Latest / The imuRgency Room / Can We Stop Being Weird About Black Art? (Beyoncé, ‘Sinners,’ and Black Americana)

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Can We Stop Being Weird About Black Art? (Beyoncé, ‘Sinners,’ and Black Americana) · The imuRgency Room

0:00
Hello and welcome to the rodeo. Actually, wait, be honest and I
0:03
kind of give him Black Doug Dimedome, owner of Dimsale
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Dimedome. That's besides the point.
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Hey guys, it's up to emergency Walker.
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I'll come back to my channel today.
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If you couldn't tell by the title, we're talking about all
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things country kind of sort of well, I guess less so solely
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country and more so about the conversation around black
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creatives, the conversation around Americana and black
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Americana and why it seems like y'all.
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Well, that's aggressive. Maybe not like you specifically,
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maybe you specifically, I don't know, but the general public
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seems to hate or how like unnecessarily poignant discourse
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and critique around when black creatives actually create and
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especially when the things that these black creators create have
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a message that is the needle forward in culture and towards
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resistance. Now, if you're new here, hi,
0:49
nice to meet you. I'm Rumi.
0:50
You should definitely subscribe if you haven't already and
0:52
follow me on my social side emergency and make the video and
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all that. But if you are not new here and
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I've been watching the channel for a while or just generally
0:59
have been living out in the world, I don't have to tell you
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that we've been living through some very turbulent times as a
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country and as a culture. And oftentimes through these
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moments of hardship do we see some of the best art come out.
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And by art, I mean all things written, visual, painted,
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filmed, whatever. But in the in case of this
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video, I am talking about films and sang and performed.
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But art has always been used as a tool for creative expression,
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escapism, and especially to advocate through storytelling.
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Art is inherently a form of resistance.
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And in this video specifically, we need to talk about two
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specific pieces of art and put them in conversation together.
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Because I think the two of them happening at the same general
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time does tell a story. And especially the reactions and
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pushback specifically to these two pieces of media really are
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telling for where we are as a society and a culture,
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specifically when it has to do with black creatives.
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And I'm talking around the point these two things are the recent
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movie Sinners and Beyoncé is Calgary Carter Tour.
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And yes, for those of you that have been asking for a while
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now, the first half of this video is going to be kind of
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sort of a movie review. I know all like 3 people just
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screamed right now. I know y'all have been asking
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for it. I know I've seen the comments.
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But to start this conversation, let's talk about Sinners.
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So is Sinners. This movie was truly a
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masterpiece. It needed to come out exactly
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when it did and it covered so much history, specifically of
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the history of the South back in the 1930s, but also was very
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much so applicable to present day.
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Maybe you've not seen the movie by now.
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I highly recommend you do because there will be spoilers
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ahead. I'm telling you right now it is
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a great black vampire thriller. I've seen it three times and I
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hate rewatching things, so that should tell you all you need to
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know. Let's actually talk about the
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film in the real world for a second because I think that the
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production lore of this film is actually just as interesting and
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does really speak to the quality of the movie.
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Because one really cool fact about the production of this
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movie is that the director, Ryan Coogler, who if you have not
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seen his movies, he just generally does a good job
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specifically when it comes to telling black stories, struck a
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very rare and important deal with Warner Bros Studios.
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After a bidding war between studios for the script of
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Sinners, Coogler end up striking a deal with Warner Bros Studios,
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which included the final cut of the movie first.
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Stellar gross. Which means that Coogler would
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begin seeing profit from as soon as the movie hit box offices,
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meaning that he doesn't have to wait for the production to turn
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a profit first. As well as having the rights of
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the movie turned back to him in 25 years.
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Which is an insane deal for a director period, but also for a
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black director if you're aware of the history of black IP, not
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just from directors being stolen and exploited.
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According to CNBC, Coogler requested future ownership of
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Sinners because the movie, specifically the two
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protagonists fight for ownership of the Juke joint and the Jim
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Crow S was directly inspired by his family's history.
