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Speaker 1: Welcome to Jay dot Im a production of I Heart Radio. Hello,

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Speaker 1: good people, how are you? I certainly hope that you

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Speaker 1: are doing beautifully. Life has been a series of ups

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Speaker 1: and downs, man, I don't you in the last week

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Speaker 1: or so, and I'm happy to be standing on my

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Speaker 1: feet currently sitting but you know what I'm saying. And

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Speaker 1: then with my foot, my sweet supportive homies, Sat Claire,

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Speaker 1: that's right, we got you, bu nil and the lovely

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Speaker 1: age of great danceler right to the left front of

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Speaker 1: the bag. So you wipe up I have you know,

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Speaker 1: sometimes that's necessary, just surrounded with support. God, damn it.

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Speaker 1: I'm sorry. I mean no, Joe, I'm not gonna wipe

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Speaker 1: your ass. I love you. I will help, I will

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Speaker 1: I will help to pay for the nice, skilled young

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Speaker 1: lady who or who has gone to school and trained

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Speaker 1: and got a different kid and happy happy. I'll record

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Speaker 1: them and make sure they're not doing anything wrong but inappropriate. Inappropriate, yes, cleaning,

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Speaker 1: boo boo, and leave thank you guy to the back

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Speaker 1: from the front to the back, by the way, how

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Speaker 1: about that. See this is how it all started. My goodness. Friends, UM,

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Speaker 1: I am sure at this point that a lot of

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Speaker 1: you have seen The Woman King. Um, I saw it,

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Speaker 1: Did you lady see it? I better late than never? Yes,

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Speaker 1: I didn't see it. I'd take a better late than never.

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Speaker 1: There's been a lot of controversy about it. People are

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Speaker 1: really upset, saying that the movie was historically inaccurate, and

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Speaker 1: there's also a documentary UM by Lupida and Youngo Uh

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Speaker 1: talking about her experience going to investigate. I think she

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Speaker 1: was offered the role and decided not to take it

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Speaker 1: because of what she found. She was so disappointed in

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Speaker 1: the truth of the story, or at least some additional

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Speaker 1: truths of the story that we're not being explored through

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Speaker 1: the movie, UM, namely the involvement of the Dahoma in

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Speaker 1: the slave trade. So she was really, uh, I'm not

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Speaker 1: happy about that, which really an understandable Did I do

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Speaker 1: fully get it? But yeah, so you know that opens

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Speaker 1: up a cannon warns a conversation about it, right, Well,

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Speaker 1: I mean it didn't with us. We had this conversation

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Speaker 1: before we saw the movie. I'm glad that we saw

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Speaker 1: it regardless of these things. Yeah, so in the very

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Speaker 1: beginning of this conversation, I gotta ask y'all so to

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Speaker 1: see her first off to see or not to see

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Speaker 1: if you have. We were consistently worried about whether or

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Speaker 1: not we have representation in Hollywood run our history, around

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Speaker 1: our stories and our narratives. When one comes up right

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Speaker 1: and you don't feel that it for whatever reason that

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Speaker 1: you have an issue with it, particularly around history, let's

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Speaker 1: just stay there right Historically, you have an issue with

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Speaker 1: the way and something is being represented, do you go

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Speaker 1: see it anyway or do you stand behind your analysis

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Speaker 1: or your critique of it and say, yeah, no, I

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Speaker 1: don't you know to see or not to see. I

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Speaker 1: know we saw it, it depends you know. That's that

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Speaker 1: stuff got criteria and a lot of grades. I don't

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Speaker 1: know about your criteria and grades because I literally was

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Speaker 1: just as you was asking that question, I was like, well,

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Speaker 1: when it comes to the woman King, yes, because there

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Speaker 1: were some factors involved, like Viola Davis, who I have

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Speaker 1: come to trust in certain ways that a lot of

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Speaker 1: I might not trust other actors or actresses or black

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Speaker 1: actresses in a way. So yeah, But then I thought

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Speaker 1: about and I was like, but I didn't see Harriet

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Speaker 1: Tubman because I just that was too much for me.

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Speaker 1: I just so for you, there's like a cap on

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Speaker 1: on how much inaccuracy? Yeah, and also being familiar how

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Speaker 1: much like I do care if the actors and the

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Speaker 1: actresses are sometimes like a track record for good and

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Speaker 1: a connection and a connection to the story in a

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Speaker 1: way like yeah, how about Um, I'm a movie buff

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Speaker 1: like and a movie goer. I love movies alone so much,

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Speaker 1: you know those That's my ship, isn't it. You're talking

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Speaker 1: movies and books when we were talking art like, I'm

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Speaker 1: in you know. So I looked at it and I

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Speaker 1: saw an actor like you said that I trust, you know, Um,

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Speaker 1: I saw a director that I trust. Yes, Oh please,

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Speaker 1: I'm sorry, Jill, please say that over and over again.

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Speaker 1: I trust. I just trust Gina Blackwood. Yes, yes, yeah,

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Speaker 1: I a director that I trust. And um, I saw

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Speaker 1: a story that I wanted to see. So I went

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Speaker 1: and saw it. And the first fifteen minutes of it

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Speaker 1: for me, you know, not that we normally run around

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Speaker 1: critique and everything, but we're just talking about the fact

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Speaker 1: that there was this movie created and causing a lot

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Speaker 1: of controversy amongst us. The first fifteen minutes, I was

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Speaker 1: worried because, um, it wasn't the grain that I expected,

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Speaker 1: and it bothered me. Yeah, give us, yeah, give us,

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Speaker 1: give us a vocabulary word. It just seemed a little

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Speaker 1: more shiny than I was ready for. Wow. See, I

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Speaker 1: thought that day. I thought it was it's funny you

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Speaker 1: say that, because my first fifteen minutes I was like, Wow,

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Speaker 1: they are shooting these brown skinned people beautifully. Then I agree, yeah,

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Speaker 1: I was like, I've never seen this before. It felt

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Speaker 1: like a conscious choice to be blowing in gold and

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Speaker 1: red and bronze and that part. That part, for sure,

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Speaker 1: I thought that was beautiful. But I kind of felt

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Speaker 1: like it was a little Hollywood initially, like it was.

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Speaker 1: I was like, oh, wow, okay, I see the effort,

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Speaker 1: and I do appreciate that because so often, you know,

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Speaker 1: for years and years we were filmed really badly, and

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Speaker 1: the makeup as well, so there was a lot of

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Speaker 1: gray in our skin, gray, a lot of that serious

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Speaker 1: that was a that was a big problem. So this

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Speaker 1: was nice. I did appreciate it. Although I was like, oh,

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Speaker 1: I thought I was getting something else. After those fifteen minutes,

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Speaker 1: I was all about it. I was in now, can

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Speaker 1: I ask, just because we're still in the beginning, and

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Speaker 1: I know we had this converence, We had a oversation

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Speaker 1: before we all saw it. I'm gonna be honest and

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Speaker 1: I'm gonna say as as much as I trusted Gina

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Speaker 1: and Viola, I was a little concerned about the two

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Speaker 1: white women that Maria Bella, who I'm familiar with as

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Speaker 1: an actress, who did wrote we wrote the screenplay, that

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Speaker 1: did the screenplay. I just I didn't know if that

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Speaker 1: was that was the thing in my mind mind I

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Speaker 1: was to have in one's mind. Yeah, yeah, I was.

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Speaker 1: I was because I feel like on online when people

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Speaker 1: were really kind of going into their critique about it,

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Speaker 1: those who had not seen it and had We're not

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Speaker 1: going to that that one of the big things was like, yeah, well,

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Speaker 1: white woman wrote the screenplay, why are we you know?

