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๐†๐‹๐Ž๐๐€๐‹ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ ๐’๐”๐‘๐•๐ˆ๐•๐€๐‹ | ๐‚๐Ž๐Œ๐ˆ๐๐† ๐’๐Ž๐Ž๐ Woman & Man, All Gender NEW ORIGINAL DANCE SERIES! ๋ฌด๋Œ€๋ฅผ ์›€์ง์—ฌ์˜จ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์ง„์งœ ์‹ธ์›€์ด ์‹œ์ž‘๋œ๋‹ค GLOBAL PERFORMANCE DIRECTOR SURVIVAL COMING SOON --- Woman & Man, All Gender NEW ORIGINAL DANCE SERIES! The Real Battle Among Stage Leading Performance Directors Begins. GLOBAL...

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[#SDF] ๊ธ€๋กœ๋ฒŒ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์น˜์—ดํ•œ ์ „์Ÿ | 2026.08 COMING SOON ๐€๐‹๐‹ ๐†๐„๐๐‘๐„ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ ์ถคยท์•ˆ๋ฌดยท์—ฐ์ถœ, ๋ฌด๋Œ€ ์œ„ ๋ชจ๋“  ๊ฒƒ์„ ์„ค๊ณ„ํ•˜๋Š” ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์ž‘ํ’ˆ ์Šน๋ถ€ ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- [#SDF] An Intense Competition Between Global Performance Directors | 2026.08 COMING SOON ๐€๐‹๐‹ ๐†๐„๐๐‘๐„ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ DanceยทChoreographyยทDirection, Performance Directors Who Shape Every Element Onstage, Competing Through a Battle of Their Work Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
1:05

[#SDF] ๊ธ€๋กœ๋ฒŒ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์น˜์—ดํ•œ ์ „์Ÿ | 2026.08 COMING SOON ๐€๐‹๐‹ ๐†๐„๐๐‘๐„ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ ์ถคยท์•ˆ๋ฌดยท์—ฐ์ถœ, ๋ฌด๋Œ€ ์œ„ ๋ชจ๋“  ๊ฒƒ์„ ์„ค๊ณ„ํ•˜๋Š” ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์ž‘ํ’ˆ ์Šน๋ถ€ ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- [#SDF] An Intense Competition Between Global Performance Directors | 2026.08 COMING SOON ๐€๐‹๐‹ ๐†๐„๐๐‘๐„ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ DanceยทChoreographyยทDirection, Performance Directors Who Shape Every Element Onstage, Competing Through a Battle of Their Work Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

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393,768 gรถrรผntรผleme โ€ข 3 ay รถnce

[#SDF] ํ•ด์‰ฌ Hash | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ํผํฌ๋จผ์Šค ํฌ๋ฃจ '์ปดํžˆ์–ด'๋ฅผ ์ด๋„๋Š” ํ—ค๋“œ ์•ˆ๋ฌด๊ฐ€์ด์ž ๋ฉ”๊ฐ€ ํผํฌ๋จผ์Šค์˜ ์ •์ ! ๊ธ€๋กœ๋ฒŒ ์ปดํ”ผํ‹ฐ์…˜ ์ตœ๊ฐ• ๋””๋ ‰ํ„ฐ #ํ•ด์‰ฌ #Hash ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Head choreographer of performance crew 'COME HERE' and top director of global competitions at the peak of mega performance Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:31

[#SDF] ํ•ด์‰ฌ Hash | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ํผํฌ๋จผ์Šค ํฌ๋ฃจ '์ปดํžˆ์–ด'๋ฅผ ์ด๋„๋Š” ํ—ค๋“œ ์•ˆ๋ฌด๊ฐ€์ด์ž ๋ฉ”๊ฐ€ ํผํฌ๋จผ์Šค์˜ ์ •์ ! ๊ธ€๋กœ๋ฒŒ ์ปดํ”ผํ‹ฐ์…˜ ์ตœ๊ฐ• ๋””๋ ‰ํ„ฐ #ํ•ด์‰ฌ #Hash ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Head choreographer of performance crew 'COME HERE' and top director of global competitions at the peak of mega performance Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

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23,032 gรถrรผntรผleme โ€ข 2 ay รถnce

[#SDF] ์บ์Šคํผ KASPER | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ์ƒค์ด๋‹ˆ์˜ ํผํฌ๋จผ์Šค ํžˆ์Šคํ† ๋ฆฌ๋ฅผ ํ•จ๊ป˜ ๋งŒ๋“  ์•ˆ๋ฌด๊ฐ€์ด์ž 'K-POP ๋‚จ์„ฑ ์†”๋กœ ์ตœ์ดˆ' ํƒœ๋ฏผ์˜ ์ฝ”์ฒผ๋ผ ๋ฌด๋Œ€๋ฅผ ๋””๋ ‰ํŒ…ํ•œ ์•ˆ๋ฌด๊ฐ€ #์บ์Šคํผ #KASPER ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Choreographer who has built SHINee's performance history, directing TAEMIN's Coachella stage as 'the first-ever K-POP male solo artist' Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:29

[#SDF] ์บ์Šคํผ KASPER | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ์ƒค์ด๋‹ˆ์˜ ํผํฌ๋จผ์Šค ํžˆ์Šคํ† ๋ฆฌ๋ฅผ ํ•จ๊ป˜ ๋งŒ๋“  ์•ˆ๋ฌด๊ฐ€์ด์ž 'K-POP ๋‚จ์„ฑ ์†”๋กœ ์ตœ์ดˆ' ํƒœ๋ฏผ์˜ ์ฝ”์ฒผ๋ผ ๋ฌด๋Œ€๋ฅผ ๋””๋ ‰ํŒ…ํ•œ ์•ˆ๋ฌด๊ฐ€ #์บ์Šคํผ #KASPER ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Choreographer who has built SHINee's performance history, directing TAEMIN's Coachella stage as 'the first-ever K-POP male solo artist' Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

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80,599 gรถrรผntรผleme โ€ข 2 ay รถnce

[#SDF] ๋‚˜์ธ NAIN | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ๊ธ€๋กœ๋ฒŒ ์—ดํ’์˜ ใ€ˆ์ผ€์ดํŒ ๋ฐ๋ชฌ ํ—Œํ„ฐ์Šคใ€‰ '๊ณจ๋“ ' ์•ˆ๋ฌด๊ฐ€๋กœ ์ฐจ์„ธ๋Œ€ K-POP ํผํฌ๋จผ์Šค์˜ ํ๋ฆ„์„ ๋งŒ๋“œ๋Š” MZ ์•ˆ๋ฌด๊ฐ€ #๋‚˜์ธ #NAIN ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Gen Z choreographer of 'Golden' from the global sensation ใ€ˆKPop Demon Huntersใ€‰, leading next-gen K-POP performance Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:33

[#SDF] ๋‚˜์ธ NAIN | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ๊ธ€๋กœ๋ฒŒ ์—ดํ’์˜ ใ€ˆ์ผ€์ดํŒ ๋ฐ๋ชฌ ํ—Œํ„ฐ์Šคใ€‰ '๊ณจ๋“ ' ์•ˆ๋ฌด๊ฐ€๋กœ ์ฐจ์„ธ๋Œ€ K-POP ํผํฌ๋จผ์Šค์˜ ํ๋ฆ„์„ ๋งŒ๋“œ๋Š” MZ ์•ˆ๋ฌด๊ฐ€ #๋‚˜์ธ #NAIN ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Gen Z choreographer of 'Golden' from the global sensation ใ€ˆKPop Demon Huntersใ€‰, leading next-gen K-POP performance Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

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147,739 gรถrรผntรผleme โ€ข 2 ay รถnce

[#SDF] ๋ฐ”๋‹ค BADA | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ '์Šค๋ชจํฌ ์ฑŒ๋ฆฐ์ง€' ์—ดํ’์„ ์ผ์œผํ‚จ ์•„์ด์ฝ˜์ด์ž ์Šคํƒ€์„ฑ๊ณผ ํ™”์ œ์„ฑ์„ ๋ชจ๋‘ ์‚ฌ๋กœ์žก์€ ํผํฌ๋จผ์Šค ์•ˆ๋ฌด๊ฐ€ #๋ฐ”๋‹ค #BADA ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Icon who has sparked the 'Smoke Challenge', and a performance choreographer with star power and viral buzz Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:27

[#SDF] ๋ฐ”๋‹ค BADA | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ '์Šค๋ชจํฌ ์ฑŒ๋ฆฐ์ง€' ์—ดํ’์„ ์ผ์œผํ‚จ ์•„์ด์ฝ˜์ด์ž ์Šคํƒ€์„ฑ๊ณผ ํ™”์ œ์„ฑ์„ ๋ชจ๋‘ ์‚ฌ๋กœ์žก์€ ํผํฌ๋จผ์Šค ์•ˆ๋ฌด๊ฐ€ #๋ฐ”๋‹ค #BADA ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Icon who has sparked the 'Smoke Challenge', and a performance choreographer with star power and viral buzz Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

Mnet

145,038 gรถrรผntรผleme โ€ข 2 ay รถnce

[#SDF] ๋ฐฑ๊ตฌ์˜ kooyoung back | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ EXO, ์„ธ๋ธํ‹ด ๋“ฑ ์ƒ์ง•์  ํผํฌ๋จผ์Šค๋ฅผ ํƒ„์ƒ์‹œํ‚ค๋ฉฐ K-POP ํผํฌ๋จผ์Šค์˜ ๊ธฐ์ค€์„ ์„ธ์›Œ์˜จ 1์„ธ๋Œ€ ๋ ˆ์ „๋“œ ์•ˆ๋ฌด๊ฐ€ #๋ฐฑ๊ตฌ์˜ #kooyoungback ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- First-gen legendary choreographer who has set the standard for K-POP performance, creating iconic performances for EXO, SEVENTEEN, and more Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:30

[#SDF] ๋ฐฑ๊ตฌ์˜ kooyoung back | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ EXO, ์„ธ๋ธํ‹ด ๋“ฑ ์ƒ์ง•์  ํผํฌ๋จผ์Šค๋ฅผ ํƒ„์ƒ์‹œํ‚ค๋ฉฐ K-POP ํผํฌ๋จผ์Šค์˜ ๊ธฐ์ค€์„ ์„ธ์›Œ์˜จ 1์„ธ๋Œ€ ๋ ˆ์ „๋“œ ์•ˆ๋ฌด๊ฐ€ #๋ฐฑ๊ตฌ์˜ #kooyoungback ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- First-gen legendary choreographer who has set the standard for K-POP performance, creating iconic performances for EXO, SEVENTEEN, and more Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

Mnet

94,012 gรถrรผntรผleme โ€ข 2 ay รถnce

[#WSWF] ์šฐ๋ฆฌ๊ฐ€ TEAM KOREA? ๋ฒŒ์จ ์•„์Šฌ์•„์Šฌํ•œ ๋ฆฌ๋”์ฆˆ ํŒ€์›Œํฌ ๐Ÿ“ŒFull Ver. ๋ฆฌ๋”์ฆˆ์—๊ฒŒ ์ฃผ์–ด์ง„ ์ƒˆ ํ”„๋กœ์ ํŠธ, ์›”๋“œ ์˜ค๋ธŒ ์Šค์šฐํŒŒ! ???: ๋‚˜ ์ด ํŒ€ ์•ˆ ํ• ๋ž˜ ์‹œ์ž‘๋ถ€ํ„ฐ ํ”๋“ค๋ฆฌ๋Š” TEAM KOREA์˜ ๋ฏธ๋ž˜๋Š”? ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ใ€ˆ์›”๋“œ ์˜ค๋ธŒ ์ŠคํŠธ๋ฆฟ ์šฐ๋จผ ํŒŒ์ดํ„ฐใ€‰ 2025. 05. COMING SOON - A new project for the leaders: WORLD OF SWF! ???: โ€œI donโ€™t want to be on this teamโ€ Is TEAM KOREAโ€™s future already at risk from the start? A World Dance Battle of Unapologetic Women ใ€ˆWORLD OF STREET WOMAN FIGHTERใ€‰ 2025. 05. COMING SOON #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #worldofswf #dance #Mnet
0:44

[#WSWF] ์šฐ๋ฆฌ๊ฐ€ TEAM KOREA? ๋ฒŒ์จ ์•„์Šฌ์•„์Šฌํ•œ ๋ฆฌ๋”์ฆˆ ํŒ€์›Œํฌ ๐Ÿ“ŒFull Ver. ๋ฆฌ๋”์ฆˆ์—๊ฒŒ ์ฃผ์–ด์ง„ ์ƒˆ ํ”„๋กœ์ ํŠธ, ์›”๋“œ ์˜ค๋ธŒ ์Šค์šฐํŒŒ! ???: ๋‚˜ ์ด ํŒ€ ์•ˆ ํ• ๋ž˜ ์‹œ์ž‘๋ถ€ํ„ฐ ํ”๋“ค๋ฆฌ๋Š” TEAM KOREA์˜ ๋ฏธ๋ž˜๋Š”? ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ใ€ˆ์›”๋“œ ์˜ค๋ธŒ ์ŠคํŠธ๋ฆฟ ์šฐ๋จผ ํŒŒ์ดํ„ฐใ€‰ 2025. 05. COMING SOON - A new project for the leaders: WORLD OF SWF! ???: โ€œI donโ€™t want to be on this teamโ€ Is TEAM KOREAโ€™s future already at risk from the start? A World Dance Battle of Unapologetic Women ใ€ˆWORLD OF STREET WOMAN FIGHTERใ€‰ 2025. 05. COMING SOON #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #worldofswf #dance #Mnet

Mnet

302,338 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

[#์Šคํ‹ธํ•˜ํŠธํด๋Ÿฝ/4ํšŒ ์„ ๊ณต๊ฐœ] ๋ฐด๋“œ๋Š” ์ฒ˜์Œ์ด๋ผ... ์ง„์งœ ๊ฐ•ํŒ€์ด ๋˜๋Š” ๊ณผ์ • ๐Ÿ”—Full ver. ๋›ฐ์–ด๋‚œ ์‹ค๋ ฅ๊ณผ ํผํฌ๋จผ์Šค, ๊ทผ๋ฐ ๋ฐด๋“œ๋Š” ์ฒ˜์Œ์ด๋ผ... ์˜ˆ์ƒํ•˜์ง€ ๋ชปํ•œ ์ง„์‹ฌ ์–ด๋ฆฐ ํ”ผ๋“œ๋ฐฑ์„ ํ†ตํ•ด ํ•œ์ธต ๋” ์„ฑ์žฅํ•œ ๊ธฐ์–ตํŒ€์˜ ๋ฌด๋Œ€๋Š” ๊ณผ์—ฐ?! ๊ธ€๋กœ๋ฒŒ ๋ฐด๋“œ ๋ฉ”์ดํ‚น ์„œ๋ฐ”์ด๋ฒŒ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ๋ฐฉ์†ก - [#STEALHEARTCLUB/Ep.04 Preview] Itโ€™s their first time in a bandโ€ฆ the process of becoming a real strong team. ๐Ÿ”—Full ver. Great skills and performance, but itโ€™s their first time in a band. Through unexpected, heartfelt feedback, Team Memory takes another step forward โ€” what will their stage be like?! Global Band Making Survival New episodes every Tuesday at 10 PM (KST) #์Šคํ‹ธํ•˜ํŠธํด๋Ÿฝ #stealheartclub #์Šคํ•˜ํด #shc #๋ฐด๋“œ #band #์„œ๋ฐ”์ด๋ฒŒ #์— ๋„ท #Mnet
2:02

