Latest / 4DAFAM / Ep. 11 - Burn Hollywood Burn

Transcript

Ep. 11 - Burn Hollywood Burn · 4DAFAM

• 0:03
  Let me you hear i got something you need to hear turn the volume up so it's
• 0:09
  loud and clear a podcast where we talk about politics and culture unscripted
• 0:13
  no limits like a 504 soldier we're not pretenders ain't no agendas our only
• 0:18
  plan is to keep it 100 and do it for the fam yeah,
• 0:24
  What up, what up, what up? What's going on? Same old same, six mil,
• 0:30
  keeping it true. It's your boy KG.
• 0:32
  Welcome to episode 11 for the fam podcast.
• 0:38
  What's up with you, brother? How you been feeling? Good, man,
• 0:41
  good. Didn't get a lot of sleep last night, but, you know, slept a little bit this morning. Uh-huh.
• 0:47
  It's been all good, though. Not a bad week overall. all yeah yeah yeah it's
• 0:51
  all good yeah i'm just you know working trying to stay afloat like like all
• 0:57
  of us it get it get harder every day but running away from them dogs yeah hey.
• 1:06
  You know, as my mama would say, just be happy you got a job or you able to make
• 1:11
  ends meet. So absolutely.
• 1:13
  With that, I try and keep my complaining to a minimum, especially in today's climate.
• 1:18
  Thanks. So what you want to get into today, bro? So today we want to talk about
• 1:22
  racial disparities in Hollywood.
• 1:25
  Nothing in particular. You know, we're not focusing on one particular decade
• 1:31
  or era of Hollywood just as a whole.
• 1:35
  Going all the way back to the 40s this will probably be an extended conversation.
• 1:45
  So we may have to cut some segments out
• 1:49
  of this podcast depending on how this conversation
• 1:52
  flows i'm just saying we we may not get to a work
• 1:55
  or we may not get the current events but
• 1:59
  we will definitely do our five on
• 2:02
  the black hand side movie review we got a special movie
• 2:05
  for you guys this week and we'll do our
• 2:08
  closing monologue as well so with that
• 2:11
  being said where you want to start brother you want to just
• 2:14
  jump right into it yes sir all right let's do it so we
• 2:18
  could take it all the way back i know you and i talk about hattie mcdaniel a
• 2:22
  lot so going back to from what movie going with the wind okay yeah yeah what
• 2:29
  role did she play mammy okay my bad go ahead bro.
• 2:38
  So something i found out and i've been spreading this lie for years too i really
• 2:44
  didn't notice she actually did receive her award during the ceremony what happened
• 2:53
  is she wasn't allowed to come through the front door. She wasn't allowed to sit with the cast.
• 2:57
  She had to sit back on the stage. They had to. And the movie studio,
• 3:03
  Had to basically beg for them to allow her to come in and accept the award.
• 3:11
  They didn't even want her in the building.
• 3:14
  So they were just going to mail it to her, give it to her the next day? She won. Whatever. Wow.
• 3:21
  Yeah. Yeah, they didn't. But see, I originally thought that she wasn't allowed
• 3:26
  in the building at all. I thought that somebody just brought it to her later.
• 3:30
  But no, she actually did. And I looked up and there's a speech and everything that she gave.
• 3:35
  So, yeah, they she had to submit her acceptance speech. It had to be accepted
• 3:41
  by the academy, by the studio and the owners of the establishment.
• 3:49
  They consider that to be like a classic, right? Gone with the wind.
• 3:55
  An extremely racist movie in itself. I've seen it several times.
• 3:59
  They were all about supporting the South in the Civil War and all of that kind of stuff.
• 4:07
  Whatever, whatever. You know, I was looking up some stats since we were talking
• 4:13
  about Hattie Lee and Daniel.
• 4:16
  Here's some interesting stats. One.
• 4:21
  One, one, single, one black actress has won the Oscar for a leading role.
• 4:32
  Do you know who that one actress is? Halle Berry. Correct.
• 4:37
  Five. One, two, three, four, five.
• 4:40
  Five black actors have won for best actor in a leading role.
• 4:49
  I'm not going to ask you to name them, but you could probably.
• 4:51
  I'm about to say we could probably.
• 4:52
  I mean, obviously, you have Sidney Poitier, Denzel, Jamie Foxx, Mahershala Ali.
• 4:58
  No. No, no, no, no, no, no, no. You good on three?
• 5:01
  I know these. Who are the last two?
• 5:05
  Will Smith. That's right. It was overshadowed by the slap. Yes.
• 5:10
  And there's one more that you missed.
• 5:14
  Shoot. It was Sidney Poitier, Denzel, Jamie Foxx, Will Smith is one more. Had to be recent.
• 5:24
  Of course, I don't pay attention as much. You probably ain't going to get it. I give you a hint.
• 5:30
  Does that help? I'm trying to make a funny face, y'all.
• 5:37
  And it's a good thing we're not on video. Hold up. Hold up. All right, I'm going to just stop.
• 5:43
  It's Forrest Whitaker. The Last King of Scotland. One of my favorite damn movies.
• 5:47
  How the hell did I forget that? Yeah. I got that still. I got that on DVD.
• 5:50
  Yeah. So those are the five. How the hell did I forget that?
• 5:55
  But just think about that.
• 5:56
  Is many leading men has come through Hollywood.
• 6:02
  One black female, five black men.
• 6:07
  You want to know how many black directors have won Oscar? It's either zero or one. Two. Thank you.
• 6:15
  In the history of the Academy, two black actors have won the Oscar directors directors. I'm sorry.
• 6:27
  Since 2007, 84 percent of the top grossing films have been directed by white directors,
• 6:36
  while black directors have managed just six percent of the top grossing films.
• 6:43
  It's crazy the disparity that takes place in hollywood but if you let them tell
• 6:50
  it it's a bastion of liberal wokeness when you look at it behind the scenes
• 6:57
  to use more hollywood terms.
• 7:00
  Pretty racist there also at the top i think you still got the good old boy network,
• 7:06
  yeah you have you know your actors who are
• 7:09
  who speak out frequently you know
• 7:12
  your producers your directors who speak out and make
• 7:15
  movies but those people at the top go ahead keep
• 7:18
  speaking out while i take you to the bank they don't
• 7:21
  care i mean them big time studio heads they don't care
• 7:24
  yeah go ahead make those movies because we still gonna we're gonna we're gonna
• 7:27
  profit off of them yeah and then we're not gonna do anything to change yeah
• 7:30
  yeah it is it's it's so crazy to just think and we were talking about this previously
• 7:38
  how spike lee couldn't get funding for Malcolm X.
• 7:43
  And if you guys really want to know, you should look this up, but he had to go to Oprah,
• 7:50
  Prince, Michael Jordan, people like that to actually get funding to make Malcolm
• 7:57
  X because studios wouldn't touch it.
• 8:00
  Figured it was too controversial. Let that sink in, y'all.
• 8:04
  And while we're on that, Denzel 100% should have won best actor for Malcolm
• 8:11
  X it's almost an insult that he won for training day and not Malcolm X.
• 8:17
  I forget, because I didn't look it up, but I forget what movies were in that category.
• 8:25
  But I do remember- The year that Malcolm X came out? Yeah, I remember it was
• 8:29
  a slew of amazing movies, but it doesn't matter.
