1 00:00:03,520 --> 00:00:07,360 Speaker 1: Welcome to Jay dot in a production of I Heart Ratings. 2 00:00:22,600 --> 00:00:24,799 Speaker 1: You know, it's something about that track that makes me 3 00:00:24,880 --> 00:00:29,200 Speaker 1: feel like it cleans the palette. Whatever what's going on 4 00:00:29,240 --> 00:00:33,360 Speaker 1: in your day, it just cleans the palette. What's up, y'all? 5 00:00:33,520 --> 00:00:36,960 Speaker 1: This is the Jay dot il podcast. This is Jill Scott, 6 00:00:37,520 --> 00:00:40,479 Speaker 1: and this is Aga Graydon Danceler, and this is like 7 00:00:40,640 --> 00:00:42,680 Speaker 1: its st Clair. I don't know why we're doing her 8 00:00:42,840 --> 00:00:46,120 Speaker 1: bill collecting voices, but I'll take it absolutely. I love 9 00:00:46,200 --> 00:00:49,960 Speaker 1: that voice. Yeah, yeah, that is my favorite Jill voice. 10 00:00:49,960 --> 00:00:52,279 Speaker 1: Though you do it in that record about Philly, and 11 00:00:52,320 --> 00:00:56,640 Speaker 1: I can listen to that record over and over again. 12 00:00:56,920 --> 00:00:59,440 Speaker 1: That is actually like one of my favorite records. I mean, 13 00:00:59,480 --> 00:01:01,639 Speaker 1: I'm sorry, I know we're not talking about that right now. 14 00:01:01,880 --> 00:01:03,760 Speaker 1: It sounds like the lady in the Wiz is announcing 15 00:01:03,760 --> 00:01:08,240 Speaker 1: the colors. Yeah, I want to be in the Whiz. 16 00:01:08,400 --> 00:01:11,360 Speaker 1: I feel like this should be another Whiz. I'm with you, 17 00:01:11,400 --> 00:01:15,200 Speaker 1: but not the last minute with the music because I 18 00:01:15,280 --> 00:01:19,040 Speaker 1: don't want to say but I didn't care for that, 19 00:01:19,840 --> 00:01:22,080 Speaker 1: you know, I just I just love the wid so much. 20 00:01:22,120 --> 00:01:26,000 Speaker 1: It is such a you know, a staple to me. 21 00:01:26,760 --> 00:01:31,480 Speaker 1: And the performance was The performances were so amazing. You know, 22 00:01:31,600 --> 00:01:34,759 Speaker 1: I'm just like I can only see like Chris Brown 23 00:01:35,080 --> 00:01:40,319 Speaker 1: as the scarecrow, you know. And I don't know who 24 00:01:40,480 --> 00:01:45,800 Speaker 1: Dorothy would be. That's a hard with Dorothy. I'm damn 25 00:01:45,840 --> 00:01:48,559 Speaker 1: you too old now. I was stuck in the nineties. 26 00:01:48,560 --> 00:01:52,560 Speaker 1: I was about to say jazz Diana Ross wasn't young 27 00:01:52,600 --> 00:01:56,800 Speaker 1: when I did it, what about your now money jazz 28 00:01:56,840 --> 00:01:59,920 Speaker 1: and popped in my head for some reason. Oh my goodness, 29 00:02:00,040 --> 00:02:04,440 Speaker 1: I would love that. That would be some soul singing 30 00:02:04,480 --> 00:02:07,800 Speaker 1: for your wife. You would love that. I want to 31 00:02:07,840 --> 00:02:11,080 Speaker 1: hear her sing home, Let's go, although I hear you 32 00:02:11,120 --> 00:02:14,119 Speaker 1: can on the internet somewhere. Jill, I mean, come on, now, 33 00:02:14,280 --> 00:02:17,440 Speaker 1: now you know you know that you would be Glinda. 34 00:02:17,680 --> 00:02:21,480 Speaker 1: I would love now you know you would be Glenna. 35 00:02:21,520 --> 00:02:23,920 Speaker 1: I would have to be got dark, although she would 36 00:02:23,919 --> 00:02:27,320 Speaker 1: suk about with even no, she would enjoy that too. 37 00:02:28,160 --> 00:02:31,920 Speaker 1: I realized that that it would typecast Jill to be Glenda. 38 00:02:32,240 --> 00:02:34,080 Speaker 1: But she's got to be Glenda. I would like to 39 00:02:34,080 --> 00:02:37,200 Speaker 1: hear seeing no bad news. I would like that. No, 40 00:02:39,120 --> 00:02:46,959 Speaker 1: I'm sorry her, but no, okay, okay, tin Man Anthony Hamilton, 41 00:02:47,639 --> 00:02:53,600 Speaker 1: Anthony interesting, I guess because Nipsey wasn't a dancer? Anthony 42 00:02:53,760 --> 00:02:57,640 Speaker 1: is not that's wasn't a dancer. Oh, yes, I'm sorry. 43 00:02:57,639 --> 00:02:59,040 Speaker 1: I was crazy that I just say that out loud. 44 00:02:59,240 --> 00:03:02,760 Speaker 1: I don't just say you did, excuse me, forgive me, 45 00:03:04,040 --> 00:03:07,880 Speaker 1: or Anthony Hamilton's or I could actually see tightest, Yeah, 46 00:03:08,400 --> 00:03:16,960 Speaker 1: the tightest, tightest. Last name, I guess see Jamie Fox. Yeah, 47 00:03:17,000 --> 00:03:19,160 Speaker 1: I like that better. I like that better. He's the 48 00:03:19,200 --> 00:03:25,400 Speaker 1: Wish Who's the Lion women? Gag? Guess who I would 49 00:03:25,400 --> 00:03:29,760 Speaker 1: want to direct? Oh? Wait, who, Steven Spielberg? Are you 50 00:03:29,840 --> 00:03:32,320 Speaker 1: making this like a real intense like I think it 51 00:03:32,360 --> 00:03:35,600 Speaker 1: should be. I think it should be. The storylines, it's 52 00:03:35,600 --> 00:03:37,960 Speaker 1: still prevalent, you know, not being able to get a 53 00:03:38,000 --> 00:03:41,320 Speaker 1: cab in New York City. You know, drugs and drug 54 00:03:41,360 --> 00:03:48,280 Speaker 1: paphernalia all around, you know, all of that. I would love. 55 00:03:50,440 --> 00:03:57,120 Speaker 1: Oh I got chills, I got chills. Caught my better side. Yeah, 56 00:03:58,240 --> 00:04:01,480 Speaker 1: you know, yes, you ain't black. If you ain't seen 57 00:04:01,520 --> 00:04:05,920 Speaker 1: The Wiz by the age of thirty, you must, you must. 58 00:04:06,120 --> 00:04:12,520 Speaker 1: You start today. You know, did millennials and you gotta 59 00:04:12,520 --> 00:04:16,480 Speaker 1: get them that. Those are the kind of movies that 60 00:04:16,880 --> 00:04:20,159 Speaker 1: you know, they tell us. First of all, they're super entertaining, 61 00:04:20,640 --> 00:04:25,920 Speaker 1: the fashion, the music, the star quality. You know. Ted Ross, 62 00:04:26,040 --> 00:04:29,960 Speaker 1: it was straight out of Broadway, you know. And Nipsey 63 00:04:30,120 --> 00:04:36,839 Speaker 1: Russell is a legend, smooth, beautiful way and tap dance culture, 64 00:04:37,040 --> 00:04:39,480 Speaker 1: giving culture in the middle of the story. I love 65 00:04:39,560 --> 00:04:43,160 Speaker 1: that kind of stuff. Lena Horn providing grace and class 66 00:04:43,279 --> 00:04:46,599 Speaker 1: like out of nowhere, a baby Tolt quality. I don't know, 67 00:04:46,640 --> 00:04:51,080 Speaker 1: I just I loved everything about that movie. I was 68 00:04:51,120 --> 00:04:53,520 Speaker 1: so hurt actually as I got older though, because you know, 69 00:04:53,640 --> 00:05:00,240 Speaker 1: like much of art, it is perfection and problematic. Got 70 00:05:00,240 --> 00:05:04,800 Speaker 1: to say, so, there are some things about the Wiz that, 71 00:05:05,080 --> 00:05:08,000 Speaker 1: as I've gotten older, I'm like, it's indicative of the time. 72 00:05:08,200 --> 00:05:10,400 Speaker 1: It doesn't make me love it any less, but it's 73 00:05:10,440 --> 00:05:15,919 Speaker 1: definitely indicative of the times. You know. It's so interesting 74 00:05:15,920 --> 00:05:19,200 Speaker 1: where we are right now as black folks on film, 75 00:05:19,240 --> 00:05:21,919 Speaker 1: to have all these options to go places that we 76 00:05:21,960 --> 00:05:24,520 Speaker 1: haven't gone before. And then it gilds the question of 77 00:05:24,600 --> 00:05:26,960 Speaker 1: should we still be hitting the same things that we've 78 00:05:26,960 --> 00:05:30,240 Speaker 1: been hitting in the last fifty years on screen? I 79 00:05:30,360 --> 00:05:33,279 Speaker 1: say yes, and so let's do it all. Let's do 80 00:05:33,320 --> 00:05:38,200 Speaker 1: it all. We're all in the these boxes, man, these 81 00:05:38,200 --> 00:05:45,600 Speaker 1: boxes don't fit. Our stories are way more dimensional. Then 82 00:05:45,880 --> 00:05:50,279 Speaker 1: just Grandmama got diabetes, and uncle can't get the job, 83 00:05:50,520 --> 00:05:54,280 Speaker 1: and Shanea got three kids and and nobody to help 84 00:05:54,320 --> 00:05:57,440 Speaker 1: but take care of them, we've got more. It starts 85 00:05:57,480 --> 00:06:01,160 Speaker 1: to feel like propaganda, you know, to ris in the 86 00:06:01,279 --> 00:06:04,960 Speaker 1: same mind frame. I don't have an issue with grandma's 87 00:06:05,000 --> 00:06:07,360 Speaker 1: diabetes or anything. I just think that what happens is 88 00:06:07,360 --> 00:06:11,159 Speaker 1: that we don't view people in their humanity. So the 89 00:06:11,279 --> 00:06:14,600 Speaker 1: mundane nous of black life is excellence. We can look 90 00:06:14,600 --> 00:06:17,039 Speaker 1: at all those same things. I just think sometimes what 91 00:06:17,160 --> 00:06:20,479 Speaker 1: happens is that we don't have black writers writing for 92 00:06:20,640 --> 00:06:24,359 Speaker 1: black stories, and then we also don't see dimension in 93 00:06:24,520 --> 00:06:26,600 Speaker 1: these characters. And let's not get it twisted. I think 94 00:06:26,640 --> 00:06:30,440 Speaker 1: we discuss this before, but like last season of TV 95 00:06:30,920 --> 00:06:35,440 Speaker 1: was Lovecraft, it was p Valley, it was I May 96 00:06:35,520 --> 00:06:39,520 Speaker 1: Destroy You watch and thanks to Misha Green. Just to 97 00:06:39,560 --> 00:06:41,600 Speaker 1: go back, and for those people who say too, I'm tired, 98 00:06:41,640 --> 00:06:43,840 Speaker 1: We've done a lot with the slave narratives. It was 99 00:06:43,920 --> 00:06:49,520 Speaker 1: also underground at some point. Okay, So all I'm saying 100 00:06:49,560 --> 00:06:54,640 Speaker 1: is we can do it all because it and ways 101 00:06:54,720 --> 00:06:57,960 Speaker 1: to tell it now you just pop pop popping like popcorn, 102 00:06:58,000 --> 00:07:00,720 Speaker 1: because that's the thing. The theme is self doesn't have 103 00:07:00,800 --> 00:07:03,080 Speaker 1: to change is how we tell the story from what 104 00:07:03,520 --> 00:07:06,600 Speaker 1: vantage point we tell this story. We could only make 105 00:07:07,040 --> 00:07:10,600 Speaker 1: movies about slavery from now until the end, and we 106 00:07:10,640 --> 00:07:13,480 Speaker 1: would have so many stories and points of views if 107 00:07:13,520 --> 00:07:15,960 Speaker 1: we were willing to see the humanity of the people 108 00:07:15,960 --> 00:07:19,720 Speaker 1: who experienced it, right, if we were willing to write 109 00:07:19,760 --> 00:07:24,720 Speaker 1: them as people, as humans. I remember when Twelve Years 110 00:07:24,760 --> 00:07:27,080 Speaker 1: Slave came out, and again it was like a roup 111 00:07:27,120 --> 00:07:30,400 Speaker 1: of people that was like, oh, hell another slave movie. Now, 112 00:07:30,800 --> 00:07:33,240 Speaker 1: granted is a movie about slavery, but for me, I 113 00:07:33,240 --> 00:07:35,520 Speaker 1: still thought it was a different narrative because I was like, well, 114 00:07:35,600 --> 00:07:38,280 Speaker 1: it's about a freeman getting kidnapped, though, and that's some 115 00:07:38,320 --> 00:07:40,760 Speaker 1: ill ship. We don't usually see the story of free 116 00:07:40,760 --> 00:07:43,560 Speaker 1: slaves and what happened to them and what potentially could 117 00:07:43,560 --> 00:07:47,880 Speaker 1: have happened, So why we gotta do that? The delicate 118 00:07:48,000 --> 00:07:51,320 Speaker 1: nature of their free yeah, and the relationship between the 119 00:07:51,360 --> 00:07:54,440 Speaker 1: black woman and the white woman that we saw with Lupeta. 