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Artz Friday w NFTipi!
Recorded: July 18, 2025 Duration: 1:15:48Space Recording
Short Summary
In a vibrant discussion on Artsy Friday, TP shared insights on the evolving landscape for Indigenous artists in the Web3 space, emphasizing the importance of community partnerships, ongoing fundraising efforts, and the resilience of creators amidst market fluctuations. The conversation highlighted the need for grants to support diversity and the growing recognition of Indigenous art in the digital realm.
Full Transcription
Thank you. Thank you. Another artsy Friday.
We are getting things set up over here, dealing with X as always, but we will get things started
soon.
Today, we have a very exciting guest.
Really, really, really looking forward to diving in and chatting with TP. But to start off, we have some really great music to jam out, set the vibe, let people
start trickling in. And as always, please be sure to retweet the room and let people know that we
are about to get artsy and learn all about one of the great artists working and using Tezos.
about one of the great artists working and using Tezos.
Thank you for being here, guys.
I will get this music started up here thanks to Kryptonio,
who's going to be playing us the real folk blues,
which is in one take recording by Duo Du Musica.
Hope you enjoy. oh the real
oh Oh I want to see you in the next video.
I want to see you in the next video.
Oh, I do not know.
Oh, I do nada.
Oh, I do. Ooh, yeah.
Ooh.
As always, a treat coming from one of our newer duos creating music and minting on Tezos Duo
Du Musica as always we will post that to the top and hope you enjoy and if if you did enjoy that
sound make sure to put some headphones on go listen to it and get the full experience on object
thank you so much for being here. I appreciate every single one of you
as we are firing up Tezos Commons Artsy Friday. And we're just going to wait a moment and having
a few glitches so far. Like, for example, I don't even know if NFTP is a speaker yet,
showing as a listener for me. But we will get things situated. Thank you for being here,
Bill, Tezos Event Calendar, Kevin, Mirabi, E9, Art, Skuni, Langs, Hello Carmelo, Jack,
Para, Edward, MB, Costa, Rubisco, and Sod.
Appreciate every single one of you.
Just give us a moment here to get things situated.
There we go. Now I see you as a speaker. Welcome up to the stage. How are you today, TP?
Hello. It wasn't a technical, it was an intentional glitch. I was trying to drop in the post below, or the post, that I was doing a giveaway for anybody that wants a TP5 today. So yeah, I was just trying to get that out and it's an MP4. So it takes a bit. I was like, oh no,
I'm going to like, you know, because you had to keep loading it. Yeah. So I was like, okay,
I'm going to do this first. I was listening to the music. I was like, I better drop out really
quick post and then pop back in. So that's the plan. I'm glad you're here. I'm glad we got it done. We can hear you. You sound great. The post is out.
We'll make sure to pin it to the top. And yeah, let's fire it up. I was curious if you wanted to
maybe introduce yourself to the room in your own words to start. Well, Tansi, hello, I'm Teepee.
Well, Tansi, hello, I'm Teepee, and I've been in this Web3 space since 02-21, and I am
Sinanoo Kwe, which is in English, Oji Kree, she, her, and I'm from a first nation that's a remote fly-in first nation in central Canada
in the north um and it's uh you have to fly in to get to it and uh yeah so that's where I'm from
and um when I came into uh clubhouse I'm one of those clubhouse nerds uh back way back when and
my daughter I was the one who actually invited me to Clubhouse and
she's some kind of influencer on Instagram or something but yeah so I came into this space
and set up NFTP and my friends started calling me TP because it was easier. So I kind of switched from NFTP to TP, which is, it's significant.
I had an artist co-op both in Clubhouse for NFT creators. It's called the NFT creators co-op,
which I started in 0221. And then I actually had a physical art artist-op with my teepee outside.
So that's where that all comes from.
And I'm an advocate for diversity and inclusion.
And teepee, in Cree, means equal. So that kind of ties it all together in what I'm trying to say and advocate for as an Indigenous First Nation woman here in the North.
So I don't know if that's a good start.
It's a wonderful start.
Yeah.
And so I'm curious, when you first came in, did you say what year it was when you decided
to become an FTP and join the Web3 space?
Yes, it was 2021.
2021. February 2021 is when I
actually did
my first domain registration and then
created
Twitter and Instagram
as NFTP.
You couldn't have had better timing.
That was really good timing
to get jump in and everything.
Looks like the room is filling up more.
Thank you guys for being here.
Really appreciate you.
We're about to dive in and discuss some of TP's art and experiences on Tezos.
And really, really excited to learn more.
As far as your pieces that we have on the gem thread,
that's something that I wanted to get out before the show so that we could look at it together here in a little bit.
But first, I'm wondering, like after all these years, you know, you know, bear market and everything.
What keeps you here?
What keeps you driven?
A lot of the when we talk about diversity, sometimes it's discouraging to be a Bear Climb woman.
And there's a lot of people that, I talk to my family about this so often, and even other artists.
But it's, a lot of people don't want to acknowledge the history of First Nations, colonial impacts.
And so you end up kind of being invisible people.
I mean, I have a pretty good
following. And there's people that have been here for a very short time, that get hundreds and
hundreds of likes and stuff. And I understand, I'm very consistently talking about TB and teachings
and things like that. So, you know, it's, it's, I think it's like it, a lot of people look at art
and or different kinds of languages and different
kinds of cultures as it's not relevant to them. And so they just ignore it, which I think needs
to change. So as much as I need to, or, you know, even in personal health or mental health,
you know, sometimes it's a huge impact. It weighs heavily on me. I feel like I have to do it.
it's a huge impact. It weighs heavily on me. I feel like I have to do it. If for anything,
one of my strongest teachings about diversity is in our Bear Clan. And so it's a matriarchal line.
So my children are Bear Clan. My mom is Bear Clan. My grandma is Bear Clan. And I think it's really
important to be consistent with a vision that doesn't include just right now.
So right now I can say I'm here, but I intend to be here tomorrow. We have teachings that are seventh generation teachings.
But as an environmental science, it's all incorporated because we have a cyclical ecosystem, not linear ones.
So it seems to me that if I can't really leave, the only thing that would let me leave was if something terrible happened to me.
So I'm an optimist. I'm not going anywhere.
So, yeah, definitely have to stay here, advocate for the things that I believe in.
And I appreciate diverse cultures massively as much as I appreciate my own.
