Latest / Conspiracy! The Show / Banned Media Report: The Spook Who Sat By the Door

Transcript

Banned Media Report: The Spook Who Sat By the Door · Conspiracy! The Show

• 0:10
  Speaker 1: Win True Insurance. Did I'm true the troth. I'm a
• 0:14
  Speaker 1: chestnut with true than is.
• 0:31
  Speaker 2: Hey, everybody, welllcome to Conspiracy the Show. I'm your host,
• 0:36
  Speaker 2: Adam Todd Brown joining me. His guest co host this week,
• 0:39
  Speaker 2: John Lewis is here. How's it going, man?
• 0:42
  Speaker 1: About as good as it can in America? But what
• 0:44
  Speaker 1: up to everybody from Detroit?
• 0:46
  Speaker 2: Yeah, it's an interesting time to be alive, that's for sure.
• 0:50
  Speaker 1: New York kind of gave us a little bit of hope.
• 0:52
  Speaker 2: I'll see Oh yeah, yeah, yeah that I mean, depending
• 0:56
  Speaker 2: on what side of the isle you're on. There are
• 0:59
  Speaker 2: also so many posts out there where people are like
• 1:03
  Speaker 2: New York went through nine to eleven and now we
• 1:05
  Speaker 2: just voted for a terrorist.
• 1:07
  Speaker 3: It's like Jesus Christ, right.
• 1:10
  Speaker 1: They're not even trying to be subtle with the fucking
• 1:12
  Speaker 1: racism Black people. They try and use dog with sos.
• 1:16
  Speaker 1: They like that brown some bitch is gonna get Sharia
• 1:19
  Speaker 1: law and shit like what Yeah, Jesus man, they've been
• 1:22
  Speaker 1: back to two thousand and two racism just immediately.
• 1:25
  Speaker 2: He's not even elected yet. God damn, calm him down. Hey,
• 1:30
  Speaker 2: racism makes a good segue into what we're talking about
• 1:33
  Speaker 2: this week, we are talking about a movie slash book
• 1:38
  Speaker 2: called The Spook Who Sat by the Door. Highly inflammatory
• 1:42
  Speaker 2: title right off the bat, because a lot of meanings
• 1:45
  Speaker 2: to the word spook racial slur, but also a word
• 1:49
  Speaker 2: used to describe spies all the time.
• 1:52
  Speaker 1: As far as the nickname, it's actually sounds racial slur. Side,
• 1:55
  Speaker 1: that sounds pretty pretty bad ass, Like, hey, man, come on,
• 1:58
  Speaker 1: the spooks are looking the spooks are looking for us.
• 2:00
  Speaker 1: We got to keep it quick. I like that. Yeah,
• 2:01
  Speaker 1: sounds a lot better than gum shoe.
• 2:03
  Speaker 3: Yeah, or pig also.
• 2:06
  Speaker 1: Yeah, pig peak cool. But I don't know, spook just
• 2:09
  Speaker 1: it just got some like a nice ring to it.
• 2:11
  Speaker 2: Yeah, And apparently it's because spies like move like ghosts.
• 2:16
  Speaker 1: Yeah, don't see them.
• 2:17
  Speaker 2: That's what the spy version. I don't know where the
• 2:20
  Speaker 2: racial slur came from.
• 2:22
  Speaker 1: I don't know. I was thinking. I was just thinking
• 2:24
  Speaker 1: about this with man white people, they was really on
• 2:26
  Speaker 1: their shit. Like seventy years ago, it was so many
• 2:29
  Speaker 1: good ones coming out. They haven't made any good racial
• 2:31
  Speaker 1: slurs in like fifty years.
• 2:33
  Speaker 2: Yeah, we got to get back on that. I mean,
• 2:37
  Speaker 2: there aren't enough good ones for white people. There's none
• 2:40
  Speaker 2: that hurt like cracker, I don't give a shit, honkey,
• 2:43
  Speaker 2: I don't care, like like I know, there was a
• 2:46
  Speaker 2: rap group in the nineties called X Clan that called
• 2:49
  Speaker 2: white people cave dwellers, and I've always liked that.
• 2:53
  Speaker 1: It's just too many syllables though that shit don't roll
• 2:55
  Speaker 1: off the tone.
• 2:56
  Speaker 2: That's true, A good point. We'll figure it out. By
• 2:59
  Speaker 2: the end of this pod. We'll have a new racial
• 3:00
  Speaker 2: slur for white people. Don't worry.
• 3:02
  Speaker 1: Well, I don't know, just I feel like they just
• 3:04
  Speaker 1: kind of stopped with everyone, like, oh man, I don't
• 3:06
  Speaker 1: even know if it's related, but I was I can
• 3:10
  Speaker 1: only do jokes like this on Twitter because all my
• 3:12
  Speaker 1: Latino friends know, we joke around all the time. So
• 3:15
  Speaker 1: it was this picture from like probably nineteen fifties. It
• 3:17
  Speaker 1: was some Jim grow Era and the sign. I mate
• 3:20
  Speaker 1: the joke that the sign just kind of got longer
• 3:22
  Speaker 1: with how much people she was fed up with. So
• 3:24
  Speaker 1: the first the sign starts off with no Niggers, no Mexican,
• 3:28
  Speaker 1: no Puerto Ricans, and no dogs. So I was like,
• 3:32
  Speaker 1: I mean to be so racist. I was surprised that
• 3:34
  Speaker 1: she distinguished between Mexicans and Puerto Ricans. Back then.
• 3:37
  Speaker 2: Yeah, that's a tricky distinction to make just on site too, exactly. Also,
• 3:43
  Speaker 2: there's so many other countries in South America and Central America.
• 3:47
  Speaker 2: All those people are fine, it's just Mexicans and Puerto Ricans.
• 3:52
  Speaker 3: What if from Venezuelan rolls.
• 3:54
  Speaker 2: Up, you're gonna be like, oh, you're clearly from Venezuela, sir, please.
• 3:58
  Speaker 1: In the fifties, I guess, yeah, I guess he was
• 4:02
  Speaker 1: either a Mexican or Puerto Rican. Also, apparently, in my mind,
• 4:06
  Speaker 1: apparently Puerto Rican with a dog got in that restaurant
• 4:09
  Speaker 1: and fucked it up for everybody because they were added
• 4:12
  Speaker 1: at the end.
• 4:13
  Speaker 2: But yeah, yeah, adding dogs to the list too, goddamn.
• 4:18
  Speaker 2: So a Brazilian man with a cat can come to
• 4:21
  Speaker 2: your establishment with no problem, all right, that makes sense.
• 4:25
  Speaker 2: So yeah, this is a nineteen seventy three movie. We'll
• 4:28
  Speaker 2: link to the movie, the DVD commentary, and a audio
• 4:32
  Speaker 2: book that's on YouTube. You can also read the book.
• 4:35
  Speaker 2: I read the book and watch the movie. Turned out
• 4:37
  Speaker 2: that was kind of unnecessary. The book is well, I
• 4:41
  Speaker 2: don't know. I think actually the book makes the movie
• 4:45
  Speaker 2: make more sense because they do gloss of like there's
• 4:49
  Speaker 2: a lot of montages of like training scenes and things,
• 4:53
  Speaker 2: and the book goes into more detail there and it
• 4:55
  Speaker 2: makes what's happening there make a little bit more sense,
• 5:00
  Speaker 2: which is this guy is a CIA agent who ends
• 5:04
  Speaker 2: up using his CIA training against America.
• 5:07
  Speaker 1: And I just checked. It's still We did a live
• 5:09
  Speaker 1: watch along a few months ago on my YouTube channel,
• 5:12
  Speaker 1: so the link is still up. I can send you
• 5:13
  Speaker 1: the link if you want to put that to But yeah,
• 5:16
  Speaker 1: the movie is really good, so I'll also I'll send
• 5:18
  Speaker 1: you the link if you want to put it in
• 5:20
  Speaker 1: the show notes. So I actually bought this book because
• 5:22
  Speaker 1: I thought it was going to be about more modern movies.
• 5:25
  Speaker 1: I mentioned it a few times here. It's called Revolution
• 5:27
  Speaker 1: at thirty five millimeters. So the thing is that the
• 5:30
  Speaker 1: movie is interesting, but it's a movie, Like people say
• 5:33
  Speaker 1: this all the time, but the movie isn't like any
• 5:35
  Speaker 1: genre we have. It's an actual political it's revolutionary political movie,
• 5:41
  Speaker 1: which is why it has the history it does. And
• 5:43
  Speaker 1: we talk about this if some of y'all know my
• 5:46
  Speaker 1: different comrades on YouTube, like ft Signified Little Bill. So
• 5:50
  Speaker 1: like a movie like the Black Panther movie, it has
• 5:53
  Speaker 1: revolutionary things, but at the end of the day, it's
• 5:55
  Speaker 1: also a fucking Disney movie that has to be profitable.
• 5:59
  Speaker 1: So as much as we love that movie, one of
• 6:01
  Speaker 1: the criticisms against some black people is at the end
• 6:03
  Speaker 1: it kind of gives the point that, like, working with
• 6:05
  Speaker 1: the CIA is good and you know, the messaging gets
• 6:09
  Speaker 1: kind of wonky, even though I love the film, but
• 6:11
  Speaker 1: you know what I'm saying, the messaging, yeah, still has
• 6:14
  Speaker 1: to push that propaganda. And at the end of the day,
• 6:17
  Speaker 1: it's the it's a toul of capitalism. This is a
• 6:19
  Speaker 1: movie that's pure revolutionary political art and that's why the
• 6:23
  Speaker 1: way it ends and everything it does.
• 6:25
  Speaker 2: Yeah, this movie very famously was in theaters for I
• 6:29
  Speaker 2: think less than a week.
• 6:31
  Speaker 1: Yeah, depending on who you ask, anywhere from like two
• 6:34
  Speaker 1: days to maybe a week or nine days. And it
• 6:37
  Speaker 1: literally it's still unofficial who pulled it, but the speculation
• 6:41
  Speaker 1: is it was poor Aby the federal government.
• 6:43
  Speaker 2: That would not surprise me at all. They were definitely
• 6:47
  Speaker 2: getting into censorship around this time. This is also right
• 6:51
  Speaker 2: around the same time the government for the first time ever,
• 6:55
  Speaker 2: took a author to court to try and censor a
• 6:59
  Speaker 2: book that was coming out. It was We did a
• 7:01
  Speaker 2: couple episodes about it was called the CIA and the
• 7:04
  Speaker 2: Cult of Intelligence, and a former CIA agent just turned
• 7:08
  Speaker 2: whistleblower and wrote this book, and the government actually got
• 7:12
  Speaker 2: a lot of it censored, but not all of it.
• 7:15
  Speaker 3: And it's a pretty interesting read.
• 7:18
  Speaker 2: Yeah, I can't imagine who else would have pulled this
• 7:21
  Speaker 2: movie from theaters if not the government.
• 7:23
  Speaker 1: And like I said, so, if y'all read the chapter
• 7:26
  Speaker 1: on this book, it's only about maybe nine pages. It's
• 7:28
  Speaker 1: about a whole bunch of different political books. But so
• 7:31
  Speaker 1: the interesting thing is when the timeline of this book,
• 7:34
  Speaker 1: of this movie coming out, it happens during what's called
• 7:38
  Speaker 1: the New Hollywood movement, where Hollywood is like, yeah, I mean,
• 7:41
  Speaker 1: well America is like so yeah, I mean it is
• 7:44
  Speaker 1: kind of good as a press, free speech, but also
• 7:46
  Speaker 1: capitalism is good. So they start letting these hippies and
• 7:49
  Speaker 1: stuff make movies and that's where we start to get
• 7:52
  Speaker 1: joints like Jaws. This comes out a year after The Godfather,
• 7:56
  Speaker 1: which you hear it came out in nineteen seventy two,
• 7:58
  Speaker 1: You like, that's a long time ago, but also it
• 8:00
  Speaker 1: came out a year after The Godfather, arguably one of
• 8:03
  Speaker 1: the greatest movies of all time. And what kicked off
• 8:05
  Speaker 1: the New Hollywood movement. And also it's considered blaxploitation. But
• 8:09
  Speaker 1: that whole thing I go into. I go into it
• 8:12
  Speaker 1: more in my video that I did on this book.
• 8:15
  Speaker 1: So the idea of blaxploitation, it's interesting. Before I read
• 8:18
  Speaker 1: the book, it was a it was an idea I had,
• 8:20
  Speaker 1: so like with black art in America, it's always a
• 8:23
  Speaker 1: thing where our stuff has to have a label. So
• 8:26
  Speaker 1: like when you think back to the NWA, when NW
• 8:29
  Speaker 1: came out, nobody NWA said we're making gangster rap. They said,
• 8:34
  Speaker 1: we're making rap music about our life, and gangster rap
• 8:38
  Speaker 1: is what the industry put on it. And it's similar
• 8:41
  Speaker 1: to blaxploitation. When black people were making movies like Shaft
• 8:46
  Speaker 1: or like Foxy Brown and stuff like that, they weren't
• 8:49
  Speaker 1: saying we're making blaxploitation. They were saying, like, we're making
• 8:51
  Speaker 1: black films. So that label actually came. That label was
• 8:56
  Speaker 1: created in nineteen seventy two, ironically by the end of ACP.