[#์Šคํ‹ธํ•˜ํŠธํด๋Ÿฝ/4ํšŒ ์„ ๊ณต๊ฐœ] ๋ฐด๋“œ๋Š” ์ฒ˜์Œ์ด๋ผ... ์ง„์งœ ๊ฐ•ํŒ€์ด ๋˜๋Š” ๊ณผ์ • ๐Ÿ”—Full ver. ๋›ฐ์–ด๋‚œ ์‹ค๋ ฅ๊ณผ ํผํฌ๋จผ์Šค, ๊ทผ๋ฐ ๋ฐด๋“œ๋Š” ์ฒ˜์Œ์ด๋ผ... ์˜ˆ์ƒํ•˜์ง€ ๋ชปํ•œ ์ง„์‹ฌ ์–ด๋ฆฐ ํ”ผ๋“œ๋ฐฑ์„ ํ†ตํ•ด ํ•œ์ธต ๋” ์„ฑ์žฅํ•œ ๊ธฐ์–ตํŒ€์˜ ๋ฌด๋Œ€๋Š” ๊ณผ์—ฐ?! ๊ธ€๋กœ๋ฒŒ ๋ฐด๋“œ ๋ฉ”์ดํ‚น ์„œ๋ฐ”์ด๋ฒŒ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ๋ฐฉ์†ก - [#STEALHEARTCLUB/Ep.04 Preview] Itโ€™s their first time in a bandโ€ฆ the process of becoming a real strong team. ๐Ÿ”—Full ver. Great skills and performance, but itโ€™s their first time in a band. Through unexpected, heartfelt feedback, Team Memory takes another step forward โ€” what will their stage be like?! Global Band Making Survival New episodes every Tuesday at 10 PM (KST) #์Šคํ‹ธํ•˜ํŠธํด๋Ÿฝ #stealheartclub #์Šคํ•˜ํด #shc #๋ฐด๋“œ #band #์„œ๋ฐ”์ด๋ฒŒ #์— ๋„ท #Mnet

Mnet

45,744 gรถrรผntรผleme โ€ข 9 ay รถnce

[#SDF] ใ€ˆ1:1 ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ๋Œ€์ค‘ ํ‰๊ฐ€ใ€‰ ์•ˆ๋‚ด ์ง€๊ธˆ๋ถ€ํ„ฐ ใ€ˆ1:1 ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ๋Œ€์ค‘ ํ‰๊ฐ€ใ€‰๊ฐ€ ์‹œ์ž‘๋ฉ๋‹ˆ๋‹ค. ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์—์„œ ๊ฐ ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด๋ฅผ ํ‰๊ฐ€ํ•ด์ฃผ์„ธ์š” ๐Ÿ“ํˆฌํ‘œ ๊ธฐ๊ฐ„ ~ 5/21(๋ชฉ) 8:00 AM (KST) ๐Ÿ“ํˆฌํ‘œ ๋ฐฉ๋ฒ• โ‘  ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์—์„œ โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€ ์˜์ƒโ€™ ์‹œ์ฒญํ•˜๊ธฐ โ‘ก ๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด๊ฐ€ ์˜ค๋ฆฌ์ง€๋„ ์•ˆ๋ฌด๋ณด๋‹ค ๋” ๋›ฐ์–ด๋‚˜๋‹ค๋ฉด โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€ ์˜์ƒโ€˜์— '์ข‹์•„์š”' ๋ˆ„๋ฅด๊ธฐ ๐Ÿ“์œ ์˜์‚ฌํ•ญ โ€ข ํ‰๊ฐ€ ์ ์ˆ˜๋Š” ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์— ๊ฒŒ์‹œ๋œ ํ‰๊ฐ€ ์˜์ƒ์˜ '์ข‹์•„์š”' ์ˆ˜๋กœ ์‚ฐ์ •๋ฉ๋‹ˆ๋‹ค. โ€ข โ€˜์˜ค๋ฆฌ์ง€๋„ ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ์˜์ƒโ€™์€ ํ‰๊ฐ€ ์˜์ƒ์ด ์•„๋‹™๋‹ˆ๋‹ค. โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€โ€™๋ฅผ ์œ„ํ•œ ์ฐธ๊ณ  ์˜์ƒ์ž…๋‹ˆ๋‹ค. ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON _ ใ€ˆ1:1 Signature Move Public Evaluationใ€‰ Announcement ใ€ˆ1:1 Signature Move Public Evaluationใ€‰ begins NOW. Please evaluate each choreographer's new signature move on YouTube channel The CHOOM. ๐Ÿ“Voting Period ~ May 21 (Thur) 8:00 AM (KST) ๐Ÿ“How to Vote โ‘  Watch 'The New Signature Move Evaluation Video' on YouTube Channel 'The CHOOMโ€™. โ‘ก If the new signature move stands out more than the original move, please 'Like' 'The New Signature Move Evaluation Video'. ๐Ÿ“Notes โ€ข Evaluation Scores will be calculated based on the number of 'Likes' on the evaluation videos posted on YouTube channel The CHOOM. โ€ข 'The Original Signature Move Video' is NOT an evaluation video. It is a reference video for 'The New Signature Move Evaluation'. Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:21

[#SDF] ใ€ˆ1:1 ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ๋Œ€์ค‘ ํ‰๊ฐ€ใ€‰ ์•ˆ๋‚ด ์ง€๊ธˆ๋ถ€ํ„ฐ ใ€ˆ1:1 ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ๋Œ€์ค‘ ํ‰๊ฐ€ใ€‰๊ฐ€ ์‹œ์ž‘๋ฉ๋‹ˆ๋‹ค. ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์—์„œ ๊ฐ ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด๋ฅผ ํ‰๊ฐ€ํ•ด์ฃผ์„ธ์š” ๐Ÿ“ํˆฌํ‘œ ๊ธฐ๊ฐ„ ~ 5/21(๋ชฉ) 8:00 AM (KST) ๐Ÿ“ํˆฌํ‘œ ๋ฐฉ๋ฒ• โ‘  ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์—์„œ โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€ ์˜์ƒโ€™ ์‹œ์ฒญํ•˜๊ธฐ โ‘ก ๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด๊ฐ€ ์˜ค๋ฆฌ์ง€๋„ ์•ˆ๋ฌด๋ณด๋‹ค ๋” ๋›ฐ์–ด๋‚˜๋‹ค๋ฉด โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€ ์˜์ƒโ€˜์— '์ข‹์•„์š”' ๋ˆ„๋ฅด๊ธฐ ๐Ÿ“์œ ์˜์‚ฌํ•ญ โ€ข ํ‰๊ฐ€ ์ ์ˆ˜๋Š” ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์— ๊ฒŒ์‹œ๋œ ํ‰๊ฐ€ ์˜์ƒ์˜ '์ข‹์•„์š”' ์ˆ˜๋กœ ์‚ฐ์ •๋ฉ๋‹ˆ๋‹ค. โ€ข โ€˜์˜ค๋ฆฌ์ง€๋„ ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ์˜์ƒโ€™์€ ํ‰๊ฐ€ ์˜์ƒ์ด ์•„๋‹™๋‹ˆ๋‹ค. โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€โ€™๋ฅผ ์œ„ํ•œ ์ฐธ๊ณ  ์˜์ƒ์ž…๋‹ˆ๋‹ค. ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON _ ใ€ˆ1:1 Signature Move Public Evaluationใ€‰ Announcement ใ€ˆ1:1 Signature Move Public Evaluationใ€‰ begins NOW. Please evaluate each choreographer's new signature move on YouTube channel The CHOOM. ๐Ÿ“Voting Period ~ May 21 (Thur) 8:00 AM (KST) ๐Ÿ“How to Vote โ‘  Watch 'The New Signature Move Evaluation Video' on YouTube Channel 'The CHOOMโ€™. โ‘ก If the new signature move stands out more than the original move, please 'Like' 'The New Signature Move Evaluation Video'. ๐Ÿ“Notes โ€ข Evaluation Scores will be calculated based on the number of 'Likes' on the evaluation videos posted on YouTube channel The CHOOM. โ€ข 'The Original Signature Move Video' is NOT an evaluation video. It is a reference video for 'The New Signature Move Evaluation'. Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

Mnet

60,337 gรถrรผntรผleme โ€ข 2 ay รถnce

[#WSWF/4ํšŒ ์„ ๊ณต๊ฐœ] ์ง„์งœ ํ€ธ, ๋ˆ„๊ตฐ์ง€ ๋ณด์—ฌ์ค„๊ฒŒ๐Ÿ‘‘ ๐Ÿ”—Full Ver. : ๋กœ์–„ ํŒจ๋ฐ€๋ฆฌ VS ์—์ด์ง€ ์Šค์ฟผ๋“œ ์šด๋ช…์ฒ˜๋Ÿผ ๋งž๋ถ™์€ ๋‘ ํฌ๋ฃจ, ๊ทธ๋ฆฌ๊ณ  ๋ชจ๋‘๋ฅผ ์••๋„ํ•œ ๋กœ์–„ ํŒจ๋ฐ€๋ฆฌ์˜ ํผํฌ๋จผ์Šค๐Ÿ”ฅ ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ ๋ฐฉ์†ก - [WSWF/EP.4 Preview] THE REAL QUEEN, LET ME PROVE IT๐Ÿ‘‘ ROYAL FAMILY vs AG SQUAD The two rivals were fated to clash, And ROYAL FAMILYโ€™s overwhelming performance left everyone speechless๐Ÿ”ฅ A World Dance Battle of Unapologetic Women New episodes every Tuesday at 10 PM (KST) - [WSWF/็ฌฌ4่ฉฑๅ…ˆ่กŒๅ…ฌ้–‹] ๆœฌๅฝ“ใฎใ‚ฏใ‚คใƒผใƒณใŒ่ชฐใ‹ใ€่ฆ‹ใ›ใฆใ‚„ใ‚‹๐Ÿ‘‘ ROYAL FAMILY vs AG SQUAD ้‹ๅ‘ฝใฎๆˆฆใ„ใ‚’ๅง‹ใ‚ใ‚‹ไธกใ‚ฏใƒซใƒผใ€ ใใ—ใฆไผšๅ ดใ‚’ๅœงๅ€’ใ—ใŸROYAL FAMILYใฎใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚น๐Ÿ”ฅ ไธ–็•Œไธญใฎโ€œ่ช‡ใ‚Š้ซ˜ใๅฅณๆ€งโ€ใŸใกใŒใƒ—ใƒฉใ‚คใƒ‰ใ‚’ๆ‡ธใ‘ใŸใ‚ฐใƒญใƒผใƒใƒซใƒ€ใƒณใ‚นใƒใƒˆใƒซ ๆฏŽ้€ฑ(็ซ)ๅคœ10ๆ™‚ๆœฌๆ”พ้€ #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ3 #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #WorldofSWF #WSWF #SWF3 #SWF #Dance #Mnet
2:33

[#WSWF/4ํšŒ ์„ ๊ณต๊ฐœ] ์ง„์งœ ํ€ธ, ๋ˆ„๊ตฐ์ง€ ๋ณด์—ฌ์ค„๊ฒŒ๐Ÿ‘‘ ๐Ÿ”—Full Ver. : ๋กœ์–„ ํŒจ๋ฐ€๋ฆฌ VS ์—์ด์ง€ ์Šค์ฟผ๋“œ ์šด๋ช…์ฒ˜๋Ÿผ ๋งž๋ถ™์€ ๋‘ ํฌ๋ฃจ, ๊ทธ๋ฆฌ๊ณ  ๋ชจ๋‘๋ฅผ ์••๋„ํ•œ ๋กœ์–„ ํŒจ๋ฐ€๋ฆฌ์˜ ํผํฌ๋จผ์Šค๐Ÿ”ฅ ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ ๋ฐฉ์†ก - [WSWF/EP.4 Preview] THE REAL QUEEN, LET ME PROVE IT๐Ÿ‘‘ ROYAL FAMILY vs AG SQUAD The two rivals were fated to clash, And ROYAL FAMILYโ€™s overwhelming performance left everyone speechless๐Ÿ”ฅ A World Dance Battle of Unapologetic Women New episodes every Tuesday at 10 PM (KST) - [WSWF/็ฌฌ4่ฉฑๅ…ˆ่กŒๅ…ฌ้–‹] ๆœฌๅฝ“ใฎใ‚ฏใ‚คใƒผใƒณใŒ่ชฐใ‹ใ€่ฆ‹ใ›ใฆใ‚„ใ‚‹๐Ÿ‘‘ ROYAL FAMILY vs AG SQUAD ้‹ๅ‘ฝใฎๆˆฆใ„ใ‚’ๅง‹ใ‚ใ‚‹ไธกใ‚ฏใƒซใƒผใ€ ใใ—ใฆไผšๅ ดใ‚’ๅœงๅ€’ใ—ใŸROYAL FAMILYใฎใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚น๐Ÿ”ฅ ไธ–็•Œไธญใฎโ€œ่ช‡ใ‚Š้ซ˜ใๅฅณๆ€งโ€ใŸใกใŒใƒ—ใƒฉใ‚คใƒ‰ใ‚’ๆ‡ธใ‘ใŸใ‚ฐใƒญใƒผใƒใƒซใƒ€ใƒณใ‚นใƒใƒˆใƒซ ๆฏŽ้€ฑ(็ซ)ๅคœ10ๆ™‚ๆœฌๆ”พ้€ #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ3 #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #WorldofSWF #WSWF #SWF3 #SWF #Dance #Mnet