I've been consistently sharing since day one, the Creators Co-op had multilingual spaces,
multi-chain spaces. It was that way. We talked a lot about multi-chain and when I first came in,
I had come in because I was really interested in, for me I was actually an eligible claimant on this class action suit against the government of Canada.
And so I was getting some restitution from that.
And so I was really looking for where I could put that money to be meaningful to me.
So I actually came in, I was really looking at ESGs,
which is kind of more of an environmental ranking system of different kinds of businesses and,
and things. And that's actually the reason why my daughter brought me into my daughter,
Sage brought me into clubhouse. Cause she said, Oh, there's all kinds of spaces here and you can
listen and learn. And so I was learning more about where to put money and, and, and things
where you'd actually be, have voter rights and you'd be able to make some changes, which I call insider activism.
You're making changes from the inside out.
So I really believe in all of that.
And so consistently, we are still a long way from getting to where we need to go and on any chain, in my opinion.
And so, yeah, you just you're building.
You can't you can't start building, you put the bricks up and start building and then just walk away. So I love that.
That could be a Tezos mantra in a sense, because it's, you know, we so we're so much about
continuing to build, no matter what happens, and just stacking and continuing to build out
a foundation that'll be good for the people that come after us.
And I definitely think that that is a great mentality for an individual to carry as well.
I think it'll probably take us really far.
And as far as the Bear Clan piece of art that was featured in the gem thread,
I feel like it's probably a perfect segue to kind of talk about that piece because you even mentioned within it how you feel like this
space is kind of an extension and that anybody going through this bear market with you is,
you know, an honorary member of the bear clan. And I thought that that was really a touching sentiment.
thought that that was really a touching sentiment.
Oh, yes. So I'm just reading that post. I was like, I'm also neurodivergent. So I'm like,
huh, what? What are we talking about? So yeah, that piece, I like that one. So one of the things
that's really interesting to me about a lot of artwork is somebody, I'm Gen X, you know,
I've been around for a long time creating uh
websites from for the first website I ever did I did it from a uh Sam's Teach book you know I don't
know if you guys are familiar with that but it's basically like how to create websites for dummies
that whole kind of thing back back in the day I don't know do they still do those books but
anyways so uh I learned how to do websites back then.
And it was like 90 in the 90s. And what was I going to say? Oh, so, yeah, I did digital art back then.
I did websites. I created the art. So from for me, you know, digital art's been around for quite a long time.
And it's just kind of evolved in the
way that we view it and I think you know creating say graphics for a website that's rg or yeah rgb
and then creating output for print and cmyk those are all like that's all an output of digital art
it came from somewhere um and it came from pixels um to me, as somebody that traditionally we use seed beads
for a lot of our regalia, we do like little tiny beads, those seed beads remind me of pixels. And
they have, I remember I've done a lot of editing where you're down to one pixel. It's just massive,
you know, it's blown up 8,000 times. This is way back when in your tech, when you didn't have all
these options that you do
now it's like okay i'm going pixel to pixel doing trying to create a hair uh collage right you're
trying to superimpose crap and you're like magnify 5 000 or something so anyways um i like the idea
in this space and the continuity of pixels related to beading for me, uh, is really part of my
culture. Um, and, or knitting. So I do a lot of the artwork that's tactile artwork, fabric arts
and stuff that's done with a graph paper. So I map it out. So it's, it's pretty cool that you
can do that. Uh, IRL, I have a giant full-size loom in my garage so things like that they translate
it's to me is all it's it's all interconnected it's all the same i see that i'm looking at the
piece as you're talking about that and i hadn't seen it before but it almost feels like it was
created in a way that could be uh stitched or embroidered um yeah i could i could make that
yeah i could totally be that right now I would just put it
on graph paper so I just like that I think it's really cool and so I try to incorporate some of
that in there sometimes I mean it's it's a mix match for me because I do sci-fi I'm really into
sci-fi I've been into sci-fi it was kind of my refuge as a young person you know and definitely
an OG punk rocker going to punk rock shows in the 80s and stuff like that
you know tree planting to I think the album Nevermind came out while I was tree planting
Beastie Boys Check Your Head came out while I was tree planting I had those on cassette
stomping around the west coast of BC so yeah it's like all that stuff is is part of my it's interesting because people are trying to
revive that culture because they weren't part of it I'm like but that's a memory like glitch is a
memory when our tv I think I posted like glitch is shit that didn't work when you know it's a
memory of shit that didn't work so yeah it really is really interesting to have the reminder continue to go out that like
a lot of the art we're seeing isn't necessarily new it's just finally getting a place to live
as art um instead of just uh within a video game or within a you know a site hiding as
you know a graphic design when there was a lot of artsiness put into the creation of that digital
thing. And I'm curious, when for you did it turn digital? Thinking back to where you were growing
up and making crafts or whatever it was, and then all of a sudden you realized you could take this
concept and do it with pixels? Well, I'm somebody that's really into film. And I've always been an
artist. My very first job was as an apprentice picture framer. So I literally worked, I was
exposed to artwork, because you know, we had posters, I remember, one of the first posters
I ever minted was Salvador Dali. I mean, not minted, mounted. So I had done dry mounting,
which is getting it ready for framing.
And it was Salvador Dali.
And that was the first artwork that I brought home.
And then I did some different prints of different northern indigenous artists up here.
So those are kind of, that was my, I was 15, you know, it's like 1985.
So I was doing artwork way back then and then uh painting I worked with
clay um I did a lot of different stuff I did photography when I started being more nomadic
which is the teepee is nomadic so in fact I am teepee so my teepee isn't necessarily the teepee
that you see outside you know on my artwork that you know um but it's me that's tp um and you're tp and
we're all tp that's actually on my post below uh or on my pin post um so when i was traveling and
i was uh working on the west coast as a tree planter i did i was a four person on a ginseng
farm so i ran the farm on the west coast i I did all the apple picking. I was just somebody
that, you know, trucked around and worked everywhere as a, you know, 20 year old or something.
And it was all lens based work. It was all, you know, taking images with your analog film.
And then, yeah, so it eventually changed to, you know, lots of, you know, I had tons of Polaroids, had a really cool collapsible Polaroid camera.
And then I started switching out to point and shoot on digital.
And so that was something else and got into a lot of that.
Um, and so it switched then it switched in with cameras, right?
And so it switched then. It switched in with cameras. Right.
So all of a sudden we're, we're switching out to, from what storage devices and things
like that to, uh, to how are you displaying it?
So most of that stuff you'd never, you never, you know, back in the day where you had 8,000
million negatives, I had to look through to figure out what you wanted to, what you wanted
to actually get printed.
