's not the same thing as saying that they're lying. It could simply be that was a strategy that was decided upon by these insiders. It's also possible they may not have believed in an uncontrolled, catastrophic disclosure. We can disagree with them on that, or you can agree with them on that. But again, I don't know that that's the same thing as saying that they're actually being dishonest. "If the factional thesis that I believe in is correct, then you'd have to assume that these people have to have their strategies and tactics in this broader struggle. Like, it would be ridiculous not to assume that. "So, I think, you know, it's entirely possible that someone like Elizondo has elements in his background that we would want to know about that are not there. It is very intriguing, and even plausible, perhaps, that someone like Clapper belongs somewhere in this deeper history. I would like to know what that is myself, and I would like to see something, you know, in the way of what we would call genuine evidence for that. Not saying it's not there. "I'm just suggesting that the current theory on Elizondo and controlled disclosure is asking us to accept several unsupported links, and, essentially, I would say a disclosure strategy that appears self-defeating and really illogical. Again, like, why initiate a disclosure program? Especially if you go back to the beginning of the AATIP era, like 2009-ish, 2010. Where was there any perceived need that we have to do disclosure?" (Not sure why Richard is not calling the 2009-ish, 2010-era, AAWSAP. I wonder if he knows that Stratton says he created AATIP in 2015? Could be relevant to this controversy.) Dolan: "Like, I look back at the situation at that time, and again, I was very, very on top of the scene at that time during those years, and I just was not aware of any public pressure, whatsoever, that would cause someone to say, 'We have to initiate a controlled disclosure of this, in order to protect crash retrievals.' "There's no logic there, it seems to me. It's, in fact, the exact opposite. "Also, the the current hypothesis, I think, really understates Elizondo's 2019 acknowledgement of recovered UFO material. That really has got to be understood. And it leaves the whole Pentagon campaign against Elizondo, in my view, anyway, largely unresolved and unexplained, and really not making sense. "And, I would just add, now that I'm thinking of it, this current hypothesis about Lue Elizondo, I think, actually reverses the the genuine historical sequence. In other words, I am suggesting that Elizondo probably helped to create the opening that allowed Grusch to go even further. "So, these are just logical questions that I have. You may have different questions. You may have rebuttals to what I have to say here. By all means, put them in a comment, I will read them. And again, I'm not here to defend Lue Elizondo, I am just questioning an account that does not yet, in my view, explain its own logic, or match the full chronology. "It is entirely possible that some of this story is well-known to researchers, including Gerb. I think, however, what has been presented so far does not show how all the pieces actually fit together, and I would like to see that. "And again, I say this with total respect to UAP Gerb and to Ross Coulthart, and in fairness to Lue Elizondo, who I think, if nothing else, this aspect of the history really needs to be understood by the broader community. So that is my statement. "And that doesn't mean that I'm right here, but I do think from time-to-time, it's okay to take a stand on a topic where I can see many people are going to disagree with this, but certain things I think need to be understood on this, and I hope that we can have a reasoned dialogue and discussion about this as we move forward with it, because it is a topic that we do need to understand. "My hypothesis has, pretty much, from the beginning, always been that what we are seeing and what we have been seeing since 2017 is, essentially, the result of a factional battle." (I believe Lue spoke about factions early on when he first went public.) "You go back through the history of this phenomenon, and if you read the old books going back to the 1950s, you see it then, too. You see that there were always factions within the Pentagon who did actually support some level of openness on the UFO subject. "You read the books of Donald Keyhoe, read the book by Edward Ruppelt from 1956: 'Report on Unidentified Flying Objects.' A lot of this is in there. And I think that's really never gone away. And so to somehow assume that there are no more factions in a massive labyrinthian structure as large as the U.S. military industrial complex, I think that's kind of ridiculous. There's always going to be factions. And I think that what we are seeing has always struck me as the result of a factional war that is taking place. "And that doesn't mean, by the way, that, you know, the two sides are just white hats and black hats. Everyone's got their own angle, everyone's got their own motivations. But I, nevertheless, tend to think that that is what we are looking at."