• 9:00
  Speaker 1: But the Beverly Heels branch, which iron.
• 9:03
  Speaker 2: Here to this.
• 9:03
  Speaker 1: Yeah, it's NAACP, but it's the fucking Beverly Hills branch.
• 9:07
  Speaker 1: How are they tapped? In with what's going on in
• 9:09
  Speaker 1: black culture. So the off the person that wrote that chapter,
• 9:12
  Speaker 1: he's like, yeah, we heard it, but nobody in the
• 9:14
  Speaker 1: community was using it. We didn't start using that term
• 9:17
  Speaker 1: black's litation until years later. We just called them movies.
• 9:22
  Speaker 2: Yeah, And that was something I was curious about because
• 9:26
  Speaker 2: in reading more about this movie, I did see it
• 9:28
  Speaker 2: called blaxploitation a lot, and it feels like it doesn't
• 9:32
  Speaker 2: fit with that genre to me, Like I associate that
• 9:36
  Speaker 2: with a very specific type of black film and a
• 9:40
  Speaker 2: very specific time period, which to me is like even
• 9:45
  Speaker 2: later than me seventy two, seventy three.
• 9:48
  Speaker 1: You see it now. It's like I said, it's the
• 9:50
  Speaker 1: thing with black art. It's kind of like, how Shaboozi
• 9:53
  Speaker 1: they trying the hardest to consider Shaboozi and Beyonce country
• 9:56
  Speaker 1: albums hip hop, even though they clearly aren't. But because
• 9:59
  Speaker 1: black people with specific type of beat, they're like, that
• 10:02
  Speaker 1: ain't country. That hip hop? That was going on with
• 10:05
  Speaker 1: black splitation.
• 10:06
  Speaker 2: Yeah, I think you kind of saw it in the
• 10:09
  Speaker 2: nineties too, where at one point everything that had black
• 10:12
  Speaker 2: people in it got called a hood movie. Yeah, and
• 10:15
  Speaker 2: it's like, now, those were also very specific types of
• 10:18
  Speaker 2: movies that weren't every fucking black movie.
• 10:22
  Speaker 1: Yeah right, more than three black folks. It was a
• 10:25
  Speaker 1: hood movie. Yeah, the making of this movie could be
• 10:28
  Speaker 1: a series of its own. So it was rumors the
• 10:32
  Speaker 1: last update was like in twenty twenty two that Lee Daniels,
• 10:36
  Speaker 1: I think the guy that made he made Green Booker,
• 10:39
  Speaker 1: he made a bunch of shit where with the white
• 10:41
  Speaker 1: savior of Trope in it, which it would have been
• 10:43
  Speaker 1: the worst idea that he was supposed to reboot this,
• 10:45
  Speaker 1: which I highly disagree with. But the only way I
• 10:48
  Speaker 1: could see this properly getting remade into a modern thing
• 10:51
  Speaker 1: is have you seen the movie Dolomite is my Name
• 10:54
  Speaker 1: with Eddie Murphy. Yeah, that was amazing. The only way
• 10:57
  Speaker 1: I could see them properly doing this and telling it,
• 10:59
  Speaker 1: because if you tried to remake this as a movie,
• 11:02
  Speaker 1: especially in modern days, fucking Secret Service is going to
• 11:05
  Speaker 1: kick your door down this y'all to see you once
• 11:06
  Speaker 1: we get into it. But if they could do it
• 11:08
  Speaker 1: something like dola Mine is my Name and go into
• 11:10
  Speaker 1: detail about how hard it was to make this movie,
• 11:13
  Speaker 1: it'd be an amazing story because they pretty much tricked
• 11:16
  Speaker 1: a bunch of funders into thinking that they were making
• 11:19
  Speaker 1: another black rotation movie and they just kind of showed
• 11:22
  Speaker 1: them different scenes or shootouts and stuff. By the time
• 11:25
  Speaker 1: they seen the real movie, they like, holy fuck, you
• 11:27
  Speaker 1: guys are trying to start the race war. So it's
• 11:30
  Speaker 1: really interesting. Like the story of this movie getting made,
• 11:33
  Speaker 1: it was like, it's arguably as interesting as the actual movie.
• 11:36
  Speaker 3: Yeah.
• 11:36
  Speaker 2: I also read that even though a lot of it
• 11:39
  Speaker 2: takes place in Chicago, they weren't allowed to mostly film
• 11:44
  Speaker 2: in Chicago because Mayor Richard Day then Mayor Richard Daly
• 11:49
  Speaker 2: would not allow for the permits because of the racial
• 11:53
  Speaker 2: themes in the movie. Yeah, a lot of the stuff
• 11:56
  Speaker 2: you see that is in Chicago is like gorilla filmmaking.
• 12:00
  Speaker 3: Where yep, exactly, if you see.
• 12:02
  Speaker 2: An L train going this way, they were on the
• 12:05
  Speaker 2: other one going the opposite direction filming it.
• 12:08
  Speaker 3: So, yeah, you're right.
• 12:08
  Speaker 2: That would be like a scripted series about the making
• 12:12
  Speaker 2: of this movie would be fascinating.
• 12:14
  Speaker 1: And before we get into it, similar background information about
• 12:17
  Speaker 1: So what inspired the movie is the original writer? I
• 12:21
  Speaker 1: got to look into it.
• 12:22
  Speaker 3: I should have wrote his name down, Sam Greenley.
• 12:24
  Speaker 1: He was in the military on leave in nineteen sixty
• 12:28
  Speaker 1: five back in Chicago. So this is six months after
• 12:31
  Speaker 1: Malcolm X died, and what happened six months after Malcolm
• 12:34
  Speaker 1: X died The WATS riots kicked off, and he's seen
• 12:37
  Speaker 1: it on TV and that's what inspired him to start
• 12:39
  Speaker 1: writing this book. And he's like, man, this shit is crazy.
• 12:42
  Speaker 1: They're killing all of the black revolutionary leaders. Like what
• 12:45
  Speaker 1: if we did something and got organized? So that's what
• 12:48
  Speaker 1: starts him to write this book. And just to get
• 12:50
  Speaker 1: to even book publish, he had nobody in America was
• 12:54
  Speaker 1: trying to touch it because this is only like a
• 12:56
  Speaker 1: couple decades after the was it called the Red Scare
• 12:59
  Speaker 1: where they could basically like call it they were like
• 13:01
  Speaker 1: making a list of people that wrote anything that was
• 13:03
  Speaker 1: considered communists.
• 13:05
  Speaker 3: Yeah, this was not long after that.
• 13:07
  Speaker 1: Yeah, so he has to go to Europe. Some white
• 13:10
  Speaker 1: guy in Europe helped him publish it, and then I
• 13:13
  Speaker 1: think that one of the later publishers is an American book.
• 13:16
  Speaker 1: But yeah, it's like it's so much. This book is
• 13:19
  Speaker 1: really interesting and people that have seen a movie Uptight,
• 13:22
  Speaker 1: I haven't seen it. It's similar things. It's being called
• 13:25
  Speaker 1: kind of a rip off, but this movie goes way
• 13:28
  Speaker 1: more past than what upsype did.
• 13:30
  Speaker 3: Yeah, I don't know if I've seen that.
• 13:31
  Speaker 1: All right, and now with the preamble, we could probably
• 13:33
  Speaker 1: get into it. Yeah.
• 13:34
  Speaker 2: One more thing though, that this book and movie touches on.
• 13:38
  Speaker 2: It's not as big of a theme, but it deals
• 13:41
  Speaker 2: with something that became a big issue in the nineties
• 13:43
  Speaker 2: and two thousands, which is CIA blowback, which is that
• 13:47
  Speaker 2: thing where the CIA would train people to do revolution
• 13:52
  Speaker 2: type shit and then later on the people they train
• 13:55
  Speaker 2: would be like, all right, well, thank you for showing
• 13:57
  Speaker 2: us how to do that. We're going to use it
• 13:59
  Speaker 2: against you. That's pretty much what happened here. But in
• 14:02
  Speaker 2: a I would argue more positive way as oppose, because
• 14:06
  Speaker 2: the CIA just made al Qaeda by supporting Afghanistan in
• 14:10
  Speaker 2: the eighties war with the Soviet Union.
• 14:13
  Speaker 3: But this is a similar thing.
• 14:16
  Speaker 2: And for a long time this was only available on
• 14:19
  Speaker 2: bootleg videos.
• 14:21
  Speaker 1: Oh yeah yeah.
• 14:22
  Speaker 2: In two thousand and four, an actor named Tim Reid
• 14:26
  Speaker 2: found a negative of the film stored in a vault
• 14:30
  Speaker 2: under a different name and released it on DVD. And yes,
• 14:34
  Speaker 2: people my age or older, that is the same Tim
• 14:37
  Speaker 2: Reid who played Venus Flytrap on WKRP in Cincinnati in
• 14:42
  Speaker 2: the seventies, which is wow, such a good TV show.
• 14:46
  Speaker 2: Fucking classic. And also this movie was added to the
• 14:49
  Speaker 2: National Film Registry by the Library of Congress in twenty twelve,
• 14:52
  Speaker 2: so important stuff. All right, let's talk about the movie
• 14:55
  Speaker 2: before we get into the plot in the details. Do
• 14:59
  Speaker 2: you think this is a good movie, like an entertaining movie.
• 15:01
  Speaker 2: I actually did find it highly watchable.
• 15:04
  Speaker 1: Yeah, I found it entertainment just because I like watching
• 15:07
  Speaker 1: older movies. I just enjoy the pacing of them. Like
• 15:10
  Speaker 1: the pacing of them is it's like something you don't
• 15:12
  Speaker 1: see nowadays, Like scenes and stuff are just allowed to
• 15:16
  Speaker 1: breathe in a way that they aren't. You know. There
• 15:18
  Speaker 1: are scenes of dialogue and things going slow, and it
• 15:20
  Speaker 1: feels more real in a way.
• 15:22
  Speaker 3: Yeah.
• 15:23
  Speaker 1: If this was made modern, it would have a lot
• 15:25
  Speaker 1: more sound and cuts and stuff. Just it's almost in
• 15:28
  Speaker 1: a minimalistic, almost like an artsy way. It kind of
• 15:31
  Speaker 1: might maybe remind you of like if they made a
• 15:32
  Speaker 1: twenty four movies decades ago.
• 15:34
  Speaker 2: Yeah, and it I don't remember the name of the editor,
• 15:38
  Speaker 2: but the person who edited this film went on to
• 15:41
  Speaker 2: do like a bunch of fucking classic.
• 15:44
  Speaker 1: Oh yeah, yeah, see it's all in the book I
• 15:48
  Speaker 1: wrote shotted my notes down after work. But yeah, he
• 15:51
  Speaker 1: basically he pretty much did it for free. It was
• 15:53
  Speaker 1: another black editor. It was like so many people that
• 15:56
  Speaker 1: donated to this movie, Like he had to get He
• 15:59
  Speaker 1: got money to Nations from just random black real estate
• 16:03
  Speaker 1: ages and stuff like this, because when they read the book,
• 16:05
  Speaker 1: they're like, this shit needs to get made. They're like,
• 16:08
  Speaker 1: even though it's fiction. So he kind of it was
• 16:10
  Speaker 1: kind of a thing that was put together by the community,
• 16:12
  Speaker 1: even though they had to hustle up what they could
• 16:14
  Speaker 1: by tricking the studios. But probably maybe about a third
• 16:17
  Speaker 1: of it came from just like him, crowdfunding from independent
• 16:20
  Speaker 1: black people.
• 16:21
  Speaker 2: Also, Herbie Hancock does the music yep in this movie.
• 16:26
  Speaker 2: He and Sam Greenley grew up in the same neighborhood
• 16:30
  Speaker 2: in Chicago, so it seems like Herbie Hancock did this
• 16:34
  Speaker 2: kind of as a you know, favor.
• 16:35
  Speaker 3: But so the music in this fucking reps.
• 16:38
  Speaker 1: Not only that, he went to elementary school with the
• 16:41
  Speaker 1: author Van Peeples, and he went to high school with
• 16:44
  Speaker 1: the guy who wrote A Raisin in the Sun.
• 16:46
  Speaker 3: Damn.