Right.
Um, and it became a very interesting transition,
because back then you paid for everything to get done. Like you just take your role and
hope you had some good shots in it, right? So you paid a lot for that. And you wouldn't know
it was like this idea of patience, right? You're an artist that's waiting to see what the outcome
is, right? It's a very different thing. i think that's the very beginning of the idea of switching to immediacy when we're artists and creatives right
like our patience uh waned after that because we could see everything immediately and i think that
was the beginning for most people of switching point social media because then all of a sudden
we're everything is immediate like we just are used to that now as creatives everything is immediate um and so i'm actually gonna even say that that's one
of the reasons why the film that i'm working on is it's i have done some mints in eight millimeter
and i've been sharing since the first time i came in here that i've got a whole bunch of
e-waste uh that is um eight millimeter cameras and uh and projectors that I got. So that's one of the
projects to go back to because I don't want the immediacy. I want to, it's like a gift when you
get to see what you created with intention, but you don't actually see it until it's all finished
and, you know, it's developed. So I don't know. I just think it's an interesting way as a creator.
So just tying it back to your question about when did it become something that was, you know, it's developed. So I don't know. our processes can kind of balance that as far as like what you're
doing with reclaiming things that make it to where even if you are able to create the
artwork itself quickly, put it out there quickly, it wouldn't have been possible quickly without
have been possible quickly without the things that you're recycling and so like i do find that's one
the things that you're recycling.
of the cool things about art is that it's like the actual process is almost the act of finding balance
and uh you know timeliness and reflectiveness i guess you could say at least that's what
what your description made me think of um and with that, I would love to talk more about your reclamation and how that style of artworks came to be.
Well, okay.
Well, first, I want to thank you again for inviting me to come on into the space and chat and also to say hello to my friends.
And I'm not going to go through a naming thing that are in this space.
But I see you and I appreciate you being here. Some of some of my friends have
probably heard me say all this stuff before. So I'll try to mix it up a bit. But there's a lot
of people in the room that haven't heard it, too, though. And thank you for being here for Artsy
Friday. We're just sitting here and chatting with TP, but go ahead. You can answer that question if you'd like. Okay. Well, so aside from being, you know, the, the Gen X punk rocker type and
hippie type and doing co-ops and activism, the other thing that I did was I'm an environmental
science graduate and it was a, it was a themed program through the University of Manitoba, where I am located and my First Nation is located, and the Assembly of Chiefs, which is a Canadian First Nation, all the chiefs here, so the Assembly of Chiefs.
and they put together a program for environmental science graduates.
And so, for instance, at University of Manitoba,
you would take an environmental impacts or environmental law course
and then you would have one professor.
For this program, we had that professor,
but then we had somebody that was from a First Nation or Indigenous background
that had gone through the post-secondary education and was now a professor.
And this is for every single course.
And then we also had an elder that was along for the course.
And we had exams from all three.
So we actually had three times the course load for than you would if I would have just
first load for then you would if I would have just taken environmental science course at
taken an environmental science course at University of Manitoba.
University of Manitoba. So it was put together to bring together the culture of First Nations
as land protectors and bringing in their teachings and knowledge of the land,
as well as the mathematical Western science approach of looking at data analysis, right? So for me, it's not a
versus. So I have very strong opinions about the kind of land back idea versus the evolution of us
collectively. As somebody who's an advocate for diversity inclusion, that includes not only myself,
but really making sure that we
are evolving collectively, right? And our tech is evolving collectively. Our management of land use
and resources is evolving collectively. So I'm a graduate. I had done a lot of First Nation.
I did, for instance, I went to the Alberta. There's a business there called the Tar Sands.
the Alberta, there's a business there called the Tar Sands, and it has huge impact. So I had done
an environmental impact assessment through a First Nation, and what I did, so along with the
Western science way of, you know, doing water quality analysis, I decided to do oral history
data collection, and so I went to all the community members and asked them. I went to
their homes and I talked to them all about what they had noticed in changes in the water since
they had been living there. And I talked to elders and I talked to young people and I talked to them
about what was happening with the output because they rely on their subsistence economies,
which is hunting and fishing, fishing. So what changes have they
noticed in what was happening with their lifestyles? And there was a lot, well, I'm not going to get
into it, but there was massive impact. So the reality is that you could say this data line
expresses in numerical equations, something safe. What is that safe level and how has that been achieved?
How have we established that as safe based on what? And then you have somebody else saying,
this is a data analysis that includes a history over 100 years of the people that have been living
there. And they're saying there's this level. And so maybe that should be affecting
what you're calling a safe level.
So the inclusion of that other data set
is something that I've been really pushing for.
It's called traditional environmental knowledge.
And so that's something that I really advocate for.
And so it's using both those data sets. And maybe there's even more, I have no idea.
But the idea when I talk about data sovereignty and things like that, there's information that's
from the community that should have impact on anything that's and it should be included,
or it hasn't been included. So there's conversations like that that still need to be done. And that's just on this side of, you know, parallel 40 degrees, which is like maybe around South Dakota up. And then, you know, there's different ecosystems for Indigenous, but certainly that's where we're up here where we're trying to make sure that that's included. So for me, being consistent with that as a creative and tech was important.
How I sell my art, how I create my art.
So the piece, for instance, that's my pin piece.
I was a featured artist in 2021 in Times Square.
And I did, it was a full city block in Times Square. And I did, it was five screens. And I did that on a computer that I had found six months prior.
That was a, it's Windows. I think it's probably Windows 7. And it was in the snow. It was frozen.
I think it's probably Windows 7.
And it was in the snow.
It was frozen.
I refurbished it and I recreated it on an old floppy drive.
I have a floppy disk of Photoshop 7.
That's still all I use is Photoshop 7.
But all of my computers are all e-waste.
Everything that I have in my house is e-waste.
My television is e-waste.
It's things that were thrown out. So it's the idea
that we can use these things with, you know, applying knowledge and seeking information,
which is all available to us, especially nowadays. You can seek everything out as far as how to fix
something, like fix your car, you know, anything. You can troubleshoot a lot of stuff and get things operating so I had done before I came
here I had been it came into web3 like it's a destination I had been a volunteer for an
organization called mother earth recycling which was bringing tech to inner city youth in the city, which is south of me.
So I had done a lot of volunteer work with them.
And so, yeah, I just kind of applied that to be consistent in my messaging.
I hope that makes some sense to you.