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Speaker 1: I think maybe though sometimes people don't understand how many

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Speaker 1: white people write the screenplay. Yeah, I mean I think

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Speaker 1: maybe the that that's pretty usual about the Google like

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Speaker 1: ship right now, I mean I know for certain. And

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Speaker 1: then that help Well, which is is a favorite of mine.

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Speaker 1: Um was written by Tate Taylor, who happens to be

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Speaker 1: you know, Caucasian dude. A dude. It's not a whole

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Speaker 1: lot of it's not a whole lot of black women's screenwriters.

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Speaker 1: But then even also, to let me just say this,

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Speaker 1: people who critiqued this from that place right also had

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Speaker 1: an issue with Some of these folks also had an

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Speaker 1: issue with Black Panther. You know what I'm saying that

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Speaker 1: that screen play was written by a black person, but

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Speaker 1: Black Panther was based on a you know that that

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Speaker 1: was a comic. It wasn't a historical saying what I'm

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Speaker 1: saying that one of these things though forever right, But

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Speaker 1: I'm I'm what I'm I'm mentioning it because I'm like, Okay,

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Speaker 1: so we want black screenwriters, right, but then we get

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Speaker 1: black screenwriters, and then we oh, I wasn't mad at

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Speaker 1: Black Panther. They were mad at Black Panther. Really, the

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Speaker 1: Black Panther or came from the writers of the comic

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Speaker 1: book not being involved, which is uh, as we learned

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Speaker 1: from Dr Sheina Howard that that's a frequent thing that

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Speaker 1: happens between Marvel movies and the actual comic books. They

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Speaker 1: don't involve the writers. So a lot of people were

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Speaker 1: mad about that, like, how come the black writers that

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Speaker 1: wrote this comic aren't involved in But no, it's funny,

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Speaker 1: Glory screenwriter. It is good. I mean, this is what

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Speaker 1: I'm saying. But then a lot of people who listen,

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Speaker 1: they're consistent because I think a lot of people who

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Speaker 1: are critical of women king are also people who just

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Speaker 1: don't want to see slave movies anymore and don't like

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Speaker 1: them either. So you know, but this wasn't that that

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Speaker 1: is that's interesting because this ain't the typical what you

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Speaker 1: would call slave movie either. We talked, we didn't see

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Speaker 1: a lot of slaves, a lot of scenes of enslaved people.

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Speaker 1: I feel like I don't see a lot of scenes

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Speaker 1: of enslaved people at all. And it was there was

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Speaker 1: one or two people shackled. Definitely saw a line of that. Okay,

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Speaker 1: So I had all had known the story of the Dohma,

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Speaker 1: but I was not aware of their involvement in the

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Speaker 1: slave trade. That is something that came up when the

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Speaker 1: movie came out that I saw online. So when that happened,

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Speaker 1: and I was like, well, let me go try to

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Speaker 1: do a little quick, you know, deep dive, you know,

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Speaker 1: not even a deep dive, a shallow dive into this,

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Speaker 1: just to see what this thing is. And my my

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Speaker 1: thing was this I wasn't familiar enough with um. The

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Speaker 1: the counter argument to make a stance at that point.

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Speaker 1: So I kinda was like, well, I need to know

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Speaker 1: more about this to stand in like a moment with it,

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Speaker 1: you know. Um. But one of the things that gave

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Speaker 1: me comfort in general is that, you know, maybe there's

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Speaker 1: a thought here. And I wouldn't even say that this

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Speaker 1: is my full opinion like that I flushed this out,

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Speaker 1: but I think that maybe there's a moment where we

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Speaker 1: respect history for what history is and respect storytelling from

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Speaker 1: the Hollywood perspective. That's what I thought about, because this

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Speaker 1: wasn't a documentary. Yeah, it's not a documentary. That a

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Speaker 1: part of me of what I want to the way

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Speaker 1: I feel like my brain is going is that history

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Speaker 1: as a thing can never be told in this way anyway,

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Speaker 1: so our expectation of it has to be different from

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Speaker 1: the gate. Then there's also this kind of like pushing

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Speaker 1: pull with me where it's like, well, you know, we

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Speaker 1: get revisionist history all the time that positions you know,

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Speaker 1: wife folks looking like they didn't do nothing bad. Oh, age,

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Speaker 1: you're hold on there. I mean, I'm just saying, like

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Speaker 1: I'm not mad. What's good for good for the goose.

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Speaker 1: We're gonna take a quick break and then it will

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Speaker 1: be right back. Do you also see movies like Django

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Speaker 1: where you know, some guy strode in on a horse,

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Speaker 1: learned how to speak proper English real fast, you know,

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Speaker 1: and came in and killed everybody. You know. It's the

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Speaker 1: movie that we always wanted to see. I was like,

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Speaker 1: I need that. I wanted, you know, just just because

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Speaker 1: we have movies like Inglorious Bastards, you know where that's

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Speaker 1: Django was the Black. That's funny, it was the Black

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Speaker 1: and Glorious Bastards exactly exactly. Yeah, you wish. I'm sure

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Speaker 1: a lot of Jewish people was like, yeah, hell went

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Speaker 1: the back take that? Yeah. Yeah. And sometimes if something

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Speaker 1: is not presented in a way that feels we're more. Yes,

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Speaker 1: some of it's art housy, right, yeah, So Django and

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Speaker 1: Glorious this is kind of a very arts, very artsy

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Speaker 1: Uh lady sings the blues lens to go through? But

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Speaker 1: why is that? Is it artsy? Because it was Quentin Tarantino,

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Speaker 1: Because really, I mean, but he he has a certain

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Speaker 1: kind of lens that he does things through, right, he

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Speaker 1: has a freedom to for people to look at it

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Speaker 1: in that way too, where that tire a thing he

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Speaker 1: will make a thing. He's into the art of the thing. Right.

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Speaker 1: Then then we have these Hollywood kind of moments that

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Speaker 1: are gonna give you, you know, a conflict. They're gonna

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Speaker 1: give you, romanticize the fixing of that conflict and give

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Speaker 1: you a nice little bow at the end. And when

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Speaker 1: you tied that kind of mentality with a historical thing

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Speaker 1: where we know history doesn't work like that, then it's

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Speaker 1: something about the spirit that don't align. And I can

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Speaker 1: respect that. And I saw the movie, so let me

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Speaker 1: start there. I can respect that people are like, uh, yeah, no,

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Speaker 1: it didn't happen like this, and it's it's kind of

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Speaker 1: disrespectful to present it this way because this is not

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Speaker 1: how history works. Yeah, but again there is a reality

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Speaker 1: of that. People don't even read this kind of stuff

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Speaker 1: in general. They'll they'll get their knowledge of the moment

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Speaker 1: from the movie. Yeah. Yeah, because I like, you know,

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Speaker 1: I'm still Sheila, Yeah still. And the gifts and the

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Speaker 1: gifts have the gifts have definitely solidified this in many

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Speaker 1: ways and in the social media's you know. But I'm

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Speaker 1: just I want to also say, like I'm glad that

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Speaker 1: movies like this still exists. It's funny when I went

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Speaker 1: to see this movie and made me think about when

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Speaker 1: my father made me go to the movies to see Glory,

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Speaker 1: Like I remember me and my evil step sister was crying.

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Speaker 1: We wanted to see a whole another movie and we

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Speaker 1: were like and when I walked out of the movie,

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Speaker 1: I felt guilty as a kid, like, why, oh my god,

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Speaker 1: this was really kind of cool in a way, not real, right,

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Speaker 1: not a true but I don't know, I just well existed.

