1 00:00:02,920 --> 00:00:05,680 Speaker 1: You are listening and waiting on reparations production of I 2 00:00:05,800 --> 00:00:12,959 Speaker 1: Heart Radio. Yeah, it's waiting on reparations. It's obviously fresh 3 00:00:13,039 --> 00:00:16,239 Speaker 1: the podcast where hippop and politics connect and acknowledge is 4 00:00:16,320 --> 00:00:18,920 Speaker 1: the quest. Any scholarship you get, how could you forget? 5 00:00:19,040 --> 00:00:21,439 Speaker 1: This level? Is acknowledge? You the best? Getting the mix 6 00:00:21,640 --> 00:00:24,279 Speaker 1: stopped with all the relevant ship right wing is really 7 00:00:24,280 --> 00:00:26,840 Speaker 1: thinking this a session? Is it? Body? Y'allma win? In 8 00:00:26,920 --> 00:00:29,800 Speaker 1: real life? They never been hit. Dope Knife been six, 9 00:00:29,880 --> 00:00:32,320 Speaker 1: has never been kissed. It's hip hop. But I'm like, 10 00:00:32,400 --> 00:00:34,560 Speaker 1: how metal is this? But if you want to play 11 00:00:34,600 --> 00:00:37,040 Speaker 1: the dozens, we can settle it quick. I get every 12 00:00:37,040 --> 00:00:40,480 Speaker 1: rebound like whenever I missed the Dope Ama laugh plus 13 00:00:40,600 --> 00:00:51,080 Speaker 1: yellow and Chips. Nick Yo name is Dope Knife And 14 00:00:51,120 --> 00:00:56,480 Speaker 1: we are waiting on reparations. But you know, if slavery 15 00:00:56,640 --> 00:01:01,520 Speaker 1: never ended, maybe you know we have nothing to wait for. Yeah, 16 00:01:01,800 --> 00:01:04,160 Speaker 1: it's all good. We're still you know. That's a groom 17 00:01:04,200 --> 00:01:07,959 Speaker 1: way to open up the ship, isn't it? Well? You know, 18 00:01:08,080 --> 00:01:10,200 Speaker 1: how are you doing today? I'm good. I'm doing all right. 19 00:01:10,200 --> 00:01:12,360 Speaker 1: It's rainy. It's rainy day here at the Georgia, But 20 00:01:12,680 --> 00:01:16,160 Speaker 1: I can't really complain too much. How you do. I'm good. 21 00:01:16,200 --> 00:01:19,160 Speaker 1: It's been thunderstorming off and on in Savannah for like 22 00:01:19,200 --> 00:01:22,200 Speaker 1: the last week, so same sort of thing, you know 23 00:01:22,200 --> 00:01:23,959 Speaker 1: what I mean. I don't feel like leaving the house. 24 00:01:24,280 --> 00:01:28,679 Speaker 1: Climate change some day, drying up this field, the pain, 25 00:01:29,360 --> 00:01:31,760 Speaker 1: you know what's crazy as the rain is going but 26 00:01:31,920 --> 00:01:35,959 Speaker 1: it's still hot as ship. I know. I was like yo, 27 00:01:36,120 --> 00:01:38,600 Speaker 1: in the South, it'd be raining and then some come 28 00:01:38,640 --> 00:01:41,280 Speaker 1: out afterwards to just steam us like a bag of crabs. 29 00:01:42,840 --> 00:01:45,520 Speaker 1: Every time I was walking into the store the other day, 30 00:01:45,520 --> 00:01:47,800 Speaker 1: I couldn't tell if it was rain or like sweat 31 00:01:47,840 --> 00:01:51,160 Speaker 1: pouring down on me. It's just the yeah, I mean, 32 00:01:51,280 --> 00:01:55,440 Speaker 1: you just gotta go with the flow. So so today 33 00:01:55,600 --> 00:02:01,080 Speaker 1: we're doing something a little different. Um, we're doing a 34 00:02:01,200 --> 00:02:04,560 Speaker 1: movie review of a two thousand four film by the 35 00:02:04,640 --> 00:02:08,440 Speaker 1: name of C s A The Confederate States of America. 36 00:02:09,160 --> 00:02:12,040 Speaker 1: This is a movie that I saw back in college 37 00:02:12,680 --> 00:02:16,880 Speaker 1: years ago, and I don't know, it's circulated throughout the 38 00:02:16,919 --> 00:02:22,040 Speaker 1: crew and everybody. You know. It really was a subject 39 00:02:22,040 --> 00:02:25,280 Speaker 1: of discussion amongst my you know, inner circle of friends 40 00:02:25,320 --> 00:02:27,480 Speaker 1: and all of the people who saw it, and it's 41 00:02:27,520 --> 00:02:30,720 Speaker 1: something that just as years went on, I never really 42 00:02:31,360 --> 00:02:35,680 Speaker 1: understood why it wasn't not necessarily more popular, but just 43 00:02:35,960 --> 00:02:38,560 Speaker 1: more known about considering that it was made in the 44 00:02:38,680 --> 00:02:43,239 Speaker 1: era of the Chapelle Show, you know, and things like that, 45 00:02:43,320 --> 00:02:45,200 Speaker 1: and you can definitely see in its humor that it 46 00:02:45,560 --> 00:02:49,720 Speaker 1: is it isn't that I wonder why it never caught on. 47 00:02:49,760 --> 00:02:52,560 Speaker 1: I mean, it's it's definitely has more of a serious 48 00:02:52,600 --> 00:02:55,079 Speaker 1: tone than Chappell's show. But anyway, I know that we're 49 00:02:55,120 --> 00:02:56,560 Speaker 1: we're talking about it and we're being kind of a 50 00:02:56,720 --> 00:02:58,720 Speaker 1: but that's because we want to kind of go in 51 00:02:58,800 --> 00:03:01,520 Speaker 1: depth and in it on this so we are going 52 00:03:01,600 --> 00:03:04,080 Speaker 1: to explain to you the premise, the plot and everything, 53 00:03:04,120 --> 00:03:06,640 Speaker 1: but just to give you a little synopsis of what's coming. 54 00:03:07,200 --> 00:03:12,080 Speaker 1: This film is a mockumentary about retelling of American history 55 00:03:12,440 --> 00:03:16,400 Speaker 1: if the Confederacy had won the Civil War. Oh and 56 00:03:16,440 --> 00:03:20,200 Speaker 1: it's available. It's available on YouTube and various other streaming platforms, so, like, 57 00:03:20,760 --> 00:03:23,120 Speaker 1: you know, check it out. We do get a little 58 00:03:23,120 --> 00:03:25,640 Speaker 1: spoilery in our discussion, but I don't think it ruins 59 00:03:25,680 --> 00:03:29,320 Speaker 1: the film because like it's worth it for the way 60 00:03:29,320 --> 00:03:32,640 Speaker 1: the humorous instantiated. Like, well, we're talking through some of 61 00:03:32,680 --> 00:03:35,000 Speaker 1: the plot points, but it's still very much worth it 62 00:03:35,080 --> 00:03:39,040 Speaker 1: for the chapels. Yeah, and the way that I mean, 63 00:03:39,080 --> 00:03:42,040 Speaker 1: I guarantee you that what we're the things that we 64 00:03:42,080 --> 00:03:44,480 Speaker 1: do go in depth on. It's not even scratching the 65 00:03:44,520 --> 00:03:47,520 Speaker 1: surface of how much there is in the movie, you 66 00:03:47,520 --> 00:03:49,080 Speaker 1: know what I mean to sink your teeth into. So 67 00:03:49,240 --> 00:03:51,720 Speaker 1: we're just it's something that i'd I'd been wanting to 68 00:03:51,720 --> 00:03:55,920 Speaker 1: get Maria to check out for years just because you know, 69 00:03:56,600 --> 00:03:58,840 Speaker 1: you hadn't heard of it. It was again, it was like, damn, yeah, 70 00:03:58,960 --> 00:04:00,840 Speaker 1: I think this would definitely be something that you would 71 00:04:00,840 --> 00:04:03,320 Speaker 1: find interesting, you know. So we're gonna talk about that 72 00:04:03,960 --> 00:04:08,560 Speaker 1: and more after Oh no, no, no, I forgot Um yeah, well, 73 00:04:08,560 --> 00:04:12,280 Speaker 1: I mean the uh, I guess the inception point for 74 00:04:12,400 --> 00:04:15,320 Speaker 1: this whole thing was based off of a pole that 75 00:04:15,400 --> 00:04:18,040 Speaker 1: I recently heard about. It was a new you gov 76 00:04:18,120 --> 00:04:22,240 Speaker 1: poll that revealed that sixty six percent of Southern Republicans 77 00:04:22,560 --> 00:04:26,080 Speaker 1: support secession. According to the results, a fair share of Democrats, 78 00:04:26,120 --> 00:04:29,800 Speaker 1: independence and Republicans in different regions can't imagine leaving