It does.
And the depth of your thought behind it is significant.
And I hope people resonate with that.
Because that is something that i think that
we realize more and more as we get to have this new space with artists like one-on-one um in places
like where people can gather online like this i feel like we're learning more and more and more
of it there's a lot of like sentimental thoughtfulness that goes behind even just choosing how to go about creating things, especially things that you're going to put out into the world.
And I think that speaks volumes and that can be felt.
And I hope people will kind of look on some of your work with a new lens, maybe after hearing that even.
And I know i will uh and when it
comes to that pinned piece that is a really cool like culmination of that thoughtfulness
and congrats congratulations on that accomplishment that's a really cool
that's a really cool flex like really really really neat um thing for any artist to achieve is to have that cool of a representation of their art and their message.
Now, right before the show, I remember you said that you were getting something ready.
You said it was an open edition that you have available today.
Oh, whenever I do giveaways, I don't do like many of them, but if I do a giveaway in a space, I mint to those that are I mint specifically to the people that are here.
So I did make a piece and I just did it out of the audio. So it's an MP4. And then
I'll mint to those at Express. So I always like it to do it that way. Because it's like, you know,
if people are tuned into me or tuned into Tesla's or Tesla's Commons or any of you, then they will
they will know that I likely will give us something away. So so you know uh yeah it'll be whoever expressed interest
i'll mint it tomorrow and i'll send it out so it's one of those things uh that i just create
i it was a piece that i created i think two weeks ago um and it was for the summer solstice and it
was it's a it's a shifting energy kind of vibe so i thought it was just a nice thing to kind of share and i thought i'll
mint and give it away as a shifting energy piece so yeah i don't know if you have that
up there it's pinned at the top for some reason my uh scrolling scroller isn't cooperating today
so i can't actually see all the pens that are up there but, Kryptonio has reassured me it's up there.
Okay. Yeah. So if anybody's interested, that's either DM me or wallet or, um, yeah, that's usually how I, or comment on the post. Um,
and it's not like I'm going to, I'm going to be, um, you know,
confirming people were in the space or not.
I just limit it to how much, and I usually do a couple extra just in case.
So if anybody's interested in getting a TP-Fi, I'll send it over.
And it'll be a limited min to just those here.
That's really cool.
So only the people here listening tuned in right now are going to get the opportunity to have that piece.
That's really neat.
I like that.
And actually, I remember that's how I own one of your TP5 pieces from a past space.
Thank you guys again.
That's nice, hey?
Yeah, I love it, too.
It's a really beautiful one.
And if you guys haven't seen, there's a bunch of really unique, aesthetically different TP5ives that you have that kind of feel like
they're part of a collection um but i noticed it seems that most of your stuff are you minting
most of it on um yeah here it is this this collection that that doesn't have an english
translation can you explain the collection where you actually are
housing most of your TP5s oh I can't see which one so I've created a bunch of collections on
on object object.com and I was negligent I have to say this out loud because I was like
I've been around and I did tons and tons of space.
I used to host a lot of clubhouse rooms daily.
I think the first I did until probably like June of 2021 every single day for like 12, 14 hours.
This is insane.
That was like, you know, end of COVID.
So you had the time to do that stuff.
So I did that way back then.
And then when we all moved out to Twitter spaces,
I held a number of different spaces, but I did like a lot of advocacy. So I did like something
for Indonesia and hosted a lot of artists doing work on hen. My point simply is that I've been
an advocate of Hisitnank forever and, you know, pre-object. And then for some reason, my mind just totally,
I believed that my object work was, was populating on, on Taya. And so it was completely my
realization that I went to my Taya account. Like I can't see any of the stuff that's on object.
And I was, it was, it was a surprise to me.
So I've been trying really hard to, I had done some pieces there for Taya.
And I realized that I had,
hadn't been really paying attention to the ecosystem.
It's funny how we can do that. Like we're kind of, you know,
just on, on create mode and trying different
things. Uh, and then we realized we've been negligent in areas. So I'm really, uh, you know,
I am from that era of Hesipnank and I voted in the space. I was in the spaces when they were
talking about whether or not they want to change to Taya and I voted on that and things like that.
So I was here for that. And then I all of a sudden wasn't minting on Taya and I voted on that and things like that so I was here for that and then I all of a sudden
wasn't minting on Taya and I didn't realize that I ought to be I had a very similar experience where
I I constantly battle myself when I go to mint um on how I can include the platforms I want to
support and it's it's one of those kind of unwritten
things that I feel like every artist is probably dealing with at their own capacity is, you know,
wanting, like you said, it's like, we try to put a lot of intention and thoughtfulness into how
we put our work out there. And, you know, right now for me, I'm stuck on, I have this heart strong
collection and I want it all to fall into the same collection.
It's so silly.
I don't know why, but it just, it feels like that's where they belong.
And also I don't want to go off of that because then all of a sudden I'm going to have like sporadicness on my feed where I'm kind of liking for the first time as an artist, how I have this consistent recurring character in different places.
So just wanted to share that narrative
that I go through in my own head, because I know all of us deal with it in some way or another.
And you shouldn't feel bad. Like, you know, what works in the moment works in the moment.
And we can hopefully just continue building out and letting more people come in and more users
to where it'll balance itself out. And platform will get utilized for what what it's great
for yeah well I don't actually feel bad I I mean I believe see the thing is for me it's really
important to have intention and focus and that's what I talk about with everything so it's like oh
you know I dropped the ball I'm and I think saying it out loud and and being accountable to myself
for that going well it's too bad that I don't have,
because to me, we talk about provenance and history.
We're creating a legacy for ourselves.
I'm creating a legacy of artwork for my family,
and I want that all to be there.
And so to me, it's a learning.
I still feel like we're early,
so we're going to keep going,
and I'm not terribly, you know,
I stay in today and build for the future, so I just have to look at that, acknowledge that and
go, I'm going to do a bit better on that. So yeah, that's really important. So just to answer
your question about the collection and, you know, having artwork in different places,
you know, I am neurodivergent and I can only hold the reins so much. So like TP, I keep it very simple.
I have film work and I have TP5, which is sci-fi.
So just to explain what TP5 is for those who don't know.
So when I was talking about environmental science studies
and I had gone to different communities
and doing data collection and introducing and meeting community members.
My mom is an elder, an eighth-level pipe carrier, is a teacher for Sundance ceremonies and different ceremonies.
