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Speaker 1: Hey, this is Annie and Smith and welcome to Stephane.

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Speaker 1: Never told you Protection of I Heart Radio. And today

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Speaker 1: it is time for another feminist movie Friday. I believe

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Speaker 1: this one's coming out on Friday? Is it? Okay? Are

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Speaker 1: we on time? We are all over the place, but

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Speaker 1: I think on this one we're on time. Yes. And

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Speaker 1: we have teased about this one because today we are

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Speaker 1: talking about the twenty biographical drama film Marini's Black Bottom,

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Speaker 1: based on August Wilson's two play of the same name.

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Speaker 1: The movie was directed by George C. Wolf and written

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Speaker 1: by Ruben Santiago Hudson and stars by Ola Davis Chadwick

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Speaker 1: Boseman in his final film appearance. Which is why we

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Speaker 1: kind of pushed this one off because we knew it

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Speaker 1: was going to be a bummer. It's sad. Well, I'm

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Speaker 1: not gonna lie, We're gonna get into it. But I

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Speaker 1: did not realize how sad the play, and I should

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Speaker 1: have because it was a realm and doing the realm

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Speaker 1: of like those sad plays where it never ends as

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Speaker 1: well as you want. But okay, yes, yes, it was

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Speaker 1: multiple ways, also starring Coleman Domingo, Glenn Turman, and Michael Potts,

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Speaker 1: and it was produced by Denzel Washington, Todd Black, and

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Speaker 1: Dandy Wolf. It received a lot of praise, acclaim and

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Speaker 1: awards when it came out, including being named as one

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Speaker 1: of the top ten movies of by the American Film

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Speaker 1: Institute and five OSCAR nominations, including Best Actor for Bozeman,

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Speaker 1: Best Actress for Davis, and it won the Makeup and

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Speaker 1: Hair Styling and Costume Design Award of the Oscars. We

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Speaker 1: talked about that in our Women Achievements of twenty episode

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Speaker 1: It's All a Mess in My Head. It also received

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Speaker 1: nine in double A CP Image Award nominations. Bozeman and

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Speaker 1: Davis also made history when they both want Best Actor

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Speaker 1: and Actress at the Screen Actors Guild Awards, the first

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Speaker 1: time at black actors had won both categories in the

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Speaker 1: same year. So um and after watching this performance, I

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Speaker 1: didn't know originally when the Oscar stuff was happening and

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Speaker 1: they had this This was a big controversial moment where

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Speaker 1: Bozeman had passed away and everybody was grieving, and the

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Speaker 1: Oscars itself made it seem like they were going to

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Speaker 1: announce him as the OSCAR nominated winner, and it didn't

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Speaker 1: And it was very anticlimatic and everybody's like, really, dude,

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Speaker 1: which Anthony Hopkins had won, and he was asleep during

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Speaker 1: his award because at the time we was off, it

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Speaker 1: was pandemic. Not everyone was there. But I have to

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Speaker 1: say I haven't seen Anthony Hopkins performance. He was robbed,

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Speaker 1: Bozeman was robbed his work in this film. I forgot

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Speaker 1: who he was, And so oftentimes I get caught up

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Speaker 1: in what I've seen in them. Originally so Black Panther

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Speaker 1: that is in the back of my head, but that

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Speaker 1: very like small talking but like big action person. But

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Speaker 1: he doesn't use a large voice in Black Panther, And

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Speaker 1: in this one he exuded everything, like everything resonated, and

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Speaker 1: I could not help but feel everything he was feeling,

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Speaker 1: the angst of it all, And I really was sad

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Speaker 1: that he did not. He should have won that award,

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Speaker 1: like no matter what, not for symplity, but for the

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Speaker 1: performance in itself was incredible, and I'm very sad by that.

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Speaker 1: I just went there. It was a phenomenal performance. It

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Speaker 1: was very like electrifying, and I think every article I

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Speaker 1: read mentioned like, Wow, what a what an amazing job

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Speaker 1: he did, and all of the performances were amazing, and

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Speaker 1: I was really impressed with I really loved that. I

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Speaker 1: loved the costuming, I love the hair. I read an

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Speaker 1: article right before this about Davis being very insistent on

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Speaker 1: capturing that look and how they were able to capture

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Speaker 1: that look of Mo Rainy, and I loved the music

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Speaker 1: of it. It was just so immediately kind of pulls

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Speaker 1: you in and it's just very very very important to

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Speaker 1: this story and important to this movie. And I absolutely

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Speaker 1: loved it. And the person in charge of the costume,

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Speaker 1: uh and Roth was so meticulous. Even Davis was talking

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Speaker 1: about how during the giant tent saying, which we're gonna

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Speaker 1: talk a little bit about it had over a hundred extras.

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Speaker 1: Roth would go around per person and make sure whatever

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Speaker 1: they were wearing was to the tea as that timing.

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Speaker 1: And she talked about how she was big into research

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Speaker 1: and refused to do anything before she researched all of

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Speaker 1: that time period and all of this individual people, and

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Speaker 1: talked about the suits for the men, talked about the

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Speaker 1: dress for Morainey, like all of those things, and the

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Speaker 1: two of them were really great and collaborating and yeah,

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Speaker 1: and that definitely needed awards. It also kind of like, man,

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Speaker 1: I was like, you had this fantasy about the twenties,

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Speaker 1: but we also know, yes, it was not a good

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Speaker 1: time to be a person of color in general, especially

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Speaker 1: black person. But the beginning and the change, and I

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Speaker 1: didn't really think about the Great Migration, and I forgot

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Speaker 1: about that. We had a comment like, you know, we

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Speaker 1: talked about studying the black history and what that looks like.

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Speaker 1: I know, we don't talk about the Great Migration and

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Speaker 1: what that was. And still the overall segregation and racism

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Speaker 1: that was happening, even though it's supposed to be a

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Speaker 1: better opportunity. And I really am glad that we got

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Speaker 1: to see that perspective here. Um in best conversation, and

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Speaker 1: I will say, like watching there is a making of

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Speaker 1: so if you if you get to watch that, it's

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Speaker 1: on Netflix as well. Um, it's really great, Like it's

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Speaker 1: just like a twenty minute documentary about the process and

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Speaker 1: what they were doing. But the director was so adamant

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Speaker 1: and all of these things and wanting to represent in

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Speaker 1: uh not only metaphorically but physically all of these different

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Speaker 1: things that were happening and talking about you know, the

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Speaker 1: beginning scenes where you see them walking off the train

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Speaker 1: station and they're getting looks because they're a part of

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Speaker 1: the out there in the part of the town where

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Speaker 1: black people weren't welcomed or once seen often there. But yeah,

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Speaker 1: really good. Yeah, and I'm going to ask you about

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Speaker 1: that because I did not get a chance to watch it,

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Speaker 1: so I want to hear more. Um And as you said, Samantha,

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Speaker 1: these are both available on Netflix. If you have Netflix,

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Speaker 1: you want to check it out. Highly recommend high they recommend.

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Speaker 1: And I know that scene, the opening scene you're talking about,

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Speaker 1: I really loved and they were talking about it was

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Speaker 1: something we've discussed a lot, is you know, not only

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Speaker 1: showing this racial tension that was just you know, inherent

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Speaker 1: and the lives of black people, but also joy and

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Speaker 1: and the power of music. And that scene was a

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Speaker 1: good It had both of them kind of side by

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Speaker 1: side and it was really powerful. All right, So let's

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Speaker 1: go over the plot really quickly. The story follows influential

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Speaker 1: blues singer Morainy, who's played by Davis and in particular

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Speaker 1: a dramatized studio session that took place in Chicago in

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Speaker 1: the nine in the summer very hot. Um Rainy a renowned,

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Speaker 1: strong willed woman and Georgia singer sometimes called the Mother Blues,

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Speaker 1: had recently been contracted by white producers, and she goes

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Speaker 1: to record at Paramounts Recording Studios in Chicago. One of

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Speaker 1: her producers expresses frustration when the talented and seasoned Georgia

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Speaker 1: Jazz band members Toledo Cutler and Slow Drag show up

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Speaker 1: on time and without Rainy. The trumpeter Levy Green, who

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Speaker 1: is played by Boseman, against the band's wishes, he has

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Speaker 1: shown the annoyed producers, Sturdy votes some of his own

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Speaker 1: compositions in the hopes of striking out on his own

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Speaker 1: without Rainy. He's got kind of these like big ambitions

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Speaker 1: and hopes. And I think, like, if you've watched anything

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Speaker 1: kind of like Catillect records or dream Girls, which I've seen,

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Speaker 1: have you seen either one of those seen Dreamgirls? Yeah,

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Speaker 1: we know that during that time there was a lot

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Speaker 1: of misleading, and we're gonna talk about it more. But

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Speaker 1: this obvious that the elder musicians are like, don't do that.

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Speaker 1: You're giving it to the white man essentially, and it

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Speaker 1: kind of alludes to that. But he's thinking he's so big,

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Speaker 1: has so the big dreams and is so talented, it's

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Speaker 1: not going to be a problem. But so an hour late,

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Speaker 1: Rainy arrives with her friend Dussie May and her nephew Sylvester,

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Speaker 1: and by the way, and that she talks about how

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Speaker 1: she makes her entrance when she walks out of the

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Speaker 1: hotel and everybody's looking and this is kind of that

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Speaker 1: rebellion and being like, y'all are going to look at

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Speaker 1: me anyway, so I'm making a show. Y'all are showing

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Speaker 1: disdain to me. I'm gonna show you disdain. And that's

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Speaker 1: kind of the persona that Davis saw and it was

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Speaker 1: correct of what who Mo Rainey was. And so she

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Speaker 1: did that so well, so well, I love it. So

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Speaker 1: she wastes no time in clashing with Thirt evands that

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Speaker 1: so they've already worked together, apparently, and she knows how

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Speaker 1: to work them. With joy Uh and the manager Irvin,

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Speaker 1: issuing demands and refusing to record since her Coca cola

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Speaker 1: was not provided, which she requested. Instead, she threat is

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Speaker 1: to lead this and say that's fine, I'll leave here.