6:08

"I may be wrong about Elizondo...but I think that the rush to condemn him strikes me as premature [and], potentially, damaging to the community and to the disclosure effort." ~Dolan (This is WAY too long, and I probably should have spent my time on something else. But here it is. The video clips give you a taste of Richard Dolan's excellent 31-minute video.) "The theory that's been put out (by Gerb) contains, at least in my view, substantial problems of evidence, of chronology, and, at times, I just have to say, basic logic." ~Dolan "I am suggesting that Elizondo probably helped to create the opening that allowed Grusch to go even further." ~Dolan ~~~ Gerb in March: "When did Lue Elizondo start talking about crash retrievals? That was after David Grusch went public. You will not find him speaking about it beforehand." (As I've shown before, that's just not true. Did Gerb not do his research on that? I'll share A LOT of quotes from this Richard Dolan (Richard Dolan Intelligent Disclosure) podcast, and from my previous posts detailing the various times Lue has addressed crash retrievals. Plus, my take on various points. Dolan starts out by praising Gerb's research. I agree. Then he moves on to the Lue-was-brought-in-by Clapper claim.) Dolan: "The theory that's been put out (by Gerb) contains, at least in my view, substantial problems of evidence, of chronology, and, at times, I just have to say, basic logic." Dolan: Gerb claims Elizondo had to adapt his public position on crash retrievals because Grusch coming forward changed the game. "Gerb called this, adapt or die. "I think I understand what [Gerb] means by the controlled narrative and what it was intended to reveal and what it was supposed to hide (crash retrievals). What I still do NOT understand is why anyone protecting a retrieval program would initiate this type of a strategy." Dolan: Before 2017, one of the most significant protections for any alleged Legacy program was ridicule, silence and ignoring. "As long as UFOs remained culturally disreputable, any claims of crash retrievals were easily just brushed aside without any bother to investigate. That didn't change until December of 2017," and the two NYT articles. "That kickstarted a major, mainstream, national-security discussion. "So, if this was a controlled-disclosure program, my question simply is: You get the government, eventually admitting, that non-human intelligence seem to be operating advanced craft here, who could not know that the next questions would be inevitable? Like, have any of these crashed? Were any of these recovered? Where did the material go? Who's been studying it? In other words, this would, obviously, increase pressure on the retrieval secret. It would not protect it in any logical way. The most safest option would have to be continued silence. "Maybe this strategy could become plausible if insiders believed that something was about to emerge beyond their control, right? Some kind of trigger. Maybe there would be an imminent whistleblower that we do not know about 'til this day, that they were afraid of and they wanted to get out ahead of the narrative. Or some kind of foreign disclosure. Some other reason, some other cause that would prompt the secret keepers to think, 'Okay, we need to get out a controlled disclosure.' But, there really is no evidence that's presented, in any of Gerb's analysis, for such a triggering event. Why would the custodians of this secret, voluntarily, weaken the whole system that had protected them for decades and decades?" (Agree. I've had this convo with friends over the years about the theory that TTSA was created to get ahead of a disclosure effort that was coming from someone/somewhere else. But it never made sense because we could never find anything (disclosure-wise) that was happening before 2017 that would force the hand of the gatekeepers into starting some type of controlled disclosure such as what TTSA was allegedly doing. Except maybe... Dolan talks about how, when Hillary Clinton was running for President in 2015 and 2016, she mentioned UFOs and UAP in various interviews on the campaign trail. Dolan: That was gradually making UFOs, "slightly, and I would say, very slightly, becoming more acceptable to discuss." Plus, John Podesta (her campaign manager) was pushing for declassification of UFO files. "There were people at that time who really did believe that Hillary Clinton would become the Disclosure president." (I wanted to vote 3rd party in 2016 and didn't want to vote for Hillary, but did so, in part, in the hopes (slim hopes) that she would engage in some sort of disclosure, if she won.) Dolan: "I've always interpreted [Hillary talking UFOs during her campaign] as a much more, just pragmatic, you could almost say, cynical, if you want, treatment of the [UFO] subject, just to win some votes. The most that she ever said as a candidate, I think was, she would try to get to the bottom of this, whatever that means." (Well, she said more than that... ⬇️⬇️⬇️ “I think we may have been (visited already). We don’t know for sure.” ~Hillary Clinton That was covered in the NYT in 2015 My full post on that Hillary quote is here. ⬇️⬇️⬇️ And let's not forget the photo of Hillary from August 1995 where she's with Laurance Rockefeller on his ranch and holding Paul Davies' book, "Are We Alone? Philosophical Implications of the Discovery of Extraterrestrial Life." She and President Clinton have an interest in this subject.) ~~~ Dolan: "I just think that the leap from a political opportunity - talking about UFOs during the campaign - to a kind of, James Clapper-managed disclosure operation? I just don't think that's been demonstrated and I don't find it very persuasive." ~~~ Dolan then gets back to this claim by Gerb... Gerb in March: "When did Lue Elizondo start talking about crash retrievals? That was after David Grusch went public (in 2023). You will not find him speaking about it beforehand." Dolan: Gerb said that, "Elizondo, essentially, avoided discussing crash retrievals, except for Roswell, And that is just not accurate." (The Lue-avoided-crash-retrievals-until-Grusch quote from Gerb in March didn't include an exception about Roswell so maybe Gerb saw my posts on that and updated his claim? But it's still wrong. Dolan brought up Lue's comments on Tucker Carlson in May of 2019, but no other comments from Lue. I covered that and much more in various posts, which I'll share here.) Did Lue Avoid Talking About Crash Retrievals Before Grusch Went Public in 2023? From the 12/16/17 NYT article that started it all. "Under Mr. Bigelow’s direction, [BAASS] modified buildings in Las Vegas for the storage of metal