Anyways, I'd gone to these different communities. And when we talk,
for instance, about water quality, we talk about impact. They would say, for instance,
when we go over here, and they would take me to destinations, I would get on a boat.
And we would go somewhere and they would show me a ceremonial site. And they said,
we do these ceremonies here. And these are believed to be portholes to different times and space.
And so to me, that was something that was just really important to me as a sci-fi geek
and also somebody that's really, really tuned into teachings, culture and history specific to me and my region. It's very important
to me. And so it was like my teepee can go anywhere. So teepee-fi literally means teepee
sci-fi. So it's just a truncated, instead of sci-fi, it's teepee-fi. So I do different kinds of artwork like that I use, I'll generate something based
on photography. So a lot of my TP5 is based on originally from photography of some of my digital
photography of teepees. And then I evolve it or I blend them. And I haven't actually done anything
for quite some time, like any prompting or anything like they haven't done anything. Probably I was more of the 2022 2023 boon of mid journey.
But I take all of those and I animate them or I mix them with film and I do different
different layering of that. And it's my teepee going forward in time, traveling to different countries.
So it's not like I'll have ones that are,
I had one for instance,
that's the red,
teepee-fi red it's called.
And it's,
they're going to,
they're going in the future to China.
And so there's just things like that
where my teepee-fi is traveling to space.
I have series like TP5 on Mars.
I have a lot of cyberpunk stuff that's, you know, again,
part of that memory of somebody who's an advocate in film as a member of the
Directors Guild of Canada and IATSE 865, which is our local union here.
IATSE 865, which is our local union here. All of those things kind of are incorporated into
bringing, having a look at the past, having a look at the present and bringing it, you know,
building something that looks also future oriented. So I do a lot of, I do a lot of
PP5 blends. Everything is kind of composite, composite, or including audio mixing and things.
So, yeah, you do have a pretty, you're committed to the mixed media. And I relate to that. Like,
why not, you know, just see what else could be done to this cool thing I'm making. And you do
it in a way that offers, like you said, kind of that duality of like future and past kind of bringing it into
a central place definitely and another aspect is um we talked about mental health we talk about so
sometimes i get really discouraged as i mentioned you know you're trying to you're trying to build
something and you want to be seen but you're pretty much as a woman in Web3, most women feel
pretty invisible or where are certain stereotypes that we're pushing back against and we're creating
very specific cultural art. And I would feel that about anybody that, for instance, that's,
you know, creating from Iran or, you know, creating from India or creating from Korea,
where they're using their own languages and they're trying to tell a cultural story, you know, that for instance,
if it's a Korean artists are only collecting from Korean artists because they
understand that, that ecosystem a little bit better.
They understand what's being said or the, the, you know,
the subtleties or nuances of the artwork.
Then imagine who's collecting for me.
If that was the equivalent,
how many first nation artists are actually collecting from First Nation artists or even represented here.
So it's a struggle, right?
So the other aspect of creation for me, as somebody that's been pushing through a lot of trauma, I've experienced a lot of trauma as a young person well before I was nine years old.
That sci-fi also has a very huge dystopian thing.
It's like what happens if all of those First Nations aren't included in the conversation
about environmental impacts?
What happens then is that we have toxic realities, right?
Those are the realities that I'm not going to grandstand here or, you know, what do you
call it, a virtue signal or anything, but those are the realities that happen.
And so I do a lot of artwork
that is an excision of the frustration
and anger and disappointment of things.
And it's allowing us,
it's my favorite,
it's one of my favorite genres as well,
dystopian, post-apocalyptic films,
all of those things, because it really talks about human nature
to me, how do people respond to crises? It says a lot about a person, who they are and who you
evolve to be in post-apocalyptic and dystopian kind of environments. So I really love exploring
that to me is something where we are not, you know, necessarily everything is unicorns and
rainbows. It's not, and it never has been. And every single one of us in this room is really
frustrated, really sad, really impacted by anything that's going to happen in our life.
When we have lost, you know, my twin sister is a missing murdered indigenous woman and have talked
about that. And that happened on our birthday that the police came to me and told me that my twin sister was deceased and is one of the, you know, is one of the missing Indigenous women.
So those things are, it takes a long time to push through trauma. It takes years of like self-healing
and reflection to go from a point of being angry to a point of kind of acceptance and healing. So
there's a lot of realities of that in this space,
especially since we're a global space.
We're impacted by our communities,
what we're seeing overseas,
what we're seeing impact, environmental impacts
from fires and floods.
All those things are realities
and we can't escape that part of frustration
or fear that happens when we're exposed to news like that.
So, yeah, I definitely wanted to emphasize that.
Yeah, I definitely do dystopian stuff.
I try to keep I'm an optimist, though.
You know, I really am an optimist.
I relate in the way you said that, and that's that I'm a perma optimist by nature, but I'm
also very aware and having plenty of existential crises on a daily basis
about the things going on around me you know i actually liked the song apathy that i wrote um
have as my pinned tweet and that's essentially like my take on on right now is like we need to
give more shits we need to care more and be more available for each other.
And that's really what I think is one of the special things about this art movement.
It's not just about being seen.
It's about feeling like you want to be a part of other people feeling seen.
about feeling like you want to be a part of other people feeling scene. And I think that actually
would be a perfect segue to invite anybody up on the stage that might have questions for TP. This
has been a very insightful space. We really appreciate you sharing so much with us and,
you know, just giving us a really good rundown of your experiences and what drives you.
And if anybody does want to come up to ask TP questions about the art or any of those experiences, you're welcome to do so.
I did put the I couldn't see the pin for the giveaway, but I did just put it up there.
So if anybody is interested in getting a mint, I will mint you a very specific piece.
So just let me know uh if you want an
edition of these and maybe we'll end up in maybe only one person will want one it'll be a one of
one but yeah just drop it uh drop your interest express interest and then send me your addy if
you don't want to do it publicly that's cool thank you for making sure it's up there like i said i
checked and couldn't really see all of them but yes that is
something exciting about the way that tp is doing this is what if you're the only person that reaches
out and all of a sudden you've got this super awesome one-of-one
we did uh you know i did pretty well i'm one of those i think they're pretty quiet i've brought
in uh i've had to convert Fiat, I think five times.
I probably brought in, you know, a chunk of change.
It's been slow moving as far as any artwork for me that is being collected.
It's been pretty slow moving, which is fine.