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Speaker 1: I can record anywhere else. I know what you are doing.

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Speaker 1: I'm not doing this. I can't believe y'all can't do this.

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Speaker 1: This is also at the same time, she's all demanding

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Speaker 1: that Sylvester be on the record. This is her nephew.

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Speaker 1: She had promised her sister that she would take care

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Speaker 1: of him. He's going to earn some money. Unfortunately, he

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Speaker 1: has a pronounced stutter, so it's kind of difficult for

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Speaker 1: him to do the opening lines. I do find it

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Speaker 1: interesting that a there's a lot, there's a bit of ableism.

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Speaker 1: I know we're gonna talk about it, because she's forcing

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Speaker 1: him to do something whether or not he can't or

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Speaker 1: her he can't. And then also the fact that I

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Speaker 1: do love his attitude, So that's just attitude says I

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Speaker 1: can get it. Just leave me be like I can

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Speaker 1: get it. But everybody else is just kind of like

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Speaker 1: oh no, oh no. And I don't know. I think

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Speaker 1: we would have to look up. But you know, we

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Speaker 1: don't have the amazing They didn't have the amazing skills

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Speaker 1: and technology to edit because y'all, it takes me a

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Speaker 1: long time to get us sentence together sometimes too. Let's

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Speaker 1: just be real honest, but thank god, superproducer Christina can

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Speaker 1: fix me in editing. But you know, so this is

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Speaker 1: costing money, like they were throwing away records upon records. Um,

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Speaker 1: so this was a concern, but not only that because

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Speaker 1: of this obviously there's multiple takes. Everybody is getting atovated.

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Speaker 1: It's really hot, and yeah, there's a lot of hiccups

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Speaker 1: and getting to this point. Yes, yes, yes, yes, So

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Speaker 1: there's kind of like this boiling over of tensions. And

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Speaker 1: in a break between recording, Rainy tells Cutler that her

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Speaker 1: white producers see her as quote, just a dog in

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Speaker 1: the alley, that they only use her for her voice. Um,

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Speaker 1: and this is part of her like which we're also

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Speaker 1: going to get into more, you know, asking for coke,

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Speaker 1: Like I'm making you all this money and you can't

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Speaker 1: spend the money on a cocacola to get me that

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Speaker 1: I requested, like knowing, yeah you're worth and slow drag

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Speaker 1: walks in on dust. He may and a Levy having sex.

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Speaker 1: So a lot of things. Yeah, and by the way,

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Speaker 1: at this point you should know does he is in

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Speaker 1: a romantic relationship with Mo Rainy And that's so that

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Speaker 1: the very first scene when we see Mo Rainy performing

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Speaker 1: in the tense scene which we were talking about with

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Speaker 1: all the amazing costumes, kind of setting up how big

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Speaker 1: of a performer she really is, what kind of show

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Speaker 1: she really has? Like it's pretty phenomenal. We see that

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Speaker 1: he's trying to he being Levy goes to the front center,

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Speaker 1: which he's not. He's just a backup band, but he

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Speaker 1: comes out to the front to show off his rumpeting skills.

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Speaker 1: But he's also like eye contact with Dustie May trying

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Speaker 1: to like hit on her and everybody sees it. Row

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Speaker 1: don't do that, um, but yes, they end up having sex.

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Speaker 1: There's this whole like weird exchange. Also good to note,

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Speaker 1: like they do an amazing job in transitioning this to

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Speaker 1: film from being on stage play because it still feels

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Speaker 1: absolutely like a play but still movie. So the way

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Speaker 1: they have these transitions, the way they set it up,

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Speaker 1: you obviously know it was a play once upon a time,

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Speaker 1: just so put that there so at there's several takes

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Speaker 1: of the first track. The band finally nails it, Sylvester

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Speaker 1: finally nails it, but it turns out things to equipment malfunction.

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Speaker 1: The recording is so like his recording was off the

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Speaker 1: entire time because rats had eaten the cord and everyone's

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Speaker 1: really not happy. So the band members point the finger

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Speaker 1: at Levy accusing him of tripping over something while he

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Speaker 1: was mooning over DESI may Yeah. There's a lot of

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Speaker 1: implications here, like, oh, you did this, and you did this,

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Speaker 1: and no one's really grasping what is happening. They yell

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Speaker 1: at does he manage? He's like, what am I doing?

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Speaker 1: But further again, investigation reveals it was damaged done by

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Speaker 1: the rats. Cutler, who is a religious man, and that's

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Speaker 1: part of the theme, is a religion, God and being saved,

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Speaker 1: essentially tries to mediate because they all take a break.

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Speaker 1: So at this breaktop point, while they're waiting, the band

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Speaker 1: goes downstairs. It looks really like is an obvious statement

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Speaker 1: of where the backup band is in the dark room,

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Speaker 1: little given, little amenities, you're just here further background, you're

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Speaker 1: not the star. But they go down two tall and

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Speaker 1: then they start having a bigger discussion about religion. They

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Speaker 1: start talking about having a bigger discussion about um, the

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Speaker 1: crimes against black people and how to have a relationship

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Speaker 1: with white people and in this supremacy at this time

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Speaker 1: in the nineteen twenties. And then in this time, Cutler

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Speaker 1: tells the story of a black man getting stuck in

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Speaker 1: a small town in Georgia, a group of white man

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Speaker 1: take his bible, teared up and forced him to dance,

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Speaker 1: but uses the dance as saying he you are doing

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Speaker 1: something that's against God, so you can't have these things.

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Speaker 1: But before he could finish the story, Levy dismisses him,

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Speaker 1: telling that if God existed, he'd care about black people,

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Speaker 1: which isn't the case because at this point we've already

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Speaker 1: heard the story, really sad story of Levy's mom who

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Speaker 1: was traumatized and assaulted by a group of white men

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Speaker 1: after his dad tried to buy property. So a lot

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Speaker 1: of these things. So him being told he was man

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Speaker 1: of the house, couldn't protect or tried and then got

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Speaker 1: stabbed because he tried. Um, so he's angry, he's in

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Speaker 1: which he one of the first things he says, is

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Speaker 1: my mom called out to God, caught out to Jesus

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Speaker 1: for mercy, and no one showed. If Jesus really cared

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Speaker 1: about you, he'll stop me from attacking you to Cutler

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Speaker 1: with a like he had a knife, and they were

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Speaker 1: after they started fighting, so it was a whole big Again,

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Speaker 1: these dialogues and monologues that Levy does is what I'm

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Speaker 1: talking about. That passion because these are the things that

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Speaker 1: you see. I don't know if you've ever in any

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Speaker 1: audition for place. I'm sure you have, but you have

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Speaker 1: to have these monologues and these are it. And I

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Speaker 1: don't know if when anyone ever could HiT's the level

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Speaker 1: that he does, but it's phenomenal when they can stand

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Speaker 1: alone like that and you're mesmerized like that. To me,

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Speaker 1: that's to me, award winning all of that to say,

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Speaker 1: he does it, he does it well. He breaks your heart,

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Speaker 1: he makes you angry, and in my head as a person,

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Speaker 1: you and I have talked about religion, I was like, yea, anyway,

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Speaker 1: yeah that's seen if the camera like follows as he's

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Speaker 1: having this monologue and he's going through all of these emotions,

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Speaker 1: so so mesmerizing and painful. But yeah, really excellent. Okay,

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Speaker 1: So the band finally finishes the recording session and after

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Speaker 1: they are wrapped, Rainy fires Levy. Uh, and they've kind

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Speaker 1: of been at odds this whole time because he's had

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Speaker 1: he said, like, I can improve your music. He's got

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Speaker 1: this thing with dust he may like kind of the

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Speaker 1: whole thing. Oh and he was really out of it

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Speaker 1: that Sylvester not beyond the album. Ma Rainey believes that

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Speaker 1: his ambition and his recklessness and his attitude are harmful

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Speaker 1: for the band, so Levy goes to Sturdy Vaunt, the

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Speaker 1: white producer, but Sturdy Vont tells him he'll only buy

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Speaker 1: the music, that there's no market for him for that music,

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Speaker 1: not gonna really make money. He offers him like nothing

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Speaker 1: for it. This leads Levy to have a mental breakdown

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Speaker 1: and he fatally stabs Toledo after Toledo accidentally stepped on

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Speaker 1: his his new shoes that he had bought at the

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Speaker 1: beginning of this movie. These kind of new fancy shoes,

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Speaker 1: horrified color and slow drag leave as Levy cradles Toledo's body.

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Speaker 1: The film ends with an all white bands, presumably Paul

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Speaker 1: Whiteman's orchestra. From what I read recording Levy songs for

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Speaker 1: Dirty Bunch, Yeah yeah, yeah, that ending. I will say

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Speaker 1: again it felt very author Miller esk and I'm no again,

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Speaker 1: that's not I'm not trying to compare the two because

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Speaker 1: it's not, but that that level of melancholy ending, But

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Speaker 1: it rained true. I think there's an also conversation and

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Speaker 1: we're going to talk about this in a minute. But

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Speaker 1: the idea of finding black joy. I think that's a

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Speaker 1: big conversation in the black community today because more often

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Speaker 1: times that we have this need to see the sadness

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Speaker 1: and the torture of black communities and black people, which

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Speaker 1: is kind of the whole slavery stories, Like Okay, at

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Speaker 1: what point are we exploiting their pain? Um and and

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Speaker 1: absolutely and in this kind of I was like, I

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Speaker 1: wonder what would we say about this play specifically, But

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Speaker 1: at the same time, because the ending for Levy that

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Speaker 1: that was shocking to me, But again it felt very

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Speaker 1: like you know, Arthur Miller esk in that level of

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Speaker 1: like just it just ends and you're like, what just happened?

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Speaker 1: What just happened? But it's very like fifties, nine sixties

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Speaker 1: like types of plays. So I wonder if that was

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Speaker 1: kind of that mindset for August Wilson, because I'll never know.