Mnet

164,902 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

GIRLS PLANET 2 : GLOBAL AUDITION OPEN ๊ฐ€์žฅ ๋น›๋‚˜๋Š” ํ–‰์„ฑ์œผ๋กœ์˜ ์—ฌ์ •์ด ๋‹ค์‹œ ์‹œ์ž‘๋œ๋‹ค! ํ”Œ๋ž˜๋‹› ์‹œ๋ฆฌ์ฆˆ ์ œ์ž‘์ง„์˜ ์ดˆ๋Œ€ํ˜• ๊ธ€๋กœ๋ฒŒ ๊ฑธ๊ทธ๋ฃน ๋ฐ๋ท” ํ”„๋กœ์ ํŠธ ๋น›๋‚˜๋Š” ์—ฌ์ •์„ ํ•จ๊ป˜ํ•  ์ „ ์„ธ๊ณ„ ์†Œ๋…€๋“ค์„ ์ฐพ์Šต๋‹ˆ๋‹ค! ๐Ÿ“Œ์ง€์› ๊ธฐ๊ฐ„ 2026๋…„ 5์›” 1์ผ 08:00AM (KST๊ธฐ์ค€)๋ถ€ํ„ฐ ๋ชจ์ง‘ ๋งˆ๊ฐ ์‹œ๊นŒ์ง€ (๋ชจ์ง‘ ๋งˆ๊ฐ ์ผ์ • ๋ณ„๋„ ๊ณต์ง€ ์˜ˆ์ •) ๐Ÿ“Œ์ง€์› ์ž๊ฒฉ - ๊ธ€๋กœ๋ฒŒ ๊ฑธ๊ทธ๋ฃน ๋ฐ๋ท”๋ฅผ ๊ฟˆ๊พธ๋Š” ์ „ ์„ธ๊ณ„ ์†Œ๋…€๋“ค (๊ตญ์  ๋ฐ ๊ฑฐ์ฃผ์ง€์—ญ ๋ฌด๊ด€) - 2013๋…„ 1์›” 1์ผ ์ด์ „ ์ถœ์ƒ์ž - ๊ฐœ์ธ ์—ฐ์Šต์ƒ, ๊ธฐํš์‚ฌ ์—ฐ์Šต์ƒ, ๋ฐ๋ท” ๊ฐ€์ˆ˜ ๋ฌด๊ด€ - ํ•ด์™ธ์ถœ์ž…๊ตญ์— ๊ฒฐ๊ฒฉ์‚ฌ์œ ๊ฐ€ ์—†๋Š” ์ž ๐Ÿ“Œ์ง€์› ๋ฐฉ๋ฒ• 1) ์ง€์› ํŽ˜์ด์ง€ QR ์ฝ”๋“œ ์ ‘์† ํ›„ ์ง€์›์„œ ์ž‘์„ฑ 2) ์•„๋ž˜ ์˜์ƒ 3๊ฐœ๋ฅผ ๊ฐ 1๋ถ„ ๋‚ด์™ธ๋กœ ์ดฌ์˜ ํ›„ ์ด๋ฉ”์ผ(girlsplanet@cjenm-mnet.com) ์ „์†ก - ์ž๊ธฐ์†Œ๊ฐœ(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ƒ๋ฐ˜์‹  ์ดฌ์˜) - ๋ณด์ปฌ ๋˜๋Š” ๋žฉ(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ƒ๋ฐ˜์‹  ์ดฌ์˜) - ๋Œ„์Šค(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ „์‹  ์ดฌ์˜) ** ๋งˆ์Šคํฌ/๋ชจ์ž ์ฐฉ์šฉ ๊ธˆ์ง€, ๋ณด์ • app ์‚ฌ์šฉ๊ธˆ์ง€ == โ€œA Journey to the Brightest Planet Begins Now!โ€ From the production team of the Planet series comes a mega-scale girl group debut project We are searching for girls all over the world to join us on this journey. ๐Ÿ“ŒApplication Period Starting on May 1, 2026 at 08:00 AM (KST) until further notice (Notice to be announced separately) ๐Ÿ“ŒQualification - Girls/She/Her/They/Them worldwide, dreaming of a global debut (open to all nationalities and places of residence) - Must be born before January 1, 2013 - Open to all experience levels: Independent Trainees, Agency Trainees, and currently debuted artists - With no restrictions on overseas travel ๐Ÿ“ŒHow to Application 1) Complete the application form after accessing the application page QR code 2) Record three videos as outlined below, each approximately 1 minute in length and Send the three videos to the email (girlsplanet@cjenm-mnet.com ) - Self-introduction (upper-body shot; face must be clearly visible) - Vocal or rap performance (upper-body shot; face must be clearly visible) - Dance performance (full-body shot; face must be clearly visible) ** No masks, caps, hats, or any beauty/filter or editing apps #GIRLSPLANET2 #GLOBAL_AUDITION #๊ฑธ์Šคํ”Œ๋ž˜๋‹›2 #๊ธ€๋กœ๋ฒŒ์˜ค๋””์…˜ #Mnet
1:08

GIRLS PLANET 2 : GLOBAL AUDITION OPEN ๊ฐ€์žฅ ๋น›๋‚˜๋Š” ํ–‰์„ฑ์œผ๋กœ์˜ ์—ฌ์ •์ด ๋‹ค์‹œ ์‹œ์ž‘๋œ๋‹ค! ํ”Œ๋ž˜๋‹› ์‹œ๋ฆฌ์ฆˆ ์ œ์ž‘์ง„์˜ ์ดˆ๋Œ€ํ˜• ๊ธ€๋กœ๋ฒŒ ๊ฑธ๊ทธ๋ฃน ๋ฐ๋ท” ํ”„๋กœ์ ํŠธ ๋น›๋‚˜๋Š” ์—ฌ์ •์„ ํ•จ๊ป˜ํ•  ์ „ ์„ธ๊ณ„ ์†Œ๋…€๋“ค์„ ์ฐพ์Šต๋‹ˆ๋‹ค! ๐Ÿ“Œ์ง€์› ๊ธฐ๊ฐ„ 2026๋…„ 5์›” 1์ผ 08:00AM (KST๊ธฐ์ค€)๋ถ€ํ„ฐ ๋ชจ์ง‘ ๋งˆ๊ฐ ์‹œ๊นŒ์ง€ (๋ชจ์ง‘ ๋งˆ๊ฐ ์ผ์ • ๋ณ„๋„ ๊ณต์ง€ ์˜ˆ์ •) ๐Ÿ“Œ์ง€์› ์ž๊ฒฉ - ๊ธ€๋กœ๋ฒŒ ๊ฑธ๊ทธ๋ฃน ๋ฐ๋ท”๋ฅผ ๊ฟˆ๊พธ๋Š” ์ „ ์„ธ๊ณ„ ์†Œ๋…€๋“ค (๊ตญ์  ๋ฐ ๊ฑฐ์ฃผ์ง€์—ญ ๋ฌด๊ด€) - 2013๋…„ 1์›” 1์ผ ์ด์ „ ์ถœ์ƒ์ž - ๊ฐœ์ธ ์—ฐ์Šต์ƒ, ๊ธฐํš์‚ฌ ์—ฐ์Šต์ƒ, ๋ฐ๋ท” ๊ฐ€์ˆ˜ ๋ฌด๊ด€ - ํ•ด์™ธ์ถœ์ž…๊ตญ์— ๊ฒฐ๊ฒฉ์‚ฌ์œ ๊ฐ€ ์—†๋Š” ์ž ๐Ÿ“Œ์ง€์› ๋ฐฉ๋ฒ• 1) ์ง€์› ํŽ˜์ด์ง€ QR ์ฝ”๋“œ ์ ‘์† ํ›„ ์ง€์›์„œ ์ž‘์„ฑ 2) ์•„๋ž˜ ์˜์ƒ 3๊ฐœ๋ฅผ ๊ฐ 1๋ถ„ ๋‚ด์™ธ๋กœ ์ดฌ์˜ ํ›„ ์ด๋ฉ”์ผ([email protected]) ์ „์†ก - ์ž๊ธฐ์†Œ๊ฐœ(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ƒ๋ฐ˜์‹  ์ดฌ์˜) - ๋ณด์ปฌ ๋˜๋Š” ๋žฉ(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ƒ๋ฐ˜์‹  ์ดฌ์˜) - ๋Œ„์Šค(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ „์‹  ์ดฌ์˜) ** ๋งˆ์Šคํฌ/๋ชจ์ž ์ฐฉ์šฉ ๊ธˆ์ง€, ๋ณด์ • app ์‚ฌ์šฉ๊ธˆ์ง€ == โ€œA Journey to the Brightest Planet Begins Now!โ€ From the production team of the Planet series comes a mega-scale girl group debut project We are searching for girls all over the world to join us on this journey. ๐Ÿ“ŒApplication Period Starting on May 1, 2026 at 08:00 AM (KST) until further notice (Notice to be announced separately) ๐Ÿ“ŒQualification - Girls/She/Her/They/Them worldwide, dreaming of a global debut (open to all nationalities and places of residence) - Must be born before January 1, 2013 - Open to all experience levels: Independent Trainees, Agency Trainees, and currently debuted artists - With no restrictions on overseas travel ๐Ÿ“ŒHow to Application 1) Complete the application form after accessing the application page QR code 2) Record three videos as outlined below, each approximately 1 minute in length and Send the three videos to the email ([email protected] ) - Self-introduction (upper-body shot; face must be clearly visible) - Vocal or rap performance (upper-body shot; face must be clearly visible) - Dance performance (full-body shot; face must be clearly visible) ** No masks, caps, hats, or any beauty/filter or editing apps #GIRLSPLANET2 #GLOBAL_AUDITION #๊ฑธ์Šคํ”Œ๋ž˜๋‹›2 #๊ธ€๋กœ๋ฒŒ์˜ค๋””์…˜ #Mnet

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841,322 gรถrรผntรผleme โ€ข 3 ay รถnce