• 8:35
  That role- Right. Was done better- Right.
• 8:39
  Than anybody else that year. Right. Facts.
• 8:42
  Facts. Crazy. Crazy, dog. You know what else is crazy? Lawrence Fishburne and
• 8:49
  Angela Bassett didn't win for playing Ike and Tina yeah the biggest snubs ever
• 8:54
  and I'm not even sure if they got nominated.
• 8:58
  I don't think they did. That's nuts. Two of the best performances in Hollywood
• 9:04
  cinema history, at least in my opinion.
• 9:07
  Oh, yeah, it is. It's crazy, bro.
• 9:11
  But it's it's also like when I when I when I think about to take this to the small screen series.
• 9:18
  Right. Did you did you watch the Watchmen series? Oh, yeah, absolutely.
• 9:21
  So Watchmen is a great series starring Regina King and Yaya Madula-Teen.
• 9:29
  Is that his name? The second?
• 9:31
  Great series. Go back, check it out.
• 9:33
  But that's when I'm not going to say that's when we first started learning about Bass Reeds.
• 9:40
  But I'm going to say that's when the general public, using air quotes,
• 9:45
  probably started learning about Bass Reeves because it was one of the main topics
• 9:50
  or storylines in that show.
• 9:53
  Well, you've been talking about Bass Reeves for 20, 30 years.
• 9:58
  Because it's just a fact that the Lone Ranger is based off Bass Reeves.
• 10:03
  Anyone who denies that is just not being truthful. But I digress.
• 10:09
  The point that I want to make in talking about the Watchmen series it was done
• 10:15
  by Damon Lindelof who's the same guy who done Lost and a couple of those shows like that I don't think,
• 10:22
  A black showrunner would have been able to make that movie or that that series.
• 10:28
  I don't just like Spike Lee couldn't get the green light.
• 10:31
  I don't think HBO would have gave a black studio or black showrunner the green
• 10:38
  light to talk about Bass Reeves, to make the story about take the Watchmen,
• 10:43
  which is a very popular comic.
• 10:45
  It is. And and and make the main character a black woman. Hell of a movie.
• 10:50
  Hell of a series. Yeah. To take Dr.
• 10:53
  Manhattan, your titular character, and make him a black man,
• 10:57
  to take Hooded Justice and make him a black man,
• 11:01
  I don't think HBO would have been as willing to give it a thumbs up if a black.
• 11:09
  Director, writer, came and said, hey, check out my pitch.
• 11:13
  I'm going to take Watchmen, but I'm going to flip it on his ear.
• 11:16
  I think they would have probably been like, ah.
• 11:18
  How many seasons? Maybe not. Only one. Yeah.
• 11:22
  But I think that's because dude said he didn't want to do.
• 11:25
  But he came out there. I believe he came out later and said that that was pretty
• 11:29
  much all that he was slated to do. Oh, really?
• 11:32
  Interesting. Just the one season. Great, great, great freaking series. Oh, yeah.
• 11:37
  I remember when I saw it was announced, I was like, oh, oh, my goodness.
• 11:41
  Great series. But to stay on that Lovecraft Country. Oh, yeah.
• 11:48
  Only got one season and all of the stories started coming out about how Misha
• 11:54
  was hard to work with. You know, and it's just like this also a great series about black people.
• 12:01
  And it's just like, do you guys want black stories to be told?
• 12:06
  Do you want them to succeed?
• 12:07
  Or are you always looking for an angle to get out of?
• 12:11
  Because it seems like often it's always like the black actor is hard to work with.
• 12:17
  Angry black woman trope, in my opinion. So they're hard to work with.
• 12:23
  And then you go talk to them and they go, what? Talk to the cast.
• 12:28
  They looking at you like, no, we didn't have no problems. Right.
• 12:31
  Right. So where did this come from? Somebody somebody said something somewhere.
• 12:36
  Somebody said do it this way.
• 12:38
  And the writer director was like, no.
• 12:43
  I mean simple but no no no
• 12:46
  we're not it go ahead bro to
• 12:49
  piggyback off of something you just said about the the percentages production
• 12:53
  budgets on average are 25 percent lower
• 12:57
  than films with no black lead these are films with black leads are 25 percent
• 13:04
  lower than films with no black leads not no black characters but black leads
• 13:10
  so once you put a black lead in your budget drops 25%,
• 13:17
  with that being said maybe we shouldn't be so hard on tubi movies oh listen
• 13:23
  they're hilarious listen.
• 13:27
  So hold up I'm about to jump on it cause you brought it up so I this guy posted
• 13:34
  a video on Instagram the other day And he was narrating.
• 13:38
  He was like, hey, watch this, y'all. And it was a sex scene.
• 13:41
  And the lady comes home. She hears something upstairs.
• 13:44
  The sex scene, they're in a bathroom stall.
• 13:48
  A bathroom stall. Looked like something at an airport or a restaurant or something like that.
• 13:54
  And dude is narrating. He was like, watch this, y'all. Watch when she get upstairs.
• 13:57
  The wife gets up. I'm going to wait for you to drink that water because you're
• 14:00
  going to spit that out when I tell you this.
• 14:02
  She comes upstairs. They're in a bathroom stall. Mm-hmm.
• 14:06
  You could see the lady's clothes would drop down in the man's pants.
• 14:11
  She busts open the door. They're in the bed, butt naked.
• 14:15
  The same couple. Wait, what?
• 14:22
  Wait, what? So they basically teleported from what looked like a public restroom to the bedroom.
• 14:31
  But kudos to them for putting out all of those movies.
• 14:35
  Yeah, that part. And it's the same three brothers. That part.
• 14:38
  And I don't mean like, you know,
• 14:40
  for some people, not actual blood brothers, but
• 14:43
  brothers that are in almost all of these movies
• 14:46
  i was i was i was just going to say even though
• 14:49
  we're we're hard on to be movies and some of
• 14:52
  them aren't good some of them aren't bad but some of them really aren't good
• 14:55
  but at least they're giving black cinema
• 14:58
  a chance a shot so yes
• 15:02
  we make fun of to be movies but at the same
• 15:05
  time i salute you guys for just giving
• 15:08
  people a chance to get their
• 15:10
  films made to get the stories told and who
• 15:13
  knows with a better budget maybe that
• 15:17
  scene looks different you know what i'm saying it is
• 15:20
  it's all in it's like even though
• 15:23
  people love black panther and we do also that one
• 15:28
  scene where the cgi looks so bad
• 15:31
  when killmonger throws him and
• 15:34
  he swings around the pole and comes back in his
• 15:37
  fighting position and just like wait this big
• 15:41
  budget movie and and you put this crappy cgi
• 15:44
  in here what kind of favor the beach fight scene where she jumped off that rock
• 15:50
  it literally looked like they took an action figure and threw it from one rock
• 15:54
  to the other like she jumped off it's like yo it's crazy that didn't even look
• 15:59
  like it literally looked like somebody probably just tied a rope to it threw it off the rock. Yeah.
• 16:05
  It's funny since we're on Black Panther.
• 16:08
  I remember seeing an article like before the movie actually came out.
• 16:14
  And I forget who wrote it in there, not worth mentioning anyway,
• 16:18
  but it was like Black Panther's going to flop.
