WEBVTT - What if?

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<v Speaker 1>You are listening and waiting on reparations production of I

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<v Speaker 1>Heart Radio. Yeah, it's waiting on reparations. It's obviously fresh

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<v Speaker 1>the podcast where hippop and politics connect and acknowledge is

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<v Speaker 1>the quest. Any scholarship you get, how could you forget?

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<v Speaker 1>This level? Is acknowledge? You the best? Getting the mix

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<v Speaker 1>stopped with all the relevant ship right wing is really

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<v Speaker 1>thinking this a session? Is it? Body? Y'allma win? In

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<v Speaker 1>real life? They never been hit. Dope Knife been six,

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<v Speaker 1>has never been kissed. It's hip hop. But I'm like,

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<v Speaker 1>how metal is this? But if you want to play

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<v Speaker 1>the dozens, we can settle it quick. I get every

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<v Speaker 1>rebound like whenever I missed the Dope Ama laugh plus

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<v Speaker 1>yellow and Chips. Nick Yo name is Dope Knife And

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<v Speaker 1>we are waiting on reparations. But you know, if slavery

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<v Speaker 1>never ended, maybe you know we have nothing to wait for. Yeah,

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<v Speaker 1>it's all good. We're still you know. That's a groom

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<v Speaker 1>way to open up the ship, isn't it? Well? You know,

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<v Speaker 1>how are you doing today? I'm good. I'm doing all right.

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<v Speaker 1>It's rainy. It's rainy day here at the Georgia, But

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<v Speaker 1>I can't really complain too much. How you do. I'm good.

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<v Speaker 1>It's been thunderstorming off and on in Savannah for like

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<v Speaker 1>the last week, so same sort of thing, you know

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<v Speaker 1>what I mean. I don't feel like leaving the house.

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<v Speaker 1>Climate change some day, drying up this field, the pain,

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<v Speaker 1>you know what's crazy as the rain is going but

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<v Speaker 1>it's still hot as ship. I know. I was like yo,

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<v Speaker 1>in the South, it'd be raining and then some come

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<v Speaker 1>out afterwards to just steam us like a bag of crabs.

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<v Speaker 1>Every time I was walking into the store the other day,

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<v Speaker 1>I couldn't tell if it was rain or like sweat

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<v Speaker 1>pouring down on me. It's just the yeah, I mean,

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<v Speaker 1>you just gotta go with the flow. So so today

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<v Speaker 1>we're doing something a little different. Um, we're doing a

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<v Speaker 1>movie review of a two thousand four film by the

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<v Speaker 1>name of C s A The Confederate States of America.

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<v Speaker 1>This is a movie that I saw back in college

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<v Speaker 1>years ago, and I don't know, it's circulated throughout the

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<v Speaker 1>crew and everybody. You know. It really was a subject

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<v Speaker 1>of discussion amongst my you know, inner circle of friends

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<v Speaker 1>and all of the people who saw it, and it's

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<v Speaker 1>something that just as years went on, I never really

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<v Speaker 1>understood why it wasn't not necessarily more popular, but just

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<v Speaker 1>more known about considering that it was made in the

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<v Speaker 1>era of the Chapelle Show, you know, and things like that,

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<v Speaker 1>and you can definitely see in its humor that it

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<v Speaker 1>is it isn't that I wonder why it never caught on.

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<v Speaker 1>I mean, it's it's definitely has more of a serious

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<v Speaker 1>tone than Chappell's show. But anyway, I know that we're

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<v Speaker 1>we're talking about it and we're being kind of a

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<v Speaker 1>but that's because we want to kind of go in

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<v Speaker 1>depth and in it on this so we are going

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<v Speaker 1>to explain to you the premise, the plot and everything,

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<v Speaker 1>but just to give you a little synopsis of what's coming.

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<v Speaker 1>This film is a mockumentary about retelling of American history

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<v Speaker 1>if the Confederacy had won the Civil War. Oh and

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<v Speaker 1>it's available. It's available on YouTube and various other streaming platforms, so, like,

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<v Speaker 1>you know, check it out. We do get a little

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<v Speaker 1>spoilery in our discussion, but I don't think it ruins

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<v Speaker 1>the film because like it's worth it for the way

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<v Speaker 1>the humorous instantiated. Like, well, we're talking through some of

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<v Speaker 1>the plot points, but it's still very much worth it

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<v Speaker 1>for the chapels. Yeah, and the way that I mean,

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<v Speaker 1>I guarantee you that what we're the things that we

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<v Speaker 1>do go in depth on. It's not even scratching the

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<v Speaker 1>surface of how much there is in the movie, you

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<v Speaker 1>know what I mean to sink your teeth into. So

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<v Speaker 1>we're just it's something that i'd I'd been wanting to

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<v Speaker 1>get Maria to check out for years just because you know,

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<v Speaker 1>you hadn't heard of it. It was again, it was like, damn, yeah,

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<v Speaker 1>I think this would definitely be something that you would

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<v Speaker 1>find interesting, you know. So we're gonna talk about that

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<v Speaker 1>and more after Oh no, no, no, I forgot Um yeah, well,

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<v Speaker 1>I mean the uh, I guess the inception point for

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<v Speaker 1>this whole thing was based off of a pole that

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<v Speaker 1>I recently heard about. It was a new you gov

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<v Speaker 1>poll that revealed that sixty six percent of Southern Republicans

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<v Speaker 1>support secession. According to the results, a fair share of Democrats,

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<v Speaker 1>independence and Republicans in different regions can't imagine leaving the

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<v Speaker 1>US to join a smaller union. Um, and I think

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<v Speaker 1>of it. It's potentially a positive thing. Um. But an

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<v Speaker 1>only one region, the South, did a majority of one

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<v Speaker 1>group come out and strongly in favor. I was six

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<v Speaker 1>of Southern Republicans approving of the idea of a secession

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<v Speaker 1>of Southern Chane. The thing is, I can remember, you know,

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<v Speaker 1>we all thought it was when when I saw this

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<v Speaker 1>movie with my friends back in the day, we all

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<v Speaker 1>thought it was funny. We all thought it was pointed

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<v Speaker 1>and sharp and and made a lot good points and

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<v Speaker 1>with a good commentary and all that stuff. But there

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<v Speaker 1>was still definitely a there was a fantastical element about it,

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<v Speaker 1>you know what I mean. There was there was definitely

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<v Speaker 1>a like, damn, that would be crazy if that happened.

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<v Speaker 1>And now, almost twenty years later, thinking about it, it's like, damn,

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<v Speaker 1>this feels like it feels like we could get there.

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<v Speaker 1>Not not likely, but it just feels like a lot

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<v Speaker 1>more probable of a thing in the movie. It makes

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<v Speaker 1>the movie seem a lot more grip to me when

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<v Speaker 1>I watched, like watching it now for this for this review,

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<v Speaker 1>it's like on a point, you do hear a lot

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<v Speaker 1>of libs, Like on the internet you see those maps

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<v Speaker 1>of like okay, if you had to pick four states

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<v Speaker 1>to seceed with four contiguous states, you know what states

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<v Speaker 1>would you pick? Or like, oh, let's break off the

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<v Speaker 1>South from the rest of from the coasts or whatever

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<v Speaker 1>and like join with Canada like this dream of like

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<v Speaker 1>let's just like get away from racism. Let's just like

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<v Speaker 1>essentially most black people to exactly the Republican overlords in

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<v Speaker 1>the Red States where we you know, generationally, you know,

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<v Speaker 1>it's not a yeah, it's not a good thing. You know,

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<v Speaker 1>it's not a good thing. And it's it's something you

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<v Speaker 1>hear both sides entertained as like a Nana Nanni boo boo.

