The big questions of philosophy, simmering since antiquity, still press upon us as they did the Athenians of old (and all ancient people who have philosophized): what obligations do we really owe to family, friends, or strangers? Do we live as free agents or beings controlled by fate or the gods (or genes or a computer simulation)? What is a good life? How do we create societies that maximize freedom and happiness (or whatever ultimate values we hold dear)? What is language, what is art, and where did they come from?
These questions may not be answered with a brute appeal to facts, though without science we are groping in the dark. Religion takes big questions seriously but tells converts to take its supernatural answers on faith. “Between theology and science there is a No Man’s Land,” writes Bertrand Russell, “exposed to attack from both sides; this No Man’s Land is philosophy.” Philosophy reaches beyond certainty, to “speculations on matters as to which definite knowledge has, so far, been unascertainable.” And yet, like science, “it appeals to human reason rather than authority.”
The concerns of philosophy have narrowed since Russell’s time, not to mention the time of Socrates, put to death for leading the youth astray. But professors of philosophy still raise the ire of the public, accused of seducing students from the safe spaces of sacred dogma and secular utility. “To study philosophy,” wrote Cicero, “is nothing but to prepare oneself to die.” It is a poetic turn of phrase, and yes, we must confront mortality, but philosophy also asks us to confront the limits of human knowledge and power in the face of the unknown. Dangerous indeed.
Should you decide to embark on this journey yourself, you will meet with no small number of fellow travelers along the way. Bring some earphones, you can hear them in the trove of 88 philosophy podcasts compiled on the philosophy website Daily Nous. “How many philosophy podcasts are there?” asks Daily Nous, who brings us this list. “Over 80, and they take a variety of forms.” See 15 below, with descriptions, see the rest at Daily Nous, and enjoy your sojourn into “no man’s land.”
5 Questions (interviews about philosophers themselves w/ Kieran Setiya)
Embrace the Void (conversations w/ Aaron Rabinowitz)
Getting Ethics to Work (interviews and discussion w/ Andy Cullison and Kate Berry
Hi-Phi Nation (edited narratives w/ Barry Lam)
The History of Philosophy without any Gaps (mix of monologues and interviews w/ Peter Adamson)
New Books in Philosophy (interviews w/ Carrie Figdor, Alexus McLeod, Marshall Poe, & Robert Talisse)
Partially Examined Life (“reading group” discussions w/ Mark Linsenmayer, Seth Paskin, Wes Alwan, & Dylan Casey)
Philosophy Bites (short interviews w/ David Edmonds & Nigel Warburton)
Philosophy Talk (conversations w/ Stanford Faculty incl. John Perry, formerly Ken Taylor, Ray Briggs, Debra Satz, Josh Landy, et al.)
Political Philosophy Podcast (interviews w/ Tobias Buckle)
Philosophers On Medicine (interviews w/ Jonathan Fuller)
Reductio (edited narratives w/ Andrew Lavin)
SCI PHI (interviews w/ Nick Zautra)
Unmute (interviews w/ Myisha Cherry)
Very Bad Wizards (conversations w/ Tamler Sommers & David Pizarro)
See the full list here. And explore our collection of 200 Free Online Philosophy Courses here.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
88 Philosophy Podcasts to Help You Answer the Big Questions in Life is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
When was the last time you saw a Surrealist (or even just a surrealist) painter appear on national television? If such a figure did appear on national television today, for that matter, who would know? Perhaps surrealist painting does not, in our time, make the impact it once did, but nor does national television. So imagine what a spectacle it must have been in 1950s America, cradle of the “mass media” as we once knew them, when Salvador Dalí turned up on a major U.S. television network. Such a fabulously incongruous broadcasting event happened more than once, and in these clips we see that, among the “big three,” CBS was especially receptive to his impulsive, otherworldly artistic presence.
On the quiz show What’s My Line?, one of CBS’ most popular offerings throughout the 50s, contestants aimed to guess the occupation of a guest. They did so wearing blindfolds, without which they’d have no trouble pinning down the job of an instantaneously recognizable celebrity like Dalí — or would they? To the panel’s yes-or-no questions, the only kind permitted by the rules, Dalí nearly always responds flatly in the affirmative.