• 16:47
  Speaker 2: Yeah, that is not accomplished goddamn high school. So the
• 16:51
  Speaker 2: movie starts with there's a politician meeting with some of
• 16:55
  Speaker 2: his advisors and they're talking about this upcoming election and
• 16:59
  Speaker 2: he finds out he's not doing that well with black voters,
• 17:04
  Speaker 2: and so they're like, well, how can we get more
• 17:07
  Speaker 2: votes from the black community, And somehow this guy's wife
• 17:11
  Speaker 2: immediately lands on the idea of, oh, well, the CIA
• 17:15
  Speaker 2: doesn't have any black agents. We can just shame them
• 17:19
  Speaker 2: for that and get them to hire black agents and
• 17:21
  Speaker 2: that'll win you the black vote, which interesting plan, but
• 17:25
  Speaker 2: they go for it. And so then we cut to
• 17:28
  Speaker 2: a montage of presumably the CIA training or going through recruits.
• 17:35
  Speaker 2: It's just a bunch of black dudes in their underwear
• 17:38
  Speaker 2: getting weighed, and that I think we're meant to take
• 17:42
  Speaker 2: as okay. Well, now the CIA is trying to find
• 17:44
  Speaker 2: black agents and they end up narrowing it down to
• 17:47
  Speaker 2: a group of ten, which that's all exactly as it
• 17:51
  Speaker 2: happens in the book. I like all of the old
• 17:55
  Speaker 2: timey spy shit we see in this movie, Like there's
• 17:58
  Speaker 2: a scene early on where the ten and recruits they
• 18:01
  Speaker 2: end up picking are all talking after the CIA agents
• 18:07
  Speaker 2: have left the room, and then we just see those
• 18:09
  Speaker 2: other agents watching them talking on this like old timey
• 18:13
  Speaker 2: seventies TV. I feel like they didn't actually have that
• 18:17
  Speaker 2: back then. Maybe they did, but I don't know.
• 18:19
  Speaker 1: And also small detail to might have went unnoticed. So
• 18:22
  Speaker 1: the guy that actually does win it, he's one of
• 18:25
  Speaker 1: the only not the only one of the only ones.
• 18:27
  Speaker 1: He is the only one that doesn't come from like
• 18:29
  Speaker 1: a prestigious background. All of these other black guys A're
• 18:32
  Speaker 1: like connected, they went the Ivy League. Half of them
• 18:35
  Speaker 1: like know each other from I think it's like Harvard,
• 18:37
  Speaker 1: I forget what schools. So that's also put in there
• 18:40
  Speaker 1: just to show that he isn't like them. He's like
• 18:43
  Speaker 1: actually from the city and tapped in with the community.
• 18:46
  Speaker 2: Yeah, I feel like that part came across better in
• 18:49
  Speaker 2: the book, but I feel like I just sort of
• 18:52
  Speaker 2: knew that from reading the book. But they do touch
• 18:54
  Speaker 2: on it a little bit in the movie. But he's, yeah,
• 18:57
  Speaker 2: he's kind of the outcast in the group. There's a
• 19:00
  Speaker 2: scene early on where they all want to go out
• 19:02
  Speaker 2: and party and he's like, now, I'm going to go
• 19:05
  Speaker 2: fuck a sex worker at this bar down the street.
• 19:08
  Speaker 1: Right.
• 19:08
  Speaker 2: He is supportive of the sex worker community, and he
• 19:12
  Speaker 2: being Dan Freeman, he is the central character in this
• 19:17
  Speaker 2: He ends up being the only CIA agent who actually
• 19:22
  Speaker 2: comes out of this group of ten, because they're clearly
• 19:26
  Speaker 2: not trying to have black CIA agents. They're trying to
• 19:30
  Speaker 2: have a figurehead that they can point to and go, see,
• 19:33
  Speaker 2: we're diversed.
• 19:34
  Speaker 1: Well, I believe the original plan they said it was
• 19:36
  Speaker 1: to not have anyone so they could be like, well,
• 19:38
  Speaker 1: see we tried and nobody pad us.
• 19:40
  Speaker 3: Yeah.
• 19:41
  Speaker 2: There's one scene in particular, when he's about to quit
• 19:45
  Speaker 2: the CIA where he has a conversation with his boss
• 19:49
  Speaker 2: at the CIA, this guy they just call the General,
• 19:52
  Speaker 2: and that conversation, at one point he's like calling him
• 19:57
  Speaker 2: a credit to his race and sang all this shit
• 20:00
  Speaker 2: that you can tell he thinks is like a compliment,
• 20:03
  Speaker 2: but it's not. And in the you don't see it
• 20:06
  Speaker 2: as much in the movie, but in the book, Dan
• 20:08
  Speaker 2: Freeman is fucking irate during that conversation because this guy's like, well,
• 20:13
  Speaker 2: you'll admit there's like a cultural gap that black people
• 20:16
  Speaker 2: just haven't caught up to white people. And Dan Freeman
• 20:20
  Speaker 2: just has to sit there and kind of take it
• 20:22
  Speaker 2: and be like, I'm gonna burn this fucking city down someday.
• 20:26
  Speaker 2: And so there's a montage of everyone learning spy shit,
• 20:30
  Speaker 2: blowing shit up, jumping out of planes. I do appreciate
• 20:33
  Speaker 2: that this movie doesn't do what a lot of movies
• 20:36
  Speaker 2: from its era do, where there's this like twenty to
• 20:39
  Speaker 2: thirty minute intro before it feels like the movie actually starts.
• 20:44
  Speaker 2: This movie gets into what it's about right away. I
• 20:47
  Speaker 2: don't know if you've ever seen Marathon Man, but I
• 20:49
  Speaker 2: swear the first twenty minutes of that movie are just
• 20:52
  Speaker 2: Dustin Hoffman jogging through a park.
• 20:55
  Speaker 1: No, I've never heard of it. So they kind of
• 20:58
  Speaker 1: had to get to the point they were working. They
• 21:00
  Speaker 1: barely got this shit May finished. Yeah, budget they hit.
• 21:04
  Speaker 2: So we see Dan he goes and meets with. It's
• 21:07
  Speaker 2: kind of confusing. There's two different women he's meeting with constantly.
• 21:11
  Speaker 2: One of them is a woman named Joy who ends
• 21:14
  Speaker 2: up marrying someone else, but they keep their relationship going.
• 21:17
  Speaker 2: And then there's the sex worker he meets with early on.
• 21:21
  Speaker 2: And I bring that up mostly just to point out
• 21:26
  Speaker 2: that in every seventies movie where there's a motel room,
• 21:30
  Speaker 2: there's also a flashing light outside. Every fucking one, every
• 21:34
  Speaker 2: motel room there is a red light flashing. Just a
• 21:36
  Speaker 2: seventies trope you see it here too. I like the
• 21:39
  Speaker 2: judo scene with his.
• 21:41
  Speaker 1: Letting the guy win at first.
• 21:43
  Speaker 2: Yeah, that scene plays out almost exactly like it does
• 21:46
  Speaker 2: in the book, like even down to the dialogue from
• 21:50
  Speaker 2: the instructor. His instructor's name is Calhoun, and he tells
• 21:54
  Speaker 2: him he doesn't like him, he doesn't think his kind
• 21:57
  Speaker 2: belongs and that they're going to fight until till Freeman
• 22:01
  Speaker 2: agrees to quit. And then that fight is just very
• 22:03
  Speaker 2: funny to watch because they're doing judo, so it's just
• 22:06
  Speaker 2: him getting thrown to the fucking ground.
• 22:08
  Speaker 3: Is that all judo is?
• 22:09
  Speaker 1: I don't think so. I don't think this shit's real.
• 22:12
  Speaker 1: I feel like you can only do judo with another
• 22:15
  Speaker 1: person that's ready to do Judah.
• 22:16
  Speaker 2: Yeah, it seems like it doesn't have a ton of
• 22:18
  Speaker 2: practical applications. Have you seen I don't know if you've
• 22:21
  Speaker 2: seen Once upon a Time in Hollywood, but there's a
• 22:23
  Speaker 2: scene that Bruce Lee's family really fucking hated where Bruce
• 22:28
  Speaker 2: Lee is fighting this stunt, this Hollywood stunt man, and
• 22:32
  Speaker 2: he's doing all his like karate shit, and then he
• 22:35
  Speaker 2: charges at this guy and the guy just grabs him
• 22:38
  Speaker 2: and throws him into a fucking cadillac, like into the
• 22:41
  Speaker 2: side of a Cadillac, and it's like, this guy's not
• 22:44
  Speaker 2: doing karate, he's not playing by your rules.
• 22:46
  Speaker 3: He's just throw you into a car.
• 22:50
  Speaker 1: I need to watch that movie though I heard it
• 22:52
  Speaker 1: was good.
• 22:52
  Speaker 3: Yeah, it's a good movie.
• 22:53
  Speaker 2: The ending is very satisfying, and that scene is fucking
• 22:57
  Speaker 2: great because, yeah, like when you're and that is something
• 23:02
  Speaker 2: that they he talks about in the book where he's like,
• 23:06
  Speaker 2: all right, so we're just fighting by judo rules because like,
• 23:10
  Speaker 2: I'm like a former fucking athlete, you're an old ass
• 23:12
  Speaker 2: white man. Like maybe if you were gonna beat me
• 23:16
  Speaker 2: in the leg with a baton or something, you could
• 23:18
  Speaker 2: win this. But I'm gonna try my best to not kill.
• 23:21
  Speaker 3: You in this moment.
• 23:23
  Speaker 2: And he ends up just choking his instructor out on
• 23:28
  Speaker 2: the ground.
• 23:28
  Speaker 3: It's a very satisfying scene.
• 23:30
  Speaker 2: And so he becomes the first black CIA agent and
• 23:34
  Speaker 2: they put him in a highly prestigious role in the
• 23:38
  Speaker 2: reproduction center. Yeah, he is making copies and given tours
• 23:43
  Speaker 2: of the CIA facilities. In the book, that white secretary
• 23:48
  Speaker 2: who asks if he's up forgiven that tour, she is
• 23:51
  Speaker 2: trying to fuck not so much in the movie, and
• 23:54
  Speaker 2: then they just sort of there's sort of a hard
• 23:56
  Speaker 2: cut where it's five years later and he's still working
• 24:00
  Speaker 2: at the CIA and still working in the reproduction center,
• 24:04
  Speaker 2: which reproduction center is exactly what it sounds like. He's
• 24:08
  Speaker 2: just making copies of other people's reports and.
• 24:11
  Speaker 1: Shit, which is most likely hot as would have played
• 24:14
  Speaker 1: out in real life.
• 24:14
  Speaker 2: Also, oh and that is also in part where the
• 24:20
  Speaker 2: movie gets its title, because he gives this tour and
• 24:25
  Speaker 2: the whole point he's given this tour for these senators
• 24:28
  Speaker 2: so they can see, oh, well, you've hired a black
• 24:30
  Speaker 2: CIA agent. I guess you're more diverse and desegregated now.
• 24:35
  Speaker 2: And one of them mentioned something about him being part
• 24:38
  Speaker 2: of this general guy's personal staff, and the guy's like, yeah,
• 24:43
  Speaker 2: that is a good idea. We'll make him part of
• 24:45
  Speaker 2: my own staff. And then his aid is like, oh yeah,
• 24:49
  Speaker 2: and we'll put him right by the front door, so
• 24:52
  Speaker 2: when people come in, they'll see right away, oh, yep,
• 24:55
  Speaker 2: there's a black CIA agent, So we are very racially
• 24:58
  Speaker 2: diverse here. That was a apparently a thing in the
• 25:02
  Speaker 2: early days of affirmative action, where a company would just
• 25:07
  Speaker 2: hire their first black person and put them right up front,
• 25:10
  Speaker 2: so we got yeah, people could walk in and go,
• 25:13
  Speaker 2: oh shit, this place is progressive.
• 25:15
  Speaker 3: Wow.
• 25:16
  Speaker 2: So cut to five years later, he's still working at
• 25:18
  Speaker 2: the CIA. He goes to the General, his boss, and
• 25:22
  Speaker 2: this is where they have one of the most racist
• 25:25
  Speaker 2: chats of all time. But the General doesn't think he's
• 25:28
  Speaker 2: being racist. He thinks he's just talking science and everyday life.
• 25:33
  Speaker 2: But he's being super fucking racist. And Freeman quits to
• 25:38
  Speaker 2: go work for a social organization in Chicago, where he's from.
• 25:43
  Speaker 2: And again, you don't in the book, they play it
• 25:46
  Speaker 2: up more the like how he's feeling about this conversation
• 25:50
  Speaker 2: he's having in a way that I don't know that
• 25:52
  Speaker 2: you could really in a movie, like you just sort
• 25:55
  Speaker 2: of have to assume he's mad about this shit. And
• 25:58
  Speaker 2: so he moves back to Chicago and he goes to
• 26:02
  Speaker 2: this pool hall to meet with the Cobras.