• 16:20
  And I was reading it and I'm like, why would whoever wrote this article,
• 16:26
  why would you say that? Because we were excited.
• 16:28
  But at the same time, it's like, why would Disney allow something like this to get out?
• 16:35
  And it's just like, do companies indirectly sabotage some Black films?
• 16:43
  So so so they won't have to green light them.
• 16:46
  You know what I'm saying? I mean, because the narrative is always no one goes to see them.
• 16:51
  And that's why you don't get the budget because no one goes to see black films.
• 16:55
  So it just it just makes me think sometimes are they that diabolical in their
• 17:01
  planning as a way to not green light or dismiss black ideas,
• 17:09
  black films, black pitches, whatever you want to call them, to sabotage them
• 17:13
  and say, hey, look at the data.
• 17:15
  Your movies just don't get the support.
• 17:18
  I've always wondered that, bro.
• 17:20
  Whereas for us we think the movies most
• 17:23
  of those movies that they they call flops or bus
• 17:27
  we love right they become classics right then they you know of course not as
• 17:31
  much now with dvds because we stream everything but we would buy the dvds out
• 17:36
  and at that time with a lot of those movies back in the day especially spike
• 17:40
  lee movies i was in retail back then man them damn movies would hit,
• 17:45
  hit the DVD section, they be gone.
• 17:47
  Right. The whole damn thing. But of course, look where I worked.
• 17:51
  I worked in Cal City. Well.
• 17:53
  So we coming in by them all.
• 17:56
  The latest project from Spike and Denzel, A$AP Rocky, I think it was only in
• 18:04
  theaters for a couple weeks.
• 18:06
  It was basically a straight to Apple Plus project. Like, this is Spike Lee. This is Denzel.
• 18:15
  They can't get funded. And I'm listen, I don't I don't know if there was an
• 18:20
  issue with funding, but I'm just saying for this to not be a major release is crazy to me.
• 18:28
  If this was COVID, I would completely understand. But we're not in COVID anymore.
• 18:33
  I would I could only imagine that it was something Spike Lee helped me.
• 18:37
  Well, Spike Lee negotiated because, I mean, it's on it is on Apple TV. so people will watch it.
• 18:42
  I mean, it's in the top 10 right now because I saw the top 10 list today.
• 18:46
  So I think it was like number three or number four, top 10 at Apple TV.
• 18:51
  So I haven't watched it yet myself, but yeah, I think it was only in theaters
• 18:57
  for about a few weeks. It was a very short period. Yeah.
• 18:59
  Very short. I think most people probably didn't even realize that it was in theaters.
• 19:06
  So I don't know, bro. You want to touch on some like double standards?
• 19:11
  So here's something I do want to talk about, the typecasting. Okay, yeah.
• 19:17
  So, and I'm going to go all the way back. You ever seen Carmen Jones?
• 19:20
  Yeah. With Belafonte and Dorothy Dandridge? Yeah.
• 19:24
  Now, I'm just going to go on the record and say, probably one of the most beautiful
• 19:27
  women I've ever seen in my life.
• 19:29
  I hated how many times they showed her smoking cigarettes in that movie, but that's just me.
• 19:34
  She was all over him in that movie. Remember that Jeep scene where he was trying to drive? Mm-hmm.
• 19:41
  Because they were trying to cast her as the black Marilyn Monroe. Yes.
• 19:47
  Everything she did, she was sensual, exotic. Yes. Like a tempstress. Yes. Yes.
• 19:54
  She was nominated, I think she was nominated for that movie for an Oscar,
• 19:58
  if I'm not mistaken. I think Harry Belafonte was too.
• 20:02
  Now, here's the reason I bring that up. You brought up early the number of female actors and male actors.
• 20:10
  Hattie McDaniel won in 1940. Halle Berry won when?
• 20:15
  Monsters Ball, so it was definitely in the 2000s. Yeah.
• 20:20
  61 years. Well, to that same point, Sidney Poitier won for Lilies in the Field in 1960-something?
• 20:30
  It was 19—let me see, I got that written down or typed out, whatever.
• 20:36
  It was in 64, I think. Yeah, and Denzel didn't win again until the 90s.
• 20:41
  Or no, the 2000s? Wait, when did the training day come out? 2000,
• 20:44
  2001. Yeah, yeah. Because him and Halle Berry won the same night. Yeah.
• 20:49
  Did you know that Hattie McDaniel's Oscar went missing? It was donated to Howard University.
• 20:55
  It went missing 60 years. You know, they just recently replaced it.
• 21:02
  The Academy 60 plus years. Her Oscar went missing.
• 21:07
  Crazy. And from and it still hasn't been found from Howard University.
• 21:12
  It went missing and it took the Academy 60 damn years. that's crazy you know
• 21:19
  I and I wanted to look this up and shame on me.
• 21:25
  I wanted to look up like how many black people are actually on the Academy or
• 21:31
  have been on the Academy.
• 21:34
  I wanted to look that up and it totally slipped my mind. Well, no, Will Smith wasn't.
• 21:39
  I don't I don't think he had like a vote. I don't think.
• 21:44
  But we could be wrong on that. But even that, that's that's recent.
• 21:48
  I mean, like just going back through the years, I'm pretty sure it was probably all white people.
• 21:54
  You know and yeah yeah yeah
• 21:57
  until until probably recent but you know even it so
• 22:01
  and this is going to lead into the movie we're going to talk about at the end
• 22:06
  think about this bro in the 1920s and stuff when you had movies like othello
• 22:14
  the most racist movie ever made birth of a nation.
• 22:20
  Movies like that was screened yeah
• 22:24
  in the white house yeah yeah yeah one
• 22:28
  of those like black like me those are white
• 22:31
  people in black face and people wonder why it's it's offensive offensive yeah
• 22:37
  they didn't even want black people to be in their movies that's so crazy bro
• 22:44
  it the character Othello is written,
• 22:50
  To be black. You couldn't get a black person to fill that role.
• 22:56
  And don't get me wrong, y'all. Yes, I've seen Eddie Murphy skits where he's
• 23:01
  dressed like the white man.
• 23:02
  Yes, I've seen the Dave Chappelle skits where he's the newscaster as the white guy.
• 23:08
  Yes, those are meant to be funny, though. They're satire. Don't forget Bob from
• 23:14
  accounting or Bob from marketing.
• 23:17
  We can't forget Bob from marketing now.
• 23:24
  Oh man you just totally threw
• 23:27
  me off oh anyway those were
• 23:31
  comedic portrayals they were meant to
• 23:34
  be funny yeah and everyone found them
• 23:37
  and everyone found black folks white folks everybody found
• 23:40
  it funny these were just pure you're not
• 23:43
  included yes this character
• 23:46
  is a in birth of a nation the villain
• 23:49
  the black guy is a white dude is a white
• 23:52
  dude in blackface that the kkk actually
• 23:55
  comes and lynches at the end it's just like wow you're that racist that you
• 24:01
  didn't even want the black dude who was the villain who gets killed at the end
• 24:05
  you don't even want him to be in the movie you know what's wild about that so
• 24:10
  black women were over sexualized oh definitely and still are Yeah. Yeah.
• 24:15
  To give an excuse as to why, especially because, you know, the the over sexualization
• 24:23
  goes back to slavery. Yes.