alloys and other materials that Mr. Elizondo and program contractors said had been recovered from unidentified aerial phenomena." (Not a direct quote, and not exactly "crash retrievals of vehicles" but the seed had been planted in that first article. We know now (allegedly) that at least one of those buildings was supposed to store exotic materials that Lockheed was going to divest itself from, but the CIA nixed it all. Again, allegedly.) ~May of 2019~ Tucker Carlson: "Do you believe, based on your decade of serving in the U.S. government, on this question, that the U.S. government has in its possession any material from one of these aircrafts?" Lue: "Whoa. Umm…I do, yes." Tucker Carlson: "You think the U.S. government has debris from a UFO in its possession right now?" Lue: "Unfortunately, Tucker, I really have to be careful of my NDA. I really can’t go into a lot of…more detail than that." Tucker Carlson: "Okay." (And that could have been the end of the interview. But Lue decided to add this.) Lue: "But…simply put, yes." ~ NYT article in July of 2020... "Mr. Elizondo is among a small group of former government officials and scientists with security clearances who, without presenting physical proof, say they are convinced that objects of undetermined origin have crashed on earth with materials retrieved for study." ~ "My personal belief in Roswell? 100%. But I cannot speak officially and I cannot discuss about anything else that may or may not have transcribed." ~Lue on "Disclosure Tonight in Feb. 2021 Source: ~ Lue on Clubhouse in July of 2021 Lue: "Am I aware of the notion that there was some sort of retrieval of biological samples? Yes, I am aware of that notion. Am I aware that there may have been some U.S. government involvement in that? Yes, I am aware of that as well. I am aware that people have talked about it and I have heard it as well...regarding, anecdotally, of biological recovery." Source and longer transcript... ~ Lue on Dossier X in April of 2021 Lue: "You said something...that (Roswell) was the 1st time the U.S. gov't was engaged, and I'll share with you, that may not necessarily be true. There may be anecdotal information that indicates that perhaps the U.S. government was involved even before that, in purported, recovery-type activities." Host: "You mean probably 1942, in Los Angeles or something?" Lue: "I don't wanna elaborate, yet. I think some information's gonna come to light here, probably pretty soon, about some interesting incidents. Again, it's not up to me...there are some people out there are willing to come forward, I think. I'm just providing you the information that was indicated to me. I think we need to be careful jumping to presumptions or assumptions that Roswell was the first event similar to what we're thinking about." Source: ~ "I think people would be surprised to know there's more to Roswell than I think most people are aware of. Some people are aware of it. But, you know, there's more to Roswell and there's other similar incidents that are equally compelling." ~Lue on UFO Garage in 2022 Source: ~~~ March of 2022 - My Interview with Lue Murgia: "You said you believe Roswell was real. Are you as confident in other incidents as you are with Roswell?" Lue: "Yeah." Murgia: "Yes?" Lue: "Yeah." Murgia: "Okay." Lue: "Yeah." Murgia: After you were on Tucker and said you believed the U.S. government had material and debris from a UFO, "Eric Davis came out and said, '100%!' And he said landed craft, too. Did you see that when that came out?" Lue: "I'm aware of that." Murgia: "(laughs) Okay." (Probably an inappropriate laugh by me as Lue was dead serious and probably pushing the limits of what he was allowed to say in public about crash retrievals. He later said this in his November 2024 congressional testimony.) Lue in 2024: "I signed documentation three years ago that restricts my ability to discuss, specifically, crash retrievals." (I wonder what would have happened if he had refused to sign that?) ~~~ Dolan: "Grusch definitely went further (than Lue), much further, yes. That's a lot different from claiming that Elizondo kept retrievals outside the public narrative until Grusch forced his hand. And you really have to ask, if Elizondo's job was NOT to reveal the crash retrieval program, why, in 2019 - again, four years before David Grusch, is he going on and putting it out there? It just seems like there's a chronology problem there." (1000%, Richard! Makes no sense. My June 29th post was entitled... If Elizondo Was Brought in to Control the UFO Narrative Away from Crash Retrievals, He Did a Poor Job 🛸 Nice to see Richard and I on the same page with that. Richard speculates how the disclosure effort would look like right now if Lue hadn't gone public. Would we have several UAP hearings in the books by now? Would David Grusch had come forward? No way to know.) Dolan: "But I will say, or suggest, that it's entirely reasonable to think that Elizondo helped to create the institutional and cultural conditions that made someone like David Grusch possible. Elizondo did not keep retrieval out of the discussion." (In July of 2023, I directed this tweet to Lue.) "None of this would be happening without you." ~Murgia (Over the top and a bit fan-boyish? Probably. But... Knapp talking with Senator Harry Reid about Lazar and UFOs in 1989 - in a limo headed to the airport that would later bear Reid’s name - was a vital part of getting this whole thing started. Lacatski and Stratton launching the more recent effort around 2005, which eventually led to AAWSAP, AATIP and the UAPTF, was also REALLY important. But Lue going public in 2017 was MASSIVE. The media coverage that followed brought a ton of new people into the topic, and I’m not sure where we’d be today without it. Dolan goes on to talk about Clapper and how it's conceivable he would be on top of any alleged Legacy UAP/crash retrieval program. But he failed to note what Grusch said this past January on "The Megyn Kelly Show." Grusch: "General Clapper was well aware of the crash retrieval issue, managed the crash retrieval issue, and...he placed people in critical roles to manage this issue." (Is Lue one of the people Grusch was referring to? Does he have proof of that? From my own information, I have no doubt that Clapper was instrumental in Lue being connected to the UFO topic. But exactly how that went down and what did it entail? I don't know. I hope Clapper speaks to all of this in detail one day soon.) ~ Dolan: "Gerb has stated that Clapper gave cover to AATIP and, basically, directed the National Security Council retrieval activities. And that he selected Elizondo as the front man. Gerb