• 26:04
  Speaker 1: Well when he leaves, they're like, the government's like, put
• 26:07
  Speaker 1: some put a tail on. We need to see what
• 26:09
  Speaker 1: that color guy is up to.
• 26:10
  Speaker 2: Yeah, yeah if he's going, because he's like, yeah, I'm
• 26:13
  Speaker 2: going to go back to Chicago and help my people,
• 26:15
  Speaker 2: And you know, the CIA was like, what, no, don't,
• 26:19
  Speaker 2: don't do that that is the opposite of what we
• 26:22
  Speaker 2: hired you for.
• 26:23
  Speaker 3: But yeah, he goes back and they're tailing him.
• 26:26
  Speaker 2: They also there's a scene where they question this a
• 26:30
  Speaker 2: sex worker he met up with at the hotel, and
• 26:33
  Speaker 2: they're trying to get all sorts of information out of her.
• 26:37
  Speaker 2: Now that I think about it, the white people look
• 26:39
  Speaker 2: a lot better in this movie than they do in
• 26:41
  Speaker 2: the book because in the book, that agent who's interrogating
• 26:46
  Speaker 2: her also pays her for sex, and I don't think
• 26:49
  Speaker 2: that happens in the movie.
• 26:50
  Speaker 1: You don't happened in the movie.
• 26:53
  Speaker 2: And so his plan is basically to take this street
• 26:57
  Speaker 2: gang called the Cobras and train them to be militants.
• 27:02
  Speaker 2: The way he keeps describing it is just messing with whitey.
• 27:06
  Speaker 2: That's really all the plan is. There's no and then
• 27:10
  Speaker 2: here's what happens at the end. It's just let's fuck
• 27:13
  Speaker 2: things up. Spread the police too thin to where they're
• 27:16
  Speaker 2: either going to have to keep policing the world or
• 27:19
  Speaker 2: keep policing us the way they do, and something will
• 27:22
  Speaker 2: have to give.
• 27:23
  Speaker 1: Yeah, because in the movie they ask them, like, what's
• 27:26
  Speaker 1: his goal? His I think he basically just says like
• 27:29
  Speaker 1: freedom for black people or something like that. So kind
• 27:31
  Speaker 1: of the goal is we'll just fuck sit up until
• 27:34
  Speaker 1: they have to give us equality, because like it's a
• 27:37
  Speaker 1: scene in the movie where I think they maybe do
• 27:40
  Speaker 1: a general striker or something with the garbage collectors, and
• 27:43
  Speaker 1: that basically shuts the whole city now because you can
• 27:45
  Speaker 1: only function so far so long as a city without
• 27:49
  Speaker 1: the garbage being collected. And you know, it's back in
• 27:51
  Speaker 1: the seventies, so the jobs like that, they were only
• 27:54
  Speaker 1: jobs like that. We're hiring what's mostly black people to
• 27:57
  Speaker 1: collect garbage and shit and things like that. They start
• 28:00
  Speaker 1: to see it, they can choke the city out and off.
• 28:03
  Speaker 1: It's a powerful scene in the movie where they start
• 28:06
  Speaker 1: like just stealing shit in sabotage and shit. And he's
• 28:09
  Speaker 1: like a black man, a quiet black man with a
• 28:12
  Speaker 1: mop and a bucket can get pretty much anywhere in
• 28:15
  Speaker 1: America because like they just walk, they just straight up
• 28:17
  Speaker 1: walking into offices because white people are just so used
• 28:19
  Speaker 1: to black people having mops at buckets, like walking into
• 28:23
  Speaker 1: mayor's office and stealing shit.
• 28:25
  Speaker 3: Yeah, that's the thing.
• 28:25
  Speaker 2: This movie is also a little bit of a comedy
• 28:28
  Speaker 2: in some schoot.
• 28:29
  Speaker 1: Yeah, it has some funny scenes.
• 28:31
  Speaker 2: Yeah, it's definitely talking about serious stuff, but they're like
• 28:35
  Speaker 2: that scene is great when because there is literally a
• 28:38
  Speaker 2: dude sitting at his desk and because this guy's carrying
• 28:41
  Speaker 2: a mop and bucket, he's paying no attention, so he's just.
• 28:44
  Speaker 3: Stealing shit right off his desk. Very fun.
• 28:47
  Speaker 2: And so yeah, the goal is to just kind of
• 28:52
  Speaker 2: fuck shit up, and to do it using like basically
• 28:56
  Speaker 2: taking these gangs that already have an organization structure in place,
• 29:01
  Speaker 2: because this I don't know if they touch it on
• 29:03
  Speaker 2: in the movie, but in the book he talks about
• 29:06
  Speaker 2: how hard it is to just build that structure before
• 29:10
  Speaker 2: you're even like doing anything with it.
• 29:12
  Speaker 3: That part takes years.
• 29:14
  Speaker 2: So starting with gangs that have already built that kind
• 29:18
  Speaker 2: of hierarchy and structure makes sense because then you just
• 29:21
  Speaker 2: you're just training them to do extra shit, and by
• 29:25
  Speaker 2: doing that, he's able to export it to other cities
• 29:29
  Speaker 2: and send people to The plan is basically to go
• 29:33
  Speaker 2: to the ten biggest cities in America and do this
• 29:36
  Speaker 2: same thing, just train these already existing groups to be
• 29:42
  Speaker 2: militant and to cause fucking chaos, and spoiler, it works.
• 29:48
  Speaker 1: And it's like the thing you've seen on like that
• 29:51
  Speaker 1: was going around doing an LA protest, Like it's easier
• 29:54
  Speaker 1: to shut down the protests with one hundred thousand people
• 29:56
  Speaker 1: than it is to shut down one hundred protests with
• 29:58
  Speaker 1: a thousand people. That's pretty much their plan. Just have
• 30:01
  Speaker 1: a bunch of small organizations in these different cities. And
• 30:05
  Speaker 1: the way they do it is like they like, so
• 30:07
  Speaker 1: when we send you out, you're going by yourself. You
• 30:10
  Speaker 1: might have a couple of dollars you want to have,
• 30:12
  Speaker 1: like empty heroin vials, and we might put tracks on you.
• 30:17
  Speaker 1: So if police looking at you you look like a junkie,
• 30:19
  Speaker 1: they not gonna mind you. So, you know, just kind
• 30:21
  Speaker 1: of also planning to the racism of either not paying
• 30:24
  Speaker 1: attention to black junkies or black dudes with mop buckets
• 30:27
  Speaker 1: and shit like that. So, like I said, it's the
• 30:29
  Speaker 1: reason this book, this movie got banned. It's like this
• 30:32
  Speaker 1: shit would actually have worked.
• 30:33
  Speaker 3: Yeah, kind of this almost reminds me.
• 30:36
  Speaker 2: I've never read it, but this feels like The Turner
• 30:40
  Speaker 2: Diaries for black people.
• 30:41
  Speaker 1: Yeah, somebody mentioned that in the chat we was watching
• 30:44
  Speaker 1: it too. They said something about that movie. Is it
• 30:47
  Speaker 1: a movie or a book?
• 30:48
  Speaker 2: The Turner Diaries is a book. It's also a novel
• 30:51
  Speaker 2: like this. It's not based in fact or anything, but
• 30:54
  Speaker 2: it's like this for white supremacists. It's that a fictional
• 30:59
  Speaker 2: novel about all the steps, Like there's actually, I think
• 31:02
  Speaker 2: a series of laid out steps that white people are
• 31:06
  Speaker 2: supposed to follow to cause this like race war essentially
• 31:10
  Speaker 2: that this book assumes white people will win. And yeah,
• 31:14
  Speaker 2: the Turner Diaries, there's never going to be a movie
• 31:16
  Speaker 2: about the Turner Diaries because it's some highly racist shit.
• 31:19
  Speaker 2: So it's not this book isn't similar in that way
• 31:22
  Speaker 2: this book. We did an episode about the murder of
• 31:26
  Speaker 2: Fred Hampton a couple of weeks ago, and a lot
• 31:29
  Speaker 2: of what or one of the things he talked about
• 31:32
  Speaker 2: comes up in this that it's not you know, white
• 31:35
  Speaker 2: people versus black people, versus brown people, it's all of
• 31:39
  Speaker 2: those people versus the people oppressing us. And they sort
• 31:44
  Speaker 2: of get into that in this movie also, where someone's
• 31:48
  Speaker 2: talking about like the thing that motivates him is just hate.
• 31:52
  Speaker 2: He just hates white people, and the freeman is like,
• 31:54
  Speaker 2: that can't be your motivation. Your motivation is just hate,
• 31:58
  Speaker 2: it's not going to work. There has to be something
• 32:00
  Speaker 2: else to it. And also, white people aren't the problem.
• 32:03
  Speaker 2: It's the people oppressing everyone that is the problem. And
• 32:07
  Speaker 2: government hates hearing shit like that for sure.
• 32:10
  Speaker 3: Yeah, and that scene.
• 32:11
  Speaker 1: Where the guys a white, it's a white passing guy
• 32:14
  Speaker 1: who's who's telling them. I forget what starts an argument,
• 32:18
  Speaker 1: but it's a guy who's in the crew. He and
• 32:21
  Speaker 1: realize he actually was like he was either by rate,
• 32:24
  Speaker 1: he was like biracial, he was like he was part black.
• 32:26
  Speaker 1: He was like white passing. And he's telling them like, yeah,
• 32:29
  Speaker 1: I'm black and I'll probably get killed by a cop
• 32:32
  Speaker 1: once they realize it, just because I kind of look white.
• 32:35
  Speaker 1: But that is sampled by a dead president on the
• 32:37
  Speaker 1: track called we Want Freedom. And I know that because
• 32:40
  Speaker 1: I got a copyright claim. YouTube does this thing like
• 32:45
  Speaker 1: I never fight it just because it's easy. I think
• 32:47
  Speaker 1: I may have thought it. I don't know, but so
• 32:50
  Speaker 1: sometimes what happens is if a scene from a movie
• 32:53
  Speaker 1: or TV show is used in a song, you'll get
• 32:55
  Speaker 1: a copyright claim. And I don't know how that works.
• 32:58
  Speaker 1: I don't know the people that made the song have
• 32:59
  Speaker 1: to clear it. Because it happened with me with a Kendrick,
• 33:03
  Speaker 1: I used this part of the Martin clip and Kendrick
• 33:06
  Speaker 1: Lamar's sample that Martin clip off of one of his
• 33:09
  Speaker 1: mixtapes overly dedicated I think, but yeah, that Dead President's song, Yeah,
• 33:14
  Speaker 1: that actually was. It's the guy that in that role
• 33:17
  Speaker 1: he identified as black. He was just mixed, but so
• 33:20
  Speaker 1: he used. They used really light skinned dudes to rob
• 33:23
  Speaker 1: banks so that they could fund it with beers and
• 33:26
  Speaker 1: stuff so that they won't be on too, so that
• 33:28
  Speaker 1: they're also not on to black people doing it, which
• 33:30
  Speaker 1: is this is awesome shit that will really work, which
• 33:32
  Speaker 1: is why stuff like this is why Fred Hanton got killed,
• 33:36
  Speaker 1: because like, you can't have no fucking rainbow coalition of
• 33:38
  Speaker 1: people working together.
• 33:39
  Speaker 2: Yeah, I always tell people. I don't know if it's
• 33:42
  Speaker 2: even still on Amazon, but for the longest time on
• 33:45
  Speaker 2: Amazon Prime, there was this prison interview with Tupac from
• 33:49
  Speaker 2: right before Suge Knight got him out and definitely had
• 33:52
  Speaker 2: nothing to do with having him killed, where Tupac is
• 33:55
  Speaker 2: talking the exact same kind of stuff, like we need
• 33:59
  Speaker 2: to get the street gangs together and organize and do
• 34:05
  Speaker 2: positive shit, and watching that interview, I remember just being like, oh, yeah,
• 34:10
  Speaker 2: I think the government killed Tupac probably like that.
• 34:13
  Speaker 1: I don't know, I feel like, honestly, honestly, what happened
• 34:15
  Speaker 1: with Tupac. We've seen it happen with other guys in
• 34:18
  Speaker 1: like real life and celebrities. I feel like what happened
• 34:20
  Speaker 1: to Tupac after he got robbed by he got robbed
• 34:23
  Speaker 1: in New York. He was so young. And also the
• 34:27
  Speaker 1: rape case where if you read into it, it does
• 34:30
  Speaker 1: sound like he only got he got the charge because
• 34:33
  Speaker 1: those people knew him. I don't think he did it,
• 34:35
  Speaker 1: but like somehow with his friends, so stuff like that,
• 34:38
  Speaker 1: and then Shugar Night comes into his life. He was
• 34:41
  Speaker 1: like so paranoid that he just kind of they put
• 34:44
  Speaker 1: that influence on him and charge him up, and that
• 34:47
  Speaker 1: caused his the client. It's like he was kind of
• 34:49
  Speaker 1: like job Morana if the NBA didn't tap his pockets.