the 79 00:04:29,839 --> 00:04:32,800 Speaker 1: US to join a smaller union. Um, and I think 80 00:04:32,880 --> 00:04:35,920 Speaker 1: of it. It's potentially a positive thing. Um. But an 81 00:04:36,000 --> 00:04:38,479 Speaker 1: only one region, the South, did a majority of one 82 00:04:38,520 --> 00:04:41,800 Speaker 1: group come out and strongly in favor. I was six 83 00:04:42,400 --> 00:04:46,560 Speaker 1: of Southern Republicans approving of the idea of a secession 84 00:04:46,560 --> 00:04:51,320 Speaker 1: of Southern Chane. The thing is, I can remember, you know, 85 00:04:51,400 --> 00:04:53,840 Speaker 1: we all thought it was when when I saw this 86 00:04:53,920 --> 00:04:56,320 Speaker 1: movie with my friends back in the day, we all 87 00:04:56,360 --> 00:04:58,480 Speaker 1: thought it was funny. We all thought it was pointed 88 00:04:58,480 --> 00:05:00,520 Speaker 1: and sharp and and made a lot good points and 89 00:05:00,600 --> 00:05:02,920 Speaker 1: with a good commentary and all that stuff. But there 90 00:05:03,000 --> 00:05:08,599 Speaker 1: was still definitely a there was a fantastical element about it, 91 00:05:08,880 --> 00:05:10,960 Speaker 1: you know what I mean. There was there was definitely 92 00:05:11,000 --> 00:05:14,599 Speaker 1: a like, damn, that would be crazy if that happened. 93 00:05:15,560 --> 00:05:20,120 Speaker 1: And now, almost twenty years later, thinking about it, it's like, damn, 94 00:05:21,760 --> 00:05:25,040 Speaker 1: this feels like it feels like we could get there. 95 00:05:25,680 --> 00:05:28,479 Speaker 1: Not not likely, but it just feels like a lot 96 00:05:28,520 --> 00:05:30,880 Speaker 1: more probable of a thing in the movie. It makes 97 00:05:30,920 --> 00:05:32,880 Speaker 1: the movie seem a lot more grip to me when 98 00:05:32,920 --> 00:05:35,360 Speaker 1: I watched, like watching it now for this for this review, 99 00:05:35,440 --> 00:05:37,120 Speaker 1: it's like on a point, you do hear a lot 100 00:05:37,160 --> 00:05:39,320 Speaker 1: of libs, Like on the internet you see those maps 101 00:05:39,320 --> 00:05:41,880 Speaker 1: of like okay, if you had to pick four states 102 00:05:41,920 --> 00:05:44,880 Speaker 1: to seceed with four contiguous states, you know what states 103 00:05:44,880 --> 00:05:48,159 Speaker 1: would you pick? Or like, oh, let's break off the 104 00:05:48,200 --> 00:05:52,840 Speaker 1: South from the rest of from the coasts or whatever 105 00:05:52,920 --> 00:05:56,200 Speaker 1: and like join with Canada like this dream of like 106 00:05:56,320 --> 00:05:58,640 Speaker 1: let's just like get away from racism. Let's just like 107 00:05:59,240 --> 00:06:05,039 Speaker 1: essentially most black people to exactly the Republican overlords in 108 00:06:05,080 --> 00:06:08,960 Speaker 1: the Red States where we you know, generationally, you know, 109 00:06:09,640 --> 00:06:13,440 Speaker 1: it's not a yeah, it's not a good thing. You know, 110 00:06:13,760 --> 00:06:15,520 Speaker 1: it's not a good thing. And it's it's something you 111 00:06:15,520 --> 00:06:18,400 Speaker 1: hear both sides entertained as like a Nana Nanni boo boo. 112 00:06:18,800 --> 00:06:21,600 Speaker 1: Like even if it wasn't that, like, even if it 113 00:06:21,680 --> 00:06:27,159 Speaker 1: wasn't on that like lib fear raging ship, it would 114 00:06:27,160 --> 00:06:29,680 Speaker 1: still be like a fucked up sentiment because like you said, 115 00:06:29,720 --> 00:06:33,240 Speaker 1: it's like, well, you know, I guess everybody who lives there, 116 00:06:33,320 --> 00:06:35,880 Speaker 1: we can just abandon them and it's all good, you 117 00:06:35,880 --> 00:06:37,479 Speaker 1: know what I mean. I know that's not what we 118 00:06:37,520 --> 00:06:39,440 Speaker 1: meant black people can come to. It's like, oh, I'm 119 00:06:39,440 --> 00:06:42,159 Speaker 1: glad that we were the afterthought in your dream of 120 00:06:43,400 --> 00:06:46,800 Speaker 1: just leaving behind your problems rather than confronting and addressing them, 121 00:06:46,800 --> 00:06:50,400 Speaker 1: which is just like liberal wed dream. But anyway, yeah, 122 00:06:50,720 --> 00:06:53,360 Speaker 1: well we're gonna get into this. Flix c s A 123 00:06:53,920 --> 00:07:03,920 Speaker 1: and more after the jump. All right, we are back, 124 00:07:04,360 --> 00:07:08,920 Speaker 1: so c s A the Confederate States of America. It's 125 00:07:09,000 --> 00:07:13,000 Speaker 1: a two thousand four movie that's mockumentary that was directed 126 00:07:13,000 --> 00:07:16,240 Speaker 1: by Kevin Wilmot, who's the writer and director and is 127 00:07:16,400 --> 00:07:20,880 Speaker 1: long focused on black issues in his works. He's collaborated 128 00:07:20,880 --> 00:07:23,440 Speaker 1: with Spike Lee often, and they share an OSCAR for 129 00:07:23,520 --> 00:07:27,320 Speaker 1: Best Original Screenplay for the twenty nineteen movie Black Klansmen. 130 00:07:27,720 --> 00:07:30,360 Speaker 1: Spike Lee is also a producer on this flick. Have 131 00:07:30,440 --> 00:07:35,040 Speaker 1: you seen Black? I have not, you know, if I 132 00:07:35,480 --> 00:07:38,120 Speaker 1: had tried and I fell asleep or something. I'm tripping 133 00:07:38,920 --> 00:07:42,040 Speaker 1: admittedly because like I don't think I've seen Spike Lee's 134 00:07:42,240 --> 00:07:45,680 Speaker 1: last three joints. In general, I'm not a huge movie watcher. 135 00:07:45,920 --> 00:07:48,400 Speaker 1: Um So I'll use that as my excuse. But I mean, 136 00:07:48,400 --> 00:07:50,120 Speaker 1: you watch a lot of horror movies, or at least 137 00:07:50,120 --> 00:07:52,160 Speaker 1: when usually when I do see you watching movies, you're 138 00:07:52,160 --> 00:07:57,840 Speaker 1: watching like so this movie was perfect. Um So, it's 139 00:07:57,840 --> 00:08:00,080 Speaker 1: a it's an alternate history, as we said that for 140 00:08:00,160 --> 00:08:03,360 Speaker 1: the jump, and where in the Confederacy wins the Civil 141 00:08:03,440 --> 00:08:07,600 Speaker 1: War and establishes a new Confederate States of America that 142 00:08:07,680 --> 00:08:12,240 Speaker 1: incorporates the majority of the Western hemisphere, including the contiguous 143 00:08:12,480 --> 00:08:15,680 Speaker 1: United States as well as the Golden Circle, UM, Caribbean 144 00:08:15,720 --> 00:08:19,600 Speaker 1: and South America. And it details the history of you know, 145 00:08:19,880 --> 00:08:24,360 Speaker 1: significant political and cultural events UM in these Confederate States 146 00:08:24,400 --> 00:08:26,520 Speaker 1: in America from its founding up until the early two 147 00:08:26,520 --> 00:08:30,040 Speaker 1: thousand's UM and the viewpoint is used to kind of 148 00:08:30,080 --> 00:08:33,079 Speaker 1: satirize real life issues and events and shed light on 149 00:08:33,120 --> 00:08:37,360 Speaker 1: the continuing existence of discrimination in American culture. Now, the 150 00:08:37,440 --> 00:08:42,440 Speaker 1: thing that separates this from other mockumentaries is, I guess 151 00:08:42,480 --> 00:08:45,480 Speaker 1: I would have to say, is the perspective that it's 152 00:08:45,520 --> 00:08:48,320 Speaker 1: told in. So it's it's brought to you as if 153 00:08:48,880 --> 00:08:52,560 Speaker 1: it's a British documentary. Like just imagine like a sort 154 00:08:52,559 --> 00:08:56,480 Speaker 1: of BBC type of channel, and imagine that you're watching 155 00:08:56,480 --> 00:09:00,440 Speaker 1: that and on this BBC channel, you're there's a documentary 