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<v Speaker 1>Like even if it wasn't that, like, even if it

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<v Speaker 1>wasn't on that like lib fear raging ship, it would

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<v Speaker 1>still be like a fucked up sentiment because like you said,

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<v Speaker 1>it's like, well, you know, I guess everybody who lives there,

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<v Speaker 1>we can just abandon them and it's all good, you

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<v Speaker 1>know what I mean. I know that's not what we

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<v Speaker 1>meant black people can come to. It's like, oh, I'm

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<v Speaker 1>glad that we were the afterthought in your dream of

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<v Speaker 1>just leaving behind your problems rather than confronting and addressing them,

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<v Speaker 1>which is just like liberal wed dream. But anyway, yeah,

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<v Speaker 1>well we're gonna get into this. Flix c s A

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<v Speaker 1>and more after the jump. All right, we are back,

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<v Speaker 1>so c s A the Confederate States of America. It's

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<v Speaker 1>a two thousand four movie that's mockumentary that was directed

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<v Speaker 1>by Kevin Wilmot, who's the writer and director and is

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<v Speaker 1>long focused on black issues in his works. He's collaborated

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<v Speaker 1>with Spike Lee often, and they share an OSCAR for

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<v Speaker 1>Best Original Screenplay for the twenty nineteen movie Black Klansmen.

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<v Speaker 1>Spike Lee is also a producer on this flick. Have

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<v Speaker 1>you seen Black? I have not, you know, if I

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<v Speaker 1>had tried and I fell asleep or something. I'm tripping

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<v Speaker 1>admittedly because like I don't think I've seen Spike Lee's

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<v Speaker 1>last three joints. In general, I'm not a huge movie watcher.

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<v Speaker 1>Um So I'll use that as my excuse. But I mean,

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<v Speaker 1>you watch a lot of horror movies, or at least

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<v Speaker 1>when usually when I do see you watching movies, you're

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<v Speaker 1>watching like so this movie was perfect. Um So, it's

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<v Speaker 1>a it's an alternate history, as we said that for

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<v Speaker 1>the jump, and where in the Confederacy wins the Civil

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<v Speaker 1>War and establishes a new Confederate States of America that

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<v Speaker 1>incorporates the majority of the Western hemisphere, including the contiguous

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<v Speaker 1>United States as well as the Golden Circle, UM, Caribbean

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<v Speaker 1>and South America. And it details the history of you know,

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<v Speaker 1>significant political and cultural events UM in these Confederate States

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<v Speaker 1>in America from its founding up until the early two

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<v Speaker 1>thousand's UM and the viewpoint is used to kind of

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<v Speaker 1>satirize real life issues and events and shed light on

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<v Speaker 1>the continuing existence of discrimination in American culture. Now, the

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<v Speaker 1>thing that separates this from other mockumentaries is, I guess

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<v Speaker 1>I would have to say, is the perspective that it's

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<v Speaker 1>told in. So it's it's brought to you as if

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<v Speaker 1>it's a British documentary. Like just imagine like a sort

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<v Speaker 1>of BBC type of channel, and imagine that you're watching

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<v Speaker 1>that and on this BBC channel, you're there's a documentary

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<v Speaker 1>about the history of the United States, So like you're

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<v Speaker 1>in England and you're watching some about American history over

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<v Speaker 1>there that you know, BBC produced production. And in in

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<v Speaker 1>between it, you know that that's kind of the perspective

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<v Speaker 1>that is told in. So you're watching, you know, television

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<v Speaker 1>in this world where the Confederacy has taken over so

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<v Speaker 1>interrupting the program you're watching. You have these commercial breaks

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<v Speaker 1>that we're gonna get into later on, but it's it's

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<v Speaker 1>showing you what I guess advertising and marketing would be

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<v Speaker 1>in a white supremacist slave culture. And then it has

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<v Speaker 1>two talking heads that sort of provide a lot of

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<v Speaker 1>the narration for the film. There's Sherman Hoyle, who, um,

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<v Speaker 1>I guess it is is supposed to be a parody of

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<v Speaker 1>this dude, Shelby Foote, who was sort of a historian

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<v Speaker 1>that was a leader with the you know, um, the

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<v Speaker 1>Lost Cause movement of like, oh, you know, the the

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<v Speaker 1>heroism of those that fought for the Confederacy, and then

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<v Speaker 1>now it wasn't all about slavery, that whole branch of

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<v Speaker 1>of history, making um, the attempt to arrest control of

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<v Speaker 1>the narrative away from the linus UM. And so these

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<v Speaker 1>are conservative seven are given his take. And then on

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<v Speaker 1>the other hand, you've got a black Canadian professor, Patricia

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<v Speaker 1>Johnson UM providing commentary throughout the film. UM. And then

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<v Speaker 1>you've got this dude, John Ambroise spawn Troy, great grandson

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<v Speaker 1>of one of them men that helped found the cis A.

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<v Speaker 1>It's also interviewed and what's interesting is the narration UM

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<v Speaker 1>explains the fake historical news real footage UM which is

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<v Speaker 1>either acted acted out or made of genuine archival footage

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<v Speaker 1>dubbed with fictional narration, which I found really entertaining. And

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<v Speaker 1>one of the things one of the reviews that I

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<v Speaker 1>read about this film is it was kind of like

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<v Speaker 1>a critical review, but they were just saying this film

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<v Speaker 1>suffered because the budget was very low. Yeah, it was

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<v Speaker 1>like they were making the point that it made it

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<v Speaker 1>seem a lot maybe more hokey or more satirical than

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<v Speaker 1>I actually think the budget in that sense that you

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<v Speaker 1>just made up or that you just pointed out. I

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<v Speaker 1>think the budget helped it out because some of those

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<v Speaker 1>scenes where they have like archival footage next to their

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<v Speaker 1>stuff that's like re enacted. Because the budget is low,

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<v Speaker 1>the quality of the film makes it like blended. So

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<v Speaker 1>it's like, oh, man, is that you know what I mean?

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<v Speaker 1>Like for a second, you're like, is that really a

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<v Speaker 1>video of Abraham Lincoln? Like you know what I mean?

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<v Speaker 1>Like that really like an old video of Abraham Lincoln

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<v Speaker 1>like talking, because it looks like actually Grady photo video

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<v Speaker 1>next to like these old Civil War photos and stuff.

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<v Speaker 1>Like that. I thought that I thought that helped it. It

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<v Speaker 1>It made it look genuine. I think I think it

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<v Speaker 1>holds up. I mean I think that thinking back to

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<v Speaker 1>like the History Channel documentaries and ship that I saw

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<v Speaker 1>him when I was a kid, maybe late you know,

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<v Speaker 1>late nineties, etcetera, this is very I mean it's very similar,

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<v Speaker 1>very similar, at least in the way it looks. And

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<v Speaker 1>so I don't know, I don't think that um pretty

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<v Speaker 1>good the critique stance, But you'll be the judge. I

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<v Speaker 1>can check it out after you listened to this episode.

