17: Shaft Stache

00:05 Mo Facts with Adam Curry for December 2nd, 2019. This is episode number 17. And I'm in the dark. Hey Mo, how you doing? How you doing sir? I'm doing well, how about yourself? Yeah, I'm good. You've kept me in the dark. Yeah, this is one of the cases where we, uh, I didn't share with you what the show topic was gonna be, um, for a reason because I want your gut reaction to some things, so... Okay. That's where we're at. Well, that's always exciting. If you're getting a gut reaction, you never know what can happen. Which, of course, is one of the beautiful things of this show, is where we really don't discuss too much

00:46 ahead of time. Maybe you'll give me a topic or maybe I'll shoot you a couple things that are interesting to talk about. But we just kind of freewheel it from there with Mo's expertly put together rundown. And a reminder this is a Value for Value podcast Which means there's no commercial interests involved, there's no advertising, no pitches. The only thing we ask is you consider how much value you received from listening to the show and whatever that value is, translate that into a number and send it off to us. You can go to mofax.com, find out how or mofundme.com, M-O-E fund me dot com and participate in keeping the show on the air. Yeah, well, where do we go Mo? Where do we start?

01:26 Oh, I guess we can get right into it. Queen and Slim trailer. Can I ask you something? What took you so long to respond to me? I sent you a very well-crafted message three weeks ago. And today, out of the blue, you hit me up asking if you want to grab dinner. What changed? I didn't feel like being alone. Not tonight. So you turned to Tinder. So what happens tonight? Did you think we were going to have sex? No. I thought we were going to hang out, maybe get to know each other. Field execute a turn signal back there go and ask you step out of the vehicle for me. Could you please hurry up? It's just cold It was self-defense

02:24 We're in the black money and Clyde. How you gonna outrun the police? We don't have to outrun them. We just have to make sure they don't know where we are. This here's Kentucky, my friend. There's a war going on out there and you welcome this into our home? Is this y'all? Y'all really gave us something to believe in. We needed that for real. Let them go! Wow now this is a movie trailer that completely passed me by No idea what I don't know a lot about movies in general, but no idea what this is about Alright, so this is Queen and Slim. It's a universal Pictures project. Mm-hmm. It was Let me see. It was released over the weekend on the 27th in the United States and it was

03:13 written by Miss Lena Waithe and directed by Malina Matt Sakakis. So it's one of the latest and I have to give credit and I'm not being a hater here, but I guess that's not what we do. But it's one of the finest pieces of trauma-based entertainment propaganda. When I heard the trailer, all I could think of was trauma, trauma entertainment, trauma-based entertainment. Okay, yes, do tell. So, yeah, so this... On this show, we only address things that bleed over into political, social political topics. So on the socials,

04:04 This has been the greatest, the latest and greatest, and I say use the word again, piece of propaganda. People are, oh, it's the greatest thing since sliced bread, or you have to see this movie. And when I see that, that's how it became my, well, I saw the trailer seven months ago. So I was like seven months out, you see a trailer, Especially being a black film, you know that Hollywood is pushing it. It's pushing it. Yeah, okay. Yeah, because that's a long way out to start a promo on a movie. That's like Star Wars type timeline. Correct. And so the reason why I kept this under wraps is, I guess you gave it to me, but what did you take away from that trailer?

04:53 There was a lot going on first time I heard it, but it sounded like is this something with the cops killing black people That's what it sounded like to me Not having seen anything not having looked it up just listening just hanging out with Moe like oh, yeah, okay I get it. I know what kind of film this is so yes, but in this case the rabbit got the gun I use that term on that term where I Um, well let's get into a Brandon Avery, a movie critic explaining the plot. But what is this movie queen and slim about exactly? Well, slim and Queens first dates takes an unexpected turn when a policeman pulls them over for a minor traffic violation. When the situation escalates, slim takes the officer's gun and shoots him in self defense.

05:46 Now labeled cop killers in the media Slim and Queen feel that they have no choice but to go on the run and invade the law When a video of the incident goes viral the unwitting outlaws soon become a symbol of trauma terror grief and pain for all people across the country Brother one of these and this is what you said universal Yes, this is Universal and this is the same movie house that gave us Harriet. Ah, okay. Yes, gotcha. Harriet, which of course was no good. It was no good at all. No good, completely wrong. Everything was off. Wrong actress. No, no, no, no. And when I say no good, I want to make a couple of things clear. These people that make these movies are very talented.

06:42 Viewpoint when I say no good is the effects that the people that hire them to make these movies right the outcome they expect from That's why I say no good because these people are there are talented obvious directors and writers and So it's not hate and I know a lot of people are rolling their eyes right now, but I want to remind you Let me say this about our audience. We have a very intelligent audience that understands the nuance of our conversation, but for some people that may just be coming in and they're rolling their eyes and think that I'm just being a hater, I want to remind them... Wait a minute, Moe. Did you get some pushback over Thanksgiving with the family in town? Did some people start moaning at you?

07:29 Oh no, but I know what to expect when you go at the propaganda pieces. You're gonna get this knee-jerk reaction. And I want to remind people that I am a black man. Oh, that's right. We almost forgot. Okay, good. And I am a white man. Hello. Welcome to MoFacts with Adam Curry. Right, so... As the man said in the trailer, it's about trauma. As I've said, it's about trauma. So I felt this interesting clip about the movie, You Are Never Really Here, with I think Joaquin Phoenix. And they had a very interesting take on how movies capture and portray trauma. I want you to listen to something. The sound of fireworks.

08:16 Let's take away the lights for now. The sound seems pretty normal and familiar, but after hearing it for a while, the sporadic bursts and crackling combustions begin to form an invisible nuisance. What if I asked you to listen to this for an hour, a day or a week? Everywhere you went to, and even when you had to go to sleep, forced to even find it in your dreams. It would become unbearable and exhausting. How would you be able to go about your day? Your normal tasks and interactions would be greatly affected. It's as if you're living in a disorienting reality apart from everyone else. Always on edge, at the mercy of the next destabilizing pop, hoping for a moment of silence.

08:57 While preparing to make the film You Were Never Really Here, director Lin Ramsey gave a recording of fireworks to Joaquin Phoenix to prepare him for his role. It's an interesting way to introduce someone to the mindset of a person afflicted by a traumatic event. Trauma is a relentless and constant assailant that can intrude in all aspects of a person's life. It's an invisible aggressor with the power of reminding you that it can break you whenever it wants, and that even time has difficulty of silencing it. You know, when I listen to that, if you just add some drugs to it, you've got a perfect MKUltra program. And they said trauma is the perfect assailant, that it can strike at any time. And what these films do, are set out to do, and I'm going to prove my case, is to reaffirm that trauma and to bring it

09:52 Keep keep it's like an update to the firmware. You know we gotta keep them in a state of trauma at all times Okay, so hold on a second would you what I understand now is the way this the the path of this particular episode is Everybody's traumatized one way or the other, in particular from mainstream media. There's different types of it. Some are targeted, some are general, some everybody has. There's some very specific ones to groups. And what we're going to do here is we're going to update everybody's firmware to clear out their brains? No, it's to update the victimization mentality in quote-unquote black people. Okay. So that's why you have the slave movies and the slave movies have