120 00:07:54,520 --> 00:07:56,120 Speaker 1: I don't know. I'm not one of the people like, yeah, 121 00:07:56,160 --> 00:07:58,320 Speaker 1: I'm done with our history. We said that a lot. 122 00:07:58,400 --> 00:08:03,320 Speaker 1: I'm a finitely appreciate it. Beloved love. It was dark, 123 00:08:03,760 --> 00:08:07,960 Speaker 1: and it was haunting, but not in a horror story 124 00:08:08,040 --> 00:08:12,040 Speaker 1: kind of way. It's telling that spiritual story of how 125 00:08:12,600 --> 00:08:15,920 Speaker 1: we're existing and we do that. That's a very big 126 00:08:15,960 --> 00:08:19,520 Speaker 1: part of who we are as a people. Grandma undreamed 127 00:08:19,560 --> 00:08:23,400 Speaker 1: about fish, somebody's pregnant. We live this way. It's it's 128 00:08:23,560 --> 00:08:25,840 Speaker 1: I mean, it is a cornerstone to the way that 129 00:08:25,920 --> 00:08:28,760 Speaker 1: we express ourselves and our experience in this country and 130 00:08:28,760 --> 00:08:33,280 Speaker 1: how we stayed alive, how we resisted. Our revolutions are 131 00:08:33,320 --> 00:08:36,040 Speaker 1: based at it. The Haitian Revolution started with the voodoo. 132 00:08:36,160 --> 00:08:40,080 Speaker 1: It started with a specific spiritual time for people in 133 00:08:40,120 --> 00:08:44,240 Speaker 1: that country. I want to see that movie that Turner. 134 00:08:44,400 --> 00:08:48,920 Speaker 1: That entire revolution was based on his spiritual beliefs, the 135 00:08:49,120 --> 00:08:52,240 Speaker 1: idea of spirit being led by the spirit, all those 136 00:08:52,240 --> 00:08:54,520 Speaker 1: things and like you to talk about what beloved. This 137 00:08:54,600 --> 00:08:57,200 Speaker 1: is how we start to unpack all the layers of 138 00:08:57,240 --> 00:08:59,800 Speaker 1: who we are, that all these things are tied to 139 00:09:00,000 --> 00:09:05,280 Speaker 1: heather and they're not in that you know, lazy narrative 140 00:09:06,240 --> 00:09:08,560 Speaker 1: of that. Oh yeah, well we just took the white 141 00:09:08,559 --> 00:09:11,560 Speaker 1: man's religion and but it's like no, what we have 142 00:09:11,760 --> 00:09:16,400 Speaker 1: always done is developed a way to survive, taking what 143 00:09:16,440 --> 00:09:19,400 Speaker 1: we've learned and then pushed all the way back with it, 144 00:09:20,559 --> 00:09:22,720 Speaker 1: and some of us just rejected the ship all the way. 145 00:09:22,920 --> 00:09:24,480 Speaker 1: I want to see that movie. I want to see 146 00:09:24,480 --> 00:09:27,240 Speaker 1: a movie about the Maroons, about them folks that just 147 00:09:27,280 --> 00:09:29,360 Speaker 1: went into the swamp and then did not come back 148 00:09:30,200 --> 00:09:33,760 Speaker 1: emancipated their own damns, daughters of the dust, daughters of 149 00:09:33,800 --> 00:09:38,600 Speaker 1: the How do we not even discuss that Yo saying cofa, 150 00:09:38,760 --> 00:09:47,520 Speaker 1: which was required and go fadu saying cofa. Now, well, 151 00:09:47,559 --> 00:09:49,960 Speaker 1: let's talk about this whole thing to where I know 152 00:09:50,040 --> 00:09:52,280 Speaker 1: my thoughts about it. But the conversation about some of 153 00:09:52,320 --> 00:09:55,959 Speaker 1: these narratives are black narratives that are particular about heroes 154 00:09:55,960 --> 00:09:59,240 Speaker 1: in America and our history as African Americans that are 155 00:09:59,240 --> 00:10:03,440 Speaker 1: being played by Brits that some of the black actors 156 00:10:03,440 --> 00:10:05,640 Speaker 1: and actresses here are like, we're having a hard time 157 00:10:05,720 --> 00:10:11,439 Speaker 1: finding work. Yes, as it is. Uh so, what's like, 158 00:10:11,559 --> 00:10:13,599 Speaker 1: what's the count where we at? We gotta Harriet, we 159 00:10:13,679 --> 00:10:18,560 Speaker 1: gotta Martin Luther, we gotta twelve years? Oh, yes, it's right, 160 00:10:18,600 --> 00:10:21,680 Speaker 1: twelve years, my man. We have the television show about 161 00:10:21,880 --> 00:10:28,280 Speaker 1: cocaine snowfall. Yes, go back to what we were talking about. Specifically, 162 00:10:28,640 --> 00:10:31,640 Speaker 1: we're talking about like sleep. You know in some movies, 163 00:10:32,080 --> 00:10:34,040 Speaker 1: and I think we had talked about this. I think 164 00:10:34,040 --> 00:10:37,800 Speaker 1: it was before You're gonna see a thousand gazillion Holocaust stories. 165 00:10:37,840 --> 00:10:41,600 Speaker 1: The Holocaust stories are not over. Obviously it was very 166 00:10:41,679 --> 00:10:45,160 Speaker 1: traumatic to an entire people. It was. It was terrible 167 00:10:45,240 --> 00:10:50,840 Speaker 1: murders and rights just stripped from people. So yeah, they're 168 00:10:50,840 --> 00:10:52,920 Speaker 1: gonna talk about that for a long time. I don't 169 00:10:53,000 --> 00:10:57,200 Speaker 1: really see a reason why we can't examine slavery in 170 00:10:57,280 --> 00:11:01,000 Speaker 1: different narratives, and in different narratives I think actually imperative 171 00:11:01,040 --> 00:11:05,960 Speaker 1: that we do in order to build self pride, because 172 00:11:06,000 --> 00:11:10,080 Speaker 1: not everybody. Do you think we're embarrassed that some of 173 00:11:10,160 --> 00:11:12,720 Speaker 1: the people, some people are because to be honest, what 174 00:11:12,720 --> 00:11:15,559 Speaker 1: we it's not political correct say slaves were from a 175 00:11:15,640 --> 00:11:21,400 Speaker 1: nascipated people. What is emancipated people? People slave people? That 176 00:11:21,440 --> 00:11:24,640 Speaker 1: doesn't come from a perspective of being ashamed. I think 177 00:11:24,679 --> 00:11:27,560 Speaker 1: that's more so about saying that these people were not 178 00:11:28,120 --> 00:11:31,840 Speaker 1: identifying them as slaves, and so they're identifying them as 179 00:11:31,920 --> 00:11:35,240 Speaker 1: people who are being enslaved, but not that this was 180 00:11:35,320 --> 00:11:37,960 Speaker 1: like some condition of their person. So I get that 181 00:11:38,080 --> 00:11:40,720 Speaker 1: part of it. So we did that. We changed that there. 182 00:11:41,280 --> 00:11:44,600 Speaker 1: We love to go into the insanity of it all. 183 00:11:44,840 --> 00:11:47,760 Speaker 1: The horrible movie where the slave can't hold it, they've 184 00:11:47,880 --> 00:11:51,719 Speaker 1: cracked open. I'm sure that that had to happen. It 185 00:11:51,760 --> 00:11:55,359 Speaker 1: most definitely did. It happened, actually, And to Christopher Columbus, 186 00:11:55,400 --> 00:11:58,960 Speaker 1: his son had his throat slit by an African that 187 00:11:59,200 --> 00:12:02,280 Speaker 1: escaped into the mountains in hispaniol Land was never found. 188 00:12:03,160 --> 00:12:08,960 Speaker 1: So we've been pushing back violently since the onset beginning, 189 00:12:09,960 --> 00:12:36,000 Speaker 1: since the beginning. We'll be back after the break. I 190 00:12:36,120 --> 00:12:40,920 Speaker 1: was showing a nineteen sixty eight Gordon Parks Life magazine 191 00:12:41,000 --> 00:12:45,480 Speaker 1: article yesterday, and you can see that in the getting 192 00:12:45,559 --> 00:12:49,720 Speaker 1: up the magazine, everything was shining, gonna sell a car, 193 00:12:50,280 --> 00:12:55,920 Speaker 1: beautiful car, and have the cigarette with this drink. Everything 194 00:12:56,120 --> 00:12:59,160 Speaker 1: was like that in the entire Life magazine. And then 195 00:12:59,200 --> 00:13:02,760 Speaker 1: you got to Gordon Hart segment and the walls had 196 00:13:02,800 --> 00:13:06,240 Speaker 1: holes in them and you could see the plaster behind 197 00:13:06,960 --> 00:13:11,160 Speaker 1: the floors were dirty washing clothes in the bathtub. The 198 00:13:11,440 --> 00:13:15,000 Speaker 1: husband got caught on fire trying to keep the house warm. 199 00:13:15,440 --> 00:13:18,560 Speaker 1: Stuff in old clothes in between the cracks in the 200 00:13:18,640 --> 00:13:24,199 Speaker 1: in the windowpane. Like for a long time, our stories 201 00:13:24,840 --> 00:13:29,000 Speaker 1: are surrounded by a poverty, and I think that we've 202 00:13:29,040 --> 00:13:30,920 Speaker 1: gotten to a place where we don't want to see that. 203 00:13:31,160 --> 00:13:34,000 Speaker 1: We don't want to see that anymore. But this still 204 00:13:34,040 --> 00:13:38,000 Speaker 1: exists in America particularly, but all over the world. I've 205 00:13:38,040 --> 00:13:41,000 Speaker 