[#WSWF] ๋ฉ”๊ฐ€ ํฌ๋ฃจ ๋ฏธ์…˜ ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ VOTE NOW! ๊ตญ๊ฐ€์˜ ์ด๋ฆ„์„ ๊ฑธ๊ณ  ์ „ ์„ธ๊ณ„๋ฅผ ๋ฌด๋Œ€๋กœ ์™„์„ฑํ•œ ๊ฑฐ๋Œ€ ์Šค์ผ€์ผ์˜ ํผํฌ๋จผ์Šค ์ „์Ÿ '๋ฉ”๊ฐ€ ํฌ๋ฃจ ๋ฏธ์…˜' ์ƒˆ๋กญ๊ฒŒ ์ ์šฉ๋œ ์‹ฌ์‚ฌ ํฌ์ธํŠธ๋ฅผ ํ™•์ธํ•˜๊ณ  ๋‹น์‹ ์˜ ๋งˆ์Œ์„ ์›€์ง์ธ ํฌ๋ฃจ์—๊ฒŒ ์ง€๊ธˆ ๋ฐ”๋กœ '์ข‹์•„์š”'์™€ '๋Œ“๊ธ€'๋กœ ์‘์›ํ•ด ์ฃผ์„ธ์š”๐Ÿ”ฅ ๐Ÿ“ํˆฌํ‘œ ๊ธฐ๊ฐ„: ~ 6/22(์ผ) 18:00 (KST) ๐Ÿ“์‹ฌ์‚ฌ ํฌ์ธํŠธ โ‘  ํ•˜์ด ์•ต๊ธ€ ์ฑŒ๋ฆฐ์ง€ ๊ตฌ๊ฐ„ โ‘ก ์ž๊ตญ์˜ ๊ณ ์œ ํ•œ ์•„์ด๋ดํ‹ฐํ‹ฐ โ‘ข ๋ฉ”๊ฐ€ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ ์—ญ๋Ÿ‰ ๐Ÿ“์œ ์˜์‚ฌํ•ญ โ‘  ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ ์ ์ˆ˜๋Š” ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์— ๊ฒŒ์‹œ๋œ ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ ์˜์ƒ์˜ '์ข‹์•„์š”'์ˆ˜ x 100๊ณผ ์กฐํšŒ์ˆ˜์˜ ํ•ฉ์œผ๋กœ ์‚ฐ์ •๋ฉ๋‹ˆ๋‹ค. โ‘ก ๋™์˜์ƒ ์บ ํŽ˜์ธ ํ”„๋กœ๋ชจ์…˜ ๋ฐ ๊ฐ์ข… ์–ด๋ทฐ์ง•์œผ๋กœ ์ธํ•œ ์กฐํšŒ์ˆ˜๋Š” ์ง‘๊ณ„์— ๋ฏธํฌํ•จ ๋ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ใ€ˆ์›”๋“œ ์˜ค๋ธŒ ์ŠคํŠธ๋ฆฟ ์šฐ๋จผ ํŒŒ์ดํ„ฐใ€‰ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ ๋ฐฉ์†ก - [WSWF] MEGA CREW MISSION GLOBAL PUBLIC EVALUATION, VOTE NOW! 'MEGA CREW MISSION', The performance of great scale, Completing for the whole world on behalf of the country Check out new evaluation points And support the team, which touched your heart, with 'likes' and 'comments'๐Ÿ”ฅ ๐Ÿ“Voting Period: ~ 6/22(Sun) 18:00 (KST) ๐Ÿ“Evaluation Point โ‘  High Angle Challenge Part โ‘ก Unique National Identity โ‘ข Mega Performance Director's Competence ๐Ÿ“Precautions โ‘  The Global Public Rating will be calculated as the sum of โ€˜Likeโ€™ number x 100 and the hits of the global public rating video posted on the YouTube The CHOOM Channel. โ‘ก Video Campaign Promotions and other videos are not included. A World Dance Battle of Unapologetic Women ใ€ˆWORLD OF STREET WOMAN FIGHTERใ€‰ New episodes every Tuesday at 10 PM (KST) - [WSWF] ใƒกใ‚ฌใ‚ฏใƒซใƒผใƒŸใƒƒใ‚ทใƒงใƒณใ‚ฐใƒญใƒผใƒใƒซๅคง่ก†ๆŠ•็ฅจVOTE NOW! ๅ›ฝใฎๅใ‚’่ƒŒ่ฒ ใ„ใ€ไธ–็•Œใ‚’่ˆžๅฐใจใ—ใฆ็นฐใ‚Šๅบƒใ’ใ‚‰ใ‚Œใ‚‹ ๅฃฎๅคงใชใ‚นใ‚ฑใƒผใƒซใฎใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚นใƒใƒˆใƒซใ€Œใƒกใ‚ฌใ‚ฏใƒซใƒผใƒŸใƒƒใ‚ทใƒงใƒณใ€ ๆ–ฐใŸใซ่ฟฝๅŠ ใ•ใ‚ŒใŸ่ฉ•ไพกใƒใ‚คใƒณใƒˆใ‚’็ขบ่ชใ—ใ€ ใ‚ใชใŸใฎๅฟƒใ‚’ๅ‹•ใ‹ใ—ใŸใ‚ฏใƒซใƒผใซไปŠใ™ใใ€Œใ„ใ„ใญใ€ใจใ‚ณใƒกใƒณใƒˆใงๅฟœๆดใ‚’้€ใฃใฆใใ ใ•ใ„๐Ÿ”ฅ ๐Ÿ“ๆŠ•็ฅจๆœŸ้–“: ~ 6/22(ๆ—ฅ) 18:00 (KST) ใพใง ๐Ÿ“่ฉ•ไพกใƒใ‚คใƒณใƒˆ โ‘  ใƒใ‚คใ‚ขใƒณใ‚ฐใƒซใƒใƒฃใƒฌใƒณใ‚ธใฎใƒ‘ใƒผใƒˆ โ‘ก ่‡ชๅ›ฝใฎใƒฆใƒ‹ใƒผใ‚ฏใชใ‚ขใ‚คใƒ‡ใƒณใƒ†ใ‚ฃใƒ†ใ‚ฃ โ‘ข ใƒกใ‚ฌใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚นใฎใƒ‡ใ‚ฃใƒฌใ‚ฏใ‚ฟใƒผใจใ—ใฆใฎใ‚นใ‚ญใƒซ ๐Ÿ“ๆณจๆ„ไบ‹้ … โ‘  ใ‚ฐใƒญใƒผใƒใƒซๅคง่ก†่ฉ•ไพกใฎ็‚นๆ•ฐใฏใ€YouTubeใ€ŒThe CHOOMใ€ใƒใƒฃใƒณใƒใƒซใซๆŠ•็จฟใ•ใ‚ŒใŸใ‚ฐใƒญใƒผใƒใƒซ่ฉ•ไพกๆ˜ ๅƒใฎใ€Œใ„ใ„ใญๆ•ฐ ร— 100 + ๅ†็”Ÿๅ›žๆ•ฐใ€ใซใ‚ˆใฃใฆ็ฎ—ๅ‡บใ•ใ‚Œใพใ™ใ€‚ โ‘ก ๅ‹•็”ปใ‚ญใƒฃใƒณใƒšใƒผใƒณใ‚„ไธๆญฃๅ†็”Ÿใชใฉใซใ‚ˆใ‚‹ๆ•ฐๅ€คใฏ้›†่จˆๅฏพ่ฑกๅค–ใจใชใ‚Šใพใ™ใ€‚ ไธ–็•Œไธญใฎโ€œ่ช‡ใ‚Š้ซ˜ใๅฅณๆ€งโ€ใŸใกใŒใƒ—ใƒฉใ‚คใƒ‰ใ‚’ๆ‡ธใ‘ใŸใ‚ฐใƒญใƒผใƒใƒซใƒ€ใƒณใ‚นใƒใƒˆใƒซ ใ€ˆใƒฏใƒผใƒซใƒ‰ใƒปใ‚ชใƒ–ใƒปใ‚นใƒˆใƒชใƒผใƒˆใƒปใ‚ฆใƒผใƒžใƒณใƒปใƒ•ใ‚กใ‚คใ‚ฟใƒผใ€‰ ๆฏŽ้€ฑ(็ซ)ๅคœ10ๆ™‚ๆœฌๆ”พ้€ #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ3 #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #WorldofSWF #WSWF #SWF3 #SWF #Dance #Mnet
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[#WSWF] ๋ฉ”๊ฐ€ ํฌ๋ฃจ ๋ฏธ์…˜ ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ VOTE NOW! ๊ตญ๊ฐ€์˜ ์ด๋ฆ„์„ ๊ฑธ๊ณ  ์ „ ์„ธ๊ณ„๋ฅผ ๋ฌด๋Œ€๋กœ ์™„์„ฑํ•œ ๊ฑฐ๋Œ€ ์Šค์ผ€์ผ์˜ ํผํฌ๋จผ์Šค ์ „์Ÿ '๋ฉ”๊ฐ€ ํฌ๋ฃจ ๋ฏธ์…˜' ์ƒˆ๋กญ๊ฒŒ ์ ์šฉ๋œ ์‹ฌ์‚ฌ ํฌ์ธํŠธ๋ฅผ ํ™•์ธํ•˜๊ณ  ๋‹น์‹ ์˜ ๋งˆ์Œ์„ ์›€์ง์ธ ํฌ๋ฃจ์—๊ฒŒ ์ง€๊ธˆ ๋ฐ”๋กœ '์ข‹์•„์š”'์™€ '๋Œ“๊ธ€'๋กœ ์‘์›ํ•ด ์ฃผ์„ธ์š”๐Ÿ”ฅ ๐Ÿ“ํˆฌํ‘œ ๊ธฐ๊ฐ„: ~ 6/22(์ผ) 18:00 (KST) ๐Ÿ“์‹ฌ์‚ฌ ํฌ์ธํŠธ โ‘  ํ•˜์ด ์•ต๊ธ€ ์ฑŒ๋ฆฐ์ง€ ๊ตฌ๊ฐ„ โ‘ก ์ž๊ตญ์˜ ๊ณ ์œ ํ•œ ์•„์ด๋ดํ‹ฐํ‹ฐ โ‘ข ๋ฉ”๊ฐ€ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ ์—ญ๋Ÿ‰ ๐Ÿ“์œ ์˜์‚ฌํ•ญ โ‘  ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ ์ ์ˆ˜๋Š” ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์— ๊ฒŒ์‹œ๋œ ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ ์˜์ƒ์˜ '์ข‹์•„์š”'์ˆ˜ x 100๊ณผ ์กฐํšŒ์ˆ˜์˜ ํ•ฉ์œผ๋กœ ์‚ฐ์ •๋ฉ๋‹ˆ๋‹ค. โ‘ก ๋™์˜์ƒ ์บ ํŽ˜์ธ ํ”„๋กœ๋ชจ์…˜ ๋ฐ ๊ฐ์ข… ์–ด๋ทฐ์ง•์œผ๋กœ ์ธํ•œ ์กฐํšŒ์ˆ˜๋Š” ์ง‘๊ณ„์— ๋ฏธํฌํ•จ ๋ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ใ€ˆ์›”๋“œ ์˜ค๋ธŒ ์ŠคํŠธ๋ฆฟ ์šฐ๋จผ ํŒŒ์ดํ„ฐใ€‰ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ ๋ฐฉ์†ก - [WSWF] MEGA CREW MISSION GLOBAL PUBLIC EVALUATION, VOTE NOW! 'MEGA CREW MISSION', The performance of great scale, Completing for the whole world on behalf of the country Check out new evaluation points And support the team, which touched your heart, with 'likes' and 'comments'๐Ÿ”ฅ ๐Ÿ“Voting Period: ~ 6/22(Sun) 18:00 (KST) ๐Ÿ“Evaluation Point โ‘  High Angle Challenge Part โ‘ก Unique National Identity โ‘ข Mega Performance Director's Competence ๐Ÿ“Precautions โ‘  The Global Public Rating will be calculated as the sum of โ€˜Likeโ€™ number x 100 and the hits of the global public rating video posted on the YouTube The CHOOM Channel. โ‘ก Video Campaign Promotions and other videos are not included. A World Dance Battle of Unapologetic Women ใ€ˆWORLD OF STREET WOMAN FIGHTERใ€‰ New episodes every Tuesday at 10 PM (KST) - [WSWF] ใƒกใ‚ฌใ‚ฏใƒซใƒผใƒŸใƒƒใ‚ทใƒงใƒณใ‚ฐใƒญใƒผใƒใƒซๅคง่ก†ๆŠ•็ฅจVOTE NOW! ๅ›ฝใฎๅใ‚’่ƒŒ่ฒ ใ„ใ€ไธ–็•Œใ‚’่ˆžๅฐใจใ—ใฆ็นฐใ‚Šๅบƒใ’ใ‚‰ใ‚Œใ‚‹ ๅฃฎๅคงใชใ‚นใ‚ฑใƒผใƒซใฎใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚นใƒใƒˆใƒซใ€Œใƒกใ‚ฌใ‚ฏใƒซใƒผใƒŸใƒƒใ‚ทใƒงใƒณใ€ ๆ–ฐใŸใซ่ฟฝๅŠ ใ•ใ‚ŒใŸ่ฉ•ไพกใƒใ‚คใƒณใƒˆใ‚’็ขบ่ชใ—ใ€ ใ‚ใชใŸใฎๅฟƒใ‚’ๅ‹•ใ‹ใ—ใŸใ‚ฏใƒซใƒผใซไปŠใ™ใใ€Œใ„ใ„ใญใ€ใจใ‚ณใƒกใƒณใƒˆใงๅฟœๆดใ‚’้€ใฃใฆใใ ใ•ใ„๐Ÿ”ฅ ๐Ÿ“ๆŠ•็ฅจๆœŸ้–“: ~ 6/22(ๆ—ฅ) 18:00 (KST) ใพใง ๐Ÿ“่ฉ•ไพกใƒใ‚คใƒณใƒˆ โ‘  ใƒใ‚คใ‚ขใƒณใ‚ฐใƒซใƒใƒฃใƒฌใƒณใ‚ธใฎใƒ‘ใƒผใƒˆ โ‘ก ่‡ชๅ›ฝใฎใƒฆใƒ‹ใƒผใ‚ฏใชใ‚ขใ‚คใƒ‡ใƒณใƒ†ใ‚ฃใƒ†ใ‚ฃ โ‘ข ใƒกใ‚ฌใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚นใฎใƒ‡ใ‚ฃใƒฌใ‚ฏใ‚ฟใƒผใจใ—ใฆใฎใ‚นใ‚ญใƒซ ๐Ÿ“ๆณจๆ„ไบ‹้ … โ‘  ใ‚ฐใƒญใƒผใƒใƒซๅคง่ก†่ฉ•ไพกใฎ็‚นๆ•ฐใฏใ€YouTubeใ€ŒThe CHOOMใ€ใƒใƒฃใƒณใƒใƒซใซๆŠ•็จฟใ•ใ‚ŒใŸใ‚ฐใƒญใƒผใƒใƒซ่ฉ•ไพกๆ˜ ๅƒใฎใ€Œใ„ใ„ใญๆ•ฐ ร— 100 + ๅ†็”Ÿๅ›žๆ•ฐใ€ใซใ‚ˆใฃใฆ็ฎ—ๅ‡บใ•ใ‚Œใพใ™ใ€‚ โ‘ก ๅ‹•็”ปใ‚ญใƒฃใƒณใƒšใƒผใƒณใ‚„ไธๆญฃๅ†็”Ÿใชใฉใซใ‚ˆใ‚‹ๆ•ฐๅ€คใฏ้›†่จˆๅฏพ่ฑกๅค–ใจใชใ‚Šใพใ™ใ€‚ ไธ–็•Œไธญใฎโ€œ่ช‡ใ‚Š้ซ˜ใๅฅณๆ€งโ€ใŸใกใŒใƒ—ใƒฉใ‚คใƒ‰ใ‚’ๆ‡ธใ‘ใŸใ‚ฐใƒญใƒผใƒใƒซใƒ€ใƒณใ‚นใƒใƒˆใƒซ ใ€ˆใƒฏใƒผใƒซใƒ‰ใƒปใ‚ชใƒ–ใƒปใ‚นใƒˆใƒชใƒผใƒˆใƒปใ‚ฆใƒผใƒžใƒณใƒปใƒ•ใ‚กใ‚คใ‚ฟใƒผใ€‰ ๆฏŽ้€ฑ(็ซ)ๅคœ10ๆ™‚ๆœฌๆ”พ้€ #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ3 #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #WorldofSWF #WSWF #SWF3 #SWF #Dance #Mnet

Mnet

220,101 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

We want to know how it ends but we want more #LionessSA! ๐Ÿฅบ Watch the very epic final on #MNet101 on 30 March at 20:00. Shannon Esra Official Jacques Bessenger Jazzara Joshua Eady Frank Rautenbach Nokuthula Mavuso #empini Natasha Sutherland Evan Hengst Carl Beukes
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We want to know how it ends but we want more #LionessSA! ๐Ÿฅบ Watch the very epic final on #MNet101 on 30 March at 20:00. Shannon Esra Official Jacques Bessenger Jazzara Joshua Eady Frank Rautenbach Nokuthula Mavuso #empini Natasha Sutherland Evan Hengst Carl Beukes

M-Net

136,159 gรถrรผntรผleme โ€ข 3 yฤฑl รถnce

Scream 4 (2011) Scream 4 stands as a pivotal entry in the iconic slasher franchise. Though it initially struggled at the box office, the film has since garnered a significant cult following, largely due to its surprisingly prescient themes. The movie marked the return of original director Wes Craven and writer Kevin Williamson, who envisioned Scream 4 as the launchpad for a new trilogy. Before production began, Kevin Williamson "sketched out" concepts for Scream 5 and 6. In Williamsonโ€™s original concept, Jill Roberts was supposed to survive the events of Scream 4 and "get away with it all". The planned sequel, Scream 5, would have followed Jill as a "hero" at college, only to be stalked by a new Ghostface who knew the truth about her crimes. These plans were abandoned due to the film's lower-than-expected domestic box office performance and the passing of Wes Craven in 2015. The production of Scream 4 was notoriously difficult. Extensive script rewrites by Ehren Kruger (who penned Scream 3) occurred throughout filming. Early 2011 test screenings further necessitated four days of reshoots for two key sequences involving Aimee Teegarden and Alison Brie. Craven utilized computer-generated effects for the first time, adding knife blades in post-production to facilitate safer and more aggressive stabbing scenes. Unlike the California setting of the original, Scream 4 was filmed entirely in and around Ann Arbor, Michigan, chosen by the production team for its close resemblance to the fictional "Woodsboro." Despite its ambition, Scream 4's theatrical performance was underwhelming. It remains the only film in the series not to surpass the $100 million mark. Analysts attributed this lukewarm reception to an 11-year gap since Scream 3, an aging fan base, and stiff competition from Insidious, which dominated the horror market at the time. Despite its disappointing theatrical run, Scream 4 found greater success on home media. It debuted at #2 on the U.S. rental charts and remained in the top 20 for seven consecutive weeks, generating approximately $10.3 million in domestic DVD and Blu-ray sales. The Blu-ray release further catered to fans with 17 deleted/extended scenes, a gag reel, and an alternate opening/ending, offering a glimpse into the troubled production's original vision. Over time, modern audiences have reappraised Scream 4. Its commentary on social media fame and "remake" culture, which was considered confusing or cynical in 2011, is now seen as remarkably prescient. Hayden Panettiereโ€™s character, Kirby, instantly became a fan favorite, ultimately leading to her highly anticipated return in Scream VI. While Scream 4 temporarily "killed" the franchise until the 2022 reboot, many fans now rank it among the best sequels for its bold "Jill Roberts" reveal and sharp meta-commentary, recognizing its ahead-of-its-time themes and enduring impact.
2:16

Scream 4 (2011) Scream 4 stands as a pivotal entry in the iconic slasher franchise. Though it initially struggled at the box office, the film has since garnered a significant cult following, largely due to its surprisingly prescient themes. The movie marked the return of original director Wes Craven and writer Kevin Williamson, who envisioned Scream 4 as the launchpad for a new trilogy. Before production began, Kevin Williamson "sketched out" concepts for Scream 5 and 6. In Williamsonโ€™s original concept, Jill Roberts was supposed to survive the events of Scream 4 and "get away with it all". The planned sequel, Scream 5, would have followed Jill as a "hero" at college, only to be stalked by a new Ghostface who knew the truth about her crimes. These plans were abandoned due to the film's lower-than-expected domestic box office performance and the passing of Wes Craven in 2015. The production of Scream 4 was notoriously difficult. Extensive script rewrites by Ehren Kruger (who penned Scream 3) occurred throughout filming. Early 2011 test screenings further necessitated four days of reshoots for two key sequences involving Aimee Teegarden and Alison Brie. Craven utilized computer-generated effects for the first time, adding knife blades in post-production to facilitate safer and more aggressive stabbing scenes. Unlike the California setting of the original, Scream 4 was filmed entirely in and around Ann Arbor, Michigan, chosen by the production team for its close resemblance to the fictional "Woodsboro." Despite its ambition, Scream 4's theatrical performance was underwhelming. It remains the only film in the series not to surpass the $100 million mark. Analysts attributed this lukewarm reception to an 11-year gap since Scream 3, an aging fan base, and stiff competition from Insidious, which dominated the horror market at the time. Despite its disappointing theatrical run, Scream 4 found greater success on home media. It debuted at #2 on the U.S. rental charts and remained in the top 20 for seven consecutive weeks, generating approximately $10.3 million in domestic DVD and Blu-ray sales. The Blu-ray release further catered to fans with 17 deleted/extended scenes, a gag reel, and an alternate opening/ending, offering a glimpse into the troubled production's original vision. Over time, modern audiences have reappraised Scream 4. Its commentary on social media fame and "remake" culture, which was considered confusing or cynical in 2011, is now seen as remarkably prescient. Hayden Panettiereโ€™s character, Kirby, instantly became a fan favorite, ultimately leading to her highly anticipated return in Scream VI. While Scream 4 temporarily "killed" the franchise until the 2022 reboot, many fans now rank it among the best sequels for its bold "Jill Roberts" reveal and sharp meta-commentary, recognizing its ahead-of-its-time themes and enduring impact.