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And it's very important that Coogler made this one a
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priority. And two, was intentional about
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this deal, especially when considering the subject matter
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of the story as well as the themes of ownership of art and
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reclamation in the movie. And although Coogler said this
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request was very specific to this particular movie and
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doesn't plan on making it a norm for his future deals, this
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disruption in the way that deals are made between directors and
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studios will have ripple effects and really disrupts the way that
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deals are normally made and demonstrates the power that
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storytellers have over their own stories.
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And in the film world, especially considering how well
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this movie did, a deal like this can set the precedent for other
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directors and storytellers to come.
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Thus showing whether he intended to and realized it or not,
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activism can show up in many different ways.
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And this definitely pushed the needle forward, which is really
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important for directors and talent across the entertainment
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industry. Because we recently saw how
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everything played out with the actors and writers strikes a
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couple of years ago. And specifically when it comes
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to Black storytelling and Black creatives, that there is a space
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for these stories and that these stories and these creatives have
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power and leverage in negotiations.
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Because again, we've also been seeing a mass installation that
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in a major step back away from movies, television, just general
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media centering black stories and black voices.
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According to an article from Ink, the entertainment industry
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is in a rare moment when platforms, audience attention
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and IP ownership shifts have given storytellers unprecedented
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leverage and options and how they mature their careers.
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Intellectual property. This deal with Warner Bros is
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also the latest signal that traditional media gatekeepers
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are weakening. Technology has lowered the
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barrier to production and distribution.
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Audiences are finding and sometimes even funding the
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stories they believe in. Now to actually get into the
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meet and padays of the movie itself in relation to
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everything. Quick Plot Summary.
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If you have not seen it, it's not going to do the movie
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dresses. So again if you have not seen it
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definitely go see it. OK.
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The movie features 2 twin brothers, both played by Michael
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B Jordan. Smoke and Stack will open a Juke
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club in Jim Crow Mississippi and their musically talented cousin
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Sammy comes along with them to play for opening night.
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Eventually, the whole thing goes S when vampires show up to turn
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everyone, especially Sammy, into vampires.
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And the story is laced and weaved with nuanced racial
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dynamics, including those of Asian Americans, Native
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Americans, and black Americans at the time, as well as Irish
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and Italians, and also music throughout it.
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Like it's really touching on a lot and you should go watch it.
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But I'd say that the main themes of this movie have to do with
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freedom, ownership, and the reclamation of culture, which
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really does bring us into the main point of this video.
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Because I do think that these three themes in relation to the
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media that has been put out recently, specifically between
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this and Beyoncé's tour, have been under a lot of scrutiny
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because of their ways of portraying and as some may say,
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propagandizing the whole concept of Black Americana.
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And I don't know if I'd say that it's necessarily doing that.
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I think that there is a bit of nuance here that is being missed
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in that conversation. And we're definitely going to
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get into that more as we talk about Beyoncé's tour.
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But it's just something to know and keep in the back of your
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head as we're going through this.
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One of the things that this movie got criticized for was
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because of its inclusion of vampires and the demonic.
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And let's just talk about vampirism really quick.
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What? Are you using?
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Vampirism to represent. I mean, the film is the film is
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actually about about the human condition.
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And I think the vampires represent an escape and also a
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trap in this movie. Absolutely.
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It's like tempting to. Absolutely.
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I mean out of all of the the genre genre characters, you
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know, zombies, werewolves, vampires most represent.
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Temptation and seduction. So we can kind of lean in the
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tad in the film. But yeah, straight out of the
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director's mouth. Vampires in general and also
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vampires in the movie are both an escape and a trap.
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It's the promise of forever and unity and taking from and of
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each other and like the hive mind kind of way.
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But that isn't true freedom. It's a solution for some of the
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problems that the characters face.