• 24:25
  Well, they asked for it. Yes. They wanted it. Yes. They were in heat. Yes.
• 24:30
  Basically. And then at the same time, when you flip it, birth of a nation shows
• 24:35
  what a black man can't resist the pretty white girl.
• 24:39
  We got to protect them from the black man. So we raped the black women because they want it from us.
• 24:45
  At the same time, the black man is trying to. It's kind of the same narrative that goes on today, dog.
• 24:52
  Think about think about this, man. And and and shout out to Quentin Tarantino,
• 24:56
  because I never thought about it this way.
• 24:59
  But the whole King Kong allegory, the big black ape that can't resist the white woman.
• 25:06
  And it's just like man we're kids we just used to watch it right right right
• 25:11
  and then you grow up and you go what in the hell is this,
• 25:17
  it's so crazy the racial undertones bro it since we're on this think about this
• 25:24
  bro think about Sidney Poitier think about guess who's coming to dinner because
• 25:29
  I think that was like one of the first interracial couples right in Hollywood good movie.
• 25:35
  They tried to make her parents cool.
• 25:40
  They were cool with the interracial relationship.
• 25:44
  They made his mama the racist one in the movie.
• 25:48
  I'm like, wow, this is crazy.
• 25:51
  But I don't know what her job was. I don't know if she was just a student,
• 25:55
  but he's the best of the best.
• 25:59
  He's a doctor, a good looking young doctor.
• 26:04
  So yeah sure they're going to accept him
• 26:07
  what if he was just dude who worked
• 26:11
  at the mill would they have been as accepting it's just and i'm just like he
• 26:16
  could have been the president and they wouldn't have been accepting in that
• 26:19
  time of the of this country probably right but i'm like okay i'm not even mad
• 26:25
  that y'all made his mother the racist one i'm mad that y'all made her parents cool with it.
• 26:31
  Because in reality, all four of those parents would have probably been against
• 26:36
  it for different reasons.
• 26:40
  This ain't going to work, y'all. Sorry, this just ain't going to work.
• 26:44
  And it's just like the hero. Why do you always have to be the hero in every
• 26:51
  movie, every scenario, every story?
• 26:54
  You got to position yourself to be the hero, the quote unquote white savior complex.
• 27:00
  Now, I know we just we just showed Quentin Tarantino some love.
• 27:03
  I'm going to go back and talk about only in that specific instance,
• 27:07
  because he is problematic.
• 27:09
  So he wrote in, coincidentally, and I laugh at this, the scene in From Dusk Till Dawn.
• 27:17
  He just had to have a sex scene with Selma Hayek.
• 27:23
  Actors from that movie have said, you know why he wrote that in.
• 27:27
  Interesting. Of course he was going to have that scene with the leading lady.
• 27:33
  But it's, I got to be the hero. Yeah.
• 27:36
  He was a total perv in that movie, too. Oh, man. Oh, my goodness.
• 27:41
  But, yeah, no. Like, 12 Years a Slave, Brad Pitt had to be the one to come. Uh-huh.
• 27:49
  Get him his freedom gotta be the hero and it's just like and then who came to get him,
• 27:57
  another white man it's it's like
• 28:00
  you can't have it both ways you can't be the villain and
• 28:03
  the hero of every freaking story nine times
• 28:07
  a ten you're just a villain but you always got
• 28:10
  to try and interject yourself as
• 28:14
  the hero and we've talked about this before we were
• 28:17
  kids we would play cowboys and indians everybody wanted
• 28:21
  to be the cowboy nobody wanted to be the indian how movies
• 28:27
  and propaganda just took that story and flipped it completely upside down and
• 28:33
  always made the indians the bad guys the savages the white people were always
• 28:39
  the heroes and all they were doing was protecting their land all they were doing
• 28:42
  was protecting their land and themselves,
• 28:46
  because they were also being raped.
• 28:48
  They were also being murdered and slaughtered at record numbers.
• 28:53
  They almost wiped out the entire population of buffaloes just so they wouldn't
• 28:56
  have anything to eat or buffalo hides to keep them warm in the winter. Think about that.
• 29:02
  You know how evil you have to be to purposely slaughter thousands on top of
• 29:07
  thousands of buffalo so somebody else can't eat.
• 29:11
  And then you didn't even eat them. You just slaughtered them and left them there to rot.
• 29:16
  Yeah y'all think about that when y'all eating y'all uh thanksgiving turkey in
• 29:21
  a couple of weeks you know what i'm saying it's just it it it it.
• 29:27
  The way that media has been used to propagate in America, and maybe not just
• 29:35
  in America, maybe all over the world, but the way it's been used in America is just sickening, man.
• 29:39
  It is truly sickening. But what's sad is that when someone would hear what we're
• 29:45
  saying, probably call us out because they believe the propaganda so long.
• 29:50
  And all we're doing is just saying, hey, this is what happened.
• 29:53
  Yeah. We don't have a problem with what happened. You do. Yeah.
• 29:57
  You're the one that don't want to hear history. Right. So like we're talking
• 30:01
  about Hollywood when we hear, oh, well, this woman should have won that Oscar.
• 30:05
  Well, she should have. Right.
• 30:07
  You just don't think she should have because I'm saying she should have.
• 30:11
  You just have to be divisive.
• 30:13
  You have to be oppositional to me.
• 30:16
  Yeah. Like going back, I pulled up all types of articles.
• 30:19
  They say Dorothy Dandridge absolutely should have won an Oscar in that movie.
• 30:25
  They say Harry Belafonte absolutely should have won.
• 30:30
  And he was the safe one. Right. Even though he really wasn't.
• 30:33
  Right. Because he didn't play. Right. Right. Right.
• 30:36
  Was the most militant out of all of them. All of them. The most militant.
• 30:43
  Man. Man. I'm just. Yeah. This really gets me fired up, bro.
• 30:49
  So we're both Marvel fans. Mm-hmm. Right. Yeah.
• 30:53
  I'm old enough to remember, you're old enough to remember when Robert Downey Jr.
• 30:59
  Was strung out on drugs, getting arrested every other weekend. It was sad.
• 31:04
  It was sad, but it was tragic, but wasn't exactly, quote unquote, good guy.
• 31:12
  We grew up with him getting arrested more often than not.
• 31:17
  And I've had this conversation with the kids when they were younger.
• 31:20
  And they're like, seriously, I'm like, man, go back and look.
• 31:24
  Robert Downey Jr. was always into something. And this is the guy that you didn't
• 31:30
  just make the face of your franchise, but you're bringing them back to be the face of your franchise.
• 31:38
  Now, I'm saying all of that to say this.
• 31:41
  And you you may feel differently about this, but Jonathan Majors,
• 31:45
  who was supposed to be the next face of your franchise, you cut that dude throat so quick.
• 31:55
  And then the truth comes out, whether you think he should have slammed her back in the car or not.
• 32:02
  Basically, it was self-defense. Everything they tried to claim that this man
• 32:06
  did really didn't go down that way. The only problem I got with Jonathan Majors
• 32:12
  is telling that white woman that she should be like Coretta Scott King.
• 32:16
  That was the biggest issue. I'm like, hold on, bro. What? Yeah.
• 32:21
  But him pushing her back in the car is not grounds for him to lose his career.