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Speaker 1: But the reality is, while we're celebrating one woman's success,

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Speaker 1: but in the in the actual documentary are talking about

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Speaker 1: this is the end of her success, Like this is

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Speaker 1: kind of the end of the her giant career. So

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Speaker 1: is it what or is this the dichotomy? And is

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Speaker 1: it that she's jaded and sot knows how to work

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Speaker 1: the system, and that's how she's leaving. It is on

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Speaker 1: a bang, And Levy came in so hopeful in thinking

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Speaker 1: that all he needed was dreams and talent, which they

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Speaker 1: do talk about the documentary, and that's the way it

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Speaker 1: was portrayed. And then when he was so profoundly disappointed

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Speaker 1: that he took his rage out on the wrong person,

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Speaker 1: meaning right, it should be towards a white man, and

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Speaker 1: because he did not have the ability to do so

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Speaker 1: at that point in time, it was towards one of

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Speaker 1: his friends, essentially, and the trauma and the shock of

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Speaker 1: it all. Yeah, but uh yeah, I mean I guess

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Speaker 1: we should also I mentioned I want you to talk

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Speaker 1: about the documentary a second, Samantha, because that's a great

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Speaker 1: point now that you pointed out to me. I'm like, yeah,

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Speaker 1: this is definitely a play, Like I can see that.

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Speaker 1: It feels very much like a play, but we didn't

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Speaker 1: mention in the plot. Like at the end, after the

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Speaker 1: recording session is done, my Rainy is trying to leave

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Speaker 1: and the quote nicer white producer is like, you got

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Speaker 1: to sign this contract. Act can't leave without signing this contract.

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Speaker 1: And she's like no, no, no, no, I don't want

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Speaker 1: to sign it. I don't want to sign it. Eventually

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Speaker 1: you just really pressures her into it, and she's I mean,

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Speaker 1: she she it's not like she knows what she's doing,

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Speaker 1: but it's definitely that feeling of resignation of like, well,

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Speaker 1: it's also a plot point and understanding that she knew

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Speaker 1: not too because it was the release forms, like that

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Speaker 1: you can have it, but you can't release it her

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Speaker 1: music without her permission, which I'm very surprised that they

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Speaker 1: had that during that time because they did so much

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Speaker 1: to take advantage of the black community, black artist, which

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Speaker 1: was a big theme that she had been so jaded

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Speaker 1: and so screwed over by the white people and her

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Speaker 1: giant conversations, and that is gorgeous Davis's performance, and that

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Speaker 1: that she waited to the mid last minute because she

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Speaker 1: knew how many times that she would have to correct

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Speaker 1: them for not following her instructions or not listening or

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Speaker 1: not following her requests, including the Coca cola, which she

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Speaker 1: just follow It was tired of them. It's like, fine,

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Speaker 1: I'll get my own, which we have that really uncomfortable

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Speaker 1: scene of the two young black men to her nephew

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Speaker 1: and the other musician walking into an all white store

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Speaker 1: just having a stare off. But then also the fact

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Speaker 1: that she demanded pay for her nephew and they were

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Speaker 1: going to take it out of her check instead of

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Speaker 1: just paying them. They're like she was like, oh, hell no. Essentially,

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Speaker 1: I was like, no, this is if I wanted to

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Speaker 1: pay him with my own money, I would have you

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Speaker 1: pay him. This was my demand. And because she had

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Speaker 1: not signed that release for they came in pretty much

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Speaker 1: saying I'm so sorry, I'm so sorry. And of course

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Speaker 1: the producer dude was really skeevy throughout like that. He

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Speaker 1: is purposely that character. And to be fair, I feel

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Speaker 1: like that's realistic portrayal from the nineteen twenties and what

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Speaker 1: we've known, what we know of today when it comes

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Speaker 1: to and we see it. We see the practices of

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00:20:51,480 --> 00:20:57,639
Speaker 1: executive producers taking advantage of contracts and of musicians because

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Speaker 1: of their ignorance of not knowing how to read a contract.

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00:21:01,480 --> 00:21:03,920
Speaker 1: We could say that about being podcasters, and we've talked

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Speaker 1: about this having ownership. Not we are not oppressed like

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Speaker 1: the black community, absolutely not, but just being in this field,

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Speaker 1: you and I we have learned through others of the

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Speaker 1: mistake of the power of the contract and not being

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Speaker 1: able to understand we need to negotiate from upfront, but

386
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Speaker 1: not being able to because we don't have name recogmation.

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Speaker 1: And I think that's one of the things you and

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Speaker 1: I've talked about many times, is how do we handle

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Speaker 1: this contract thing because we're not celebrities. Celebrities can demand things,

390
00:21:34,880 --> 00:21:37,360
Speaker 1: which is like, great, you you get all this us

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00:21:37,480 --> 00:21:41,840
Speaker 1: as like indie ish, Did I say that with quotes

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Speaker 1: unknowns can't? We're just grateful to be here. And essentially

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Speaker 1: that's kind of what happened with our predecessors. They were

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Speaker 1: so new to this field. They didn't know what this was,

395
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Speaker 1: so they had this giant contract and instead of being

396
00:21:54,119 --> 00:21:57,000
Speaker 1: able to renegotiate, they just got bought out. They were

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00:21:57,040 --> 00:22:01,680
Speaker 1: suppressed and essentially controlled by those contracts. So we see

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00:22:01,680 --> 00:22:04,520
Speaker 1: it today. So I can't imagine how awful it was

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Speaker 1: for them, especially during the nineteen twenties, especially during segregation,

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00:22:09,600 --> 00:22:12,760
Speaker 1: and not that that's not happening today, a little too reminiscent,

401
00:22:12,800 --> 00:22:14,520
Speaker 1: I think to what was happening to them and how

402
00:22:14,680 --> 00:22:17,480
Speaker 1: often they would have taken advantage of and Ma Rainey

403
00:22:17,920 --> 00:22:21,200
Speaker 1: understood that towards that end of their career and made

404
00:22:21,200 --> 00:22:25,800
Speaker 1: sure to hold off so that she got everything she wanted,

405
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Speaker 1: including we didn't talk about this, including them fixing her car.

406
00:22:29,720 --> 00:22:32,200
Speaker 1: Oh yeah, that's right because she kind of and she's

407
00:22:32,240 --> 00:22:38,159
Speaker 1: in a car accident and she's like, no, right. So

408
00:22:38,200 --> 00:22:41,080
Speaker 1: what we see is they are trying to find the studio.

409
00:22:41,359 --> 00:22:43,760
Speaker 1: They're late to get in there. They're like, oh, there

410
00:22:43,760 --> 00:22:46,000
Speaker 1: it is a Sylvester slams on his brakes, he gets

411
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Speaker 1: hit from behind by another car. Is a white man.

412
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Speaker 1: There's a fight, and the police is trying to put

413
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Speaker 1: everybody in the coal quote unquote Patty Wagon and the

414
00:22:56,520 --> 00:22:59,720
Speaker 1: producer his is actually her agent. Irvin is her agent

415
00:23:00,280 --> 00:23:02,800
Speaker 1: is able to smooth it out, and it's also getting

416
00:23:02,800 --> 00:23:07,160
Speaker 1: her car fixed for her while she is recording. So yeah,

417
00:23:07,440 --> 00:23:11,359
Speaker 1: get him. Yes, yes, we're going to talk about that

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00:23:11,400 --> 00:23:13,720
Speaker 1: more of it before that. I would love if you

419
00:23:13,800 --> 00:23:16,359
Speaker 1: could go over kind of some of the high points

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00:23:16,359 --> 00:23:20,439
Speaker 1: of the documentary, Samantha. Yeah. So, um, as I'm watching it,

421
00:23:20,480 --> 00:23:23,639
Speaker 1: of course, in Sel Washington, Viola Davis, um, all of

422
00:23:23,640 --> 00:23:26,200
Speaker 1: the other players are in there. Glenn Turman is actually

423
00:23:26,240 --> 00:23:29,880
Speaker 1: the one that kind of narrates the entire thing, which

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Speaker 1: I was really glad to see. I love him. He's

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Speaker 1: one of the bigger classical actors that I've seen throughout

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Speaker 1: a lot of times. It was on a really big

427
00:23:37,560 --> 00:23:40,600
Speaker 1: Criminal Minds episodes where they talk about racial segregation and

428
00:23:40,680 --> 00:23:43,919
Speaker 1: him being growing up in a really racist state and

429
00:23:43,960 --> 00:23:47,440
Speaker 1: what that looked like and finding vengeance and anger. Rightly so,

430
00:23:47,920 --> 00:23:52,880
Speaker 1: but he's the one that actually narrates this entire documentary

431
00:23:53,040 --> 00:23:55,120
Speaker 1: and they go from point to point. It's really nice

432
00:23:55,119 --> 00:23:57,640
Speaker 1: about what it is, whether it's about the music, whether

433
00:23:57,640 --> 00:24:01,200
Speaker 1: it's about the characters, the historical contentext of why this

434
00:24:01,280 --> 00:24:05,120
Speaker 1: play was so important when August Wilson wrote it, um

435
00:24:05,200 --> 00:24:06,800
Speaker 1: the behind the scenes on how they filmed it, this

436
00:24:06,840 --> 00:24:09,040
Speaker 1: is where I found out and Roth was so meticulous

437
00:24:09,040 --> 00:24:13,919
Speaker 1: in her costuming, and I loved it. Denzel Washington, I

438
00:24:13,960 --> 00:24:15,560
Speaker 1: call it Denzel. I hope you don't mind it so

439
00:24:16,040 --> 00:24:20,600
Speaker 1: And he is absolutely that smooth executive producer who was like,

440
00:24:20,640 --> 00:24:22,240
Speaker 1: I'm just glad I got to be a part of this.