156 00:09:00,520 --> 00:09:02,880 Speaker 1: about the history of the United States, So like you're 157 00:09:02,880 --> 00:09:06,080 Speaker 1: in England and you're watching some about American history over 158 00:09:06,120 --> 00:09:09,880 Speaker 1: there that you know, BBC produced production. And in in 159 00:09:09,960 --> 00:09:12,480 Speaker 1: between it, you know that that's kind of the perspective 160 00:09:12,520 --> 00:09:15,199 Speaker 1: that is told in. So you're watching, you know, television 161 00:09:15,600 --> 00:09:19,200 Speaker 1: in this world where the Confederacy has taken over so 162 00:09:19,440 --> 00:09:23,280 Speaker 1: interrupting the program you're watching. You have these commercial breaks 163 00:09:23,480 --> 00:09:25,719 Speaker 1: that we're gonna get into later on, but it's it's 164 00:09:25,720 --> 00:09:30,400 Speaker 1: showing you what I guess advertising and marketing would be 165 00:09:30,679 --> 00:09:33,839 Speaker 1: in a white supremacist slave culture. And then it has 166 00:09:33,880 --> 00:09:35,720 Speaker 1: two talking heads that sort of provide a lot of 167 00:09:35,720 --> 00:09:39,120 Speaker 1: the narration for the film. There's Sherman Hoyle, who, um, 168 00:09:39,160 --> 00:09:40,640 Speaker 1: I guess it is is supposed to be a parody of 169 00:09:40,679 --> 00:09:43,599 Speaker 1: this dude, Shelby Foote, who was sort of a historian 170 00:09:43,920 --> 00:09:49,120 Speaker 1: that was a leader with the you know, um, the 171 00:09:49,280 --> 00:09:54,679 Speaker 1: Lost Cause movement of like, oh, you know, the the 172 00:09:54,840 --> 00:09:58,240 Speaker 1: heroism of those that fought for the Confederacy, and then 173 00:09:58,240 --> 00:10:01,800 Speaker 1: now it wasn't all about slavery, that whole branch of 174 00:10:01,800 --> 00:10:06,200 Speaker 1: of history, making um, the attempt to arrest control of 175 00:10:06,280 --> 00:10:10,080 Speaker 1: the narrative away from the linus UM. And so these 176 00:10:10,080 --> 00:10:12,120 Speaker 1: are conservative seven are given his take. And then on 177 00:10:12,160 --> 00:10:15,920 Speaker 1: the other hand, you've got a black Canadian professor, Patricia 178 00:10:16,040 --> 00:10:22,160 Speaker 1: Johnson UM providing commentary throughout the film. UM. And then 179 00:10:22,280 --> 00:10:27,240 Speaker 1: you've got this dude, John Ambroise spawn Troy, great grandson 180 00:10:27,280 --> 00:10:29,000 Speaker 1: of one of them men that helped found the cis A. 181 00:10:29,800 --> 00:10:34,120 Speaker 1: It's also interviewed and what's interesting is the narration UM 182 00:10:34,320 --> 00:10:39,120 Speaker 1: explains the fake historical news real footage UM which is 183 00:10:39,120 --> 00:10:43,679 Speaker 1: either acted acted out or made of genuine archival footage 184 00:10:43,720 --> 00:10:47,080 Speaker 1: dubbed with fictional narration, which I found really entertaining. And 185 00:10:47,200 --> 00:10:49,120 Speaker 1: one of the things one of the reviews that I 186 00:10:49,160 --> 00:10:52,120 Speaker 1: read about this film is it was kind of like 187 00:10:52,160 --> 00:10:54,920 Speaker 1: a critical review, but they were just saying this film 188 00:10:55,000 --> 00:10:59,800 Speaker 1: suffered because the budget was very low. Yeah, it was 189 00:10:59,800 --> 00:11:02,720 Speaker 1: like they were making the point that it made it 190 00:11:02,720 --> 00:11:07,760 Speaker 1: seem a lot maybe more hokey or more satirical than 191 00:11:07,200 --> 00:11:11,040 Speaker 1: I actually think the budget in that sense that you 192 00:11:11,160 --> 00:11:13,400 Speaker 1: just made up or that you just pointed out. I 193 00:11:13,440 --> 00:11:15,760 Speaker 1: think the budget helped it out because some of those 194 00:11:16,920 --> 00:11:20,800 Speaker 1: scenes where they have like archival footage next to their 195 00:11:20,840 --> 00:11:25,040 Speaker 1: stuff that's like re enacted. Because the budget is low, 196 00:11:25,360 --> 00:11:28,520 Speaker 1: the quality of the film makes it like blended. So 197 00:11:28,559 --> 00:11:31,400 Speaker 1: it's like, oh, man, is that you know what I mean? 198 00:11:31,440 --> 00:11:33,640 Speaker 1: Like for a second, you're like, is that really a 199 00:11:33,760 --> 00:11:35,800 Speaker 1: video of Abraham Lincoln? Like you know what I mean? 200 00:11:35,840 --> 00:11:38,000 Speaker 1: Like that really like an old video of Abraham Lincoln 201 00:11:38,000 --> 00:11:41,960 Speaker 1: like talking, because it looks like actually Grady photo video 202 00:11:42,160 --> 00:11:44,679 Speaker 1: next to like these old Civil War photos and stuff. 203 00:11:44,720 --> 00:11:46,439 Speaker 1: Like that. I thought that I thought that helped it. It 204 00:11:46,400 --> 00:11:48,480 Speaker 1: It made it look genuine. I think I think it 205 00:11:48,520 --> 00:11:50,880 Speaker 1: holds up. I mean I think that thinking back to 206 00:11:51,000 --> 00:11:53,640 Speaker 1: like the History Channel documentaries and ship that I saw 207 00:11:53,720 --> 00:11:55,520 Speaker 1: him when I was a kid, maybe late you know, 208 00:11:55,600 --> 00:11:59,240 Speaker 1: late nineties, etcetera, this is very I mean it's very similar, 209 00:12:00,200 --> 00:12:02,200 Speaker 1: very similar, at least in the way it looks. And 210 00:12:02,240 --> 00:12:05,360 Speaker 1: so I don't know, I don't think that um pretty 211 00:12:05,360 --> 00:12:08,559 Speaker 1: good the critique stance, But you'll be the judge. I 212 00:12:08,640 --> 00:12:11,240 Speaker 1: can check it out after you listened to this episode. 213 00:12:11,640 --> 00:12:14,480 Speaker 1: Kevin Wilmot brgan production on the film with funding from 214 00:12:14,480 --> 00:12:20,080 Speaker 1: the National Black Programming Consuscordia, or the NBPC, and he 215 00:12:20,120 --> 00:12:24,280 Speaker 1: wrote the first draft. He had earlier written a screenplay 216 00:12:24,320 --> 00:12:27,440 Speaker 1: about abolitionist John Brown, and he told interviewers he was 217 00:12:27,480 --> 00:12:30,520 Speaker 1: inspired to write the story after seeing an episode of 218 00:12:30,520 --> 00:12:34,360 Speaker 1: the ken Burns nineteen nineties documentary The Civil War. I've 219 00:12:34,400 --> 00:12:37,679 Speaker 1: never seen that documentary view No, I have not. Actually 220 00:12:38,280 --> 00:12:41,600 Speaker 1: I've seen the Vietnam one that ken Burns did. That's 221 00:12:41,640 --> 00:12:44,520 Speaker 1: like a famous one. So let's get into some of 222 00:12:44,520 --> 00:12:48,640 Speaker 1: the things that kind of stand out about this film 223 00:12:48,760 --> 00:12:50,600 Speaker 1: to you, Like, what were your somebody what were your 224 00:12:50,679 --> 00:12:54,600 Speaker 1: initial just first and foremost, since I finally got you 225 00:12:54,600 --> 00:12:58,680 Speaker 1: to see it, what's your initial like thoughts about the movie? Well, 226 00:12:58,720 --> 00:13:01,720 Speaker 1: and watching it, you know, I was aware that it 227 00:13:01,760 --> 00:13:07,080 Speaker 1: was intended to satirize and sort of um speculate about 228 00:13:07,160 --> 00:13:10,800 Speaker 1: what if with a lot of American history had the 229 00:13:10,840 --> 00:13:14,760 Speaker 1: Confederacy one. But as I was watching it, I was like, Yo, 230 00:13:14,920 --> 00:13:18,480 Speaker 1: some of this kind of like did happen though, like 231 00:13:18,600 --> 00:13:22,400 Speaker 1: in real life, like for real, for real um, particularly 232 00:13:22,480 --> 00:13:27,719 Speaker 1: as I was thinking about like um um the so 233 00:13:27,920 --> 00:13:30,559 Speaker 1: um in the film, they the Confederacy goes on to 234 00:13:30,640 --> 00:13:35,080 Speaker 1: conquer not only the contiguos United States, but Cuba, South America. 