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Yes, one namely being married because of her mother passing
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away. Vampires are seductive in trying
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to sell a dream to trick people into turning sending this
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fantasy of greatness of eternity that all your problems will go
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away and you'll be living the life that you want if you follow
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this path and do this one thing which can sound familiar to some
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dreams that are sold to us at least in this country in real
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life if you catch what I'm saying.
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But as one of the characters in the movie Annie mentions, the
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empires are the worst because it's not like being possessed or
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having a sphere take over you. Your very soul is trapped and
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suppressed under evil, which is why they still have the
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knowledge and traits of the humans they were before.
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Essentially meaning that your soul gets trapped in the quest
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for escapism. Vampires are also just like
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leeches and in the case of this movie are essentially culture
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vultures like they are culturally colonizing everyone
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that they turn. There's a point in the movie
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where Remic the main empire says that like one of the benefits of
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him turning people is that he gets all of their memories, all
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of their thoughts and they share them all because he wanted to
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connect to something in his past because the reason why he was
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able to speak Chinese after turning bow.
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And also on the interpretation of like culture brochure, the
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song of the vampire sing at first, like pick poor Robin
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clean or whatever. The song is a story about being
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a culture vulture. Like the actual song comes from
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that era for the 1930s. But it's a sense to talk about
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the desperation that one will go to, to do whatever it takes to
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survive, to satiate that hunger, like picking poor Robin clean so
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you could survive. And also another fun fact about
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the movie. It's really interesting that he
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chose that song and that they sang that song because it
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speculated that they chose to sing that song because that song
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was really popular because they knew that that's a song that
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most black people would know in that era.
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And the way that they even sing it versus like, if you've heard
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any actual rendition of someone singing that song, song is just
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inherently soulless in comparison to the original
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version, thus showing the lack of soul and genuine emotion
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around replicating something without the culture.
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Like Remic wanted Sami to join the vampires because of the
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power of his art and wanted Sami's connection to something
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deeper, as well as wanting back what was taken from Remic by the
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same colonizers that then went to go and oppress Sami's people
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or black people. And it's really interesting
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because you can apply all that to today and the history of
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music, the conversation we have so often over The Pioneers of
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music genres and how all the popular music genres that are
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out now that are all thought to be white or pioneered by white
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people actually being, if you look back, historically, being
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pioneered by black people. That's why we've been seeing a
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big reclamation by artists to spread the knowledge that like,
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yeah, these genres were pioneered by black people.
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Like when we talk about country, when we talk about rock, rap,
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the Blues, like, yeah. And one more thing really good
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about vampires before we move on, the old concept of like
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vampires in assimilation. It's interesting because the
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movie draws parallels talking about how you have to give up
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parts of yourself to join the overarching whiteness with the
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false promises of being a part of it.
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I want to talk about how Ryan Coogler uses vampirism as an
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allegory for assimilation. In order to talk about this, we
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have to get into some historical context.
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Ryan Cooler making the lead vampire Irish was completely
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intentional. As you know, during the early
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creation of America, the Irish and the Italians were not
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considered white. Whiteness was only exclusive for
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white Protestants, people who came over from England, and
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those who are familiar with Irish history knows that for
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years the Irish were oppressed and tortured by the British.
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This oppression and manufactured famine forced a lot of Irish
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immigrants to come over to the Americans.
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And when they got over to the Americas, they were not treated
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like white people, they were treated like dirt.
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However, after the Civil War, in the days of indentured servitude
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were over, the Irish and the Italians were accepted into the
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horde of sea. But there's a catch to being
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accepted into you have to give up your culture and cultural
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practices in order to assimilate into a whiteness and overarching
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whiteness. We can see this with the use of
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vampirism in Sinners and the creation of the character Remic.
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I believe. Like Sammy, Remic had the
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ability to commune with his ancestors through folk song, and
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after he was turned into a vampire, he lost that ability,
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which is why he covets it so much.
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Remic, now as a vampire, no longer has the fellowship of his
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people, so he's constantly trying to seek it out and build
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his own horde. But it's a hive mind.
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It is only him. There is no individuality.