I mean, like I'm just, we have teachings.
have teachings our our our one of our very first teaching is this is um about uh humility and and
advocating for others before you advocate for yourself which is like it actually is like a
one of our huge first teachings so it feels really weird to to say look buy this why don't you buy
this why don't you add this to your collection it It freaks me out. It's been something that was really hard. And one of the, you know, I collected a lot more on Hissetnank before I ever minted. I
felt really weird about it. It was very, you know, one of our teachings, which is my favorite
teachings. And it's kind of interesting with social media. It's, you know, I'm one of those.
I feel really impacted. I feel really self-conscious. But our teaching is we're
walking the sharp edge
of the knife between humility and pride. And I think social media is like that and selling or,
you know, is really hard for me. I'll say thank you before I would say bye or please collect,
right? So it's really strange. And I'm sure it's not just cultural. I'm sure a lot of people
just feel as creative as most of us as, you know, either builders or from cultural backgrounds or, you know, whatever it is that language is, whatever it is.
We, you know, we're trying to figure out our own humility and, you know, be brave in social media or something, you know.
I didn't have a Twitter account or any of these accounts.
I wasn't a social media person at all before Web3.
I just started talking to people and advocating for their artwork and things.
So, yeah, it's really interesting how it's evolved.
Like when I'm talking, my eyes are closed, so I don't get nervous.
It's interesting how everybody processes what must inevitably be a similar experience
no matter where you are um and it must feel similar to each individual this feeling of
nobody's seeing my posts you know because you know like i'm i'm a white guy in america you know like
i know that there's a bunch of stigma about that, but I feel that way
too.
Often posting stuff and like really stuff I'm very proud about that I want people to
see and like have the chance to be felt the way I feel it.
And so it's honestly like a never ending frustration to see how much magnified that
feeling possibly is for others when it's already so frustrating
for me you know so like it's nice to continue hearing uh that everybody has their own version
of that and that we're all fighting it together and it's good to remember that too uh when people
have their weak moments and they do uh complain online let's maybe not make it a viral thing
that we harass them for for a whole week.
I think most of us know what we're talking about.
Let people have their weak moments is all I'm saying.
But I did pretty good.
We did.
I had a piece, you know, Pixel Pallet Nation is a little ecosystem and they do drops on Tezos as well.
And so they have put out something called Artifusion.
And I did it. I was matched have put out something called Artifusion. And I did a,
I was matched. So it's just a random matchup. You didn't know who you were going to be matched up with. So I did a matchup with Betty Kai, who is from India, I believe she's in India, I think so.
And I just I'm trying to remember our conversations back and forth. We would discord chat back, like, you know, cause it would be, she'd be sleeping when
I was whatever.
Anyways.
So we did that.
So it was a, it ended up being, um, uh, a drop with pixel palatination on object for
artist fusion and a collab.
So, um, I just, she sent, gave me a whole bunch of different artwork and I just, I did my,
remember I just said I had done all these pixel collage things. So it was pretty easy for me. I
did a number of different pieces and animated them and put music. And so let's pick this one.
So we did this, but we did a piece and it was just collected by Flying Eagle who does a lot of
sharing on, um, the crises in Gaza right now. So yeah, he collected that. So I did have, we did, that was
100 Tezos. And it was split amongst us all. So it's really beautiful, kind of just a segue to
this space that was two days ago. And I just discovered it. I'm like, I wonder if there's
anything happening in my account. So that's really happy. I thought that's really happy. So
it equated to, you know, a little bit so I could collect a bit more.
And so I was collecting this morning.
Oh, and there's something else I totally forgot about.
I don't, I didn't even, I don't think I let Pierre know, but I am one of the people of Tezos.
I think Kevin, my friend, Kevin, our friend, Kevin, said,
TV should be a people of Tezos.
That's awesome.
Congratulations.
That's a really, really, really cool project.
Yeah.
Just a reminder, guys, we have just a little bit of time left.
If you do want to come up and ask any questions, now's the time.
And if you are feeling shy, no worries.
Next week is our community call.
Come join us next week to share anything you want
about your art, your experience on Tezos. If you want to just chat, hang out, it's our community
call to do so. For now, we have maybe about 10 minutes or so before we wrap up the show. If you
want to come ask TP any questions specifically, if not, we'll just chat for a little bit longer,
play some good music, and then let everybody go about their weekends.
Do you have any questions for me?
Have you enjoyed the space?
Which space? This one or collectively all of it?
This one.
Of course. I'm going to feel it for the whole day.
I always feel like, uh, it's like you're putting your insides on the outside and I just feel all
discombobulated for the whole day afterwards. It's massive impact to talk. I feel, um, I feel,
you know, it's just, it impacts me. So I love it. And I love seeing my friends in here. And it's just, it's really nice.
It's nice to be invited. But that's also one of our teachings is wait, wait, to be invited to
speak. And so when I was in a space, Justin Abbasano had asked me to, to be one of, I did an
artist talk just a couple weeks ago with him. And so that was really nice. And then, so sometimes if things are happening,
I wanted to just encourage people
because sometimes things are happening
and it's not immediately obvious, right?
I'm kind of over the submitting for open call things.
I don't know.
I just feel like I'm not feeling
I'd rather just take other artists.
I don't know.
So I think intention is my message with everything. It's like, you know,
for me, how I create, for me, how do I interact? I, you know, I can't see people. I have to,
if I see a creatress, for instance, I, I don't see posts sometimes I have to, or, you know,
I have to go to, I look at who's liking my posts and then I'll go to their page and then I'll see
what the heck they're up to. That's intention. I'm not oblivious. So it's the people that are actually like
connecting with me. I actually have to go because I wouldn't see a post. So it's just something that
we have to do. I think are fighting the algorithms and a lot of people have bailed on X Twitter and
just don't like it. And I'm like, I don't know, we started here. And it's like, it's like leaving a half built house. I just can't do it. It's like, you know, I don't know.
Anyways, yeah, that's my ramble. I like the space. Thank you.
I've enjoyed it, too. You've been fun to talk to. And it's been very insightful as well and we do have uh i just changed the name based
on a game show inside joke we have saints here frank all right how you doing good afternoon how
are you doing great the fun morning in the in the wtf game show chat where all of us are deciding if we're all going to be frank.
Let's be frank with each other.
Did you have a question for TP today?
Yes, I did.
And I wasn't going to come up
because I wasn't quite sure how to word it.
But since we have time,
maybe I'll just stumble through it.
I know that, you know, and I believe it's First Nations, correct?
Is that the right word?
It depends.
If you're from a First Nation, it's like saying a reservation.