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Speaker 1: But you got you got a lot of things around

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Speaker 1: the Civil War that around what our ideas of what

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Speaker 1: black people's involvement was in their own liberation. That is

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Speaker 1: grossly undertold. Right, So is it the responsibility that it

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Speaker 1: was a white savior in this movie? Right? Is it

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Speaker 1: the responsibility of the one movie to make it? So

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Speaker 1: you know what I'm saying, So to to correct that,

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Speaker 1: not necessarily because it's going to start a conversation, right yeah.

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Speaker 1: But then, but but Glory could never be made now

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Speaker 1: if it was made now trauma porn no more? Okay,

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Speaker 1: not for the white savior reasons, just because of that,

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Speaker 1: for the white savior reasons. And then of course there

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Speaker 1: is that particular scene to Denzel Washington with the one

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Speaker 1: with the one tier because we are so strong, we

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Speaker 1: are so strong, honey, that only one tier from all

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Speaker 1: that brutality. Right, but but but but here's the thing.

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Speaker 1: But is that what happened? Is that what happened? Because

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Speaker 1: this very famous photograph of the man's back with us

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Speaker 1: the trees and branches all over his back, this is

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Speaker 1: actual photo. Yeah, it exists. That my man only shed

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Speaker 1: one tier when he got retalized like that, not a

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Speaker 1: single man living. Wow. Right, right, this is this is

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Speaker 1: the challenge though, you know, because I know that we

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Speaker 1: want to see representation of ourselves. Sometimes it's gonna be fictitious,

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Speaker 1: you know. It's it's it's a story. It's a story,

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Speaker 1: it's folklore. It's messaging. Also, um, it's it's a a

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Speaker 1: magnifying glass, you know, on us on how we do things,

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Speaker 1: and you know how funny we are and how um

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Speaker 1: spiritual and emotional and angry, you know all the things,

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Speaker 1: how much we love, how love, how we love hard.

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Speaker 1: I saw that beautiful Beal Street, you know, if Beal

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Speaker 1: Street could talk like you know, um, and that was

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Speaker 1: beautifully shot. It was beautifully shot. I'm in the frame

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Speaker 1: of mind and this is entertainment. And if you actually

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Speaker 1: want to dig into it, um into the film, into

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Speaker 1: the the tribe as well, then that's the go do it.

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Speaker 1: That's what it's supposed to do. It's supposed to spark

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Speaker 1: your mind to go, wait, let me find out more

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Speaker 1: about the Dahomie in a way. And it's funny also

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Speaker 1: that moment Jal that you talked about just going to

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Speaker 1: the movies and seeing stories, I mean, I had the

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Speaker 1: moment of the wondrous moment in my brain and spoiler alert,

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Speaker 1: spoiler alert, spoiler alert, don't spoil it. I'm not gonna

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Speaker 1: spoil it, but I'm just saying, what if palm oil

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Speaker 1: was the choice instead of enslaving your people? What if

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Speaker 1: what would that have looked like? I don't know, but

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Speaker 1: I don't know, and I would like to investigating. Yeah,

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Speaker 1: I mean, I hate to be the wet rag on this,

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Speaker 1: you know, because I'm always I'm always the wet rag

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Speaker 1: come on blackness and to take it away, um well,

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Speaker 1: I just think dangerous line to tread man, because we

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Speaker 1: as black people are dealing with a great mini fucked

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Speaker 1: up stories that or stories that have been romanticized, revision

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Speaker 1: and stuff. Even even things that seem to be for

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Speaker 1: our benefit. So even looking at a person like a

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Speaker 1: Dr King, who is a person celebrated throughout the world.

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Speaker 1: So this is a black man who was known throughout

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Speaker 1: the world, you know, quote unquote American born black man

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Speaker 1: out of the South, who is worldwide known for being,

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Speaker 1: you know, a freedom fighter. Okay, but the the almost

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Speaker 1: Hollywood upliftment of him, the romanticized version of him, is

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Speaker 1: deeply watered down, deeply so revisionist at this point that

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Speaker 1: it may not even actually be anywhere close to him

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Speaker 1: that he actually was at the time of his death. Anyway,

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Speaker 1: So there's a there's a part of this that feels good,

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Speaker 1: but that might be in the long term, you know

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Speaker 1: that of a of a bleached grain and a sugar. Yes,

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Speaker 1: it's a comfort food, but later on down the line,

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Speaker 1: it's going to settle into the sides and give you diabetes.

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Speaker 1: I don't think it's gonna do that like that. I don't.

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Speaker 1: I don't think that the woman King is going to

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Speaker 1: do that. I think that it was really beautiful film.

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Speaker 1: I mean I did too. I thought it was. If

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Speaker 1: you want to investigate more, then that's what you need

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Speaker 1: to do. You know, it's it's the story. You think

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Speaker 1: that that um that that Nat Turner film said everything

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Speaker 1: about everything. It said some things, you know, some things

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Speaker 1: that were accurate. Absolutely, But there's other stuff that goes

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Speaker 1: along with the story. Like I've been reading Mohali Jackson

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Speaker 1: and reading about her life for a long time now,

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Speaker 1: and there was there were so many nuances to her personality,

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Speaker 1: into her involvement, so many things that she lost because

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Speaker 1: of her involvement. But that's one one of the mini books.

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Speaker 1: There's other things, like there's always another thing that could

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Speaker 1: add even even like Phillis Timon reading about her, you know,

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Speaker 1: but listening to people, there's always another nuance. There's something

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Speaker 1: that any writer could miss. Yeah, I mean the movie

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Speaker 1: was I loved it. However, I would say, in defense

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Speaker 1: of what you're saying that, yeah, there's like fifty movies

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Speaker 1: about George Washington or Thomas Jefferson or Lincoln Lincoln, and

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Speaker 1: there's so many different takes on these people. And let's

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Speaker 1: not even get into books thinking I'm Lincoln. I don't recall,

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Speaker 1: you know, the historians having a fit that Lincoln was

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Speaker 1: a vampire slayer. Up. I'm sorry, you just I can't

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Speaker 1: believe you. I can't believe that's some one that I

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Speaker 1: can't believe because I'm just saying, I can't believe you

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Speaker 1: brought that one in. Yeah, that was kind of good,

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Speaker 1: though I do movie I'm a vampire movie kind of

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Speaker 1: shake it. But he was to kill ampious, that he

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Speaker 1: was going at war, that he could stay on the

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Speaker 1: top of a horse. Nobody told me he could stay

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Speaker 1: on a horse. Why didn't somebody say that? But because

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Speaker 1: white people are out here fighting for their lives, So no,

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Speaker 1: they don't care that they can talk about Lincoln like that. Yeah,

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Speaker 1: bless that. So at this point and with black folks

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Speaker 1: like y'all, you know, we always got that extra protective

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Speaker 1: layer because we're not You saw our narrative being told

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Speaker 1: by us, and all of these different factors as to

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Speaker 1: how our narratives have been told in our our voices.

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Speaker 1: But I still want us to be able to be creative.

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Speaker 1: Like I'm thinking that maybe this movie can start a

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Speaker 1: conversation about the the Homie. Maybe this movie will start

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Speaker 1: the new documentary about the the Homies so we can

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Speaker 1: get the facts. Maybe this movie can just start us

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Speaker 1: telling a bunch of different stories. Because I think that's

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Speaker 1: the thing I hear crossed the board from people, because

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Speaker 1: whether you agree or disagree on this particular matter, I

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Speaker 1: think everybody feels is like they want to see more stories,

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Speaker 1: more stories from a lens that feels like it's coming

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Speaker 1: from us, and so we want to see this, we

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Speaker 1: want to continue to push forward in that way. And

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Speaker 1: here's the vibes. History is ugly, it's an attractive thing.

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Speaker 1: It's not cool, it's not it's not it's very nuanced.

