6 chapters across the catalog
The hosts discuss the importance of "constructive" versus "non-constructive" behavior. Mo Facts recommends reading a chapter of Proverbs daily as a way to re-center the mind. They reference Romans 12, emphasizing the need to be "transformed by the renewing of your mind" rather than conforming to the world's patterns.
Kimberly Crenshaw denies that CRT exists in K-12 curricula, claiming she would know as a co-author of the primary texts on the subject. However, she describes the current opposition as an effort to reverse a "racial reckoning." Media outlets like The Washington Post and CNN have recently questioned the validity of the "reckoning" term, suggesting that even within liberal circles, the narrative is shifting or being deemed "antiquated."
Historical data from 1808 to 1860 shows the enslaved population in Alabama grew tenfold, from 40,000 to over 435,000, despite the federal ban on importing slaves. The hosts discuss how this growth was fueled by the domestic slave trade, selective breeding, and the kidnapping of free Black people, as depicted in the film 12 Years a Slave. They posit that the ADOS lineage includes anyone legally enslaved by a U.S. state, regardless of whether their ancestors originated in Africa or were already present on the landmass.
A local news report from WDF News 12 in Chattanooga highlights black-on-black violence in smaller cities. Mo Facts deconstructs the segment, labeling it "trauma-based entertainment" due to its use of dramatic music and emotional manipulation of a grieving mother. He argues that this type of local news programming is designed to reinforce a specific cultural narrative of inherent urban danger.
Lena Waithe admits that Hollywood studios are primarily interested in the "jackpot" of commodifying black content for commerce. The hosts argue that films like Queen and Slim and 12 Years a Slave exploit both a victimization mentality in black audiences and "white guilt" in white audiences. They define this genre as the "racial thriller," which serves as a lucrative niche for studios.
Charlemagne Tha God expresses his exhaustion with traditional slave movies, stating he prefers Django Unchained because the protagonist is not a victim. He argues that the culture has enough documentaries and films like Roots and Amistad. The hosts analyze Charlemagne's role as a media gatekeeper who says just enough to maintain credibility with his audience.
