Internalized Oppression

in Trouble, streaming November seventeenth only on Hulu. Good Morning, peep Sin, Welcome to Okay after Daily with Me your Girl. Danielle Moody back recording live from our pod stream studios here in Times Square. Folks. It has been a long week, a long week, and I know that as we make it to every single Friday, find something today and every day, but find something at the end of this long week

to give gratitude for. It could be something small, it could be something you know, major that happened, But I want to offer up what I'm giving gratitude for today, which is this. Earlier this week, if you follow me on Instagram or Facebook, I posted about participating in an

intergenerational women's literary storytelling event. The theme for the event was the Other Me and how they describe The theme was saying that you know, in the month of Halloween, that let's talk about and bring to life our shadow selves. That there are so many different facets of ourselves, that we reveal two different people in different situations and bring that person to life with a real experience that you

have had. And you were given a maximum of twelve hundred words to write, and then you were then to perform that. And I decided for the first time ever outside of you know, casual mentions on woke AF, to talk about my divorce. Now, if you are a long time listener of woke AF, you have known all about my marriage, my ex wife, our advocacy work, all of

those things very well documented. But it was the first time that I wanted to share, since it has been a year since my divorce, the feelings of that moment that I decided that I wanted, one that I needed, one that I needed to find a way to in fact say myself, my spirit and restore my light. And so I wrote my piece and I took to the stage earlier this week, and I have never been more

proud of myself. And I find that we don't say those things enough, that we don't find moments and things each day as to why we are proud of ourselves and recognizing our growth and our desire to be better, to stretch, to move in different ways, to expand what it is who it is that we are. And this week I challenge myself. I challenge myself as a writer because I often only write about politics and the analysis

of that or our current affairs. I never really share anything that is deeply personal right about my emotions around things other than rage. And so this was an opportunity not only to creatively write and stretch myself as a writer, but a storyteller and as a person, as a person that went through what more than half of the country goes through each and every year, being as how fifty percent of marriages end in divorce. And it doesn't matter

if you're queer or not. And so I offer this to say that part of life is pain, right, is pain, and is tragedy. And I have moved myself into the belief that broken hearts are necessary because it allows us to build them back stronger, and it creates space for us to allow light to come in, and that we shouldn't run from that pain. We shouldn't run from tragedy. We should instead lean into it, not allowing it to consume us, right, but in allowing ourselves to feel it.

And that's what I did this week, and I hope that we can challenge ourselves more to do that because what it does is not only does it help us with our emotional health and well being, but it allows us to have empathy for others. Folks. I am so excited to welcome to wikate F for the very first time Dante Stewart, the author of the new book Shouting in the Fire. It is a stirring meditation of being black and learning to love in a loveless, anti black world.

The conversation that I had with Dante was so eye opening because we went through his spiritual journey and unpacking of a Christianity that would have him recognize that he was anti black, that he was making excuses for white supremacy, and that it was so nuanced in such a way that he thought for so long until he was called out by his friends and his family, that his attitude about black people, about the lie of pulling yourself up from the bootstraps, if only you would dress well and

respectability politics was part of the larger problem. And it was an extraordinary conversation. And the book is in fact breathtaking, as many will say. And Robert Jones Jr. Who we also had on Woke a f who goes by son of Baldwin and social media, said this about Dante's book. Only once in a lifetime do we come across a writer like Dante Stewart, so young and yet so masterful with the pen. This work is a thing to make

dungeons shake and heart's thunder, And it really is. This story Shouting in the Fire is Dante's reckoning and understanding of the legacy of white supremacy and how his own internalized anti blackness right seeped into all avenues of his life. And our conversation is a reflection of this journey as well as his book is. And I just think that man,

white supremacy is such a dangerous, dangerous drug. It is a dangerous, dangerous virus like COVID that is so catching that would have you hate the skin that you're in. You know, the other day we had Daily Beast columnist wajahat Ali on the show, and just recently he had tweeted his own journey in teaching his little brown daughter how to love her skin, because a few months ago she came to both him and his wife and said that she didn't like her skin, that she wanted it

to be lighter, that she was too dark. He said, how do you learn this at five and six years old? How does the grip of white supremacy reach you at that age? And I'll say it starts younger. And so he worked with her and his wife and you know, with more books about girls of color and you know, bravery and courage and beauty and you know, and reminding her and showing her how beautiful she really is, and so unprovoked months later she came and said, I love