• 34:53
  Speaker 3: Yeah, a little bit.
• 34:54
  Speaker 1: Well, once he started feeling that association with I think
• 34:58
  Speaker 1: what's up? I think Schug it was Piru. I can't
• 35:00
  Speaker 1: remember what Yeah said he was part of, but yeah,
• 35:04
  Speaker 1: I think that's what fucked with him.
• 35:06
  Speaker 3: Yeah.
• 35:06
  Speaker 2: The character who is very light skin in this is
• 35:10
  Speaker 2: name's Sweet Willy. And I'm glad I watched the movie
• 35:14
  Speaker 2: and also read the book because in the book, I
• 35:17
  Speaker 2: could not picture what Sweet Willy actually looked like.
• 35:21
  Speaker 3: And in the book he's even angrier.
• 35:25
  Speaker 2: About this suggestion that, oh, well, you lead this bank
• 35:28
  Speaker 2: robbery because you look white, and they'll just assume a
• 35:32
  Speaker 2: bunch of white people did it. In the book, he's
• 35:35
  Speaker 2: furious at that because this thing where people call.
• 35:39
  Speaker 3: Him white and he's like, I'm not.
• 35:41
  Speaker 2: It's laid up a lot more in the book, and
• 35:45
  Speaker 2: I just, for the life of me, I couldn't picture, like, well,
• 35:48
  Speaker 2: what the fuck does he look like that people are
• 35:51
  Speaker 2: not like even registering that he's black.
• 35:53
  Speaker 3: Check out Sweet Willy in this movie.
• 35:55
  Speaker 1: You'll get it to make it easier. Basically, he looks
• 35:57
  Speaker 1: like that rapper logic.
• 36:00
  Speaker 3: Sure, shirt is logic? Not is that not a white dude?
• 36:03
  Speaker 1: He claims to be half black when it's convenient. Oh wow, Yeah,
• 36:06
  Speaker 1: I thought everybody knew that. Yeah, when he wanted to
• 36:08
  Speaker 1: seal some records he talks about, I think he got
• 36:11
  Speaker 1: a record. I didn't. I don't listen to no fucking logic.
• 36:13
  Speaker 1: I just know that every Yeah, nobody takes them serious
• 36:16
  Speaker 1: because he only claims his black side when it's convenient.
• 36:18
  Speaker 1: But yeah, logic bi racial. I don't know he got
• 36:21
  Speaker 1: some he claims to have some black in them.
• 36:22
  Speaker 2: Either way, this works. The fucking plan works, like it's
• 36:26
  Speaker 2: pretty brilliant. They pull off this bank robbery. Sweet Willie
• 36:30
  Speaker 2: dresses like a nineteen thirties fucking mobster when he robs
• 36:36
  Speaker 2: this bank.
• 36:36
  Speaker 3: He goes all out.
• 36:38
  Speaker 2: He's got the fucking fedora on and everything. And as
• 36:41
  Speaker 2: they're driving away someone they hear on a police scanner
• 36:45
  Speaker 2: that for Caucasian individuals just robbed the bank. So that
• 36:50
  Speaker 2: shit worked. They also you mentioned it a little bit,
• 36:53
  Speaker 2: but one of the other tactics they use is they
• 36:58
  Speaker 2: start putting the idea out that the Cobras are all
• 37:02
  Speaker 2: using heroin now, and so the police will assume, oh,
• 37:06
  Speaker 2: you mean that group of junkies. They obviously didn't pull
• 37:09
  Speaker 2: off a fucking bank heist. They obviously didn't rob an armory,
• 37:14
  Speaker 2: which that's coming up to, which that's smart, it's really
• 37:18
  Speaker 2: fucking smart. I mean, it's propaganda, is what they're doing.
• 37:22
  Speaker 2: And that was Sweet Willie's role. Also, he was the
• 37:25
  Speaker 2: propagandist in this. And so they have to rob a
• 37:29
  Speaker 2: bank because they need a ton of money. At one
• 37:33
  Speaker 2: point in the book, Dan Freeman is like, how much
• 37:36
  Speaker 2: money do we have for all this, and the guy's
• 37:38
  Speaker 2: like eighty seven hundred dollars.
• 37:41
  Speaker 3: He's like, that is not going to be enough at all?
• 37:45
  Speaker 1: Right, even the seventies books shit.
• 37:47
  Speaker 2: Yeah, yeah, because I as I was reading and I
• 37:50
  Speaker 2: was like, oh, is that going to be enough money?
• 37:52
  Speaker 2: It's nineteen seventy three, I have no idea, right, No,
• 37:55
  Speaker 2: we need a lot more money. So they pull off
• 37:58
  Speaker 2: this bank robbery to get money. We should mention Dawson.
• 38:02
  Speaker 2: He's a big figure in this He is a friend
• 38:06
  Speaker 2: of Peters from childhood who grew up to be a cop.
• 38:11
  Speaker 2: And Freeman wants to recruit Dawson into this cause, and
• 38:16
  Speaker 2: Dawson is highly skeptical, and so after the bank robbery,
• 38:21
  Speaker 2: they pull off an even more ambitious heist and steal
• 38:25
  Speaker 2: a bunch of guns and ammunition from a local armory
• 38:30
  Speaker 2: using a stolen bus. It is such a fun scene
• 38:33
  Speaker 2: in this movie when they pull off this heist.
• 38:35
  Speaker 1: It's great. Like I said, the movie is really interesting.
• 38:37
  Speaker 1: It is. It's a political it's a political revolutionary movie,
• 38:41
  Speaker 1: so like it's really I was on my lodge room.
• 38:44
  Speaker 1: I was trying to think it's something to compare it to,
• 38:45
  Speaker 1: and it's really nothing. No other movie you could compare
• 38:48
  Speaker 1: it to, just because of the writing and the pacing.
• 38:50
  Speaker 1: But it does has some fun scenes, like that scene
• 38:52
  Speaker 1: with him and the logic looking dude. It ends with
• 38:55
  Speaker 1: them starting to joke around about he starts doing his
• 38:58
  Speaker 1: impression of seventies white people and stuff like that. That
• 39:02
  Speaker 1: and I think the scene after the armory, that's where
• 39:05
  Speaker 1: they go to the radio station.
• 39:06
  Speaker 2: Right, Yes, they basically break into a radio station, tie
• 39:11
  Speaker 2: up the DJ and whoever else is there, and then
• 39:15
  Speaker 2: get on the radio and start. Well, in the movie,
• 39:19
  Speaker 2: they get on the radio and do this, I mean
• 39:22
  Speaker 2: they say who they are with their messages, and then
• 39:25
  Speaker 2: they do this countdown and the guy's like, at the
• 39:28
  Speaker 2: end of this countdown, the mayor's office is going to explode.
• 39:31
  Speaker 2: That's two different scenes in the book. They get on
• 39:35
  Speaker 2: the radio in the book and just like generally spread
• 39:38
  Speaker 2: their message, but also in the book, Dan Freeman every
• 39:43
  Speaker 2: time this group does something. At first Dan Freeman calls
• 39:47
  Speaker 2: a local journalist and tells him, and the countdown scene
• 39:51
  Speaker 2: to where the mayor's office explodes, he's actually on the
• 39:55
  Speaker 2: phone with the guy and hear's it through that guy's phone.
• 39:58
  Speaker 3: But I mean, making the movie.
• 39:59
  Speaker 2: They obviously we had to combine some shit, But yeah,
• 40:02
  Speaker 2: that part, that scene is really fun in the movie
• 40:05
  Speaker 2: they take over the radio station.
• 40:08
  Speaker 1: I'm trying to remember. Isn't it a scene because it
• 40:11
  Speaker 1: was a few months ago when I seen it where
• 40:12
  Speaker 1: they're like, there's going to be some things that they
• 40:15
  Speaker 1: blame on us, and they're like that we're not taking
• 40:18
  Speaker 1: credit for it. I can't remember. It wasn't that in
• 40:20
  Speaker 1: the movie. It was saying they were saying something like
• 40:21
  Speaker 1: that the government is going to blame or the state
• 40:23
  Speaker 1: is going to blame on us. I can't remember. Made
• 40:26
  Speaker 1: them thinking of something else.
• 40:27
  Speaker 2: Yeah, I don't remember that. I remember them it's after
• 40:30
  Speaker 2: the Armory robbery where he explains that that's why they
• 40:34
  Speaker 2: made the or spread the rumors about the Cobras being
• 40:37
  Speaker 2: drug addicts, because no one would associate a heist of
• 40:41
  Speaker 2: that nature that took all that planning with a bunch
• 40:44
  Speaker 2: of fucking drug addicts.
• 40:46
  Speaker 3: But yeah, I don't remember that part exactly right.
• 40:49
  Speaker 1: And so the original plan is they're all supposed to
• 40:52
  Speaker 1: when they kind of start the chaos and start to
• 40:54
  Speaker 1: spread it, then they're all they're supposed to start it
• 40:57
  Speaker 1: all at the same time. Across the country and things
• 41:00
  Speaker 1: start to go awry because this is this young character.
• 41:03
  Speaker 1: I think Freeman knew him from back in the day,
• 41:06
  Speaker 1: this young kid that he was selling the hero he
• 41:08
  Speaker 1: was a heroin or I think he was a pimp
• 41:10
  Speaker 1: of something like that, and he gets hopefully I'm not
• 41:13
  Speaker 1: jumping too far ahead, he gets killed by the cops,
• 41:16
  Speaker 1: and that's what starts to and that's what kind of
• 41:18
  Speaker 1: throws everything off.
• 41:20
  Speaker 2: Yeah, that whole sequence I found really entertaining. I like
• 41:24
  Speaker 2: this movie just in general. It's a legitimately good movie.
• 41:27
  Speaker 2: But yeah, once it gets to that police shooting, the
• 41:30
  Speaker 2: movie itself like really takes off. There's a scene where
• 41:34
  Speaker 2: there's this police shooting and Dan Freeman has all these plans,
• 41:38
  Speaker 2: you know, this plot that is supposed to happen all
• 41:41
  Speaker 2: at the same time. So he's in this position where
• 41:44
  Speaker 2: he kind of wants this chaos in the streets, but
• 41:48
  Speaker 2: not yet, so he's got to go down and try
• 41:50
  Speaker 2: to stop this riot. And it happens in the book
• 41:54
  Speaker 2: in the movie in pretty much the exact same way.
• 41:57
  Speaker 2: They have everyone mostly calmed down and then for some reason,
• 42:01
  Speaker 2: the police go in with dogs and that sets the
• 42:05
  Speaker 2: neighborhood off because this was seventy three. It wasn't that
• 42:09
  Speaker 2: far removed from all of the shit that happened in
• 42:12
  Speaker 2: the South with the civil rights movement and dogs, and
• 42:16
  Speaker 2: those protests in the South were a big fucking deal.
• 42:20
  Speaker 2: So the people in this neighborhood, once they bring out
• 42:23
  Speaker 2: the dogs, they're like, you motherfuckers, and that's when they
• 42:26
  Speaker 2: start throwing bricks and shit.
• 42:28
  Speaker 1: If you watch a special features, a real riot basically
• 42:32
  Speaker 1: almost broke out while they were shooting this.
• 42:34
  Speaker 2: Yeah, because they're filming it at a time when this
• 42:37
  Speaker 2: was shit people were concerned about and talking about. So yeah,
• 42:41
  Speaker 2: the riot turned into like a real riot. They actually
• 42:44
  Speaker 2: flipped the car over and shit. And so there's lots
• 42:47
  Speaker 2: of scenes of police beating people with batons things that
• 42:51
  Speaker 2: the like crowd responding escalates to the point that the
• 42:55
  Speaker 2: National Guard is called in. And the National Guard is
• 42:58
  Speaker 2: actually good for the plan here, because what they're aiming
• 43:02
  Speaker 2: for is people in the community. And I think this
• 43:06
  Speaker 2: is more mentioned in the book, but the goal is
• 43:10
  Speaker 2: for the people in the communities where they're going to
• 43:13
  Speaker 2: do this to be so fed up with the National
• 43:17
  Speaker 2: Guard being in their community that they will side with
• 43:21
  Speaker 2: the people who are attacking the National Guard to get
• 43:24
  Speaker 2: them out.