• 32:28
  And it's just like, where is his second chance? I don't even think it was that.
• 32:32
  I think by the time the truth came out.
• 32:36
  But they didn't wait on the truth. Yeah, it had already been,
• 32:39
  well, no, Marlboro waited.
• 32:41
  The public did. I got you. Because the second it was announced,
• 32:45
  because I ain't going to lie, even I was like, bruh, what are you doing?
• 32:49
  You're about to be the biggest. The man.
• 32:52
  Right. Because he's a hell of an actor. Yes. So when all of that happened,
• 32:56
  and then, of course, when they went to trial and all of that stuff,
• 32:59
  you're like, okay, am I missing something?
• 33:03
  Yeah. Because what I was told for the last six months doesn't seem to be what happened.
• 33:09
  But by that time, it didn't matter. And then Marvel...
• 33:13
  I mean, at that point, they're like, well, shoot, we got to get rid of it.
• 33:17
  Yeah. You didn't have to, but. Right. That part. You didn't have to.
• 33:21
  But in their eyes, they're like, well, now we got to.
• 33:24
  Yeah. Yeah. Yeah. And it's just like, where's the second chance?
• 33:29
  So many actors have. It's Hollywood.
• 33:34
  They do crazy, wild, dumb shit. All the time. Sean pinned them when they were
• 33:39
  young. The dude stayed in jail.
• 33:42
  Never been blackballed stayed beaten on Madonna stayed beaten on Madonna Brad
• 33:47
  Pitt whether you think it's true or not but old girl ain't got no reason to
• 33:53
  lie well his kids don't either,
• 33:55
  but if Brad Pitt called Marvel tomorrow and asked for a role oh sure what movie
• 34:01
  do you want to be in guaranteed.
• 34:03
  But we have testimony from your
• 34:06
  children and your now ex-wife that you lost your
• 34:09
  mind on that plan which you even admitted you was tripping you
• 34:13
  hit like two of your kids on that plane angela jolie said she feared for her
• 34:16
  life no second chances though if you're a black actor though you don't get no
• 34:22
  you gotta be perfect yeah you got it is and and listen y'all let me make this clear.
• 34:32
  I am not advocating for acceptance. I am not saying that we need their validation.
• 34:40
  I'm not saying that at all. In fact, I'm all about our own network,
• 34:46
  make our own movies, make our own stories, which is why I kind of like got an
• 34:51
  issue with Tyler Perry. Because I'm like, bro, you got the studio.
• 34:55
  Quit putting out this crap and start giving other people a chance to tell stories
• 35:01
  and to put some meaningful stuff out into the atmosphere.
• 35:05
  But this is why we need our own studios. We need our own studio heads.
• 35:09
  We need our own studio execs. We need our own channels.
• 35:13
  Yes, I understand that these things take money,
• 35:16
  lots of money, but we still need it because if we keep depending on them to
• 35:23
  try and tell our stories, we'll always get a half truth.
• 35:29
  Will always get a white savior
• 35:32
  will always get the white hero complex
• 35:35
  because that's what they want or
• 35:38
  at least that's what they think the public wants
• 35:42
  to see so that's why
• 35:45
  i'm saying all of this y'all is is is not about the validation like i said i
• 35:49
  i didn't care less we're just trying to illustrate a point that what they claim
• 35:56
  is liberal Hollywood really ain't that liberal when you get down to it.
• 36:03
  That's that's basically all we're trying to say here. You got you got some more
• 36:08
  you want to you want to talk about in this, bro? So.
• 36:12
  Kind of. Go for it. So I hate to keep harping on the over-sexualization,
• 36:18
  but that's something that's always bothered me. Man, let's get into it.
• 36:21
  No, let's dive deep into that.
• 36:24
  So we talked about Dorothy Dandridge a lot. Yeah.
• 36:28
  But you know who was the most over-sexualized black woman in Hollywood history? Eartha Kitt.
• 36:35
  Can you think of any role and I mean any role she's ever done where she wasn't
• 36:41
  some sort of tempstress that's a good point bro none.
• 36:47
  I was just about to say that bro even as Batman when you look back at it just
• 36:51
  like why is she acting like that Adam West couldn't run far enough right.
• 36:58
  You right bro she was wild as a Hey, that whole scene was wild, bro.
• 37:07
  Pam Greer. Oh, my God. Us as kids, we look at Pam Greer.
• 37:12
  Half naked every movie for no
• 37:16
  reason no reason no focus on
• 37:18
  range nope but then tarantino put
• 37:23
  her in a position where yes she was still dressed sexy yes she
• 37:26
  still had on the cloak but the range yeah she
• 37:29
  was able to show right that she actually could act
• 37:32
  right right no you you
• 37:35
  you right bro and we were
• 37:38
  talking about tiana taylor and that new movie
• 37:41
  would be in rando di caprio completely over
• 37:45
  sexualized in that movie so there's
• 37:48
  a new series i think it's hulu it's got
• 37:51
  kim kardashian in it and a couple other famous actors
• 37:54
  i think tiana taylor is having
• 37:57
  an affair with somebody in that in that show it's crazy
• 38:01
  yeah it's a white dude she's
• 38:04
  having an affair with dude she's spoiler
• 38:09
  alert she's having an affair with sean penn and uh yeah the dude is 115 years
• 38:16
  old and he look like yeah and he looks like it so i got one that's about to
• 38:21
  mess you up though angela bassett in oh kyle what is the what is the movie.
• 38:28
  Why am I drawing the blank? Her? Whitney Houston?
• 38:33
  Oh, the Terry McMillan movie. Waiting to Exhale. Why couldn't I think? Yeah.
• 38:42
  She was done dirty. As far as? In the movie.
• 38:47
  Oh, by her husband. Yeah, yeah, Michael Beach. Right.
• 38:51
  Why did she turn out to be the angry?
• 38:54
  Like, why was she turned? Nothing she did in that movie after he left her was
• 38:59
  justified. She was over-exaggerating.
• 39:02
  Then she was- Burning up the car and all that. Burning up the house,
• 39:07
  all that kind of stuff. People telling her she's overreacting. Yeah.
• 39:10
  Yeah. What? Yeah. So it didn't focus on her character growth.
• 39:16
  It just focused on her intensity.
• 39:18
  It didn't focus on, okay, now she's going to get back on her feet.
• 39:22
  Now, eventually, you know, she does. Right. But just getting there,
• 39:27
  it was just a bunch of nonsense throughout the movie with her.
• 39:33
  Nia Long. We love Nia Long.
• 39:36
  Has Nia Long been anything other than the sexy love interest?
• 39:41
  She's been a doctor. Has she been a lawyer? Has she been a marketing executive?
• 39:47
  Has she run her own company? Or is she just always the sexy love interest?
• 39:52
  It's funny. It's funny. Y'all never even looked at it like that.
• 39:56
  And I seen an interview and I don't know if it was her or one of those other,
• 40:02
  actresses in that age rage, but they said they would go to.
• 40:06
  Not interviews, casting calls, it would be like all of the top black actresses
• 40:13
  all going out for one role.
• 40:16
  And then, you know, it's just like, we all got to compete for this one role.
• 40:21
  Just like, why aren't there several roles for us instead of making us fight
• 40:26
  for one and you pitting us against each other?