Tom๐Ÿ˜ˆLovesโค๏ธHorror๐Ÿ˜ฑ

15,420 gรถrรผntรผleme โ€ข 5 ay รถnce

The Dance Between Elizabeth and Darcy: A Swordfight Cloaked in Ceremony In the 1995 adaptation of โ€œPride and Prejudiceโ€, the dance between Elizabeth Bennet and Fitzwilliam Darcy at the Netherfield ball is no romantic interlude. It is a confrontation carefully veiled beneath the forms of etiquette. Screenwriter Andrew Davies once described their exchange as โ€œa swordfight set within a dance.โ€ Indeed, every step forward or back obeys the courtesies of the ballroom, yet every word lands like a probing thrust. It is precisely this fusion of polished surface and underlying conflict that renders the scene one of the most charged moments in the series. In Regency society, dancing was among the few social rituals that allowed a man and a woman to remain near one another for an extended period. They might take hands, meet each otherโ€™s eyes, and converse without breaching decorum. At the same time, the rules bound them together until the music ended. The dance thus created a rare and charged circumstance: two people were required to sustain each otherโ€™s presence for the full length of the set, no matter how the conversation unfolded. The production exploits this circumstance with remarkable restraint. For much of the sequence, director Simon Langton keeps Elizabeth and Darcy together in medium shots and two-shots. Rather than cutting constantly between isolated close-ups, the camera often holds both speaker and listener within the same frame, allowing the audience to register dialogue, glances, and the smallest shifts of expression simultaneously. The choice ensures that every remark is immediately answered by the otherโ€™s reaction, rather than becoming two separate lines of speech. The blocking itself follows the architecture of a Regency dance. Elizabeth and Darcy continually change places, hands, and orientation, yet the movements always return them face to face. The rhythm of the dance supplies natural pauses in the conversation. Each time the partners separate and reunite, the two-shot continues to contain them both, so that every look, silence, and reply becomes part of the quiet contest taking place. The sound design preserves the atmosphere of a crowded ballroom. Carl Davisโ€™s music mingles with the soft tread of feet, the rustle of other couples, and the low murmur of surrounding conversation. Against this continuous backdrop, Elizabeth and Darcyโ€™s words remain clear yet never detach themselves from the larger space, so that their exchange feels like a natural strand within the evening rather than a private duet. Considered separately, the camera placement, blocking, and sound are all understated. Combined, they do not call attention to the dance itself; they transform the dance into the very arena for their dialogue. Within that arena, the filmโ€™s true interest lies not in the steps but in the shifting awareness of the two characters. For Elizabeth, this is the first moment when the opinions she has already formed about Darcy are tested against an immediate reality. From the opening lines she holds the initiative. She begins with perfectly proper remarksโ€”โ€œI believe we must have some conversationโ€ฆโ€ and โ€œYou should say something about the danceโ€ฆโ€โ€”yet her choice of words and tone carry a quiet irony more than any genuine wish for connection. As the exchange continues, she steers its tempo with pointed questions and sharp replies, gradually drawing the talk toward the subject that truly concerns her: George Wickham. This is not an open effort to understand Darcy; it is a verification of conclusions she has already reached. Yet that self-assurance is no longer entirely intact by the end of the dance. Jennifer Ehle conveys the slight fracture through the smallest of changes. Elizabethโ€™s voice remains intelligent and cutting, but her gaze is no longer purely interrogative. When she says, โ€œI hear such different accounts of you as to puzzle me exceedingly,โ€ she does not underline the line with sharp sarcasm. Her eyes flicker; a brief hesitation appears before the familiar sharpness returns. That nearly imperceptible moment reveals the first crack in a prejudice that had previously seemed airtight. If Ehle portrays a perception beginning to fracture, Colin Firth constructs Darcy as a man determined to preserve composure. From the outset he rarely initiates. He answers Elizabethโ€™s openings with brief questions, then attempts to steer the talk toward safer ground. As she continually returns the conversation to probing subjects, he grows more guarded, allowing longer pauses before he replies. Firth never expresses tension through dramatic gesture. A momentary stillness of the eyes, a measured hesitation before speaking, or a carefully controlled expression is enough to show that Darcy is weighing every word. By the time he says, โ€œI wish, Miss Bennet, that you would not attempt to sketch my character at the present moment,โ€ his voice remains level, yet it also reveals discomfort at the knowledge that she is trying to fix his character. Darcy never allows emotion to breach the bounds of civility, but the very effort of restraint exposes the pressure he feels. The dance does not cause him to abandon self-command; it forces him to recognize that Elizabeth judges him not by rank or reputation, but by what she believes to be trueโ€”and that his own dignity and reserve are insufficient to alter her view. Taken together, the restrained cinematic language and the psychological progression of both characters make plain that the sequence was never conceived as a romantic interlude. The entire scene directs attention to the dialogue itself. Within the strict framework of Regency etiquette, every question, every reply, and every silence becomes part of a contest of wits between two people intent on defending both their view of the other and the way they themselves are seen. The contest at Netherfield therefore ends without a victor. Elizabeth has not relinquished her prejudices, nor has Darcy succeeded in changing the way she regards him. Yet the encounter has already opened the first small fissure in the understanding of each. Elizabeth begins to doubt conclusions that once seemed certain; Darcy realizes for the first time that composure and dignity alone cannot secure the understanding of the woman he respects. That is what gives the image of โ€œa swordfight set within a danceโ€ its lasting force: the confrontation concludes not with a winner, but with the irreversible knowledge that neither can continue to see the other in quite the same way. The dance between Elizabeth and Darcy reflects a familiar paradox of human exchange: in many conversations, what people strive to protect is not merely their opinion, but the way they see another person and the way they wish to be seen in return. Thus a dialogue can easily become a struggle for the right to interpret, rather than an opportunity for genuine understanding. Perhaps that is the sceneโ€™s most enduring insight. Understanding rarely arrives fully formed within a single conversation. Yet conversation itself can be the place where the first cracks appear in settled prejudice. Only from those cracks can people begin, at last, to see one another truly.
5:00

The Dance Between Elizabeth and Darcy: A Swordfight Cloaked in Ceremony In the 1995 adaptation of โ€œPride and Prejudiceโ€, the dance between Elizabeth Bennet and Fitzwilliam Darcy at the Netherfield ball is no romantic interlude. It is a confrontation carefully veiled beneath the forms of etiquette. Screenwriter Andrew Davies once described their exchange as โ€œa swordfight set within a dance.โ€ Indeed, every step forward or back obeys the courtesies of the ballroom, yet every word lands like a probing thrust. It is precisely this fusion of polished surface and underlying conflict that renders the scene one of the most charged moments in the series. In Regency society, dancing was among the few social rituals that allowed a man and a woman to remain near one another for an extended period. They might take hands, meet each otherโ€™s eyes, and converse without breaching decorum. At the same time, the rules bound them together until the music ended. The dance thus created a rare and charged circumstance: two people were required to sustain each otherโ€™s presence for the full length of the set, no matter how the conversation unfolded. The production exploits this circumstance with remarkable restraint. For much of the sequence, director Simon Langton keeps Elizabeth and Darcy together in medium shots and two-shots. Rather than cutting constantly between isolated close-ups, the camera often holds both speaker and listener within the same frame, allowing the audience to register dialogue, glances, and the smallest shifts of expression simultaneously. The choice ensures that every remark is immediately answered by the otherโ€™s reaction, rather than becoming two separate lines of speech. The blocking itself follows the architecture of a Regency dance. Elizabeth and Darcy continually change places, hands, and orientation, yet the movements always return them face to face. The rhythm of the dance supplies natural pauses in the conversation. Each time the partners separate and reunite, the two-shot continues to contain them both, so that every look, silence, and reply becomes part of the quiet contest taking place. The sound design preserves the atmosphere of a crowded ballroom. Carl Davisโ€™s music mingles with the soft tread of feet, the rustle of other couples, and the low murmur of surrounding conversation. Against this continuous backdrop, Elizabeth and Darcyโ€™s words remain clear yet never detach themselves from the larger space, so that their exchange feels like a natural strand within the evening rather than a private duet. Considered separately, the camera placement, blocking, and sound are all understated. Combined, they do not call attention to the dance itself; they transform the dance into the very arena for their dialogue. Within that arena, the filmโ€™s true interest lies not in the steps but in the shifting awareness of the two characters. For Elizabeth, this is the first moment when the opinions she has already formed about Darcy are tested against an immediate reality. From the opening lines she holds the initiative. She begins with perfectly proper remarksโ€”โ€œI believe we must have some conversationโ€ฆโ€ and โ€œYou should say something about the danceโ€ฆโ€โ€”yet her choice of words and tone carry a quiet irony more than any genuine wish for connection. As the exchange continues, she steers its tempo with pointed questions and sharp replies, gradually drawing the talk toward the subject that truly concerns her: George Wickham. This is not an open effort to understand Darcy; it is a verification of conclusions she has already reached. Yet that self-assurance is no longer entirely intact by the end of the dance. Jennifer Ehle conveys the slight fracture through the smallest of changes. Elizabethโ€™s voice remains intelligent and cutting, but her gaze is no longer purely interrogative. When she says, โ€œI hear such different accounts of you as to puzzle me exceedingly,โ€ she does not underline the line with sharp sarcasm. Her eyes flicker; a brief hesitation appears before the familiar sharpness returns. That nearly imperceptible moment reveals the first crack in a prejudice that had previously seemed airtight. If Ehle portrays a perception beginning to fracture, Colin Firth constructs Darcy as a man determined to preserve composure. From the outset he rarely initiates. He answers Elizabethโ€™s openings with brief questions, then attempts to steer the talk toward safer ground. As she continually returns the conversation to probing subjects, he grows more guarded, allowing longer pauses before he replies. Firth never expresses tension through dramatic gesture. A momentary stillness of the eyes, a measured hesitation before speaking, or a carefully controlled expression is enough to show that Darcy is weighing every word. By the time he says, โ€œI wish, Miss Bennet, that you would not attempt to sketch my character at the present moment,โ€ his voice remains level, yet it also reveals discomfort at the knowledge that she is trying to fix his character. Darcy never allows emotion to breach the bounds of civility, but the very effort of restraint exposes the pressure he feels. The dance does not cause him to abandon self-command; it forces him to recognize that Elizabeth judges him not by rank or reputation, but by what she believes to be trueโ€”and that his own dignity and reserve are insufficient to alter her view. Taken together, the restrained cinematic language and the psychological progression of both characters make plain that the sequence was never conceived as a romantic interlude. The entire scene directs attention to the dialogue itself. Within the strict framework of Regency etiquette, every question, every reply, and every silence becomes part of a contest of wits between two people intent on defending both their view of the other and the way they themselves are seen. The contest at Netherfield therefore ends without a victor. Elizabeth has not relinquished her prejudices, nor has Darcy succeeded in changing the way she regards him. Yet the encounter has already opened the first small fissure in the understanding of each. Elizabeth begins to doubt conclusions that once seemed certain; Darcy realizes for the first time that composure and dignity alone cannot secure the understanding of the woman he respects. That is what gives the image of โ€œa swordfight set within a danceโ€ its lasting force: the confrontation concludes not with a winner, but with the irreversible knowledge that neither can continue to see the other in quite the same way. The dance between Elizabeth and Darcy reflects a familiar paradox of human exchange: in many conversations, what people strive to protect is not merely their opinion, but the way they see another person and the way they wish to be seen in return. Thus a dialogue can easily become a struggle for the right to interpret, rather than an opportunity for genuine understanding. Perhaps that is the sceneโ€™s most enduring insight. Understanding rarely arrives fully formed within a single conversation. Yet conversation itself can be the place where the first cracks appear in settled prejudice. Only from those cracks can people begin, at last, to see one another truly.