235 00:13:35,320 --> 00:13:40,240 Speaker 1: They build a wall between America and Canada, the Cotton Curtain, um, 236 00:13:40,400 --> 00:13:44,280 Speaker 1: to to to separate the abolitionists and the runaway slaves 237 00:13:44,360 --> 00:13:47,000 Speaker 1: from you know, those territory in which slavery is illegal. 238 00:13:47,600 --> 00:13:51,079 Speaker 1: But thinking about like the conquests that they undertake of 239 00:13:51,160 --> 00:13:56,080 Speaker 1: Latin America to sort of spread their capitalists ideology, I mean, 240 00:13:56,120 --> 00:13:59,960 Speaker 1: you know, like using humans as capital um. I was like, Yo, 241 00:14:00,240 --> 00:14:03,760 Speaker 1: that's sort of like real ship though, because if you 242 00:14:03,760 --> 00:14:09,720 Speaker 1: you know, study the history of US Latin American relations, um, 243 00:14:09,800 --> 00:14:16,199 Speaker 1: we've been involved in like regime change in Argentina, Bolivia, Brazil, Chile, 244 00:14:16,480 --> 00:14:22,280 Speaker 1: Costa Rica, Cuba, the Dominican Republic, El Salvador, Guatemala, pretty 245 00:14:22,360 --> 00:14:26,240 Speaker 1: much every single country. Uh, then you can name if 246 00:14:26,240 --> 00:14:27,880 Speaker 1: you throw a guard at a map, you hit a 247 00:14:27,880 --> 00:14:32,840 Speaker 1: country where the CIA and you know, US backed forces 248 00:14:33,160 --> 00:14:38,080 Speaker 1: have been involved in the destabilization of democratically elected governments, um. 249 00:14:38,200 --> 00:14:41,680 Speaker 1: Such so that um, you know, we can continue to 250 00:14:43,440 --> 00:14:47,800 Speaker 1: you know, exploit their resources, UM so that you know, 251 00:14:47,920 --> 00:14:51,880 Speaker 1: socialism or other forms of organizing the economy don't take 252 00:14:51,920 --> 00:14:54,080 Speaker 1: on and then get exported to other countries. When people 253 00:14:54,080 --> 00:14:56,120 Speaker 1: are like that actually works out really well, they're like 254 00:14:56,160 --> 00:14:58,080 Speaker 1: they come in, it's like, nope, we're gonna make sure 255 00:14:58,120 --> 00:15:03,200 Speaker 1: that you're working classes are held as chattel. Um by 256 00:15:03,360 --> 00:15:07,400 Speaker 1: coming in and there militarily or covertly through espionage another 257 00:15:07,480 --> 00:15:12,280 Speaker 1: means like I think com neoliberalism. Yeah, it feels like 258 00:15:12,320 --> 00:15:15,080 Speaker 1: that's the point of the movie kind of show that. 259 00:15:16,120 --> 00:15:18,920 Speaker 1: It's kind of like showing that just because the mask 260 00:15:19,920 --> 00:15:23,560 Speaker 1: was on doesn't like differentiate the actions, you know what 261 00:15:23,560 --> 00:15:27,160 Speaker 1: I'm saying. So it's like it shows you how this 262 00:15:27,560 --> 00:15:31,160 Speaker 1: how the Confederacy one and just continued on this like 263 00:15:31,520 --> 00:15:35,920 Speaker 1: white supremacist sort of agenda. But it was just like 264 00:15:36,000 --> 00:15:38,680 Speaker 1: open face because it's like, hey, we're the Confederacy, you 265 00:15:38,720 --> 00:15:41,400 Speaker 1: know what I mean, we got But then when you 266 00:15:41,440 --> 00:15:45,120 Speaker 1: think about it in parallel to how history actually played out, 267 00:15:45,160 --> 00:15:47,600 Speaker 1: it's like, oh, wait, we were doing the same white 268 00:15:47,600 --> 00:15:50,240 Speaker 1: supremacist thing. We just weren't calling it that, and you 269 00:15:50,280 --> 00:15:51,880 Speaker 1: know what I mean, And that just we just weren't 270 00:15:51,880 --> 00:15:55,160 Speaker 1: being open with the ship. Yeah. And as an abolitionist myself, 271 00:15:55,200 --> 00:15:59,840 Speaker 1: I mean, like my key, my like core political framework 272 00:16:00,520 --> 00:16:03,520 Speaker 1: is the come stemps in the belief that slavery was 273 00:16:03,560 --> 00:16:06,920 Speaker 1: not abolished, like with reconstructions failure, with a pull out 274 00:16:06,920 --> 00:16:09,160 Speaker 1: of Northern troops from the South during the period of 275 00:16:09,640 --> 00:16:15,520 Speaker 1: economic um they're rebuilding the South economically, our failure to 276 00:16:15,640 --> 00:16:19,560 Speaker 1: provide um stable supports and protections for people of color 277 00:16:19,640 --> 00:16:23,800 Speaker 1: during that period um, and and the way that our 278 00:16:23,960 --> 00:16:28,320 Speaker 1: you know, our criminal justice apparatus apparatuses were restructured to 279 00:16:28,480 --> 00:16:31,960 Speaker 1: maintain social control, like that stuff never ended. And so 280 00:16:32,040 --> 00:16:34,200 Speaker 1: I think that I mean, from that lens, like a 281 00:16:34,240 --> 00:16:36,920 Speaker 1: lot of what they portrayed the movie, if it very 282 00:16:37,000 --> 00:16:39,360 Speaker 1: much fits into that, was like white supremacy ultimately still 283 00:16:39,360 --> 00:16:43,280 Speaker 1: one even if slavery was nominally abolished in the form 284 00:16:43,320 --> 00:16:47,400 Speaker 1: of like, you know, chattel ownership of of humans. So 285 00:16:47,480 --> 00:16:50,080 Speaker 1: let's let me give a little, just a little like 286 00:16:50,240 --> 00:16:54,880 Speaker 1: bullet point timeline of how they have events sort of happened, right, 287 00:16:54,960 --> 00:16:58,000 Speaker 1: So the Civil War happens for all of the reasons 288 00:16:58,000 --> 00:17:01,120 Speaker 1: of the Civil War happens. But in in the film, 289 00:17:01,200 --> 00:17:05,720 Speaker 1: the South decides to like decidedly declare that the Civil 290 00:17:05,760 --> 00:17:08,920 Speaker 1: War is about states rights. Like that's there. That's their 291 00:17:08,920 --> 00:17:12,280 Speaker 1: main propaganda push is that it states rights instead of 292 00:17:12,680 --> 00:17:14,960 Speaker 1: you know, just openly being like we're fighting for the 293 00:17:15,040 --> 00:17:21,239 Speaker 1: right to preserve slavery. So this, well, I mean, you know, 294 00:17:21,280 --> 00:17:25,480 Speaker 1: the ambiguity of it is strategy. So them doing that 295 00:17:25,720 --> 00:17:29,440 Speaker 1: then opens the way for Europe I guess feel good 296 00:17:29,440 --> 00:17:32,000 Speaker 1: with getting involved at this point. For example, in the 297 00:17:32,000 --> 00:17:34,720 Speaker 1: movie The Battle of the Battle of Gettysburg, it's the 298 00:17:34,760 --> 00:17:38,639 Speaker 1: Northern troops that fighting the Confederacy, but also French troops 299 00:17:38,640 --> 00:17:41,440 Speaker 1: and British troops and stuff like that. The Confederacy ends 300 00:17:41,520 --> 00:17:44,159 Speaker 1: up winning. This leads to a chain of events like 301 00:17:44,280 --> 00:17:47,120 Speaker 1: Abraham Lincoln getting exiled and then he has to run 302 00:17:47,119 --> 00:17:51,080 Speaker 1: away to Canada where he dies. Um Harriet Tubman gets 303 00:17:51,200 --> 00:17:55,360 Speaker 1: gets found and they execute her. They do a they 304 00:17:55,400 --> 00:18:00,480 Speaker 1: do like a Northern Northern reconstruction where they pretty much 305 00:18:00,480 --> 00:18:03,880 Speaker 1: go in and then implement slavery throughout the nation, so 306 00:18:04,240 --> 00:18:08,000 Speaker 1: that in turn makes this giant fascist state that yeah, 307 00:18:08,080 --> 00:18:11,440 Speaker 1: they like offered tax credits for like Northerners to get them, 308 00:18:11,600 --> 00:18:14,960 Speaker 1: to incentivise them to own slaves, and even got a picture. 