1: never seen poverty like I did in Cape Town, the 206 00:13:41,080 --> 00:13:44,680 Speaker 1: most beautiful place I've ever seen. That. Poverty hit me 207 00:13:44,720 --> 00:13:46,880 Speaker 1: so hard I could not stop crying, and then it 208 00:13:46,920 --> 00:13:50,040 Speaker 1: made it hard to enjoy anything, Like how do you 209 00:13:50,280 --> 00:13:53,480 Speaker 1: drive by this every day and act like you don't 210 00:13:53,520 --> 00:13:56,800 Speaker 1: see it every day? I'm not too beat on that, 211 00:13:57,080 --> 00:14:00,480 Speaker 1: on being there, but there are still stories and side 212 00:14:00,600 --> 00:14:05,120 Speaker 1: of that that are important. How you stick together, how 213 00:14:05,200 --> 00:14:10,760 Speaker 1: you move beyond having stuff, you know, what love looks like, 214 00:14:11,559 --> 00:14:14,320 Speaker 1: and how we how we move forward, how we get 215 00:14:14,400 --> 00:14:17,240 Speaker 1: over All of these stories are so many. I'm you're 216 00:14:17,240 --> 00:14:20,440 Speaker 1: making me want to write right now, Like right now, 217 00:14:20,960 --> 00:14:25,440 Speaker 1: I think it is an interesting thing to think about 218 00:14:25,680 --> 00:14:29,120 Speaker 1: black life and to really delve into what does it 219 00:14:29,200 --> 00:14:33,520 Speaker 1: mean to be black and live in this world and 220 00:14:33,560 --> 00:14:35,440 Speaker 1: how does that present And it's like, if you really 221 00:14:35,440 --> 00:14:38,040 Speaker 1: think about it in that big of a way, there's 222 00:14:38,080 --> 00:14:41,200 Speaker 1: so many stories. It feels overwhelming, the amount of stories. 223 00:14:41,280 --> 00:14:44,440 Speaker 1: It does not feel at all like, oh, I'm I'm 224 00:14:44,520 --> 00:14:49,640 Speaker 1: out of stories to and there it is summed up. 225 00:14:49,800 --> 00:14:54,240 Speaker 1: But I think what ends up happening, like everything, you 226 00:14:54,320 --> 00:14:58,560 Speaker 1: have creatives who are subject to, you know, these corporate structures, 227 00:14:58,840 --> 00:15:01,160 Speaker 1: and they have to deliver a certain kind of thing 228 00:15:01,320 --> 00:15:03,480 Speaker 1: all the time, and then they go into these rooms 229 00:15:03,480 --> 00:15:06,080 Speaker 1: and they are not alone when they're making it, and 230 00:15:06,120 --> 00:15:11,520 Speaker 1: they're not able to really give the perspective that rings 231 00:15:11,600 --> 00:15:14,480 Speaker 1: truest to them. And I think we're just kind of 232 00:15:14,520 --> 00:15:17,280 Speaker 1: getting to that point where we're in a writer's room 233 00:15:17,320 --> 00:15:20,360 Speaker 1: full of black writers talking about black lives, and that's 234 00:15:20,400 --> 00:15:22,400 Speaker 1: still limited. It's funny. I'm like, I don't even think 235 00:15:22,360 --> 00:15:28,080 Speaker 1: that the black Ish room is and that is ironic, 236 00:15:28,160 --> 00:15:31,440 Speaker 1: beyond ironic. But it's the real story. It's the story 237 00:15:31,440 --> 00:15:33,760 Speaker 1: that Robert Townsend has been trying to tell us back 238 00:15:33,800 --> 00:15:37,120 Speaker 1: in the eighties. It's a story that continues to be 239 00:15:37,160 --> 00:15:39,600 Speaker 1: the case. But when you start talking about black media 240 00:15:39,800 --> 00:15:43,320 Speaker 1: and the freedom of having black media, it's like then 241 00:15:43,320 --> 00:15:48,120 Speaker 1: the conversation shifts from creativity to business, and it's like, 242 00:15:48,160 --> 00:15:50,720 Speaker 1: who is going to do the business of this? How 243 00:15:50,840 --> 00:15:53,280 Speaker 1: do we break away from that? How do we protect 244 00:15:53,680 --> 00:15:56,840 Speaker 1: our art? How do we find sanctuary for our art? 245 00:15:57,080 --> 00:16:01,920 Speaker 1: Probably a good question for Dave Chappelle. You think he 246 00:16:01,960 --> 00:16:05,640 Speaker 1: did it create a sanctuary for his art at his house. 247 00:16:05,960 --> 00:16:08,280 Speaker 1: Neil Brennan was all over his TV show. I mean, 248 00:16:08,280 --> 00:16:11,120 Speaker 1: it's not like he needs any more money, people can 249 00:16:11,880 --> 00:16:14,240 Speaker 1: say with the one, But do I know that? Do 250 00:16:14,280 --> 00:16:16,280 Speaker 1: I even know that? I don't know what that man needs. 251 00:16:17,240 --> 00:16:19,560 Speaker 1: I gotta keep remembering. I mean, I know him, but 252 00:16:19,600 --> 00:16:21,760 Speaker 1: I don't ain't in his pocket. See how human that 253 00:16:21,880 --> 00:16:24,400 Speaker 1: is though to do that though? Yeah, back to our 254 00:16:24,480 --> 00:16:27,560 Speaker 1: other episode. But yeah, yeah, that's the part that I 255 00:16:27,640 --> 00:16:30,640 Speaker 1: want to get to, just reminding myself. I don't know 256 00:16:30,720 --> 00:16:33,400 Speaker 1: how he really, you know, look good. I know I 257 00:16:33,480 --> 00:16:36,000 Speaker 1: had a good time when I went. That was awesome. 258 00:16:36,520 --> 00:16:39,200 Speaker 1: But did he create a safe haven for himself and 259 00:16:39,320 --> 00:16:43,120 Speaker 1: himself and his rich friends? Yeah, yeah, it was nice. 260 00:16:43,960 --> 00:16:50,400 Speaker 1: I'm sure. Is there a sanctuary for black art without 261 00:16:50,440 --> 00:16:52,320 Speaker 1: Black Wolf? I don't know. We need to ask the 262 00:16:52,320 --> 00:16:55,440 Speaker 1: black wealthy? Well why why we gotta ask the black 263 00:16:55,640 --> 00:16:58,200 Speaker 1: I don't know. I feel like in that way, we're right. 264 00:16:58,440 --> 00:17:02,800 Speaker 1: I'm like, since they have the abilities to have these sanctuaries, 265 00:17:03,120 --> 00:17:05,600 Speaker 1: let me turn it back. I remember there was a 266 00:17:05,640 --> 00:17:09,520 Speaker 1: time period where somebody black will have something going on 267 00:17:09,520 --> 00:17:12,720 Speaker 1: one even in black family. Right, you got your cousin 268 00:17:12,760 --> 00:17:16,200 Speaker 1: that's talented. Right, They're like, y'all just need to find 269 00:17:16,200 --> 00:17:20,520 Speaker 1: an open Oh, you'll just need to call Tyler Perry. 270 00:17:20,560 --> 00:17:22,440 Speaker 1: Don't you live in Atlanta? Girl? You need to go 271 00:17:22,560 --> 00:17:24,760 Speaker 1: up and see Tyler Perry, girl, because he needs to 272 00:17:24,960 --> 00:17:27,040 Speaker 1: He need to go ahead and give you that opportunity. 273 00:17:27,119 --> 00:17:31,000 Speaker 1: Still do ye? Still? Yeah? I know that? So you 274 00:17:31,080 --> 00:17:33,920 Speaker 1: feel me? So my thing is, once we have black 275 00:17:33,960 --> 00:17:37,240 Speaker 1: wealth that's situated within these structures and embedded in them, 276 00:17:37,359 --> 00:17:39,920 Speaker 1: then how are we ever gonna get this result? We're 277 00:17:39,920 --> 00:17:43,160 Speaker 1: looking for this piece of black art that really represents 278 00:17:43,160 --> 00:17:46,080 Speaker 1: who we are, that really tells our story, our full selves. 279 00:17:46,440 --> 00:17:48,199 Speaker 1: How do we be our full selves? And that do 280 00:17:48,320 --> 00:17:51,240 Speaker 1: we take a moment and just like again, no progress, 281 00:17:51,280 --> 00:17:53,840 Speaker 1: because aren't we getting pieces of ourselves? It's funny as 282 00:17:53,840 --> 00:17:56,200 Speaker 1: we're talking, I started thinking about black as funk, and 283 00:17:56,240 --> 00:17:58,760 Speaker 1: I was like, as many different criticisms as there are 284 00:17:58,840 --> 00:18:01,520 Speaker 1: to that is in or some type of I liked 285 00:18:01,560 --> 00:18:04,120 Speaker 1: it especially it depending on your exposure to black bougie. 286 00:18:04,280 --> 00:18:06,480 Speaker 1: But there was some freedom that I felt in that 287 00:18:07,240 --> 00:18:09,479 Speaker 1: barrass in a way, right because that was an aspect 288 00:18:09,480 --> 00:18:12,200 Speaker 1: of black life. Mind you as small, So there are 289 00:18:12,280 --> 00:18:15,600 Speaker 1: people like that black issue was the vehicle to him 290 00:18:15,640 --> 00:18:17,960 Speaker 1: being able to actually push that freedom a little bit 291 00:18:17,960 --> 00:18:20,879 Speaker 1: further down the pike. We're getting bits and pieces, and 292 00:18:20,960 --> 00:18:24,320 Speaker 1: that's really good. I just don't know what's what's his name, 293 00:18:24,640 --> 00:18:31,080 Speaker 1: Tanisse Coats, I don't know how to say it. Hey, Tina, Tina. 294 00:18:31,760 --> 00:18:36,199 Speaker 1: I call them coats in my house coat. Get him 295 00:18:36,359 --> 00:18:38,720 Speaker 1: and James bald when I think that they have really, 296 00:18:38,760 --> 00:18:41,800 Speaker 1: really good representations of what it's like to be a 297 00:18:41,840 --> 00:18:45,080 Speaker 1: black man in this world. But there's so many more 298 00:18:45,119 --> 00:18:48,679 Speaker 1: stories to tell, and I appreciate getting bits and pieces. 299 00:18:48,720 --> 00:18:51,399 Speaker 1: I really believe that the Bible, it should be continued. 