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<v Speaker 1>Kevin Wilmot brgan production on the film with funding from

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<v Speaker 1>the National Black Programming Consuscordia, or the NBPC, and he

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<v Speaker 1>wrote the first draft. He had earlier written a screenplay

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<v Speaker 1>about abolitionist John Brown, and he told interviewers he was

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<v Speaker 1>inspired to write the story after seeing an episode of

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<v Speaker 1>the ken Burns nineteen nineties documentary The Civil War. I've

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<v Speaker 1>never seen that documentary view No, I have not. Actually

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<v Speaker 1>I've seen the Vietnam one that ken Burns did. That's

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<v Speaker 1>like a famous one. So let's get into some of

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<v Speaker 1>the things that kind of stand out about this film

0:12:48.760 --> 0:12:50.600
<v Speaker 1>to you, Like, what were your somebody what were your

0:12:50.679 --> 0:12:54.600
<v Speaker 1>initial just first and foremost, since I finally got you

0:12:54.600 --> 0:12:58.680
<v Speaker 1>to see it, what's your initial like thoughts about the movie? Well,

0:12:58.720 --> 0:13:01.720
<v Speaker 1>and watching it, you know, I was aware that it

0:13:01.760 --> 0:13:07.080
<v Speaker 1>was intended to satirize and sort of um speculate about

0:13:07.160 --> 0:13:10.800
<v Speaker 1>what if with a lot of American history had the

0:13:10.840 --> 0:13:14.760
<v Speaker 1>Confederacy one. But as I was watching it, I was like, Yo,

0:13:14.920 --> 0:13:18.480
<v Speaker 1>some of this kind of like did happen though, like

0:13:18.600 --> 0:13:22.400
<v Speaker 1>in real life, like for real, for real um, particularly

0:13:22.480 --> 0:13:27.719
<v Speaker 1>as I was thinking about like um um the so

0:13:27.920 --> 0:13:30.559
<v Speaker 1>um in the film, they the Confederacy goes on to

0:13:30.640 --> 0:13:35.080
<v Speaker 1>conquer not only the contiguos United States, but Cuba, South America.

0:13:35.320 --> 0:13:40.240
<v Speaker 1>They build a wall between America and Canada, the Cotton Curtain, um,

0:13:40.400 --> 0:13:44.280
<v Speaker 1>to to to separate the abolitionists and the runaway slaves

0:13:44.360 --> 0:13:47.000
<v Speaker 1>from you know, those territory in which slavery is illegal.

0:13:47.600 --> 0:13:51.079
<v Speaker 1>But thinking about like the conquests that they undertake of

0:13:51.160 --> 0:13:56.080
<v Speaker 1>Latin America to sort of spread their capitalists ideology, I mean,

0:13:56.120 --> 0:13:59.960
<v Speaker 1>you know, like using humans as capital um. I was like, Yo,

0:14:00.240 --> 0:14:03.760
<v Speaker 1>that's sort of like real ship though, because if you

0:14:03.760 --> 0:14:09.720
<v Speaker 1>you know, study the history of US Latin American relations, um,

0:14:09.800 --> 0:14:16.199
<v Speaker 1>we've been involved in like regime change in Argentina, Bolivia, Brazil, Chile,

0:14:16.480 --> 0:14:22.280
<v Speaker 1>Costa Rica, Cuba, the Dominican Republic, El Salvador, Guatemala, pretty

0:14:22.360 --> 0:14:26.240
<v Speaker 1>much every single country. Uh, then you can name if

0:14:26.240 --> 0:14:27.880
<v Speaker 1>you throw a guard at a map, you hit a

0:14:27.880 --> 0:14:32.840
<v Speaker 1>country where the CIA and you know, US backed forces

0:14:33.160 --> 0:14:38.080
<v Speaker 1>have been involved in the destabilization of democratically elected governments, um.

0:14:38.200 --> 0:14:41.680
<v Speaker 1>Such so that um, you know, we can continue to

0:14:43.440 --> 0:14:47.800
<v Speaker 1>you know, exploit their resources, UM so that you know,

0:14:47.920 --> 0:14:51.880
<v Speaker 1>socialism or other forms of organizing the economy don't take

0:14:51.920 --> 0:14:54.080
<v Speaker 1>on and then get exported to other countries. When people

0:14:54.080 --> 0:14:56.120
<v Speaker 1>are like that actually works out really well, they're like

0:14:56.160 --> 0:14:58.080
<v Speaker 1>they come in, it's like, nope, we're gonna make sure

0:14:58.120 --> 0:15:03.200
<v Speaker 1>that you're working classes are held as chattel. Um by

0:15:03.360 --> 0:15:07.400
<v Speaker 1>coming in and there militarily or covertly through espionage another

0:15:07.480 --> 0:15:12.280
<v Speaker 1>means like I think com neoliberalism. Yeah, it feels like

0:15:12.320 --> 0:15:15.080
<v Speaker 1>that's the point of the movie kind of show that.

0:15:16.120 --> 0:15:18.920
<v Speaker 1>It's kind of like showing that just because the mask

0:15:19.920 --> 0:15:23.560
<v Speaker 1>was on doesn't like differentiate the actions, you know what

0:15:23.560 --> 0:15:27.160
<v Speaker 1>I'm saying. So it's like it shows you how this

0:15:27.560 --> 0:15:31.160
<v Speaker 1>how the Confederacy one and just continued on this like

0:15:31.520 --> 0:15:35.920
<v Speaker 1>white supremacist sort of agenda. But it was just like

0:15:36.000 --> 0:15:38.680
<v Speaker 1>open face because it's like, hey, we're the Confederacy, you

0:15:38.720 --> 0:15:41.400
<v Speaker 1>know what I mean, we got But then when you

0:15:41.440 --> 0:15:45.120
<v Speaker 1>think about it in parallel to how history actually played out,

0:15:45.160 --> 0:15:47.600
<v Speaker 1>it's like, oh, wait, we were doing the same white

0:15:47.600 --> 0:15:50.240
<v Speaker 1>supremacist thing. We just weren't calling it that, and you

0:15:50.280 --> 0:15:51.880
<v Speaker 1>know what I mean, And that just we just weren't

0:15:51.880 --> 0:15:55.160
<v Speaker 1>being open with the ship. Yeah. And as an abolitionist myself,

0:15:55.200 --> 0:15:59.840
<v Speaker 1>I mean, like my key, my like core political framework

0:16:00.520 --> 0:16:03.520
<v Speaker 1>is the come stemps in the belief that slavery was

0:16:03.560 --> 0:16:06.920
<v Speaker 1>not abolished, like with reconstructions failure, with a pull out

0:16:06.920 --> 0:16:09.160
<v Speaker 1>of Northern troops from the South during the period of

0:16:09.640 --> 0:16:15.520
<v Speaker 1>economic um they're rebuilding the South economically, our failure to

0:16:15.640 --> 0:16:19.560
<v Speaker 1>provide um stable supports and protections for people of color

0:16:19.640 --> 0:16:23.800
<v Speaker 1>during that period um, and and the way that our

0:16:23.960 --> 0:16:28.320
<v Speaker 1>you know, our criminal justice apparatus apparatuses were restructured to

0:16:28.480 --> 0:16:31.960
<v Speaker 1>maintain social control, like that stuff never ended. And so

0:16:32.040 --> 0:16:34.200
<v Speaker 1>I think that I mean, from that lens, like a

0:16:34.240 --> 0:16:36.920
<v Speaker 1>lot of what they portrayed the movie, if it very

0:16:37.000 --> 0:16:39.360
<v Speaker 1>much fits into that, was like white supremacy ultimately still

0:16:39.360 --> 0:16:43.280
<v Speaker 1>one even if slavery was nominally abolished in the form

0:16:43.320 --> 0:16:47.400
<v Speaker 1>of like, you know, chattel ownership of of humans. So