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Speaker 1: And the more that you can live in that reality,

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Speaker 1: the less you're gonna be looking to these very specific

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Speaker 1: and narrow ways to learn it. Like you know, when

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Speaker 1: Jill says there's always something else that's a product of

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Speaker 1: her going out and doing the reading, she wouldn't have

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Speaker 1: that perspective has she not gone to do it. So

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Speaker 1: the point is that if you can get into the

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Speaker 1: culture of understanding that you know, history requires this thing

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Speaker 1: that you do. And I know James Baldwin says something

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Speaker 1: like this, and I'm I'm I'm paraphrasing, but he basically

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Speaker 1: said that history is not in the past, that history

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Speaker 1: is always with you because everything that you do in

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Speaker 1: the present has been informed by something that's happened in

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Speaker 1: the past. So what angel you just you just you

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Speaker 1: just rang a bell in me. Come on, excuse me.

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Speaker 1: I think that what the problem is is that this

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Speaker 1: is a film that has that that shows a flaw

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Speaker 1: of our people. Yes, that's the problem. Come on that

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Speaker 1: that it's saying at what it's not saying. But we're

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Speaker 1: learning that this was a trial. We weren't even learning

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Speaker 1: about this tripe, y'all. We weren't. Okay, the fact that

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Speaker 1: they named I'm not trying to be ignorant, but I'm like,

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Speaker 1: the huh if grit's ain't pop, girl, come on with it. Yes, no, no, no,

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Speaker 1: you're right, you're right, you're right, you're right. Please please

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00:24:52,280 --> 00:24:56,880
Speaker 1: continue to unpack that. No, please, I'm done. Yeah, that's

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Speaker 1: that's That's what I'm thinking here, that that's the problem.

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Speaker 1: That you're celebrating a tribe of women, powerful women, which

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Speaker 1: we love. That is the best part. Yes, yes, yes

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Speaker 1: they could fight, they could kill men, but all the things,

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Speaker 1: they gotta hold that energy. Somebody gotta have that and

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Speaker 1: to have a women women of principle. They the fact

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Speaker 1: that they were not having lovers, the fact that they

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Speaker 1: were completely devoted and can you believe they weren't even

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Speaker 1: loving on each other, which is the other Hollywood element,

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Speaker 1: because I'm like, what in the fux what just somebody

398
00:25:39,600 --> 00:25:41,760
Speaker 1: was in there, somebody was loving on something about it?

399
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Speaker 1: Because I was looking at my girl. It's okay, I'm sorry.

400
00:25:47,200 --> 00:25:51,399
Speaker 1: I don't know. I don't I don't know. But but

401
00:25:51,480 --> 00:25:54,000
Speaker 1: the fact is, I don't know. You know, I don't

402
00:25:54,119 --> 00:25:56,200
Speaker 1: know what folks was loving on each other. I don't

403
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Speaker 1: know if they were at hearing like monks do maybe

404
00:26:00,400 --> 00:26:03,080
Speaker 1: you know, like like I don't know if they were

405
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Speaker 1: adhering to the laws and the principles of this particular tribe.

406
00:26:08,600 --> 00:26:11,679
Speaker 1: I don't know because I wasn't there, and nobody's I

407
00:26:11,680 --> 00:26:14,800
Speaker 1: don't know the story. Nobody's told that particular story, So

408
00:26:14,840 --> 00:26:17,920
Speaker 1: how would I know or anybody know? Right, But it's

409
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Speaker 1: the fact. It's the fact that you've got this. This

410
00:26:21,920 --> 00:26:24,320
Speaker 1: it's like a pickup and a letdown all at the

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Speaker 1: same time, like, oh, look at us, Oh look look

412
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Speaker 1: at us. But isn't that really what we um? What

413
00:26:33,119 --> 00:26:35,520
Speaker 1: we kind of want to a degree also to is

414
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Speaker 1: to be fully told human beings. And when we tell

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00:26:38,720 --> 00:26:42,200
Speaker 1: our stories that we don't have to overromanticize ourselves just

416
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Speaker 1: because we've been vilified, that we can freely be people

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Speaker 1: and tribes and groups and ethnic yes, diverse, done good

418
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Speaker 1: things and bad things and and help. But you know,

419
00:26:55,480 --> 00:26:57,679
Speaker 1: but you know something that the thing that has been

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Speaker 1: most romanticized that was covered in this film. So it's

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00:27:00,760 --> 00:27:04,320
Speaker 1: this relationship between continental folks and us, and that that

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00:27:04,400 --> 00:27:08,280
Speaker 1: relationship between continental Africans and the slave trade. Like I

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Speaker 1: do you think it didn't go down we that we

424
00:27:11,760 --> 00:27:15,239
Speaker 1: don't really see it on film ever, So thank you

425
00:27:15,320 --> 00:27:17,800
Speaker 1: very much, woman King, thank you very much for that

426
00:27:18,200 --> 00:27:21,120
Speaker 1: because we don't see it. There was deals being made.

427
00:27:21,200 --> 00:27:37,000
Speaker 1: What are you talking about? More real talk after the break.

428
00:27:38,080 --> 00:27:40,159
Speaker 1: What I was fascinated by was the fact that the

429
00:27:40,240 --> 00:27:43,320
Speaker 1: love interest was a man of color from the Brazilian

430
00:27:43,440 --> 00:27:46,800
Speaker 1: African slave trade, like the Portuguese. Oh lord, honey, when

431
00:27:46,840 --> 00:27:49,919
Speaker 1: you go to the Blacksonian between the Portuguese and the British,

432
00:27:50,280 --> 00:27:52,679
Speaker 1: I don't know who whose numbers is come on, but

433
00:27:52,720 --> 00:27:57,159
Speaker 1: that the Portuguese was popping so and you never get

434
00:27:57,240 --> 00:27:59,440
Speaker 1: to hear that at that side. So I was just like,

435
00:28:00,040 --> 00:28:02,359
Speaker 1: also to a historian, kind of did like a little

436
00:28:02,440 --> 00:28:04,800
Speaker 1: quick run through on some other things that were really

437
00:28:04,840 --> 00:28:08,119
Speaker 1: interesting that the women King showed about Africans during that

438
00:28:08,240 --> 00:28:11,520
Speaker 1: time that was really important. One of them was around

439
00:28:11,600 --> 00:28:14,639
Speaker 1: people who wrote, around tribes who were trained in horse

440
00:28:14,800 --> 00:28:18,359
Speaker 1: horses and rode on horses and use them in warfare,

441
00:28:18,720 --> 00:28:21,200
Speaker 1: so that was something that had never been really discussed.

442
00:28:21,400 --> 00:28:24,480
Speaker 1: They also talked about the architecture and the use of

443
00:28:24,640 --> 00:28:29,119
Speaker 1: large of enclosing um cities and around large walls, and

444
00:28:29,440 --> 00:28:32,840
Speaker 1: how certain architecture was being shown and highlighted in the movie.

445
00:28:33,280 --> 00:28:36,639
Speaker 1: They talked about They talked about religion Asia because I

446
00:28:36,680 --> 00:28:39,320
Speaker 1: thought I was fascinated by the gods and because we

447
00:28:39,360 --> 00:28:40,880
Speaker 1: don't know when it comes to black posts, we don't

448
00:28:40,920 --> 00:28:43,480
Speaker 1: really talk about religion where we're really African religions. So

449
00:28:43,920 --> 00:28:46,440
Speaker 1: obviously in this situation, and there was obviously not being

450
00:28:46,560 --> 00:28:51,800
Speaker 1: vilified you know, of African traditional African religions about it. Right,

451
00:28:51,880 --> 00:28:56,240
Speaker 1: There's like tons of stuff involved in the movie historically

452
00:28:56,400 --> 00:29:00,520
Speaker 1: that are very on point. Come on somebody, So there's

453
00:29:00,520 --> 00:29:03,080
Speaker 1: a there's a thing, you know, So it's something, it's

454
00:29:03,120 --> 00:29:05,280
Speaker 1: something to be considered, which I think is really good.