my skin right. And that is a similar journey that Dante Stewart is on in shouting in the fire and in remembering, you know what it meant to take over an all white church as a preacher, and you know how he had this reckoning when George Floyd was murdered, and how the silence within his church was what finally began to stir him and had him asked the question about his feelings, his understandings of blackness, and so his journey began. And I will tell you that I really

really enjoyed this conversation. I think that you all will too. Please DM me and let me know you know what you thought about this and whether or not you have your own stories of internalized depression. If you are a person of color, was it about your skin color? If you you know, if you are from a marginalized community, what types of internalized oppression were you experiencing. Coming up

next is my conversation with author Dante Stewart. Folks, I am so happy to welcome onto Woke Apidaily author Dante Stewart, who has a new book coming out entitled Shouting in the Fire and American Eppstill, you refer to this as a strong meditation of being black and learning to love in a loveless anti black world. I can't tell you, Dante, how much this book is needed in this moment um. But before we get into the ills of the moment that we are currently existing, and talk to me about

what made this How did this book birth itself? How did you come to this place to to write Shouting and shouting to the fire. Oh I can't hear him, can you hear me? Yes? All right? Cool? Cool, cool. Well, first of all, thank you so much for having me

on UM. You know, I think I think what really birth this was you know, me trying to make sense of so much, you know that I was experiencing as a human being, as a person, um, but also what I had experienced in the past, you know, whether it be you know, traumatic events as a child, or going through college or even post college, and writing for me became a way, you know, to try and bring some type of coherence and what I was experiencing, trying to

interpret those experiences and bring something life giving out of those experiences while also being able to say that whatever happened to me is not the only thing or the most important thing about me. But there exists power within my own type of storytelling to take back those stories and rewrite it the way I want to write it. You know, there's this quote, um, that Elizabeth Alexander has and in one of my favorite books, The Black Interior, and she says about writing. She says, you know, as

a writer, this was my story. These memories are mine, and I let other people deal with it once I writing, And so for me it was about, you know, trying to write something that was honest and critical, reflective, imaginative and creative, you know, while also being uniquely mine. So yeah, that's probably that's probably kind of the way it was birth. But then also it was birth out of reading too. So I had read Key Essays book heavy, and I

read Jasmine Awards Men we read. And on top of that, you know, I was reading Um Jason's book, Jason Reynold's book, and then Sarah Brown joined the Yellow House UM. And so I'm reading all these books. I'm reading reading this and reading Bill Hooks, and I'm reading Alice Walker and Tony Morrison, the Baldwin U and even James Cone and Katie Cannon and the Emily Towns, just all these brilliant,

brilliant thinkers. And I felt inspired as a as a person to take up that work as well, to be a part of a noticeable tradition while also being uniquely uniquely me and telling the story in the way that it needed to be told. Talk to me about your experience in the church and you know, being that you wanted to be and were were a part of a what was it a largely white Episcopal church, right, Baptist

A Baptist church, excuse me, a Baptist church. But that the what happened during the time during the the uprisings right of twenty twenty what what? What? What shifted in in your experience? Talk to us, because there was a shifting that occurred. I mean there was a shifting. Obviously, there was a techtonic shift that occurred with with with

all of us. But what happened with you specifically and your relationship with your church and the parishioners um during that time, Well, that that journey really started, you know way, you know, in some sens years before then. And you know, it really started in twenty sixteen with the shooting of

Alton Sterling and Philando cast Still. And then, of course, like so many Christians in general, but particularly young black Christians in particular, UM, the moment of Donald Trump following those shootings, you know, and things has already happened since treyvon Martin. Um, you had both white and black churches wrestling with the question of what to do inside of a society that, uh did not just was not just

apathetic to black life, but was hostile towards us. And so we lived in a society that not only was hostile, but oftentimes this hostility was justified by ideas of morality or ideas of religious you know, purity. You know, whose bodies were meant to be loved and whose bodies were meant to be condemned? Uh and so and so this is this kind of theological or religious justification is the reason why so many people, even myself ashamedly blamed black

people for their death. So, like Mike Brown, I never forget. And I was living in California. I was riding with one of my dudes, a white brother over there in his car, one of my dudes back then, um, riding in his car and seeing what's happening in Ferguson. I was the type of person that was like, you know, you know, like what's wrong with black folks? You know why we acting like? Oh, no, I was that guy. I was that dude. Because I was about to say it,