Like it's a designation of a community that has taxation and stuff.
For me, I'm a First Nation member.
I'm not, if you're not from a First Nation and you recognize lineage,
then you might say you're Indigenous. Okay, so I'm just saying that, you know, if you are a First
Nation member, I know that that definitely plays into your art, and you also are, you know,
kind of an advocate, you know, and much of your work speaks to that.
I was just wondering how people, other members look at your art because it has this very much fusion with futurism and how they feel about, you know, how that looks and how that plays into any sort of advocacy or awareness.
That's interesting.
I think most people, like you've collected my work,
so maybe I would ask that back to you.
But I think the most people that have collected my work are representatives of different cultures themselves.
And so when they see something, and I think they see themselves in this.
Like for me, Indigenous futurism is literally part of our teachings.
It's called the White Buffalo Teachings.
And it's advocating for up to seven generations.
And I often have to explain that seven generations is,
you know, I have pictures of my mom,
who is Kukum and then Dancoast, which is grandmother,
and then me and then my child.
It's four generations just sitting in the living room.
So it's not necessarily, you know, 150 years.
It is the connection of our lineage.
So for me, Indigenous,
and I used to have a series called TP Tuesdays,
Our Journeys Back Home.
And it was that we are all Indigenous from somewhere.
We have roots somewhere.
You follow your roots back.
We are all Indigenous from somewhere.
So to me, saying you're Indigenous
is just a generalization
of recognizing your cultural roots. The number one important aspect for me, and I think I've
made some posts about this because a lot of First Nations are like, where are you from?
In Canada, we have the Salish, we have the Haida, Haida Gwaii, we have Mi'kmaq over East,
Haida Gwaii. We have Mi'kmaq over east. We have Ojibwe in central Ontario. Those all pre-exist
the Canadian-U.S. border. We get down to my friends that are Lakota and South Dakota,
you know, and there's just, it just goes on and on. We have the Diné all the way down near the
all the way down near the west-southern border United States.
So we have friends that are in Korea.
I shared about my friends in India that you can't go more than five kilometers without a change in dialect. the southern I mean the the central and north of uh North America had over 700 different
plus uh languages uh and so that's really talks about our our what each story our origin stories
are who we are um as creatives and what our origin stories are and they they all have like
it was one of our first teachings about understanding culture is like,
who are we? So anyways,
I think that's the reason why people collect my art and hopefully maybe you
can answer that. I think they, they see something of that storyline.
I want to insert something Cobweb if you don't mind,
which is I think part of your question was more on the end of,
has TP shown her work to fellow First Nation members, maybe even elders, and how this new digital representation of the culture is, how they react to such a new age version of the art? Is that kind of more what you were asking? Just curious.
of the art. Is that kind of more what you were asking? Just curious.
Yeah, partly that. And then, you know, just her relationship to it, because as a collector,
it's very exciting to me, because I think that some of the work, and I hesitate to use the words
because I'm not sure which words are the right words to use. But when I think of Native American art, you know, because we have a lot of that here in America,
it's very set in the past.
And I understand that because there's traditions that they're trying to preserve.
But at the same time, it keeps it in the past.
You know, it's not something that, you know, there's First Nation
members right now that are artists that are bringing their culture forward. Like she says,
you know, it's not just backwards, it's forwards, it's seven generations. And that's exciting to me
to see something new that still is, you know, keeping with those traditions and that culture.
that still is, you know, keeping with those traditions in that culture.
Exactly. Well, learning the language, there's impact. So impact of First Nations, right? So
maybe the reason it's in the past is because nobody's been allowed to heal from that past.
And so there's a healing process, right? So for me, and a lot of First Nations that are, you know,
reclaiming their histories, reclaiming their information,
being allowed to speak their languages, being allowed to practice their ceremonies,
being allowed self-governance. You know, my community is a distinct language and a distinct
nation here in Central Canada. And it's kind of, do I see myself as Canadian? I'm definitely part of a large, a
greater whole, right? So yeah, it's definitely, it's definitely part of things like to try to
figure out. And I think language is the number, language and origin stories is the number one
thing that that's really important to First Nations. And to go to the question about whether
or not my community sees my artwork, there are artists, especially advocates for activism and for First Nations, Indigenous, Inuit, Métis, which are different, you know, different groups of people.
really are recognizing one of my strongest posts is the MMIW, Missing Murder, Indigenous Women,
Girls, Two-Spirit. Those get a lot of traction because that's a common conversation of activism.
So that those are really supported. I think being an artist in Web3, it adds a bit of confusion.
I was talking to my mom who was just here and she's just left and she's like I love your artwork but I'm confused
by it and I had to explain blockchain and digital art uh as as as fruit I was like so I'm in a space
today and we're going to be talking about how many bananas my artwork is worth
I said so Tezos is now my bananas I'm going to do an artwork on that. But anyways, explain to my mom, who's like 80 years old, that it doesn't matter.
The artwork is still the artwork.
I still have editions.
I still have collectors that want this.
They can display it just like you would.
You spend all your day looking at your phone and your apps and your screens to watch television and things like that. Nothing has changed. Uh,
and then my mom got all excited. It's like,
you need to do some art scramps and so yeah, uh,
it is fun to see.
Absolutely. And it is fun to,
the more you describe it to people in real life,
to see those little light bulb moments that, um,
they start to get excited and want to kind of be
involved. And that's really great. That's really cool to hear. We do also have Findle up here. I
don't want to ignore you. How are you doing today? I'm doing wonderfully well. Thank you. And TP,
super nice to hear you. And yeah, Yoshi, thank you for the space, of course, as always.
TP, it's a good segue, because I was going to ask you,
I remember a little while back, you were talking about family members
and being deeply into art.
And I don't remember who,
but I remember somebody giving you some amazing art.
And maybe you can share a little bit more about, you know, some of your family members that are, I know that they're into it.
Oh, well, it's interesting because, you know, I was adopted.
I was adopted when I was about nine years old.
So I'd gone through a lot of trauma before that.
But I was adopted by a bunch of hippies.
My dad's favorite musician is Leonard Cohen.
I mean, obviously, you think of that,
but you can think of me, and that makes sense with my heart
and the way that I kind of hear things and see things
from my patriarchal, from the patriarchal viewpoint.
So he was somebody that was massively, massively advocating for me as an artist, like when I was 15.
And he was in my corner.
But I was really shy.
Even back then, I said, I don't want it.
He said, I will pay for everything.