• 40:29
  Why can't we just have a plethora of roles to go out for?
• 40:33
  You know, it's that type of stuff too that, you know, doesn't get mentioned,
• 40:38
  doesn't get highlighted.
• 40:40
  The fact that how they put black actresses against each other to make them all
• 40:45
  fight for the same role over and over and over and create that animosity instead of a sisterhood,
• 40:54
  which they still, most of them developed a sisterhood anyway.
• 40:58
  Right. But yeah, yeah. Just the way that they tried to pit them against each
• 41:01
  other is crazy. I saw something where it said that Hollywood markets black actresses
• 41:06
  as fiery, seductive, and mysterious.
• 41:09
  But they don't do it for white actresses. Yeah. They market them in that way. Yeah.
• 41:17
  And with Nia Long, I think the only movie that she's ever been in,
• 41:21
  now she's never been poor in these movies and destitute.
• 41:25
  But I think the only movie where she was actually given like a successful person,
• 41:31
  like I'm highly successful, was Best Man. Mm-hmm.
• 41:37
  Of course, all of them were successful. Right, right, right, right, right.
• 41:41
  Nah, I hear you. I hear you. And we still love her. Oh, for sure.
• 41:45
  For sure. Hey, she's absolutely hilarious in that movie with Jonah Hill and
• 41:50
  Eddie Murphy. And what is it called, man?
• 41:54
  It was on Netflix. Oh, with the comedy, David. Yeah, yeah, yeah. David Duchovny.
• 41:59
  Whatever that movie is called. She's hilarious in that, man.
• 42:03
  That's just a funny movie, though.
• 42:05
  But yeah, it's just. I don't know, bro. It's like I said, they try and paint
• 42:11
  Hollywood as this liberal place, and it's really just not that liberal when you get down to it, bro.
• 42:18
  Think about Star Wars as a whole.
• 42:23
  Long, long time ago. Galaxy far, far away.
• 42:29
  There's only one black person in the whole star system y'all in?
• 42:34
  I ain't talking about the new ones, y'all. I'm talking about the original three.
• 42:39
  So Billy Dee ain't had no family, no mom, no daddy. Billy Dee the only black
• 42:43
  dude in the whole galaxy. What?
• 42:51
  What? What?
• 42:54
  George Lucas, knock it off. And you married to a black woman. Knock it off.
• 42:59
  Billy Dee Williams. For a long time. Yeah. Then when they get the new one,
• 43:04
  y'all mad because it's one black stormtrooper.
• 43:09
  My goodness. Furious. Furious. Was talking about boycotting the movie.
• 43:14
  So much so that he basically pulled himself away from Hollywood. Right.
• 43:21
  And did Who Cloned Tyrone. Right. He was great in that.
• 43:25
  Dude's just a good actor. He's amazing. It's a shame.
• 43:29
  Even he said, I had to pull myself away from all that mess.
• 43:37
  It's just nuts, bro. It's absolutely nuts.
• 43:42
  I say when we try and think of how inclusive it is and when you get behind the
• 43:48
  scenes, it's really exclusive.
• 43:50
  And I've always said it's one of the most racist places in America. I've always said that.
• 43:58
  What was the Sony CEO who got caught talking about like big name stars on that
• 44:05
  voicemail that got leaked a few years back? And it's just like that Ice Cube excerpt.
• 44:12
  Here's what they think about you. Oh, yeah. Here's what they think about you.
• 44:16
  Here's what you. Yeah. Yeah. And then it take the Spike Lee. Yeah.
• 44:19
  Do the right. yeah yeah yeah yeah yeah and it's just it's yeah it's funny now.
• 44:28
  It's it's funny but it's it's funny because it's true yeah yeah that's why it's
• 44:33
  funny because it's true you know what i'm saying and and in order to not go
• 44:38
  out and want to strangle somebody sometimes you have to laugh to just go hey,
• 44:44
  throw my hands up. You know what I'm saying? Marvin Gaye made me want to holler.
• 44:47
  Throw up both my hands because it's just ha ha ha ha ha ha ha ha.
• 44:54
  I said sometimes you just got to, what they were talking about on centers when
• 44:58
  he couldn't finish his story and he just started humming.
• 45:01
  Sometimes that's how you feel. You just can't even finish the story.
• 45:04
  You just got to start humming.
• 45:06
  Yeah, if you're ever around somebody and they're trying to tell a story and
• 45:09
  they start humming, just get away from them. You're probably about to sock the
• 45:12
  hell out. Yeah, yeah, yeah.
• 45:14
  Yeah, the words at that point, the words just don't work anymore.
• 45:19
  They got to get it out of their system one way or another.
• 45:23
  Anything else you want to touch on, bro? I think that's it. Done with the sexualization?
• 45:30
  Yep, yep. All right, all right, cool. So do we want to move into our surprise
• 45:36
  five on the black hand side? Absolutely.
• 45:41
  Deep breaths, deep breaths, deep breaths.
• 45:44
  Now, before we get into this, we will say we watched this movie as a kid.
• 45:51
  We probably realized how crazy what we were watching was, but just didn't care at that time.
• 46:00
  And it is. So, look, full disclosure, y'all, this movie triggered me.
• 46:05
  Not as a kid, like KG was just saying.
• 46:09
  As a kid, you watch this and you think it's kind of goofy, but it's kind of funny.
• 46:14
  So me and KG were having a conversation. This was a few months ago.
• 46:19
  And he was like, man, go watch this movie again.
• 46:23
  And I was like, why? What's wrong with it? He was like, oh, just go watch it again.
• 46:31
  So, I tried to watch this movie as an adult.
• 46:36
  I could not finish it. I was so triggered.
• 46:41
  And that movie is Soul Man. Yes, sir.
• 46:47
  Soul Man was released in 1986.
• 46:51
  It starred C. Thomas Howe, Radon Chong, James Earl Jones, Leslie Nielsen,
• 47:02
  Julia Louis-Dreyfus, and a couple of other actors that you would recognize.
• 47:09
  You want to tell them what this movie is about, bro? Yeah.
• 47:13
  So, Soul Man, because I'm sure there's a lot of people that didn't see this movie.
• 47:18
  Soul Man is a comedy filmed in the 80s. It's about a privileged white college
• 47:23
  student named Mark Watson, who desperately wants to attend Harvard Law,
• 47:27
  but doesn't want to ask his wealthy parents for help.
• 47:30
  When he learns that a scholarship intended for black students is available,
• 47:35
  he takes an extremely extreme and offensive route.
• 47:39
  He darkens his skin and pretends to be black to qualify.
• 47:44
  It follows him as he navigates Harvard. He befriends and develops friendships,
• 47:50
  feelings, sorry, for a black classmate who should have received the scholarship
• 47:55
  he took, which makes this movie even more problematic.
• 48:00
  Through this, he begins to understand racism and discrimination from the outside looking in.
• 48:05
  But the film was widely criticized for using blackface and for treating serious
• 48:09
  racial issues as common. Every negative black stereotype that you can think
• 48:16
  of was in this was in this movie.
• 48:20
  And it was not funny.
• 48:25
  There is a difference in offensive and there is a difference in funny.
• 48:32
  Now, what do I mean by that?
• 48:34
  Take Tropic Thunder. Funny. Robert Downey Jr. being in blackface.