0:16:47.480 --> 0:16:50.080
<v Speaker 1>let's let me give a little, just a little like

0:16:50.240 --> 0:16:54.880
<v Speaker 1>bullet point timeline of how they have events sort of happened, right,

0:16:54.960 --> 0:16:58.000
<v Speaker 1>So the Civil War happens for all of the reasons

0:16:58.000 --> 0:17:01.120
<v Speaker 1>of the Civil War happens. But in in the film,

0:17:01.200 --> 0:17:05.720
<v Speaker 1>the South decides to like decidedly declare that the Civil

0:17:05.760 --> 0:17:08.920
<v Speaker 1>War is about states rights. Like that's there. That's their

0:17:08.920 --> 0:17:12.280
<v Speaker 1>main propaganda push is that it states rights instead of

0:17:12.680 --> 0:17:14.960
<v Speaker 1>you know, just openly being like we're fighting for the

0:17:15.040 --> 0:17:21.239
<v Speaker 1>right to preserve slavery. So this, well, I mean, you know,

0:17:21.280 --> 0:17:25.480
<v Speaker 1>the ambiguity of it is strategy. So them doing that

0:17:25.720 --> 0:17:29.440
<v Speaker 1>then opens the way for Europe I guess feel good

0:17:29.440 --> 0:17:32.000
<v Speaker 1>with getting involved at this point. For example, in the

0:17:32.000 --> 0:17:34.720
<v Speaker 1>movie The Battle of the Battle of Gettysburg, it's the

0:17:34.760 --> 0:17:38.639
<v Speaker 1>Northern troops that fighting the Confederacy, but also French troops

0:17:38.640 --> 0:17:41.440
<v Speaker 1>and British troops and stuff like that. The Confederacy ends

0:17:41.520 --> 0:17:44.159
<v Speaker 1>up winning. This leads to a chain of events like

0:17:44.280 --> 0:17:47.120
<v Speaker 1>Abraham Lincoln getting exiled and then he has to run

0:17:47.119 --> 0:17:51.080
<v Speaker 1>away to Canada where he dies. Um Harriet Tubman gets

0:17:51.200 --> 0:17:55.360
<v Speaker 1>gets found and they execute her. They do a they

0:17:55.400 --> 0:18:00.480
<v Speaker 1>do like a Northern Northern reconstruction where they pretty much

0:18:00.480 --> 0:18:03.880
<v Speaker 1>go in and then implement slavery throughout the nation, so

0:18:04.240 --> 0:18:08.000
<v Speaker 1>that in turn makes this giant fascist state that yeah,

0:18:08.080 --> 0:18:11.440
<v Speaker 1>they like offered tax credits for like Northerners to get them,

0:18:11.600 --> 0:18:14.960
<v Speaker 1>to incentivise them to own slaves, and even got a picture.

0:18:15.080 --> 0:18:20.719
<v Speaker 1>You're like, well, you know, this government benefit makes it

0:18:20.840 --> 0:18:25.320
<v Speaker 1>very lucrative. I mean, I don't know, I can get

0:18:25.320 --> 0:18:28.159
<v Speaker 1>a picture it. Hey, here's what I can picture, right,

0:18:28.440 --> 0:18:34.520
<v Speaker 1>and this is this is what I can picture. Okay,

0:18:34.520 --> 0:18:37.520
<v Speaker 1>So seventy five million people voted for Donald Trump, right,

0:18:38.160 --> 0:18:42.520
<v Speaker 1>mm hmm. I feel like if Donald Trump looked dead,

0:18:43.040 --> 0:18:46.919
<v Speaker 1>dead eyed in the camera tomorrow was like, yo, we

0:18:46.960 --> 0:18:50.560
<v Speaker 1>need to bring back slavery. I kind of think that

0:18:50.760 --> 0:18:54.280
<v Speaker 1>at least seventy million people would still vote for Donald Trump. Well,

0:18:54.280 --> 0:18:57.000
<v Speaker 1>they'd be a little yeah there, There'd bet million would

0:18:57.000 --> 0:18:58.920
<v Speaker 1>be like, oh, that was a deep fake. I don't

0:18:58.920 --> 0:19:02.920
<v Speaker 1>believe that he's a good guy. And then another are

0:19:03.000 --> 0:19:07.360
<v Speaker 1>probably like, yeah, let's do it. Other historical things that

0:19:07.440 --> 0:19:09.560
<v Speaker 1>you know they portrayed the film that we're not too

0:19:09.600 --> 0:19:12.359
<v Speaker 1>far off from reality. Um, I think in World War

0:19:12.400 --> 0:19:16.840
<v Speaker 1>Two they go America goes to fight the Nazis, but

0:19:16.960 --> 0:19:22.240
<v Speaker 1>not because um, they want but because they prefer that

0:19:22.240 --> 0:19:27.119
<v Speaker 1>the Jews be enslaved rather than yeah, exterminated. Yeah, because

0:19:27.320 --> 0:19:33.280
<v Speaker 1>because we're this uh giant Confederate fascist state that's taken

0:19:33.320 --> 0:19:39.840
<v Speaker 1>over um, South America and has their hands rooted in everything.

0:19:39.880 --> 0:19:43.480
<v Speaker 1>And also they're about some right supremacy ship. The Confederacy

0:19:43.600 --> 0:19:47.520
<v Speaker 1>allies with Hitler, and while he's getting ready to do

0:19:47.920 --> 0:19:51.640
<v Speaker 1>the Holocaust, they suggest to him this character who's kind

0:19:51.640 --> 0:19:54.800
<v Speaker 1>of his generation. This character font Roy, is kind of

0:19:54.840 --> 0:19:57.359
<v Speaker 1>a recurring character throughout the movie, like in the different

0:19:57.359 --> 0:20:00.240
<v Speaker 1>generations of his families are Like you see him in

0:20:00.280 --> 0:20:02.720
<v Speaker 1>the Construction of the Confederate State, and then you see

0:20:02.720 --> 0:20:07.840
<v Speaker 1>his grandson who's running for office now. But that senator,

0:20:07.840 --> 0:20:12.399
<v Speaker 1>that congressman. He suggests to Hitler, a, you know, you

0:20:12.440 --> 0:20:15.520
<v Speaker 1>should enslave the Jews instead of killing them. So then

0:20:15.600 --> 0:20:21.240
<v Speaker 1>that leads to access power that includes the US and Germany,

0:20:21.320 --> 0:20:26.240
<v Speaker 1>and then we end up invading Japan prematurely and taking

0:20:26.280 --> 0:20:29.200
<v Speaker 1>that over. It's it's crazy, man. I mean the whole thing,

0:20:29.280 --> 0:20:31.960
<v Speaker 1>the way that I'm describing it is almost sounds like

0:20:32.040 --> 0:20:35.800
<v Speaker 1>it's a fucking like sci fi thriller and ship like that.