309 00:18:15,080 --> 00:18:20,719 Speaker 1: You're like, well, you know, this government benefit makes it 310 00:18:20,840 --> 00:18:25,320 Speaker 1: very lucrative. I mean, I don't know, I can get 311 00:18:25,320 --> 00:18:28,159 Speaker 1: a picture it. Hey, here's what I can picture, right, 312 00:18:28,440 --> 00:18:34,520 Speaker 1: and this is this is what I can picture. Okay, 313 00:18:34,520 --> 00:18:37,520 Speaker 1: So seventy five million people voted for Donald Trump, right, 314 00:18:38,160 --> 00:18:42,520 Speaker 1: mm hmm. I feel like if Donald Trump looked dead, 315 00:18:43,040 --> 00:18:46,919 Speaker 1: dead eyed in the camera tomorrow was like, yo, we 316 00:18:46,960 --> 00:18:50,560 Speaker 1: need to bring back slavery. I kind of think that 317 00:18:50,760 --> 00:18:54,280 Speaker 1: at least seventy million people would still vote for Donald Trump. Well, 318 00:18:54,280 --> 00:18:57,000 Speaker 1: they'd be a little yeah there, There'd bet million would 319 00:18:57,000 --> 00:18:58,920 Speaker 1: be like, oh, that was a deep fake. I don't 320 00:18:58,920 --> 00:19:02,920 Speaker 1: believe that he's a good guy. And then another are 321 00:19:03,000 --> 00:19:07,360 Speaker 1: probably like, yeah, let's do it. Other historical things that 322 00:19:07,440 --> 00:19:09,560 Speaker 1: you know they portrayed the film that we're not too 323 00:19:09,600 --> 00:19:12,359 Speaker 1: far off from reality. Um, I think in World War 324 00:19:12,400 --> 00:19:16,840 Speaker 1: Two they go America goes to fight the Nazis, but 325 00:19:16,960 --> 00:19:22,240 Speaker 1: not because um, they want but because they prefer that 326 00:19:22,240 --> 00:19:27,119 Speaker 1: the Jews be enslaved rather than yeah, exterminated. Yeah, because 327 00:19:27,320 --> 00:19:33,280 Speaker 1: because we're this uh giant Confederate fascist state that's taken 328 00:19:33,320 --> 00:19:39,840 Speaker 1: over um, South America and has their hands rooted in everything. 329 00:19:39,880 --> 00:19:43,480 Speaker 1: And also they're about some right supremacy ship. The Confederacy 330 00:19:43,600 --> 00:19:47,520 Speaker 1: allies with Hitler, and while he's getting ready to do 331 00:19:47,920 --> 00:19:51,640 Speaker 1: the Holocaust, they suggest to him this character who's kind 332 00:19:51,640 --> 00:19:54,800 Speaker 1: of his generation. This character font Roy, is kind of 333 00:19:54,840 --> 00:19:57,359 Speaker 1: a recurring character throughout the movie, like in the different 334 00:19:57,359 --> 00:20:00,240 Speaker 1: generations of his families are Like you see him in 335 00:20:00,280 --> 00:20:02,720 Speaker 1: the Construction of the Confederate State, and then you see 336 00:20:02,720 --> 00:20:07,840 Speaker 1: his grandson who's running for office now. But that senator, 337 00:20:07,840 --> 00:20:12,399 Speaker 1: that congressman. He suggests to Hitler, a, you know, you 338 00:20:12,440 --> 00:20:15,520 Speaker 1: should enslave the Jews instead of killing them. So then 339 00:20:15,600 --> 00:20:21,240 Speaker 1: that leads to access power that includes the US and Germany, 340 00:20:21,320 --> 00:20:26,240 Speaker 1: and then we end up invading Japan prematurely and taking 341 00:20:26,280 --> 00:20:29,200 Speaker 1: that over. It's it's crazy, man. I mean the whole thing, 342 00:20:29,280 --> 00:20:31,960 Speaker 1: the way that I'm describing it is almost sounds like 343 00:20:32,040 --> 00:20:35,800 Speaker 1: it's a fucking like sci fi thriller and ship like that. 344 00:20:35,880 --> 00:20:37,919 Speaker 1: It's very much, you know, done in the style of 345 00:20:37,920 --> 00:20:40,800 Speaker 1: a documentary. But I think that the ideas they're dealing with, 346 00:20:41,520 --> 00:20:43,000 Speaker 1: it's just there's just so much there, you know what 347 00:20:43,040 --> 00:20:44,480 Speaker 1: I'm saying. When you just think of it from a 348 00:20:44,560 --> 00:20:48,840 Speaker 1: story standpoint, the it's really a cool work in world 349 00:20:48,880 --> 00:20:51,679 Speaker 1: building because they really thought of every aspect of how 350 00:20:51,760 --> 00:20:54,399 Speaker 1: history would play out. And I think it's a number 351 00:20:54,400 --> 00:20:56,400 Speaker 1: of parallels here, but one that popped out to me 352 00:20:57,000 --> 00:21:00,560 Speaker 1: was that the Confederate recruited slaves voluntarily released by their 353 00:21:00,560 --> 00:21:03,520 Speaker 1: owners for military service as soldiers by and promised them 354 00:21:03,520 --> 00:21:07,280 Speaker 1: their freedom after the war and exchanged for fighting I promise, 355 00:21:07,320 --> 00:21:09,280 Speaker 1: which turned out to be a lie. And that this 356 00:21:09,400 --> 00:21:12,320 Speaker 1: does not stray too too far from the reality of 357 00:21:12,359 --> 00:21:16,159 Speaker 1: black veterans returning for more, whether it be within the 358 00:21:16,240 --> 00:21:19,679 Speaker 1: promises made by the g I bill, UM for mortgages, 359 00:21:19,960 --> 00:21:23,800 Speaker 1: for access to higher education, UM. The g I Bills 360 00:21:23,880 --> 00:21:28,119 Speaker 1: language didn't specifically exclude African American veterans, but it was 361 00:21:28,160 --> 00:21:31,959 Speaker 1: structured in a way that ultimately shut out I think 362 00:21:32,040 --> 00:21:35,679 Speaker 1: like one point two million black veterans that served in 363 00:21:35,840 --> 00:21:39,040 Speaker 1: the world War two who served in resegregator ranks by 364 00:21:39,080 --> 00:21:41,720 Speaker 1: the way, UM, and so they actually used some of 365 00:21:41,720 --> 00:21:44,560 Speaker 1: the tactics that had previously been used with the New 366 00:21:44,640 --> 00:21:48,320 Speaker 1: Deal to ensure that UM. The g I Bill helped 367 00:21:48,359 --> 00:21:51,920 Speaker 1: a few black people as possible. UM. You know, for example, 368 00:21:52,040 --> 00:21:55,320 Speaker 1: some couldn't access benefits when they got home because they 369 00:21:55,320 --> 00:21:58,879 Speaker 1: had not been given an honorable discharge. UM. A much 370 00:21:59,000 --> 00:22:02,040 Speaker 1: larger number of black Urrans who were discharged were discharged 371 00:22:02,080 --> 00:22:06,160 Speaker 1: dishonorably than their white counterparts. As well, UM, a number 372 00:22:06,200 --> 00:22:09,679 Speaker 1: of veterans UM who did qualify couldn't find facilities that 373 00:22:09,760 --> 00:22:13,360 Speaker 1: delivered on the bill's promise. For example, black veterans UM 374 00:22:13,480 --> 00:22:16,679 Speaker 1: or offered access to a vocational training program, but the 375 00:22:16,720 --> 00:22:18,440 Speaker 1: only place to get it was at a segregated high 376 00:22:18,480 --> 00:22:21,959 Speaker 1: school and in the and then for in this specific example, 377 00:22:22,160 --> 00:22:27,080 Speaker 1: it was in Indianapolis, UM because because they weren't allow 378 00:22:27,119 --> 00:22:28,879 Speaker 1: because they weren't allowed to use the facilities. Because if 379 00:22:29,160 --> 00:22:34,160 Speaker 1: there's a segregate UM and then intimidation from the public, 380 00:22:34,560 --> 00:22:37,399 Speaker 1: you know, MOB rules also leverage to discourage black veterans 381 00:22:37,440 --> 00:22:40,480 Speaker 1: from taking advantage of the benefits they