455
00:29:05,280 --> 00:29:07,200
Speaker 1: So if you are going to read critique, you need

456
00:29:07,240 --> 00:29:10,080
Speaker 1: to read all of the you know, not just the

457
00:29:10,120 --> 00:29:13,680
Speaker 1: stuff that kind of feeds into your own opinion. But

458
00:29:13,840 --> 00:29:20,560
Speaker 1: that's the whole problem with critique is that everybody has one.

459
00:29:21,440 --> 00:29:24,480
Speaker 1: Everybody has a critique. I mean, you can like something

460
00:29:24,600 --> 00:29:28,480
Speaker 1: or not like something, but a critique in its proper

461
00:29:28,560 --> 00:29:32,560
Speaker 1: sense comes from someone who has done some research and

462
00:29:32,640 --> 00:29:35,840
Speaker 1: quite a bit of it. They're not new to it,

463
00:29:36,040 --> 00:29:41,040
Speaker 1: They're true to it. That's the difference. Feel me. Yeah,

464
00:29:41,240 --> 00:29:43,680
Speaker 1: don't be critiquing, and don't be critiquing when you ain't

465
00:29:43,680 --> 00:29:45,880
Speaker 1: even seeing it. I can't stand when people do that.

466
00:29:46,360 --> 00:29:47,720
Speaker 1: I'm like, I do that to myself. I have to

467
00:29:47,720 --> 00:29:49,880
Speaker 1: stop myself sometimes, like let me go see it first

468
00:29:49,920 --> 00:29:52,880
Speaker 1: though it's that little kid that sits at the table. Go.

469
00:29:52,960 --> 00:29:55,960
Speaker 1: I don't like that, Like you didn't even try it.

470
00:29:56,800 --> 00:30:00,400
Speaker 1: Taste it, taste it and see and come with your

471
00:30:00,440 --> 00:30:02,760
Speaker 1: But I will say this, I certainly want you to

472
00:30:02,800 --> 00:30:06,560
Speaker 1: support it. That's coming from me. That's coming from j

473
00:30:06,680 --> 00:30:09,720
Speaker 1: I L L S C O T T. I am

474
00:30:09,960 --> 00:30:16,480
Speaker 1: saying supported. This is the first time, honestly, other than

475
00:30:16,840 --> 00:30:22,720
Speaker 1: Wakonda Black Panther, you are really seeing the skin tones baby,

476
00:30:23,240 --> 00:30:28,840
Speaker 1: you were seeing natural hair, Baby pauls at the hair

477
00:30:28,960 --> 00:30:32,520
Speaker 1: because literally I got emotional, like Jason was like, why

478
00:30:32,520 --> 00:30:34,280
Speaker 1: are you crying? And I'm just like, because they could

479
00:30:34,320 --> 00:30:37,320
Speaker 1: just be beautiful and they skinning and their hair and

480
00:30:37,360 --> 00:30:40,920
Speaker 1: they just Let's also discuss the fact that the one

481
00:30:40,960 --> 00:30:43,800
Speaker 1: of the women that was taken from um when they

482
00:30:43,840 --> 00:30:45,840
Speaker 1: when they were at war with another tribe, and then

483
00:30:45,880 --> 00:30:47,760
Speaker 1: one of the women that was taken up as a

484
00:30:47,800 --> 00:30:50,760
Speaker 1: prisoner of war was from a tribe where she had

485
00:30:50,840 --> 00:30:56,800
Speaker 1: a hair her hairstyle was particular to her group. And

486
00:30:57,000 --> 00:31:00,440
Speaker 1: so for me, I thought that was really um cool,

487
00:31:00,520 --> 00:31:04,200
Speaker 1: showing like even the diversity of Africans and and and

488
00:31:04,280 --> 00:31:06,880
Speaker 1: not in just different ethnic groups, but ethnic groups that

489
00:31:06,960 --> 00:31:13,080
Speaker 1: are geographically close to one another, right, because one of

490
00:31:13,080 --> 00:31:15,280
Speaker 1: the things I feel is very very lost is the

491
00:31:15,400 --> 00:31:19,840
Speaker 1: idea that the diversity of Africa and how close U

492
00:31:20,000 --> 00:31:22,960
Speaker 1: ethnic groups can be to one another and and be

493
00:31:23,360 --> 00:31:30,160
Speaker 1: so completely and utterly different. And so I think that

494
00:31:30,280 --> 00:31:33,680
Speaker 1: was really really I mean, there was so many subtle

495
00:31:33,760 --> 00:31:38,560
Speaker 1: moments in the movie and not to mention the heart

496
00:31:39,160 --> 00:31:42,880
Speaker 1: that the good the story in terms of you know,

497
00:31:43,800 --> 00:31:49,160
Speaker 1: mothering and and sisterhood and the things that we must endure,

498
00:31:50,160 --> 00:31:53,440
Speaker 1: and it was it was I don't want to ruin

499
00:31:53,520 --> 00:31:56,440
Speaker 1: this mo we for anybody but there were beau I cried.

500
00:31:56,560 --> 00:32:02,720
Speaker 1: I ain't cried, cried that happened, yeah, and it was

501
00:32:03,000 --> 00:32:06,800
Speaker 1: worth it, my goodness, quiet afterwards, like just thinking like

502
00:32:06,880 --> 00:32:09,320
Speaker 1: you ain't that's what you say? Yeah, maybe we're just

503
00:32:09,320 --> 00:32:12,600
Speaker 1: gonna have to put spoilers on this episode because I'm sorry, y'all.

504
00:32:12,680 --> 00:32:16,280
Speaker 1: I don't want to. I really don't, because I want to. Really,

505
00:32:16,320 --> 00:32:19,000
Speaker 1: if you have not since been four to five weeks

506
00:32:19,000 --> 00:32:23,200
Speaker 1: since the movies against it for whatever reason, you know,

507
00:32:23,280 --> 00:32:27,680
Speaker 1: I challenge you to to allow a story to be

508
00:32:27,800 --> 00:32:32,520
Speaker 1: a story and if you know more, share more, inform

509
00:32:32,600 --> 00:32:36,080
Speaker 1: the people around you, listen and got your share? Can

510
00:32:36,160 --> 00:32:38,280
Speaker 1: we just talk about this? Please? Cut it with the

511
00:32:38,280 --> 00:32:40,880
Speaker 1: got your shares? I'm sorry? What's that face? Boglina? What's

512
00:32:40,880 --> 00:32:44,200
Speaker 1: that got your shares? To me? Are these things that

513
00:32:44,360 --> 00:32:48,400
Speaker 1: where people share information or try to educate people by

514
00:32:48,440 --> 00:32:50,640
Speaker 1: be rating them for not knowing it, as if you

515
00:32:50,680 --> 00:32:53,720
Speaker 1: didn't just fucking find out yourself? How do you ain't

516
00:32:53,760 --> 00:32:57,520
Speaker 1: know that? You ain't up y'all out here watching this movie?