• 43:25
  Speaker 1: It's not like you could just say, all right, no
• 43:28
  Speaker 1: blacks after five o'clock. The National Guard has to suppress
• 43:32
  Speaker 1: everybody in the community. And that's you know what I'm saying,
• 43:35
  Speaker 1: that's that's how you kind of unite people. Because the thing,
• 43:38
  Speaker 1: like I said, the thing that got Fred Hanton killed,
• 43:41
  Speaker 1: he wasn't trying to just unite black people. He was
• 43:44
  Speaker 1: trying to unite a class of people. And that's what
• 43:46
  Speaker 1: the Rainbow Coalition was. It was he'll Billy's you know,
• 43:50
  Speaker 1: different groups of back in the sevities when Italians were
• 43:55
  Speaker 1: still had a lot of prejudice again, some different groups
• 43:57
  Speaker 1: of white people that were you know, the under class,
• 44:00
  Speaker 1: and he was uniting those type of people and that's
• 44:02
  Speaker 1: what the that's what the point was. You unite a
• 44:05
  Speaker 1: class people instead of a race, and that's how you know,
• 44:08
  Speaker 1: you know, build these coalitions.
• 44:09
  Speaker 3: Yeah, that's absolutely what got him killed.
• 44:12
  Speaker 2: I love the scene where they kidnapped a commander of
• 44:15
  Speaker 2: the National Guard unit and they put him in black
• 44:19
  Speaker 2: face and then force him to take acid.
• 44:22
  Speaker 1: Oh yeah, god, yes, that move. That scene was hilarry.
• 44:26
  Speaker 1: They just let him go, don't they.
• 44:28
  Speaker 2: Well, they in the book, they just let him go,
• 44:31
  Speaker 2: which that by itself is very funny. They let him
• 44:34
  Speaker 2: go and it turns into this thing where he gets
• 44:36
  Speaker 2: fired and like the National Guard kind of lies about
• 44:41
  Speaker 2: why he's gone. In the movie, they let him go
• 44:45
  Speaker 2: and he's riding a bike and like high out of
• 44:47
  Speaker 2: his mind, and these two National Guard soldiers walk up
• 44:51
  Speaker 2: to intervene and then they just shoot him in the
• 44:54
  Speaker 2: chest from a rooftop nearby. It's like, you could have
• 44:58
  Speaker 2: just shot him in the first place if you were
• 45:01
  Speaker 2: going to do that. But they drug him, put him
• 45:04
  Speaker 2: on a bike, put him in blackface, and then shoot him,
• 45:08
  Speaker 2: which well I didn't see that coming. I thought it
• 45:10
  Speaker 2: was very funny, and it's like, so the way they
• 45:13
  Speaker 2: shoot him, it's just like they shoot him and then
• 45:15
  Speaker 2: like giggle to each other and run off like kids
• 45:17
  Speaker 2: who just did something fun. It's a great scene. One
• 45:21
  Speaker 2: of the things that is really clear in this. It
• 45:25
  Speaker 2: was really clear when we talked about Fred Hampton last week,
• 45:29
  Speaker 2: which there's a documentary out there called The Murder of
• 45:33
  Speaker 2: Fred Hampton that came out I think the same year
• 45:36
  Speaker 2: this did, and one of the things you see in
• 45:39
  Speaker 2: that is there's so many moments where it's like, oh,
• 45:42
  Speaker 2: it's fifty years later and we're still this is still
• 45:45
  Speaker 2: a concern, or this is still a thing you're hearing
• 45:48
  Speaker 2: from the fucking police. And in this sure enough, at
• 45:52
  Speaker 2: one point, the CIA, the FBI, they're like, you know
• 45:56
  Speaker 2: who we need to find as the communists and the
• 45:58
  Speaker 2: agitators who are organizing and causing all of this, because clearly,
• 46:03
  Speaker 2: these fucking dim witted black people cannot be the ones
• 46:06
  Speaker 2: behind all this. It has to be someone smarter and
• 46:11
  Speaker 2: better in their view, And you still hear that today.
• 46:15
  Speaker 3: Anytime there's a fucking just a it.
• 46:18
  Speaker 2: You cannot call what happened in La recently a riot,
• 46:22
  Speaker 2: You absolutely cannot. There was some destruction of property, there
• 46:27
  Speaker 2: was some spray painting, Absolutely not a fucking riot, But
• 46:30
  Speaker 2: what violence or anything that broke out.
• 46:34
  Speaker 3: Even fucking local.
• 46:35
  Speaker 2: News who knows better, would be like, uh, it's agitators
• 46:39
  Speaker 2: who are caused. Everyone else here is just peaceful. And
• 46:42
  Speaker 2: then those are agitators and outside agitators, and it's like,
• 46:46
  Speaker 2: show me one, arrest one, and show me that motherfucker's
• 46:49
  Speaker 2: ID that says they are from George Soros, Oregon or
• 46:54
  Speaker 2: some shit. It's just a way to minimize the importance
• 46:58
  Speaker 2: of what people are protesting if you can sell people
• 47:02
  Speaker 2: on the idea, well, people aren't that mad, they're just
• 47:04
  Speaker 2: sort of mad, and then these outside influencers are coming
• 47:08
  Speaker 2: in to really stir shit up. It's like, no people
• 47:10
  Speaker 2: are mad enough to stir shit up, is what's actually happening.
• 47:13
  Speaker 2: And that becomes a big plot point near the end
• 47:17
  Speaker 2: of the movie, is this idea that, oh, we got
• 47:19
  Speaker 2: to find the communists who are behind all this, and
• 47:22
  Speaker 2: it turns into a big argument with Freeman and Dawson eventually.
• 47:28
  Speaker 2: Also and yeah, you still see that shit today. It's
• 47:31
  Speaker 2: communists are doing everything in this country.
• 47:34
  Speaker 1: Yeah. And also she doesn't play as big of a role,
• 47:36
  Speaker 1: but the sex worker he was working with, she's kind
• 47:38
  Speaker 1: of in she's kind of down with the calls too,
• 47:42
  Speaker 1: as opposed to the other chick he was messing with.
• 47:46
  Speaker 1: She marries like a doctor or something like that. And
• 47:48
  Speaker 1: that was kind of put in to show that the
• 47:50
  Speaker 1: class solidarity, even with black people, even back then during
• 47:54
  Speaker 1: different civil rights movements and uprisings, it's a type of
• 47:57
  Speaker 1: it's a tier of class solidarity. Like old that was
• 48:00
  Speaker 1: a cop in his mind, he's like, I mean I
• 48:02
  Speaker 1: made it. I'm not giving this up to fight with
• 48:05
  Speaker 1: the revolution. And that's kind of where thing, you know,
• 48:07
  Speaker 1: that's where his anger comes at this guy who's also black,
• 48:10
  Speaker 1: and he would benefit from class will race solidarity or
• 48:15
  Speaker 1: class solidarity. He doesn't want to give that up because
• 48:17
  Speaker 1: he's a cop already.
• 48:18
  Speaker 2: Yeah, And those two women become really central to the
• 48:23
  Speaker 2: plot at the end because the sex worker shows back
• 48:27
  Speaker 2: up and it's like, Hey, I've been boning a guy.
• 48:31
  Speaker 3: I think you know, the general. He was apparently your.
• 48:34
  Speaker 2: Boss back at the CIA, And just so you know,
• 48:38
  Speaker 2: they are planning to come to town and fucking destroy you.
• 48:42
  Speaker 2: They are trying to infiltrate your group and then they
• 48:46
  Speaker 2: are going to end your shit. And he's like, if
• 48:49
  Speaker 2: you're dating this guy, why are you telling me? And
• 48:51
  Speaker 2: she's like, I'm still black, right. And then there's the
• 48:55
  Speaker 2: other woman, Joy, who is She's the one who like
• 48:59
  Speaker 2: she's got a really good job. She shows up and
• 49:02
  Speaker 2: starts arguing with him about how what's happening in these
• 49:06
  Speaker 2: cities is causing people to lose their integrated jobs.
• 49:11
  Speaker 3: I don't know if she says that in the movie,
• 49:12
  Speaker 3: but it's in the book.
• 49:13
  Speaker 2: And what she means is black people are just getting
• 49:16
  Speaker 2: fired from their jobs because, you know, the United States,
• 49:19
  Speaker 2: once we're at war with anyone or have any sort
• 49:22
  Speaker 2: of conflict with anyone, everyone who is part of that
• 49:26
  Speaker 2: group in this country is all of a sudden a problem.
• 49:29
  Speaker 2: Like the New York City mayor thing we just talked about.
• 49:32
  Speaker 2: Now every Muslim is a terrorist in New York because
• 49:36
  Speaker 2: they almost might elect a Muslim mayor, and so she's
• 49:40
  Speaker 2: really pissed about that, and this argument breaks out, and
• 49:44
  Speaker 2: she starts to suspect that he might be the one
• 49:47
  Speaker 2: leading all of this because they end up giving well
• 49:50
  Speaker 2: that when they break into the radio station, he calls
• 49:53
  Speaker 2: himself Uncle Tom, and so now all the Feds, all
• 49:57
  Speaker 2: the police, they're looking for Uncle Tom. And she suspects
• 50:02
  Speaker 2: that Freeman might be Uncle Tom. So she goes to
• 50:06
  Speaker 2: Dawson the cop, and fucking tells on him, which don't
• 50:10
  Speaker 2: do that, don't tell the police things. So then that's
• 50:13
  Speaker 2: when the conflict with Dawson and Freeman happens. Dawson basically
• 50:18
  Speaker 2: shows up to arrest him, and it turns into a
• 50:21
  Speaker 2: big thing. Freeman gets shot, Dawson gets stabbed, Dawson dies
• 50:26
  Speaker 2: spoiler alert, Well.
• 50:28
  Speaker 1: Yeah, before the fight. It's kind of a kind of
• 50:30
  Speaker 1: a discussion, like if you join the cause, you would
• 50:33
  Speaker 1: be more valuable to us because we would have somebody
• 50:35
  Speaker 1: on the inside. And of course, like we seen the
• 50:38
  Speaker 1: thing is for the Civil rights era. It's like I said,
• 50:41
  Speaker 1: it's so real. You have to read so many books
• 50:44
  Speaker 1: to understand how much really went to it into it
• 50:47
  Speaker 1: because like for one, a lot of black people, especially Christians,
• 50:50
  Speaker 1: weren't down with it. During the second wave of civil rights,
• 50:55
  Speaker 1: which starts to Martin Luther King. A lot of people
• 50:56
  Speaker 1: think that's when it began, but the first wave started
• 50:59
  Speaker 1: with his Five Things, just moved a lot slower. So
• 51:02
  Speaker 1: I started reading this book and then I hit my
• 51:04
  Speaker 1: threashold for the year or at least for half of
• 51:07
  Speaker 1: the year for Black Depression, So I probably finished it.
• 51:10
  Speaker 1: Later called did not this non violent stuff to get
• 51:13
  Speaker 1: you killed? And Roy Woods Junior has a perfect joke
• 51:16
  Speaker 1: about it. I think I talked about it before. He
• 51:18
  Speaker 1: says one of these jokes, he's like, black people should
• 51:20
  Speaker 1: only be allowed to watch three civil rights movies a
• 51:23
  Speaker 1: year because that's too much to handle. But yeah, that
• 51:26
  Speaker 1: literally happened to me. Like I'm reading maybe a quarter
• 51:29
  Speaker 1: of this book, I'm like, I can't handle this shit
• 51:30
  Speaker 1: anymore because I especially with the type of content I do,
• 51:33
  Speaker 1: it's just depressing. But it is interesting. It shows the
• 51:36
  Speaker 1: real history of civil rights. Like a lot of people
• 51:39
  Speaker 1: don't know Martin Luther King carry the gun for a
• 51:41
  Speaker 1: protection that just wasn't It wasn't out there, but the
• 51:45
  Speaker 1: idea of civil rights that it was understood that we
• 51:49
  Speaker 1: have to take up arms. And that's why certain discussions
• 51:52
  Speaker 1: I hurt people have on the have had on this network,
• 51:55
  Speaker 1: like gun control. Well with black people, we look at
• 51:58
  Speaker 1: gun control different because those laws aren't going to be
• 52:01
  Speaker 1: enforced the same They're going to be enforced in the
• 52:03
  Speaker 1: city or just random black people. It's not like Jim
• 52:07
  Speaker 1: Bob and them. It's going to be like, hey, what
• 52:09
  Speaker 1: you got on you? You know what I'm saying. So, yeah,
• 52:11
  Speaker 1: it's an interesting book. It's non violent stuff to get
• 52:13
  Speaker 1: you cute, but yeah, it's the whole thing like that.
• 52:16
  Speaker 1: It's so much that goes into it that you would
• 52:18
  Speaker 1: need to do research on under to fully understand this movie.
• 52:22
  Speaker 1: But a lot of it is put into it that
• 52:24
  Speaker 1: you can understand without doing a lot of the research.
• 52:27
  Speaker 1: It's a really good movie.