๐ŸŒธ๐ŸŽต Beautiful Melody ๐ŸŽถ๐Ÿ’–

29,606 gรถrรผntรผleme โ€ข 19 gรผn รถnce

In Remembrance of Spencer Tracy Born | April 5, 1900 in Milwaukee, Wisconsin, USA Died | June 10, 1967 aged 67 in Beverly Hills, Los Angeles, California American actor Spencer Bonaventure Tracy (April 5, 1900 โ€“ June 10, 1967) was known for his natural performing style and versatility. One of the major stars of Hollywood's Golden Age, Tracy was the first actor to win two consecutive Academy Awards for Best Actor, from nine nominations. During his career, he appeared in 75 films and developed a reputation among his peers as one of the screen's greatest actors. In 1999, the American Film Institute ranked Tracy as the 9th greatest male star of Classic Hollywood Cinema. Tracy first discovered his talent for acting while attending Ripon College, and he later received a scholarship for the American Academy of Dramatic Arts. He spent seven years in the theatre, working in a succession of stock companies and intermittently on Broadway. His breakthrough came in 1930, when his lead performance in The Last Mile caught the attention of Hollywood. After a successful film debut in John Ford's Up the River (in which he starred with Humphrey Bogart), he was signed to a contract with Fox Film Corporation. Tracy's five years with Fox featured one acting tour de force after another that were usually ignored at the box office, and he remained largely unknown to movie audiences after 25 films, nearly all of them starring him as the leading man. None of them were hits, although his performance in The Power and the Glory (1933) was highly praised at the time. In 1935, Tracy joined Metro-Goldwyn-Mayer (MGM), Hollywood's most prestigious studio at the time. His career flourished after his fifth MGM film, Fury (1936), and in 1937 and 1938 he won consecutive Oscars for Captains Courageous and Boys Town. Tracy teamed with Clark Gable, MGM's most prominent leading man, for three major box office successes, and by the early 1940s, he was one of MGM's top stars. In 1942, he appeared with Katharine Hepburn in Woman of the Year, beginning a professional and personal partnership that led to nine films over 25 years. In 1955, Tracy won the Cannes Film Festival Award for Best Actor for his performance in the film Bad Day at Black Rock. Tracy left MGM in 1955 and continued to work regularly as a freelance star, despite several health issues and an increasing weariness and irritability as he aged. His personal life was troubled, with a lifelong struggle against severe alcoholism and guilt over his son's deafness. Tracy and his wife Louise became estranged in the 1930s, but the couple never divorced. His 25-year relationship with Katharine Hepburn was an open secret. Towards the end of his life, Tracy worked almost exclusively for director Stanley Kramer. Tracy made his last film with Kramer, Guess Who's Coming to Dinner (1967), with filming completed just 17 days before he died. Video | Spencer Tracy, Sidney Poitier, and Katharine Hepburn in a scene from Tracy's last film, Guess Who's Coming to Dinner (1967).
4:10

In Remembrance of Spencer Tracy Born | April 5, 1900 in Milwaukee, Wisconsin, USA Died | June 10, 1967 aged 67 in Beverly Hills, Los Angeles, California American actor Spencer Bonaventure Tracy (April 5, 1900 โ€“ June 10, 1967) was known for his natural performing style and versatility. One of the major stars of Hollywood's Golden Age, Tracy was the first actor to win two consecutive Academy Awards for Best Actor, from nine nominations. During his career, he appeared in 75 films and developed a reputation among his peers as one of the screen's greatest actors. In 1999, the American Film Institute ranked Tracy as the 9th greatest male star of Classic Hollywood Cinema. Tracy first discovered his talent for acting while attending Ripon College, and he later received a scholarship for the American Academy of Dramatic Arts. He spent seven years in the theatre, working in a succession of stock companies and intermittently on Broadway. His breakthrough came in 1930, when his lead performance in The Last Mile caught the attention of Hollywood. After a successful film debut in John Ford's Up the River (in which he starred with Humphrey Bogart), he was signed to a contract with Fox Film Corporation. Tracy's five years with Fox featured one acting tour de force after another that were usually ignored at the box office, and he remained largely unknown to movie audiences after 25 films, nearly all of them starring him as the leading man. None of them were hits, although his performance in The Power and the Glory (1933) was highly praised at the time. In 1935, Tracy joined Metro-Goldwyn-Mayer (MGM), Hollywood's most prestigious studio at the time. His career flourished after his fifth MGM film, Fury (1936), and in 1937 and 1938 he won consecutive Oscars for Captains Courageous and Boys Town. Tracy teamed with Clark Gable, MGM's most prominent leading man, for three major box office successes, and by the early 1940s, he was one of MGM's top stars. In 1942, he appeared with Katharine Hepburn in Woman of the Year, beginning a professional and personal partnership that led to nine films over 25 years. In 1955, Tracy won the Cannes Film Festival Award for Best Actor for his performance in the film Bad Day at Black Rock. Tracy left MGM in 1955 and continued to work regularly as a freelance star, despite several health issues and an increasing weariness and irritability as he aged. His personal life was troubled, with a lifelong struggle against severe alcoholism and guilt over his son's deafness. Tracy and his wife Louise became estranged in the 1930s, but the couple never divorced. His 25-year relationship with Katharine Hepburn was an open secret. Towards the end of his life, Tracy worked almost exclusively for director Stanley Kramer. Tracy made his last film with Kramer, Guess Who's Coming to Dinner (1967), with filming completed just 17 days before he died. Video | Spencer Tracy, Sidney Poitier, and Katharine Hepburn in a scene from Tracy's last film, Guess Who's Coming to Dinner (1967).

Hollywood Golden Age of Cinema

24,715 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

LEAKED: Trans-Care Training Videos By Beleaguered Top Gender-Clinic Doctor, Part 1 I have obtained 12 hours of videos of top pediatric-gender-clinic physician Dr. Johanna Olson-Kennedy and her colleagues, including her husband, providing training to mental-health providers on how to treat minors who have gender dysphoria or otherwise identify as transgender or nonbinary. This is the first of 12 installments I will post during the coming weeks of these videos. Subscribe to my newsletter (link in bio) to receive all of them as I publish them. A 19-year veteran of the pediatric gender medicine field and one of its leading physician-researchers and advocates, Dr. Olson-Kennedy is the medical director of the gender clinic at Childrenโ€™s Hospital Los Angeles. According to figures she provided during this particular video, annual referrals to her clinic surged from just 25 in 2010 to 436 in 2022โ€”following a similar pattern seen in clinics throughout the Western world. The past six months have been challenging for Dr. Olson-Kennedy, to say the least. Dr. Olson-Kennedy is the principal investigator on a National Institutes of Health grant for a long-running research project concerning pediatric gender-transition treatment, one that has received over $10 million to date. In October, The New York Times reported that she has withheld null findings from a study of puberty blockers funded by this grant, doing so for political reasons. The grant is now the subject of a probe by congressional Republicans. In November, however, she asserted in a sworn deposition in a civil case that the Times had mischaracterized her words. In December, Dr. Olson-Kennedy was sued by a former patient, Clementine Breen, who reported that the gender doctor prescribed her puberty blockers at age 12โ€”on her first appointment, without a psychological assessmentโ€”and testosterone at age 13, and then referred her to receive a double mastectomy at age 14. Ms. Breen, now 20, has since detransitioned, reverting to presenting and identifying as a woman. The Trump administration has unleashed an onslaught against the field of pediatric gender medicine, seeking to wipe it off the map. In recent weeks, the NIH has been canceling research grants related to transgender people, including those conducted with animal models. There is currently a preliminary injunction in place to block the presidentโ€™s executive order that would freeze federal funds to hospitals that provide gender-transition interventions to those under age 19. Prior to the injunction, Dr. Olson-Kennedyโ€™s clinic had โ€œpausedโ€ new cross-sex hormone treatments for youth, only to lift the pause a couple of weeks later. It remains unclear whether the grant for which Dr. Olson-Kennedy is the top investigator has been canceled. But it is no longer listed on the NIH site where active grants are described. I reached out to Dr. Olson-Kennedy and her co-principal investigators on the grant to ask about its status. I did not hear back. Prior to the October Times article, Dr. Olson-Kennedy was perhaps best known by the general public for a previous leaked video in which she was giving a training in 2018 to mental health care providers on how to write referral letters for minors seeking gender-transition surgeries. In the video, she expresses exasperation with what she sees as hand wringing over whether natal girls will later regret having their breast removed during adolescence. (At least 1,000 such surgeries have been conducted annually in recent years.) She says: โ€œWhat we do know is that adolescents actually have the capacity to make a reasonable, logical decision. And hereโ€™s the other thing about chest surgery. If you want breasts at a later point in your life, you can go and get them!โ€ Ms. Breen recently reported that she was undergoing reconstructive surgery to provide herself with new breasts. However, it is very unlikely she will ever be able to breastfeed should she have children. Dr. Olson-Kennedy is also newly the president of USPATH, the U.S. branch of the medical-activist group the World Professional Association for Transgender Health. WPATH, which despite is name is largely a U.S.-based organization, has been besieged by damaging publicity over the past year, in particular after internal documents subpoenaed by Alabamaโ€™s attorney general revealed that its leadership was aware that the evidence behind pediatric gender medicine was weak and sought to paper over this fact. 12 hours of leaked Olson-Kennedy training videos The 12-hour training in what is known as the gender-affirming care method for minors who identify as trans or nonbinary took place in late April 2024โ€”a few weeks after Britain published the Cass Review, which found that this medical field is based on โ€œremarkably weak evidence.โ€ The training was led by Dr. Olson-Kennedy; her husband, Aydin Olson-Kennedy, who has a doctorate in social work and is a transgender man; and licensed clinical social worker Darlene Tando. I obtained the videos a few months ago. The training videos are a window into not just the methods of these individuals, but their overall attitudes about gender dysphoria and transgender and nonbinary identification in children. A prevailing attitude they share is one of indignation and irritation with a medical system that demands that children betray a substantial level of distress before they are granted gender-transition medications. Overall, these three favor less gatekeeping and less pathologizing of the mental states and internal lives of the children in their care. If a gender-incongruent child arrives in their care absent any particular distress about their identification as the opposite sex, they believe that that child should be granted the opportunity to medically transition by taking puberty blockers and cross-sex hormones if the family wishes. I have edited the videos to snip or crop out images that would identify the participants in the training, whether because of Zoom-chat questions that pop up in the right-hand corner of the screen, or moments when a matrix of the participants is visible. You can watch the video at the beginning of this Substack. Otherwise, I wrote a summary below:
53:48

LEAKED: Trans-Care Training Videos By Beleaguered Top Gender-Clinic Doctor, Part 1 I have obtained 12 hours of videos of top pediatric-gender-clinic physician Dr. Johanna Olson-Kennedy and her colleagues, including her husband, providing training to mental-health providers on how to treat minors who have gender dysphoria or otherwise identify as transgender or nonbinary. This is the first of 12 installments I will post during the coming weeks of these videos. Subscribe to my newsletter (link in bio) to receive all of them as I publish them. A 19-year veteran of the pediatric gender medicine field and one of its leading physician-researchers and advocates, Dr. Olson-Kennedy is the medical director of the gender clinic at Childrenโ€™s Hospital Los Angeles. According to figures she provided during this particular video, annual referrals to her clinic surged from just 25 in 2010 to 436 in 2022โ€”following a similar pattern seen in clinics throughout the Western world. The past six months have been challenging for Dr. Olson-Kennedy, to say the least. Dr. Olson-Kennedy is the principal investigator on a National Institutes of Health grant for a long-running research project concerning pediatric gender-transition treatment, one that has received over $10 million to date. In October, The New York Times reported that she has withheld null findings from a study of puberty blockers funded by this grant, doing so for political reasons. The grant is now the subject of a probe by congressional Republicans. In November, however, she asserted in a sworn deposition in a civil case that the Times had mischaracterized her words. In December, Dr. Olson-Kennedy was sued by a former patient, Clementine Breen, who reported that the gender doctor prescribed her puberty blockers at age 12โ€”on her first appointment, without a psychological assessmentโ€”and testosterone at age 13, and then referred her to receive a double mastectomy at age 14. Ms. Breen, now 20, has since detransitioned, reverting to presenting and identifying as a woman. The Trump administration has unleashed an onslaught against the field of pediatric gender medicine, seeking to wipe it off the map. In recent weeks, the NIH has been canceling research grants related to transgender people, including those conducted with animal models. There is currently a preliminary injunction in place to block the presidentโ€™s executive order that would freeze federal funds to hospitals that provide gender-transition interventions to those under age 19. Prior to the injunction, Dr. Olson-Kennedyโ€™s clinic had โ€œpausedโ€ new cross-sex hormone treatments for youth, only to lift the pause a couple of weeks later. It remains unclear whether the grant for which Dr. Olson-Kennedy is the top investigator has been canceled. But it is no longer listed on the NIH site where active grants are described. I reached out to Dr. Olson-Kennedy and her co-principal investigators on the grant to ask about its status. I did not hear back. Prior to the October Times article, Dr. Olson-Kennedy was perhaps best known by the general public for a previous leaked video in which she was giving a training in 2018 to mental health care providers on how to write referral letters for minors seeking gender-transition surgeries. In the video, she expresses exasperation with what she sees as hand wringing over whether natal girls will later regret having their breast removed during adolescence. (At least 1,000 such surgeries have been conducted annually in recent years.) She says: โ€œWhat we do know is that adolescents actually have the capacity to make a reasonable, logical decision. And hereโ€™s the other thing about chest surgery. If you want breasts at a later point in your life, you can go and get them!โ€ Ms. Breen recently reported that she was undergoing reconstructive surgery to provide herself with new breasts. However, it is very unlikely she will ever be able to breastfeed should she have children. Dr. Olson-Kennedy is also newly the president of USPATH, the U.S. branch of the medical-activist group the World Professional Association for Transgender Health. WPATH, which despite is name is largely a U.S.-based organization, has been besieged by damaging publicity over the past year, in particular after internal documents subpoenaed by Alabamaโ€™s attorney general revealed that its leadership was aware that the evidence behind pediatric gender medicine was weak and sought to paper over this fact. 12 hours of leaked Olson-Kennedy training videos The 12-hour training in what is known as the gender-affirming care method for minors who identify as trans or nonbinary took place in late April 2024โ€”a few weeks after Britain published the Cass Review, which found that this medical field is based on โ€œremarkably weak evidence.โ€ The training was led by Dr. Olson-Kennedy; her husband, Aydin Olson-Kennedy, who has a doctorate in social work and is a transgender man; and licensed clinical social worker Darlene Tando. I obtained the videos a few months ago. The training videos are a window into not just the methods of these individuals, but their overall attitudes about gender dysphoria and transgender and nonbinary identification in children. A prevailing attitude they share is one of indignation and irritation with a medical system that demands that children betray a substantial level of distress before they are granted gender-transition medications. Overall, these three favor less gatekeeping and less pathologizing of the mental states and internal lives of the children in their care. If a gender-incongruent child arrives in their care absent any particular distress about their identification as the opposite sex, they believe that that child should be granted the opportunity to medically transition by taking puberty blockers and cross-sex hormones if the family wishes. I have edited the videos to snip or crop out images that would identify the participants in the training, whether because of Zoom-chat questions that pop up in the right-hand corner of the screen, or moments when a matrix of the participants is visible. You can watch the video at the beginning of this Substack. Otherwise, I wrote a summary below:

Benjamin Ryan

41,063 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

Mozart's Piano Sonata No. 11 in A Major, K.331: A Dance Between Light, Shadow and Perfect Balance To appreciate the singular character of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K.331, it is helpful to imagine the entire work as a court dancer moving gracefully across a vast stage. Yet this is no dance defined solely by elegance and refinement. Within every movement lies a delicate equilibrium: between the stability of Classical convention and moments that quietly defy expectation; between the luminous clarity of the major mode and the fleeting shadows of the minor; between the courtly poise of the opening movements and the vibrant vitality of the finale. The sonata derives its lasting power from the way Mozart constructs a unified musical architecture, in which every movement, every variation, and every subtle gesture is bound together by principles of remarkable structural coherence. A Sonata That Begins Where No One Expects From its opening bars, Mozart leads K.331 along a path quite unlike that of most Classical sonatas. A conventional piano sonata almost invariably opens with a brisk movement in Sonata-Allegro form, comprising three principal sections: Exposition, Development and Recapitulation. By the latter half of the eighteenth century, this had become the defining model of the genre. K.331, however, begins with an Andante grazioso cast as a Theme and Variations. This is not merely a change of tempo or expressive character. It alters the very foundations upon which the work is built. Among Mozart's piano sonatas, K.331 occupies a unique place in that none of its movements employs the traditional Sonata-Allegro form. Rather than allowing the music to unfold through the dramatic opposition of contrasting themes, Mozart adopts an entirely different approach. He presents a single theme and proceeds to explore, with extraordinary imagination, the many expressive possibilities concealed within it. If we continue our image of the sonata as a courtly dance, Mozart does not allow his dancer to stride confidently onto the stage with the energetic gestures characteristic of an Allegro. Instead, the performance begins with a dance of quiet elegance, measured poise and perfect control. From this single dance, Mozart gradually fashions an astonishing variety of shapes, colours and rhythmic characters throughout the journey that follows. This bold decision establishes the artistic world in which the entire sonata unfolds. The Bridge of Eighteen Steps: Mozart Expands the Balance of Classical Form A Classical musical theme generally strives for clear symmetry. Listeners become accustomed to phrases built from balanced units, most commonly an opening eight bars followed by another eight, together forming the familiar sixteen-bar structure that typifies Classical proportion. Yet from the very first phrases of Piano Sonata No. 11 in A major, K.331, Mozart introduces a subtle departure from convention. The theme of the opening movement (Andante grazioso) does not conclude after the expected sixteen bars. Instead, it extends to eighteen. Technically speaking, the first eight bars establish a satisfying sense of completeness. They seem to arrive naturally at a point of repose. Yet Mozart refuses to close the phrase there. He extends it by a further ten bars, allowing the musical line to continue unfolding before finally returning to equilibrium. Those final two bars are far from superfluous. They create an exquisitely subtle sense of suspension, rather like a court dancer who has completed the principal gesture of a dance, yet lingers for one final graceful movement before coming to rest. If we imagine this theme as a bridge, it is not the familiar sixteen-step bridge of Classical convention. It possesses eighteen steps. The opening eight provide stability and familiarity. Those that follow broaden the landscape, allowing the listener to experience a movement that remains graceful yet never entirely predictable. Even more remarkable is the fact that Mozart employs this design not merely once. All six subsequent variations preserve the original eighteen-bar framework. Although tempo, rhythm and ornamentation continually evolve, the underlying architecture remains intact. The union of rigorous structure with endless variety demonstrates Mozart's remarkable ability to expand Classical form without disturbing its essential balance. He does not reject established rules. He simply reveals how flexible they can become. A Journey Between Light and Shadow: The Dancer Moves Between A Major and A Minor If the eighteen-bar structure provides the inner architecture of the first movement, the continual dialogue between A major and A minor shapes the changing landscape through which the dancer moves during the course of the sonata. In Mozart's musical language, major and minor keys are never merely contrasting harmonic colours. They resemble two different qualities of light illuminating the same stage. A major is a world of brightness, balance and elegance, where every movement of the dancer appears clear, poised and effortlessly graceful. A minor, by contrast, softens the light. Its outlines become deeper and more contemplative, allowing the audience to perceive hidden emotional dimensions within the very same figure. What makes K.331 so remarkable is that Mozart never creates two entirely separate worlds. Instead, he allows the dancer to pass continuously from one illumination into another, so that identical movements acquire entirely different emotional meanings. The first movement opens in the radiant world of A major. The Andante grazioso theme resembles the moment when the dancer first appears beneath the clear light of a courtly stage. Every gesture possesses order, elegance and perfect composure. Yet as the subsequent variations venture into the darker colours of A minor, the very same dance acquires an unexpected depth. The dancer remains unchanged. Each movement still grows from the original theme. Only the light has altered, revealing emotional shades that previously remained unseen. This dialogue between brightness and shadow continues into the second movement, the Menuetto. Here Mozart restores the dancer to the familiar elegance of A major, preserving the balance and refinement that characterise the dance. Yet the Trio, moving into D major, opens an entirely new space, as though the stage itself briefly expands into another landscape before the dancer quietly returns to the original centre. By the time we reach the third movement, Rondo alla Turca, the contrast between A minor and A major has become far more dramatic. The dancer no longer possesses the gentle grace of the opening movement. The finale begins in A minor, creating a world of heightened energy, where every step becomes firmer, more decisive and charged with vitality. Its insistent rhythms, powerful bass writing and weighty chords transform the dance into something altogether differentโ€”bolder, more vigorous, yet always governed by an underlying architectural order. Only after this remarkable journey does the sonata finally return to A major. This is more than a simple harmonic resolution. It resembles the moment when the dancer, having passed through many contrasting states of movement, returns to the centre of the stage transformed. The performer retains the same essential balance, yet now possesses greater richness, maturity and emotional depth. Mozart never employs A major and A minor as opposing forces locked in conflict. Instead, he allows them to complement one another, just as light and shadow together reveal the true form of a dancer upon the stage. It is this continual process of transformation that makes K.331 far more than a sonata of memorable melodies. It becomes a musical journey in which beauty arises from the perfect balance between seemingly opposing states. When Time Appears to Stand Still: Variation V (Adagio) and the Song Within the Dance After the continual transformations of the earlier variations, Mozart leads the listener into an entirely different world with Variation V (Adagio). The first striking change lies in the metre. Leaving behind the gentle 6/8 of the original theme, Mozart adopts 2/4, immediately creating the impression that musical time has slowed and become more intensely focused. At this moment, the dancer no longer traverses the stage with broad, clearly defined steps. Every gesture becomes smaller, more intimate and more refined, as though the dance has merged imperceptibly with song itself. The right hand unfolds exquisitely ornamented melodic lines whose graceful embellishments resemble a singer delicately shaping every phrase. Meanwhile, the left hand becomes markedly more restrained, providing a spacious harmonic foundation that allows the upper voice to breathe with remarkable freedom. This contrast gives the impression that time itself has slowed. The notes no longer exist simply to propel movement forward. They become expressions of the music's inner life. Most importantly, Mozart never employs ornamentation merely to display the virtuosity of the performer. Instead, he uses it to expand the expressive possibilities of the piano itself, enabling the instrument to approach the warmth, flexibility and emotional subtlety of the human voice. After this moment of profound stillness, Variation VI (Allegro) arrives like a sudden release of restrained energy. The contrast reveals one of Mozart's greatest gifts as a composer. He does not merely create differences between fast and slow. He shapes our perception of musical time itself, allowing us to experience not simply changes of tempo, but changes within the very character of each passing moment. Rondo alla Turca: When the Court Dancer Gives Way to a Dance of Vigorous Stamping After the stillness and refinement of Variation V, Mozart leads the entire sonata into an altogether different world in its concluding movement: Rondo alla Turca (Allegretto). If the opening movement resembles an elegant court dance, characterised by graceful, measured steps and impeccable poise, the finale introduces a far more vigorous mode of movement. The dancer no longer glides effortlessly across the stage with restrained elegance, but embraces a dance of unmistakable rhythm and decisive energy, where every step radiates vitality and purpose. What is particularly remarkable is Mozart's ability to evoke the impression of an entire ensemble through the resources of a single piano. Rather than imitating the sound of an Ottoman military band directly, he transforms its most distinctive qualities into the expressive language of the keyboard. The most significant technical feature lies in his treatment of the left hand. Instead of employing the familiar Alberti bass accompaniment found throughout much Classical repertoire, Mozart constructs powerful gestures in the lower register through octave chords preceded by brief ornamental notes. These sonorities suggest the firm, rhythmic impact of feet striking the ground. Each resonant bass chord serves not merely a harmonic function, but also provides rhythmic propulsion, much as a drum sustains the pulse of an entire dance. Meanwhile, the right hand creates a more agile and animated layer of movement. Its rapid passagework, flowing thirds and brightly contoured melodies resemble the graceful motions of the dancer's arms and upper bodyโ€”constantly shifting, yet always retaining absolute precision. These two layers of movement complement one another perfectly. The left hand provides weight, stability and momentum. The right hand supplies flexibility, brilliance and lightness. Together they allow the piano to transcend the limitations of a solo instrument, creating the illusion of multiple musical voices inhabiting the same acoustic space. If we continue to imagine the finale as a dance, this is the moment when the court dancer adopts an entirely new physical language. The octave chords in the bass resemble forceful stamps upon the floor. The swift figurations of the right hand suggest agile turns and flowing gestures. Yet beneath all this exuberant energy lies the firm discipline of the Rondo form. The principal theme continually returns, establishing a stable centre amidst the movement's ever-changing colours and textures. Here we encounter one of Mozart's most distinctive artistic qualities. His music may overflow with vitality without ever surrendering its sense of order. It may convey an impression of complete freedom while remaining securely governed by a lucid and perfectly balanced structure. For this reason, Rondo alla Turca is celebrated not merely for its instantly recognisable melody or its infectious brilliance. Its deeper significance lies in Mozart's ability to transform an irresistibly engaging musical idea into a fully integrated architectural design, in which rhythm, colour and form merge into a single, continuous current of movement. Perfect Balance: The Enduring Essence of Piano Sonata No. 11, K.331 Looking back upon the journey of K.331 as a whole, it becomes clear that the work's greatness does not reside in any single moment. Not solely in the theme and variations with their remarkable eighteen-bar design. Not solely in the lyrical stillness of Variation V. Nor solely in the radiant vitality of Rondo alla Turca. The sonata's enduring value lies in Mozart's extraordinary ability to unite elements that might otherwise appear irreconcilable within a single, harmonious whole. A theme that extends beyond established convention while preserving perfect balance. A musical journey that passes from the brightness of A major into the deeper colours of A minor without ever creating a sense of rupture. A moment in which time itself appears to slow, allowing the piano to sing. A finale overflowing with vigour while never abandoning the elegance of Classical form. Mozart does not create beauty by eliminating contrasts. He creates beauty by placing each contrast precisely where it belongs within a perfectly ordered design. This, indeed, is the principle that permeates Piano Sonata No. 11 in A major, K.331. Balance is not a condition of immobility. It is the capacity to allow contrasting forms of movement to coexist within a unified whole. In K.331, Mozart transforms that principle into the very language of music. A court dancer may pass from grace to strength, from light into shadow, from quiet contemplation to exuberant brilliance; yet in every moment, every step remains part of the same dance.
13:47