0:20:35.880 --> 0:20:37.919
<v Speaker 1>It's very much, you know, done in the style of

0:20:37.920 --> 0:20:40.800
<v Speaker 1>a documentary. But I think that the ideas they're dealing with,

0:20:41.520 --> 0:20:43.000
<v Speaker 1>it's just there's just so much there, you know what

0:20:43.040 --> 0:20:44.480
<v Speaker 1>I'm saying. When you just think of it from a

0:20:44.560 --> 0:20:48.840
<v Speaker 1>story standpoint, the it's really a cool work in world

0:20:48.880 --> 0:20:51.679
<v Speaker 1>building because they really thought of every aspect of how

0:20:51.760 --> 0:20:54.399
<v Speaker 1>history would play out. And I think it's a number

0:20:54.400 --> 0:20:56.400
<v Speaker 1>of parallels here, but one that popped out to me

0:20:57.000 --> 0:21:00.560
<v Speaker 1>was that the Confederate recruited slaves voluntarily released by their

0:21:00.560 --> 0:21:03.520
<v Speaker 1>owners for military service as soldiers by and promised them

0:21:03.520 --> 0:21:07.280
<v Speaker 1>their freedom after the war and exchanged for fighting I promise,

0:21:07.320 --> 0:21:09.280
<v Speaker 1>which turned out to be a lie. And that this

0:21:09.400 --> 0:21:12.320
<v Speaker 1>does not stray too too far from the reality of

0:21:12.359 --> 0:21:16.159
<v Speaker 1>black veterans returning for more, whether it be within the

0:21:16.240 --> 0:21:19.679
<v Speaker 1>promises made by the g I bill, UM for mortgages,

0:21:19.960 --> 0:21:23.800
<v Speaker 1>for access to higher education, UM. The g I Bills

0:21:23.880 --> 0:21:28.119
<v Speaker 1>language didn't specifically exclude African American veterans, but it was

0:21:28.160 --> 0:21:31.959
<v Speaker 1>structured in a way that ultimately shut out I think

0:21:32.040 --> 0:21:35.679
<v Speaker 1>like one point two million black veterans that served in

0:21:35.840 --> 0:21:39.040
<v Speaker 1>the world War two who served in resegregator ranks by

0:21:39.080 --> 0:21:41.720
<v Speaker 1>the way, UM, and so they actually used some of

0:21:41.720 --> 0:21:44.560
<v Speaker 1>the tactics that had previously been used with the New

0:21:44.640 --> 0:21:48.320
<v Speaker 1>Deal to ensure that UM. The g I Bill helped

0:21:48.359 --> 0:21:51.920
<v Speaker 1>a few black people as possible. UM. You know, for example,

0:21:52.040 --> 0:21:55.320
<v Speaker 1>some couldn't access benefits when they got home because they

0:21:55.320 --> 0:21:58.879
<v Speaker 1>had not been given an honorable discharge. UM. A much

0:21:59.000 --> 0:22:02.040
<v Speaker 1>larger number of black Urrans who were discharged were discharged

0:22:02.080 --> 0:22:06.160
<v Speaker 1>dishonorably than their white counterparts. As well, UM, a number

0:22:06.200 --> 0:22:09.679
<v Speaker 1>of veterans UM who did qualify couldn't find facilities that

0:22:09.760 --> 0:22:13.360
<v Speaker 1>delivered on the bill's promise. For example, black veterans UM

0:22:13.480 --> 0:22:16.679
<v Speaker 1>or offered access to a vocational training program, but the

0:22:16.720 --> 0:22:18.440
<v Speaker 1>only place to get it was at a segregated high

0:22:18.480 --> 0:22:21.959
<v Speaker 1>school and in the and then for in this specific example,

0:22:22.160 --> 0:22:27.080
<v Speaker 1>it was in Indianapolis, UM because because they weren't allow

0:22:27.119 --> 0:22:28.879
<v Speaker 1>because they weren't allowed to use the facilities. Because if

0:22:29.160 --> 0:22:34.160
<v Speaker 1>there's a segregate UM and then intimidation from the public,

0:22:34.560 --> 0:22:37.399
<v Speaker 1>you know, MOB rules also leverage to discourage black veterans

0:22:37.440 --> 0:22:40.480
<v Speaker 1>from taking advantage of the benefits they were promised. UM.

0:22:40.520 --> 0:22:45.119
<v Speaker 1>For example, in a crowd hurled rocks at black veterans

0:22:45.160 --> 0:22:48.840
<v Speaker 1>as they were moved into a Chicago housing development. And

0:22:48.880 --> 0:22:51.400
<v Speaker 1>you know, thousands and thousands of black veterans were attacked

0:22:51.400 --> 0:22:54.200
<v Speaker 1>in the years following World War Two. UM, some were

0:22:54.200 --> 0:22:57.960
<v Speaker 1>singled out and lynch and so just like street violence,

0:22:58.040 --> 0:23:02.399
<v Speaker 1>in addition to you know aarious uh you're bureaucratic or

0:23:02.440 --> 0:23:06.040
<v Speaker 1>other otherwise you know, policy means used to actually ensured

0:23:06.080 --> 0:23:09.840
<v Speaker 1>that like yelling, get shit. UM. And then uh, the

0:23:09.880 --> 0:23:13.000
<v Speaker 1>discussion of Interestingly, this is a theme that's carried through

0:23:13.040 --> 0:23:16.320
<v Speaker 1>and some of Spike Lee's work, UM, the Five Bloods

0:23:16.359 --> 0:23:20.119
<v Speaker 1>that came out into UM talks a lot about actually

0:23:20.160 --> 0:23:22.200
<v Speaker 1>the focus of the film is a black federalist treatment

0:23:22.200 --> 0:23:26.840
<v Speaker 1>returning from Vietnam UM, which also UM in my study,

0:23:26.840 --> 0:23:29.080
<v Speaker 1>I've been reading the hub P Newton Reader, and UM,

0:23:29.119 --> 0:23:32.240
<v Speaker 1>it seems like, particularly the Vietnam conflict. While it doesn't

0:23:32.240 --> 0:23:35.280
<v Speaker 1>really like the factor in the film here, this idea

0:23:35.320 --> 0:23:37.880
<v Speaker 1>that all you go fight you know, abroad and come

0:23:37.920 --> 0:23:41.040
<v Speaker 1>back and to you know, a better life, because well yeah,

0:23:41.200 --> 0:23:43.280
<v Speaker 1>but you really come back to being a slave. UM

0:23:43.400 --> 0:23:47.400
<v Speaker 1>was a reality that like a lot of black revolutionaries

0:23:47.440 --> 0:23:50.000
<v Speaker 1>were keenly aware of and that really informed their anti

0:23:50.040 --> 0:23:55.600
<v Speaker 1>imperialist uh stances in a sense of internationalist solidarity um

0:23:55.880 --> 0:23:58.600
<v Speaker 1>during that period, umcause they're like, are you kidding? Go

0:23:58.720 --> 0:24:01.320
<v Speaker 1>fight a war again, people who have more in common

0:24:01.359 --> 0:24:03.640
<v Speaker 1>with and the folks sending me to go fight, um

0:24:03.760 --> 0:24:05.760
<v Speaker 1>just to come home and be like called a nigger

0:24:05.800 --> 0:24:11.080
<v Speaker 1>still Like like that whole part is actually my favorite

0:24:11.119 --> 0:24:13.920
<v Speaker 1>part of the movie, when they get into the sixties

0:24:13.960 --> 0:24:16.200
<v Speaker 1>and stuff like that, because by the time they get

0:24:16.200 --> 0:24:20.080
<v Speaker 1>to the sixties in the film, you know, everything as

0:24:20.080 --> 0:24:23.800
<v Speaker 1>far as like, as far as they're concerned, the Confederacies

0:24:23.880 --> 0:24:27.240
<v Speaker 1>in tranquil peace and everything is the way they wanted

0:24:27.320 --> 0:24:30.360
<v Speaker 1>to be, and the you know, the whole entire thing

0:24:30.440 --> 0:24:34.240
<v Speaker 1>is thriving. But then you start having an abolitionist group