• 52:28
  Speaker 2: Yeah, the gun control thing, that's something I always mention
• 52:34
  Speaker 2: when people are like, why don't we just ban all
• 52:35
  Speaker 2: guns and go just confiscate all guns, It's because you're picturing, Oh,
• 52:41
  Speaker 2: the government's going to go out to all these fucking
• 52:43
  Speaker 2: racist hillbillies in Middle America and finally take their ar fifteens.
• 52:48
  Speaker 2: It's like, sure that, but also it's going to be
• 52:51
  Speaker 2: sending heavily militarized police forces into communities that have been
• 52:57
  Speaker 2: getting terrorized by heavily military police forces for years and
• 53:02
  Speaker 2: years and years, so they can be terrorized again and
• 53:06
  Speaker 2: have their guns taken. It's like, you don't really want
• 53:08
  Speaker 2: to sign off on that, do you.
• 53:10
  Speaker 1: And also just on a gun thing from as far
• 53:13
  Speaker 1: as when it comes to black people holding arms, like
• 53:16
  Speaker 1: when you think of like pretty much your three most
• 53:18
  Speaker 1: famous police departments that are known for just doing fucked
• 53:21
  Speaker 1: up shit, especially towards black people and people of color,
• 53:24
  Speaker 1: you got LAPD, NYPD, and I will probably say Chicago Police.
• 53:28
  Speaker 1: And those are also three of the toughest states to
• 53:31
  Speaker 1: legally own a gun. And that's not a coincidence, Yeah,
• 53:34
  Speaker 1: absolutely not. Yeah, So just the idea, just idea of
• 53:38
  Speaker 1: maybe this person that I'm fucking with might own a gun,
• 53:41
  Speaker 1: and they might you know what I'm saying, they might
• 53:43
  Speaker 1: stand a chance in court, or they might not think
• 53:45
  Speaker 1: twice about it. Stuff like that is what it's a
• 53:48
  Speaker 1: problem we talk about White liberals. They don't think about
• 53:50
  Speaker 1: discussions like that because they don't they're not really in
• 53:52
  Speaker 1: community with black people. But like all of these things,
• 53:55
  Speaker 1: these aren't noodles. These have been conversations we've been having
• 53:58
  Speaker 1: since pre civil rights, goes back to before, like the
• 54:01
  Speaker 1: only reason we have certain gun loss is because too
• 54:04
  Speaker 1: many black people were fighting against the Klan and shit
• 54:07
  Speaker 1: like that back in like the eighteen hundreds.
• 54:09
  Speaker 2: Yeah, this is a good movie. Yeah, I think people
• 54:12
  Speaker 2: should watch it. The end. I mean, we've kind of
• 54:15
  Speaker 2: already talked about the end, but the very very end,
• 54:19
  Speaker 2: some of the Cobras show up at Freeman's apartment and
• 54:23
  Speaker 2: realize he's killed Dawson and they're like, man, Dawson was
• 54:26
  Speaker 2: your friend. I can't believe, like, why would you kill
• 54:29
  Speaker 2: your friend? And I'm paraphrasing, but he's like, hey, man,
• 54:32
  Speaker 2: anyone who gets between us and freedom can fucking get it. Yeah,
• 54:37
  Speaker 2: And that combined with he hears on the radio that
• 54:41
  Speaker 2: a national state of emergency has been put in place,
• 54:44
  Speaker 2: and he just holds his drink up and like cheers
• 54:47
  Speaker 2: to that.
• 54:48
  Speaker 3: I love the way this movie ends.
• 54:50
  Speaker 1: Yeah, and it just ends, like I said, that's another
• 54:52
  Speaker 1: reason this movie can never be made remade because like
• 54:55
  Speaker 1: it would have, it doesn't really have a real ending.
• 54:58
  Speaker 1: They would give it they want they would want to
• 55:00
  Speaker 1: give it a Hollywood ending with like explosions and a
• 55:03
  Speaker 1: big speech or something like that. It just ends kind
• 55:05
  Speaker 1: of ambiguously, like the revolution is begun.
• 55:08
  Speaker 3: Yeah.
• 55:09
  Speaker 2: If anything this movie, I would have taken a sequel
• 55:12
  Speaker 2: for this movie, but that's not probably gonna happen.
• 55:16
  Speaker 1: Yeah. Yeah, Like it's it makes sense why this movie
• 55:19
  Speaker 1: was banned because if you follow these steps, especially back then,
• 55:22
  Speaker 1: you can get some shit done like organizing.
• 55:25
  Speaker 2: Yeah, I mean you can get shit done now find
• 55:29
  Speaker 2: some of this stuff.
• 55:30
  Speaker 1: But yeah, and that's the thing when you talk about
• 55:32
  Speaker 1: revolutionary or resistance and stuff like that, all of that
• 55:36
  Speaker 1: stuff is has to be taken into account like what
• 55:39
  Speaker 1: you're really asking for. It's a reason why within black community,
• 55:43
  Speaker 1: when it talks about gun we're talking about education. And yeah,
• 55:48
  Speaker 1: if any law should be passed, it should be about
• 55:51
  Speaker 1: the mental capacity of someone. And also all of the
• 55:54
  Speaker 1: shit goes back to Ronald Reagan, Like we didn't start
• 55:57
  Speaker 1: seeing mass shootings, it started with people going postal, and
• 56:00
  Speaker 1: so he fucking defunded mental health facilities. Like people don't
• 56:04
  Speaker 1: want to hear that. But if anything, that's really where
• 56:07
  Speaker 1: it needs to start. Because first off, if a criminal
• 56:09
  Speaker 1: wants a gun, prohibition doesn't work. If you want to
• 56:12
  Speaker 1: get high, you're gonna buy drugs. If you want sex,
• 56:15
  Speaker 1: you're going to go to a sex worker. That's the thing.
• 56:17
  Speaker 1: Prohibition doesn't work. So, if anything, it starts within community
• 56:21
  Speaker 1: instead of trying to police the people, or like certain
• 56:24
  Speaker 1: states just make it more expensive to legally get a CPL,
• 56:28
  Speaker 1: which it's been shown that only affects people of a
• 56:31
  Speaker 1: lower income status. So now you got a single mother
• 56:34
  Speaker 1: who's trying to fucking defend herself from her ex boyfriend
• 56:38
  Speaker 1: or ex husband or something like that, you're just making it,
• 56:40
  Speaker 1: you're just making it more difficult for her to have
• 56:43
  Speaker 1: to pay. Because the middle class white dudes who got
• 56:46
  Speaker 1: a hundred guns or shit like that, that's not a
• 56:48
  Speaker 1: burden on him. Yeah, these are just we're not addressing
• 56:51
  Speaker 1: a real issue.
• 56:52
  Speaker 2: Yeah, and Chicago's a great example of how much gun
• 56:56
  Speaker 2: prohibition does not work, because you mentioned already Chicago has
• 57:00
  Speaker 2: some of the strictest gun laws.
• 57:02
  Speaker 1: Well Illinois. Illinois's as a state.
• 57:05
  Speaker 2: Yeah, but also Indiana doesn't. In Indiana's right next door.
• 57:09
  Speaker 2: So there's this thing called the Iron Pipeline, which is
• 57:12
  Speaker 2: the route people take from Indiana to traffic guns into Chicago.
• 57:17
  Speaker 2: It was actually sort of a two way street for
• 57:20
  Speaker 2: a while. I think Illinois might have raised their taxes
• 57:24
  Speaker 2: enough that it's not the same now. But for the
• 57:26
  Speaker 2: longest time, also, people were trafficking cigarettes into Indiana because
• 57:30
  Speaker 2: cigarettes were just significantly cheaper in Illinois. So Indiana was
• 57:36
  Speaker 2: sending Chicago guns, Chicago was sending Indiana cigarettes, and everyone's
• 57:42
  Speaker 2: just dying in their own preferred little way. Mexico is
• 57:47
  Speaker 2: another example of a place where the gun laws are
• 57:52
  Speaker 2: insanely strict. In Mexico, there's I think one place you
• 57:57
  Speaker 2: can buy a gun. There's one gun store in the country,
• 58:00
  Speaker 2: and you have the option of a rifle or like
• 58:04
  Speaker 2: a small handgun. There's only two types of guns you
• 58:06
  Speaker 2: can buy. You have to go through this crazy process
• 58:09
  Speaker 2: to actually be able to buy a gun. Meanwhile, Mexico
• 58:12
  Speaker 2: just gets all their guns either trafficked in from the US,
• 58:17
  Speaker 2: like across the southern border, or they just get stolen
• 58:21
  Speaker 2: from the military. So Mexico is filthy with guns. You
• 58:24
  Speaker 2: just can't buy one if you're a regular person. And yeah,
• 58:28
  Speaker 2: you're right. So it's a thing where they need to
• 58:31
  Speaker 2: address the reason people want guns and need guns and
• 58:35
  Speaker 2: use guns, as opposed to just banning guns. That's not
• 58:39
  Speaker 2: going to work, not here anyway.
• 58:41
  Speaker 1: And then to do that we would have to address
• 58:43
  Speaker 1: systemic issues like poverty, and at the end of the day,
• 58:47
  Speaker 1: it all goes back to fucking capitalism, which is why
• 58:50
  Speaker 1: we have all of these issues.
• 58:51
  Speaker 2: Yeah, even like mass shootings and school shootings. It's like, yeah,
• 58:55
  Speaker 2: we definitely need to cut back on that for sure, obviously,
• 59:00
  Speaker 2: but that is a drop in the bucket when it
• 59:02
  Speaker 2: comes to the gun violence in this country. And there
• 59:05
  Speaker 2: could be no more school shootings ever and guns would
• 59:09
  Speaker 2: still be a gigantic, massive problem in this country.
• 59:13
  Speaker 1: Yeah, and not even that. The number one costs of
• 59:15
  Speaker 1: gun that in America is a suicide. Yeah, and it's
• 59:19
  Speaker 1: specifically white males.
• 59:21
  Speaker 3: Yeah.
• 59:21
  Speaker 1: I talk about the book a few times in here,
• 59:23
  Speaker 1: Dying of whiteness, and just because like the way they
• 59:26
  Speaker 1: fucking lobby we don't they don't even allow like specific research,
• 59:31
  Speaker 1: like we don't we have limited information just because I
• 59:33
  Speaker 1: think it's a lobbyist or some shit like that. It's
• 59:35
  Speaker 1: all corrupted that we don't even have proper information on
• 59:38
  Speaker 1: what that like, what that looks like. Because the gun
• 59:41
  Speaker 1: lobbies are so powerful. It's just it's it like it's
• 59:46
  Speaker 1: at the end of the day, it's really not. It's
• 59:47
  Speaker 1: not the guns because like gun coach, I know a
• 59:51
  Speaker 1: lot of people that own guns that they're going to
• 59:54
  Speaker 1: the gun range is fucking fun. Or I've never been hunting,
• 59:56
  Speaker 1: but going to the gun range is funder sure, Kansas stuff,
• 1:00:00
  Speaker 1: all of that stuff is fun. The issue is that
• 1:00:03
  Speaker 1: we live in a fucking society that if capitalism doesn't
• 1:00:06
  Speaker 1: see you as valuable, you end up homeless or you
• 1:00:10
  Speaker 1: lose everything, and then you got people that just fucking snap.
• 1:00:12
  Speaker 2: Yeah, yeah, going to the gun range is fun. God damn,
• 1:00:16
  Speaker 2: I've only been a couple of times, but.
• 1:00:18
  Speaker 1: I might go this weekend. I haven't been in a minute.
• 1:00:20
  Speaker 1: Fucking Ammo got expensive during COVID and it never really
• 1:00:23
  Speaker 1: went down. It went down some, but not like it
• 1:00:26
  Speaker 1: used to be.
• 1:00:26
  Speaker 3: Oh like the old Chris Rock bit right.
• 1:00:29
  Speaker 1: Oh boy, this Chris Rock has some problematic takes. When
• 1:00:32
  Speaker 1: you go back and look at his shit from a
• 1:00:33
  Speaker 1: black perspective, Jesus Christ, some of his stuff age is
• 1:00:36
  Speaker 1: pretty bad.
• 1:00:38
  Speaker 2: That does not surprise me. So yeah, I think that's
• 1:00:41
  Speaker 2: our episode. I think people will watch this movie.
• 1:00:44
  Speaker 3: We'll link to it.
• 1:00:45
  Speaker 1: It's free on YouTube.
• 1:00:46
  Speaker 2: Yeah, I'll link to the free one on YouTube. All
• 1:00:48
  Speaker 2: link to John's video about it.