were promised. UM. 382 00:22:40,520 --> 00:22:45,119 Speaker 1: For example, in a crowd hurled rocks at black veterans 383 00:22:45,160 --> 00:22:48,840 Speaker 1: as they were moved into a Chicago housing development. And 384 00:22:48,880 --> 00:22:51,400 Speaker 1: you know, thousands and thousands of black veterans were attacked 385 00:22:51,400 --> 00:22:54,200 Speaker 1: in the years following World War Two. UM, some were 386 00:22:54,200 --> 00:22:57,960 Speaker 1: singled out and lynch and so just like street violence, 387 00:22:58,040 --> 00:23:02,399 Speaker 1: in addition to you know aarious uh you're bureaucratic or 388 00:23:02,440 --> 00:23:06,040 Speaker 1: other otherwise you know, policy means used to actually ensured 389 00:23:06,080 --> 00:23:09,840 Speaker 1: that like yelling, get shit. UM. And then uh, the 390 00:23:09,880 --> 00:23:13,000 Speaker 1: discussion of Interestingly, this is a theme that's carried through 391 00:23:13,040 --> 00:23:16,320 Speaker 1: and some of Spike Lee's work, UM, the Five Bloods 392 00:23:16,359 --> 00:23:20,119 Speaker 1: that came out into UM talks a lot about actually 393 00:23:20,160 --> 00:23:22,200 Speaker 1: the focus of the film is a black federalist treatment 394 00:23:22,200 --> 00:23:26,840 Speaker 1: returning from Vietnam UM, which also UM in my study, 395 00:23:26,840 --> 00:23:29,080 Speaker 1: I've been reading the hub P Newton Reader, and UM, 396 00:23:29,119 --> 00:23:32,240 Speaker 1: it seems like, particularly the Vietnam conflict. While it doesn't 397 00:23:32,240 --> 00:23:35,280 Speaker 1: really like the factor in the film here, this idea 398 00:23:35,320 --> 00:23:37,880 Speaker 1: that all you go fight you know, abroad and come 399 00:23:37,920 --> 00:23:41,040 Speaker 1: back and to you know, a better life, because well yeah, 400 00:23:41,200 --> 00:23:43,280 Speaker 1: but you really come back to being a slave. UM 401 00:23:43,400 --> 00:23:47,400 Speaker 1: was a reality that like a lot of black revolutionaries 402 00:23:47,440 --> 00:23:50,000 Speaker 1: were keenly aware of and that really informed their anti 403 00:23:50,040 --> 00:23:55,600 Speaker 1: imperialist uh stances in a sense of internationalist solidarity um 404 00:23:55,880 --> 00:23:58,600 Speaker 1: during that period, umcause they're like, are you kidding? Go 405 00:23:58,720 --> 00:24:01,320 Speaker 1: fight a war again, people who have more in common 406 00:24:01,359 --> 00:24:03,640 Speaker 1: with and the folks sending me to go fight, um 407 00:24:03,760 --> 00:24:05,760 Speaker 1: just to come home and be like called a nigger 408 00:24:05,800 --> 00:24:11,080 Speaker 1: still Like like that whole part is actually my favorite 409 00:24:11,119 --> 00:24:13,920 Speaker 1: part of the movie, when they get into the sixties 410 00:24:13,960 --> 00:24:16,200 Speaker 1: and stuff like that, because by the time they get 411 00:24:16,200 --> 00:24:20,080 Speaker 1: to the sixties in the film, you know, everything as 412 00:24:20,080 --> 00:24:23,800 Speaker 1: far as like, as far as they're concerned, the Confederacies 413 00:24:23,880 --> 00:24:27,240 Speaker 1: in tranquil peace and everything is the way they wanted 414 00:24:27,320 --> 00:24:30,360 Speaker 1: to be, and the you know, the whole entire thing 415 00:24:30,440 --> 00:24:34,240 Speaker 1: is thriving. But then you start having an abolitionist group 416 00:24:34,320 --> 00:24:38,920 Speaker 1: that's Canadian bass called the j BU, the John Brown 417 00:24:39,080 --> 00:24:44,240 Speaker 1: Underground and they form as freedom fighters slash terrorists to 418 00:24:44,280 --> 00:24:47,719 Speaker 1: the Confederacy, doing bombings and things like that, and this 419 00:24:47,840 --> 00:24:53,160 Speaker 1: creates more tension between Canada and the US. And in Canada, 420 00:24:53,200 --> 00:24:56,240 Speaker 1: by the way, since free black people are in Canada, 421 00:24:57,000 --> 00:25:01,120 Speaker 1: Canada is the country that cultural elite ribs where you've 422 00:25:01,160 --> 00:25:03,600 Speaker 1: got blues and jazz and rock and roll and all 423 00:25:03,640 --> 00:25:07,040 Speaker 1: these things, and uh, the US pretty much stays like 424 00:25:07,119 --> 00:25:12,280 Speaker 1: you know, Dixie. So it starts this tension between Canada 425 00:25:12,320 --> 00:25:14,760 Speaker 1: and the US and they build like they pretty much 426 00:25:15,040 --> 00:25:19,920 Speaker 1: they use abolition as a substitution for communism. Yeah, so 427 00:25:20,080 --> 00:25:22,919 Speaker 1: the Red Scare in the sixties and the film is 428 00:25:22,960 --> 00:25:26,359 Speaker 1: like a scare about the spread of abolition, and there's 429 00:25:26,359 --> 00:25:28,760 Speaker 1: a there's a really cool part where they show a 430 00:25:28,840 --> 00:25:33,040 Speaker 1: snippet from a fake nineteen sixties movie called The Abolitionists, 431 00:25:33,080 --> 00:25:35,679 Speaker 1: and it's like this woman confronting her husband and she's like, 432 00:25:36,920 --> 00:25:39,520 Speaker 1: you've been reading all of these books the Life and 433 00:25:39,600 --> 00:25:44,159 Speaker 1: Times of Frederick Douglas, Uncle Tom's cabin. What are you 434 00:25:44,200 --> 00:25:47,240 Speaker 1: doing with these? And he's like, I'm reading them. I'm 435 00:25:47,280 --> 00:25:52,200 Speaker 1: an abolitionist. Don done Dune. Yeah, yeah, I know. That's 436 00:25:52,320 --> 00:25:54,320 Speaker 1: that's mad funny. What would you say it was your 437 00:25:54,320 --> 00:25:57,560 Speaker 1: favorite part? Um? My favorite part? I honestly, I know 438 00:25:57,560 --> 00:25:58,840 Speaker 1: you're gonna talk about this a little bit, but I 439 00:25:58,920 --> 00:26:03,240 Speaker 1: thought the commercials really particularly understanding some of their like origin, 440 00:26:03,520 --> 00:26:05,560 Speaker 1: the origins of the I'll let you get into that 441 00:26:05,600 --> 00:26:08,320 Speaker 1: in a second, but that those little snippet breaks. You 442 00:26:08,359 --> 00:26:10,800 Speaker 1: never knew what was gonna You never knew it's gonna 443 00:26:10,800 --> 00:26:19,000 Speaker 1: be like oh, commercial brake, let's see what it is. Yeah, 444 00:26:20,000 --> 00:26:22,560 Speaker 1: So okay, so let's get into these commercial breaks, because 445 00:26:22,600 --> 00:26:26,320 Speaker 1: I guess if there's any sort of like hook to 446 00:26:26,480 --> 00:26:28,800 Speaker 1: the film, and it got it's such like a dark, 447 00:26:29,240 --> 00:26:31,960 Speaker 1: darkly humorous thing. But the hook of the film, I 448 00:26:31,960 --> 00:26:36,000 Speaker 1: would say, is around the commercial breaks that are, you know, 449 00:26:36,080 --> 00:26:41,960 Speaker 1: interrupting the document documentary that you're watching and in this 450 00:26:42,160 --> 00:26:45,480 Speaker 1: fake world of the Confederacy, in this fake world, but 451 00:26:45,560 --> 00:26:47,680 Speaker 1: in this in this world that the movie creates of 452 00:26:47,760 --> 00:26:53,320 Speaker 1: the Confederacy running things you have ads for I mean 453 00:26:53,359 --> 00:26:57,480 Speaker 1: pretty much the sort of advertisements that would exist that 454 00:26:57,600 --> 00:27:00,879 Speaker 1: existed in the US in the time of slavery, but 455 00:27:00,960 --> 00:27:04,000 Speaker 1: you see them updated through time, you know what I mean. 456 00:27:04,440 --> 00:27:08,720 Speaker 1: And then also they do parallels with shows in products 457 00:27:08,720 --> 00:27:11,600 Speaker 1: and things that we have now