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We can see this when he performs Rocky Road to Dublin, a song
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from his homeland. He's singing passionately,
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sharing with the hive mind, practicing cultural dances,
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looking up to the sky, hoping to connect with his ancestors, and
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he fails. This is presented in real life.
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When you assimilate into whiteness, you are giving up
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pieces of yourself. You are giving up your culture.
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This is why when we see white Americans today, they'll say,
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oh, I'm this person Irish, I'm this percent Italian, Blase
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blase. But we don't see them
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participating in cultural practices because it's lost to
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them. And Sammy, if turned into a
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vampire, would have met the same fate.
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He would have lost his gift. See in itself is an insatiable
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need to devour, to consume, to always be the majority.
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So in an effort to get others to assimilate, it gives false
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promises, fellowship, love, acceptance, at the cost of your
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very being, at the cost of your culture.
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Ultimately, at the end of the movie, Sammy chooses himself.
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He doesn't choose the vampires, he doesn't choose the church.
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And he realizes that his art, his music was never inherently
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evil or tainted. In fact, that was his greatest
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power, his sign of rebellion and his sign of resistance.
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And he continued to chase what made him feel free, which I
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think is beautiful in a great way to end the story.
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Now, let's talk about the convergence of music and
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spirituality for a second. I think the movie makes very
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interesting critiques from around how oftentimes the arts
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are demonized to benefit things like because at the beginning of
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the movie were shown these ancient paintings of people
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explained to be historians, storytellers and musicians and
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respectively Irish, indigenous and in West African culture.
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Going further to explain that these storytellers actually
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played crucial roles in their cultures and were thought to
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have spiritual connections and could call upon these spirits
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through their art. And with that said, in the
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movie, Sammy, based on how things played out and
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specifically that scene where he was playing his guitar and all
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of these spirits from the past cave and we're dancing together
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could be seen to be one of those people.
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And it's also this performance that calls Remic and the other
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vampires to them. And there's a line in the movie
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said by Delta Slim that says like Christianity is them, the
13:11
Blues is US. Sammy's father in the movie
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calls the Blues devil's music, which are similar sentiments
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that can be seen today in real life in ethnic religious
13:19
communities. That being that the things that
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bring you closer to your ancestors, spirits and cultural
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community like things like music or in the movie and as hoodoo
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are demonized when that's not necessarily the case.
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Which brings about the conversation the historical
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cultural implications of religion in ethnic community
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communities. And how oftentimes that specific
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version in use case of religion to demonize certain forms of art
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or expression have historically been the tools of white
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supremacy to demonize and dissuade people from ancestral
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cultural practices or free expression to move people
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farther and farther away from their culture and from free will
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and closer to whiteness and social control.
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And if you look back, weaponized Christianity was a tool used by
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white supremacists. And we can see this drawn out
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for us in the movie at the end when Sammy is in the clash with
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Remic, and he's about to turn Sammy into a vampire.
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And Sammy turns to prayer and Remic, the vampire, starts
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reciting the words with him. He says, when those men took my
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father's land, they forced those words onto us, too.
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But they still bring me comfort talking about the white people
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who forced the Irish to assimilate and use those words
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against everyone that they exploited or oppressed, showing
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the Sammy in the movie that these words would not be his
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salvation and that colonizers weaponize religion against the
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people that they oppress. And you've seen that time and
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time again throughout history with Indigenous people, Irish
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people, Black people and more. And in the case of the movie,
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Sammy is presented with different options, like the
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vampires and Sammy's preacher father are giving him two
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alternatives, making him use his music for different things or
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not at all. But in the end, Sammy ends up
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choosing neither and plays Blues as his sense of freedom and
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salvation. And like I said, that's one of
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the major themes of the movie, like freedom.
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And since we're on the topic of religion, let's talk about the
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criticisms of the movie and specifically about this satanic
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panic that has gone around about this movie.