0:24:34.320 --> 0:24:38.920
<v Speaker 1>that's Canadian bass called the j BU, the John Brown

0:24:39.080 --> 0:24:44.240
<v Speaker 1>Underground and they form as freedom fighters slash terrorists to

0:24:44.280 --> 0:24:47.719
<v Speaker 1>the Confederacy, doing bombings and things like that, and this

0:24:47.840 --> 0:24:53.160
<v Speaker 1>creates more tension between Canada and the US. And in Canada,

0:24:53.200 --> 0:24:56.240
<v Speaker 1>by the way, since free black people are in Canada,

0:24:57.000 --> 0:25:01.120
<v Speaker 1>Canada is the country that cultural elite ribs where you've

0:25:01.160 --> 0:25:03.600
<v Speaker 1>got blues and jazz and rock and roll and all

0:25:03.640 --> 0:25:07.040
<v Speaker 1>these things, and uh, the US pretty much stays like

0:25:07.119 --> 0:25:12.280
<v Speaker 1>you know, Dixie. So it starts this tension between Canada

0:25:12.320 --> 0:25:14.760
<v Speaker 1>and the US and they build like they pretty much

0:25:15.040 --> 0:25:19.920
<v Speaker 1>they use abolition as a substitution for communism. Yeah, so

0:25:20.080 --> 0:25:22.919
<v Speaker 1>the Red Scare in the sixties and the film is

0:25:22.960 --> 0:25:26.359
<v Speaker 1>like a scare about the spread of abolition, and there's

0:25:26.359 --> 0:25:28.760
<v Speaker 1>a there's a really cool part where they show a

0:25:28.840 --> 0:25:33.040
<v Speaker 1>snippet from a fake nineteen sixties movie called The Abolitionists,

0:25:33.080 --> 0:25:35.679
<v Speaker 1>and it's like this woman confronting her husband and she's like,

0:25:36.920 --> 0:25:39.520
<v Speaker 1>you've been reading all of these books the Life and

0:25:39.600 --> 0:25:44.159
<v Speaker 1>Times of Frederick Douglas, Uncle Tom's cabin. What are you

0:25:44.200 --> 0:25:47.240
<v Speaker 1>doing with these? And he's like, I'm reading them. I'm

0:25:47.280 --> 0:25:52.200
<v Speaker 1>an abolitionist. Don done Dune. Yeah, yeah, I know. That's

0:25:52.320 --> 0:25:54.320
<v Speaker 1>that's mad funny. What would you say it was your

0:25:54.320 --> 0:25:57.560
<v Speaker 1>favorite part? Um? My favorite part? I honestly, I know

0:25:57.560 --> 0:25:58.840
<v Speaker 1>you're gonna talk about this a little bit, but I

0:25:58.920 --> 0:26:03.240
<v Speaker 1>thought the commercials really particularly understanding some of their like origin,

0:26:03.520 --> 0:26:05.560
<v Speaker 1>the origins of the I'll let you get into that

0:26:05.600 --> 0:26:08.320
<v Speaker 1>in a second, but that those little snippet breaks. You

0:26:08.359 --> 0:26:10.800
<v Speaker 1>never knew what was gonna You never knew it's gonna

0:26:10.800 --> 0:26:19.000
<v Speaker 1>be like oh, commercial brake, let's see what it is. Yeah,

0:26:20.000 --> 0:26:22.560
<v Speaker 1>So okay, so let's get into these commercial breaks, because

0:26:22.600 --> 0:26:26.320
<v Speaker 1>I guess if there's any sort of like hook to

0:26:26.480 --> 0:26:28.800
<v Speaker 1>the film, and it got it's such like a dark,

0:26:29.240 --> 0:26:31.960
<v Speaker 1>darkly humorous thing. But the hook of the film, I

0:26:31.960 --> 0:26:36.000
<v Speaker 1>would say, is around the commercial breaks that are, you know,

0:26:36.080 --> 0:26:41.960
<v Speaker 1>interrupting the document documentary that you're watching and in this

0:26:42.160 --> 0:26:45.480
<v Speaker 1>fake world of the Confederacy, in this fake world, but

0:26:45.560 --> 0:26:47.680
<v Speaker 1>in this in this world that the movie creates of

0:26:47.760 --> 0:26:53.320
<v Speaker 1>the Confederacy running things you have ads for I mean

0:26:53.359 --> 0:26:57.480
<v Speaker 1>pretty much the sort of advertisements that would exist that

0:26:57.600 --> 0:27:00.879
<v Speaker 1>existed in the US in the time of slavery, but

0:27:00.960 --> 0:27:04.000
<v Speaker 1>you see them updated through time, you know what I mean.

0:27:04.440 --> 0:27:08.720
<v Speaker 1>And then also they do parallels with shows in products

0:27:08.720 --> 0:27:11.600
<v Speaker 1>and things that we have now to kind of peel

0:27:11.720 --> 0:27:13.960
<v Speaker 1>the skin off of the onion to show you, you know,

0:27:14.080 --> 0:27:17.320
<v Speaker 1>how some of these things themselves are rooted in white

0:27:17.320 --> 0:27:20.879
<v Speaker 1>supremacy to begin with, the best example of this is

0:27:21.200 --> 0:27:25.240
<v Speaker 1>their interpretation of the show Cops. So they have a show,

0:27:25.680 --> 0:27:28.119
<v Speaker 1>you know, there's a commercial break for a show called Runaways,

0:27:28.880 --> 0:27:35.399
<v Speaker 1>and it's it's just cops chasing after runaway slaves and

0:27:36.280 --> 0:27:38.399
<v Speaker 1>through the theme song instead of having the Bad Boys

0:27:38.440 --> 0:27:42.040
<v Speaker 1>theme song. It's like, you know, Southern Dixie, run boy

0:27:42.119 --> 0:27:43.920
<v Speaker 1>run boy By, you better run run run boy run

0:27:43.920 --> 0:27:46.640
<v Speaker 1>boy By, you better run Runaways and all the twitters

0:27:46.640 --> 0:27:49.040
<v Speaker 1>that you're seeing it looks like an episode of Cops.

0:27:49.040 --> 0:27:51.080
<v Speaker 1>But in the context of this, it's like, I mean,

0:27:51.520 --> 0:27:55.040
<v Speaker 1>for me, just growing up, Cops was always just whatever.

0:27:55.200 --> 0:27:57.200
<v Speaker 1>I never watched it, but it was just a thing

0:27:57.280 --> 0:27:58.879
<v Speaker 1>that was on TV, you know what I mean. And

0:27:59.160 --> 0:28:02.119
<v Speaker 1>it was debiquitous, yeah, exactly. And it wasn't until I

0:28:02.119 --> 0:28:04.080
<v Speaker 1>saw this movie back in the day where I was like,

0:28:04.760 --> 0:28:10.719
<v Speaker 1>oh wait. Commercials range from there is a toothpaste called

0:28:10.960 --> 0:28:15.840
<v Speaker 1>Darky Toothpaste. We've got the sambo X fifteen motor oil

0:28:15.880 --> 0:28:19.920
<v Speaker 1>commercial and that commercial and is pretty, um, pretty disturbing.

0:28:19.960 --> 0:28:24.199
<v Speaker 1>It starts off with kind of like a what are

0:28:24.240 --> 0:28:27.840
<v Speaker 1>they called smoke? What's not smoking? In the bandit the

0:28:27.880 --> 0:28:29.639
<v Speaker 1>Dukes of Hazard. It kind of has like a Dukes

0:28:29.640 --> 0:28:32.760
<v Speaker 1>of Hazard duo who are who are sitting cleaning their car?