10:37 really run its course because people have gotten aware of what they want to do with the slave movie. So now they have to do a pivot to a new type of traumatization. So the slavery, the Kunta Kinte is no longer triggering the way it used to. Now we've got to do something a little more updated. Yes, because people that are aware, you don't get the same crowd. So now you have to give the crowd something new with the same memes and tropes. But yeah, so that's what we're seeing in Hollywood right now. Like I said, throughout this episode, I will prove my case. But one of the things just on the surface level is that

11:24 The main characters in this movie as well as in Harriet are non-ADOS actors. Okay, and is that important for this particular movie? Could it just be anyone who's brown, black, off-white color, etc.? Or is it specific to the storyline? Well, I question, why do they use non-ADOS actors? Is it because you want to... Are you replacing us? Are you... You don't want the actors to be traumatized on set where a non-Ados person might not have the same triggers. I mean, it's several different reasons why. Or perhaps they did a casting and they thought these actors were best suited for the role with their experience, their acting skills, and their overall looks. This could be true as well. But when you start to see two, three, four, five, six data points of Ados

12:26 foundational blacks, whatever you want to do, native blacks, that's the term we chose to use on this show. When you start to see those being replaced by non-native black actors, you have to ask what's going on. It does get your attention. And by the way, I've tried out native blacks with white friends of mine, doesn't go over well. I'm sure it doesn't. Hugely triggering. And then if I add on to it, hey my best friend Moe is black and he told me to say that, it's just the hole gets deeper. It's worse. Yeah, shut up boomer. Okay. I'm a baby boomer. Exactly.

13:05 So, like I said, this is a surface level and it's not really important to this movie, but I'm just bringing up in general. I'm sure stating a trend that we're seeing here. So, uh, Brandon Avery, he makes note of the same thing I've identified. And of course guys, you know from the trailers and all the promotions and marketing that this stars Daniel Kaluuya who was in get out He was also some car. Yo, he was also in widows and I did not like that movie and I did not like his performance in widows as well But I thought he did a great job and get out and a newcomer that I've never heard of before jaw Jody Turner Smith and

13:42 She's done a lot of television. She's a British actor as well as Mr. Daniel Kaluuya who also was in Black Panther as Wakabi. I forgot to mention that. And you know, those are our two main leads. And you know, while I first saw the trailer for this movie, my expectations were mediocre. I mean, it looked good. I did a reaction to it. You can, you know, go check that out on my channel. But at the same time, I just wasn't too thrilled with it because, you know, while this centers on two black American characters, You know, I was just a bit disappointed because if you know me, if it is a black American character, I want that as roles fulfilled by actual black American actors and actresses. And who is Brandon Avery? Because I couldn't find him very that quickly. Brandon Avery, he's a YouTube movie critic. He has a pretty sizable channel.

14:33 I think it's just my opinion. I want to say, is his name of his channel right off hand, but if you search Brandon Avery, you'll find him. He does a lot of movie critiques, especially being black films. So that's where we are. So I'm not the only person that recognized that Adolfs, foundational blacks, actors, I mean roles were being filled by British actors. A couple years ago, Samuel L. Jackson made the same observation. The thing in my mind is, I know the young brother's in the movie and he's British. So,

15:13 There are a lot of British black British actors that were all the time all the time all the time So I tend to wonder what would that movie have been with an American brother who really? understands that in a way cuz I mean Daniel grew up in a country where you know, they've been interracial dating for 100 years, you know, and I'm sure the director helped and you know Some things are universal, but everything ain't that's right You know, which is one of the things about you know about Selma and some other things I go well, you know There are some brothers from America that could have been in that movie that would have, you know, had a different idea about how that works or about how King thinks. What is that casting thing where you get the British black actor versus the American black actor to play the black? What is that? They're cheaper than us, one day.

16:02 Alright, I have to say one other thing. When it comes to choosing black British actors over black American actors, this pisses me off too. The British invasion in general, I'm a little tired of. And it's true, they do have a different rate scale, there's a whole bunch of other reasons why Hollywood loves them. But Hollywood also is just completely biased towards the British actors. And I don't, I think Hollywood has an issue with that as well, but certainly when you make it black actors, then it's just kind of silly. It's one thing to be non-ados, it's one thing to be non-American altogether. That is clearly the off color, to coin a phrase. And maybe people may be overly sensitive.

16:50 Just because we do feel like we're being replaced. We had this conversation a few episodes ago because of multiracial people, we feel like we're being replaced by that. Due to immigration, we feel like we're being replaced by that. And then when you see it start reflecting on film, on screen, where you like, who is that person? And we had the Obama effect, where you really take a look at him. He wasn't a also native black. So it's like when you start putting these data points together, it becomes, it irks you in a way. And I would say, what is really going on? Perhaps the Obama presidency has left an indelible mark of disappointment for foundational blacks. You know, and because Obama just didn't do much. Yeah, he didn't do much at all.

17:41 But then it's like, did we expect him to when we really start to look at his background? Well, we thought Michelle would rub off on him and it would help a bit. And that was kind of the backstop, I think, for the argument. Yeah. But it was clear that he was very elite. And I think that's another thing with the maybe British thing, because there's a certain elitism with black immigrants because let me make this clear a large portion of black immigrants are elites from their country their home country not all But a sizable portion right, but I don't want to get stuck on this on point too much But of course with Samuel Jackson said that he had to clarify his comments

18:35 Samuel L. Jackson clarifies comments he made about casting black British actors in African-American roles. There are a lot of British, black British actors that work in this country. All the time. All the time. All the time. So I tend to wonder what would that movie have been with an American brother who really understands that in a way. You actually take a snippet of what somebody says and you make a headline out of it. You listen to the conversation, you know, it turns to another thing, you know. I totally respect and love all those UK guys that come over here and work. And I understand that coming here gives them a unique opportunity to advance their careers and hopefully go back home and create opportunities for their friends and other guys and let them know that they can come here and they can succeed. Do they know I'm black?

19:19 Should they? You might want her, you know. As far as, you know, we talking about get out, I mean, I've known Daniel for a very long time. I knew Daniel when he was a young writer, actor in the UK. You know, I had literally introduced him to his agent. So I'm looking forward to y'all coming over here. You know, hopefully I'll run into you on set somewhere. We can talk it out and we can work it out. You know, it's all good. Yeah, he said with clenched teeth. It's all good. My best friend is my best friend is a black British actor. That's right Yeah, so he had to recant his statement and I can understand why well, yeah, he's a part of the system back from Hollywood. Basically you call those roles that keep coming You had to play you had to play along but I want to make a point that

20:09 that in the conversation where he made this statement, he was talking at Hot 97, one of the urban radio stations in New York. He was speaking to Mr. Ebro. Mr. Ebro is going to come back a few clips from now, but just keep that in mind, all the listeners out there and you as well, Adam. So, Miss Lena Waithe, she visited Hot 97 during the press run for Queen and Slim. And she wrote the movie, correct? She's the writer of the movie. And she was asked about British actors playing American roles. So how do you feel about, there's been a conversation that we've now had on our show and it's been a lot of places, about

20:50 Black British actors playing American parts Queen and Slim obviously is a black story, but it is also an American story Daniel of course an amazing British actor your thoughts on that whole Honestly, I think it's divisive you know and I think it's it doesn't move the culture forward And I always say this you know for anyone that has that argument or like oh Let's get some American whatever as at the end of the day if you're black and you get pulled over by a police officer He's not gonna not kill you because you have a British accent that is a fact so You know black is black as black as black

21:28 and we all get discriminated against, we all get treated like second-class citizens in a country that our ancestors helped build. And to me, I'm a big proponent of black unity. I don't care where you come from. If you're black, we family. Oh, well, first of all, I just disagree. If you pulled over and you hit the cop with a British accent, which you might want to try one time, Mo, just as an idea, I think you're good to go. Oh, it's one of those guys. Yeah, what are you, an actor? Yeah. So she slips up in there. She says that of all.