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There have been a lot of people coming online to talk about how
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the movie Sinners is dark sided and how people believe that it's
14:58
a religious attack. Like there were a bunch of
14:59
videos, but one of the more popular ones was that like
15:01
someone walked out of sinners because it was too evil and that
15:05
they had the urge to pray after. And I'm not going to tell anyone
15:07
how to express their own religion.
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And religion is something that's always tricky to talk about
15:10
because everyone has different beliefs and it's personal.
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But when it comes to the specific movie, I have to ask,
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did you read the movie's title? Did you read the Plot Summary?
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Like not saying the movie actually is dark sided or
15:20
anything like that, but if you are someone that does take your
15:23
religion at that level, why would you go and see a movie
15:25
called Sinners? And again, there's nothing wrong
15:26
with being religious, but I'm just saying that like out of
15:29
everything in the movie, thinking that the supernatural
15:31
tones and the vampiric tones of the movie wasn't in fact the
15:34
evil and dark sided part of the movie in a movie that takes
15:37
place in the Jim Crow S is a choice.
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Like I just think like in that case, we're worried about the
15:41
wrong form of evil and dark sidedness, you know?
15:44
And rightly so. As we debriefed previously, the
15:46
movie does have themes that explores the differences between
15:48
Christianity and spirituality. And that's always going to be a
15:51
difficult conversation to have in art.
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But we can't deny that historically, especially with
15:54
what the movie is trying to say, that like that organized
15:56
religion was put on and forced upon different communities
15:59
throughout history and that weaponizing a religion was a
16:02
tool of white supremacy to get people to conform.
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And of course, on said, this is all religion.
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But we've seen this happen time and time again throughout
16:09
history and even today if you look at different parts of the
16:11
world. But I'll leave that at that.
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I just wanted to talk about that for a second.
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But All in all, I feel like this film really did capture the
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intentionality and the nuances of the Jim Crow S very well, as
16:19
well as the themes of music, spirituality, religion and
16:22
freedom, as well as Black liberation in a way that I don't
16:24
think that we've seen before. Like, do we see why it's
16:26
important for Coogler to eventually have his ownership
16:28
back of this movie? Like as a Black creative, a
16:30
Black director himself, it's important for him to have
16:32
ownership over a story like this.
16:34
And I think the way that Coogler uses this movie to tell the
16:36
themes of blackness and specifically Black Americana are
16:39
really important historically and also culturally.
16:41
Moving from 1 controversial example of art is resistance to
16:44
another. Let's talk about the Beyoncé
16:45
Kabe Carter tour because there have been a lot of think pieces
16:48
about this album and especially for the tour that has started
16:50
recently about its roll out. It's very present and prominent
16:53
American iconography and most recently the visuals and set
16:56
list of the tour. Now Kabe Carter, the album is a
16:59
concept album and Beyoncé herself sees the album as a
17:02
journey through a reinvention of Americana, spotlighting the
17:06
overlooked contributions of Black pioneers to American
17:08
musical and cultural history. And when the album initially
17:11
dropped and all of the visuals, that being not many, the photo
17:14
shoots and such came out around this album.
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And specifically, when the Beyoncé Bowl happened and
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Beyoncé performed the album for the first time on Christmas, a
17:21
lot of the conversations around like Beyoncé being an American
17:24
propagandist started flourishing online because at that time and
17:27
historically, America had not and has not been seen as the
17:30
most fair and just place and a representation of the people's
17:32
wants and needs. With oftentimes, especially
17:34
nowadays, the heavy American imagery, the American flag of it
17:37
all being seen as a symbol of one side of America rather than
17:41
the other. And I know we usually get into
17:43
it on this channel, but I'll leave it very broad at that for
17:45
right now. And these critiques heightened
17:46
even more so once Beyoncé started her Cowboy Carter tour,
17:49
namely because of the opening sequence of the tour, the big
17:52
screen that you see when you first walk in, before the show
17:55
even starts, it's a big American flag.
17:56
And one of the first songs that she starts off singing is what
17:59
seems to be the American National anthem.