I was like, wait, you are that guy? No, no, no, no, I own that, you know, And Okay, And that's a part that's a part of like why I felt like I had to write it the way I did is because like I'm not a hero of this story, Like I'm not the hero of this book. Like I'm just the person who tells it. I'm the person who experienced it. And I'm trying to, you know, make sense of it

as possible as much as I possibly can. And I think that, you know, especially you're talking about what shifted, and I think even in my own life, it was like being honest about who I was, about who I

was not, and who I was trying to be. You know, I was trying to be that person who was accepted um into white social and religious spaces, uh and who rejected and and and and distanced myself from so many black people that either I was raised about or that came into my life, you know, going to being at Clemson.

That's that's pretty much when all of it started, with me being immersed in white, white Christian spaces and and that kind of catalytic shift that you as you're talking about the ground beneath me sinking and rumbling, happened in twenty sixteen. And then you know, I read James Baldwin and I and I and I like to tell people, you know, if you if if you're black and white spaces,

and you read balding and critically. If you read Evalveing honestly and critically, there is no way possible to stay in white spaces and be okay with so much of what they think about black people and the way they treat us and the way they respond to us. And so during those moments of twenty sixteen twenty seventeen, you know,

I used this metaphor in the book of Running. I stopped running and or at least I stopped running in the direction of white people that I ran toward us because I feel, as the black feminist theorist Terry On Williams said that that our world, the way we black people build worlds, is as much a starting point as any other place. And I started to take seriously the worlds that black people were creating through literature, through art,

through dance, through through our religious experiences. And I knew that, you know, I could not, Yeah, I couldn't. I couldn't.

I couldn't shucking job for white people no more. You know what, be honest, what I really respect um your your your honesty, and the vulnerability with having to reconcile with the person that you were and the person that you are becoming right because I believe, you know, kind of in the in the sense that we were always in a state of becoming right, like we should always be in a state of becoming the next iteration of ourselves.

I grew up in a largely white suburb here in New York on Long Island, where I went to school with ninety six percent white kids, right like, the school district was ninety six percent white. Went to college a predominantly white institution. It wasn't until I was in my twenties did I start to reconcile with the things that I had been fed and taught. It wasn't as if I had a self hatred, but it was like this just nonchalant acceptance of white people and whiteness. And so

I want to press upon with you. You know, when you were having when these moments are happening in twenty sixteen and twenty seventeen, you know, did you have like community around black community around you or how or were you doing this reconciliation essentially absent of community because the community that you created was largely white. Yeah, well then a great question, great question. You know, so so much of what was happening to do that during that moment,

there were black people in that church. You know that so many of these churches, you know, so many of these spaces say we're trying to become diverse, we're trying to be mortiracial, we're trying to be multicultural, when in actuality, what that really means is that we're trying to do the bare minimum while including black people or non white people and get them maximum praise. So we're doing the most minimal work trying to get the maximum praise. And one of my one of my dudes said it said

it best, Yes, they said it best. He says, you know, white people, you know, uh, he says something real fun He said, you know, white people would rather you know, uh, you lose and you lose and you get the blame rather than you win and they get the credit. And I thought, I thought, so, I thought that was a brilliant, brilliant way to understand these dynamics that like it was

about us losing. It wasn't. No, it's like oh, you know, like hey, like you know, hey, here's a book you can read, here's a thing you can read, here's a documentary you can read. And so then it's like, Okay, we're all losing in this little space, and we're taking the blame for it because it was black people in that space. You know, I'm married, so my wife was there. Then my best friend Mole and her husband was there. But then there was also all the black people there.

And that's the dynamic, you know, that's the that's the interesting dynamic within those white spaces. Not every type of black personal blackness is accepted a lot of times. A lot of times, you know, there's this there's this colloquialism, especially you know, black people use it when we mostly many black people use it when we are in white spaces. It's that term black people are not a mono lift and we use it as a way to signal that I perform us of blackness in white space is legitimate.