Is he associated with the arts? “Yes.” Would he ever have been seen on television? “Yes.” Would he be considered a leading man? “Yes.” At this host John Charles Daly steps in to clarify that, in the context of the question, Dalí would not, in fact, be considered a leading man. One contestant offers an alternative: “He’s a misleading man!” Few titles have captured the essence of Dalí so neatly.
https://www.youtube.com/watch?v=YwMs9HBFp_4
The artist, showman, and human conscious-altering substance later appeared on The Mike Wallace Interview. Hosted by the formidable CBS newsman well before he became one of the faces of 60 Minutes, the show featured a range of guests from Aldous Huxley and Frank Lloyd Wright to Eleanor Roosevelt and Ayn Rand. In this broadcast, Wallace and Dalí discuss “everything from surrealism to nuclear physics to chastity to what artists in general contribute to the world,” as Brain Pickings’ Maria Popova describes it. A curious if occasionally bemused Wallace, writes The Wallbreakers’ Matt Weckel, “asks Dalí such gems as ‘What is philosophical about driving a car full of cauliflowers?’ and ‘Why did you lecture with your head enclosed in a diving helmet?'” But they also seriously discuss “the fear of death, and their own mortality,” topics to which American airwaves have hardly grown more accommodating over the past sixty years.
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
Salvador Dalí Gets Surreal with 1950s America: Watch His Appearances on What’s My Line? (1952) and The Mike Wallace Interview (1958) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
You can call Quentin Tarantino a thief. Call him unoriginal, a copycat, whatever, he doesn’t care. But if you really want to get him going, call him a tribute artist. This, he insists, is the last thing he has ever been: great directors, Tarantino declares, “don’t do homages.” They outright steal, from anyone, anywhere, without regard to intellectual property or hurt feelings.
But great directors don’t plagiarize in the Tarantino school of filmmaking. (Pay attention students, this is important.) They don’t take verbatim from a single source, or even two or three. They steal everything. “I steal from every single movie ever made,” says Tarantino, and if you don’t believe him, you’ll probably have to spend a few years watching his films shot by shot to prove him wrong, if that’s possible.
But, of course, he’s overstating things. He’s never gone the way of blockbuster CGI epics. On the contrary, Tarantino’s last film was an homage (sorry) to an older Hollywood, one on the cusp of great change but still beholden to things like actors, costumes, and sets. Maybe a paraphrase of his claim might read: he steals from every movie ever made worth stealing from, and if you’re Quentin Tarantino, there are a lot of those most people haven’t even heard of.
The Cinema Cartography video essay above, “The Copycat Cinema of Quentin Tarantino,” begins with a reference not to a classic work of cinema, but to a classic album made two years before the time of Once Upon a Time in Hollywood. The cover of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band is “a signifier of the artist’s status as an icon within a social milieu… this image more than anything explores the social ambiance in which someone lives in pop culture before becoming pop culture themselves.”
To suggest that the Beatles weren’t already pop culture icons in 1967 seems silly, but the visual point stands. On the cover of Sgt. Pepper’s they eclipse even their earlier boy band image and freshly insert themselves into the center of 20th century cultural history up to their present. “Understanding this idea,” says narrator Lewis Michael Bond, “is fundamental to understanding the cinema of Quentin Tarantino.” How so?
“All artists, consciously or unconsciously, take from their influences, “but it’s the degree of self-awareness and internal referencing that would inevitably bring us to the concept of postmodernism.” Tarantino is nothing if not a postmodern artist—rejecting ideas about truth, capital T, authenticity, and the uniqueness of the individual artist. All art is made from other art. There is no original and no originality, only more or less clever and skillful remixes and restatements of what has come before.
Tarantino, of course, knows that even his postmodern approach to cinema isn’t original. He stole it from Godard, and named his first production company A Band Apart, after Godard’s 1964 New Wave film Band of Outsiders, which is, Pauline Kael wrote, “like a reverie of a gangster movie as students in an espresso bar might remember it or plan it.” Tarantino’s films, especially his early films, are genre exercises made the way an adrenaline-fueled video store clerk would make them—stuffing in everything on the shelves in artful pastiches that revel in their dense allusions and in-jokes.