22:04 our ancestors, a country that all our ancestors helped build. This is the real world. I want to play that again. Okay, go ahead. So we all in this together. You know, black is black is black is black. And we all get discriminated against. We all get treated like second class citizens in a country that our ancestors helped build. And to me, I'm a big proponent of black unity. I don't care where you come from. If you're black, we family. Wow. Okay. I agree with most of her statement there. Just one little to pee in the mattress. This country that all our ancestors helped build. No, this is not true. This is the rub of foundational blacks, ADOTs versus non-native blacks. This is the rub. Now you want to come and claim ownership of a legacy that's not really yours. I would be very offended. I would,

23:05 Not, okay let me say it like this. Well no, hold on. I mean this is not even black or white. No, no Brits. Look, originally, yeah we were all Brits who came over. It was the original Brexit. But after that we drew a line, you know. It's like, okay, we're declaring our independence, we're building this country, and that was it. And the help didn't come from Britain. It's a very odd thing to say. But this is politically driven. This is my whole point. This is the whole, all black is this monolith and we have to stick together, you can't divide us. This is the thing. All of this plays a role into politics. All of this is stay herded, we're all one black monolith.

23:56 And if we're all gonna receive anything, it's gonna be for everybody. And as we talked about in previous episodes, this is not the case. It's also an erasure of history. It's not cool. And I would expect to be checked if I went to Jamaica and was like, yeah, all my ancestors helped build this. Or if I went to any other non-American place and tried to lay claim to what they've built. So I'm just being fair in that sense.

24:33 Ebro, the one that Samuel Jackson was talking to before two years prior when he made the comment about black actors. He's gonna chime in on the British actors play American roles. Well, that's pan Africanism, right? And I think that's the piece that the slave master, right? And the plantation has programmed into American blacks is thinking that our experience is somehow disconnected completely from the transatlantic slave trade and slaves that went to Jamaica, slaves that went to Dominican Republic, Brazil, the colonialism that took place on the continent in Africa, right? Slaves that ended up in Europe via that same colonialism, right? So our brains are programmed to think that somehow that's not us. That is us.

25:23 And the power actual dynamic is when we separate ourselves because of that, that's how they continue to keep us weak. Wow, that's interesting. What a reversal that is. Jeez. Okay, so just to distill in my brain, you said, all right, all the slaves all across the world all came from Africa. Not true, but okay, we'll give them that. Therefore, you are by definition united in your pan-africanism, which is by pan-africanism is a political movement, it's a political statement, political grouping, and therefore the part that I find interesting is magically everybody helped build America.

26:10 Exactly. And if you want to take yourself and, you know, uh, identify yourself as a subset of that group, that's anti black or anti pan African is when nobody has made a complaint about people who've referred to themselves as Haitian or Jamaican or whatever. All the West Indies. Yeah. All the West Indies have identified themselves and they fly their flag. That's like pretty much any immigrant group when they come to America, they identify themselves by their home country. Where this is where ADOS has a weird, we have a weird experience because... Your flag is the stars and stripes, my friend. Right.

26:54 And it's a, like you said, it's a weird reverse because we're looked at differently because, oh, you fly the flag or you're oppressor. It's like, huh? It's like- Yeah. So, but as I say again, all of this is political. All of this has to do with 2020 in a weird type way. Cause it's like, stay on, stay in the herd, stay on the plantation and do everything expected to do with you and being black. And one of them is voting. I know that's a stretch, but we're going to see later, as I promised, how films are used as mind control. And it's so good when you say it's a stretch. That means your mind is going to be exercised on this very show. Yes. So Lena Waithe, she goes into the characters of Queen and Slim. Finding the characters

27:46 was interesting because I didn't want them to be prototypes, but yet in essence they are prototypes, you know, for every black man and every black woman. Although we are not all a monolith, but I really kind of wanted to put pieces of us into these characters so that way we could see ourselves in them. To me the templates were Malcolm X and Martin Luther King in terms of ideologies and ways of going through life and in the most simplest terms. You can see now how they load these characters up with ideology. Yes. And people always say, it's just a movie, Moe, relax. It's just a movie. No, nothing is ever just a movie. Every movie, even from Star Wars to Matrix to all, even the science fiction films have a sub story.

28:37 To the people that have eyes to see. That's also the why movies we connect with movies, even if you don't exactly understand what is going on, you connect at a deep level because of the story, because of the characters, because of what's going on. It's it's it's whether nefarious or not, it's always intended to connect to you somehow. And there's a lot of intersectionality into this movie as well. And it has a transgender female character and her name is Goddess. So even the naming, and like I said, the names of the characters in this movie is not Queen and Slim.

29:18 It is not. And we're gonna let Lena Waithe explain Queen & Slim. My biggest pet peeve is hearing characters' names in scripts. If you ask anyone that works with me, knows that that's what I think I scratch out very often. Because again, it's about groundedness and reality. If you think about having a conversation with a person, how many times do you say their name in the conversation? So, now I know why people do it. They do it because they want the audience to be aware of what the characters' names are, or if they forget the characters' names. But the truth is, the names are not important. It's really about who these characters are. And again, wanting for people to see themselves in the characters. In essence, anyone can be queen. Anybody can be Slim. These are sort of like nicknames we give each other within the black community. Whether it be a black man saying, what up queen? Or what up Slim? Oh, okay. I guess they do that in Britain too.

30:18 Slim now that's not it's not just a black thing by the way this is universal as far as I know well maybe it goes back to the 80s but people would call me slim and Queen is the thing of today slay Queen that's a very white girl thing actually but look at the disparity between the two names slim is an ordinary oh yeah I mean just kind of a loser dude a slim okay you got no muscles you're nothing but here's the Queen exalted Like you said, it's Slave Queen. She's a queen. So I had this, I did some digging around YouTube and I found this female and I didn't capture her name. I'm sorry for that guys, but she is a pro woman, pro feminist, a blogger, vlogger. And she talks about the stereotypes used in black movies and explain what is a queen. Today I want to talk about stereotypes.

31:16 and I'm going to discuss four different stereotypes the mammy, the Jezebel, the Sapphire, and the Queen and then last we have the Queen which I hate so much because so many people are using it nowadays and it's so annoying right because the Queen is just drawing this binary between like this Jezebel, you know hyper sexualized, fast black girl and then this respectable woman, right? She's smart, she's in her book, she doesn't go out, she has natural hair. It's all these respectable qualities of what people think is respectable, right? And what it really is, it's really baseless, it's really non-sickle because it really means nothing. It's literally a way for men to exert their dominance over, you know, black women, right? It's like if you don't fit into this box, then you're automatically not a queen.

32:04 Oh, that's interesting. I'd have a very different take on that. The African queen has very high standing. Queen Latifa, you can't touch her. But she's talking about how it's used in modern day intersectional circles, how it's perceived. And it's amazing Lena Waithe, who's a member of the LGBT community, would use that title queen if it's perceived that way as a stereotype. But Lena Waithe, she goes on to talk about the white gays.