441
00:24:22,560 --> 00:24:24,760
Speaker 1: I'm just glad we got to bring this on, you know,

442
00:24:24,800 --> 00:24:27,560
Speaker 1: Like all of those things. It was quite delightful having

443
00:24:27,560 --> 00:24:29,680
Speaker 1: each of the actors talk about their characters and why

444
00:24:29,720 --> 00:24:32,280
Speaker 1: they felt it was so important. It was really beautiful

445
00:24:32,320 --> 00:24:35,320
Speaker 1: to see. Um. They also brought on a Monty Perry

446
00:24:35,359 --> 00:24:38,760
Speaker 1: who is a scholar for race law literature in African

447
00:24:38,800 --> 00:24:42,479
Speaker 1: American culture, and she really talked about the background of

448
00:24:42,520 --> 00:24:45,040
Speaker 1: the nine in twenties and the blues and why blues

449
00:24:45,119 --> 00:24:47,480
Speaker 1: was so important at that point in time and how

450
00:24:47,520 --> 00:24:50,159
Speaker 1: that really brought music to where it is today in

451
00:24:50,200 --> 00:24:52,560
Speaker 1: the US. And of course I'm a huge blues fan,

452
00:24:52,640 --> 00:24:55,760
Speaker 1: so this made absolute sense and I loved everything about it.

453
00:24:56,440 --> 00:24:58,640
Speaker 1: Did I ever tell you about me going to see

454
00:24:58,680 --> 00:25:01,560
Speaker 1: the play Mahalia Jackson Son Mahalia Jackson who was a

455
00:25:01,600 --> 00:25:04,280
Speaker 1: Black gospel singer and blue singer from way back when

456
00:25:05,720 --> 00:25:07,880
Speaker 1: this is when I was in Oklahoma of all places,

457
00:25:08,200 --> 00:25:10,480
Speaker 1: and uh, we went to see this play. It was

458
00:25:10,520 --> 00:25:12,840
Speaker 1: a phenomenal play, and the actress who did it was

459
00:25:12,920 --> 00:25:14,840
Speaker 1: just kill the music because she was seeing it all

460
00:25:14,840 --> 00:25:18,359
Speaker 1: the gospel songs. But it was very reminiscent to that

461
00:25:18,560 --> 00:25:21,879
Speaker 1: to me, and that they were talking about just the

462
00:25:21,920 --> 00:25:26,199
Speaker 1: black community, the the enslaved people really bringing music to

463
00:25:26,200 --> 00:25:28,199
Speaker 1: where it is today and how important it is and

464
00:25:28,240 --> 00:25:31,520
Speaker 1: how often it has been taken over by other non

465
00:25:31,600 --> 00:25:34,560
Speaker 1: black communities, and I include everyone in this that's not

466
00:25:34,680 --> 00:25:38,239
Speaker 1: just white people, but how it's been taken over, and

467
00:25:38,280 --> 00:25:41,280
Speaker 1: she talks about the fact that how it translated to

468
00:25:42,119 --> 00:25:45,639
Speaker 1: what it is today. Those are really great documentary on

469
00:25:45,760 --> 00:25:48,439
Speaker 1: what it was. They talked about, of course Bozeman and

470
00:25:48,480 --> 00:25:50,360
Speaker 1: how well he did in the performance, and they kind

471
00:25:50,359 --> 00:25:52,199
Speaker 1: of gret up an homage to him. So this was

472
00:25:52,240 --> 00:25:56,760
Speaker 1: filmed after his death, and it's just like, uh, I

473
00:25:56,840 --> 00:25:59,800
Speaker 1: really wish he was there to talk about the level

474
00:25:59,840 --> 00:26:03,800
Speaker 1: that he took it to for these characters. But yeah,

475
00:26:03,840 --> 00:26:05,800
Speaker 1: it was really good. I think it was very short,

476
00:26:05,840 --> 00:26:09,119
Speaker 1: like twenty minutes long. If that y'all should watch it,

477
00:26:09,160 --> 00:26:12,000
Speaker 1: if you watch the Morainy because I think it's really great.

478
00:26:12,280 --> 00:26:14,160
Speaker 1: We need to understand, as you and I have talked

479
00:26:14,160 --> 00:26:17,160
Speaker 1: about before, the history of it all, this is a biography.

480
00:26:17,200 --> 00:26:20,199
Speaker 1: This isn't about a woman UM who should have been

481
00:26:20,240 --> 00:26:23,160
Speaker 1: known but wasn't really known. Bessie Smith came out around

482
00:26:23,160 --> 00:26:25,080
Speaker 1: the same time, which we hear her name come out

483
00:26:25,560 --> 00:26:28,119
Speaker 1: UM around the same time, and she got She was

484
00:26:28,160 --> 00:26:32,000
Speaker 1: bigger than Morainy. Their style wasn't too much the same,

485
00:26:32,000 --> 00:26:34,119
Speaker 1: but they were doing blues UM and even to the

486
00:26:34,160 --> 00:26:38,720
Speaker 1: one point they said that Morainy really influenced Bessie Smith's music.

487
00:26:38,920 --> 00:26:41,000
Speaker 1: We don't know that for sure. I think one context is, yes,

488
00:26:41,040 --> 00:26:44,760
Speaker 1: they definitely interacted and work together and may have been friends,

489
00:26:45,320 --> 00:26:49,159
Speaker 1: but we don't know the context of that. But technically

490
00:26:49,640 --> 00:26:54,600
Speaker 1: I believe Morainy was before Bessie Smith when it comes

491
00:26:54,640 --> 00:26:57,719
Speaker 1: to the performance layer. But yeah, so it talks a

492
00:26:57,760 --> 00:27:02,560
Speaker 1: lot about that historical level as well. Of course, we have, yes,

493
00:27:02,960 --> 00:27:06,080
Speaker 1: the conversations that Viola has about how she wanted to

494
00:27:06,119 --> 00:27:08,920
Speaker 1: look and why it was so important that she embodied

495
00:27:09,520 --> 00:27:12,240
Speaker 1: Morainey the way it was, and that that it was

496
00:27:12,760 --> 00:27:16,000
Speaker 1: for her because she was a boss like and it

497
00:27:16,080 --> 00:27:19,600
Speaker 1: comes down to the fact that she understood how to

498
00:27:19,640 --> 00:27:22,800
Speaker 1: play the game unfortunately that's what it's called at this

499
00:27:22,880 --> 00:27:26,240
Speaker 1: point in the end, and why it was so important

500
00:27:26,280 --> 00:27:30,120
Speaker 1: that she holds to that and why this one small

501
00:27:30,240 --> 00:27:32,800
Speaker 1: scene that we see because it's just one day, we're

502
00:27:32,800 --> 00:27:35,760
Speaker 1: seeing one day, why it was important. And then also

503
00:27:36,200 --> 00:27:40,359
Speaker 1: just the trivia stuff. Wolf really took some uh like

504
00:27:40,440 --> 00:27:43,479
Speaker 1: he definitely kept the Broadway portion to it um and

505
00:27:43,520 --> 00:27:45,560
Speaker 1: then the play portion to it. But he talked about

506
00:27:45,600 --> 00:27:49,119
Speaker 1: the fact that he changed the seasons to summer because

507
00:27:49,119 --> 00:27:51,840
Speaker 1: he wanted that the way you talked about how it

508
00:27:51,920 --> 00:27:54,480
Speaker 1: was so important to see not only were they frustrated,

509
00:27:54,520 --> 00:27:57,280
Speaker 1: but they were hot there and like this type of scenario,

510
00:27:57,640 --> 00:28:00,840
Speaker 1: Chicago's really ridiculously hot, and of what it looked like

511
00:28:01,240 --> 00:28:03,120
Speaker 1: for them to be all in a sweltering room, everything

512
00:28:03,240 --> 00:28:06,119
Speaker 1: bubbling over, including the weather and the tension. So he

513
00:28:06,160 --> 00:28:09,040
Speaker 1: did that on purpose. The scene in which we see

514
00:28:09,400 --> 00:28:12,320
Speaker 1: Bozeman kicking the door thinking that he's opening the door

515
00:28:12,400 --> 00:28:15,199
Speaker 1: for himself, but then getting a brick wall and he

516
00:28:15,240 --> 00:28:17,760
Speaker 1: goes like that is absolutely metaphor to a lot of

517
00:28:17,800 --> 00:28:21,399
Speaker 1: the black people today, thinking that you have an opportunity,

518
00:28:21,400 --> 00:28:23,040
Speaker 1: that you have a heads up, thinking that this can

519
00:28:23,040 --> 00:28:25,719
Speaker 1: tear you so far, but you have a wall, and

520
00:28:25,720 --> 00:28:29,159
Speaker 1: that usually is systemic racism, whatever it is, but like

521
00:28:29,240 --> 00:28:32,600
Speaker 1: it's it's definitely like it. If you get a chance

522
00:28:32,920 --> 00:28:35,120
Speaker 1: after watching the movie, you should definitely watch that documentary.

523
00:28:35,160 --> 00:28:38,400
Speaker 1: I think it's always good to see a perspective from

524
00:28:38,560 --> 00:28:42,400
Speaker 1: Foam the Originators. So there you go. Yeah, well, thank

525
00:28:42,440 --> 00:28:45,320
Speaker 1: you Samantha for that recap. Yeah, I was going to

526
00:28:45,400 --> 00:28:48,320
Speaker 1: mention that because it's so throughout there when they're in

527
00:28:48,320 --> 00:28:50,280
Speaker 1: this kind of basement area that, as you say, is

528
00:28:50,280 --> 00:28:54,920
Speaker 1: sort of like where they put the not the star performers,

529
00:28:55,480 --> 00:28:57,920
Speaker 1: and that's where a lot of these like intense conversations happen.

530
00:28:58,560 --> 00:29:02,680
Speaker 1: There's this locked door that they keep Levy in particular,

531
00:29:02,760 --> 00:29:05,720
Speaker 1: keeps like trying to open, and at the end he

532
00:29:05,840 --> 00:29:09,000
Speaker 1: finally like breaks it open at his rage and it's

533
00:29:09,040 --> 00:29:13,200
Speaker 1: just a brick wall, which was a very I thought

534
00:29:13,720 --> 00:29:17,040
Speaker 1: powerful metaphor of fighting and fighting and fighting to finally

535
00:29:17,080 --> 00:29:19,560
Speaker 1: open this door and there's just another obstacle in your way.