517
00:32:57,640 --> 00:33:04,440
Speaker 1: But come now, y'all don't know? Nah? I mean, like,

518
00:33:04,560 --> 00:33:08,840
Speaker 1: shut up, you googled it ten minutes ago, and even

519
00:33:08,960 --> 00:33:11,760
Speaker 1: even I've seen some people who have done their dissertation

520
00:33:12,320 --> 00:33:15,160
Speaker 1: on the dahomeye you know, and they're talking about it

521
00:33:15,360 --> 00:33:17,400
Speaker 1: and they're like, you know, I would never see this

522
00:33:17,440 --> 00:33:20,200
Speaker 1: because I know the truth about but we didn't. We

523
00:33:20,240 --> 00:33:23,720
Speaker 1: didn't know they even existing. Yeah, that's that's ring. You

524
00:33:23,760 --> 00:33:25,360
Speaker 1: wouldn't do that. You wouldn't want to see it because

525
00:33:25,360 --> 00:33:27,000
Speaker 1: you did a dissertation and now you feel like you

526
00:33:27,440 --> 00:33:29,280
Speaker 1: like you got you know, more than everybody else, but

527
00:33:29,320 --> 00:33:30,840
Speaker 1: you don't want the other people to know what you know.

528
00:33:31,920 --> 00:33:35,040
Speaker 1: People do that. That's self fitch. My thing is that

529
00:33:35,040 --> 00:33:37,160
Speaker 1: I don't understand is like this, if you get your

530
00:33:37,160 --> 00:33:40,080
Speaker 1: dissertation on the Dohmeade, I'm curious if you have posted

531
00:33:40,120 --> 00:33:43,040
Speaker 1: on social media prior to this moment to disagree with

532
00:33:43,080 --> 00:33:45,400
Speaker 1: the movie about what you learned. Because let me tell

533
00:33:45,440 --> 00:33:49,800
Speaker 1: you something about academia. Let's code and and and y'all

534
00:33:49,840 --> 00:33:52,120
Speaker 1: can be mad at me if you want to. But

535
00:33:52,760 --> 00:33:55,960
Speaker 1: academia is a very closed space. A lot of the

536
00:33:55,960 --> 00:33:58,000
Speaker 1: stuff that people, right, you can't even have. The public

537
00:33:58,000 --> 00:34:01,840
Speaker 1: doesn't even have access to people's published papers, people's uh,

538
00:34:02,080 --> 00:34:05,880
Speaker 1: you know, dissertations. Then we the public can't even view

539
00:34:06,000 --> 00:34:08,480
Speaker 1: some of this stuff. You know, a great deal of it.

540
00:34:09,040 --> 00:34:10,880
Speaker 1: So at the end of the day, you go and

541
00:34:10,920 --> 00:34:13,080
Speaker 1: you spend all this money and you do all this work,

542
00:34:13,120 --> 00:34:16,320
Speaker 1: and yes, you deserve the accolades that you get from it.

543
00:34:16,440 --> 00:34:18,680
Speaker 1: Or if you don't share it with the average man

544
00:34:18,800 --> 00:34:21,440
Speaker 1: or woman, how does this research then, and how does

545
00:34:21,480 --> 00:34:24,200
Speaker 1: what you know then improve the lives of others? If

546
00:34:24,200 --> 00:34:26,279
Speaker 1: it's only meant to be put out there as a

547
00:34:26,280 --> 00:34:28,879
Speaker 1: gotcha when we all get fed something that we really

548
00:34:29,040 --> 00:34:32,240
Speaker 1: have access to and then we get excited about having

549
00:34:32,280 --> 00:34:34,200
Speaker 1: it when we can't get access to what you know?

550
00:34:35,040 --> 00:34:37,719
Speaker 1: And as a black person involved in academia, how can

551
00:34:37,760 --> 00:34:41,520
Speaker 1: you do it? How can you do that in good conscience? Wow?

552
00:34:42,760 --> 00:34:46,080
Speaker 1: How can you do that? Your conscience ain't bothering you

553
00:34:46,160 --> 00:34:50,920
Speaker 1: behind that? Please tell us we're hungry. I never forget this,

554
00:34:51,000 --> 00:34:53,040
Speaker 1: and I gotta tell you all this. I never forget

555
00:34:53,080 --> 00:34:55,920
Speaker 1: this when at one point, um, and still a lot

556
00:34:55,920 --> 00:34:58,520
Speaker 1: of people don't understand this word. But I remember when

557
00:34:58,560 --> 00:35:02,640
Speaker 1: the word intersectionality entered into like the the general conversation

558
00:35:02,719 --> 00:35:07,400
Speaker 1: of the layman public us, the regular us is okay.

559
00:35:08,080 --> 00:35:12,319
Speaker 1: Intersectionality really is just a way to um describe the

560
00:35:12,400 --> 00:35:15,400
Speaker 1: different ways that marginalized people can fit in multiple groups like,

561
00:35:15,480 --> 00:35:18,879
Speaker 1: so they intersect. So you and I intersect that being

562
00:35:18,920 --> 00:35:21,080
Speaker 1: black and being a woman, So we're a part of

563
00:35:21,239 --> 00:35:24,080
Speaker 1: multiple marginalized groups. So that's kind of how that works.

564
00:35:24,360 --> 00:35:26,560
Speaker 1: And that can happen with age, It can happen with

565
00:35:27,239 --> 00:35:31,160
Speaker 1: being uh, you know, considered overweight. It could be being

566
00:35:31,520 --> 00:35:37,160
Speaker 1: uh disabled, it could be married, give game birth right right,

567
00:35:37,520 --> 00:35:38,960
Speaker 1: It can be a lot of different ways that you

568
00:35:39,000 --> 00:35:41,960
Speaker 1: can intersect. But it's a way to better understand how

569
00:35:42,040 --> 00:35:46,239
Speaker 1: people have a specific and very unique experience in society

570
00:35:46,320 --> 00:35:49,960
Speaker 1: based on those intersections. So anyway, the point is that

571
00:35:50,040 --> 00:35:52,400
Speaker 1: in understanding that kind of helps you when you start

572
00:35:52,440 --> 00:35:56,000
Speaker 1: to really give an analysis around race, around white supremacy,

573
00:35:56,040 --> 00:35:58,680
Speaker 1: around all this stuff. You don't understand that's very difficult

574
00:35:58,960 --> 00:36:02,080
Speaker 1: for you to see, um you know this kind of

575
00:36:02,480 --> 00:36:05,920
Speaker 1: or participate in conversations about how to solve these problems

576
00:36:05,920 --> 00:36:09,440
Speaker 1: if you don't understand intersection out. So anyway, when that

577
00:36:10,560 --> 00:36:13,200
Speaker 1: kind of entered into the regular kind of public space,

578
00:36:13,280 --> 00:36:15,640
Speaker 1: and forgive me if my explanation of that is not

579
00:36:15,760 --> 00:36:22,800
Speaker 1: completely spot on, because again regular I agree. The point

580
00:36:22,920 --> 00:36:25,360
Speaker 1: is I remember when that word entered into the regular

581
00:36:25,360 --> 00:36:27,920
Speaker 1: people's face, Okay, and I remember seeing this thing on

582
00:36:27,920 --> 00:36:31,239
Speaker 1: Twitter where somebody was just like, um, and they think

583
00:36:31,239 --> 00:36:33,640
Speaker 1: it's so funny that people are just you know, throwing

584
00:36:33,680 --> 00:36:36,480
Speaker 1: that word around. And it's existed in academia for over

585
00:36:36,520 --> 00:36:39,960
Speaker 1: a decade. And I was pissed when I read it

586
00:36:40,320 --> 00:36:43,840
Speaker 1: that is elitist. It was very elitist. But then it

587
00:36:43,920 --> 00:36:45,400
Speaker 1: was like it pissed me off because I was just like, well,

588
00:36:45,440 --> 00:36:47,640
Speaker 1: how the hell were we supposed to know? And where

589
00:36:47,640 --> 00:36:51,399
Speaker 1: were you? Where were you when we needed to know that?