300 00:18:51,960 --> 00:18:55,159 Speaker 1: So the stories just stopped now so nobody else is 301 00:18:55,200 --> 00:18:57,720 Speaker 1: here in the world of God nowhere. Look at the 302 00:18:57,760 --> 00:19:01,280 Speaker 1: story of Whitney Houston. You know, someone that could sing 303 00:19:01,440 --> 00:19:07,480 Speaker 1: like an angel, beautiful voice, and got corrupted by a 304 00:19:07,520 --> 00:19:11,480 Speaker 1: business and became a product. Someone who was looking for 305 00:19:11,560 --> 00:19:14,880 Speaker 1: love and all the wrong al right places, someone who 306 00:19:14,880 --> 00:19:20,280 Speaker 1: could not be authentically herself and resorted to Is that 307 00:19:20,359 --> 00:19:24,160 Speaker 1: not a story, you know? Look at Michael Jackson from 308 00:19:24,160 --> 00:19:27,560 Speaker 1: a child, he had the voice of an old, soulful man. 309 00:19:27,960 --> 00:19:30,960 Speaker 1: There's so many stories to tell that if we were 310 00:19:31,000 --> 00:19:33,800 Speaker 1: to continue the Bible. Like if we're looking at these 311 00:19:33,840 --> 00:19:38,520 Speaker 1: stories like folklore, you know, or and not antidotes, but 312 00:19:39,000 --> 00:19:43,639 Speaker 1: nonetheless like Greek mythology as well, these stories about checking 313 00:19:43,680 --> 00:19:48,080 Speaker 1: your ego, narcisis get your life together. I know I'm 314 00:19:48,080 --> 00:19:50,720 Speaker 1: not even gonna argue or debated. I know that there's 315 00:19:50,760 --> 00:19:54,920 Speaker 1: more stories to tell, and I'm just really super grateful 316 00:19:54,960 --> 00:19:57,600 Speaker 1: that these stories are finally being told. Look at black 317 00:19:57,640 --> 00:20:00,720 Speaker 1: hair or was it good hair? Good hair? It was 318 00:20:00,800 --> 00:20:03,639 Speaker 1: good here. Wow. At the time, it wasn't like it 319 00:20:04,200 --> 00:20:10,320 Speaker 1: was really talking about her hair. Yeah, but now we 320 00:20:10,320 --> 00:20:13,440 Speaker 1: still go back on that. We're like Chris, you could 321 00:20:13,560 --> 00:20:18,359 Speaker 1: missed a lot. Well. He took that he had in 322 00:20:18,400 --> 00:20:21,399 Speaker 1: the access that he had that we can critique. You know, 323 00:20:21,480 --> 00:20:25,719 Speaker 1: the critique comes after the revolution. You do something and 324 00:20:25,760 --> 00:20:27,800 Speaker 1: then people get to come behind it and then they 325 00:20:27,800 --> 00:20:33,399 Speaker 1: get the theory popping. I think we have to be 326 00:20:33,600 --> 00:20:36,440 Speaker 1: open and continue to be open to all the different 327 00:20:36,440 --> 00:20:39,440 Speaker 1: ways we can approach this situation, right because, like I think, 328 00:20:39,480 --> 00:20:42,440 Speaker 1: sometimes people feel like it's not good enough unless it's 329 00:20:42,440 --> 00:20:45,479 Speaker 1: this major theatrical release. We can make these stories were 330 00:20:45,520 --> 00:20:48,560 Speaker 1: not the way. That's true, that's true. Look, we're popping now, 331 00:20:48,720 --> 00:20:51,600 Speaker 1: everybody wants in on our stories. I want in. I 332 00:20:51,640 --> 00:20:55,600 Speaker 1: want to see it on stage two more theatrical productions. 333 00:20:56,200 --> 00:20:58,960 Speaker 1: Did you guys know that I'm on the board of 334 00:20:59,040 --> 00:21:05,600 Speaker 1: Freedom Theater. I heard this from Mr Dice Rock trying 335 00:21:05,600 --> 00:21:09,680 Speaker 1: to get this thing up and moving because Freedom Theater 336 00:21:09,840 --> 00:21:13,200 Speaker 1: is a staple and it gave so many young people 337 00:21:13,200 --> 00:21:17,120 Speaker 1: an opportunity to show and experience and learn different talents 338 00:21:17,560 --> 00:21:20,440 Speaker 1: only these stage I performing as a grown up, from 339 00:21:20,520 --> 00:21:24,600 Speaker 1: hanging lights, to building sets to you know, working costumes. 340 00:21:24,600 --> 00:21:27,720 Speaker 1: There's a lot of jobs in that, a lot of opportunities. 341 00:21:27,960 --> 00:21:32,360 Speaker 1: It's a flagship. It is beautiful, beautiful building for writing 342 00:21:32,800 --> 00:21:36,280 Speaker 1: the building, it's a beautiful thing to see the willingness 343 00:21:36,320 --> 00:21:39,960 Speaker 1: to pass the torch into a different leadership because I 344 00:21:40,000 --> 00:21:43,280 Speaker 1: think that that's important too. With a lot of black flagships, 345 00:21:43,680 --> 00:21:45,840 Speaker 1: it can be very difficult. I think moving from one 346 00:21:45,880 --> 00:21:48,639 Speaker 1: generation to the next and bringing in fresh energy and 347 00:21:48,760 --> 00:21:52,879 Speaker 1: ideas to preserve it. That the preservation of it is important. 348 00:21:53,119 --> 00:21:55,920 Speaker 1: It has to involve the next generation. So I think 349 00:21:55,920 --> 00:21:58,560 Speaker 1: that that is just an amazing thing and a beautiful 350 00:21:58,600 --> 00:22:00,800 Speaker 1: thing that you're on the board there, and in every 351 00:22:00,800 --> 00:22:05,600 Speaker 1: major city there's a Freedom Theater, there's a place like 352 00:22:05,680 --> 00:22:09,400 Speaker 1: that that needs to be preserved, that needs to have 353 00:22:09,560 --> 00:22:13,400 Speaker 1: the resources and the creativity of the generation coming after 354 00:22:13,520 --> 00:22:17,080 Speaker 1: to say, Okay, we'll take the torch and moving into 355 00:22:17,119 --> 00:22:19,679 Speaker 1: the next space, you know, and prepare a place for 356 00:22:19,720 --> 00:22:21,840 Speaker 1: those who are coming after us. I just think that, Hey, 357 00:22:21,880 --> 00:22:23,560 Speaker 1: I always thought it was something to say for all 358 00:22:23,600 --> 00:22:25,960 Speaker 1: of the famous sons and daughters that come out of cities, 359 00:22:26,080 --> 00:22:28,880 Speaker 1: if they just gave a little something back, it would 360 00:22:28,960 --> 00:22:31,720 Speaker 1: change the whole dynamics of the city that they come from. 361 00:22:31,800 --> 00:22:34,840 Speaker 1: So Joe like kudos, you shoot kudos to Gamble in 362 00:22:34,880 --> 00:22:37,640 Speaker 1: that way as well, like people who actually go back 363 00:22:37,680 --> 00:22:41,960 Speaker 1: home and reinvest at home. The gag is I really 364 00:22:41,960 --> 00:22:45,399 Speaker 1: think that everybody on every level, you know, has to 365 00:22:45,440 --> 00:22:48,760 Speaker 1: do something because if we're just waiting for, you know, 366 00:22:48,840 --> 00:22:51,840 Speaker 1: some celebrity person that we think has a whole bunch 367 00:22:51,880 --> 00:22:54,760 Speaker 1: of money to do something, um, you know, that's cool. 368 00:22:55,000 --> 00:22:58,280 Speaker 1: My camp has been around for eleven years and it's 369 00:22:58,320 --> 00:23:01,480 Speaker 1: a pleasure to sink kids doubt and have them just 370 00:23:01,600 --> 00:23:04,320 Speaker 1: be free with their shoes off and with defeating the 371 00:23:04,359 --> 00:23:09,280 Speaker 1: grass and riding horses and archery, and that's wonderful. And 372 00:23:09,359 --> 00:23:13,600 Speaker 1: we've seen our counselors go on to college and we 373 00:23:13,720 --> 00:23:18,320 Speaker 1: help them there. But there's something that the neighborhood secretary 374 00:23:18,400 --> 00:23:21,400 Speaker 1: can do. You know, maybe she are one or two 375 00:23:21,440 --> 00:23:24,919 Speaker 1: girls and teaches them how to quote unquote, you know, 376 00:23:25,000 --> 00:23:27,679 Speaker 1: be a lady. You know how to close your legs, 377 00:23:27,800 --> 00:23:30,879 Speaker 1: hold your legs, across your legs. Well, look to big brothers, 378 00:23:30,920 --> 00:23:32,720 Speaker 1: big sisters because a lot of those big brothers and 379 00:23:32,720 --> 00:23:34,800 Speaker 1: big sisters are not celebrities and they're doing the work 380 00:23:34,800 --> 00:23:38,440 Speaker 1: and all the other organizations and that is that tribunal 381 00:23:38,680 --> 00:23:42,639 Speaker 1: and that village that we're talking about. When everybody does 382 00:23:43,240 --> 00:23:48,040 Speaker 1: something where you're all participating for the benefit. It doesn't 383 00:23:48,080 --> 00:23:52,240 Speaker 1: have to be some big, gigantic mausoleum, you know, or 384 00:23:52,520 --> 00:23:56,280 Speaker 1: some edifice. It could really just be a jump ro contest. 385 00:23:56,640 --> 00:24:00,520 Speaker 1: It really can. Everybody got powers, that's right, right. We 386 00:24:00,560 --> 00:24:03,840 Speaker 1: have a conversation when people all the time where they're like, oh, 387 00:24:03,880 --> 00:24:06,119 Speaker 1: you know, what is your advice to artists? And we 388 00:24:06,160 --> 00:24:09,120 Speaker 1: always say your best resources to your left and your right. 389 00:24:09,640 --> 00:24:11,760 Speaker 1: It's not above you. A lot of times when we're 390 00:24:11,760 --> 00:24:14,360 Speaker 1: trying to get something done, there's a tendency, like I said, 391 00:24:14,400 --> 00:24:16,120 Speaker 1: to be black, let's get Oprah on the phone, let's 392 00:24:16,119 --> 00:24:19,480 Speaker 1: write out a letter. You know, let's let's talk to someone. 393 00:24:19,520 --> 00:24:22,520 Speaker 1: So let's get this person. And I think that they 394 00:24:22,600 --> 00:24:25,120 Speaker 1: failed to realize that sometimes the person with the best 395 00:24:25,240 --> 00:24:27,359 Speaker 1: ideas is the person you're sitting right next to you 396 00:24:27,400 --> 00:24:32,280 Speaker 1: at that table. While y'all drafting letters to Oprah, y'all 397 00:24:32,280 --> 00:24:34,879 Speaker 1: need to be looking to the left and asking miss Mary, like, 398 00:24:35,400 --> 00:24:37,760 Speaker 1: miss Mary, I know you write grants, you think you 399 00:24:37,800 --> 00:24:40,679 Speaker 1: can help do X, Y and Z. Then after she 400 00:24:40,720 --> 00:24:44,320 Speaker 1: writes X amount of grants, Hey, we should put her 401 00:24:44,359 --> 00:24:48,240 Speaker 1: in charge. And I think a lot of times with 402 00:24:48,920 --> 00:24:52,240 Speaker 1: our organizations that we do kind of miss the point 403 00:24:52,359 --> 00:24:54,920 Speaker 1: sometimes about the communal aspect of it. So what you're 404 00:24:54,920 --> 00:24:57,720 Speaker 1: saying is I absolutely agree with is like really powerful, 405 00:24:58,160 --> 00:25:00,919 Speaker 1: because yes, we do need the resource of the wealthy, 406 00:25:01,000 --> 00:25:05,320 Speaker 1: and the resource and the connected, that's all part of it, Yes, absolutely, 407 00:25:05,640 --> 00:25:09,640 Speaker 1: But as a community, everything is done for us, so 408 00:25:09,680 --> 00:25:12,639 Speaker 1: we should be involved in that, and that part of 409 00:25:12,680 --> 00:25:15,040 Speaker 1: it is missing to a degree. And