536
00:29:19,600 --> 00:29:23,840
Speaker 1: It goes nowhere. I also wanted to touch on, as

537
00:29:23,960 --> 00:29:27,560
Speaker 1: you said that, like the music was so powerful and

538
00:29:27,640 --> 00:29:31,800
Speaker 1: important in this movie and August Wilson that was very

539
00:29:31,880 --> 00:29:34,320
Speaker 1: vocal about how much he loved blues and how much

540
00:29:34,320 --> 00:29:37,320
Speaker 1: it influenced his work and how impactful he thought it was.

541
00:29:38,320 --> 00:29:41,080
Speaker 1: And it's just almost a character in and of itself

542
00:29:41,080 --> 00:29:45,000
Speaker 1: in this movie. It was really beautiful, and I like

543
00:29:45,040 --> 00:29:47,840
Speaker 1: how they comment on it directly, like some I believe

544
00:29:47,920 --> 00:29:49,680
Speaker 1: my Rain even says like they call me the mother

545
00:29:49,720 --> 00:29:51,920
Speaker 1: of blues will probably not people been doing it forever,

546
00:29:52,000 --> 00:29:56,520
Speaker 1: but I'll accept if they call me that, like okay, yeah, yeah.

547
00:29:56,560 --> 00:29:59,360
Speaker 1: They have some amazing quotes about that One of my

548
00:29:59,400 --> 00:30:02,520
Speaker 1: favorite line is when she says the Blues helps you

549
00:30:02,560 --> 00:30:04,400
Speaker 1: get out of bed in the morning. So at this

550
00:30:04,440 --> 00:30:07,360
Speaker 1: point she's talking about how they're sitting in silence and

551
00:30:07,360 --> 00:30:09,800
Speaker 1: how much she hates the silence, but even in silence,

552
00:30:09,840 --> 00:30:12,800
Speaker 1: there's music in her head, and then talking about why

553
00:30:12,840 --> 00:30:16,160
Speaker 1: blues does this um, and it's just like, yeah, the

554
00:30:16,160 --> 00:30:17,920
Speaker 1: Blues help you get out of bed in the morning,

555
00:30:17,920 --> 00:30:20,160
Speaker 1: you get up knowing you ay and alone, there's something

556
00:30:20,160 --> 00:30:22,720
Speaker 1: else in the world, something's been added by that song.

557
00:30:23,120 --> 00:30:25,680
Speaker 1: This be an empty world without the Blues, And I

558
00:30:25,760 --> 00:30:30,720
Speaker 1: was like, ye, like yeah, absolutely absolutely changed so much

559
00:30:31,280 --> 00:30:34,000
Speaker 1: of the conversation. And I was like, no, Okay, that's it,

560
00:30:34,080 --> 00:30:38,000
Speaker 1: that's it, that's a less line. Yeah. Yeah, And I

561
00:30:38,120 --> 00:30:41,640
Speaker 1: think um, as we've mentioned several times in this episode,

562
00:30:41,680 --> 00:30:44,560
Speaker 1: the opening scene is it's one of the reasons it

563
00:30:44,640 --> 00:30:49,240
Speaker 1: hits so hard is because there's this sort of implication

564
00:30:49,400 --> 00:30:52,680
Speaker 1: of fear, and like these dogs ring from a train

565
00:30:52,840 --> 00:30:56,280
Speaker 1: and then the camera comes to this big tent and

566
00:30:56,280 --> 00:30:58,400
Speaker 1: there are all of these people gathered there and Ma

567
00:30:58,560 --> 00:31:02,400
Speaker 1: Rainy is singing. And that's something we've discussed a lot,

568
00:31:02,480 --> 00:31:06,080
Speaker 1: is the power of music for people who have been

569
00:31:06,120 --> 00:31:10,560
Speaker 1: oppressed in finding that joy and finding that community in protesting.

570
00:31:10,880 --> 00:31:12,560
Speaker 1: That's something that you and I have been talking about

571
00:31:12,560 --> 00:31:16,880
Speaker 1: a lot lately with these songs that were so powerful

572
00:31:17,000 --> 00:31:21,280
Speaker 1: and touched on things that were so painful. Oh, it's

573
00:31:21,280 --> 00:31:25,680
Speaker 1: so necessary, but in that way being able to to connect.

574
00:31:26,040 --> 00:31:31,560
Speaker 1: And I know, as we've discussed, I think mar Rainy

575
00:31:32,160 --> 00:31:35,320
Speaker 1: she in the in the materials I read before, that

576
00:31:35,440 --> 00:31:38,600
Speaker 1: she preferred those live performances. She preferred to have those

577
00:31:39,360 --> 00:31:46,280
Speaker 1: connecting with people in that environment and away from kind

578
00:31:46,320 --> 00:31:50,400
Speaker 1: of these white producers that are controlling her music and

579
00:31:50,520 --> 00:31:56,040
Speaker 1: where it goes. And that was just something she she valued.

580
00:31:56,080 --> 00:31:58,400
Speaker 1: So I feel like she was someone who both knew,

581
00:31:58,560 --> 00:32:02,920
Speaker 1: like too how to work the system, um even if

582
00:32:02,920 --> 00:32:06,480
Speaker 1: it was incredibly unfortunate, uh and and stacked a cancer,

583
00:32:06,560 --> 00:32:10,320
Speaker 1: but she also clearly had this passion for it and

584
00:32:10,440 --> 00:32:15,840
Speaker 1: this passion for writing and connecting in that way. Right,

585
00:32:16,120 --> 00:32:18,840
Speaker 1: And I love that. I love the idea that Wilson

586
00:32:19,440 --> 00:32:21,600
Speaker 1: was so influenced by this music, So you see that

587
00:32:21,680 --> 00:32:25,160
Speaker 1: kind of inspiration, that power of how it can impact

588
00:32:25,200 --> 00:32:27,360
Speaker 1: people and then lead to other art early to all

589
00:32:27,400 --> 00:32:31,080
Speaker 1: these other things. Right, he did an amazing job as

590
00:32:31,120 --> 00:32:34,080
Speaker 1: in fact, in that documentary they're talking about while August

591
00:32:34,080 --> 00:32:37,640
Speaker 1: Wilson was researching, like they found seven pictures of moul

592
00:32:37,720 --> 00:32:39,920
Speaker 1: Rainey while there was like hundreds of pictures of Bessie

593
00:32:39,960 --> 00:32:43,800
Speaker 1: Smith and how he really dug deep to find this singer.

594
00:32:44,040 --> 00:32:46,720
Speaker 1: And I find that interesting too, because we do finally

595
00:32:46,760 --> 00:32:50,320
Speaker 1: getting to a point that hopefully finally that we're talking

596
00:32:50,360 --> 00:32:55,320
Speaker 1: about these amazing musicians that made this huge change, and um,

597
00:32:55,360 --> 00:32:57,600
Speaker 1: she is one of those, as well as Bessie Smith,

598
00:32:57,640 --> 00:32:59,880
Speaker 1: as well as who was known as Bessie Jackson. That

599
00:33:00,080 --> 00:33:02,479
Speaker 1: was her stage name, but I think the real name

600
00:33:02,520 --> 00:33:05,239
Speaker 1: is Lucille Bogan Uh. And she was kind of like

601
00:33:05,920 --> 00:33:08,280
Speaker 1: the queen of filth essentially, and kind of you see

602
00:33:08,320 --> 00:33:11,400
Speaker 1: that same level in Morainy. They all were not gonna

603
00:33:11,440 --> 00:33:14,520
Speaker 1: play cut c. They are going to make it down

604
00:33:14,640 --> 00:33:17,440
Speaker 1: and raunchy and dirty, but not in a way that

605
00:33:17,640 --> 00:33:19,640
Speaker 1: was so over the top, but enough to be like,

606
00:33:19,680 --> 00:33:22,440
Speaker 1: I am a woman who enjoys these things, get it,

607
00:33:22,520 --> 00:33:25,640
Speaker 1: get it together, or don't. And they accepted it like

608
00:33:25,720 --> 00:33:27,960
Speaker 1: they being the audience, they being the listener. If you

609
00:33:28,040 --> 00:33:31,880
Speaker 1: listen to the song of Black Bottom, you're like what

610
00:33:31,880 --> 00:33:35,720
Speaker 1: what whoa uh? You know, like it's very interesting but

611
00:33:35,800 --> 00:33:39,520
Speaker 1: both like those three really brought on a new set

612
00:33:39,560 --> 00:33:43,560
Speaker 1: of style within the blues, within all of this, because

613
00:33:43,560 --> 00:33:46,920
Speaker 1: it wasn't just you know, singing love songs anymore. It

614
00:33:46,960 --> 00:33:49,760
Speaker 1: was just being fun and who they were and being

615
00:33:50,080 --> 00:33:52,120
Speaker 1: sexy in themselves. And I think that was a whole

616
00:33:52,120 --> 00:33:54,520
Speaker 1: different thing, and not only sexy in themselves, but it's

617
00:33:54,640 --> 00:33:57,640
Speaker 1: loving themselves in a different manner. And I think that's

618
00:33:57,680 --> 00:33:59,880
Speaker 1: also a big key point that we don't talk enough

619
00:33:59,880 --> 00:34:02,640
Speaker 1: of out especially when it comes to black women who

620
00:34:02,680 --> 00:34:06,440
Speaker 1: have become huge musicians. I think we can translate that

621
00:34:06,480 --> 00:34:09,160
Speaker 1: today to today's even rap if we will look at

622
00:34:09,440 --> 00:34:11,080
Speaker 1: what was happening at that point in time and just

623
00:34:11,120 --> 00:34:13,960
Speaker 1: pushing the boundaries, and they were loving it. People loved it.