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And if you just see it and leave it at that, it can't be seen as,
18:03
like, American, probably, yeah, like, go America, we're so
18:06
great, blah, blah, blah. But I think a lot of these
18:08
critiques are missing the nuance in one Beyoncé is doing and to
18:12
the whole concept of Black Americana itself.
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In my opinion, the tour and the album are the video and audio
18:19
representation to a cultural critique and of American
18:21
culture, both in country music and to the general black
18:25
experience. Because when we want to talk
18:26
about her singing the American anthem, the national anthem,
18:29
she's singing Jimi Hendrix's version.
18:31
Which if you're unfamiliar, Jimi Hendrix sang that version of the
18:34
Star Spangled Banner at Woodstock, which was seen as a
18:36
turning point in the counterculture movement of that
18:38
time. At the time of Hendrix singing
18:40
that version, it was, it was apparent to be a protest of the
18:41
war happening in Vietnam at the time, with it both embodying the
18:44
hope and the fear of a nation grappling with conflict.
18:46
Which while this scene is different from the times back
18:49
then, a lot of the themes of hope and fear around the nation
18:52
at conflict are the same nowadays.
18:54
And the fact that she follows it up with her song Freedom and
18:56
talking about the contrast between the concepts of freedom
18:59
and the traditional American sense versus like what the
19:01
reality is for a lot of Black America.
19:03
We'll also call it perseverance, solidarity and resilience from
19:07
specifically Black Americans to resist and to stand up.
19:10
And I think that this is sort of the cornerstone of the
19:12
conversation. It's not that this tour and that
19:14
this album is meant to promote or propagandize the American
19:18
dream in the traditional sense. No, there's a difference between
19:21
representation in the Black American experience and the just
19:23
general traditional American experience.
19:26
And to me, it feels like the whole point is to exemplify that
19:28
and to show how culturally the experiences are so different and
19:31
coming from different places. Whereas American culture is
19:34
based on colonialization, oppression, and exploitation,
19:37
the Black American experience is the experience of the oppressed.
19:40
It's of resilience. It's of the ingenuity, the
19:42
creativity, and the audacity to find and spread those pockets of
19:46
joy and somehow fighting the ability to thrive in spite of
19:49
the oppression, in spite of the exploitation and violence of
19:51
this country has built itself off the backs of.
19:53
And I think that that has a space to be celebrated.
19:56
And I think that as a creative, and especially as a Black
19:57
creative, it's even more important when your art has a
20:00
message like that and it's trying to convey a message of
20:02
resistance because that's essentially what it is.
20:04
It's a resistance to what is going on right now and what has
20:07
been going on historically throughout this country.
20:09
This album was made partially out of spite because the country
20:11
music industry would not acknowledge Beyoncé for putting
20:13
out a country song because she wasn't country enough.
20:16
So she released a whole country album to 1 reclaim and spread
20:19
knowledge around the black pioneers of the genre and also
20:22
the highlight and platform current Black.
20:24
That country artist, because it's the same as centers with
20:26
Blues music, like black people belong in these genres because
20:28
they pioneered it. They are some of the originators
20:30
of these genres, but throughout time have been pushed further
20:33
and further out and descended from the conversation to the
20:36
point where a lot of people think that Blues and country are
20:38
white people music. And I went to the tour and saw
20:41
it for myself. And I think one of the things
20:43
that really stood out to me, like she had so many visuals,
20:45
but one visual that was really impactful was this one frame
20:49
where she has the text that says never ask permission for
20:51
something that belongs to you. And I think that that is so
20:54
impactful and so real because I think that that can mean so many
20:57
things, especially now with the you being you, but also the
21:01
people, also the culture and also the government.
21:04
Like it's multifaceted in the sense that as we talked about in
21:06
country music, the world of country made Beyoncé feel like
21:09
she had to ask permission to make country music and to be
21:12
considered in the world of country.
21:14
And often Times Now a lot of non white country artists have to be
21:17
allowed into these spaces and are treated like guests to a
21:20
space that was originally pioneered by them.