• 1:00:50
  Speaker 1: Yeah, and one of mine's. I mean, minus is like
• 1:00:53
  Speaker 1: maybe the third video that comes up anyway if you
• 1:00:55
  Speaker 1: search this move to set by the Door, Because for one,
• 1:00:57
  Speaker 1: nobody really talks about this movie. So the live streaming
• 1:01:01
  Speaker 1: then I made a video. It's like, it's a whole
• 1:01:03
  Speaker 1: generation of us. I only know about it because that
• 1:01:05
  Speaker 1: Nipsey Hustle record and Blue Lace is too. He said
• 1:01:07
  Speaker 1: the spoke the set by the Jordian's to infiltration. Oh yeah,
• 1:01:11
  Speaker 1: so that's a whole generation of us. So I'm like,
• 1:01:12
  Speaker 1: what is that book he talked about? Oh, before we
• 1:01:14
  Speaker 1: close out, I did want to talk mentioned because in
• 1:01:17
  Speaker 1: the video essay I did I kind of use different
• 1:01:20
  Speaker 1: parallels like Nipsey huss So Atlanta and the Kendrick Lamar
• 1:01:23
  Speaker 1: so like the interesting thing we talk about censorship, typically
• 1:01:26
  Speaker 1: the only things that actually do face real censorship from
• 1:01:29
  Speaker 1: the government is stuff like this. And also interesting enough
• 1:01:33
  Speaker 1: that as big as Kendrick Lamar is, after doing the
• 1:01:35
  Speaker 1: fucking super Bowl last year, do you know that his
• 1:01:38
  Speaker 1: twenty sixteen performance at the Grammys is scrubbed from YouTube?
• 1:01:42
  Speaker 1: Like you can't watch it?
• 1:01:43
  Speaker 3: I did not. Why can you not watch that?
• 1:01:46
  Speaker 1: Well, the reason why is he ends his twenty sixteen performance.
• 1:01:49
  Speaker 1: This is a couple of years after Traylon Martin dies,
• 1:01:52
  Speaker 1: and he performed pretty sure. The song he performs is
• 1:01:54
  Speaker 1: the Black or the Berry, and then he kind of
• 1:01:56
  Speaker 1: does an improp like a freestyle about how Trayvon Martin
• 1:02:01
  Speaker 1: should be, should still be alive and all of the shit.
• 1:02:03
  Speaker 1: And clearly someone that CBS didn't like that. And you
• 1:02:06
  Speaker 1: cannot find it if you search Kendrick twenty sixteen performance.
• 1:02:09
  Speaker 1: It cannot be found if you search Kendrick twenty sixteen,
• 1:02:13
  Speaker 1: Like it's not up on the official Grammy's website, Like
• 1:02:17
  Speaker 1: you can find it, but it's like still images. But yeah,
• 1:02:20
  Speaker 1: it's the performance where he comes out in prison outfit
• 1:02:24
  Speaker 1: he's performing the whole time and shackles and chains and
• 1:02:28
  Speaker 1: he ends it with that poem about Trayvon Martin should
• 1:02:30
  Speaker 1: still be alive and George Zimmerman walks free and all
• 1:02:33
  Speaker 1: of the shit is clearly The Powers to Be was like,
• 1:02:35
  Speaker 1: well fuck that, which you would think after he did
• 1:02:38
  Speaker 1: that Grammy, I mean, after he did the Super Bowl,
• 1:02:40
  Speaker 1: they would be like, oh, well this will bring us views. Nope,
• 1:02:42
  Speaker 1: they did not put it back on YouTube.
• 1:02:44
  Speaker 3: Yeah, that's fucking wild.
• 1:02:46
  Speaker 1: And it's always these right wings biggest to fucking run
• 1:02:50
  Speaker 1: meaty anyway that are claimed that are crying about censorship. Dude,
• 1:02:53
  Speaker 1: Joe Rogan is the fucking biggest podcast in the world.
• 1:02:55
  Speaker 1: What censorship are y'all talking about?
• 1:02:57
  Speaker 2: Or when people are like, oh, lou, news media is
• 1:03:01
  Speaker 2: very left leaning, it's like, okay, but what about the
• 1:03:03
  Speaker 2: most watched news network in the nation, Fox Exactly, Like
• 1:03:09
  Speaker 2: you don't need a bunch of right leaning networks if
• 1:03:12
  Speaker 2: you have the one biggest exactly. Yeah, that shit is frustrating. Yeah,
• 1:03:18
  Speaker 2: that's crazy about that Kendrick Lamarin performance.
• 1:03:20
  Speaker 1: Yeah, you can find it on Reddit, but it's a
• 1:03:22
  Speaker 1: low quality. But yeah, it's it's insane, Like when you
• 1:03:25
  Speaker 1: think about it, and that's what we talk about with
• 1:03:27
  Speaker 1: black art, like these are the type of things that
• 1:03:30
  Speaker 1: actually get scrubbed away and taken down. Like it's crazy
• 1:03:34
  Speaker 1: that people are always claiming that, Oh so I can't
• 1:03:37
  Speaker 1: say the f slur and call people to our work.
• 1:03:40
  Speaker 1: I mean you could do it, you just gotta face consequences.
• 1:03:42
  Speaker 1: But no, one of the one of the best selling
• 1:03:45
  Speaker 1: platinum rappers who got a Nobel Prize, his performance is
• 1:03:49
  Speaker 1: taken down because somebody in hygh poweredn't like what he
• 1:03:52
  Speaker 1: said at the end of the performance.
• 1:03:54
  Speaker 3: Yeah, that is fucking wild.
• 1:03:57
  Speaker 1: What's funny. I remember watching that shit live. I remember
• 1:03:59
  Speaker 1: I was at work. I worked third Shit. I was like,
• 1:04:01
  Speaker 1: oh yeah, they I was like that ain't go like this.
• 1:04:04
  Speaker 1: I'm like, holy shit, that's how it was an amazing performance.
• 1:04:08
  Speaker 1: If you all have never seen it, I would say,
• 1:04:09
  Speaker 1: search on Reddit a Kendrick twenty sixteen Grammy performance you
• 1:04:13
  Speaker 1: could find it. It's not super high quality, but like,
• 1:04:15
  Speaker 1: I don't agree, Like I under like thinking of the
• 1:04:17
  Speaker 1: racist I understand why they took it down, but it's
• 1:04:20
  Speaker 1: just crazy to me that they did not want that
• 1:04:22
  Speaker 1: shit out.
• 1:04:23
  Speaker 2: So, yeah, this movie, I don't know, download it, keep
• 1:04:26
  Speaker 2: it on your hard drive. Case it disappears from the internet,
• 1:04:29
  Speaker 2: we might have to upload it again someday.
• 1:04:32
  Speaker 1: Yeah, I have three in the possible I would say
• 1:04:34
  Speaker 1: maybe four black movies that I say that especially for
• 1:04:37
  Speaker 1: any black creatives, just to make sure that you aren't
• 1:04:40
  Speaker 1: doing no house nigga shit. But like the first one is,
• 1:04:44
  Speaker 1: I guess I'll do it in chronological order, so the
• 1:04:46
  Speaker 1: Spook to Set by the Door nineteen eighty five's Robert
• 1:04:49
  Speaker 1: Townsend Bamboozoo two thousand ones, Spike Lee, I'm Sorry nineteen
• 1:04:54
  Speaker 1: eighty five, Hollywood Shuffle two thousand Spike Lee Bamboozo, and
• 1:04:59
  Speaker 1: then the last one would be Sorry to Bother You.
• 1:05:02
  Speaker 1: All of them kind of touch on different the same
• 1:05:04
  Speaker 1: point but different ways. But it's all that I tell,
• 1:05:08
  Speaker 1: especially young Black creatives, that when you're making art, those
• 1:05:11
  Speaker 1: are the type of movies you need to watch so
• 1:05:13
  Speaker 1: that you're not just doing the shit like because we
• 1:05:16
  Speaker 1: see like guys like King Bop, people that were on Vine.
• 1:05:18
  Speaker 1: They know who that it's easy to get on doing
• 1:05:21
  Speaker 1: digital menstrul shit, digital menstrul shit, like just making a
• 1:05:25
  Speaker 1: fool of yourself. But when you're making art, you need
• 1:05:27
  Speaker 1: to look at. What are you doing? Are you popping
• 1:05:30
  Speaker 1: because you're saying something? Are you popping because you're a
• 1:05:32
  Speaker 1: clown like that one dude that eats watermelon and dancing
• 1:05:36
  Speaker 1: the tight shorts and stuff like that, the groove and gorilla.
• 1:05:39
  Speaker 1: People know what I'm talking about. Yeah, Like it's certain
• 1:05:41
  Speaker 1: shit like you need to watch. I would tell everybody,
• 1:05:43
  Speaker 1: but especially young black aspiring creators, like those are really important.
• 1:05:48
  Speaker 1: Movies like Bamboozle and Hollywood Shuffled. To me, they're like,
• 1:05:51
  Speaker 1: I call them sister and brother movies. They're so related,
• 1:05:54
  Speaker 1: they're telling the same story just fifteen years apart.
• 1:05:57
  Speaker 3: Yeah.
• 1:05:57
  Speaker 2: I actually have a signed the DVD copy of Camboozled,
• 1:06:02
  Speaker 2: which a friend sent it to me because we did
• 1:06:06
  Speaker 2: a podcast.
• 1:06:06
  Speaker 3: About Spike Lee movies, yeah for a while.
• 1:06:10
  Speaker 2: And yeah, he sent me a copy assigned copy of
• 1:06:13
  Speaker 2: Bamboozled that he bought from Spike Lee's website. And it's like,
• 1:06:18
  Speaker 2: thank you for that gift that I can never display
• 1:06:21
  Speaker 2: anywhere in my home where people will see it because
• 1:06:23
  Speaker 2: I don't want people to be like, oh, that's your
• 1:06:26
  Speaker 2: favorite Spike Lee movie. Interesting choice, it's not, but it's
• 1:06:30
  Speaker 2: a very good movie.
• 1:06:31
  Speaker 1: Yeah, it's probably his most underrated movie. Yeah yeah, Also
• 1:06:34
  Speaker 1: all the movies I just named, like the average person don't.
• 1:06:37
  Speaker 1: I would say Hollywood Shuffle might be the most famous
• 1:06:40
  Speaker 1: because Robert Townsend. But those are four movies people don't
• 1:06:44
  Speaker 1: really talk about, Like nobody really talks about Bambooze when
• 1:06:48
  Speaker 1: they talk about Spike Lee movies. Sorry to Bother You
• 1:06:50
  Speaker 1: has kind of become a cult classic, but it's kind
• 1:06:53
  Speaker 1: of in that hipster cult classic way. This movie. Most
• 1:06:57
  Speaker 1: people never even heard of it or seen it, and
• 1:07:00
  Speaker 1: then you got it, you know, Holly, and then you
• 1:07:02
  Speaker 1: got bambooth So But yeah, they're all really good movies.
• 1:07:05
  Speaker 2: Yeah yeah, watch all that and I think that's our episode, right, Yeah, John,
• 1:07:11
  Speaker 2: thank you so much for doing the pod, as always,
• 1:07:13
  Speaker 2: I appreciate it.
• 1:07:14
  Speaker 1: Oh, no problem.
• 1:07:15
  Speaker 3: What do we have to plug before we get out
• 1:07:18
  Speaker 3: of here?
• 1:07:18
  Speaker 2: Just follow me on blue Sky Adam Todd Brown dotbsky
• 1:07:20
  Speaker 2: dot social and there'll be stuff happening with the network soon.
• 1:07:24
  Speaker 3: I'll talk about it later, John, what do you want
• 1:07:26
  Speaker 3: to plug?
• 1:07:26
  Speaker 1: My channel? As usual, it's spelled the same way as
• 1:07:29
  Speaker 1: it is on here. And if you like talking about sports,
• 1:07:32
  Speaker 1: I guess I'm still on Twitter because we built that
• 1:07:34
  Speaker 1: shit brick by brick, and I ain't leaving it. Also,
• 1:07:37
  Speaker 1: Blue Sky is fucking depressing. I'm sorry, man, those people
• 1:07:40
  Speaker 1: could ruin the party.
• 1:07:42
  Speaker 3: Yeah.
• 1:07:42
  Speaker 2: I don't have blue Sky on my phone, and I
• 1:07:45
  Speaker 2: don't have any social media on my phone anymore.
• 1:07:47
  Speaker 3: But even blue Sky.
• 1:07:48
  Speaker 2: The only thing I appreciate about Blue Sky is that
• 1:07:51
  Speaker 2: they'll still let you use it without having the app
• 1:07:53
  Speaker 2: on your phone. Instagram won't, Twitter won't, but blue Sky
• 1:07:58
  Speaker 2: I can just log in on from them on my
• 1:08:00
  Speaker 2: phone and still use it.
• 1:08:01
  Speaker 3: So still use it sometimes. But I all that ship look,
• 1:08:05
  Speaker 3: and hey, I think that's it. Let's get the fuck
• 1:08:06
  Speaker 3: out of here.
• 1:08:07
  Speaker 2: John say goodbye, all right, peace everybody, goodbye, everybody.
• 1:08:10
  Speaker 1: We love you.