624
00:34:14,040 --> 00:34:17,600
Speaker 1: People loved this music and also really felt again like

625
00:34:17,640 --> 00:34:23,080
Speaker 1: you said, connected to it. Yeah, yeah, just making me

626
00:34:23,080 --> 00:34:39,719
Speaker 1: want to go listen to some music. Also, we did

627
00:34:39,760 --> 00:34:41,680
Speaker 1: touch on this earlier, but wanted to mention this whole

628
00:34:41,680 --> 00:34:44,479
Speaker 1: idea of knowing what you're worth. That's something we've talked

629
00:34:44,480 --> 00:34:48,400
Speaker 1: about recently. It's an ongoing conversation, but especially you know

630
00:34:48,400 --> 00:34:50,120
Speaker 1: at the time when this movie was set for a

631
00:34:50,120 --> 00:34:53,520
Speaker 1: black woman, and I think a lot of the things.

632
00:34:53,520 --> 00:34:55,600
Speaker 1: If you haven't seen the movie and you're just listening

633
00:34:55,640 --> 00:34:57,520
Speaker 1: to us talk about it, you might be like that

634
00:34:57,600 --> 00:35:01,320
Speaker 1: kind of sounds like a diva, but fear. But really

635
00:35:01,360 --> 00:35:04,960
Speaker 1: she was just like, I'm gonna You're gonna make so

636
00:35:05,040 --> 00:35:07,640
Speaker 1: much money from this. I've requested this. I know you

637
00:35:07,680 --> 00:35:10,040
Speaker 1: give it to a white artist, and now you're making

638
00:35:10,080 --> 00:35:13,239
Speaker 1: you feel like just by like asking for what I'm

639
00:35:13,239 --> 00:35:15,520
Speaker 1: worth it like not even that, but like the bare

640
00:35:15,560 --> 00:35:18,799
Speaker 1: minimum what I asked you for, and you're you feel

641
00:35:18,840 --> 00:35:22,800
Speaker 1: like I'm being a diva for it, Like a Coca

642
00:35:22,800 --> 00:35:25,319
Speaker 1: cola on a hot day in a recording studio. You

643
00:35:25,360 --> 00:35:29,480
Speaker 1: can't do right. I mean, essentially, this is also the

644
00:35:29,560 --> 00:35:32,560
Speaker 1: narrative we have when their weaponized language against black women,

645
00:35:32,680 --> 00:35:35,759
Speaker 1: calling diva, calling them angry, all those things, because it's

646
00:35:35,800 --> 00:35:38,800
Speaker 1: kind of that narrative when it's an actuality. Ma Rainey

647
00:35:38,920 --> 00:35:41,600
Speaker 1: had to be stern to tell them what she wanted

648
00:35:41,600 --> 00:35:44,040
Speaker 1: and they weren't listening. So it got to the point

649
00:35:44,040 --> 00:35:46,040
Speaker 1: that when you say the third of the fourth time,

650
00:35:46,120 --> 00:35:48,359
Speaker 1: you're starting to get angry. And I get that. I

651
00:35:48,400 --> 00:35:52,000
Speaker 1: get that completely because you are being ignored and by

652
00:35:52,040 --> 00:35:55,360
Speaker 1: the time either you slink away and let it be

653
00:35:55,760 --> 00:35:57,759
Speaker 1: or you fight for it. And that's where she was,

654
00:35:57,840 --> 00:36:00,880
Speaker 1: and I think that's absolutely the key, as in fact

655
00:36:00,920 --> 00:36:03,560
Speaker 1: she talks about I know when they leave here, they're

656
00:36:03,560 --> 00:36:05,520
Speaker 1: going to talk all this trash about me. They're gonna

657
00:36:05,560 --> 00:36:07,880
Speaker 1: say all these things, call me all these names. But

658
00:36:08,000 --> 00:36:10,080
Speaker 1: I don't care, Like I really want to get at

659
00:36:10,120 --> 00:36:13,680
Speaker 1: that point where I don't care that you're trash talking

660
00:36:13,800 --> 00:36:16,520
Speaker 1: me because I finally stood up for myself, you know,

661
00:36:16,560 --> 00:36:18,640
Speaker 1: instead of caring about what you think about me. Where

662
00:36:18,640 --> 00:36:21,440
Speaker 1: we shouldn't be. And when it comes to more rainy,

663
00:36:21,520 --> 00:36:24,879
Speaker 1: she's already been there. She's already seen how much money

664
00:36:24,880 --> 00:36:27,040
Speaker 1: they're going to make off of her. She already knows

665
00:36:27,040 --> 00:36:29,400
Speaker 1: that they're trying to take advantage of her. So therefore

666
00:36:29,719 --> 00:36:32,719
Speaker 1: she's tired. And so when she asked for something and

667
00:36:32,760 --> 00:36:36,200
Speaker 1: you don't have it, and she has to repeat herself, yeah,

668
00:36:36,360 --> 00:36:43,520
Speaker 1: I'm angry. Yeah. I mean that's, as we discussed in a

669
00:36:43,480 --> 00:36:45,840
Speaker 1: a recent episode, that can be hired to you know,

670
00:36:45,840 --> 00:36:47,480
Speaker 1: know what you're worth and ask for what you're worth.

671
00:36:47,520 --> 00:36:50,399
Speaker 1: And we have been women, but especially women of color

672
00:36:50,440 --> 00:36:54,240
Speaker 1: and especially black women made that have that turned around

673
00:36:54,239 --> 00:36:56,560
Speaker 1: on us as we're being like, we're demanding too much

674
00:36:56,960 --> 00:36:59,319
Speaker 1: or like we can just get rid of you right now.

675
00:36:59,320 --> 00:37:04,200
Speaker 1: But she knew, like she knew her worth and I, yeah,

676
00:37:04,239 --> 00:37:06,759
Speaker 1: that's that's not easy, and I'm glad that she did.

677
00:37:07,880 --> 00:37:11,479
Speaker 1: Ye yes. But that also leads into our next theme

678
00:37:11,560 --> 00:37:15,000
Speaker 1: we wanted to discuss, which is appropriating black culture. I'm

679
00:37:15,040 --> 00:37:17,280
Speaker 1: not giving credit where credit is due or taking credit

680
00:37:17,800 --> 00:37:22,279
Speaker 1: for black culture, because that's definitely like the whole arc

681
00:37:22,400 --> 00:37:28,239
Speaker 1: of Levy's character is really hammering that point home that

682
00:37:28,280 --> 00:37:30,680
Speaker 1: he had this, he had this talent, and he had

683
00:37:30,719 --> 00:37:35,719
Speaker 1: these dreams and he I mean, I guess you could say, unfortunately,

684
00:37:35,760 --> 00:37:38,640
Speaker 1: like even though he felt so at times he and

685
00:37:38,680 --> 00:37:42,879
Speaker 1: Marini clashed, he was just so so ambitious. I guess

686
00:37:42,920 --> 00:37:44,719
Speaker 1: he I don't know, I don't know if law side

687
00:37:44,719 --> 00:37:49,280
Speaker 1: is the right thing, but to have that just taken

688
00:37:49,280 --> 00:37:52,120
Speaker 1: at the end and have a white band play it

689
00:37:52,160 --> 00:37:54,520
Speaker 1: after he's told like, oh, this isn't worth anything, You're

690
00:37:54,560 --> 00:37:58,640
Speaker 1: never gonna make any money. Um, And we still unfortunately

691
00:37:58,640 --> 00:38:02,560
Speaker 1: see that today to right, And that's kind of the

692
00:38:02,600 --> 00:38:06,719
Speaker 1: whole conversation we've been having that's been like simmering in

693
00:38:06,800 --> 00:38:11,520
Speaker 1: my head about colonization and taking other people's culture. When

694
00:38:11,320 --> 00:38:15,640
Speaker 1: you talk about this is cultural appropriation. There's the bigger

695
00:38:15,880 --> 00:38:17,160
Speaker 1: and I know we're gonna have to come back to

696
00:38:17,239 --> 00:38:21,480
Speaker 1: eventually about appreciation versus appropriation and why there is a

697
00:38:21,520 --> 00:38:24,960
Speaker 1: distinct difference and why it's important to understand it. But

698
00:38:25,000 --> 00:38:28,640
Speaker 1: then also the fact of the matter that Levy's character

699
00:38:29,120 --> 00:38:31,600
Speaker 1: is so hopeful that he is the one that's going

700
00:38:31,680 --> 00:38:35,040
Speaker 1: to break this boundary, like he's going to go beyond

701
00:38:35,080 --> 00:38:38,239
Speaker 1: this where you see the two different characters, so you

702
00:38:38,280 --> 00:38:40,839
Speaker 1: have the new and the older, in which Morainey has

703
00:38:40,920 --> 00:38:43,160
Speaker 1: already tried and she's tired and she knows how to

704
00:38:43,160 --> 00:38:44,719
Speaker 1: play the game. She's gonna get what she's worth and

705
00:38:44,719 --> 00:38:47,440
Speaker 1: she's gonna leave. As where Levy's coming in trying to

706
00:38:47,440 --> 00:38:49,040
Speaker 1: make his own and really thinking that he's going to

707
00:38:49,120 --> 00:38:51,360
Speaker 1: push that boundary. He's really thinking he's gonna cut that

708
00:38:51,400 --> 00:38:53,919
Speaker 1: red tape and really get to there because he has

709
00:38:53,960 --> 00:38:56,759
Speaker 1: the talent to do it, and then being disappointed when

710
00:38:56,800 --> 00:38:59,839
Speaker 1: the door slams in his face once again, and then

711
00:39:00,040 --> 00:39:02,879
Speaker 1: really being told you're not because he comes in, buy

712
00:39:03,000 --> 00:39:05,400
Speaker 1: some new shoes, really proud of it, tries to hit

713
00:39:05,440 --> 00:39:07,640
Speaker 1: on some girls, really having a good day in these

714
00:39:07,719 --> 00:39:11,280
Speaker 1: performance seeing himself at the first time as writers being

715
00:39:11,320 --> 00:39:13,719
Speaker 1: told that he's his one style of music for one

716
00:39:13,760 --> 00:39:18,520
Speaker 1: of their songs is preferred over Morainey's getting on this

717
00:39:18,600 --> 00:39:23,880
Speaker 1: high and then so violently pushed down by white men

718
00:39:24,360 --> 00:39:28,040
Speaker 1: in the scenario, and then we also have the competition