0:28:33.359 --> 0:28:38.120
<v Speaker 1>And then you know, a famous NASCAR ish driver appears.

0:28:38.240 --> 0:28:41.720
<v Speaker 1>He's like, you know, you you're having car trouble. Try

0:28:41.800 --> 0:28:46.600
<v Speaker 1>sambo X fifteen motor oil. We've got um nigger hair cigarettes.

0:28:47.760 --> 0:28:49.800
<v Speaker 1>We've got a spoof on the Leave It to Beaver

0:28:49.920 --> 0:28:53.440
<v Speaker 1>show called Leave It to Beulah and was a real

0:28:53.440 --> 0:28:56.520
<v Speaker 1>show one. Then yeah, it definitely was like that where

0:28:56.520 --> 0:28:58.200
<v Speaker 1>it's like ha, but then it's like, oh, shift, No,

0:28:58.400 --> 0:29:01.520
<v Speaker 1>that was like real ship though. Um the Coon Chicken

0:29:01.640 --> 0:29:05.160
<v Speaker 1>in which was a real restaurant that I think lasted

0:29:05.400 --> 0:29:10.280
<v Speaker 1>up until like nineteen nineteen fifties. Oh, and the nigger

0:29:10.320 --> 0:29:13.360
<v Speaker 1>hair cigarettes that I mentioned, if I'm not mistaken, the

0:29:13.360 --> 0:29:16.320
<v Speaker 1>movie says that that was actually that, like it was

0:29:16.360 --> 0:29:19.160
<v Speaker 1>a product that existed until the nineteen eighties. All this

0:29:19.240 --> 0:29:21.200
<v Speaker 1>ship so much it in here was like, nah, I

0:29:21.200 --> 0:29:24.320
<v Speaker 1>actually had some real ship, bro. And so it's like,

0:29:24.400 --> 0:29:27.600
<v Speaker 1>unless you know your history deeply, it's like chuckle, like,

0:29:27.640 --> 0:29:29.880
<v Speaker 1>oh that'd be That'd be ridiculous if that happened. It's like, no,

0:29:30.000 --> 0:29:32.880
<v Speaker 1>we had lived in a ridiculous reality currently. Well, I mean,

0:29:32.960 --> 0:29:35.400
<v Speaker 1>I just I just like that and and maybe this

0:29:35.440 --> 0:29:38.120
<v Speaker 1>is completely anecdotal, but it's just, you know, the personal

0:29:38.120 --> 0:29:41.520
<v Speaker 1>experience that I have with the film because you know,

0:29:41.560 --> 0:29:44.360
<v Speaker 1>the crew, the caps that I hung out with, we

0:29:44.360 --> 0:29:47.480
<v Speaker 1>were all you know, it was literally like my crew

0:29:47.520 --> 0:29:51.840
<v Speaker 1>back in the day. Was literally like one of those

0:29:51.840 --> 0:29:55.000
<v Speaker 1>like Burger king kids clubs sort of looking cre I mean,

0:29:55.080 --> 0:29:57.760
<v Speaker 1>it's like we've got like three Asians, we've got like

0:29:57.800 --> 0:30:00.240
<v Speaker 1>four black guys, we've got a white guy, we've got

0:30:00.280 --> 0:30:02.520
<v Speaker 1>two girls. One of them's Latino, you know what I mean.

0:30:02.560 --> 0:30:05.040
<v Speaker 1>Just like everyone was covered and we all you know,

0:30:05.400 --> 0:30:08.440
<v Speaker 1>and I just remember like us watching this, and we

0:30:08.520 --> 0:30:10.800
<v Speaker 1>must have watched this like four times as a group,

0:30:11.760 --> 0:30:15.680
<v Speaker 1>you know, and just Sharon Blunt's and having like in

0:30:15.800 --> 0:30:20.080
<v Speaker 1>depth discussions on just our feelings about race and politics

0:30:20.120 --> 0:30:22.360
<v Speaker 1>and culture, and you know, our reaction to the film.

0:30:22.480 --> 0:30:25.160
<v Speaker 1>So it's always going to have that sort of special

0:30:25.200 --> 0:30:29.960
<v Speaker 1>sentimental like feeling for me. But I can't help but

0:30:30.040 --> 0:30:33.680
<v Speaker 1>think that in a group of like minded people, it

0:30:34.040 --> 0:30:36.920
<v Speaker 1>probably can spurre the same sort of discussions and understandings

0:30:36.920 --> 0:30:39.400
<v Speaker 1>that we got back in the day. So it's definitely

0:30:39.440 --> 0:30:43.160
<v Speaker 1>a recommended movie for me, recommended you know, for for

0:30:43.240 --> 0:30:47.640
<v Speaker 1>groups of friends, you know, definitely you know, some people,

0:30:47.880 --> 0:30:52.160
<v Speaker 1>It definitely definitely trigger warning, trigger warnings all around there.

0:30:52.240 --> 0:30:54.560
<v Speaker 1>There's definitely some things in there. I'm not gonna lie.

0:30:54.560 --> 0:30:56.120
<v Speaker 1>It's a little hard to watch times because it's just

0:30:56.160 --> 0:31:00.360
<v Speaker 1>like like in Sallustlers in it, you know, for I

0:31:00.400 --> 0:31:02.800
<v Speaker 1>guess to keep that world building aspect for it to

0:31:02.840 --> 0:31:05.720
<v Speaker 1>seem as realistic as possible. But I flunched a couple times.

0:31:05.800 --> 0:31:08.920
<v Speaker 1>God damn fun. I mean, I think it's I think

0:31:08.960 --> 0:31:11.040
<v Speaker 1>that's important though, you know what I mean, Like, I

0:31:11.080 --> 0:31:13.040
<v Speaker 1>feel like I feel like if it didn't have that, say,

0:31:13.240 --> 0:31:17.400
<v Speaker 1>the fact that when we were watching it, there was

0:31:17.440 --> 0:31:20.920
<v Speaker 1>stuff that would happen in the movie where all of

0:31:21.040 --> 0:31:23.040
<v Speaker 1>like the black people in the room would be like

0:31:24.240 --> 0:31:25.680
<v Speaker 1>and like all the white people would just kind of

0:31:25.680 --> 0:31:28.320
<v Speaker 1>be like silent, like white white Like Yo, I don't

0:31:28.640 --> 0:31:32.320
<v Speaker 1>laugh at that, but I want to laugh. Yeah. So

0:31:33.280 --> 0:31:36.239
<v Speaker 1>it's like I said, it's that Chapelle era sort of

0:31:36.360 --> 0:31:40.000
<v Speaker 1>racial commentary, you know what I'm saying. So, but jumping

0:31:40.000 --> 0:31:41.920
<v Speaker 1>back to the commercials, I think Richard Bardie in The

0:31:41.960 --> 0:31:45.160
<v Speaker 1>New Yorker, in his review of the film captures what

0:31:45.400 --> 0:31:48.600
<v Speaker 1>like the function of the commercials really well. He says,

0:31:48.640 --> 0:31:51.800
<v Speaker 1>above all the folk commercials captured the blithe contentment of

0:31:51.800 --> 0:31:56.080
<v Speaker 1>white people, um a fantasy of white supremam white supremacy

0:31:56.120 --> 0:31:59.600
<v Speaker 1>that it's inextricable from American history, and continues to sell