maybe that's just 410 00:25:15,080 --> 00:25:17,520 Speaker 1: because of this jointed way that we have our housing 411 00:25:17,560 --> 00:25:20,080 Speaker 1: and stuff these days, and our communities are not as 412 00:25:20,119 --> 00:25:24,000 Speaker 1: diverse economically anymore. So you may not have the trash 413 00:25:24,080 --> 00:25:27,399 Speaker 1: man and the dentists and the lawyer and the secretary 414 00:25:27,480 --> 00:25:30,720 Speaker 1: all living in the same community, so it may be 415 00:25:30,800 --> 00:25:33,200 Speaker 1: hard to service each other in that way, but it's 416 00:25:33,200 --> 00:25:34,840 Speaker 1: a smart idea to take a look at it and 417 00:25:34,880 --> 00:25:38,040 Speaker 1: shift that kind of thinking. So I'm with that black 418 00:25:38,040 --> 00:25:42,919 Speaker 1: down black time. That's Asians dream down. Yeah, I've had 419 00:25:42,960 --> 00:25:45,560 Speaker 1: a dream I've set with for many years. Black I've 420 00:25:45,600 --> 00:25:48,840 Speaker 1: had that same dream. I call it black Hayden. Yeah, 421 00:25:48,920 --> 00:25:52,320 Speaker 1: it predates the skit. By the way, there's a skit 422 00:25:53,240 --> 00:25:56,000 Speaker 1: who did it? Yeah? What's my man? The dude from 423 00:25:56,000 --> 00:26:01,320 Speaker 1: get Out in his um Jordan's Peel Campbell. Yeah, Kim Peel. Wow. 424 00:26:01,760 --> 00:26:05,119 Speaker 1: They did a really cool skit called black Tail. Black 425 00:26:05,160 --> 00:26:07,600 Speaker 1: Guess love with a white girls black and I don't know, 426 00:26:07,880 --> 00:26:11,920 Speaker 1: I'm sorry. Yeah, I've noticed just they really black, except 427 00:26:11,960 --> 00:26:15,080 Speaker 1: when they go home. That's a topic one day, oh 428 00:26:15,280 --> 00:26:23,680 Speaker 1: girl go home for Thanksgiving because that part, that part 429 00:26:24,119 --> 00:26:25,800 Speaker 1: both their moms is white. To be honest with you, 430 00:26:25,880 --> 00:26:30,480 Speaker 1: I'm saying, day you know, listen, Yes, that okay, until 431 00:26:30,560 --> 00:26:32,920 Speaker 1: just for their work, I got you fifty and work 432 00:26:32,960 --> 00:26:35,800 Speaker 1: I got you. Well, maybe I could beat maybe I 433 00:26:35,840 --> 00:26:40,640 Speaker 1: could beat the mom, Maybe I could beat the emmy. Yeah, 434 00:26:40,800 --> 00:26:45,440 Speaker 1: I just went back there for a second. She enough 435 00:26:46,520 --> 00:26:52,640 Speaker 1: your arms around with child. I don't remember that. That's 436 00:26:52,720 --> 00:26:55,880 Speaker 1: the best background vocals I think in the history of movies. Yeah, 437 00:26:56,520 --> 00:27:03,320 Speaker 1: that was amazing. I am is feliciary. Shot you better, 438 00:27:03,480 --> 00:27:08,440 Speaker 1: cast you better. You're amazing, ain't too. When I finished 439 00:27:08,440 --> 00:27:10,560 Speaker 1: this film, I'm sending it to you. I mean you 440 00:27:10,680 --> 00:27:15,680 Speaker 1: to cast my movie. Let me I like the Two Shack. 441 00:27:19,320 --> 00:27:22,760 Speaker 1: Let me find out that you have a whole other 442 00:27:22,840 --> 00:27:26,119 Speaker 1: career or several. Go ahead. I'm willing to be of 443 00:27:26,160 --> 00:27:29,119 Speaker 1: assistance in any way that I can be. Just make 444 00:27:29,160 --> 00:27:32,760 Speaker 1: sure you email it to AGR. Can you make sure 445 00:27:32,800 --> 00:27:34,720 Speaker 1: to her sister, Vanessa del Rio get in it too. 446 00:27:38,720 --> 00:27:42,800 Speaker 1: You know I love her, Yes, we do, Yes, we know. 447 00:27:43,000 --> 00:27:46,000 Speaker 1: We know you ain't the only one she has loved 448 00:27:46,440 --> 00:27:49,400 Speaker 1: throughout the land. I will not give up my love 449 00:27:49,480 --> 00:27:52,800 Speaker 1: for her. And the sea man, I will not, and 450 00:27:52,960 --> 00:27:57,360 Speaker 1: the Seamen. I hate you. I hate you deep down inside. 451 00:27:57,960 --> 00:28:03,080 Speaker 1: I don't know what you're talking about. You deep down inside? 452 00:28:03,240 --> 00:28:05,840 Speaker 1: You know. It was like if I lick you on 453 00:28:05,920 --> 00:28:13,080 Speaker 1: the face, that's what I would do. That's that's right, 454 00:28:13,320 --> 00:28:17,000 Speaker 1: that's right, that's what I would list you on the face. 455 00:28:17,440 --> 00:28:20,240 Speaker 1: I can feel that when you said it, Yeah, she 456 00:28:20,359 --> 00:28:22,200 Speaker 1: said of course, the world probably think that you have 457 00:28:22,359 --> 00:28:24,679 Speaker 1: lavender and manilla in your spit, so it might actually 458 00:28:27,160 --> 00:28:32,080 Speaker 1: I do, she said, Oh, but I do, though some 459 00:28:32,359 --> 00:28:44,040 Speaker 1: boxes I will take. Oh I do. We'll be back 460 00:28:44,160 --> 00:29:01,720 Speaker 1: after the break. I don't know, but I certainly want 461 00:29:01,760 --> 00:29:05,400 Speaker 1: to uplift everybody for real, for real, like it's always 462 00:29:05,440 --> 00:29:07,280 Speaker 1: gonna come back to this. I always want you to 463 00:29:07,400 --> 00:29:09,720 Speaker 1: be everything that's just me. I want you to be 464 00:29:09,920 --> 00:29:12,280 Speaker 1: everything that you are. We didn't talk about east Ray, 465 00:29:12,600 --> 00:29:15,440 Speaker 1: yes indeed, and Lena Wayne who we don't. We just 466 00:29:15,440 --> 00:29:17,560 Speaker 1: talk my black people, tell the black story. Okay, Lena Fay, 467 00:29:17,560 --> 00:29:21,080 Speaker 1: we're gonna go. Let's go twelve years of slave. They 468 00:29:21,120 --> 00:29:25,320 Speaker 1: got the name, like the name a do re name 469 00:29:25,400 --> 00:29:30,080 Speaker 1: that because then we're talking about also too that the 470 00:29:30,400 --> 00:29:33,560 Speaker 1: thing about she has a distribution coming so then also 471 00:29:33,640 --> 00:29:36,200 Speaker 1: to taking the ownership of the stories that one step 472 00:29:36,320 --> 00:29:39,080 Speaker 1: further and giving that vibe. Oh, we have to shout 473 00:29:39,120 --> 00:29:46,080 Speaker 1: out Mayori, Yes, yes, Mayori Caromel Holmes. Yeah, we have 474 00:29:46,200 --> 00:29:49,240 Speaker 1: to shout her out because being able to have someplace 475 00:29:49,320 --> 00:29:51,800 Speaker 1: to house all the work, the work has to be 476 00:29:51,920 --> 00:29:53,840 Speaker 1: seen and Mayori, but want us to shout out the 477 00:29:53,920 --> 00:29:56,440 Speaker 1: Pan African Film Festival and the other festivals that came 478 00:29:56,480 --> 00:29:58,120 Speaker 1: before her. I know she would be like, you know, 479 00:29:58,280 --> 00:30:01,440 Speaker 1: it's so yeah, all that we want to see us. 480 00:30:02,360 --> 00:30:04,440 Speaker 1: We want to see us, and not just in the 481 00:30:04,800 --> 00:30:07,480 Speaker 1: little tiny ways that you think you know us or 482 00:30:07,520 --> 00:30:09,800 Speaker 1: that we think we know us. We want to see us. 483 00:30:10,080 --> 00:30:12,160 Speaker 1: And because the Tyler Perry's moves, because I feel like 484 00:30:12,200 --> 00:30:14,360 Speaker 1: he's moving the distribution, I don't know, I feel like 485 00:30:14,440 --> 00:30:17,760 Speaker 1: this man about to me and that studio, let's come 486 00:30:17,840 --> 00:30:22,120 Speaker 1: on having that studio. That was a power move, and 487 00:30:22,200 --> 00:30:25,240 Speaker 1: the power move really from a person who and let 488 00:30:25,280 --> 00:30:26,840 Speaker 1: me tell you, y'all know, I don't get into this 489 00:30:26,960 --> 00:30:30,520 Speaker 1: bootstrap theory mess, and y'all know how I feel about that. 490 00:30:32,360 --> 00:30:34,280 Speaker 1: It needs to be said that this was a man 491 00:30:34,320 --> 00:30:36,400 Speaker 1: who did not go to route that everybody said that 492 00:30:36,440 --> 00:30:38,840 Speaker 1: a person would have to go to get this result, 493 00:30:39,600 --> 00:30:42,239 Speaker 1: and he did get that result and did put hell 494 00:30:42,320 --> 00:30:44,560 Speaker 1: of black folks to work in the process. That's something 495 00:30:44,640 --> 00:30:46,720 Speaker 1: that you cannot take away from this man, nor should 496 00:30:46,760 --> 00:30:48,480 Speaker 1: you want it. Because when I met him, he was 497 00:30:48,520 --> 00:30:51,080 Speaker 1: sleeping in the car and he got out and I 498 00:30:51,240 --> 00:30:54,000 Speaker 1: was like, hey, you want to sandwich or something? And 499 00:30:54,120 --> 00:30:57,320 Speaker 1: he was like, I shoot too, And I said, all right, 500 00:30:57,840 --> 00:31:05,640 Speaker 1: let me thinking like this room with starting ship, like 501 00:31:05,760 --> 00:31:13,239 Speaker 1: I think ship. I think I'm starting to understand how 502 00:31:13,400 --> 00:31:18,840 Speaker 1: that could be a little fun. No. Reality is Tyler 503 00:31:18,880 --> 00:31:21,080 Speaker 1: Perry came into French connection when I was working on 504 00:31:21,160 --> 00:31:26,200 Speaker 1: South Street and I sold him a shirt and yeah, 505 00:31:26,600 --> 00:31:30,160 Speaker 1: he said, well, what are you doing tonight? Nice rapport conversation. 506 00:31:30,440 --> 00:31:32,719 Speaker 1: He said, what are you doing Tonight's I'm not doing anything. 