described Clapper as the mob boss of the NSC crash-retrieval portfolio. "Those are very, very powerful allegations. I'm not saying they're NOT true, but that interview with Ross Coulthart, I would say, did not produce anything in the way that anyone would actually call evidence. Like, there was no documents...or firsthand witnesses that were named, or anything like that. "So you have this, basically, a link from Clapper, to the NSC operation, to AATIP, to Elizondo, to controlled disclosure. This could be true, but no one's seen any receipts on this, and I would like to. "And there's more things that I think raise questions about this whole scenario, frankly. I mean, I think of the Pentagon campaign against Lue Elizondo, which lasted for many years. Any theory that has Elizondo as a controlled-disclosure frontman, I think has to account for the documented, institutional effort by the Pentagon to undermine Lue Elizondo." (When the Pentagon spokespeople said that Lue had no assigned responsibilities for AATIP, it's not so clear cut to say they were trying to undermine Lue, since AAWSAP also had the nickname of AATIP, which I'll call AATIP 1. So, if we're talking about AATIP 1 (AAWSAP), Lue did NOT have any assigned responsibilities, except early on when he did some counter-intelligence. And if we're talking AATIP 2, which Stratton said he created in 2015, Knapp explained in 2019 that it was, "not so much a program as it was a loose network of intelligence officials in different agencies." And on April 8th of this year, Lacatski told Knapp that, "they started using AATIP in 2015-16 to describe their uh...what would you describe that as, more lunchtime get togethers? And George Knapp is laughing. I don't know how else to describe it." That tells me Lacatski felt AATIP was REALLY informal, and that could explain why Lue's role wasn't clear cut in the minds of those spokespeople, and why so many of my contacts told me he wasn't the director of AATIP. But those same folks also told me Lue played in an important role in that effort. My guess is that, since AATIP was so informal, there really was NO official director, but that should be clarified when Stratton's book comes out. Semantics? Maybe.) Dolan: Gerb's hypothesis featuring, "the management of an approved public representative (Lue) of a controlled-disclosure narrative...just doesn't make sense to me. What does make sense to me is something like a factional conflict. I think [that's] much more of a logical explanation for everything that we have seen. You have one group that may have supported some kind of opening - not even necessarily a complete opening - while another fought to preserve the secrecy as much as possible. "But that's a bureaucratic struggle. That's not, necessarily, a unified, controlled-disclosure operation. So I think that is a contradiction that was not really adequately discussed in this hypothesis. "I may be wrong about Elizondo, and I'm not here, again, to be his defense attorney. But I think that the rush to condemn him strikes me as premature. It strikes me also as, potentially, damaging to the community and to the disclosure effort, frankly. We can investigate serious allegations without first assigning everyone the role of either hero or villain. "So, I guess I would say that Gerb may have genuinely identified some real relationships and hidden activity. In fact, knowing his excellent research track record, I would be surprised if he didn't. "Elizondo - probably - does have undisclosed elements in his background, and I have no doubt he knows much more than he has said. When I look at the this idea of, like. you look at TTSA coming out at the end of 2016, and you see, basically, a kind of faction that had a very managed narrative indeed. Like, they did not come out and talk about crash retrievals. They did not at all. They talked about these military encounters and sensor readings and this type of thing. And that's a lot less interesting than crash retrievals. "But I try to look at it from, let's say you're a Pentagon insider and you are trying to fight for an opening in the public conversation. You're not gonna start with crash retrievals. First of all, you may not have the receipts on them yourself, to provide to the public. And also you're gonna know, right off the bat, that that's going to be a bigger hill to climb than just trying to get Congress to look at some of the more easily-verifiable reports that you probably have available. So, you're probably going to take it in a very tactical, strategic way. "That's not the same thing as saying that they're lying. It could simply be that was a strategy that was decided upon by these insiders. It's also possible they may not have believed in an uncontrolled, catastrophic disclosure. We can disagree with them on that, or you can agree with them on that. But again, I don't know that that's the same thing as saying that they're actually being dishonest. "If the factional thesis that I believe in is correct, then you'd have to assume that these people have to have their strategies and tactics in this broader struggle. Like, it would be ridiculous not to assume that. "So, I think, you know, it's entirely possible that someone like Elizondo has elements in his background that we would want to know about that are not there. It is very intriguing, and even plausible, perhaps, that someone like Clapper belongs somewhere in this deeper history. I would like to know what that is myself, and I would like to see something, you know, in the way of what we would call genuine evidence for that. Not saying it's not there. "I'm just suggesting that the current theory on Elizondo and controlled disclosure is asking us to accept several unsupported links, and, essentially, I would say a disclosure strategy that appears self-defeating and really illogical. Again, like, why initiate a disclosure program? Especially if you go back to the beginning of the AATIP era, like 2009-ish, 2010. Where was there any perceived need that we have to do disclosure?" (Not sure why Richard is not calling the 2009-ish, 2010-era, AAWSAP. I wonder if he knows that Stratton says he created AATIP in 2015? Could be relevant to this controversy.) Dolan: "Like, I look back at the situation at that time, and again, I was very, very on top of the scene at that time during those years, and I just was not aware of any public pressure, whatsoever, that would cause someone to say, 'We have to initiate a controlled disclosure of this, in order to protect crash retrievals.' "There's no logic there, it seems to me. It's, in fact, the exact opposite. "Also, the the current hypothesis, I think, really understates