719
00:39:28,160 --> 00:39:31,640
Speaker 1: is Morainy is fearful of change, He's fearful of than you,

720
00:39:31,920 --> 00:39:33,880
Speaker 1: which is kind of that conversation about her and Bessie

721
00:39:33,880 --> 00:39:37,600
Speaker 1: Smith about who who was who first, who started this first,

722
00:39:38,000 --> 00:39:41,960
Speaker 1: and seeing him being a threat but in her age

723
00:39:42,280 --> 00:39:45,640
Speaker 1: knowing how to combat these threats as where Levy is

724
00:39:45,680 --> 00:39:49,480
Speaker 1: not able to handle criticism and or rejection, so because

725
00:39:49,480 --> 00:39:51,520
Speaker 1: he's so new to this. So there's so many things

726
00:39:51,520 --> 00:39:54,400
Speaker 1: to that that we see in that as well, but

727
00:39:54,760 --> 00:39:58,120
Speaker 1: him unfortunately realizing what it looks like to be taken

728
00:39:58,160 --> 00:40:00,960
Speaker 1: advantage of and instead of being mentor than listening to

729
00:40:01,040 --> 00:40:03,880
Speaker 1: mo Rainey about how to do something or how to

730
00:40:03,920 --> 00:40:08,360
Speaker 1: go about it, he doesn't and more Rainy doesn't invest

731
00:40:08,360 --> 00:40:11,600
Speaker 1: in that. And that's a whole different conversation in itself. Yes,

732
00:40:11,640 --> 00:40:14,920
Speaker 1: and cultural appropriation, like there's a whole thing happening about food.

733
00:40:14,960 --> 00:40:18,240
Speaker 1: We know this. We're having a constant conversation about music

734
00:40:18,400 --> 00:40:20,759
Speaker 1: that's never gonna go away, and about who's doing what

735
00:40:20,920 --> 00:40:23,399
Speaker 1: and why it's important to credit people and now we're

736
00:40:23,400 --> 00:40:25,879
Speaker 1: going to as a specific stop trying to steal people's music.

737
00:40:26,400 --> 00:40:29,160
Speaker 1: How about that? But even more so when it comes

738
00:40:29,160 --> 00:40:31,720
Speaker 1: to culture, we're talking about hairstyles, we're talking about food,

739
00:40:31,880 --> 00:40:34,880
Speaker 1: and it's not about you can't do it necessarily. I

740
00:40:34,960 --> 00:40:37,799
Speaker 1: mean we won't go into specific, but when it comes

741
00:40:37,840 --> 00:40:40,640
Speaker 1: to food that you can't do it, but don't try

742
00:40:40,640 --> 00:40:42,800
Speaker 1: to take credit for it as if he's just invented

743
00:40:42,840 --> 00:40:45,239
Speaker 1: the will yeah, and then make more money off of it,

744
00:40:46,200 --> 00:40:48,200
Speaker 1: and then who makes who's making money off of it

745
00:40:48,280 --> 00:40:50,279
Speaker 1: and pretending like it's there own. Like that's been a

746
00:40:50,280 --> 00:40:53,560
Speaker 1: big discussion right now. Kimchi is a big discussion. I

747
00:40:53,600 --> 00:40:57,960
Speaker 1: was like, wow, yeah, yeah, that is a huge That

748
00:40:58,120 --> 00:41:01,279
Speaker 1: is a huge topic. Um, go to return to that.

749
00:41:01,320 --> 00:41:03,359
Speaker 1: I also, I know we make this point a lot,

750
00:41:03,360 --> 00:41:04,880
Speaker 1: and you made it a little bit earlier Smith that,

751
00:41:04,960 --> 00:41:08,920
Speaker 1: but kind of this idea of turning marginalized people against

752
00:41:08,920 --> 00:41:11,600
Speaker 1: each other, I feel like that was that was part

753
00:41:11,640 --> 00:41:14,600
Speaker 1: of this. And then also as you say, like ma

754
00:41:14,840 --> 00:41:19,880
Speaker 1: Rainey was being dismissed by Levy and the white producer

755
00:41:19,920 --> 00:41:22,759
Speaker 1: and agent not so much the other band members, but

756
00:41:22,880 --> 00:41:25,879
Speaker 1: like she is the she has been in this game

757
00:41:25,920 --> 00:41:27,719
Speaker 1: and she knows what she's doing, and they're both kind

758
00:41:27,719 --> 00:41:31,879
Speaker 1: of like both parties are kind of like no, no, no, no, no,

759
00:41:32,320 --> 00:41:36,080
Speaker 1: She's keeping it, keeps having to say we're doing it

760
00:41:36,120 --> 00:41:39,640
Speaker 1: my way, Like I know this is I wrote this

761
00:41:39,800 --> 00:41:44,799
Speaker 1: music like don't come in here, right, which is also

762
00:41:44,840 --> 00:41:48,879
Speaker 1: a theme we see time and time again, right yeah,

763
00:41:48,960 --> 00:41:52,200
Speaker 1: and I think again it is that thing that she's

764
00:41:52,280 --> 00:41:56,600
Speaker 1: tired and she no longer gets anything, and therefore she's

765
00:41:56,680 --> 00:41:59,239
Speaker 1: just going to tell you stop it right right, right right,

766
00:41:59,680 --> 00:42:02,560
Speaker 1: But she's that was something else I took a note

767
00:42:02,600 --> 00:42:04,319
Speaker 1: of us. I just felt like she wasn't getting the

768
00:42:04,360 --> 00:42:08,799
Speaker 1: respect that she deserved. Um. And then also racial and

769
00:42:08,920 --> 00:42:15,239
Speaker 1: intergenerational trauma. The whole Levees story is like that in

770
00:42:15,280 --> 00:42:19,839
Speaker 1: a nutshell. It encompasses that's so beautifully and so so

771
00:42:19,920 --> 00:42:23,279
Speaker 1: painfully because you see those sides of him as being

772
00:42:23,360 --> 00:42:26,560
Speaker 1: like so so ambitious and so like I'm going to

773
00:42:26,680 --> 00:42:29,839
Speaker 1: break this, I'm going to rise above all these obstacles.

774
00:42:30,360 --> 00:42:33,799
Speaker 1: And then he has that moment that's so raw, it's

775
00:42:33,840 --> 00:42:37,200
Speaker 1: so painful where he talks about this trauma he went

776
00:42:37,239 --> 00:42:38,719
Speaker 1: to and how it's still in his mind and how

777
00:42:38,760 --> 00:42:41,120
Speaker 1: it informs how he interacts with the world and how

778
00:42:41,320 --> 00:42:44,759
Speaker 1: he interacts with white people specifically, and how how he

779
00:42:44,800 --> 00:42:48,359
Speaker 1: thinks he can win this game by knowing that, which

780
00:42:48,360 --> 00:42:49,960
Speaker 1: I think he said something all I'm like smiling in

781
00:42:50,040 --> 00:42:53,359
Speaker 1: his face, saying yes sir and smiling in his face

782
00:42:54,000 --> 00:42:57,520
Speaker 1: and then seeing that how that ends up. But that's

783
00:42:57,520 --> 00:43:01,560
Speaker 1: just throughout and like even throughout the entire movie, there's

784
00:43:01,560 --> 00:43:03,000
Speaker 1: just like you said, like when they went to go

785
00:43:03,040 --> 00:43:05,000
Speaker 1: buy the code, there these moments of tension, like you

786
00:43:05,000 --> 00:43:11,239
Speaker 1: can never escape this kind of white supremacist structure, Like

787
00:43:11,280 --> 00:43:14,960
Speaker 1: even if you have like this good moment. I mean,

788
00:43:14,960 --> 00:43:17,239
Speaker 1: that's kind of the whole point with the Great Migration,

789
00:43:17,280 --> 00:43:20,879
Speaker 1: as they were told there's opportunities the North, except you, um,

790
00:43:20,960 --> 00:43:23,560
Speaker 1: you will find new ways. And for Morainy, and this

791
00:43:23,640 --> 00:43:25,440
Speaker 1: was part of the documentary when they were talking about it,

792
00:43:25,480 --> 00:43:27,400
Speaker 1: is that she knew how it worked in the South,

793
00:43:27,600 --> 00:43:29,640
Speaker 1: so she had her hub of people, and she knew

794
00:43:29,640 --> 00:43:32,920
Speaker 1: how to maintain and control that coming to an area

795
00:43:32,960 --> 00:43:35,520
Speaker 1: that says we're so welcoming, we're so open, and then

796
00:43:35,520 --> 00:43:37,719
Speaker 1: coming and oh no, these are new rules to play by.

797
00:43:37,760 --> 00:43:41,439
Speaker 1: But the supremacy is still here and trying to navigate that.

798
00:43:41,440 --> 00:43:44,279
Speaker 1: That was harder for her because and I thought about that,

799
00:43:44,360 --> 00:43:46,399
Speaker 1: I was like, yeah, that's absolutely true. In my own

800
00:43:46,440 --> 00:43:49,600
Speaker 1: small world, I knew one thing. I got into a

801
00:43:49,600 --> 00:43:52,600
Speaker 1: bigger world. Oh this is not how this works. What's happening.

802
00:43:52,840 --> 00:43:54,600
Speaker 1: I was good over here. I knew how to work

803
00:43:54,680 --> 00:43:58,000
Speaker 1: that system. I knew how to maintain in the system.

804
00:43:58,320 --> 00:44:00,279
Speaker 1: Now this is a new system, which you gave me

805
00:44:00,320 --> 00:44:03,640
Speaker 1: false hope, and it's not here, and I still have

806
00:44:03,680 --> 00:44:05,520
Speaker 1: to be on guard because if not, I'm going to

807
00:44:05,600 --> 00:44:08,000
Speaker 1: be righted over the coals somehow. And I think that

808
00:44:08,040 --> 00:44:11,160
Speaker 1: was another part of that conversation that we saw at

809
00:44:11,160 --> 00:44:13,160
Speaker 1: the beginning, when we talk about come to the come

810
00:44:13,200 --> 00:44:15,480
Speaker 1: to the North, come to Chicago, come to here, and

811
00:44:15,520 --> 00:44:18,280
Speaker 1: will help, will help you get a job. You're everybody

812
00:44:18,360 --> 00:44:21,719
Speaker 1: is welcome, and that's not true, right right, right right.