32:40 So for someone like me who does care about color and cares about the community and the culture, I have to be mindful to figure out ways to get as much power as I can to tell our stories as authentically as I possibly can. But there's still things like if I want to do like a black drama, there's still this thing about like, well, can they be more levity? Can they smile more? Can they do this? Or I don't understand that. So we still sometimes have to water down our work so that we can get it on the air or get it on the screen. And that's why I think queen islam is so unique because I said to them This will not be touched by the white gaze like we've been watching y'all's movie ever Yeah, white people white voice white hands white eyes. This is this is for us Okay white gaze a term. I've not come across before I

33:34 Let's be clear. She says she takes ownership for everything in this movie because she told the white people in Hollywood This project is hands-off. Hmm. That's what she just said But for you to cast certain characters in a certain way Queen being one of them Let's see Queen I will do some more digging and I actually found the casting call for a queen. Oh, really? Yes, and let's see here. He said Queen she should be brown-skinned it if she were a slave She would have worked in the fields and had a tough exterior for a reason This is this is how they're casting their movies. Um, I

34:24 Kind of superficial. So here's another thing from the script. So there's another character in there called Uncle Earl, and this is from the script itself because the script was actually publicized on social media. It says, Queens opened the door to find her Uncle Earl counting money by hand. There's lots of it. Uncle Earl is like Chicken George if he wasn't a slave. Okay. So this is, this is what she's selling to Hollywood. And now you see why I have a problem with it. And I know this is what's going on behind, behind the closed doors. But now with this movie, it's being publicized. We're starting to see behind the scenes and it's kind of like, she's a gatekeeper. These people are Hollywood or gatekeepers like, Oh, I can give you the black experience.

35:15 But isn't she, but when I hear this, isn't she actually literally giving the white gaze version? When I hear the casting call like that, oh, it's like Chicken George. I mean, that's a white gaze type definition or am I missing the point? No, that's exactly the point. It's a dead ringer. And that is the case of she is the shield they hide behind. It's like, give us something that can be palatable to to put on a big screen, but you give it your little flavor. This is what's being, I believe, being negotiated behind the scenes. But there's this weird statement, and it really has nothing to do with the story as we go on, but it's just a weird sidebar that I want to address. So this guy named Rosenberg on Hot 97, he's a white Jewish male,

36:14 And he says that whites have no community. black people and white people and seeing that on both sides. I know that that takes place. But mainstream America doesn't see black America that way. Right, right. Also, it is important to point out that that does not exist for white people. There may be on some crazy clandestine race and racist world it does. But in a typical regular person, there's no such thing as white community. That's not a thing.

36:56 Well, first of all, obviously Rosenberg was invited to the barbecue. So he speaks from huge experience. Yeah, that's the cookout. The cookout. That's what I meant. The cookout. But yeah, Rosenberg... I think he was feeling his privilege kind of like showing through. So now he has the downfall, oh, white people don't really have a community. And him being a Caucasian Jewish person, they have one of the tightest knit communities known to man. Oh yeah, well of course Jews, a lot of Jews do not consider themselves white. That's a little caveat we got to put there.

37:36 Interesting. I didn't know that. Oh yeah, oh yeah. Many Jews say, well I'm not white, I'm Jewish. It's different. And I can't speak to that. Any more than I could speak to to black but I does one thing I will say I personally am sick and tired of this whole community concept because that's bullshit the LGBTQ QI a PKK element Opie community. There's no community, you know And and I'm sure that you are not in the same community as some gangbanger in in Compton. No your culture Is what ties you to a community. Thank you. And culture comes off of morals and shared morals and shared, uh, experience and experience. But I thought it very, like I said, this is a sidebar. I just thought it was very disingenuous of Rosenberg to say he, we don't have a community when dude,

38:32 You're the ideal community. The ultimate community is Jewish. Yes, of course. Right. But that's just gonna show you when you're the only white guy in the room, you got to kind of bow down and not let your privilege shine. I know. Imagine doing a podcast with a black guy. It's really hard. You got to be on your toes all the time. It's tough. So Lena Waithe, she exposes Hollywood and this next clip and their motives on the jackpot. You know, there's still battles that we got to fight and things that we have to do. Can you give me an example? You know, it's still...

39:12 Here's the deal, most networks and studios are still owned by white guys. And so, and the truth is black content sort of represents a jackpot a little bit right now. It's like, they know that this experience can be commodified. And at the end of the day, I always tell people, Hollywood don't care about color, they care about commerce. Well, there you have it. It's all about the Benjamins. Well, yeah, they do care about color. It's just that the color is green. That's well known. Yeah, sure. And she let that slip out because what we have this viewpoint of all these liberal woke white folks in Hollywood and they really just want to put the black experience on the screen so the whole world can see what really goes on. No.

40:02 No, that's a great commodity right now. Yes, and what I everything I hear her say in just the way I'm receiving it is Apologizing she's in a way apologizing for what she did because she well, you know We got to do this. There's a bunch of white dudes in Hollywood. Well, you know, we got a it's got to be it was commodity We got to sell this got to be ends. We got to have the right names. Everything is kind of an excuse and this is nothing new because she understands what she's doing and And she has to apologize for it for the people that can really see past the bullcrap. Yeah, which I am one of them. So what I've identified here, we've identified this term on this show of trauma based entertainment. But what it really is, is this weird sub genre of a horror movie.

40:51 That's a color girl shit. That shit was an african-american horror movie man temptations was an african-american horror movie for colored girls African-american horror movie. I think he had something to do it precious that was an african-american horror movie I just I don't know man is this like Tyler Perry? He paints a very negative portrayal of black men We ain't that bad like Jesus Christ that type right makes us seem like we ain't shit And it'd be and it'd be the it'd be the well-off brothers. It'd be the brothers that be doing something to be Yeah, it's true. Can you think of a movie that is that it has black actors that is not trauma based in recent memory? It's going to be a comedy. These are two and I think it follows with the Hollywood model because this is the only thing you see really the two movies that you see in large quantity is produced the horror movie or the comedy. Right. Those are only two. So they say how can we we can't do slave movie anymore. So let's create this weird

41:51 Hybrid. Hybrid of a shocker. What's the, what's the, it's a, it's a term for the movie. I can't think of it, but it's like when you go in there, it's intense, you know, it's a, it's an intense experience and that's what they give us. And they realize it's very, a thriller, a thriller. That's the one I'll, so you have a racially based thrillers, which, they give to us and black people live vicariously through the movie. And at the same time, it has to appeal to white audiences if it's going to make any money. Yes, it has to be safe enough where it's palatable to your ordinary average white viewer or the white person is so sympathetic

42:43 guilty, they feel white guilt that they'll go sue the movie and I've heard white people say this, I've seen that movie twice. This is the 12 years of slave things. They live the opposite, like the guilt. So you have the victimization mentality going to see it for one reason and you have the white guilt ridden person going to see it for another reason and they're both living this weird experience. So there you have it. But that was Charlamagne than God and he identified it. He was talking about Tyler Perry movies, but Tyler Perry, what Tyler Perry has done is identified that you can have a strictly mostly black audience and be very lucrative. You can make a lot of money at it if it's niche enough.