• 48:39
  We're not excusing that. But the difference was they recognized in the movie
• 48:46
  that he shouldn't have been in blackface.
• 48:49
  They constantly took shots at him in the movie for doing it.
• 48:55
  He was a dude playing a dude playing a dude. Right.
• 48:58
  And that's what made it funny because they recognized like, bro,
• 49:03
  you so out of pocket for doing this. But in soul, man, it was just like,
• 49:09
  this what y'all think of black people?
• 49:12
  This is how y'all think black people act?
• 49:16
  This is what y'all think is funny. That scene when they were at her house for
• 49:21
  dinner and he's trying to be a pimp.
• 49:25
  Man, I wanted to fight that.
• 49:27
  I wanted to fight that dude, man. And we like to see Thomas. Man, bro.
• 49:33
  I was so I'm just like and my wife, like, why are you still watching this?
• 49:38
  And finally, I was just like, you're right.
• 49:41
  Let me turn this off because I'm literally like just getting angry.
• 49:46
  Watching this and I'm just like this is one of the
• 49:49
  most offensive movies I think I've ever seen it
• 49:53
  and I bet they didn't have any problem getting this
• 49:56
  green lit oh no I can no problem
• 49:59
  with the budget studio heads were like oh this is
• 50:02
  wonderful exactly exactly they thought
• 50:05
  that this was hilarious and it's just like the 80s in itself were problematic
• 50:11
  the way that they typecast and stereotyped and still do to a certain extent
• 50:16
  even with the over-sexualization that we were just talking about but even with the.
• 50:23
  The black guy always got to be the hood guy or or or the criminal or some type
• 50:29
  of angle like that. Right.
• 50:31
  Or you got to be the funny sidekick. Right.
• 50:35
  Which is another thing about Marvel that we probably didn't touch on is Brody
• 50:39
  sidekick, Sam sidekick.
• 50:43
  It's just like, can we get away from the sidekick trope?
• 50:47
  So you either the funny sidekick or you the sidekick that just follows around
• 50:52
  the white dude the whole time and it's just like,
• 50:56
  this typecasting stuff gotta stop or you're being told in a movie be careful
• 51:02
  you're not Steve Rogers no but I am Captain America right right.
• 51:10
  I got the mantle yeah so to get back to So, man, I'm not telling anybody to go watch this movie.
• 51:22
  In fact, I think this movie should probably be banned. Right.
• 51:28
  Hey, hey, hey. And I mean, what about free speech? Damn that shit.
• 51:33
  This movie should be banned, bro. This is, like I said, one of the most offensive
• 51:38
  movies I think I've seen, bro.
• 51:41
  And that's including movies like Mississippi Burning and stuff like that.
• 51:45
  You know what I'm saying? And those movies anger me.
• 51:47
  But in a different way. This was just like.
• 51:51
  The jokes, just like what they say, we're laughing at you and not with you.
• 51:57
  And that's what that whole movie was, is we're laughing at you, not with you.
• 52:03
  It's one thing to get the scholarship that's intended for one other person.
• 52:08
  He went like full stereotype.
• 52:12
  Crazy with it. I'm about to take every stereotype that I've ever heard about
• 52:15
  black folk. Crazy with it.
• 52:18
  He's a Harvard guy. Yeah.
• 52:21
  Ain't none of these people you hanging around acting hood. Right.
• 52:25
  No, no, exactly. But you come in here and you acting like a pimp in these folks' house. Right.
• 52:30
  Knowing damn well if this was real life. Straight beat down.
• 52:33
  Right. Man, get this dude out of my house. Right.
• 52:37
  It's just like every black person don't act this way. It...
• 52:46
  Just like there's different type of white people, there's different types of black people.
• 52:52
  We did the podcast a few episodes back about the monolith.
• 52:58
  Oh, yeah, yeah, yeah. That movie basically just put all black people into one
• 53:05
  group, one category and said that despite the fact that James Earl Jones was one of the professors,
• 53:11
  despite the fact that the girl you were over sexualizing.
• 53:15
  Actualizing Radon Chong that you chased throughout the whole movie didn't act that way.
• 53:21
  But y'all thought it was cool to have this dude basically cooning to use that
• 53:27
  term, which I don't like to use, but had this dude cooning.
• 53:31
  And it's just like, man, just knock it off.
• 53:34
  Just like, did y'all ask any black other than James Earl Jones and Radon Chong?
• 53:40
  Because you know what? They took that. They took that check.
• 53:43
  They took the check. They took the bag.
• 53:45
  But besides that, did y'all ask anybody, Black, like, what do y'all think about this movie?
• 53:51
  You couldn't have. When this had a screen test, it was, I guarantee,
• 53:56
  a room full of white people.
• 53:57
  And they were belly laughing, guarantee. Cracking up.
• 54:01
  And it's just like, this is the most unfunny comedy ever watched.
• 54:06
  I'd love for somebody. It's crazy, crazy offensive.
• 54:09
  I'd love for somebody to ask Julia Louis-Dreyfus how she feel about this movie now.
• 54:14
  Or Radon Chomp for that matter. She probably don't know. Nah,
• 54:17
  different question. Next question. Yeah. Yeah.
• 54:20
  The one chick that was chasing him, the white chick, that was mad in love with
• 54:26
  him only because he was black.
• 54:29
  Or she thought that he was black.
• 54:34
  And it's just like, God damn, this movie is racist as hell.
• 54:38
  Yeah. Before he went blackface, it ain't had nothing to do with it. Right. the
• 54:42
  the that old movie gosh i forget
• 54:45
  the actor he's he's he's long dead but
• 54:49
  i i'm pretty sure it's called the watermelon man i don't
• 54:52
  know if you've ever seen it i don't think so so the
• 54:56
  watermelon man you can draw parallels
• 54:59
  but i'm going to spoil this too
• 55:02
  so the watermelon man is about a
• 55:05
  white guy who slowly turns black out and I don't understand like the science
• 55:11
  of it or it's been a long time since I've seen it but he's a white guy that
• 55:15
  slowly turns into a black guy over over time and I forget the period of time
• 55:21
  and like his wife wants to divorce him,
• 55:26
  at first when he starts turning black but then she like comes around but then
• 55:31
  it's a lady in office who he used to try and flirt with, holler at whatever
• 55:36
  when he was the white guy.
• 55:38
  But then when he became the black guy, now she wanted to get with him. And it's just like.
• 55:47
  I'm about to mess you up. The over-sexualization of black men.
• 55:51
  Rose and Mama. I already know. You know who directed that movie?
• 55:55
  Don't say somebody black, man. Melvin Van Peoples. God damn.
• 56:00
  But keep in mind, Melvin Van Peoples made a couple of movies back in those days.
• 56:05
  Remember the one where he had sex for real in the movie and caught a STD?
• 56:10
  Was that the sweet, sweet, bad-ass song or whatever it's called?
• 56:14
  Yeah. So, I mean, he was known for, I'm looking at a picture of the Watermelon Man.
• 56:20
  Oh, this is wild. It is wild. Dude, the fact that it's called the Watermelon Man.
• 56:26
  Yeah, one half is like his hair. And don't get me wrong. He's black the whole time.