And I, you know, and then I felt like I was performative and I didn't want to do it. And I said, no. And I backed away want it. He said, I will pay for everything. And I, you know, and then I felt
like I was performative and I didn't want to do it. And I said, no. And I backed away from it all.
I just, and I went to digital design and website and tech stuff. Cause I just really felt like I
didn't want to create something where I owed somebody. I was beholden in any way with creating
or anything like that. So that was part of my experience. I'm surrounded by, um, a lot of
different art, art groups. And, um, my mom is a, as an activist, as a feminist activist, um, and
hangs out with a lot of different artists types and, you know, artwork done by community members
as they build their sundome homes and, and solar, solar mud huts and things.
So, you know, I'm surrounded by that and a lot of different musicians.
So very strong musical family and, you know, brothers in bands.
I have five brothers and things like that.
I think the piece that you're thinking of was there's a First Nation artist.
I think she might that you're thinking of was there's a First Nation artist to her.
I think she's, she might be Cree.
And her name is Daphne Ojig.
I love Daphne Ojig.
If you really want to look at her art.
And I have an edition that was written.
It was dedicated to my, one of my uncles.
And I think that's the piece that I had shared.
Yeah, you did comment on that.
Now it's coming back to me so I had shared that you know I've been collecting art and been part of art for a whole of my life uh including a full-size picture framing studio
currently in my garage and a full-size loom so all of those things I have like I have a full
basement of of e-waste and all that stuff so it's all tied together uh but yeah uh artwork
oil paints i have my brother has one of my first paintings i did when i was 18 i think and it's a
full-size mural uh on canvas with oil paints so yeah i'm surrounded by that um in the culture of
you know there's a lot of you know we talked about a little bit about the cultural aspect so I've done some teachings where I incorporate back to saints uh point about um or query about
you know cultural the cultural things you know tying uh sci-fi into sharing ribbon skirt
teachings that was collected uh that was collected again also I think by flying eagle
so that when I was sharing ribbon skirt teachings and the
significance of that but it was in a it was my teepee in space so it's very kind of amoebic and
and spatial and and then the piece that I did recently by Flying Eagle again so it's like
there are people that what you know a one- one of one where it's very specific cultural teachings.
I did. I noticed that Yoshi put up some of the the collection I did with photography.
And so the idea is that when those collectors have that, that they are entitled to have an oral conversation with me to share oral histories,
which I talked again about is one of the things that are important for First Nations is the concept of giving time to somebody and having a conversation such as this
is something that I've incorporated into how I interact in Web3. So yeah, it's just very
beautiful. And thank you for the question. Daphne Oging, I love Daphne Oging.
Really great question. Thank you so much, everybody. this has been such a fun space thank you tp for
sharing your story and sharing so much about your culture and your art and i hope people will follow
along with the rest of your journey i hope people will reach out for your custom nft that they can
request is there anything else that you would like to say to the room before we close out today? Definitely put your express interest in the piece that I have up there.
It's called Shifting Energy, a piece that I created for the summer solstice just not long ago.
And it's just about kind of shifting energies, which I think is a nice, it's just a nice vibe.
So I'm offering
that to those that express interest. So it could be a, you know, three of three, and that's it,
that's all. Or, you know, we'll see. But yeah, it's just for it was meant it's going to be
just for those people that in the space. The other thing I want to acknowledge, I just realized,
as I see Ryan down there, for TezCon, I realized, I think you have one of my pieces up there,
which was a motherboard piece,
which was actually featured there.
So at TezCon, and that was,
I think there's still collections available on Taya for that.
So you might take a look.
I think they're very low editions, like 333.
I don't know, somebody collected some
and then sold it for, has them listed for 3.32. I don't know, somebody collected some and then sold it for what has
them listed for 3.32. I don't understand that logic. But there it is. So yeah, there's I of
course have quite a lot of collections. And I have things that I've unlisted because I want to
minimize that. So take a look. Maybe there's something there that is a one of one that you
could make an offer. take a look at my
current you know what it was listed for previously but I wanted to limit some of that and I also
wanted to say thank you very much miigwech for having me here and the languages that I share
is OG Cree and we are central Manitoba northern close Hudson Bay. So I've done artwork that's like related to that, talked about pieces.
I think there's pieces related to Hudson Bay and tokenism,
which is kind of the idea of Web3 and token and fiat and conversion and different things.
One beaver pelt is equal to one banana is equal to one tezos.
But thank you very much for everybody that came in and let me know if I can
help you with anything ever.
I'm here.
Absolutely.
A pleasure to have you.
And thank you.
And we are about to jam out to a song that I discovered this morning and I
hope you enjoy.
And then I hope you guys have a wonderful weekend.
Again,
this has been artsy Friday with Tezos Commons, speaking with TP.
Make sure to follow this amazing artist.
And next week, we hope to see you for our community call
so that we can just get all up on the stage,
just speakers, chatting, sharing the room,
spreading the love, talking about art.
Hope everybody has a lovely artsy weekend
and enjoy the song Reason the boy by chris as a gender
hmm Me, I really think, on a low key, raising the point
She be before when I know you get to know, notice me, notice me
To the pen, to the paper, put your words to the action
Put your faith to the test, all run out, can't predict what's next
The block on my skin like Oreos, remind me of a stain that never goes
Memories that never gets old constantly there
like a pin post so yes I had a land and if it wasn't for them then I wouldn't have been here
they're gonna wanna pull you down
they're gonna wanna pull you down
but you can't dictate and you can't control and you can't direct and you can't oppress and you can't hold and you can't suppress this
Frequency
They no one reason the boy
They act like C
They don't know me
This W's in the chat
They no one reason the boy
Then they act like safe
There no no me
Reason the boy
Me I really think
I'm a low key
Reason the boy
She be before when I know you to know
Notice me
Notice me
To the pen, to the paper, put your words to the action
Put your fate to the test, all run out, can't predict what's next
The block on my skin like Oreos
Remind me of a stain that never goes
Memories that never gets old
Constantly there like a pin post
Got used to taking L's, so yes I had a land
And if it wasn't for them then I wouldn't have been here
So I'm just gonna remind yourself They here They're gonna wanna pull you down
They're gonna wanna pull you down
But you can't dictate and you can't control and you can't direct and you can't oppress
And you can't hold and you can't hold and you can't suppress this frequency. There's no one reason.
Thank you guys again so much for tuning in to Artsy Friday.
Have a great weekend.
We'll see you next week.
Take care. Thank you.