Mozart's Piano Sonata No. 11 in A Major, K.331: A Dance Between Light, Shadow and Perfect Balance To appreciate the singular character of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K.331, it is helpful to imagine the entire work as a court dancer moving gracefully across a vast stage. Yet this is no dance defined solely by elegance and refinement. Within every movement lies a delicate equilibrium: between the stability of Classical convention and moments that quietly defy expectation; between the luminous clarity of the major mode and the fleeting shadows of the minor; between the courtly poise of the opening movements and the vibrant vitality of the finale. The sonata derives its lasting power from the way Mozart constructs a unified musical architecture, in which every movement, every variation, and every subtle gesture is bound together by principles of remarkable structural coherence. A Sonata That Begins Where No One Expects From its opening bars, Mozart leads K.331 along a path quite unlike that of most Classical sonatas. A conventional piano sonata almost invariably opens with a brisk movement in Sonata-Allegro form, comprising three principal sections: Exposition, Development and Recapitulation. By the latter half of the eighteenth century, this had become the defining model of the genre. K.331, however, begins with an Andante grazioso cast as a Theme and Variations. This is not merely a change of tempo or expressive character. It alters the very foundations upon which the work is built. Among Mozart's piano sonatas, K.331 occupies a unique place in that none of its movements employs the traditional Sonata-Allegro form. Rather than allowing the music to unfold through the dramatic opposition of contrasting themes, Mozart adopts an entirely different approach. He presents a single theme and proceeds to explore, with extraordinary imagination, the many expressive possibilities concealed within it. If we continue our image of the sonata as a courtly dance, Mozart does not allow his dancer to stride confidently onto the stage with the energetic gestures characteristic of an Allegro. Instead, the performance begins with a dance of quiet elegance, measured poise and perfect control. From this single dance, Mozart gradually fashions an astonishing variety of shapes, colours and rhythmic characters throughout the journey that follows. This bold decision establishes the artistic world in which the entire sonata unfolds. The Bridge of Eighteen Steps: Mozart Expands the Balance of Classical Form A Classical musical theme generally strives for clear symmetry. Listeners become accustomed to phrases built from balanced units, most commonly an opening eight bars followed by another eight, together forming the familiar sixteen-bar structure that typifies Classical proportion. Yet from the very first phrases of Piano Sonata No. 11 in A major, K.331, Mozart introduces a subtle departure from convention. The theme of the opening movement (Andante grazioso) does not conclude after the expected sixteen bars. Instead, it extends to eighteen. Technically speaking, the first eight bars establish a satisfying sense of completeness. They seem to arrive naturally at a point of repose. Yet Mozart refuses to close the phrase there. He extends it by a further ten bars, allowing the musical line to continue unfolding before finally returning to equilibrium. Those final two bars are far from superfluous. They create an exquisitely subtle sense of suspension, rather like a court dancer who has completed the principal gesture of a dance, yet lingers for one final graceful movement before coming to rest. If we imagine this theme as a bridge, it is not the familiar sixteen-step bridge of Classical convention. It possesses eighteen steps. The opening eight provide stability and familiarity. Those that follow broaden the landscape, allowing the listener to experience a movement that remains graceful yet never entirely predictable. Even more remarkable is the fact that Mozart employs this design not merely once. All six subsequent variations preserve the original eighteen-bar framework. Although tempo, rhythm and ornamentation continually evolve, the underlying architecture remains intact. The union of rigorous structure with endless variety demonstrates Mozart's remarkable ability to expand Classical form without disturbing its essential balance. He does not reject established rules. He simply reveals how flexible they can become. A Journey Between Light and Shadow: The Dancer Moves Between A Major and A Minor If the eighteen-bar structure provides the inner architecture of the first movement, the continual dialogue between A major and A minor shapes the changing landscape through which the dancer moves during the course of the sonata. In Mozart's musical language, major and minor keys are never merely contrasting harmonic colours. They resemble two different qualities of light illuminating the same stage. A major is a world of brightness, balance and elegance, where every movement of the dancer appears clear, poised and effortlessly graceful. A minor, by contrast, softens the light. Its outlines become deeper and more contemplative, allowing the audience to perceive hidden emotional dimensions within the very same figure. What makes K.331 so remarkable is that Mozart never creates two entirely separate worlds. Instead, he allows the dancer to pass continuously from one illumination into another, so that identical movements acquire entirely different emotional meanings. The first movement opens in the radiant world of A major. The Andante grazioso theme resembles the moment when the dancer first appears beneath the clear light of a courtly stage. Every gesture possesses order, elegance and perfect composure. Yet as the subsequent variations venture into the darker colours of A minor, the very same dance acquires an unexpected depth. The dancer remains unchanged. Each movement still grows from the original theme. Only the light has altered, revealing emotional shades that previously remained unseen. This dialogue between brightness and shadow continues into the second movement, the Menuetto. Here Mozart restores the dancer to the familiar elegance of A major, preserving the balance and refinement that characterise the dance. Yet the Trio, moving into D major, opens an entirely new space, as though the stage itself briefly expands into another landscape before the dancer quietly returns to the original centre. By the time we reach the third movement, Rondo alla Turca, the contrast between A minor and A major has become far more dramatic. The dancer no longer possesses the gentle grace of the opening movement. The finale begins in A minor, creating a world of heightened energy, where every step becomes firmer, more decisive and charged with vitality. Its insistent rhythms, powerful bass writing and weighty chords transform the dance into something altogether differentโ€”bolder, more vigorous, yet always governed by an underlying architectural order. Only after this remarkable journey does the sonata finally return to A major. This is more than a simple harmonic resolution. It resembles the moment when the dancer, having passed through many contrasting states of movement, returns to the centre of the stage transformed. The performer retains the same essential balance, yet now possesses greater richness, maturity and emotional depth. Mozart never employs A major and A minor as opposing forces locked in conflict. Instead, he allows them to complement one another, just as light and shadow together reveal the true form of a dancer upon the stage. It is this continual process of transformation that makes K.331 far more than a sonata of memorable melodies. It becomes a musical journey in which beauty arises from the perfect balance between seemingly opposing states. When Time Appears to Stand Still: Variation V (Adagio) and the Song Within the Dance After the continual transformations of the earlier variations, Mozart leads the listener into an entirely different world with Variation V (Adagio). The first striking change lies in the metre. Leaving behind the gentle 6/8 of the original theme, Mozart adopts 2/4, immediately creating the impression that musical time has slowed and become more intensely focused. At this moment, the dancer no longer traverses the stage with broad, clearly defined steps. Every gesture becomes smaller, more intimate and more refined, as though the dance has merged imperceptibly with song itself. The right hand unfolds exquisitely ornamented melodic lines whose graceful embellishments resemble a singer delicately shaping every phrase. Meanwhile, the left hand becomes markedly more restrained, providing a spacious harmonic foundation that allows the upper voice to breathe with remarkable freedom. This contrast gives the impression that time itself has slowed. The notes no longer exist simply to propel movement forward. They become expressions of the music's inner life. Most importantly, Mozart never employs ornamentation merely to display the virtuosity of the performer. Instead, he uses it to expand the expressive possibilities of the piano itself, enabling the instrument to approach the warmth, flexibility and emotional subtlety of the human voice. After this moment of profound stillness, Variation VI (Allegro) arrives like a sudden release of restrained energy. The contrast reveals one of Mozart's greatest gifts as a composer. He does not merely create differences between fast and slow. He shapes our perception of musical time itself, allowing us to experience not simply changes of tempo, but changes within the very character of each passing moment. Rondo alla Turca: When the Court Dancer Gives Way to a Dance of Vigorous Stamping After the stillness and refinement of Variation V, Mozart leads the entire sonata into an altogether different world in its concluding movement: Rondo alla Turca (Allegretto). If the opening movement resembles an elegant court dance, characterised by graceful, measured steps and impeccable poise, the finale introduces a far more vigorous mode of movement. The dancer no longer glides effortlessly across the stage with restrained elegance, but embraces a dance of unmistakable rhythm and decisive energy, where every step radiates vitality and purpose. What is particularly remarkable is Mozart's ability to evoke the impression of an entire ensemble through the resources of a single piano. Rather than imitating the sound of an Ottoman military band directly, he transforms its most distinctive qualities into the expressive language of the keyboard. The most significant technical feature lies in his treatment of the left hand. Instead of employing the familiar Alberti bass accompaniment found throughout much Classical repertoire, Mozart constructs powerful gestures in the lower register through octave chords preceded by brief ornamental notes. These sonorities suggest the firm, rhythmic impact of feet striking the ground. Each resonant bass chord serves not merely a harmonic function, but also provides rhythmic propulsion, much as a drum sustains the pulse of an entire dance. Meanwhile, the right hand creates a more agile and animated layer of movement. Its rapid passagework, flowing thirds and brightly contoured melodies resemble the graceful motions of the dancer's arms and upper bodyโ€”constantly shifting, yet always retaining absolute precision. These two layers of movement complement one another perfectly. The left hand provides weight, stability and momentum. The right hand supplies flexibility, brilliance and lightness. Together they allow the piano to transcend the limitations of a solo instrument, creating the illusion of multiple musical voices inhabiting the same acoustic space. If we continue to imagine the finale as a dance, this is the moment when the court dancer adopts an entirely new physical language. The octave chords in the bass resemble forceful stamps upon the floor. The swift figurations of the right hand suggest agile turns and flowing gestures. Yet beneath all this exuberant energy lies the firm discipline of the Rondo form. The principal theme continually returns, establishing a stable centre amidst the movement's ever-changing colours and textures. Here we encounter one of Mozart's most distinctive artistic qualities. His music may overflow with vitality without ever surrendering its sense of order. It may convey an impression of complete freedom while remaining securely governed by a lucid and perfectly balanced structure. For this reason, Rondo alla Turca is celebrated not merely for its instantly recognisable melody or its infectious brilliance. Its deeper significance lies in Mozart's ability to transform an irresistibly engaging musical idea into a fully integrated architectural design, in which rhythm, colour and form merge into a single, continuous current of movement. Perfect Balance: The Enduring Essence of Piano Sonata No. 11, K.331 Looking back upon the journey of K.331 as a whole, it becomes clear that the work's greatness does not reside in any single moment. Not solely in the theme and variations with their remarkable eighteen-bar design. Not solely in the lyrical stillness of Variation V. Nor solely in the radiant vitality of Rondo alla Turca. The sonata's enduring value lies in Mozart's extraordinary ability to unite elements that might otherwise appear irreconcilable within a single, harmonious whole. A theme that extends beyond established convention while preserving perfect balance. A musical journey that passes from the brightness of A major into the deeper colours of A minor without ever creating a sense of rupture. A moment in which time itself appears to slow, allowing the piano to sing. A finale overflowing with vigour while never abandoning the elegance of Classical form. Mozart does not create beauty by eliminating contrasts. He creates beauty by placing each contrast precisely where it belongs within a perfectly ordered design. This, indeed, is the principle that permeates Piano Sonata No. 11 in A major, K.331. Balance is not a condition of immobility. It is the capacity to allow contrasting forms of movement to coexist within a unified whole. In K.331, Mozart transforms that principle into the very language of music. A court dancer may pass from grace to strength, from light into shadow, from quiet contemplation to exuberant brilliance; yet in every moment, every step remains part of the same dance.

๐—–๐—น๐—ฎ๐˜€๐˜€๐—ถ๐—ฐ๐—ฎ๐—น ๐— ๐—ฒ๐—น๐—ผ๐—ฑ๐—ถ๐—ฒ๐˜€

18,390 gรถrรผntรผleme โ€ข 19 gรผn รถnce

Peter Bogdanovich on "Lubitsch Touch" & how Ernst Lubitsch directs his actors: "I had been speaking with Jack Benny and he told me about working with Lubitsch. The director had called Benny in 1939 and asked if heโ€™d be available to do a film. โ€œI said, โ€˜Iโ€™ll do it!โ€™ And he said, โ€˜But you havenโ€™t read the script?โ€™ And I said, โ€˜I donโ€™t have to read the script. If you want me for a picture, I want to be in it!โ€™ Iโ€™d have been an idiot to say anything else. It was always impossible for comedians like me or Bob Hope to get a good director for a movieโ€” thatโ€™s why we made lousy moviesโ€”and here was Ernst Lubitsch, for Godโ€™s sake, calling to ask if Iโ€™d do a picture with him. Who cares what the script is!โ€ The film became 'To Be or Not to Be' (1942) (Carole Lombardโ€™s lastโ€”she died in a plane crash before release), and it caused quite a bit of controversy at the time for being a purportedly frivolous look at Nazism, dealing as it did with a troupe of Polish actors in occupied Warsaw and their comic confrontations with Hitlerโ€™s gauleiters. But those who objected missed the point, having forgotten Thomas De Quinceyโ€™s famous maxim: โ€œIf once a man indulges himself in murder, very soon he comes to think little of robbing; and from robbing he comes next to drinking and Sabbath-breaking, and from that to incivility and procrastination.โ€ For Lubitsch, among the Nazisโ€™ most damning sins was their bad manners, and To Be or Not to Be survives not only as satire but as a glori cation of manโ€™s indomitable good spirits in the face of disasterโ€”survives in a way that many more serious and high-toned works about the war do not. Lubitsch had a habit of establishing his European locales by showing a series of stores, each featuring an increasingly unpronounceable name on its facade. He does this in To Be or Not to Be, then follows it with an identical sequence of the same shops as they looked after the bombing. The simplicity of this is deeply affecting, especially realizing the significance it must have held for Lubitsch, who was, after all, half-Polish and a European to whom those โ€œfunnyโ€ names โ€”like his ownโ€”meant more than the easy laugh he enjoyed giving his American audiences. โ€œThe Lubitsch Touchโ€โ€”it was as famous a monicker in its day as Hitchcockโ€™s โ€œMaster of Suspense,โ€ though perhaps not as superficial. The phrase does connote something light, strangely indefinable, yet nonetheless tangible, and seeing Lubitsch filmsโ€”more than in almost any other directorโ€™s workโ€”one can feel this certain spirit; not only in the tactful and impeccably appropriate placement of camera, the subtle economy of his plotting, the oblique dialog which had a way of saying everything through indirection, but alsoโ€”and particularlyโ€”in the performance of every single player, no matter how small the role. Jack Benny told me that Lubitsch would act out in detail exactly how he wanted everything done. I asked how he was. โ€œWell,โ€ Jack said, โ€œit was a little broad, but you got the idea.โ€ The comedian explained that Lubitsch knew Benny would translate the direction into his own manner and that this would make it work. Lubitsch had started as an actorโ€”was the star of a popular series of early German two-reel comedies. Having seen a sample, I can say he was expansive yet real, funny and human. Clearly, his method must have been the same with all his actors because everybody in a Lubitsch movieโ€”whether Benny or Gary Cooper, Lombard or Kay Francis, Maurice Chevalier or Don Ameche, Jeanette MacDonald or Claudette Colbertโ€”even Garbo or Dietrichโ€”performs in a certain unmistakable style. Despite their individual personalitiesโ€”and Lubitsch never stiffed theseโ€”they all are imbued with the directorโ€™s private view of the world, which made them behave very differently from the way they did in other films." ("Who the devil made it", Peter Bogdanovich, 1997)
1:43

Peter Bogdanovich on "Lubitsch Touch" & how Ernst Lubitsch directs his actors: "I had been speaking with Jack Benny and he told me about working with Lubitsch. The director had called Benny in 1939 and asked if heโ€™d be available to do a film. โ€œI said, โ€˜Iโ€™ll do it!โ€™ And he said, โ€˜But you havenโ€™t read the script?โ€™ And I said, โ€˜I donโ€™t have to read the script. If you want me for a picture, I want to be in it!โ€™ Iโ€™d have been an idiot to say anything else. It was always impossible for comedians like me or Bob Hope to get a good director for a movieโ€” thatโ€™s why we made lousy moviesโ€”and here was Ernst Lubitsch, for Godโ€™s sake, calling to ask if Iโ€™d do a picture with him. Who cares what the script is!โ€ The film became 'To Be or Not to Be' (1942) (Carole Lombardโ€™s lastโ€”she died in a plane crash before release), and it caused quite a bit of controversy at the time for being a purportedly frivolous look at Nazism, dealing as it did with a troupe of Polish actors in occupied Warsaw and their comic confrontations with Hitlerโ€™s gauleiters. But those who objected missed the point, having forgotten Thomas De Quinceyโ€™s famous maxim: โ€œIf once a man indulges himself in murder, very soon he comes to think little of robbing; and from robbing he comes next to drinking and Sabbath-breaking, and from that to incivility and procrastination.โ€ For Lubitsch, among the Nazisโ€™ most damning sins was their bad manners, and To Be or Not to Be survives not only as satire but as a glori cation of manโ€™s indomitable good spirits in the face of disasterโ€”survives in a way that many more serious and high-toned works about the war do not. Lubitsch had a habit of establishing his European locales by showing a series of stores, each featuring an increasingly unpronounceable name on its facade. He does this in To Be or Not to Be, then follows it with an identical sequence of the same shops as they looked after the bombing. The simplicity of this is deeply affecting, especially realizing the significance it must have held for Lubitsch, who was, after all, half-Polish and a European to whom those โ€œfunnyโ€ names โ€”like his ownโ€”meant more than the easy laugh he enjoyed giving his American audiences. โ€œThe Lubitsch Touchโ€โ€”it was as famous a monicker in its day as Hitchcockโ€™s โ€œMaster of Suspense,โ€ though perhaps not as superficial. The phrase does connote something light, strangely indefinable, yet nonetheless tangible, and seeing Lubitsch filmsโ€”more than in almost any other directorโ€™s workโ€”one can feel this certain spirit; not only in the tactful and impeccably appropriate placement of camera, the subtle economy of his plotting, the oblique dialog which had a way of saying everything through indirection, but alsoโ€”and particularlyโ€”in the performance of every single player, no matter how small the role. Jack Benny told me that Lubitsch would act out in detail exactly how he wanted everything done. I asked how he was. โ€œWell,โ€ Jack said, โ€œit was a little broad, but you got the idea.โ€ The comedian explained that Lubitsch knew Benny would translate the direction into his own manner and that this would make it work. Lubitsch had started as an actorโ€”was the star of a popular series of early German two-reel comedies. Having seen a sample, I can say he was expansive yet real, funny and human. Clearly, his method must have been the same with all his actors because everybody in a Lubitsch movieโ€”whether Benny or Gary Cooper, Lombard or Kay Francis, Maurice Chevalier or Don Ameche, Jeanette MacDonald or Claudette Colbertโ€”even Garbo or Dietrichโ€”performs in a certain unmistakable style. Despite their individual personalitiesโ€”and Lubitsch never stiffed theseโ€”they all are imbued with the directorโ€™s private view of the world, which made them behave very differently from the way they did in other films." ("Who the devil made it", Peter Bogdanovich, 1997)

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