0:31:59.640 --> 0:32:02.360
<v Speaker 1>goods and in elections today. The crucial threat of c

0:32:02.560 --> 0:32:04.880
<v Speaker 1>s A is the delicate balance on which even the

0:32:04.920 --> 0:32:08.800
<v Speaker 1>current impaired state of sub rights depends, ingrained premise of

0:32:08.880 --> 0:32:11.480
<v Speaker 1>racism on which the United States is built, the relentless

0:32:11.480 --> 0:32:14.160
<v Speaker 1>effort that it takes to resist the realization of that premise,

0:32:14.200 --> 0:32:17.920
<v Speaker 1>and the restoration of its institutions. Um, and the tiny

0:32:17.960 --> 0:32:21.840
<v Speaker 1>flicks of historical switches on which matters of gravest of

0:32:21.880 --> 0:32:25.280
<v Speaker 1>the grave of moment depends. UM. But yeah, like the

0:32:25.520 --> 0:32:29.760
<v Speaker 1>I think that like up cut throughout the film are

0:32:29.760 --> 0:32:32.880
<v Speaker 1>these moments where it's just like looking at how happy,

0:32:32.880 --> 0:32:35.800
<v Speaker 1>why people are in this scenario, and like that's to day,

0:32:35.880 --> 0:32:39.160
<v Speaker 1>you know, again drawing that the host the parallel to

0:32:39.280 --> 0:32:42.720
<v Speaker 1>our timeline that's so much of white supremacy depends on

0:32:42.920 --> 0:32:47.840
<v Speaker 1>just like maintain the maintenance of just white um to

0:32:48.040 --> 0:32:52.080
<v Speaker 1>petman and complacency. You know that in order to get

0:32:52.080 --> 0:32:54.680
<v Speaker 1>your brunch on Sunday morning and have your fancy mimosas

0:32:54.880 --> 0:32:58.880
<v Speaker 1>and shipped like, you're gotta exploit a worker that's making

0:32:58.920 --> 0:33:02.480
<v Speaker 1>to thirteen an hour UM and tips. And you know

0:33:02.600 --> 0:33:04.840
<v Speaker 1>it's whether or not they can pay rent or not,

0:33:04.920 --> 0:33:07.360
<v Speaker 1>or whether they're like bill or pay for from the college,

0:33:07.800 --> 0:33:09.960
<v Speaker 1>like all of that, Like that's the bedrock on which

0:33:10.040 --> 0:33:12.320
<v Speaker 1>all of this still rests. And I think the commercials

0:33:12.400 --> 0:33:14.760
<v Speaker 1>kind of like they play that up because it's like

0:33:14.800 --> 0:33:17.560
<v Speaker 1>so over the top, how like cheery and content contented

0:33:17.600 --> 0:33:20.200
<v Speaker 1>the white people are. But like that, I think it

0:33:20.280 --> 0:33:24.080
<v Speaker 1>speaks a lot to like, um, what white supremacy looks

0:33:24.120 --> 0:33:28.920
<v Speaker 1>like today. Still. Have you ever seen a Spike Lee

0:33:28.920 --> 0:33:33.400
<v Speaker 1>movie called Bamboozled that came out like two right? Yeah?

0:33:33.520 --> 0:33:35.120
<v Speaker 1>Literally too that I think I saw all right after

0:33:35.080 --> 0:33:37.560
<v Speaker 1>it came out, which means it must have been like twelve. Yeah. Well,

0:33:37.600 --> 0:33:39.479
<v Speaker 1>you know what, I think that the next time that

0:33:39.520 --> 0:33:44.760
<v Speaker 1>we ever do do uh episode where we're reviewing a movie,

0:33:44.800 --> 0:33:46.600
<v Speaker 1>we should we should check that one out. I think

0:33:46.640 --> 0:33:49.160
<v Speaker 1>that's another Forget one because it's pretty much kind of

0:33:49.200 --> 0:33:52.120
<v Speaker 1>about the subject of It's almost like a prequel or

0:33:52.680 --> 0:33:55.160
<v Speaker 1>sister movie to this because it's it's kind of about

0:33:56.960 --> 0:34:01.360
<v Speaker 1>white supremacy hidden in in current day marketing and the

0:34:01.560 --> 0:34:03.320
<v Speaker 1>media and stuff like that. So that could be an

0:34:03.320 --> 0:34:08.399
<v Speaker 1>interesting thing to check out. Um, we do not have

0:34:08.480 --> 0:34:11.120
<v Speaker 1>a music discussion today or do we? I don't know.

0:34:11.280 --> 0:34:13.120
<v Speaker 1>I don't think we do. Yeah, I don't think we

0:34:13.200 --> 0:34:15.960
<v Speaker 1>don't think we do have a music discussion today. So anyway,

0:34:16.000 --> 0:34:21.799
<v Speaker 1>in closing, highly recommend this movie. Um, I think it's

0:34:21.840 --> 0:34:26.359
<v Speaker 1>it's important, it's funny, and you know, it definitely will

0:34:26.440 --> 0:34:29.000
<v Speaker 1>peep your interests in some things about history that you

0:34:29.040 --> 0:34:33.080
<v Speaker 1>did not know. Because there's a little before before Marvel

0:34:33.160 --> 0:34:36.600
<v Speaker 1>movies we're doing the end of the credit scenes. This

0:34:36.640 --> 0:34:39.160
<v Speaker 1>movie hits you with the ill end of the credit

0:34:39.239 --> 0:34:42.600
<v Speaker 1>scenes to let you know how close to reality it

0:34:42.640 --> 0:34:45.799
<v Speaker 1>actually is and how it's not like just wild speculation

0:34:45.840 --> 0:34:47.759
<v Speaker 1>and fantasy. So if you like Spike Lee, if you

0:34:47.840 --> 0:34:50.759
<v Speaker 1>like mockumentaries, if you enjoy the humor, the style of

0:34:50.840 --> 0:34:53.560
<v Speaker 1>humor of like The Chappelle Show era, I would recommend

0:34:53.600 --> 0:34:58.759
<v Speaker 1>this movie. Um checking it out, Thanks for putting me

0:34:58.800 --> 0:35:00.960
<v Speaker 1>on MAC kind of you're talking to me for a

0:35:01.000 --> 0:35:03.440
<v Speaker 1>long time and I finally thought no doubt and now

0:35:03.480 --> 0:35:06.960
<v Speaker 1>I get to spread that with all of y'all out there.

0:35:07.719 --> 0:35:10.279
<v Speaker 1>So we are going to be back next week like

0:35:10.400 --> 0:35:14.640
<v Speaker 1>we always are. But for now, it's been a long time.

0:35:15.120 --> 0:35:18.720
<v Speaker 1>Shouldn't left you left without dope? Rob step two step

0:35:18.760 --> 0:35:23.160
<v Speaker 1>two step to step up here, Hey yo, Joe, drop

0:35:23.200 --> 0:35:32.040
<v Speaker 1>a beat a I'm dope, Knife Lingo Franca and we

0:35:32.080 --> 0:35:35.640
<v Speaker 1>are waiting on reparations. See you next week. Next Week.

0:35:37.960 --> 0:35:40.960
<v Speaker 1>Waiting on Reparations is a production of iHeart Radio. For

0:35:41.080 --> 0:35:43.239
<v Speaker 1>more podcasts in my heart Radio, check out the iHeart

0:35:43.320 --> 0:35:46.160
<v Speaker 1>Radio app, Apple podcast, or wherever you get your podcasts.