507 00:31:33,000 --> 00:31:36,040 Speaker 1: He said, well, I have a play that was playing 508 00:31:36,280 --> 00:31:40,360 Speaker 1: at the Forest. If I'm not mistaken, he was like, 509 00:31:40,600 --> 00:31:42,440 Speaker 1: you'll have a ticket there. What's your name. I was like, 510 00:31:42,560 --> 00:31:45,200 Speaker 1: Jill Scott, that's so crazy, And then he left me 511 00:31:45,280 --> 00:31:47,800 Speaker 1: two tickets and I went to see a play and 512 00:31:48,360 --> 00:31:50,840 Speaker 1: I didn't know until I looked at the play bill 513 00:31:51,400 --> 00:31:55,320 Speaker 1: that he had written it, directed it, and was in 514 00:31:55,440 --> 00:31:59,240 Speaker 1: it and had produced it. M I didn't get a 515 00:31:59,320 --> 00:32:01,760 Speaker 1: chance to say anything to him after that, but I 516 00:32:01,880 --> 00:32:05,440 Speaker 1: walked away like, oh wow, I definitely had a perception 517 00:32:05,480 --> 00:32:07,600 Speaker 1: and I was walking into some kind of chipland circuit 518 00:32:07,680 --> 00:32:12,320 Speaker 1: thing in my upperdeast theater background. I was like, well here, 519 00:32:12,520 --> 00:32:15,560 Speaker 1: but I actually had a really good time. All these 520 00:32:15,640 --> 00:32:18,320 Speaker 1: years later, he gave me my first opportunity in the 521 00:32:18,400 --> 00:32:22,320 Speaker 1: film That's amazing. That's so amazing. But even the gospel 522 00:32:22,360 --> 00:32:27,840 Speaker 1: play industry so amazing, and its resistance to the mainstream 523 00:32:27,880 --> 00:32:31,480 Speaker 1: Broadway situation. And I said, David each Albert, yea mama 524 00:32:31,640 --> 00:32:35,360 Speaker 1: want to sing. Yes, these were our moments to tell 525 00:32:35,400 --> 00:32:40,800 Speaker 1: our stories, our way controlled by us, and that catered 526 00:32:40,960 --> 00:32:45,400 Speaker 1: to us. Yeah again, you know what I mean. Parted 527 00:32:45,480 --> 00:32:48,760 Speaker 1: as plays and videotapes in your doctor's office, and now 528 00:32:49,200 --> 00:32:51,480 Speaker 1: it is evolved for one man and to a studio 529 00:32:51,600 --> 00:32:56,240 Speaker 1: situation that could be distribution. My god, today, even though 530 00:32:56,240 --> 00:32:57,480 Speaker 1: he said he stopped in a car, I don't know 531 00:32:57,560 --> 00:33:00,000 Speaker 1: what's big gass car that was, because that motherfucker said 532 00:33:00,040 --> 00:33:02,680 Speaker 1: and beat. But you do what you gotta do. You 533 00:33:02,840 --> 00:33:07,120 Speaker 1: do what you gotta do. She's still a Lincoln boy. 534 00:33:07,480 --> 00:33:12,600 Speaker 1: I'm grateful for all the new theater too, because like Hamilton, 535 00:33:13,480 --> 00:33:17,680 Speaker 1: you know, because forever theater sound like why do you 536 00:33:17,840 --> 00:33:25,640 Speaker 1: know that's what all theaters sound like? No, Bley, I'm 537 00:33:25,720 --> 00:33:32,760 Speaker 1: not gonna go with youss No, that's all I did. 538 00:33:32,880 --> 00:33:34,800 Speaker 1: Like that ship though I'm not gonna like I still 539 00:33:34,920 --> 00:33:38,400 Speaker 1: love it. I still love it. But it needed to 540 00:33:38,560 --> 00:33:43,479 Speaker 1: graduate our films. They just need to graduate, and they 541 00:33:43,520 --> 00:33:45,920 Speaker 1: are doing it. And I'm so geeked about it that 542 00:33:46,040 --> 00:33:49,040 Speaker 1: Jack gets to watch these movies where he's got superhero 543 00:33:49,120 --> 00:33:51,680 Speaker 1: little black boys. You know that he gets to see 544 00:33:52,240 --> 00:33:54,280 Speaker 1: where he gets to see that they did a studio 545 00:33:54,400 --> 00:33:59,080 Speaker 1: built by black man. These are their baselines. Isn't that crazy? 546 00:33:59,320 --> 00:34:01,240 Speaker 1: They started like of the Black President. These kids are 547 00:34:01,280 --> 00:34:04,880 Speaker 1: all bucked up there right right. They have no idea, 548 00:34:05,760 --> 00:34:10,120 Speaker 1: They have no idea from whence they Yes, it was 549 00:34:10,320 --> 00:34:13,640 Speaker 1: yes for our great great great grandparents that one day 550 00:34:14,440 --> 00:34:17,520 Speaker 1: their descendants wouldn't even know what it's like to have 551 00:34:17,760 --> 00:34:22,040 Speaker 1: to work in somebody's field or all the other horrendous things. 552 00:34:22,560 --> 00:34:23,920 Speaker 1: I don't know what it's like, but I want you 553 00:34:23,960 --> 00:34:27,319 Speaker 1: to know that it happened and it existed. That's the yes, Yes, 554 00:34:27,800 --> 00:34:30,160 Speaker 1: And that's the reason why we're gonna continue to tell 555 00:34:30,360 --> 00:34:33,719 Speaker 1: slave narrative just you know, yeah, because it's like a 556 00:34:33,840 --> 00:34:36,440 Speaker 1: whole group of folks that are absolutely like they're kind 557 00:34:36,440 --> 00:34:39,279 Speaker 1: of like middle passage deniers. They're like, yo, that didn't happen. Like, 558 00:34:39,360 --> 00:34:41,480 Speaker 1: so I'm like, yo, we need to tell these stories. 559 00:34:42,480 --> 00:34:44,759 Speaker 1: We don't have a lot of medal passage movies. Do 560 00:34:44,800 --> 00:34:47,800 Speaker 1: you remember when the Holocaust didn't happen? Remember that a 561 00:34:47,840 --> 00:34:49,719 Speaker 1: couple of years ago and they were like, the Holocaust 562 00:34:49,800 --> 00:34:54,600 Speaker 1: didn't happen. I was like, yo, bro, you need to 563 00:34:54,640 --> 00:34:56,200 Speaker 1: sit down, we need to we need to get some 564 00:34:56,280 --> 00:34:59,319 Speaker 1: movies and some books. And didn't they have video user 565 00:34:59,400 --> 00:35:03,479 Speaker 1: reaching that you're who you're reaching. That's what they said. 566 00:35:03,640 --> 00:35:05,960 Speaker 1: That's that's interesting. Somebody say that the other day the 567 00:35:06,040 --> 00:35:09,560 Speaker 1: Holocaust was the greatest tragedy ever shown and slavery was 568 00:35:09,600 --> 00:35:12,120 Speaker 1: the greatest tragedy never shown. Something like that is like, 569 00:35:12,880 --> 00:35:17,400 Speaker 1: I feel like, again, there's an opportunity here to uplift 570 00:35:18,480 --> 00:35:26,080 Speaker 1: a lot of resources around our stories and let people 571 00:35:26,200 --> 00:35:30,719 Speaker 1: understand that there are people out here spending years studying 572 00:35:30,800 --> 00:35:34,920 Speaker 1: this every aspect of black lives, from our struggles to 573 00:35:35,719 --> 00:35:38,600 Speaker 1: our religious practices, to how we look at the starts, 574 00:35:39,400 --> 00:35:43,560 Speaker 1: every single thing that involves our lives. Man, is so 575 00:35:43,960 --> 00:35:46,640 Speaker 1: much out there, and we can start in the books, 576 00:35:46,800 --> 00:35:49,320 Speaker 1: but it has to spread itself out to the music, 577 00:35:49,960 --> 00:35:51,960 Speaker 1: to the movies, to the whole thing. You know what 578 00:35:52,080 --> 00:35:55,200 Speaker 1: I mean? Have either of y'all seen Diane Reeves performed 579 00:35:55,880 --> 00:35:59,799 Speaker 1: live before? She does this thing with her voice when 580 00:35:59,840 --> 00:36:03,040 Speaker 1: she just I feel like she's just calling to the ants. 581 00:36:03,880 --> 00:36:07,520 Speaker 1: I think crazy. It is one of the most amazing 582 00:36:07,680 --> 00:36:11,160 Speaker 1: things vocally that I've ever witnessed. That's part of it too. 583 00:36:11,360 --> 00:36:13,560 Speaker 1: It doesn't always have to be like an actual movie 584 00:36:13,640 --> 00:36:17,640 Speaker 1: with a storyline. Sometimes it's an experience with art and 585 00:36:17,840 --> 00:36:21,920 Speaker 1: opening up those spaces for the vocalists, the musicians, everybody 586 00:36:22,000 --> 00:36:24,480 Speaker 1: to be able to tell this story, to build on 587 00:36:24,600 --> 00:36:27,160 Speaker 1: this narrative, to continue to tell those things because they 588 00:36:27,239 --> 00:36:31,160 Speaker 1: have spent hundreds of years lying to us, huh, telling 589 00:36:31,239 --> 00:36:34,680 Speaker 1: us that we didn't have no feelings, our skin was thicker, 590 00:36:38,400 --> 00:36:46,360 Speaker 1: thus shame butter So now that all the cultures in 591 00:36:46,400 --> 00:36:50,800 Speaker 1: America are open to the black stories, what slavery based 592 00:36:51,000 --> 00:36:55,759 Speaker 1: movies would you say to start with? Or TV? I 593 00:36:56,000 --> 00:36:59,520 Speaker 1: have some real I'll just go and throw in the 594 00:37:00,080 --> 00:37:02,040 Speaker 1: mix of Roots that they did like a year or 595 00:37:02,080 --> 00:37:05,600 Speaker 1: two ago when they remade Roots and really gave it 596 00:37:05,760 --> 00:37:09,959 Speaker 1: Like I would love to see a massive three hour 597 00:37:10,160 --> 00:37:14,360 Speaker 1: type bio pick on W E. D D. Boys, you know, 598 00:37:14,480 --> 00:37:16,680 Speaker 1: I mean that's already made. What would you tell somebody 599 00:37:16,920 --> 00:37:19,080 Speaker 1: to go to go You need to see these oh 600 00:37:19,440 --> 00:37:22,120 Speaker 1: daughters of the dust for real, right, Yeah, I definitely 601 00:37:22,239 --> 00:37:24,839 Speaker 1: think Twelve Years of Slave I said in it there 602 00:37:24,920 --> 00:37:26,880 Speaker 1: I cried so hard and I thought about it. I 603 00:37:26,920 --> 00:37:29,840 Speaker 1: went by myself and I was like, uh, you know, 604 00:37:29,920 --> 00:37:35,120 Speaker 1: maybe that ship na. I was like, people cried and 605 00:37:35,360 --> 00:37:39,239 Speaker 1: mourned out loud for sinders list, so you are allowed. Yeah. 606 00:37:39,280 --> 00:37:43,320 Speaker 1: So I was like, I went to go see that 607 00:37:43,400 --> 00:37:45,799 Speaker 1: joint in Manniankan, Philly, and I watched my people walk out. 608 00:37:46,080 --> 00:37:48,800 Speaker 1: I watched them walk out too. So that's when you 609 00:37:48,840 --> 00:37:51,000 Speaker 1: know it's a good one. Yeah, that's when you know 610 00:37:51,040 --> 00:37:54,680 Speaker 1: what they hit take that, which is scad man. I 611 00:37:54,760 --> 00:37:57,200 Speaker 1: really felt away because I got a chance to see 612 00:37:57,239 --> 00:38:01,520 Speaker 1: what freedom felt like during those times. It seemed like, okay, 613 00:38:01,800 --> 00:38:05,440 Speaker 1: that's I mean, it's way better. It's way better. And 614 00:38:05,560 --> 00:38:08,160 Speaker 1: he was a learned man at a beautiful family and 615 00:38:08,239 --> 00:38:09,960 Speaker 1: then all of a sudden to go to that so 616 00:38:10,200 --> 00:38:14,000 Speaker 1: I felt like you could really feel the depths of despair. 