813
00:44:22,280 --> 00:44:25,160
Speaker 1: And then to wrap up here, I want to touch

814
00:44:25,200 --> 00:44:27,239
Speaker 1: on these two things very quickly because they weren't major

815
00:44:27,600 --> 00:44:29,759
Speaker 1: teams in it. But as you said, there was that

816
00:44:30,360 --> 00:44:34,360
Speaker 1: some like able issm around Silvester about his stutter. And

817
00:44:35,080 --> 00:44:37,480
Speaker 1: when Marini is first like he's going to do it,

818
00:44:37,520 --> 00:44:41,480
Speaker 1: he can do it. And Levy being like, he can't

819
00:44:41,520 --> 00:44:43,440
Speaker 1: do it. So you've got kind of those both angles

820
00:44:43,440 --> 00:44:47,439
Speaker 1: where I feel like more Rainy was pretty supportive, even

821
00:44:47,480 --> 00:44:49,400
Speaker 1: though yeah, there can be the angle of maybe he

822
00:44:49,440 --> 00:44:50,600
Speaker 1: didn't want to do it. Seemed to be like he

823
00:44:50,640 --> 00:44:51,880
Speaker 1: wanted to do it and she was like you can

824
00:44:51,920 --> 00:44:55,879
Speaker 1: do it then like right, but that's that's absolutely not

825
00:44:55,920 --> 00:44:59,480
Speaker 1: always the case, right, But yeah, And I think the

826
00:44:59,520 --> 00:45:01,680
Speaker 1: bigger pick or when I was talking about, is that

827
00:45:01,960 --> 00:45:04,720
Speaker 1: we often see in these movies, and not just these movies,

828
00:45:04,760 --> 00:45:07,719
Speaker 1: we often see in media in general, in any entertainment,

829
00:45:08,000 --> 00:45:11,200
Speaker 1: that there is that the disability is bad and to

830
00:45:11,480 --> 00:45:14,719
Speaker 1: overcome it is to win and that's the overall goal.

831
00:45:15,080 --> 00:45:16,960
Speaker 1: And that's not the truth. When we talk to people

832
00:45:17,080 --> 00:45:20,120
Speaker 1: in the disabled community when we see articles, that's not

833
00:45:20,160 --> 00:45:23,400
Speaker 1: the things. They're happy, they're happy. The reason they're unhappy

834
00:45:23,480 --> 00:45:28,040
Speaker 1: oftentimes is because we the ablest abled community would think, ah,

835
00:45:28,160 --> 00:45:31,440
Speaker 1: poor you and in realizing wait what but this is

836
00:45:31,440 --> 00:45:35,440
Speaker 1: not okay? Just accept them. There shouldn't be a problem. Okay,

837
00:45:35,520 --> 00:45:37,279
Speaker 1: they may have a stutter, but what does that. That

838
00:45:37,320 --> 00:45:40,600
Speaker 1: doesn't change anything, you know, like it really it doesn't

839
00:45:40,680 --> 00:45:43,200
Speaker 1: change who they are, and that doesn't have to be

840
00:45:43,280 --> 00:45:46,600
Speaker 1: quote unquote fix. Of course. I know once again, those

841
00:45:46,640 --> 00:45:48,880
Speaker 1: who are in the disabled community, do you want to

842
00:45:48,960 --> 00:45:52,520
Speaker 1: change that or or do something different from that, Then

843
00:45:52,560 --> 00:45:56,319
Speaker 1: that's fine, that's accepted however it needs to be. But

844
00:45:56,560 --> 00:45:59,040
Speaker 1: we can't. We have to get away from these tropes

845
00:45:59,120 --> 00:46:03,160
Speaker 1: that there's a better which is the ablest conversation, which

846
00:46:03,200 --> 00:46:06,279
Speaker 1: I mean again, it still was like, oh, I'm really

847
00:46:06,320 --> 00:46:10,200
Speaker 1: glad Mariiny loves her nephew to want to be patient

848
00:46:10,239 --> 00:46:12,840
Speaker 1: with him and work it out with him. But let's

849
00:46:12,920 --> 00:46:15,239
Speaker 1: let's just also recognize it's okay to have stutter. It's

850
00:46:15,280 --> 00:46:19,239
Speaker 1: not a big deal, right, yeah, yeah, yeah exactly. And

851
00:46:19,280 --> 00:46:25,680
Speaker 1: then also, so the first time I watched this, I thought,

852
00:46:26,480 --> 00:46:28,600
Speaker 1: Saba Reny comes in with Dusty May and they have

853
00:46:28,719 --> 00:46:31,920
Speaker 1: this moment. I was like, are they romantically involved? And

854
00:46:31,960 --> 00:46:35,160
Speaker 1: then I got confused throughout the rest. And then I

855
00:46:35,239 --> 00:46:37,920
Speaker 1: was researching mo Rainy and then they said she was queer.

856
00:46:38,040 --> 00:46:40,759
Speaker 1: So there was that element in there that I would

857
00:46:40,800 --> 00:46:43,040
Speaker 1: like to look more into because I think we should

858
00:46:43,080 --> 00:46:47,200
Speaker 1: come back and do kind of a biography. Um oh

859
00:46:47,320 --> 00:46:49,359
Speaker 1: yea something I think we should do. So I think

860
00:46:49,360 --> 00:46:51,560
Speaker 1: we should too. I think it'd be great with her

861
00:46:51,640 --> 00:46:54,160
Speaker 1: Bessie Smith and Bessie Jackson. I think we could just

862
00:46:54,200 --> 00:46:56,000
Speaker 1: do a Mahalia jack all of them. I want to

863
00:46:56,000 --> 00:46:58,360
Speaker 1: talk about all of them. But yeah, there is that

864
00:46:58,440 --> 00:47:01,719
Speaker 1: queer component in which we talked about. Of course, they

865
00:47:01,800 --> 00:47:05,360
Speaker 1: kind of overshouted it with the Levy storyline, which I

866
00:47:05,400 --> 00:47:07,759
Speaker 1: don't know if that was necessary other than to push

867
00:47:07,800 --> 00:47:11,160
Speaker 1: the plot along about how ambitious, overly ambitious he was

868
00:47:11,440 --> 00:47:14,520
Speaker 1: and really he thought he was untouchable, which is again

869
00:47:15,000 --> 00:47:18,319
Speaker 1: part of who his character was. H Poor Dusty may

870
00:47:18,440 --> 00:47:21,759
Speaker 1: just kind of gets thrown all about. But yeah, I

871
00:47:21,840 --> 00:47:25,359
Speaker 1: think the big question. So apparently the reason she got

872
00:47:25,400 --> 00:47:29,640
Speaker 1: her name Ma Rainey is that her and her ex

873
00:47:29,719 --> 00:47:33,319
Speaker 1: husband were Paul and Ma Rainey and they did uh

874
00:47:33,520 --> 00:47:37,480
Speaker 1: minstrel shows together, and then she kept the name Ma Rainey.

875
00:47:37,920 --> 00:47:42,120
Speaker 1: Obviously I don't know who Rainy whatever, And that's how

876
00:47:42,160 --> 00:47:46,000
Speaker 1: she kind of moved into her her stage name and

877
00:47:46,040 --> 00:47:50,840
Speaker 1: her character. Um. But when she left her husband realizing nah,

878
00:47:51,080 --> 00:47:54,319
Speaker 1: you are nothing to me. Not that that's why she left,

879
00:47:54,320 --> 00:47:57,600
Speaker 1: but like, it obviously fell apart, and then she ended up, yeah,

880
00:47:57,760 --> 00:48:00,120
Speaker 1: coming out as queer because she didn't hide it, you

881
00:48:00,120 --> 00:48:04,279
Speaker 1: really didn't. So that was kind of interesting to see. Yeah,

882
00:48:04,840 --> 00:48:06,440
Speaker 1: we'll have to we'll have to return to that. I

883
00:48:06,440 --> 00:48:10,080
Speaker 1: would love to do all musicians, all those musicians you mentioned.

884
00:48:10,080 --> 00:48:13,919
Speaker 1: That'd be fun. In the meantime, if you haven't watched

885
00:48:13,960 --> 00:48:18,040
Speaker 1: this movie the documentary you're on Netflix, go seek them out.

886
00:48:18,480 --> 00:48:22,320
Speaker 1: Really beautifully shot, usually acted. I loved the costuming was

887
00:48:22,400 --> 00:48:25,440
Speaker 1: so good, it was so so good, the music phenomenal.

888
00:48:26,239 --> 00:48:28,960
Speaker 1: Go check it out. And as always, if you have

889
00:48:29,000 --> 00:48:33,880
Speaker 1: a recommendation for our next movie, you should send it

890
00:48:33,880 --> 00:48:38,120
Speaker 1: to us. You can do so at our email, Stuff

891
00:48:38,200 --> 00:48:40,200
Speaker 1: Video Stuff at I Heart media dot com. You can

892
00:48:40,239 --> 00:48:42,200
Speaker 1: find us on Twitter at mom Stuff podcast, or on

893
00:48:42,239 --> 00:48:44,360
Speaker 1: Instagram and Stuff I Never Told You. Thanks. It's always

894
00:48:44,360 --> 00:48:46,799
Speaker 1: to our super producer, Christina. Thank you for making us

895
00:48:46,880 --> 00:48:52,120
Speaker 1: sound good. Christina, Thank you, Christina. Thanks to you for

896
00:48:52,280 --> 00:48:54,360
Speaker 1: listening Stuff I Never Told You his prediction of I

897
00:48:54,400 --> 00:48:56,560
Speaker 1: Heart Radio for more podcast on my Heart Radio, visit

898
00:48:56,600 --> 00:48:58,680
Speaker 1: you Heard you app Apple Podcast, or wherever you listen

899
00:48:58,719 --> 00:49:05,760
Speaker 1: to your favorite shows.