Elizondo's 2019 acknowledgement of recovered UFO material. That really has got to be understood. And it leaves the whole Pentagon campaign against Elizondo, in my view, anyway, largely unresolved and unexplained, and really not making sense. "And, I would just add, now that I'm thinking of it, this current hypothesis about Lue Elizondo, I think, actually reverses the the genuine historical sequence. In other words, I am suggesting that Elizondo probably helped to create the opening that allowed Grusch to go even further. "So, these are just logical questions that I have. You may have different questions. You may have rebuttals to what I have to say here. By all means, put them in a comment, I will read them. And again, I'm not here to defend Lue Elizondo, I am just questioning an account that does not yet, in my view, explain its own logic, or match the full chronology. "It is entirely possible that some of this story is well-known to researchers, including Gerb. I think, however, what has been presented so far does not show how all the pieces actually fit together, and I would like to see that. "And again, I say this with total respect to UAP Gerb and to Ross Coulthart, and in fairness to Lue Elizondo, who I think, if nothing else, this aspect of the history really needs to be understood by the broader community. So that is my statement. "And that doesn't mean that I'm right here, but I do think from time-to-time, it's okay to take a stand on a topic where I can see many people are going to disagree with this, but certain things I think need to be understood on this, and I hope that we can have a reasoned dialogue and discussion about this as we move forward with it, because it is a topic that we do need to understand. "My hypothesis has, pretty much, from the beginning, always been that what we are seeing and what we have been seeing since 2017 is, essentially, the result of a factional battle." (I believe Lue spoke about factions early on when he first went public.) "You go back through the history of this phenomenon, and if you read the old books going back to the 1950s, you see it then, too. You see that there were always factions within the Pentagon who did actually support some level of openness on the UFO subject. "You read the books of Donald Keyhoe, read the book by Edward Ruppelt from 1956: 'Report on Unidentified Flying Objects.' A lot of this is in there. And I think that's really never gone away. And so to somehow assume that there are no more factions in a massive labyrinthian structure as large as the U.S. military industrial complex, I think that's kind of ridiculous. There's always going to be factions. And I think that what we are seeing has always struck me as the result of a factional war that is taking place. "And that doesn't mean, by the way, that, you know, the two sides are just white hats and black hats. Everyone's got their own angle, everyone's got their own motivations. But I, nevertheless, tend to think that that is what we are looking at."

Joe Murgia

24,710 次观看 • 1 个月前

Stargate Trivia: Casting Stargate: Atlantis While SG-1 was my first love (We were together for seven years!), my time on Atlantis proved equally memorable. The show was possessed of a similar tone in its mix of high adventure and humor, yet proved distinct in its exploration of Ancient mythology and an unfamiliar galaxy as seen through the eyes of a new set of heroes. Atlantis offered a sense of wonder and camaraderie born of isolation and constant danger. Whereas team SG-1 could always go home at the conclusion of their adventures, the members of the Atlantis expedition (at least for those first few seasons) could only draw comfort from the city of Atlantis itself – and, of course, each other. It was unique and compelling yet, at the same time, comfortingly familiar. Nowhere is this more evident than in its opening theme, composed by the late Joel Goldsmith, which is, at turns fresh, haunting, stirring and, throughout, discernibly Stargate. Stargate: Atlantis wasn’t originally planned as a companion to Stargate: SG-1. It was intended to replace the long-running series. The only problem was, with eight seasons under its belt, SG-1 wasn’t quite done yet. And fans (and the network) weren’t done with it either. And so, instead of passing the torch and segueing to a new Stargate series, we ended up producing both. In retrospect, it was quite an achievement: 40 hours of television in a year! Today's productions can barely manage a quarter that output, but Stargates SG-1 and Atlantis delivered two fantastic 40 episode seasons before SG-1 took its final bow. It wasn’t easy, but it was certainly made easier by all of the enormously talented individuals who made it happen, from the office staff and crew to the cast and my fellow writer/producers. Still, it was not without its challenges. Take casting, for instance. It may surprise you to know that, when it comes to producing a show, not everybody cares about costumes or set design or whether the script’s fifth act denouement is emotionally satisfying - but everybody, and I do mean EVERYBODY, has an opinion on casting. Studio and network execs, producers, hell, even your significant other peering over your shoulder as you screen the auditions on your laptop, will want to weigh in. Of course, the more voices in the mix the more likely there are to be disagreements. So it is with every production and Atlantis was no different. Various individuals envisioned these characters in various ways and, as a result, consensus was only achieved after many auditions, calls-backs, heated discussions, and not-so-gentle reminders that our start date was fast-approaching and we really needed someone to say the lines on camera. The part of Carson Beckett was one of the first we cast. The other producers were in Rob’s office, screening the first batch of local auditions when Brad called me in and told me to check out the guy onscreen. I hadn’t imagined Beckett with a Scottish accent but, after watching Paul McGillion (Paul McGillion) in the role, I couldn’t imagine him without one. He’d brought something unexpected to the part, something we all responded to. Elizabeth Weir was not an easy character to pull off. She had to be smart, confident and strong yet needed to exude a certain warmth and empathy we were looking for in the civilian leader of the expedition. When it came time to (re)casting the role, several established names were considered (One had her own hit genre show back in the day while another went on to break out on a hit show soon after), but it was Torri Higginson (torri higginson 🌻 🇺🇦 🕊) who managed to strike just the right balance and