617 00:38:14,719 --> 00:38:20,920 Speaker 1: I will not fall into pit of despair. I was like, wow, okay, Asia, 618 00:38:21,400 --> 00:38:23,520 Speaker 1: I said daughters, but that's not really a slave narrative. 619 00:38:23,760 --> 00:38:25,239 Speaker 1: I'm gonna throw this one out here. I know there 620 00:38:25,320 --> 00:38:29,040 Speaker 1: was hell of controversy around it, but film for film, 621 00:38:29,600 --> 00:38:31,960 Speaker 1: Birth of a Nation, Birth of a Nation the original 622 00:38:32,280 --> 00:38:35,360 Speaker 1: versus not not the original, not the original Birth of 623 00:38:35,360 --> 00:38:39,320 Speaker 1: a Nation. Sorry, I'm sorry, the other birth of a 624 00:38:39,400 --> 00:38:42,120 Speaker 1: nation that was done by the brother. He had a 625 00:38:42,160 --> 00:38:44,160 Speaker 1: bunch of controversy going on at the time. Damn, we 626 00:38:44,200 --> 00:38:46,839 Speaker 1: can't remember his name no more. That's so messed up. Nate. 627 00:38:47,040 --> 00:38:49,920 Speaker 1: His name is n Nate. I would have got it fast. 628 00:38:49,920 --> 00:38:53,400 Speaker 1: If he's married to us. He's not a girl. Noticed 629 00:38:53,400 --> 00:38:55,680 Speaker 1: why everybody was like, all right, dun, that's what I mean. 630 00:38:57,640 --> 00:39:05,879 Speaker 1: Don't lose the feeling. But what I really want to see, 631 00:39:06,200 --> 00:39:09,200 Speaker 1: I really want to see like a huge biopic about 632 00:39:09,280 --> 00:39:11,680 Speaker 1: the B d D Boys because his man who was 633 00:39:11,760 --> 00:39:16,680 Speaker 1: born literally at the moment that we stopped being slaves, 634 00:39:16,920 --> 00:39:19,600 Speaker 1: and then his entire life story tell us the story 635 00:39:19,680 --> 00:39:21,880 Speaker 1: of our struggle in a lot of ways, and he 636 00:39:22,040 --> 00:39:24,320 Speaker 1: ends up a Pan African this which is like amazing. 637 00:39:25,000 --> 00:39:27,160 Speaker 1: There's that. I definitely want to see a story that 638 00:39:27,280 --> 00:39:31,279 Speaker 1: goes into really how slaves turned the tide in the 639 00:39:31,360 --> 00:39:35,240 Speaker 1: Civil War. I want to see that story, that story 640 00:39:35,520 --> 00:39:40,080 Speaker 1: about how the Union had to come and find us 641 00:39:40,160 --> 00:39:43,000 Speaker 1: and then we had already walked off the plantations. We 642 00:39:43,080 --> 00:39:45,800 Speaker 1: didn't wait for Abraham Lincoln like, I want to see that. 643 00:39:46,080 --> 00:39:48,360 Speaker 1: I want to see some movies about the Maroons, the 644 00:39:48,480 --> 00:39:52,680 Speaker 1: Maroons in Haiti, the Maroons, and in Brazil the Maroons. 645 00:39:52,719 --> 00:39:54,680 Speaker 1: Here in America, they ain't want to be a part 646 00:39:54,719 --> 00:39:57,400 Speaker 1: of American society. They didn't say free us and let 647 00:39:57,480 --> 00:39:59,279 Speaker 1: us be a part of your government. They're like, we're 648 00:39:59,280 --> 00:40:02,200 Speaker 1: gonna have a warranty. We don't want to have nothing 649 00:40:02,239 --> 00:40:04,080 Speaker 1: to do with y'all. I want to see a movie 650 00:40:04,080 --> 00:40:07,480 Speaker 1: about that. You can have sovereignty nowhere in the United States. 651 00:40:07,880 --> 00:40:09,520 Speaker 1: Didn't they do it in Portland like they had their 652 00:40:09,560 --> 00:40:12,719 Speaker 1: own little city and for a minute until someone was like, 653 00:40:12,760 --> 00:40:16,239 Speaker 1: all right, that's enough, you can have sovereignty. Now what else? 654 00:40:16,680 --> 00:40:19,360 Speaker 1: I'd like to see more about the Middle Passage and 655 00:40:19,480 --> 00:40:21,520 Speaker 1: what happened before the Middle Passage, Like I would like 656 00:40:21,600 --> 00:40:24,840 Speaker 1: to see the transaction a lot more, the transaction between 657 00:40:25,080 --> 00:40:30,160 Speaker 1: the and the West Africans and the Americans. I just 658 00:40:30,360 --> 00:40:33,120 Speaker 1: want to know more how we got here people. Maybe 659 00:40:33,239 --> 00:40:36,360 Speaker 1: the slave trader, the black slave trader. Yeah, that's what 660 00:40:36,360 --> 00:40:37,960 Speaker 1: I'm saying. I want to guess. I want to know 661 00:40:38,040 --> 00:40:39,480 Speaker 1: about That's what I want to know. I want to 662 00:40:39,520 --> 00:40:42,840 Speaker 1: know how they convinced you. What was the day you 663 00:40:42,920 --> 00:40:45,319 Speaker 1: were like, deal, yeah, that's what I'm gonna do, right, 664 00:40:46,920 --> 00:40:49,520 Speaker 1: And when you realize that you were getting duped. I 665 00:40:49,600 --> 00:40:52,239 Speaker 1: would love to see a little bit more about the 666 00:40:52,640 --> 00:40:57,080 Speaker 1: African influence in South America, because everyone thinks that most 667 00:40:57,080 --> 00:40:59,399 Speaker 1: of the slaves came here to America, and by far 668 00:40:59,760 --> 00:41:04,600 Speaker 1: most something went to the Caribbean, into Brazil, into Cuba. 669 00:41:05,440 --> 00:41:08,240 Speaker 1: Brazil was like one of the biggest Yeah, yeah, Brazil, 670 00:41:08,719 --> 00:41:11,080 Speaker 1: Cuba and all these different places. I would love to 671 00:41:11,160 --> 00:41:13,960 Speaker 1: see some movies. And I'm sure there's some that are 672 00:41:14,000 --> 00:41:16,960 Speaker 1: not English speaking that are already about it, but I 673 00:41:17,000 --> 00:41:23,120 Speaker 1: would love to see some some movies about that. That's 674 00:41:23,160 --> 00:41:24,960 Speaker 1: an interesting question. I would be curious to know how 675 00:41:25,040 --> 00:41:28,960 Speaker 1: many movies there are that aren't American made about slavery, 676 00:41:29,520 --> 00:41:32,279 Speaker 1: because I told you I had that conversation with the 677 00:41:32,320 --> 00:41:35,920 Speaker 1: actress that played Ruby and Lovecraft, and she's British, and 678 00:41:36,040 --> 00:41:38,600 Speaker 1: she made it sound like we're just so much more knowledgeable. 679 00:41:38,800 --> 00:41:42,520 Speaker 1: She's so much more knowledgeable about our blackness and our 680 00:41:42,640 --> 00:41:45,600 Speaker 1: history than they are. She said, she yeah, she said, 681 00:41:45,600 --> 00:41:49,120 Speaker 1: it's very different American blacks, for lack of better term, 682 00:41:49,160 --> 00:41:51,400 Speaker 1: way more WoT well, I mean, it's the same thing 683 00:41:51,440 --> 00:41:54,760 Speaker 1: with like black Canadians. They just didn't have to carry 684 00:41:55,760 --> 00:41:59,120 Speaker 1: the they carried other stuff. They just didn't have to 685 00:41:59,239 --> 00:42:01,520 Speaker 1: carry a man work and slavery every where they went. 686 00:42:01,960 --> 00:42:06,000 Speaker 1: That's US, and even in Africa. I can't speak for 687 00:42:06,080 --> 00:42:09,800 Speaker 1: the whole continent, but they don't really think about you know, 688 00:42:10,239 --> 00:42:12,120 Speaker 1: they don't teach it. I mean, that's not a slavery thing. 689 00:42:12,200 --> 00:42:15,359 Speaker 1: But I'm fascinated by learning a lot about how West 690 00:42:15,360 --> 00:42:18,960 Speaker 1: Africa they don't even address slavery in their curriculum education, like, 691 00:42:19,880 --> 00:42:23,080 Speaker 1: which is really they don't here either. Fatina. I did 692 00:42:23,160 --> 00:42:26,000 Speaker 1: this docuseries when we talked to a bunch of folks 693 00:42:26,040 --> 00:42:29,160 Speaker 1: in our community about what happened over this summer, and 694 00:42:29,360 --> 00:42:31,520 Speaker 1: one of the things that we talked with everyone about 695 00:42:31,800 --> 00:42:33,719 Speaker 1: was one of the questions was what was your first 696 00:42:33,760 --> 00:42:38,200 Speaker 1: time learning about black life like in school and black 697 00:42:38,320 --> 00:42:42,880 Speaker 1: people and white people alike? It was like, uh civil 698 00:42:43,000 --> 00:42:48,200 Speaker 1: Rights movement, Martin Luther King, Uh never I didn't learn, 699 00:42:48,280 --> 00:42:51,520 Speaker 1: So I went to college. There's been no real what's 700 00:42:51,560 --> 00:42:54,279 Speaker 1: the word discourse? So we were spoiled Asia. I feel 701 00:42:54,320 --> 00:42:56,439 Speaker 1: like that d M v d C living and maybe 702 00:42:56,480 --> 00:42:59,319 Speaker 1: being in a majority black town and we're blacks were 703 00:42:59,360 --> 00:43:01,160 Speaker 1: in different I don't know, but I feel like my 704 00:43:01,280 --> 00:43:03,719 Speaker 1: education started away earlier, but mine did too. I think 705 00:43:03,719 --> 00:43:05,320 Speaker 1: a lot of it has to do with your parents, 706 00:43:05,440 --> 00:43:06,840 Speaker 1: but then also to like I said, if you go 707 00:43:07,000 --> 00:43:08,880 Speaker 1: up in a city like DC, which is like so 708 00:43:09,800 --> 00:43:13,840 Speaker 1: chocolate in terms of like even your educators. I didn't 709 00:43:13,840 --> 00:43:17,280 Speaker 1: actually have a Caucasian teacher or a non black teacher 710 00:43:17,440 --> 00:43:22,000 Speaker 1: until I was in the seventh grade. I didn't have 711 00:43:22,080 --> 00:43:24,560 Speaker 1: a male teacher until I was in the seventh grade. 712 00:43:24,840 --> 00:43:28,520 Speaker 1: Shout out to Brent Elementary School. My primary school, the 713 00:43:28,640 --> 00:43:33,759 Speaker 1: principle was a black woman PhD. I had more than 714 00:43:33,880 --> 00:43:37,879 Speaker 1: one black woman teacher who had a master's degree. All 715 00:43:37,960 --> 00:43:40,360 Speaker 1: of my teachers were black women from K through sixth grade. 716 00:43:40,480 --> 00:43:43,080 Speaker 1: My science teacher was a black woman. My gym teacher 717 00:43:43,160 --> 00:43:46,000 Speaker 1: was a black woman. My music teacher was a black woman. 