We use it as a signal. It's not so much as a celebration of the different iterations of blackness and the expressions of our beauty or like Hanife Rights in his book Lived Devi in America, these kind of iterations of black performance. It's not a celebration of that, but it's a signal U to try and legitimize our form of blackness without realizing that the form of blackness that

we are actually having is all the same. We might be black and might be different from one another, have different experiences, but the certain type of blackness that's accepted in those spaces, whether we're in church, it's the same. Whether we're in church, whether we're in school, whether we whether you're whether it's the same and so and so, Yes,

black community was there. But also, and this is the thing we need to talk about, a lot of us need to talk about, is the ways in which our black maleness, uh tech and empower a certain type of whiteness in that space. So we black men even though I was I was leading a group, you know, and things like that on this book raised by white dude, I was leaving the group and I ain't even read nothing on race. And this is like in twenty sixteen,

twenty seventeen, I'm leaving this book group. I ain't read nothing, gonna raise this this white man leading this white man book we're reading and things like that. And I'm this black dude who's charismatic, raised Pentecostal, went to white university. I know how to maneuver in spaces or whatnot. And so then my type of me as a symbol becomes

very relevant to what white people want to protect. And it's a certain type of innocence that they have, you know, an evasion of racism, of white supremacy, while paradistically looking like they celebrating us, when in actuality, they're celebrating a certain type of ignorance, which is pretty much what we black men were performing in that space. And then the only only, the main reason why I change was my wife, and the book was crazy. It's like I was honest

about this too. Like they're gonna be moments. They could be moments where people read this book and they're gonna be like they're gonna be like, oh my business, Like like we're grateful for you, we're proud of you, but like there are moments where like, you know, I took my wife through things in that space that I never

should have. And if it had not been for my wife, you know, and the other black women who were like getting me together, if it wasn't for my wife and for my friend Mole and for my friend and Kayla, if it wasn't for them, you know, there would be no this right now. There would be no change, I would still be there preaching the same way, thinking the same way, act the same way. But if it had my moth for them, how did they? How did they?

What are some ways in which without you divulging to and what are some ways that they challenged your your your way of thinking that was challenging this this growth that was happening. Yeah yeah, yeah, yeah yeah. Okay. So one one thing in particularly that I bring that that I that I show in the book, you know, particularly

with my wife. I talk about my wife and I talk about michaela uh particularly so like you know, the the further I got into white spaces because you know, I said, you know, I want to go on ministry. I want to go in ministry, you know, and things like that. It's like black it's like black people who you say, you know, we gotta make it, we gotta make it, you know. And and the crazy part is the way we grow up, you know, they tell us.

You know, that's the message, that's the story that we inherit is that in order for you to make it, you have to get closer to white people. In order for you to be closer to God, you know, you got to be closer to white people. In order for you to be closer to Jesus, you gotta be closer to white people. In order you got to be closer to financial liberation and literacy, I gotta be closer to

white people. You gotta be like white people. And so we inherit these messages that to be closer to them is to be closer to the things that will make

us feel worthy and love. And so the further I got into those spaces, you know, in ministry and writing and friendship and community, et ceteras, etcetera, the more of my wife is like sending me messages like through like like like you know, like the unspoken message, you know that that that that that so many times we received like yo, you're out of line, Like you're out of line. And I'll never forget when MICHAELA one of my co workers, I was at work and we were talking about the election.

I was talking about reconciliation with white people and things like that, and I'm like, white people changing, white people changing, white people changing, you know, and then I started spelling off the same kind of anti black rhetoric or whatnot. And I and I undershamingly, you know, back then in that moment, I was anti black, undershaming like I was anti black. I I literally my ideology was anti black. My view of black people was anti blackee. I learned

from that. And when you when you say that, when you say that I was anti black, is it your understanding that you believed that the situations that black people would find themselves in, whether it be in poverty, whether it be in poor health, whether it be an incarceration, that that was a product of behavior as opposed to systemic racism. Oh oh, without question. Yeah, I was that guy.

I was that person. I was that I know, I know that's the craziest thing, like like, but that's the real, that's the real though, that's the real, right I was. I was that person. I literally was that person that you know, and that was and literally that's what I It was that night. It was that night when I was talking to MICHAELA and I said something like to that, to that effect, you know, and that like you know, like white people changing and things like that, and we

won't get better until we do better. And then MICHAELA, I'll never forget MICHAELA told me she looked me in my eye. I'll never forget this night he said, STU, you ain't got a damn thing to offer black people. And I'm this dude in this white church, like reading, writing, preaching, leading, and MICHAELA, you know, tells me you don't got a damn off for black people. I go home. I'm pissed off.