43:36 And that's what you're seeing with these films. So we have another clip from Charlemagne, one of our frequent contributors to the show, and he talks about No More Slave movies. Watch no 12 years of slave now. You won't see that bullshit for what? Listen, man. I'm all up a man. They won best picture salute to them. Congratulations. I'm not in the slave movies no more Why do we need more slave movies? We got enough slave movies, man. You got roots. You got 12 years of slave We had Amistad we had beloved you got all these documentaries on slavery We had Django which in Django is my favorite slave movie of all time by the way And the reason is my favorite movie of all time cuz Django wasn't no victim. I

44:27 Alright, Django burnt the plantation down, killed all the slave masters, killed all the house niggas, and rode off into the sunset with Kerry Washington. That's the kind of slave movies I like. Movies that have a very, very happy ending. Okay? Why am I starting to like Charlemagne a little bit? This can't stand. This is the thing with him. And that's the beauty about Being a gatekeeper you say just enough. Yeah, you're right. Keep your black card. Yeah, you're right. You're right But then they slipped a little You know the no look in there, you know, this I'll call it the P in the mattress. It's always something That makes you uncomfortable with the person because there's certain topics. They can't broach it. There's certain they can't say I agree I think that the role of gatekeeper is what he's playing expertly here. I

45:20 Yeah. So what he said in that last clip was very important. And as we're at the point in the show, we always got to go back. No. Because these kind of things have been seen before. So we have Mr. Charles Woods, which is a black film archivist and historian. And he talks to us about the real reason behind black exploitation. He makes sweet back badass song. Nobody went to see that film Personally I'm going to say piece of crap as far as I'm concerned Okay, what helped get that going was the support of the Black Panthers? What's the name gave it a big right up go see this film they wanted to tie in Huey Newton hearing it revolutionary this and all of that What had a lot of brothers?

46:19 Going to see it was a whole lot of stuff going on in there, you know What did he introduce in that film black and white sex? black man and black women making love a Black man striking a white man because he kills the cop. All right, but we can also call that film NIGG are on the run because all through the movie that's what he's doing running and Charles Woods I'm not familiar with him Okay, like I said, he was a black archivist black film archivist and historian. Oh He does a Moniker is the professor YouTube as well. Yes. Okay. Good. Well, I mean he also is though I mean he's he's known for his work And in like like looking at black films, okay, but if you notice in that clip He said you could call it name with the movie he was speaking about is sweet backs sweets tweet backs badass song

47:23 And this is one of the black exploitation films that predated Shaft. As he said, it was a piece of crap in his knowledgeable opinion. And he said what? It's about what? Black people making love, and a black person killing a white cop, and the N-I-G-G-E-R on the run is what he said you'd call that film. Don't we see a parallel here? Oh, you stumped me. This is what Queen of Snip is about! This is the exact same movie, thank you. Okay, I got it. So it's the same movie, the same idea, the same plot, essentially. And of course, I've seen neither. Oh, wow. And when did that movie come out? So that's early 70s? Yes, pre-Date Shaft, so it had to be the early 70s. I think Shaft came out in 74. So it's really just a shitty remake of a black exploitation flick.

48:23 It's a cycle. Yeah, yeah, yeah, yeah, yeah. It's a complete cycle and we're going to understand why as Mr. Charles Woods continue on and Blacksportation too. I don't know if a lot of people wear this. They fought over him wearing a mustache because usually what happens is the trope for heroes you don't give them a mustache. The only one who helped get away with that was Clark Gable. But you know if we're talking about what stereotypes do or what accepted images, they're shorthand. So if you have a blond, she's dumb. You have someone with glasses and a pipe, he's smart. He's short. So you put the mustache, that's the villain. They gave, finally they consented, okay, we'll let him have a mustache. But that was a phony mustache that Roundtree was wearing. Are you aware of that? I never knew that. Okay. Oh yeah. Yeah, so smart. Yeah. What he's talking about here is Shaft. Yeah, of course. And Shaft came after Sweetback's Sweet Ass Song.

49:22 I mean badass song, excuse me, and Shaft was one of the films that struck the right chord because Shaft was really the good guy. But I would put that clip in here just to show you even down to the facial hair. Oh yeah. It's negotiated because everything is representative of something. And that's movies in general, but it's obvious what's going on here. Sure, sure. But like you said, the blondes are dumb, the guy, Glasses is smart. And you had a black guy with a mustache, he would be seen as the villain. But the movie was so good, Shaft was able to break that mold of a good guy having a mustache. So even though it was fake, and I didn't know that, that's a little trivia fact for people out there. It was an awesome mustache though. So now Charles Wood is gonna talk about

50:25 So films had an impact on him when he watched them. One of the other things I failed to mention was growing up. Not only did I want to be a white man, I also wanted to make love to Virginia Mayo, Rhonda Fleming. These names you have to look up, but... Brainwashed you. Yes, brother. Now I'm looking at Pam Grier, Black Chocolate, Gloria Hendry. Now we talking. There's something for us. Now people might ask the question, well Mo, why does black people fall so susceptible to films and music? Well, and it's not just black people. It's poor people. Yes. Thank you. Poor people, this is how they transfer their history.

51:27 It's through, I mean, a lot of Irish, old Irish, I think it's called jigs or whatever, the songs that they sing, they contain history stories in them. Because even people that weren't literate, they could sing. Well, country and Western does this. Of course, hip hop started off as the black CNN back in the rapper days, I would say. Hollywood, Nollywood, I mean these things. But also how about the Negro spiritual songs? I mean all of this stuff. That's worldwide. And the masses, of course, in general, most people in the world are poor. So that's why we have these types of storytelling, no matter how you do it, but a story told in a way that is easy to remember in a lyric.

52:16 Or in a movie that is simplified and puts things together that really are hard to do in the same time span in real life. That's how we continue stories about our culture, our background, our families, our history, our everything. And that's why a really good movie can relate to several different layers and intelligence level of people. Because you take a simple child movie like Lion King to the children they take one thing from it but to the trained eye there's a lot of socio-political topics covered in there. So I mean that just goes to show even in a child's movie that it can have those different layers to it. Well now here we are if you have a bubbling undercurrent throughout the poor society of unrest Charles Woods explains

53:17 What the purpose of movie is these films? They help quell those riots Because remember we had the Kerner Commission study and why we had all these riots these films helped To calm that down. I called it rioting in the movie theaters because all of our anger and our angst We were able to vent and seeing people who look like us kick the white man's behind. And what was the subtitle of black exploitation? Get Whitey. For every drop of black blood spilled, a white man pays. He had a plan to stick it to the man. The man. See, we were beating the man. And so I call it rioting in the movie theater because this was

54:13 riding without destroying anything. It was a catharsis for us. Wow. Yeah, how do you get the point? Well, I was also thinking about my first experience in an all-black movie theater in New York City. I was invited to the opening night of Coming to America with Eddie Murphy. And Arsenio Hall and that experience with you know you go all of my movie experiences now granted I'd grown up in Europe most of the time yeah, you go to the movie, and you know people will laugh and and Say things of inappropriate moments, but man that experience, and it was in New York City was something different That's like people jumping up in the aisles and yelling like no stop. No. No no don't go there turn around I'm just it was crazy. I loved it, but it was very different

55:10 And that's what Mr. Charles would have said in the last 10-15 seconds of that clip. It was catharsis. It's a release. And if you're the elite, now you understand why they make movies like this. Yeah, we want to take the pressure off. Take the pressure off the cooker. Right. So when you have movements like Black Lives Matter, every time you have an uprising, Hollywood and they get together and say let's give them films where they can live vicariously through the characters. And they can have that like you said take the pressure off the cooker. It's even a little better than that knowing somewhat of how Hollywood works. They actually have a shelf or a slate as they call it.