718 00:43:46,320 --> 00:43:49,279 Speaker 1: The gifted and talented teacher was a black woman. There 719 00:43:49,360 --> 00:43:51,680 Speaker 1: was literally two black men in the whole building. One 720 00:43:51,760 --> 00:43:55,000 Speaker 1: of them was our sanitation engineer and the other person 721 00:43:55,480 --> 00:43:58,400 Speaker 1: was our occasional computer teacher. And he was dope and 722 00:43:58,440 --> 00:44:00,879 Speaker 1: sad about that at the same time. While that's dope 723 00:44:00,960 --> 00:44:04,080 Speaker 1: that that was so sister, And circle back to right 724 00:44:04,120 --> 00:44:07,279 Speaker 1: now and did DC ANDPG County have an issue with 725 00:44:07,400 --> 00:44:09,960 Speaker 1: black male teachers? They are looking you. It was just 726 00:44:10,040 --> 00:44:12,239 Speaker 1: on CNN the other day they are yearning for black 727 00:44:12,320 --> 00:44:15,600 Speaker 1: males to come teach these kids. Listen, it's the same here, 728 00:44:15,960 --> 00:44:18,600 Speaker 1: same here in Philly. That's why I shoutouts to my 729 00:44:18,719 --> 00:44:21,080 Speaker 1: son who's in school, wants to be an educator, pal 730 00:44:21,200 --> 00:44:25,400 Speaker 1: pal p to all the black male education majors, and 731 00:44:26,040 --> 00:44:29,879 Speaker 1: what's it gonna be his other job? Singing? Right, let's 732 00:44:29,880 --> 00:44:33,520 Speaker 1: see that's the problem. No, Listen, only black people respond 733 00:44:33,680 --> 00:44:35,320 Speaker 1: like this when you tell them your kid wants to 734 00:44:35,360 --> 00:44:37,680 Speaker 1: be an educator, because they pay teacher so bad, Like 735 00:44:37,760 --> 00:44:39,680 Speaker 1: what's this other job? Yeah, they'd be like, he never 736 00:44:39,719 --> 00:44:41,840 Speaker 1: gonna make no money. No, I'm not saying that. We 737 00:44:41,920 --> 00:44:45,040 Speaker 1: gotta stop doing stop on it. I was in school 738 00:44:45,080 --> 00:44:49,239 Speaker 1: to be a teacher. I am actually quite very much 739 00:44:49,320 --> 00:44:54,480 Speaker 1: in love with the teachers. You're sure, she said, But 740 00:44:54,880 --> 00:44:58,759 Speaker 1: they don't pay teachers what they deserved. It. They do, 741 00:44:59,400 --> 00:45:03,560 Speaker 1: but you used to deserve words they don't. So you 742 00:45:03,680 --> 00:45:06,439 Speaker 1: gotta you know, like, what's the other job? That's interesting 743 00:45:06,480 --> 00:45:09,560 Speaker 1: because it's like private school pays there you go, or 744 00:45:09,640 --> 00:45:12,000 Speaker 1: the level of education. Yeah, because I said, here's the thing, 745 00:45:12,040 --> 00:45:14,560 Speaker 1: we don't talk about. Teachers themselves in general do not 746 00:45:14,640 --> 00:45:16,960 Speaker 1: get paid the kind of money they need to get paid. However, 747 00:45:17,800 --> 00:45:21,440 Speaker 1: having a certain level of education. Certifications help also to 748 00:45:21,760 --> 00:45:26,160 Speaker 1: not longevity what's the word with tenure helps? All these 749 00:45:26,239 --> 00:45:28,320 Speaker 1: things help, you know. I know some teachers who do 750 00:45:28,520 --> 00:45:31,560 Speaker 1: very well for themselves actually, but they've taken the time 751 00:45:31,640 --> 00:45:34,840 Speaker 1: to like continue their education, to get different certifications so 752 00:45:34,960 --> 00:45:36,440 Speaker 1: that when they get those jobs they can ask for 753 00:45:36,480 --> 00:45:39,120 Speaker 1: certain income. Now that's not the case everywhere. So before 754 00:45:39,160 --> 00:45:41,600 Speaker 1: all the teachers go off for me and my social 755 00:45:41,680 --> 00:45:45,800 Speaker 1: media's yeah, because I love teachers and I have so 756 00:45:45,920 --> 00:45:49,200 Speaker 1: many fantastic relationships with teachers. But yeah, yeah, they don't. 757 00:45:49,239 --> 00:45:51,719 Speaker 1: And he doesn't have a second job. He wants to 758 00:45:52,200 --> 00:45:55,880 Speaker 1: eventually have his own school and work in mental health curriculum, 759 00:45:56,560 --> 00:46:00,520 Speaker 1: particularly as it pertains to black boys. But at the 760 00:46:00,640 --> 00:46:03,600 Speaker 1: end of the day, he has goals to do that. 761 00:46:04,120 --> 00:46:06,160 Speaker 1: But he was really clear with me, he said, mom, 762 00:46:06,719 --> 00:46:09,440 Speaker 1: my goal is to be in the classroom, and if 763 00:46:09,520 --> 00:46:13,360 Speaker 1: I never leave the classroom, that's fine with me. Because 764 00:46:13,400 --> 00:46:15,400 Speaker 1: he wanted me to know. He was like, I need 765 00:46:15,480 --> 00:46:17,960 Speaker 1: you to know that, and you don't have to say, oh, 766 00:46:18,120 --> 00:46:21,359 Speaker 1: he's gonna do this, This is no he said. If 767 00:46:21,360 --> 00:46:23,720 Speaker 1: I'm a seventh grade teachers for the rest of my life. 768 00:46:24,360 --> 00:46:29,279 Speaker 1: That would be fine with beautiful, because that's beautiful. Look 769 00:46:29,280 --> 00:46:33,880 Speaker 1: at what you did. Look at right now, ch'all he 770 00:46:34,040 --> 00:46:36,120 Speaker 1: is singing, he putting out records and stuff. May God 771 00:46:36,200 --> 00:46:48,640 Speaker 1: bless us, bless his soul. How do you eat an element? 772 00:46:49,600 --> 00:47:00,840 Speaker 1: One by it time? What's up you all? It's Eves 773 00:47:01,040 --> 00:47:03,319 Speaker 1: back again at the end of an episode to share 774 00:47:03,440 --> 00:47:06,480 Speaker 1: some things you can take with you after this conversation 775 00:47:06,640 --> 00:47:10,800 Speaker 1: about black stories. They mentioned too many movies shows in 776 00:47:10,920 --> 00:47:13,719 Speaker 1: theaters for me to list here, but if you missed any, 777 00:47:14,000 --> 00:47:16,880 Speaker 1: listen to the episode again and jot them down. What 778 00:47:17,080 --> 00:47:20,040 Speaker 1: better place to start than the stories themselves and the 779 00:47:20,160 --> 00:47:24,000 Speaker 1: institutions that support them. Other than that, Asia would like 780 00:47:24,120 --> 00:47:27,440 Speaker 1: to refer you to the Equal Justice Institute. It opened 781 00:47:27,480 --> 00:47:30,880 Speaker 1: the Legacy Museum and National Memorial for Peace and Justice 782 00:47:31,200 --> 00:47:34,600 Speaker 1: in Montgomery, Alabama. The museum does a really good job 783 00:47:34,680 --> 00:47:37,759 Speaker 1: at tracing the line from slavery to mass incarceration in 784 00:47:37,840 --> 00:47:42,600 Speaker 1: the US, and the artwork, archival materials, and presentations there 785 00:47:42,640 --> 00:47:46,080 Speaker 1: are really moving, and the memorial is a poignant reminder 786 00:47:46,160 --> 00:47:48,399 Speaker 1: of everything that we had to go through on this land. 787 00:47:48,920 --> 00:47:51,400 Speaker 1: Of course, this history is a big part, not the 788 00:47:51,480 --> 00:47:55,040 Speaker 1: only part, but an impactful part of Black American narratives, 789 00:47:55,480 --> 00:47:58,360 Speaker 1: and in the same vein Layah recommends visiting the National 790 00:47:58,480 --> 00:48:01,759 Speaker 1: Museum of African American histor treet and Culture when that's 791 00:48:01,800 --> 00:48:05,480 Speaker 1: possible again to learn more about Black experiences of slavery. 792 00:48:06,160 --> 00:48:10,400 Speaker 1: There are countless countless black filmmakers and writers that we 793 00:48:10,480 --> 00:48:12,960 Speaker 1: could shout out as well, but instead of spending the 794 00:48:13,040 --> 00:48:15,719 Speaker 1: rest of our lives here on this episode today, I'll 795 00:48:15,760 --> 00:48:18,400 Speaker 1: point you to Michael J. Dennis, a filmmaker and the 796 00:48:18,480 --> 00:48:21,799 Speaker 1: founder of the production company Real Black, as well as 797 00:48:21,920 --> 00:48:25,719 Speaker 1: the Black Star Film Festival, which highlights and supports the 798 00:48:25,800 --> 00:48:30,240 Speaker 1: work of Black, Brown and Indigenous artists. Links in the description. 799 00:48:30,440 --> 00:48:43,880 Speaker 1: As always, thank you for listening to Jill Scott Presents 800 00:48:44,200 --> 00:49:04,319 Speaker 1: j dot IL the podcast. This podcast is hosted by 801 00:49:04,400 --> 00:49:08,600 Speaker 1: Jill Scott, Laa st Clair and Age Graden Danceller. It's 802 00:49:08,640 --> 00:49:12,360 Speaker 1: executive producers are Jill Scott, Shaan g and Brian Calhoun. 803 00:49:12,800 --> 00:49:16,480 Speaker 1: It's produced by Layas st Clair and me Eves Jeff Coke. 804 00:49:16,800 --> 00:49:19,319 Speaker 1: The editing and sound design for this episode we're done 805 00:49:19,440 --> 00:49:26,680 Speaker 1: by Christina Loranger. You can't have bad breath one day, 806 00:49:27,080 --> 00:49:31,160 Speaker 1: Like that's a story for a lifetime, you know, I 807 00:49:31,320 --> 00:49:33,440 Speaker 1: was with Jill Scott at the market the other day 808 00:49:33,480 --> 00:49:37,000 Speaker 1: and her breath was pumping, pumping, pump, Right, girl, I 809 00:49:37,160 --> 00:49:41,320 Speaker 1: call you back. Hello. Guess what. I was at the 810 00:49:41,480 --> 00:49:46,359 Speaker 1: market with Jill Scott and her breath was horrible. All right, 811 00:49:46,480 --> 00:49:51,239 Speaker 1: let me call you back changed. I was a jail 812 00:49:51,320 --> 00:49:53,600 Speaker 1: at the market the other day and she lost a 813 00:49:53,719 --> 00:49:59,520 Speaker 1: two day ago sale. She her breast smell so bad. 814 00:49:59,560 --> 00:50:01,520 Speaker 1: I thought it was a tooth rotten in the back. 815 00:50:01,840 --> 00:50:08,040 Speaker 1: I asked, and she says she did confirmed, She confirmed it. 816 00:50:08,400 --> 00:50:12,239 Speaker 1: She said she was taking gender for her gender virus exactly. 817 00:50:13,280 --> 00:50:16,680 Speaker 1: J dot Ill is a production of I Heart Radio. 818 00:50:17,120 --> 00:50:20,360 Speaker 1: For more podcasts from I Heart Radio, visit the I 819 00:50:20,600 --> 00:50:24,880 Speaker 1: Heart Radio app, Apple podcast, or wherever you listen to 820 00:50:25,000 --> 00:50:26,080 Speaker 1: your favorite shows.