590
00:36:52,000 --> 00:36:55,800
Speaker 1: You understand what I'm saying showing off, yes, and shout

591
00:36:55,800 --> 00:36:58,759
Speaker 1: out to Kimberly Crenshaw, who has shared her work on

592
00:36:58,840 --> 00:37:01,239
Speaker 1: many many platforms, is the woman who came up with

593
00:37:01,280 --> 00:37:04,839
Speaker 1: the term intersectionality. She's disgusted in her TED Talk, so

594
00:37:04,880 --> 00:37:07,280
Speaker 1: you make sure you look up her Ted Talk. Kimberly Crenshaw.

595
00:37:07,480 --> 00:37:11,359
Speaker 1: She has her own UM, her own podcast. She has

596
00:37:11,400 --> 00:37:13,840
Speaker 1: done all of the public work needed for you to

597
00:37:13,880 --> 00:37:16,040
Speaker 1: know exactly what her work is about. So shout out

598
00:37:16,080 --> 00:37:20,520
Speaker 1: to her and other black academics that share with the wagons. Anyway,

599
00:37:21,000 --> 00:37:24,360
Speaker 1: Like I said, I remember when that happened. I was

600
00:37:24,400 --> 00:37:27,640
Speaker 1: so disappointed, and it really like it sparked something in me.

601
00:37:27,920 --> 00:37:30,440
Speaker 1: While I was just like us when we're out here

602
00:37:30,440 --> 00:37:32,640
Speaker 1: in the world. We have to be able to have

603
00:37:32,680 --> 00:37:35,759
Speaker 1: the tools to talk about these things that affect us.

604
00:37:36,440 --> 00:37:39,920
Speaker 1: Need those tools, We need the education, we need, the words,

605
00:37:40,400 --> 00:37:44,759
Speaker 1: we need terms. We need this kind of stuff. And

606
00:37:44,800 --> 00:37:47,120
Speaker 1: if you want us to not run to Hollywood for

607
00:37:47,120 --> 00:37:50,000
Speaker 1: our stuff, you gotta give us something to work with.

608
00:37:51,360 --> 00:37:54,000
Speaker 1: Don't just laugh at us, don't just look at us

609
00:37:54,400 --> 00:37:59,000
Speaker 1: and be shady. That's why I get all my information

610
00:37:59,040 --> 00:38:03,359
Speaker 1: from agents, because she know, she just you know, she's

611
00:38:03,360 --> 00:38:10,000
Speaker 1: an information the things I'm following for Kimberly Chrisha. All

612
00:38:10,120 --> 00:38:12,359
Speaker 1: right now, if you thought I was feeling you like,

613
00:38:13,480 --> 00:38:18,560
Speaker 1: that's Kimberly with an yeah. Absolutely, that's exactly why. Look

614
00:38:19,600 --> 00:38:21,919
Speaker 1: I always love that about Agel. She's got so much

615
00:38:21,960 --> 00:38:26,280
Speaker 1: information to share. She's like, um, she's like a knowledge junkie.

616
00:38:26,360 --> 00:38:30,760
Speaker 1: She's a whole for knowledge. If you want knowledge, because

617
00:38:30,760 --> 00:38:42,160
Speaker 1: someone makes me your shirt, I'm home. Fore Yeah, I

618
00:38:42,280 --> 00:38:47,759
Speaker 1: like hope for knowledge. Ye all day. Look check this

619
00:38:47,880 --> 00:38:50,960
Speaker 1: out and check this out real quick. The Gladiator. You

620
00:38:51,000 --> 00:38:54,920
Speaker 1: guys remember that movie right? Yes? Yes, it was Maximus

621
00:38:54,960 --> 00:38:58,759
Speaker 1: and Gramaus and all of those cool things. Yesha. So

622
00:38:59,040 --> 00:39:02,719
Speaker 1: the movie suggests home was held back to a republic

623
00:39:02,840 --> 00:39:07,080
Speaker 1: after commedist death, it reverted back, but that was not

624
00:39:07,239 --> 00:39:12,960
Speaker 1: the actual case, and other inaccuracies include Aurelius outlawing the

625
00:39:13,000 --> 00:39:19,000
Speaker 1: Gladiator games and commodists death, which did not occur in

626
00:39:19,120 --> 00:39:22,960
Speaker 1: the arena. Y'all know, we love the arena death. Yeah,

627
00:39:23,160 --> 00:39:26,960
Speaker 1: but the point is is that the death of Commedist

628
00:39:27,040 --> 00:39:30,319
Speaker 1: didn't actually happen in the arena. Isn't that like a

629
00:39:30,360 --> 00:39:34,040
Speaker 1: major part of the film. Isn't that like a big deal?

630
00:39:35,080 --> 00:39:37,919
Speaker 1: So okay, so not, I mean part of it that's

631
00:39:37,960 --> 00:39:42,680
Speaker 1: kind of disturbing, But from learning about Rome, I mean,

632
00:39:42,719 --> 00:39:45,479
Speaker 1: it's not gonna stop you from learning. I don't even

633
00:39:45,560 --> 00:39:47,319
Speaker 1: about it. I don't even think people look at that

634
00:39:47,360 --> 00:39:49,479
Speaker 1: movie as a real life story. I think that people

635
00:39:49,600 --> 00:39:58,400
Speaker 1: just old take one like a fictional take more conversation

636
00:39:58,640 --> 00:40:11,759
Speaker 1: after the break. So is it that there's too much

637
00:40:11,760 --> 00:40:16,160
Speaker 1: emotion attached to these things? Well? Yeah, I mean about

638
00:40:16,239 --> 00:40:20,640
Speaker 1: let's think about Malcolm X right, like like like Spike

639
00:40:20,719 --> 00:40:22,799
Speaker 1: Lee did a movie that was way longer than the

640
00:40:22,840 --> 00:40:24,919
Speaker 1: average movie to try to fit in as many things

641
00:40:24,960 --> 00:40:29,440
Speaker 1: that were accurate as possible. However, though, however, people was

642
00:40:29,520 --> 00:40:33,120
Speaker 1: still like that, ain't it? Brad and Malcolm has died

643
00:40:33,120 --> 00:40:36,400
Speaker 1: and in the movie, so like he did that. He

644
00:40:36,480 --> 00:40:39,680
Speaker 1: did that, um, and he did die in that room.

645
00:40:40,000 --> 00:40:43,240
Speaker 1: But okay, people, So yeah, when it comes to our stories,

646
00:40:43,640 --> 00:40:48,160
Speaker 1: we're very very deeply critical. We like ups, but we don't.

647
00:40:48,320 --> 00:40:52,640
Speaker 1: We ain't really trying to up. We funk with the downs,

648
00:40:52,640 --> 00:40:54,000
Speaker 1: but it got to be right and it can't be

649
00:40:54,040 --> 00:40:56,399
Speaker 1: too much slavery. We got like all kinds of uh

650
00:40:56,719 --> 00:41:01,960
Speaker 1: you know, because literally with slavery, I tell you, and

651
00:41:02,080 --> 00:41:04,480
Speaker 1: I look blessed will Smith's heart. You know, he got

652
00:41:04,520 --> 00:41:07,000
Speaker 1: a slavery all. He got a slavery gult movie coming out.

653
00:41:07,120 --> 00:41:12,920
Speaker 1: Yes he does. I'm going like, I take y'all know

654
00:41:13,040 --> 00:41:16,600
Speaker 1: I've spoken on this podcast before. You can tell me

655
00:41:16,680 --> 00:41:19,360
Speaker 1: a million stories about that time period. Because when I

656
00:41:19,400 --> 00:41:23,080
Speaker 1: look at having been a descendant of enslaved people, as

657
00:41:23,080 --> 00:41:26,080
Speaker 1: far as I'm concerned, they are amazing people. There's no

658
00:41:26,239 --> 00:41:30,080
Speaker 1: shame in that for me. I'm here for all of them,

659
00:41:30,960 --> 00:41:33,280
Speaker 1: except for the British ones because they ain't gett taught slavery.