55:56 of movies ready to go. Some of them made a year ago, some of them made two years ago. They can determine to release something. It's not like, oh, we got some problems, we gotta release the pressure, let's go make a movie. No, no, no. This is all done, this is all ready. It's on the plank, it's good to go. I didn't know that point. So they have it, how many, already in the can. Yeah, it's in the can, sure. So I'm gonna go back to Mr. Brandon Avery, the movie critic, and he said his small tidbit that kind of confirms what we heard in the last clip.

56:32 So after reading that plot synopsis, it sounds kind of fun. It sounds adventurous like wow, you know two black people killing a cop in self-defense and you know in reality cops always shooting black people for no rhyme or reason at all. I mean my goodness gracious seems like we're gonna have a fantasy on our hands like kind of like a modern-day Django Unchained or something like that. Yeah, well we have the genre. The genre is fantasy. Nice. We're gonna have a fantasy on our hands. This is, it's sick man. It's real, but it's sick. But from the 70s to the 80s, black people became aware and these things can only burn out so long until they go, they become rendered ineffective. And then they go away. And then until uprising comes, you have another way. I mean, this is how it goes. So we had a gentleman named Mr. Robert Townsend. And now I have these next set of clips because

57:36 He had a movie called Hollywood Shuffle. Have you ever heard of that before? Yeah, yeah, yeah, of course. I remember. I met Robert Townsend. I've met him several times. So Mr. Robert Townsend paid for this movie, Hollywood Shuffle, out of his own pocket. He maxed out credit cards, everything. And it was a huge success. And a huge success, and not only that, but when you fund your own money with your own movies, you could tell the truth in them. Yeah. And with that said, Black Acting School's Hollywood Shuffle. Hi, my name is Robert Taylor and I'm a black actor. I had to learn to play these slave parts and now you can too at Hollywood's first black acting school. It teaches you everything. Learn Jive Talk 101. You motherfucking Jive talk motherfucker. All right, all right, that's good, that's good. You work, all right, you try it.

58:32 You you fucking mothers no, no, no, no, no, no, that's wrong. That's wrong. Watch me. Just be cool That's only the beginning you too can learn to walk black No, no, no, no, no, no rhythm. Observe. Yes, yes, yes! I remember this movie. It was great. It was very funny. And the funny thing about that clip was what people can't see is you had white men showing the black people how to act black. Which was hilarious. Whatever happened to Townsend, I mean, he kind of faded away a bit from memory. I'm sure he's doing something good. Hip hop happened to him. And we're going to get to that in a minute. You're all goggles, man. Put the goggles on. I'm sorry. I'm ahead, yes. I got to put on the shades.

59:37 Yeah, so, um, he told he was telling the truth in this and in the movie I suggest everybody go check it out because it's hilarious that it this satirical and the funny thing is in that clip he's speaking with a British accent which is which has a whole nother connotation to it like especially right now with everything that we're talking about right it's weird I mean that's why I made a great addition to the clips that I snagged from it. But he continues on with the black acting school too. You too can be a black street hood, but this class is for dark skin blacks only. Light skin or yellow blacks don't make good crooks. Here's a student in advanced class. I didn't steal that TV. It just happened to be under my coat. I don't know nothing, police woman, Kojak, Ironside. Yeah, I'm a gang leader.

1:00:29 I'm in the warlords, the vice lords, the onion heads. Let's talk to a graduate. This is Ricky Taylor. Ricky graduated from my class three years ago. Ricky, can you tell us what you've been doing since you've graduated? Well, Robert, I've played nine crooks, four gang leaders, two dope dealers. I played a rapist twice. Whoa! That was fun. Currently, I'm filming a prison movie. I play this tough con that tries to fuck this new inmate. That sounds wonderful! I'm so happy for you! It's coming back. It's coming back. It's funny What he did is a brilliant movie because what he did was poke fun at the roles That black actors at the time in 1987 were being hired for yeah And you could tell true you could tell truth to power if you're funding your own movies What comedy is man comedy is always talking truth to power all right and the reason why I wanted to use these clips is I

1:01:31 Until we fund your own movie, it's value for value. That's right. That's basically what it is. When you have the freedom to say what you want to say, then people find value in it and then they support it. Which, if you're funded... I'll stop you right there. MoFundMe.com. That's exactly what this is about. M-O-E-F-U-N-D.com. And if you don't, then you have to go through checking in with the powers that be and say, oh, well, the screening tests say that that doesn't sit well with white males between 25 to 35. Yes, our test audience. Yes. Well, you know, most Hollywood movies have at least two, sometimes three endings they'll shoot. They'll test market those amongst the audience. I mean, it's so micro. This is why everything sucks. This is why radio sucks. This is why television sucks. This is why the movies suck. In general, there's always

1:02:26 exceptions, of course, but it's all been micromanaged, you know, down to the single demographic that they expect to exploit the most or get the most out of their wallet from. That's it. It's been sanitized. It's been really sanitized. And there are some good shows out there that capture what go on in the black community, but there's so far a few between because either one, they have to put the art over the commerce. Or you have to get people, and one of the cases was The Wire. They actually got people from Baltimore, and they captured them in a realistic, humanized way, not caricatures. But when you're going for the fast book or the mind control, you need the caricatures. Like Lena Waithe, she needed you to see a little bit of yourself in each character.

1:03:20 So it's bullcrap. But for those people that are interested in signing up for the Black Acting School, we have the number for you. Classes are enrolling now. Learn to play TV pimps, movie muggers, street punks. Courses include Jive Talk 101, Shuffling 200, Epic Slaves 400, Dial 1-800-555-KUN. Don't try to be cool, call Hollywood's first black acting school. That would never make it today. No, no, no, no, no. So as you said before, you were getting ahead. You said what happened to Robert Townsend? What happened to people like that? Yeah. Well, we had the influx of hip hop and Robert Townsend was seen as being corny.

1:04:16 So you needed a more seedy side to black media going into the 90s, as Mr. Nelson George, the famed director, explains. I mean, I think that what's happened, and this is the dark side of hip-hop, is that sort of in the 60s, black stuff became soul. Everything was soul bread, there was soul food, soul handshakes, blah, blah, blah, blah. Now everything's hip-hop. Hip-hop this, hip-hop that. But the truth is it's a much more complicated template. Hip-hop, people sort of view hip-hop as this thing that runs everything, but I always see hip-hop as part of black culture and not the other way around. And that hip-hop responds to more broader general trends in terms of violence, in terms of family issues, education, all these things the music then reflects. But because hip-hop has become this kind of

1:05:14 Easy shorthand for marketers they leave it. That's why I got like Tyler Perry who I brought up has been so successful Okay, shorthand for marketers. Yeah, so it's easy you could throw hip-hop into something thought And when I say hip-hop we're talking about the negative form of it, right? They could throw that in the background a soundtrack and then they could easily package together a quick movie for a quick book So that put the people like Robert Townsend out of business. And as he said in the clip, that's why Tyler Perry became so rich and powerful because he actually reached introduced, even though it was problematic and in its own way negative, it was a non hip hop version. What he did was gave you the black struggle, sprinkled with a little Jesus and

1:06:13 It was a huge opportunity and he created a product for that market, for the non hip hop black market. But because at the time, as you see now, hip hop's taking over everything and it's not the positive hip hop as we talked about on previous shows. They're not marketing positive hip hop, it's the negative stuff for the same reason as they market these negative movies. But that's where we're at. So yeah, I have nothing but agreement for you. I was just thinking, Robert Townsend, where'd he go? I think he got displaced by Kid N Play movies, didn't he? Isn't that what happened? Well, yeah, and then Kid N Play, it's a gradual effect. So they use Kid N Play and positive hip hop as a Trojan horse.