I still. I started to go complain to my wife, and she tell me, see, you're always listening to everybody else when I've been telling you this whole time nothing and that thing when I say yo, then yeoh, when I say that was a dagger, like that was a dagger. And I had two choices in that moment, to two main choices. Either I can listen and get better and

from my way into some type of wholeness. Or I could still be that person and remain the same and be a weapon that used against us and that protects white people. Come and for me and for me, you know, I didn't want to be a weapon anymore. I wanted to be loved. I didn't. I didn't want to be a weapon. You know. I think that it takes a lot.

And and this is this is where it says, you know the problem that we're in right now in our society is in this very fixed state where you have one political party, aggressive rage filled white folks who are so fixed in their sense of self that there is no ability to growth, to grow and expand there's no nimbleness,

there's no m desire to learn. There is just this belief that there is We come from the scarcity model that there is just not enough and so we must all hold on to everything that we have and there is no there is no wholeness, right, And I think that where this is where we are. We're in that space where it's just like we have a choice, like the two choices that you had in front of you.

Either we can recognize how white supremacy has played a part in every single facet of our lives since the birth quote unquote birth of this nation, or and then reconcile with that truth, or we can just pretend that all is okay. Equities, it exists, and we're making and we're okay with incremental change every decade or so. Right, Like, it's like that's the moment that you had personally, it's a moment that I feel that we are in as

a country. No, without question, Yeah, without question, that's that's real. That's real, and I think and I think that's the challenge too, though, is that oftentimes we characterize these moments still centering whiteness. So like so like Toronto Burke says it best, and I thought this thing shook me when I read it, Like when when in that book you are your best thing when a shame of vulnerability with Burnee Brown. It was a little obscure comment, but it

was a powerful comment. You know, she was like yo in that opening conversation, She's like yo. Like in twenty twenty, so many people was like, you know, they were talking about anti racism, but nobody really was talking about black humanity and what all this does to us? M like like and that's the thing, It's like, and that's the crazy part about Like, that's the crazy part about changes that like we can change, but like does who does our change benefit? That? That's the that's that's that's what

that's the question I needed to rustle with. That's the question. You know, that that that that I was forced to reckon with is Okay, there is a thing called change. You know, I'll tell your butler, let's say, you know, all everything is everything, yeah Godge, Yeah, yeah, yeah, yeah, yeah, you know, it's like, you know, everything is changing. We change it, were constantly evolved, we're constantly moving, we're constantly shaking.

Things are happening, and we're changing. And once we make that choice to change, the question then becomes and what direction does that change move us? And who does that change benefit? Because it's a way to change that's performative, and we see this, We saw it in we saw twenty twenty and right now, particularly when you're talking about corporations and the way that they are exploiting, you know,

black people and our stories. It's like our country is incredible at exploiting black stories, but terrible at loving black people. It's like it's like this whole idea of you know, it's like it's like this whole idea of you know, we need to change, we need to move, we need to make things happen, and things like that. But then you look down six months, ten months, a year, or two years down the road and you realize, like, dang, bro, they ain't nothing asked for it. That's not what we

ask for. That's not the type of change we ask for. And it's like, okay, everybody, like like people can can quote like certain books on whiteness and its fagility without me being too messy, you know or whatnot. But you know, people ain't really reading us. They ain't They ain't talking about the ways we build the world and make the world and shake the world, and so like, you know, that probably was the biggest thing about my change. And I think about this country, that that what I want.

You know, so many people talk about, you know, what do you want for the country, And they always asking black people, you know, what do y'all want for the country? What do you want for the country. You know, we want to be human, we want to be protected. And I'm like, I'm like, my answer, I just want to be free, free, not free ish. I like to just

be free. Yeah, I want to be free. I want to I want in some sense, like for us to not have to be in performance or in pain or dead in order for us to be celebrated and protected. Like like like they should not have to We should not have to be perfect. No, like like when Makaya Bryant and everybody was like, you know, oh, well she had this, oh we she had that. Well, she should not have to be perfect in order for her to

stay alive. Correct, correct, and it's like, you know, I think that black people are given obviously we know this

given very few choices in this country. Right, It's either perfection or pain, right, Right, So either we want to see crying black mothers on TV because we believe in black trauma as our porn, or we want you to perform undeterred and like a robot and once like and I think I and I think about you know, Simone Biles in this moment, right, we're her stepping back and being like, I'm not performing for you, like this is like, this is about my emotion about my mental health, right

and being able to and being able to own that right and take and take your power back. Um, don't take you know for this for this book? You know, what are your what are your hopes that people walk away with um it in you know, really digesting your word? What what what are you hoping that people take away? Yeah?