In this school of filmmaking, the question of whether or not a filmmaker is “original” has little meaning. Are they good at ripping off the past or not? When it comes to exquisite, bloody mash ups of exploitation flicks and the revered high classics of cinema, no one is better than Tarantino.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Quentin Tarantino’s Copycat Cinema: How the Postmodern Filmmaker Perfected the Art of the Steal is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
The global pandemic has revealed the depths of systematic cruelty in certain places in the world that have refused to commit resources to protecting people from the virus or refused to even acknowledge its existence. Other responses show a different way forward, one in which everyone contributes meaningfully through the principled actions of wearing masks and social distancing or the principled non-action of staying home to slow the spread.
Then there’s the critical role of art, design, and music in our survival. As we have seen—from spontaneous balcony serenades in Italy to poignant animated video poetry—the arts are no less crucial to our survival than public health. Human beings need delight, wonder, humor, mourning, and celebration, and we need to come together to experience these things, whether online or in real, if distant, life. Ideally, public health and art can work together.
Japanese designer Eisuke Tachikawa has put his skills to work doing exactly that. When cases began spiking in his country in April, Tachikawa and his design firm Nosigner made some beautifully designed, and very funny, posters to encourage social distancing as part of an initiative called Pandaid. Then they created Super Mario Brothers coin stickers to place six feet (or two meters, or one tuna) apart. In its English translation, at least, the text on Nosigner’s site is direct about their intentions: “As this continues we wanted to value-translate the social constraints of social distancing into something positive and enjoyable.”
Tachikawa and Nosigner have “developed a brand,” they announced recently, called SOCIAL HARMONY “in order to spread the culture of social distancing in a humorous way.” Their latest installation, however, does not incorporate jokes or Nintendo references. Rather it draws on one of the most popular and beloved pieces of minimalist classical music, Erik Satie’s “Gymnopédie No. 1” (proclaimed by Classic FM as “the most flat-out relaxing piece of piano music ever written”). “People stand on a large music sheet on the floor and notes are played the moment you step on them. By respecting social distances and going one note at a time, the public is able to play” Satie’s piece.
Even for such a succinct composition, this must require a rigorous amount of coordination. But it is necessary to play the notes in order: “Since the melody changes with every stop, one can create one’s own Gymnopédie No. 1, since the played melody changes with every step.” The piece was installed at the entrance hall to the Yokohama Minatomirai Hall for DESIGNART TOKYO 2020, where it will remain until the end of the year. Surely there will be other forms of “social harmony” to come from the Japanese designers. Like the practice of social distancing itself, we can only hope such projects catch on and go global, until the widespread vaccination and an end to the pandemic can bring us closer again.
via Spoon & Tamago
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Japanese Art Installation Lets People Play Erik Satie’s “Gymnopédie No. 1” As They Walk on Socially-Distanced Notes on the Floor is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
If you’ve seen any Hollywood movie set in ancient Egypt, you already know how its language sounded: just like English, but spoken with a more formal diction and a range of broadly Middle-Eastern accents. But then there are many competing theories about life that long ago, and perhaps you’d prefer to believe the linguistic-historical take provided in the video above. A production of Joshua Rudder’s NativLang, a Youtube channel previously featured here on Open Culture for its videos on ancient Latin and Chinese, it tells the story of “the many forms of the long-lived Egyptian languages,” as well as its “ancestors and relatives,” and how they’ve helped linguists determine just how the ancient Egyptians really spoke.
Rudder begins with a certain artifact called — perhaps you’ve heard of it — the Rosetta Stone. Discovered in 1799 during Napoleon’s campaign in Egypt, it “bore two Egyptian scripts and, auspiciously, a rough translation in perfectly readable Greek.” Using this information, the scholar Jean-François Champollion became the first to decipher ancient Egyptian hieroglyphs. But as to the question of what they sounded like when pronounced, the stone had no answers. Champollion eventually became convinced that the still-living Coptic language was “the Egyptian language, the very same one that stretches back continuously for thousands of years.”
Though Coptic sounds and grammar could provide clues about spoken ancient Egyptian, it couldn’t get Champollion all the way to accurate pronunciation. One pressing goal was to fill in the language’s missing vowels, an essential type of sound that nevertheless went unrecorded by hieroglyphs. To the archives, then, which in Egypt were especially vast and contained documents dating far back into history. These enabled a process of “internal reconstruction,” which involved comparing different versions of the Egyptian language to each other, and which ultimately “resulted in an explosion of hieroglyphic knowledge.”