to kind of peel 458 00:27:11,720 --> 00:27:13,960 Speaker 1: the skin off of the onion to show you, you know, 459 00:27:14,080 --> 00:27:17,320 Speaker 1: how some of these things themselves are rooted in white 460 00:27:17,320 --> 00:27:20,879 Speaker 1: supremacy to begin with, the best example of this is 461 00:27:21,200 --> 00:27:25,240 Speaker 1: their interpretation of the show Cops. So they have a show, 462 00:27:25,680 --> 00:27:28,119 Speaker 1: you know, there's a commercial break for a show called Runaways, 463 00:27:28,880 --> 00:27:35,399 Speaker 1: and it's it's just cops chasing after runaway slaves and 464 00:27:36,280 --> 00:27:38,399 Speaker 1: through the theme song instead of having the Bad Boys 465 00:27:38,440 --> 00:27:42,040 Speaker 1: theme song. It's like, you know, Southern Dixie, run boy 466 00:27:42,119 --> 00:27:43,920 Speaker 1: run boy By, you better run run run boy run 467 00:27:43,920 --> 00:27:46,640 Speaker 1: boy By, you better run Runaways and all the twitters 468 00:27:46,640 --> 00:27:49,040 Speaker 1: that you're seeing it looks like an episode of Cops. 469 00:27:49,040 --> 00:27:51,080 Speaker 1: But in the context of this, it's like, I mean, 470 00:27:51,520 --> 00:27:55,040 Speaker 1: for me, just growing up, Cops was always just whatever. 471 00:27:55,200 --> 00:27:57,200 Speaker 1: I never watched it, but it was just a thing 472 00:27:57,280 --> 00:27:58,879 Speaker 1: that was on TV, you know what I mean. And 473 00:27:59,160 --> 00:28:02,119 Speaker 1: it was debiquitous, yeah, exactly. And it wasn't until I 474 00:28:02,119 --> 00:28:04,080 Speaker 1: saw this movie back in the day where I was like, 475 00:28:04,760 --> 00:28:10,719 Speaker 1: oh wait. Commercials range from there is a toothpaste called 476 00:28:10,960 --> 00:28:15,840 Speaker 1: Darky Toothpaste. We've got the sambo X fifteen motor oil 477 00:28:15,880 --> 00:28:19,920 Speaker 1: commercial and that commercial and is pretty, um, pretty disturbing. 478 00:28:19,960 --> 00:28:24,199 Speaker 1: It starts off with kind of like a what are 479 00:28:24,240 --> 00:28:27,840 Speaker 1: they called smoke? What's not smoking? In the bandit the 480 00:28:27,880 --> 00:28:29,639 Speaker 1: Dukes of Hazard. It kind of has like a Dukes 481 00:28:29,640 --> 00:28:32,760 Speaker 1: of Hazard duo who are who are sitting cleaning their car? 482 00:28:33,359 --> 00:28:38,120 Speaker 1: And then you know, a famous NASCAR ish driver appears. 483 00:28:38,240 --> 00:28:41,720 Speaker 1: He's like, you know, you you're having car trouble. Try 484 00:28:41,800 --> 00:28:46,600 Speaker 1: sambo X fifteen motor oil. We've got um nigger hair cigarettes. 485 00:28:47,760 --> 00:28:49,800 Speaker 1: We've got a spoof on the Leave It to Beaver 486 00:28:49,920 --> 00:28:53,440 Speaker 1: show called Leave It to Beulah and was a real 487 00:28:53,440 --> 00:28:56,520 Speaker 1: show one. Then yeah, it definitely was like that where 488 00:28:56,520 --> 00:28:58,200 Speaker 1: it's like ha, but then it's like, oh, shift, No, 489 00:28:58,400 --> 00:29:01,520 Speaker 1: that was like real ship though. Um the Coon Chicken 490 00:29:01,640 --> 00:29:05,160 Speaker 1: in which was a real restaurant that I think lasted 491 00:29:05,400 --> 00:29:10,280 Speaker 1: up until like nineteen nineteen fifties. Oh, and the nigger 492 00:29:10,320 --> 00:29:13,360 Speaker 1: hair cigarettes that I mentioned, if I'm not mistaken, the 493 00:29:13,360 --> 00:29:16,320 Speaker 1: movie says that that was actually that, like it was 494 00:29:16,360 --> 00:29:19,160 Speaker 1: a product that existed until the nineteen eighties. All this 495 00:29:19,240 --> 00:29:21,200 Speaker 1: ship so much it in here was like, nah, I 496 00:29:21,200 --> 00:29:24,320 Speaker 1: actually had some real ship, bro. And so it's like, 497 00:29:24,400 --> 00:29:27,600 Speaker 1: unless you know your history deeply, it's like chuckle, like, 498 00:29:27,640 --> 00:29:29,880 Speaker 1: oh that'd be That'd be ridiculous if that happened. It's like, no, 499 00:29:30,000 --> 00:29:32,880 Speaker 1: we had lived in a ridiculous reality currently. Well, I mean, 500 00:29:32,960 --> 00:29:35,400 Speaker 1: I just I just like that and and maybe this 501 00:29:35,440 --> 00:29:38,120 Speaker 1: is completely anecdotal, but it's just, you know, the personal 502 00:29:38,120 --> 00:29:41,520 Speaker 1: experience that I have with the film because you know, 503 00:29:41,560 --> 00:29:44,360 Speaker 1: the crew, the caps that I hung out with, we 504 00:29:44,360 --> 00:29:47,480 Speaker 1: were all you know, it was literally like my crew 505 00:29:47,520 --> 00:29:51,840 Speaker 1: back in the day. Was literally like one of those 506 00:29:51,840 --> 00:29:55,000 Speaker 1: like Burger king kids clubs sort of looking cre I mean, 507 00:29:55,080 --> 00:29:57,760 Speaker 1: it's like we've got like three Asians, we've got like 508 00:29:57,800 --> 00:30:00,240 Speaker 1: four black guys, we've got a white guy, we've got 509 00:30:00,280 --> 00:30:02,520 Speaker 1: two girls. One of them's Latino, you know what I mean. 510 00:30:02,560 --> 00:30:05,040 Speaker 1: Just like everyone was covered and we all you know, 511 00:30:05,400 --> 00:30:08,440 Speaker 1: and I just remember like us watching this, and we 512 00:30:08,520 --> 00:30:10,800 Speaker 1: must have watched this like four times as a group, 513 00:30:11,760 --> 00:30:15,680 Speaker 1: you know, and just Sharon Blunt's and having like in 514 00:30:15,800 --> 00:30:20,080 Speaker 1: depth discussions on just our feelings about race and politics 515 00:30:20,120 --> 00:30:22,360 Speaker 1: and culture, and you know, our reaction to the film. 516 00:30:22,480 --> 00:30:25,160 Speaker 1: So it's always going to have that sort of special 517 00:30:25,200 --> 00:30:29,960 Speaker 1: sentimental like feeling for me. But I can't help but 518 00:30:30,040 --> 00:30:33,680 Speaker 1: think that in a group of like minded people, it 519 00:30:34,040 --> 00:30:36,920 Speaker 1: probably can spurre the same sort of discussions and understandings 520 00:30:36,920 --> 00:30:39,400 Speaker 1: that we got back in the day. So it's definitely 521 00:30:39,440 --> 00:30:43,160 Speaker 1: a recommended movie for me, recommended you know, for for 522 00:30:43,240 --> 00:30:47,640 Speaker 1: groups of friends, you know, definitely you know, some people, 523 00:30:47,880 --> 00:30:52,160 Speaker 1: It definitely definitely trigger warning, trigger warnings all around there. 524 00:30:52,240 --> 00:30:54,560 Speaker 1: There's definitely some things in there. I'm not gonna lie. 525 00:30:54,560 --> 00:30:56,120 Speaker 1: It's a little hard to watch times because it's just 526 00:30:56,160 --> 00:31:00,360 Speaker 1: like like in Sallustlers in it, you know, for I 527 00:31:00,400 --> 00:31:02,800 Speaker 1: guess to keep that world building aspect for it to 528 00:31:02,840 --> 00:31:05,720 Speaker 1: seem as realistic as possible. But I flunched a couple times. 