I hope people first of all, you know, once they read it and finish it, I first hope they say, like, God, I leave that dude, right, Like that's it, you know, you know, you know that's that's that's like because because I want to get better as a writer, I feel like, you know, I'm good at what I do. I feel like I'm decent at what I do. But like, I really want people when they first walk away, when they get to that last page, you know, I want them to feel jas Award. I want them to feel down

there more. I wanted to feel Disa Field y'all and Robert Jones and Kisa and Jason uh and Marries and just all these and Sarah and and Tony Kade and James Baldwin and Tony and and Tony Morrison and Alice Walker. I want them to be able to say, like, yo, like this is a this feels noticeable, this is a noticeable type of work of literature or whatnot. So I wanted the first and foremost say like yo, like hey, that was an experienced like like like that was that

was really good. But also I want people to walk away saying like, damn, that book was black, Like that was such a black book, but like also that was such a beautifully meaningfully Christian book, like that's that's that's

who I am as well. I'm a black Christian. And so I want people to like say, like I wash true to who I was as a person, as a preacher, as a lover, as a husband, as a father, like I wanted to walk away and realize that, Yo, you really loved us with this work, and you loved us because you were so vulnerable, you were so honest, and you took our black lives and our black worlds, and you you took us seriously, and you, by the end of the page, by the end of the book, you

did something like June Jordan at the end of that poem, I am black, alive and looking back at you. So that's why I want. That's my whole is that is that they say, yo, like I feel more alive, I feel beautifully black. I don't have to be perfect. I'm not a hero. I'm worthy of love and liberation and the best that anybody in this country. That's the awful

I love that. My last question for you is for other black folks that may find themselves struggling between worlds in the way that you found yourself and in the way many of us right have found ourselves at one point or another, vying for the acceptance but doing it in a way that is detrimental to the self. What advice do you offer to those people that may listen to this and don't even they may not even recognize that they're in the struggle, but they are. What advice

do you give them? The same question that I constantly you know, I have had to ask myself who benefits from what I'm doing? Who benefits in the end, who centered? Who is centered in what I do? And in some sense, if what I did succeeded, who will be there to celebrate with me? That's a question. If what I did, whatever I'm doing, if it's succeeded, who will be there?

Like Lucille Clifton, won't you come celebrate with me? Who's gonna be thold people around you to celebrate the type of life you created and out of that life that you created and the models, whether you had them or not, based on like what she said, who benefits from that? And who will celebrate with you? And that in some sense would tell you what you are prioritizing and whose

world you're trying to make beautiful and better? And for me, I hope that the people that are being able to be celebrating with us are black people first and foremost, Like unashamedly, I won't black vocal part of that community.

Who's celebrating. But I also know that as June Jordan and all these beautiful writers, and Tony Morrison and James Baldwin, I want a kaleidoscope of people who can who can be celebrated, whether they're gay or straight, whether the sisters or trans, whether they're immigrant or indigenous, whether they're rich or poor, whether they're there they're rule or in the city,

whether they're young or whether they're old. I want a kaleidoscope of people to be able to look around and see themselves in our stories, in our stories, in our stories, in the stories we tell ourselves and realize that, Yo, whatever we are, it's enough, and it's enough to make us better than the world that we inherited. So that's probably mine. Yeah, that's all I got. I love it, and I love this conversation so much. Dante Stewart, the

book is shouting in the fire and American Eppsol. Dante Stewart, thank you so much for making the time to join Woke F. I really appreciate you, and I wish you tremendous success with your with your book, and I hope that you will come back and join us again. Oh you know that, Daniel come on, I'm coming through. I'm in the building. I'm in the bud whenever you need me, and I'll make sure show up all time. I love it, I love it, I love it. I'm from the South.

I'm from the South. So we got a fifteen minute, great period, that's true. That's true. That and you're black, so like you know, I'll even give you twenty minute. I appreciate you, thank you so so so much, um and where I'm excited for you for show, for show, Thank you, sister, bless you. That is it for me today, dear friends, on this woke f I wish you a happy, healthy, recharged weekend and I will see you back here on Monday.

As always, Power to the people and to all the people. Power, get woke and stay woke as fuck.