But the journey to reconstruct the speaking of this “longest written language on Earth” doesn’t stop there: it thereafter makes such side quests as one to a “pocket of Ethiopia” where people speak “a cluster of languages grouped together under the label Omotic.” Along with the Semitic, the Amazigh, the Chadic, and others, traceable with Egyptian to a common ancestor, these languages provided information essential to the state of ancient Egyptian linguistic knowledge today. Given the enormous amount of scholarship required to let us know what to call them, it’s enough to make you want ankhs to come back into fashion.
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
What Ancient Egyptian Sounded Like & How We Know It is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
Flash is finally dead, and the world… does not mourn. Because the announcement of its end actually came three years ago, “like a guillotine in a crowded town square,” writes Rhett Jones at Gizmodo. It was a slow execution, but it was just. So useful in Web 1.0 days for making animations, games, and serious presentations, Flash had become a vulnerability, a viral carrier that couldn’t be patched fast enough to keep the hackers out. “Adobe’s Flash died many deaths, but we can truly throw some dirt on its grave and say our final goodbyes because it’s getting the preservation treatment.” Like the animated GIF, Flash animations have their own online library.
All those lovely Flash memes—the dancing badgers and the snake, peanut butter and jelly time—will be saved for perplexed future generations, who will use them to decipher the runes of early 2000’s internet-speak. However silly they may seem now, there’s no denying that these artifacts were once central constituents of pop culture.
Flash was much more than a distraction or frustrating browser crasher. It provided a “gateway,” Jason Scott writes at the Internet Archive blog, “for many young creators to fashion near-professional-level games and animation, giving them the first steps to a later career.” (Even if it was a career making “advergames.”)
A single person working in their home could hack together a convincing program, upload it to a huge clearinghouse like Newgrounds, and get feedback on their work. Some creators even made entire series of games, each improving on the last, until they became full professional releases on consoles and PCs.
Always true to its purpose, the Internet Archive has devised a way to store and play Flash animations using emulators created by Ruffle and the BlueMaxima Flashpoint Project, who have already archived tens of thousands of Flash games. All those adorable Homestar Runner cartoons? Saved from extinction, which would have been their fate, since “without a Flash player, flash animations don’t work.” This may seem obvious, but it bears some explanation. Where image, sound, and video files can be converted to other formats to make them accessible to modern players, Flash animations can only exist in a world with Flash. They are like Edison’s wax cylinders, without the charming three-dimensions.
Scott goes into more depth on the rise and fall of Flash, a history that begins in 1993 with Flash’s predecessor, SmartSketch, which became FutureWave, which became Flash when it was purchased by Macromedia, then by Adobe. By 2005, it started to become unstable, and couldn’t evolve along with new protocols. HTML5 arrived in 2014 to issue the “final death-blow,” kind of…. Will Flash be missed? It’s doubtful. But “like any container, Flash itself is not as much of a loss as all the art and creativity it held.” The Archive currently hosts over 1,500 Flash animations from those turn-of-the-millennium internet days, and there are many more to come. Enter the Archive’s Flash collection here.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
The Internet Archive is Saving Classic Flash Animations & Games from Extinction: Explore Them Online is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
So today's a more serious video. One of my close friends and part time YouTube sensation NFKRZ, know to some of you as a bunch of fucking letters, has come under attack recently. Now if you don't give shit about YouTube drama which hopefully applies to most of you, go watch another clickbait video of mine where I react to a man eating Doritos or some random shit that no one actually cares about. Anyway, to the few that actually do give a shit about the Russian pig, let's get started.
So recently the YouTube sensation NFKRZ has came under fire and he's had loads of his videos striked and he's actually had to private many more to protect them from being striked. Now like most youtubers I wouldn't give a shit about the drama because it doesn't directly affect me, but NFKRZ said he'd release my nudes to the garden gnome if I didn't comply. So I've been kinda forced into a corner here. To those that don't know, NFKRZ has had legal problems with his channel recently.