1:07:06 But that was fun loving me had like me and they had no more cussing than the Hollywood shuffle. And it was a fun little movie like a house party and those movies right? And in once they got a hold Into it's got like shaft same thing. Shaft was a positive movie. Yeah, you had a black cop You're saying cleaning up the neighborhood kicking ass and What look at all the movies came after that super fly. What was super fly doing? He was sniffing dope and pimping women. You see it's always a Trojan horse That comes in as positive and then they bring in the real motive after that once we become accepting of it so

1:07:49 Mr. George, I mean, excuse me, Mr. Nelson George continues on about the media's portrayal of black culture. So it just goes to show you that if you just read the mainstream press, you'd think the only thing that was happening in black American culture with hip-hop. And in fact, it's far from that. So the complexity and the range of expression within the black community is really always underappreciated and narrow-casted. You have to really be clear that black culture is not a monolith. There's a lot of subsets and interesting tributaries of it. And that's where the real fun is, actually. Of course it is. Of course.

1:08:28 Well, Miss Lena Waithe made an interesting observation about Hollywood. She's made the claim that Hollywood studios are owned by majority white males. Is that A completely accurate statement, Adam. I was going to mention that earlier. So first of all, a lot of these companies are public, or many of them are public, so they may be run by white guys at the top. But Hollywood, as far as I know, is pretty much... I know the AMC movie theaters and a lot of the big studios are owned by China, who as we know is asshole.

1:09:09 China Bands Hip-Hop well Brad I think it's safe to say that we won't be on television in China anytime soon Yes, the country's top media regulators of the People's Republic of China now specifically require That program should not feature actors with tattoos or depict hip-hop culture, so I'm out I guess they make it all bad for us. Yeah, I'm saying Actually I

1:09:58 Sounds like a rapper name, but that's his real name so he takes his real name which sounds like a rapper name and creates a rapper name Yeah, PG wants a little little Wang. Oh Yeah, no little way Yeah, China's definitely has a big influence. You know wow China in this twice in this series of shows and one with the NBA and sports and in movies yeah, so of course so Why is it that China feels it's okay for their movie studios, and I'm sure they own movie studios, they own a lot of the shares in these record companies as well. It's okay to promote certain music and images to one community, but it's not okay to promote in their own country. Well no, of course not. They don't want a bunch of people getting all pissed off in their own country. Let that happen in America.

1:10:53 And it could be negative and deleterious, right? Yes. I mean, I would think so. Well, I have the splendid opportunity, which you may be far a few in between to introduce Mr. Alex Jones to the show. Oh boy. And he is right up the road. And he is playing China band on hip hop. And they're losing control. Hollywood's folding, everything's falling. I made the point that they're hoping Communist China buys up the big six production houses because they're failing. And I made the point, my God, you people don't even get yourself straight. The communists have already taken over in China, so they don't want homosexuality. Talk to kids and training stuff and all this stuff. They execute you if you're gay in China. I'm not saying that's good.

1:11:41 The news picked that up. I did a memo on it last week. I said, you want China to come in and take over because they're authoritarian, they can back up Hollywood, and because they're anti-American. But they'll execute you for your agenda, and they won't even let you air most of your films that they see as anti-family. Because they understand that the brand of sexual revolution you're selling was designed by the CIA, this is declassified, to end the family and bring down civilization. And this is why I love Alex Jones. He breaks it down so simply. Yeah, yeah, exactly. What I'd like to know is, now did you just stumble across this in your research or are you listening every day to the Info Wars?

1:12:30 I used to be listening to Alex Jones way back. And I think he's the gateway drug to conspiracy analysts and theorists. That's why you start and then you grow from there and you start looking for more information. So I was familiar with that. I hadn't heard this clip, but although I was aware of what he stated in the clip as being almost a fact, Well, and look at how powerful it is, Mo. I mean, we had the whole NBA conversation with China owning the NBA, well Nike of course, but the trifecta, and it's gone. It's no longer discussed. It's off the radar. It was moved on to something else. Don't look over here. Whatever you do, don't look at what China's controlling. Yeah, and it's just telling that

1:13:26 A country, biggest China, 1.6 billion people, tried to ban hip-hop and its imagery, not the actual music, but the imagery of the negative negativity that comes along with it and as Alex Jones said it's a form of propaganda. Now I have to say something having having I'm a somewhat traveled man I've never been to China but I have been to Russia and I went to Russia in 1988 before David Hasselhoff brought the wall down we all know the Hoff did that and I met kids who were playing songs themselves

1:14:05 Western music which they had only heard and had copied down lyrics phonetically so they didn't even have the written lyrics. Of course it was you know there was a big trade smuggle in cassette tapes so they would get a cassette tape. I just remember being in what was called a restaurant and it was a very elite upscale of course we were visitors we were there for the Moscow Music Peace Festival at the time another scam for another day and And the guy's, you know, this is like a kid and he's singing, I don't know if you remember Johnny Hates Jazz, Shattered Dreams. It's just, that was one of the songs he was singing that I remembered. And he was singing it like, and I had a few shattered dreams, needy who, it was just making up words. It was all phonetically. My point being that

1:14:50 In China, they can, and this is worldwide and it always gives me hope, say yeah you can block the mainstream channels, you can block the mind control tubes that are going straight into people's brains from the mainstream or as you heard Alex say, there's probably more agenda behind it. But luckily we do have the tools and underneath kids are actually doing this. They're performing it on street corners. I mean hip-hop didn't didn't appear on top 40 radio. I mean hip-hop was street battles initially. You know that's mm-hmm that's back in the the day of Hey You the Rocksteady Crew. I was in LA at the at the was it BLS I think was the BLS street battle in 1981.

1:15:34 This is where it came from, it came from the streets. This is all manufactured shit anyway. So I guess a roundabout way of saying... Yes, they're stopping that or they're only using the most negative, but I think human nature I'm sure if we know of you and I went to China, that'd be pretty cool. By the way, we'd get some cool looks I Think we would find it. I think we would find Kids with their own version of hip-hop that was real underneath everything else. I think people have to realize it's all phony It's all fake all of it. All of it is with an agenda and with an if it's mainstream 90% is just disingenuous And you can't stop it.

1:16:16 And I think China understands they can't stop it. So if you can't stop something, just like America, American industry did, you have to infiltrate it and control it. And that's how it works. But I have the final clip. We have Mr. Alex Jones continuing on about China, hip hop in China. And again, you're like, well, wait, is it a communist program? No, the Rockefeller Foundation, the Ford Foundation, these big groups put all this out in the 50s and 60s, deployed it in the 60s and 70s, and they've done it. The black community had less illegitimacy in the 40s than whites did. Now it's upwards of 87%. That's weaponized control. MTV, force feeding gangster rap. Folks picked it up, converted their culture to being thugs. So everyone would ostracize them, put them in their own group. Everybody kills each other, you're ready for prison. They even have you wear your pants hanging down around your ass saying I'm a male whore in a prison, punk me. Bend me over and mm.