vault her name to the top of the list. The role of Teyla Emmagan was a tough one to cast. Like Weir, she needed to be a strong, empathetic leader. But she also required something even more important – quite literally, an other-worldly quality that made her unique. Some equally talented actresses auditioned for the role but, as good as they were, they were never quite able to achieve that gravitas Rachel Luttrell (Rachel Luttrell) pulled off with such grace and seeming ease. Former VJ Rainbow Sun Francks (Rainbow Sun Francks) won the role of Lieutenant Ford on the strength of a great audition, preceded by an equally great audition with a funny hat. I recall Brad Wright on the phone with our casting agent, advising him to ensure there would be no hat worn in the callback for fear the network would fixate on it. There wasn't, they didn't, and Rainbow delivered. The role of John Sheppard was the second to last one cast. It came right down to the wire and there were several candidates in play. The character was originally conceived as a good ole southern boy, so it only made sense that Ben Browder’s name was bandied about early. However, he was too busy shooting Peacekeeper Wars to warrant consideration. A number of other actors were considered (one went on to play the lead in a hugely popular show the following year while another made his mark as a handsome heart throb on another hugely popular medical series) but it was Joe Flanigan (Joe Flanigan) who won the part based on his ability to pull off the devil-may-care attitude Brad and Robert were looking for. We come to the final role cast, a character who, in many ways, embodied everything Atlantis was about: exploration, discovery, fun, humor, and seat-of-your-pants-Holy-Sh&%-how-the-hell-am-I-going-to-get-out-of-this-adventure. And he almost didn’t make the trip to Pegasus. Originally, the casting call went out for a completely different character, an earnest young doctor who would lend the team much-needed medical support on their off-world ventures. Unfortunately, no one could agree on an actor to fill that role. If the casting of Sheppard went down to the wire, then the casting of this final part went a step past it. Finally, days away from production, Robert Cooper had an idea: Forget the doctor character. Why not use an established character from SG-1? How about Rodney McKay played by David Hewlett (David "Stargate Genius Leader" Hewlett)? The writers were on board, but some executives weren't weren’t sold on the idea. They found him annoying! I mean, hell yeah, but he’d be sooo much fun to write for! Rob got on the phone and went to bat for Rodney, pointing out that the character had come a long way since first being introduced way back in SG-1’s 48 Hours. He’d evolved, going from annoying jerk to endearingly irritating. To this day, I’m convinced that they weren’t totally convinced but, with production poised to commence, they relented, I suppose figuring they could just replace the character somewhere down the line. No one, even those who loved the idea of having the endearingly irritating Rodney McKay on board could have predicted how hugely popular the character would become. How do you think we did?
1:01

Stargate Trivia: Casting Stargate: Atlantis While SG-1 was my first love (We were together for seven years!), my time on Atlantis proved equally memorable. The show was possessed of a similar tone in its mix of high adventure and humor, yet proved distinct in its exploration of Ancient mythology and an unfamiliar galaxy as seen through the eyes of a new set of heroes. Atlantis offered a sense of wonder and camaraderie born of isolation and constant danger. Whereas team SG-1 could always go home at the conclusion of their adventures, the members of the Atlantis expedition (at least for those first few seasons) could only draw comfort from the city of Atlantis itself – and, of course, each other. It was unique and compelling yet, at the same time, comfortingly familiar. Nowhere is this more evident than in its opening theme, composed by the late Joel Goldsmith, which is, at turns fresh, haunting, stirring and, throughout, discernibly Stargate. Stargate: Atlantis wasn’t originally planned as a companion to Stargate: SG-1. It was intended to replace the long-running series. The only problem was, with eight seasons under its belt, SG-1 wasn’t quite done yet. And fans (and the network) weren’t done with it either. And so, instead of passing the torch and segueing to a new Stargate series, we ended up producing both. In retrospect, it was quite an achievement: 40 hours of television in a year! Today's productions can barely manage a quarter that output, but Stargates SG-1 and Atlantis delivered two fantastic 40 episode seasons before SG-1 took its final bow. It wasn’t easy, but it was certainly made easier by all of the enormously talented individuals who made it happen, from the office staff and crew to the cast and my fellow writer/producers. Still, it was not without its challenges. Take casting, for instance. It may surprise you to know that, when it comes to producing a show, not everybody cares about costumes or set design or whether the script’s fifth act denouement is emotionally satisfying - but everybody, and I do mean EVERYBODY, has an opinion on casting. Studio and network execs, producers, hell, even your significant other peering over your shoulder as you screen the auditions on your laptop, will want to weigh in. Of course, the more voices in the mix the more likely there are to be disagreements. So it is with every production and Atlantis was no different. Various individuals envisioned these characters in various ways and, as a result, consensus was only achieved after many auditions, calls-backs, heated discussions, and not-so-gentle reminders that our start date was fast-approaching and we really needed someone to say the lines on camera. The part of Carson Beckett was one of the first we cast. The other producers were in Rob’s office, screening the first batch of local auditions when Brad called me in and told me to check out the guy onscreen. I hadn’t imagined Beckett with a Scottish accent but, after watching Paul McGillion (Paul McGillion) in the role, I couldn’t imagine him without one. He’d brought something unexpected to the part, something we all responded to. Elizabeth Weir was not an easy character to pull off. She had to be smart, confident and strong yet needed to exude a certain warmth and empathy we were looking for in the civilian leader of the expedition. When it came time to (re)casting the role, several established names were considered (One had her own hit genre show back in the day