The music he uses in his gay vaporwave intro has been claimed by the original artist of the song bbrainz and CASTING. And that should be the end of the story, pretty much. The greasy Russian pig used someone's music without their permission and they should have every right to remove the content in question. NFKRZ should hopefully shut down his entire channel and work on a Russian farm, earning one CS Go skin an hour to feed his skin insanity on betting sites but unfortunately there's more to it than that.
I've been sent emails and chat logs between bbrainz, CASTING and NFKRZ, and the original creator of the song, bbrainz actually gave NFKRZ permission to use the song. And the song itself is called bbrainz - home design featuring CASTING. So in fact the CASTING guy who gave NFKRZ permission was the majority owner of the song and CASTING was just featured in the song. So even though bbrainz gave NFKRZ permission, why did he get all his videos taken down? Well that wasn't planned by bbrainz, it was CASTING.
Some say that CASTING himself came from the depths of hell to seek revenge on NFKRZ. After he beat CASTING in a 1v1 hunger games on Minecraft. Unfortunately I can't play the song in question because CASTING will probably file a complaint on my channel saying I molested his work like a baby squid in a dumpster, so I attempted to recreate the music in question. Now originally CASTING contacted NFKRZ basically demanding payment for using his song and some form of license.
Now I find this extremely ironic because the 'home design' song is stuck all over YouTube by extremely small youtubers with like ten or twelve subs and CASTING has never had a problem with them, the videos were never striked or removed. The fact that he's targeting NFKRZ alone makes me believe that this was solely money orientated and CASTING wanted to use NFKRZ to buy an overprized licence so he could get a goldplated mansion while playing Call of Duty at three in the morning and spamming Skrillex outside his window. CASTING asked NFKRZ to pay him a 1000$ so he's able to use the music in his videos threatening to copyright strike every single video if he didn't comply. Already this seems pretty much retarded.
NFKRZ then called CASTING out saying that 1000$ was way too much for a small time music producer licence and CASTING immediately nearly halfed the price which seemed really sketchy. When you make a deal, you usually stick to it and then maybe reduce the price to sweeten the deal or make it a bit smoother not reduce the price by nearly half. In my opinion I think NFKRZ caught on that he was getting scammed by CASTING. And CASTING panicked and lowered the price to something way, way lower.
At this point NFKRZ pretty much stopped responding to the emails because he thought CASTING was being too sketchy with his rapid price changes and basically threatening to strike his videos with no actual proof. CASTING then sent two final emails to NFKRZ. 'Can we get a response?' Then a few hours later 'Ok, bye'. And then CASTING pretty much knew that he wasn't gonna scam someone out of a 1000$, so he went out of his way to attempt to strike every single video NFKRZ used the home design song in.
Now remember at this point bbrainz didn't care. He actually gave NFKRZ permission to use the song. This is the guy that created the song and the guy that's featuring in the song is the one that's attacking NFKRZ. So at this point hopefully most of you understand how broken CASTING's argument is.
So CASTING files out all these copyright strikes on NFKRZ, and because we all know that the YouTube copyright system is absolutely broken, it instantly worked and a lot of videos were removed. NFKRZ then panicked and he had to private pretty much every single other video that had the home design song in the intro. Now what I wanna say to CASTING personally is, why would you go out of your way to shit on this guy's channel? This guy that used a small fraction of your song. A song that you featured in, by the way.
A song that you didn't entirely create by your own. A song that you featured in. You went out of your way to strike this guy. You didn't claim monetization.
You went out of your way to publically disrupt his channel by striking his videos. You could've claimed the monetization on the videos, but no. You striked them instead. And dude let's be fair, even if you had the right to strike NFKRZ's videos, why would you do it? You know I see people reuploading what I'm saying to other YouTube videos, quotes of said and stuff that I've done in videos.
I don't go striking them because I'm not an asshole. If you feel that your rights are infringed you could've dealt with it a lot more maturely. Like for example offering something that wasn't a thousand dollars, which is like more closer to a Kanye West record deal, then a small time producer. Clearly what's happened is, you've tried to scam a kid when he should've payed about 200-300$, you charge him a thousand.
The kid catches on and then you try to lower it so he doesn't panic and stops responding to you. He does stop responding to you and then you lash out and start striking his videos so he's forced to engage with you. If anything, this is just complete harassment. He's literally forcing NFKRZ to get involved with this drama.