529 00:31:05,800 --> 00:31:08,920 Speaker 1: God damn fun. I mean, I think it's I think 530 00:31:08,960 --> 00:31:11,040 Speaker 1: that's important though, you know what I mean, Like, I 531 00:31:11,080 --> 00:31:13,040 Speaker 1: feel like I feel like if it didn't have that, say, 532 00:31:13,240 --> 00:31:17,400 Speaker 1: the fact that when we were watching it, there was 533 00:31:17,440 --> 00:31:20,920 Speaker 1: stuff that would happen in the movie where all of 534 00:31:21,040 --> 00:31:23,040 Speaker 1: like the black people in the room would be like 535 00:31:24,240 --> 00:31:25,680 Speaker 1: and like all the white people would just kind of 536 00:31:25,680 --> 00:31:28,320 Speaker 1: be like silent, like white white Like Yo, I don't 537 00:31:28,640 --> 00:31:32,320 Speaker 1: laugh at that, but I want to laugh. Yeah. So 538 00:31:33,280 --> 00:31:36,239 Speaker 1: it's like I said, it's that Chapelle era sort of 539 00:31:36,360 --> 00:31:40,000 Speaker 1: racial commentary, you know what I'm saying. So, but jumping 540 00:31:40,000 --> 00:31:41,920 Speaker 1: back to the commercials, I think Richard Bardie in The 541 00:31:41,960 --> 00:31:45,160 Speaker 1: New Yorker, in his review of the film captures what 542 00:31:45,400 --> 00:31:48,600 Speaker 1: like the function of the commercials really well. He says, 543 00:31:48,640 --> 00:31:51,800 Speaker 1: above all the folk commercials captured the blithe contentment of 544 00:31:51,800 --> 00:31:56,080 Speaker 1: white people, um a fantasy of white supremam white supremacy 545 00:31:56,120 --> 00:31:59,600 Speaker 1: that it's inextricable from American history, and continues to sell 546 00:31:59,640 --> 00:32:02,360 Speaker 1: goods and in elections today. The crucial threat of c 547 00:32:02,560 --> 00:32:04,880 Speaker 1: s A is the delicate balance on which even the 548 00:32:04,920 --> 00:32:08,800 Speaker 1: current impaired state of sub rights depends, ingrained premise of 549 00:32:08,880 --> 00:32:11,480 Speaker 1: racism on which the United States is built, the relentless 550 00:32:11,480 --> 00:32:14,160 Speaker 1: effort that it takes to resist the realization of that premise, 551 00:32:14,200 --> 00:32:17,920 Speaker 1: and the restoration of its institutions. Um, and the tiny 552 00:32:17,960 --> 00:32:21,840 Speaker 1: flicks of historical switches on which matters of gravest of 553 00:32:21,880 --> 00:32:25,280 Speaker 1: the grave of moment depends. UM. But yeah, like the 554 00:32:25,520 --> 00:32:29,760 Speaker 1: I think that like up cut throughout the film are 555 00:32:29,760 --> 00:32:32,880 Speaker 1: these moments where it's just like looking at how happy, 556 00:32:32,880 --> 00:32:35,800 Speaker 1: why people are in this scenario, and like that's to day, 557 00:32:35,880 --> 00:32:39,160 Speaker 1: you know, again drawing that the host the parallel to 558 00:32:39,280 --> 00:32:42,720 Speaker 1: our timeline that's so much of white supremacy depends on 559 00:32:42,920 --> 00:32:47,840 Speaker 1: just like maintain the maintenance of just white um to 560 00:32:48,040 --> 00:32:52,080 Speaker 1: petman and complacency. You know that in order to get 561 00:32:52,080 --> 00:32:54,680 Speaker 1: your brunch on Sunday morning and have your fancy mimosas 562 00:32:54,880 --> 00:32:58,880 Speaker 1: and shipped like, you're gotta exploit a worker that's making 563 00:32:58,920 --> 00:33:02,480 Speaker 1: to thirteen an hour UM and tips. And you know 564 00:33:02,600 --> 00:33:04,840 Speaker 1: it's whether or not they can pay rent or not, 565 00:33:04,920 --> 00:33:07,360 Speaker 1: or whether they're like bill or pay for from the college, 566 00:33:07,800 --> 00:33:09,960 Speaker 1: like all of that, Like that's the bedrock on which 567 00:33:10,040 --> 00:33:12,320 Speaker 1: all of this still rests. And I think the commercials 568 00:33:12,400 --> 00:33:14,760 Speaker 1: kind of like they play that up because it's like 569 00:33:14,800 --> 00:33:17,560 Speaker 1: so over the top, how like cheery and content contented 570 00:33:17,600 --> 00:33:20,200 Speaker 1: the white people are. But like that, I think it 571 00:33:20,280 --> 00:33:24,080 Speaker 1: speaks a lot to like, um, what white supremacy looks 572 00:33:24,120 --> 00:33:28,920 Speaker 1: like today. Still. Have you ever seen a Spike Lee 573 00:33:28,920 --> 00:33:33,400 Speaker 1: movie called Bamboozled that came out like two right? Yeah? 574 00:33:33,520 --> 00:33:35,120 Speaker 1: Literally too that I think I saw all right after 575 00:33:35,080 --> 00:33:37,560 Speaker 1: it came out, which means it must have been like twelve. Yeah. Well, 576 00:33:37,600 --> 00:33:39,479 Speaker 1: you know what, I think that the next time that 577 00:33:39,520 --> 00:33:44,760 Speaker 1: we ever do do uh episode where we're reviewing a movie, 578 00:33:44,800 --> 00:33:46,600 Speaker 1: we should we should check that one out. I think 579 00:33:46,640 --> 00:33:49,160 Speaker 1: that's another Forget one because it's pretty much kind of 580 00:33:49,200 --> 00:33:52,120 Speaker 1: about the subject of It's almost like a prequel or 581 00:33:52,680 --> 00:33:55,160 Speaker 1: sister movie to this because it's it's kind of about 582 00:33:56,960 --> 00:34:01,360 Speaker 1: white supremacy hidden in in current day marketing and the 583 00:34:01,560 --> 00:34:03,320 Speaker 1: media and stuff like that. So that could be an 584 00:34:03,320 --> 00:34:08,399 Speaker 1: interesting thing to check out. Um, we do not have 585 00:34:08,480 --> 00:34:11,120 Speaker 1: a music discussion today or do we? I don't know. 586 00:34:11,280 --> 00:34:13,120 Speaker 1: I don't think we do. Yeah, I don't think we 587 00:34:13,200 --> 00:34:15,960 Speaker 1: don't think we do have a music discussion today. So anyway, 588 00:34:16,000 --> 00:34:21,799 Speaker 1: in closing, highly recommend this movie. Um, I think it's 589 00:34:21,840 --> 00:34:26,359 Speaker 1: it's important, it's funny, and you know, it definitely will 590 00:34:26,440 --> 00:34:29,000 Speaker 1: peep your interests in some things about history that you 591 00:34:29,040 --> 00:34:33,080 Speaker 1: did not know. Because there's a little before before Marvel 592 00:34:33,160 --> 00:34:36,600 Speaker 1: movies we're doing the end of the credit scenes. This 593 00:34:36,640 --> 00:34:39,160 Speaker 1: movie hits you with the ill end of the credit 594 00:34:39,239 --> 00:34:42,600 Speaker 1: scenes to let you know how close to reality it 595 00:34:42,640 --> 00:34:45,799 Speaker 1: actually is and how it's not like just wild speculation 596 00:34:45,840 --> 00:34:47,759 Speaker 1: and fantasy. So if you like Spike Lee, if you 597 00:34:47,840 --> 00:34:50,759 Speaker 1: like mockumentaries, if you enjoy the humor, the style of 598 00:34:50,840 --> 00:34:53,560 Speaker 1: humor of like The Chappelle Show era, I would recommend 599 00:34:53,600 --> 00:34:58,759 Speaker 1: this movie. Um checking it out, Thanks for putting me 600 00:34:58,800 --> 00:35:00,960 Speaker 1: on MAC kind of you're talking to me for a 601 00:35:01,000 --> 00:35:03,440 Speaker 1: long time and I finally thought no doubt and now 602 00:35:03,480 --> 00:35:06,960 Speaker 1: I get to spread that with all of y'all out there. 603 00:35:07,719 --> 00:35:10,279 Speaker 1: So we are going to be back next week like 604 00:35:10,400 --> 00:35:14,640 Speaker 1: we always are. But for now, it's been a long time. 605 00:35:15,120 --> 00:35:18,720 Speaker 1: Shouldn't left you left without dope? Rob step two step 606 00:35:18,760 --> 00:35:23,160 Speaker 1: two step to step up here, Hey yo, Joe, drop 607 00:35:23,200 --> 00:35:32,040 Speaker 1: a beat a I'm dope, Knife Lingo Franca and we 608 00:35:32,080 --> 00:35:35,640 Speaker 1: are waiting on reparations. See you next week. Next Week. 609 00:35:37,960 --> 00:35:40,960 Speaker 1: Waiting on Reparations is a production of iHeart Radio. For 610 00:35:41,080 --> 00:35:43,239 Speaker 1: more podcasts in my heart Radio, check out the iHeart 611 00:35:43,320 --> 00:35:46,160 Speaker 1: Radio app, Apple podcast, or wherever you get your podcasts.