21:22
Like I think back to when Lil Nas ex debuted with Old Town Rd.
21:25
where everyone was initially really shocked because he was a
21:27
black man making country music and that hadn't been mainstream
21:30
or popular in forever. And they were treating him as
21:32
this anomaly and a true guest in the industry.
21:35
And I remember he didn't really have legitimacy in the country
21:38
space until Billy Ray Cyrus hopped on his song.
21:41
And it really gave him legitimacy to get some awards
21:43
and recognition in the country music industry, which is insane.
21:47
Again, giving the history of country music.
21:49
And he shouldn't have to ask permission or be granted
21:50
permission for something that already belongs to him, slash
21:54
his people. But this phrase, quote, whatever
21:56
you want to call it, expands so much farther than Black Country
21:58
and even black culture. Like it expands to so much and
22:01
relates to so much to the real life injustice going on in
22:04
America right now that the art is directly looking to critique.
22:07
Will there be things like your own citizenship, your own bodily
22:09
autonomy, your right to exist? And I think that this specific
22:12
statement looks to empower and implore you to never ask
22:15
permission to be allowed to be something you already are or
22:18
something that already belongs to you.
22:20
I feel like it's a direct shot at the feelings of hopelessness
22:22
and desperation that are running rampant right now as a result of
22:25
everything going on in the country and the world.
22:27
And the reason I feel like this is such a good critique is that
22:29
it's not only something that's relevant right now, a common
22:32
saying, but it's been a common theme since this country's
22:35
inception as a proponent for social and political change.
22:38
And this is not to say that anyone is above critique.
22:40
There are definitely the critiques to be had, but I think
22:42
when it comes to this specifically, I do think of the
22:44
art that Beyoncé specifically is trying to present to people and
22:48
package to people through this show.
22:49
And the visuals of this show are impactful and in their own way,
22:52
proponents of resistance, of course, arguments whether or not
22:55
this is enough can be had. But I do think for what the show
22:58
is and for what the album is talking about, I did think that
23:01
it was well done. Especially considering Sinners
23:03
coming out and this tour starting around the same time
23:05
with very similar themes around black liberation, around
23:08
freedom, around knowing your history and your in your culture
23:11
and the power within that. Specifically relating to like
23:14
how American history, American culture and black culture, black
23:16
history intersect while still educating and pushing the needle
23:19
forward. I just think that it's not great
23:21
when it comes to things like this when you have messages like
23:23
this by black creatives, actually creating a try and push
23:26
the needle to try and start a conversation and to try and
23:28
create art and by putting out art and projects that act as a
23:32
form of resistance. There are so many critiques
23:34
around everything but the messaging.
23:35
Because while yes, there can always be more done to push the
23:37
needle farther, it's still important to have art that is
23:40
existing saying to push the needle somewhere, you know, like
23:43
I feel like people are always asking for black creatives to
23:45
actually create things, to actually make art, to make
23:47
products, to make music or whatever.
23:49
When they actually do, people find things wrong with it, hate
23:52
on it, call it demonic, whatever, what have you.
23:54
And a disproportionate way to any other forms of art that
23:56
aren't necessarily productive and or encouraging to future
23:59
creatives wanting to take their stab at putting their stuff out
24:02
into the zeitgeist to then push the needle even farther.
24:05
So I think that there is a conversation to be had around
24:07
that, but there might be a video for a different day.
24:09
For right now, I will leave us at that, but now I want to turn
24:12
the mic over to you. What did you think about
24:14
Senators? What do you think about the
24:15
Carter tour? If you've seen it or have seen
24:16
clips or have heard the album, I love to hear all your thoughts
24:19
on the comments section below. Again, if you knew, then
24:21
definitely subscribe. We like in this video and follow
24:23
me on my social emergency on Instagram, Tick Tock and
24:25
Twitter. Other than that, y'all I've been
24:27
emergency and I will see you in the next video please.