while another went on to break out on a hit show soon after), but it was Torri Higginson (torri higginson 🌻 🇺🇦 🕊) who managed to strike just the right balance and vault her name to the top of the list. The role of Teyla Emmagan was a tough one to cast. Like Weir, she needed to be a strong, empathetic leader. But she also required something even more important – quite literally, an other-worldly quality that made her unique. Some equally talented actresses auditioned for the role but, as good as they were, they were never quite able to achieve that gravitas Rachel Luttrell (Rachel Luttrell) pulled off with such grace and seeming ease. Former VJ Rainbow Sun Francks (Rainbow Sun Francks) won the role of Lieutenant Ford on the strength of a great audition, preceded by an equally great audition with a funny hat. I recall Brad Wright on the phone with our casting agent, advising him to ensure there would be no hat worn in the callback for fear the network would fixate on it. There wasn't, they didn't, and Rainbow delivered. The role of John Sheppard was the second to last one cast. It came right down to the wire and there were several candidates in play. The character was originally conceived as a good ole southern boy, so it only made sense that Ben Browder’s name was bandied about early. However, he was too busy shooting Peacekeeper Wars to warrant consideration. A number of other actors were considered (one went on to play the lead in a hugely popular show the following year while another made his mark as a handsome heart throb on another hugely popular medical series) but it was Joe Flanigan (Joe Flanigan) who won the part based on his ability to pull off the devil-may-care attitude Brad and Robert were looking for. We come to the final role cast, a character who, in many ways, embodied everything Atlantis was about: exploration, discovery, fun, humor, and seat-of-your-pants-Holy-Sh&%-how-the-hell-am-I-going-to-get-out-of-this-adventure. And he almost didn’t make the trip to Pegasus. Originally, the casting call went out for a completely different character, an earnest young doctor who would lend the team much-needed medical support on their off-world ventures. Unfortunately, no one could agree on an actor to fill that role. If the casting of Sheppard went down to the wire, then the casting of this final part went a step past it. Finally, days away from production, Robert Cooper had an idea: Forget the doctor character. Why not use an established character from SG-1? How about Rodney McKay played by David Hewlett (David "Stargate Genius Leader" Hewlett)? The writers were on board, but some executives weren't weren’t sold on the idea. They found him annoying! I mean, hell yeah, but he’d be sooo much fun to write for! Rob got on the phone and went to bat for Rodney, pointing out that the character had come a long way since first being introduced way back in SG-1’s 48 Hours. He’d evolved, going from annoying jerk to endearingly irritating. To this day, I’m convinced that they weren’t totally convinced but, with production poised to commence, they relented, I suppose figuring they could just replace the character somewhere down the line. No one, even those who loved the idea of having the endearingly irritating Rodney McKay on board could have predicted how hugely popular the character would become. How do you think we did?

Joseph Mallozzi 🏴‍☠️

61,495 次观看 • 3 个月前

Just finished a one-week trip to China. I've now "survived" all the major (~20) L2 self-driving and robotaxi vehicles in both the US and China. Some thoughts & observations: ▶️L2 self-driving I tested major brands like $Huawei, $Li, $NIO, $Xpeng, and $Xiaomi. Overall, they exceeded my expectations. The rides were not overly cautious and handled complex situations (yes, road conditions in China are very challenging!) quite well. Nothing compares to $Tsla's approach. I see imitation learning/end-to-end as the only effective approach for self-driving. While Chinese peers perform well on main roads, they struggle on frontage roads due to reliance on high-precision maps and rule-based methods (e.g. cars stopped in the middle of the road where there was no clear white lining). Chinese EVs' self-driving capabilities are far ahead of those from US and EU brands. I doubt any Chinese players can profit from L2 self-driving, not because it’s not useful, but because it’s hard to differentiate, and price wars dominate the market in China. Chinese consumers and regulators seem much more receptive to self-driving. Even with a 5/10 self-driving capability, cars are practically *hands-free(!)* Insurance-wise, for L3+ cars, OEMs bear responsibility for incidents, so OEMs avoid labeling cars as L3+. ▶️Robotaxi I tested major brands like $Didi, and $Bidu. I'd rate equal to $Waymo, and it's ahead of other peers. However, the same issue applies here: user experience is nearly perfect (in Yizhuang, Beijing), but expansion is the real question. Chinese robotaxi companies are very sophisticated. While the rest of the world focuses on technology, Chinese peers treat it as a product, considering unit economics, operations, mass production, etc. Interestingly, most companies expressed a preference NOT to operate fleets themselves. They aim to be asset-light and let fleet managers handle operations. Policy Support: China has a very clear approval process, driven by data (autonomous driving distance, fully driverless distance, intervention rate, passenger ratings, etc.). ▶️Chinese EVs In major cities like Beijing or Shanghai, EV adoption (green license plates vs. gas cars with blue license plates) seems to be 40%+. If 40% of cars on the road are EVs, then EV penetration (defined as the % of new car sales) must already be over 50%. In shopping malls, the ground floor is filled with EV showrooms—easily 10+ brands, many of which are unfamiliar Chinese brands. It appears almost too easy to make an electric car, which is a stark contrast to the US. $Xiaomi, for example, can achieve a 10% gross profit margin in its first year of operation, compared to $RIVN's -45%. Additionally, $Xiaomi cars are priced at 30% of $RIVN's price. It's fascinating to see how China transitioned from "couldn't make their own gas cars at all (only JVs)" to "dominating EVs globally." The government deserves credit for setting the direction and executing effectively. China now controls the entire supply chain, with $CATL holding 40% of the global market share. 