1:17:23 They can make people dress like prison sex slaves and make it cool because I'm a redstone MTV sets up hates you Okay, first of all, I was at MTV for a long time I worked there there was never any memo isn't everything that went around and get no secret meeting no handshake I was also in the music meetings where we determined what we were going to I was the only on-air talent who it Really ever expressed interest in it, but who was invited to these meetings and I can just tell you MTV by itself as an entity had nothing to do with this they in they themselves were complete bitches to the music industry the music industry determined what happened once MTV took the took the lid off and said okay now we're going big And they got different it used to be owned by American Express, then I went over to Viacom That's when Michael Jackson came in

1:18:23 It wasn't because a bunch of white guys at MTV said, well, what do you think, Tom? Well, I think we should let the black man on the channel. It's about time, don't you think so? By the way, he's kind of a white guy, this Mike. No, it wasn't like that at all. It came from above, man. It was way above MTV, way above the seats. Yeah. It comes from way, way away above to the trick baby level. Yes. That's where these conversations happen at. You know what I'm saying? These $50,000 dinners. Well, my kids had this interesting music that they're listening to called hip-hop and it could be a problem. I think I got to play the trick baby scene again just to remind people. 1974, the movie Trick Baby. It's you liberals who have lifted them up.

1:19:11 up, Howard. Paul, you conservatives make a mistake. You can't afford to strangle hope in people. Without hope, people become dangerous. No, Howard. You liberals have let them invade our society. You give them jobs, political jobs. Paul, you missed the point. It's only the smart ones we move up. That makes it even worse. No, we have to move them up. If we leave a smart one in the ghetto, he might develop into a leader against us. But if we raise him up into white society, we neutralize it. He feels compelled to try to act like us.

1:19:47 He loses his identity and his racial anger, if he has any. He becomes alien to his brothers. They realize he sold them out and they grow to hate him. He becomes worthless to them and safe for us. No, thank you. In fact, in his love for the creature comforts except for his color, he's become one of us. Yeah. Now, do you... is there... there's got to be awareness amongst Native Blacks that this is truly what's going on, particularly with this movie. I mean, what are you hearing about Queen and Slim? Well, with all great propaganda, what it wants to do is to divide. Yeah. It ain't care which side you take, it's to take a side and a good portion of people see through the bullcrap, like I do.

1:20:46 And then it's another portion that thinks, well, as long as we will be reflected and you have black people in director roles and writer roles and black faces on screen, it has to be good, right? Right. Yeah. So. Right. So this is the way. Yeah, this is the weird. And it keeps you in fighting because it's like, Look, it's bad. I mean, we've seen this over and over again. We've seen it from the minstrels of the early 1900s. Then it came back again in 1970s with black exploitation. Somewhat in the 90s, it was more on television with homeboys in outer space and silly shows like that. And then every time there's a uprising, and I want people to really see this trend,

1:21:42 In the 70s, late 60s, you had 68, which was a really hot year. You had black exploitation come along. In the 90s when you had Rodney King and that thing come along, then you have Homeboys in Outer Space and the real caricature of negative hip hop come along. Now when you have the Trayvon Martin, Ferguson, Black Lives Matter, now here we are. Hmm. Now, do you feel that there is an uprising? That there truly is an undercurrent of uprising? And this may not be a violent uprising, but is this the the uprising that I feel you are a part of? Is the, excuse me, services rendered, F off, not gonna vote for you unless we see something? Is this the uprising?

1:22:28 Yes, this is the maturation, especially the political maturation of non-black people and it's scary. And I always say this, everything you see right now, because I don't think you'll see really people take to the streets, but when people start taking their political power back and not just giving it away. That's much bigger than violence. That's a huge deal. That's the biggest. That is the biggest and that's scary to one group of people. And that's why I harp on that one group of people on this show because they're the ones that are trying to say get in line. State and state stay in formation do what you normally do and when we refuse to start doing that That's when they turn up the propaganda machine now. Have you seen Queen and Slim yet? No, are you do you intend to see it? No, I Can't wait to find out what else is in this movie, but it sounds you're right now What do you say now? Well about your kids your kids want to see a movie like this? What do you advise them?

1:23:30 Well, when I start seeing the trailers, I'll ask, well, I only have one child that's old enough to really view something like this. I'll ask her, what did you see? Like when that trailer played, I'll ask her, what'd you see? What'd you hear? What's the motive here? And now she's starting, her eyes have become very sharp because she's like, dad, I saw that. I see how they, I don't teach, this is one thing I don't want anybody to do. I don't tell my children what to think, I teach them how to think. Yes, exactly.

1:24:07 So if they come to a conclusion on their own, through their own thought process, so be it. What I take away from this is I'm actually extremely positive because here we are, here you are really Mo, exposing this propaganda for what it is. I never would have thought in these terms, I would have still been a little bit stuck in the British actor thing. So thank you for taking this all the way down through the cycles of exploitation. And really the disingenuousness of Lena Waithe in her explanation of her choices, whereas it's just another one of those, it truly is a trauma entertainment flick.

1:24:51 And it's meant to, I guess, give people something in these oh-so-troubling times, but above all, it's going to close the ranks and keep people nice and docile where they need to be and just laugh at the screen. And hopefully we've coined a term today of these type of movies as a racial thriller. Racial thriller. There you go. I'm gonna have that tattooed on the inside of my eyelids. All right. And I would remind people that the ones rolling their eyes and say, oh, Mo, you're... I am a black man. I'm a black man, you idiot. Yeah, yeah, that gives you no credits with me, but okay. For the show, yes. Mo, thank you. Thank you very much once again. This has been good, and I am going to have my eyes open for more about this movie. Also, I think I'm gonna go back and watch Hollywood Shuffle.

1:25:48 I remember that was so funny. That was so good. Robert Townsend, man. Fantastic. And informative as all great satire. Of course. It has a lot of truth in it. And so the underlying message here is that there needs to be a revolution. The revolution has been taking place for a while. I think the internet is facilitating it. Most people have slipped into the mainstream version of the internet with apps and iPhones and colorful pictures and things that you think are important and the only way to go. You know, that's just not true. And this is the perfect example of it. This is a program that is done completely void of any corporate interest, which also means it's perilous because we need to fund this for the work to continue. So I will pitch again that we have a value for value model. If you got any value from this, if this is something you're going to tell your friends about, talk about around the water cooler, by the way, tread lightly, you got to ease into it.

1:26:49 ease into it. It's always, I always got to be careful. You don't want to alienate people right away. It's not, it's not easy. Then you need to support it. And please do that by sending whatever you felt this program or whatever information you learned, whatever that value was, send that to us here at Mo Facts with Adam Curry. And the easy direct link to do that is MoeFundMe.com. Thank you again, Mo. This was fantastic. And as I always say, Pay attention to everything and the truth will reveal itself. And we will be back next week. I'm traveling Monday, so we'll probably have to do this maybe a little bit later Monday night when I get back or Sunday, Tuesday. But we will be back regardless. Until then, see everybody with another Mo Facts with Adam Curry.

1:27:49 Before the show begins, my friends Stand in line, get your tickets I hope you will not take It'll only cost you fifty cents to see What life has done to those like you and me See the with the broken heart you'll see that he is sad He hurts so bad So bad, so bad See the girl who has lost the only love she ever had There's got to be Lucetta show to see

1:28:55 No doubt about it, satisfaction's guaranteed Oh, let the sun show begin Hurry, hurry! Stop running Can't afford to pass it by I'm in need to make it right Let the sun show begin Step on over me Can a force of acid fire guarantee to make us free?