• 56:33
  It's a white guy dressed up as a black man. Right. But as the movie transitions, he takes the.
• 56:40
  He gets darker. Yeah, yeah, yeah. His hair changes. Yeah, yeah, yeah.
• 56:45
  He by the end of the movie, he's himself basically.
• 56:50
  But it's like he's like super duper racist at first.
• 56:54
  And, you know, and then as he turns black, he starts experiencing racism, et cetera, et cetera.
• 57:00
  And at the end, he becomes like a militant guy, a black militant guy.
• 57:06
  And I mean, they wanted to give him the Columbia Pictures wanted to give him
• 57:13
  a three movie deal after that movie.
• 57:16
  And he turned it down. And that's when he went and made Sweet Sweetback's badass song.
• 57:21
  They wanted him to do more cool shit. And I'm assuming somebody in his life
• 57:26
  was like, yo, bro. You better not. Yeah. What are you doing? Yeah.
• 57:30
  I did not know that was a Melvin Van Peebles film, bro.
• 57:35
  God rest his soul,
• 57:38
  Yep. I might have to go check this one out. The things you learned, man. Anyway.
• 57:48
  Anyway. Anyway.
• 57:52
  To basically what Dave Chappelle was saying about why he left the Chappelle show.
• 57:59
  It's along those same lines. Do more coon shit.
• 58:04
  Use nigger more. And he like, hold up.
• 58:08
  Wait, no, I don't want to do that. I think like with him too,
• 58:11
  he said that, you know, he realized after a while they weren't laughing with
• 58:14
  him. They were laughing at him. Yeah.
• 58:16
  And he, you know, he said, and of course he did it in his own funny little way
• 58:20
  when he was talking about it.
• 58:21
  But basically said that, you know, I found that they was laughing a little too
• 58:25
  damn hard at some of these jokes.
• 58:28
  And the one was maybe he was on the plane and they had fish and chicken and
• 58:33
  they ran out of chicken. And then that little, he showed up dancing.
• 58:38
  And you know what I mean? He said, that's what did it for him.
• 58:41
  Yeah. That skit. He was like, yo, I'm out of here. Yeah. Yeah.
• 58:47
  Ernie Hudson, guy from Ghostbusters. I was listening to an interview with him.
• 58:55
  Guy looks great to be 80 years old, by the way. And I still say he ain't 80.
• 59:01
  Ain't no way, man. But
• 59:04
  I was listening to her interview with him and he was talking
• 59:07
  about like some of the roles that he had to turn down back in the day where
• 59:13
  they would want him to be a voodoo doctor or some type of African in a in a
• 59:19
  headdress and a grass skirt and and all of that kind of stuff. And it's just like.
• 59:26
  Good for him for turning down those roles.
• 59:29
  But think about how every time they portrayed Africa, think about the old Tarzan movies.
• 59:36
  And it's just like, this is what y'all think of Africa? This is what y'all want
• 59:41
  the world to think of Africa?
• 59:43
  That is just savages running around with bones in their noses and grass skirts
• 59:48
  and spears and all. Just like, no.
• 59:52
  Big cauldrons of body parts and brains and there is parts of africa that's developed
• 59:58
  just like the rest of the world otherwise you fools wouldn't have went there
• 1:00:03
  and tried to steal everything.
• 1:00:05
  And it's just anyway, bro,
• 1:00:08
  I'm I'm getting way too worked up anyway, y'all look F soul man FC Thomas Howell
• 1:00:16
  F whoever wrote the movie F whoever directed the movie F the studio heads who
• 1:00:23
  greenlit the movie F them all.
• 1:00:25
  And I said, if I see Thomas Howe tomorrow, I might swing on him.
• 1:00:29
  That's how much I don't like this movie.
• 1:00:32
  With that, we're going to move into our closing monologue. Take it away, my brother.
• 1:00:40
  Appreciate it. So I was going to discuss something that happened in Oklahoma,
• 1:00:45
  but I'll let you guys Google it for yourself.
• 1:00:48
  Just Google idiot kid gets probation instead of jail time.
• 1:00:52
  It'll probably pull up exactly what I'm talking about.
• 1:00:55
  I know what you're talking about. So I want to focus on something today that
• 1:00:58
  is more pertinent to what's going on.
• 1:01:02
  And I pulled my Black Panther Party sweater out the closet. Nice sweater.
• 1:01:08
  Appreciate it. So back in the 60s, the Black Panther Party had a 10-point program.
• 1:01:13
  It was a vital blueprint for justice and equality.
• 1:01:16
  It demanded freedom, full employment, decent housing, education,
• 1:01:20
  and an end to police brutality. This program was not just a reaction to the
• 1:01:25
  injustices of the time, but a proactive step toward community empowerment.
• 1:01:30
  Leaders like Fred Hampton exemplified this spirit, organizing free breakfast
• 1:01:34
  programs that fed thousands of children and brought communities together,
• 1:01:38
  all communities, black, white, Hispanic, it didn't matter.
• 1:01:41
  These initiatives not only addressed immediate needs, but also sowed the seeds
• 1:01:45
  of solidarity and empowerment.
• 1:01:48
  Moreover, even groups like the Vice Lords developed community programs that
• 1:01:53
  aligned with the Panthers program. Those collaborations highlighted a broader
• 1:01:58
  movement towards community self-reliance and mutual aid.
• 1:02:01
  Today, the relevance of the TenPoint program remains undeniable.
• 1:02:06
  In times of government shutdown and compromised social services,
• 1:02:10
  the foundational needs outlined by the Panthers and these community groups highlight
• 1:02:15
  the ongoing necessity of grassroots solutions.
• 1:02:18
  In essence, the 10-point program and the community efforts it inspired serve
• 1:02:23
  as a powerful reminder that the fight for equality and justice is ongoing,
• 1:02:27
  and that community-driven initiatives can bridge the gaps left by larger institutions.
• 1:02:33
  Fantastic. Thank you for that, my brother. So we're going to wrap up episode
• 1:02:40
  11 of For the Fam podcast.
• 1:02:44
  We hope you guys have enjoyed this as much as we have.
• 1:02:49
  Again, y'all like, share, subscribe.
• 1:02:53
  We getting there. We're going to get better. We're going to cover more interesting topics.
• 1:02:58
  You know what I'm saying? We are trying not to do every show about a political topic.
• 1:03:05
  So we'll do more like off-the-wall shoots like today, you know,
• 1:03:09
  like the building Wakanda.
• 1:03:11
  We'll do more of those as we go along just because we don't want to be a political show.
• 1:03:17
  We don't want to just focus and chase headlines about you-know-who.
• 1:03:21
  So give us a like. Give us a share.
• 1:03:25
  Leave a comment. You can find us on any major platform where you get your other
• 1:03:32
  podcasts. We're there, y'all.
• 1:03:35
  Just type in Ford DeFam, number four, D-A-F-A-M.
• 1:03:42
  We're still not quite active with those socials, but we're going to get there.
• 1:03:47
  We are working on it. I mean, give us a little grace.
• 1:03:50
  We do work full-time jobs, y'all.
• 1:03:52
  But I'm telling y'all, we're going to get there. So, with that being said,
• 1:03:58
  I'm Six Mill, keeping it trill.
• 1:04:01
  It's your boy, KG. And we'll holler at y'all next time. Peace.