🔹How did it happen? The success of the industry Incentives were set just right: the government provided incentives early on to make EVs and gas cars have comparable MSRPs, allowing consumers to choose based on functionality. This approach differs from how the IRA offers incentives... Perfectly competitive market: $TSLA was brought in, and competition was welcomed, unlike the US, which has a 100% import tax on Chinese EVs. Strategic regulations: License plate restrictions were used effectively; for example, taxis and minivans are required to be EVs. 🔹The challenges Despite the success, the industry faces challenges with low-margin companies and struggling stocks. The intense competition shows no sign of ending. Well-funded global OEMs and Chinese state-owned car companies continue to subsidize, leading to new EV brands emerging annually. The natural tendency in China is to race to the bottom. I think this ties back to China's history as the "world’s factory," where manufacturers price products at "cost plus" versus the US and developing countries, which price based on "affordability/value creation." 🔹The wow EV feature >Software features that surprised me the most: - Everything in the car can be voice-controlled. Not just simple tasks like playing music; users can adjust the height of the steering wheel and set the temperature easily. - Self-parking, which $Tsla has yet to release to all FSD users, is already a table stake in China (I'd rate the quality as 10/10). >Other fun hardware features: - Mini fridges in the car - Infotainment systems - IoT: remote access the car/home via cellphone - all connected together - Heads-up displays - UV-protected glass roofs: $Xiaomi took $Tsla's design, but the glass roof of the $Xiaomi car is made of double layers with silver, blocking 99.9% of UV and infrared rays...as a result, heat is no longer a problem inside the car
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Just finished a one-week trip to China. I've now "survived" all the major (~20) L2 self-driving and robotaxi vehicles in both the US and China. Some thoughts & observations: ▶️L2 self-driving I tested major brands like $Huawei, $Li, $NIO, $Xpeng, and $Xiaomi. Overall, they exceeded my expectations. The rides were not overly cautious and handled complex situations (yes, road conditions in China are very challenging!) quite well. Nothing compares to $Tsla's approach. I see imitation learning/end-to-end as the only effective approach for self-driving. While Chinese peers perform well on main roads, they struggle on frontage roads due to reliance on high-precision maps and rule-based methods (e.g. cars stopped in the middle of the road where there was no clear white lining). Chinese EVs' self-driving capabilities are far ahead of those from US and EU brands. I doubt any Chinese players can profit from L2 self-driving, not because it’s not useful, but because it’s hard to differentiate, and price wars dominate the market in China. Chinese consumers and regulators seem much more receptive to self-driving. Even with a 5/10 self-driving capability, cars are practically *hands-free(!)* Insurance-wise, for L3+ cars, OEMs bear responsibility for incidents, so OEMs avoid labeling cars as L3+. ▶️Robotaxi I tested major brands like $Didi, and $Bidu. I'd rate equal to $Waymo, and it's ahead of other peers. However, the same issue applies here: user experience is nearly perfect (in Yizhuang, Beijing), but expansion is the real question. Chinese robotaxi companies are very sophisticated. While the rest of the world focuses on technology, Chinese peers treat it as a product, considering unit economics, operations, mass production, etc. Interestingly, most companies expressed a preference NOT to operate fleets themselves. They aim to be asset-light and let fleet managers handle operations. Policy Support: China has a very clear approval process, driven by data (autonomous driving distance, fully driverless distance, intervention rate, passenger ratings, etc.). ▶️Chinese EVs In major cities like Beijing or Shanghai, EV adoption (green license plates vs. gas cars with blue license plates) seems to be 40%+. If 40% of cars on the road are EVs, then EV penetration (defined as the % of new car sales) must already be over 50%. In shopping malls, the ground floor is filled with EV showrooms—easily 10+ brands, many of which are unfamiliar Chinese brands. It appears almost too easy to make an electric car, which is a stark contrast to the US. $Xiaomi, for example, can achieve a 10% gross profit margin in its first year of operation, compared to $RIVN's -45%. Additionally, $Xiaomi cars are priced at 30% of $RIVN's price. It's fascinating to see how China transitioned from "couldn't make their own gas cars at all (only JVs)" to "dominating EVs globally." The government deserves credit for setting the direction and executing effectively. China now controls the entire supply chain, with $CATL holding 40% of the global market share. 🔹How did it happen? The success of the industry Incentives were set just right: the government provided incentives early on to make EVs and gas cars have comparable MSRPs, allowing consumers to choose based on functionality. This approach differs from how the IRA offers incentives... Perfectly competitive market: $TSLA was brought in, and competition was welcomed, unlike the US, which has a 100% import tax on Chinese EVs. Strategic regulations: License plate restrictions were used effectively; for example, taxis and minivans are required to be EVs. 🔹The challenges Despite the success, the industry faces challenges with low-margin companies and struggling stocks. The intense competition shows no sign of ending. Well-funded global OEMs and Chinese state-owned car companies continue to subsidize, leading to new EV brands emerging annually. The natural tendency in China is to race to the bottom. I think this ties back to China's history as the "world’s factory," where manufacturers price products at "cost plus" versus the US and developing countries, which price based on "affordability/value creation." 🔹The wow EV feature >Software features that surprised me the most: - Everything in the car can be voice-controlled. Not just simple tasks like playing music; users can adjust the height of the steering wheel and set the temperature easily. - Self-parking, which $Tsla has yet to release to all FSD users, is already a table stake in China (I'd rate the quality as 10/10). >Other fun hardware features: - Mini fridges in the car - Infotainment systems - IoT: remote access the car/home via cellphone - all connected together - Heads-up displays - UV-protected glass roofs: $Xiaomi took $Tsla's design, but the glass roof of the $Xiaomi car is made of double layers with silver, blocking 99.9% of UV and infrared rays...as a result, heat is no longer a problem inside the car

Freda Duan

399,124 次观看 • 2 年前