Honestly if you want my opinion on what I think CASTING should do is, just drop the whole thing. NFKRZ will stop using the home design song in his intros, but it needs to be dropped. There shouldn't be this ridiculous amount of a 1000$ that needs to be paid out to anybody. You featured in the song, you didn't create it entirely by your own.
And bbrainz has clearly said that he doesn't care and NFKRZ can freely use the song. Like for example the song I use in my intro, Whitewoods - Beachwalk, they didn't care. They're really nice guys that made the song and they didn't care if I used it or not. And the Whitewoods - Beachwalk video on YouTube nearly has a million views and that's a lot of revenue guys.
So because they didn't demand money from me for some kinda licence I got to use their music freely and it got promoted more. So on the long run they got more money. I've also been sent a chat log between bbrainz and CASTING. Obviously I've blurred out the names cause you know, I'd be a retard if I didn't do that.
Bbrainz starts off by linking NFKRZ on Socialblade saying how much money he makes off their intro and outro. Firstly, comparing someone's Socialblade to their actual YouTube channel is probably one of the worst things you can do. Websites that indirectly guess youtuber's analytics are amazingly inaccurate because they don't have direct access to the analytics. CASTING then says 'let's try and get him pay a 1000$' and bbrainz says 'you think hey'd give out that much? It's a lot, i mean he could just use another song' and even goes to say he has a thousand daily plays on Soundcloud and about 700 come from that track.
Even admitting that NFKRZ is giving bbrainz some kind of promotion. And that's when CASTING basically forces NFKRZ into an ultimatum. If he ignores the offer, he would report his channel. He'd lose his channel.
Basically saying that if he didn't comply with what he wanted, he'd go out of his way to destroy NFKRZ's channel. Even saying he earns between 800 and 13 000 euros estimated monthly earnings, which again he ripped from Socialblade and I've already said how inaccurate and broad that is. This guy is literally using Socialblade analytics to make his judgment on how much a channel earns a month. The fat retard NFKRZ has actually made a video summarizing all this up, so I'll leave a link to that in the description if you guys want a summary of everything that I've just been talking about.
Now to conclude this whole thing, it needs to stop. Honestly CASTING's taken this way out of proportion and now NFKRZ's channel is on the line. A channel that he's grown for a couple of years now from the ground up. And now CASTING's going out of his way to make sure that NFKRZ's channel is totally destroyed.
Striking every single video he can and the ones that he didn't NFKRZ is now too scared to make them public and he's had to private them. And because of all of this that's been going on, NFKRZ's analytics have taken an absolute nose dive. He's getting literally no subs and no views on his channel now, heavily impacting his growth and his YouTube income. And this is one of the reasons I wanted to make this public.
Because NFKRZ is basically being pushed to a corner. Go to his channel and subscribe to him. He makes similar content to mine. Alright he- he- he makes shittier content than mine, I'm gonna just be honest with you there, but still he does make genuinely good content.
Check out his channel, subscribe to him. He makes good stuff, you should definitely support him through this cause hopefully CASTING will now understand what he's done and how much he's blown this out of proportion. Bbrainz is being total opposite, he's just sitting there and he's like 'you know what NFKRZ, you wanna use my music, go for it, I don't have any problem with it. CASTING is the one that's going fucking Conan Barbarian, taking all of this out of context and going out of his way to put NFKRZ channel in the ground.
So be sure to give NFKRZ some support. Watch his content, subscribe to him and hopefully it'll give him that channel boost, that he really needs right now if CASTING isn't gonna back down. I'm gonna end the video here. Thank you all so much for watching it to the end.
I know this was a really boring, long video but I had to say my piece. NFKRZ is not in a good spot right now and he needs all o your support. And CASTING if you're watching this video, I hope that you can back down. I hope that you can retract all the strikes on his channel because no one's benefiting of this.
You're literally destroying this guy's channel over using a song. You know you could've contacted NFKRZ and you could've been like 'make a video talking about us or promoting us'. That would've been free of charge and would've got you loads of promotion. Why couldn't you have done something like that? Why did you go straight down the route of of asking him for money and then not getting what you want, you instantly start attacking his channel? That's a really scummy business practice dude.
Anyways thank you all so much for watching, I hope you enjoyed. Normal videos should resume tomorrow..