660
00:41:33,760 --> 00:41:35,920
Speaker 1: Let me shut up. But I want to see a

661
00:41:35,960 --> 00:41:39,960
Speaker 1: movie about Maroons, about Maroons in America, about the Maroons

662
00:41:40,040 --> 00:41:45,359
Speaker 1: in now in Jamaica. I want to hear about that,

663
00:41:45,560 --> 00:41:47,640
Speaker 1: you know what, And I wanted to be shot well,

664
00:41:48,640 --> 00:41:52,439
Speaker 1: and I wanted to have a good story, that it's

665
00:41:52,440 --> 00:41:56,920
Speaker 1: a cohesive story, that it keeps my interest, that it

666
00:41:57,000 --> 00:42:01,840
Speaker 1: has rises and falls and places that create a wave.

667
00:42:03,239 --> 00:42:05,000
Speaker 1: You know what I mean? That is that is what

668
00:42:05,200 --> 00:42:09,440
Speaker 1: filmmaking is all. There is a documentary I'm sure you

669
00:42:09,520 --> 00:42:13,120
Speaker 1: know that, right Asia about the Maroons. Yeah, I've watched

670
00:42:13,160 --> 00:42:16,640
Speaker 1: docs all the time. But I want yeah, yeah, Queen

671
00:42:16,719 --> 00:42:19,440
Speaker 1: Nanny is from Jamaica and she's one of the most

672
00:42:19,480 --> 00:42:22,560
Speaker 1: well known that community was also one of the largest.

673
00:42:22,840 --> 00:42:25,320
Speaker 1: I want to believe. Don't give me the line, but

674
00:42:25,360 --> 00:42:28,080
Speaker 1: I believe that's the truth. And then um, but yeah,

675
00:42:28,080 --> 00:42:30,640
Speaker 1: I'd love to see a movie about Queen Nannie. You know,

676
00:42:31,719 --> 00:42:35,160
Speaker 1: I am not at all because I'm just looking at

677
00:42:35,200 --> 00:42:38,880
Speaker 1: what I've I've got written here and I'm not trying

678
00:42:38,920 --> 00:42:44,200
Speaker 1: to justify anything that occurs with with The Woman King

679
00:42:44,560 --> 00:42:49,120
Speaker 1: and other films. I'm not, I'm What I'm saying is

680
00:42:49,160 --> 00:42:52,600
Speaker 1: that even as I read this, Okay, Braveheart, he was

681
00:42:52,640 --> 00:42:56,960
Speaker 1: supposed to be in love with Isabella, the Queen of France, right,

682
00:42:57,560 --> 00:43:01,719
Speaker 1: and made her Wallace's love interest, but in reality, she

683
00:43:01,920 --> 00:43:05,440
Speaker 1: was three years old at the time. This is fiction,

684
00:43:05,920 --> 00:43:10,239
Speaker 1: this is movies. They're trying to create something. You There

685
00:43:10,280 --> 00:43:13,759
Speaker 1: are historians and there are movie watchers. There are people

686
00:43:13,800 --> 00:43:17,480
Speaker 1: who like to live in fantasy. Some people read nonfiction

687
00:43:17,600 --> 00:43:22,000
Speaker 1: all the time to learn stuff. Some people read fiction

688
00:43:22,120 --> 00:43:26,520
Speaker 1: to dream. Draw a much thicker line and clearer line

689
00:43:26,719 --> 00:43:34,839
Speaker 1: between entertainment, Hollywood storytelling, history, nonfiction, learning things. Then I'm

690
00:43:34,840 --> 00:43:37,240
Speaker 1: gonna put that on Viola them because, to be honest,

691
00:43:37,600 --> 00:43:40,520
Speaker 1: I feel like, and I've watched a couple of her interviews,

692
00:43:40,960 --> 00:43:43,919
Speaker 1: I don't know if she's expressed that are super super lie.

693
00:43:43,960 --> 00:43:46,080
Speaker 1: I don't know if she's expressed the super superlock that

694
00:43:46,160 --> 00:43:48,880
Speaker 1: this is a you know, this story has been Hollywood ties.

695
00:43:49,560 --> 00:43:52,360
Speaker 1: You know, like this is not this just the story

696
00:43:52,400 --> 00:44:00,400
Speaker 1: of the homie. So I think I think ultimately what

697
00:44:00,440 --> 00:44:06,760
Speaker 1: we're talking about is the reality that what we expect

698
00:44:06,840 --> 00:44:10,080
Speaker 1: people to be able to do with this art form

699
00:44:10,120 --> 00:44:16,359
Speaker 1: in this particular way, it's just unrealistic to expected to

700
00:44:16,400 --> 00:44:20,160
Speaker 1: do what what telling and learning history does its work

701
00:44:20,200 --> 00:44:23,440
Speaker 1: A conversation about it, But maybe the expectation is just

702
00:44:23,600 --> 00:44:27,720
Speaker 1: we're having an expectation for a wheel to be a square.

703
00:44:28,120 --> 00:44:31,319
Speaker 1: But if it's communicated then we might our expectations may

704
00:44:31,320 --> 00:44:33,840
Speaker 1: be lower. It's like, technically, let's think about what we

705
00:44:33,840 --> 00:44:36,880
Speaker 1: saw Woman King, and we all saw the Till trailer

706
00:44:37,120 --> 00:44:40,120
Speaker 1: right now. The director of the Till trailer told you

707
00:44:40,160 --> 00:44:43,000
Speaker 1: what to expect. She's like, We're not having any violence

708
00:44:43,000 --> 00:44:45,879
Speaker 1: against black people. This is gonna start with black Joy,

709
00:44:45,920 --> 00:44:47,400
Speaker 1: is gonna end up black Joy. I was like, they

710
00:44:47,400 --> 00:44:51,160
Speaker 1: are very clear of our expectations. I haven't seen Till yet,

711
00:44:51,600 --> 00:44:53,640
Speaker 1: but but I'm still saying, like I was, I found

712
00:44:53,640 --> 00:44:56,279
Speaker 1: that fascinating that that was that was their trailer, you

713
00:44:56,320 --> 00:44:58,440
Speaker 1: know what I mean, like being clear and communicating of

714
00:44:58,520 --> 00:45:01,120
Speaker 1: what you're going to see and how this this may

715
00:45:01,160 --> 00:45:03,319
Speaker 1: not traumatize you in a way. Do you think that

716
00:45:03,400 --> 00:45:07,680
Speaker 1: maybe black people just deserve to be addressed about this

717
00:45:07,760 --> 00:45:11,080
Speaker 1: issue specifically because this is this is are the way

718
00:45:11,080 --> 00:45:14,200
Speaker 1: we experience the world, that when we get art, that

719
00:45:14,280 --> 00:45:17,839
Speaker 1: we should be addressed as if these things exist, rather

720
00:45:17,880 --> 00:45:20,680
Speaker 1: than us having to do the work of disassociating ours

721
00:45:20,800 --> 00:45:26,000
Speaker 1: everything that we say. Where maybe because we're not an

722
00:45:26,040 --> 00:45:28,319
Speaker 1: even race. We're not we have not been in an

723
00:45:28,360 --> 00:45:36,520
Speaker 1: even race. I think that there are places places, Yeah,

724
00:45:36,640 --> 00:45:38,640
Speaker 1: I think that we can't see your mouth now, only

725
00:45:38,680 --> 00:45:41,400
Speaker 1: her eyes. That's what she's really done with our asses.

726
00:45:43,200 --> 00:45:47,359
Speaker 1: Where we want it to go down easy, that we

727
00:45:47,400 --> 00:45:54,760
Speaker 1: want the answers really easily, when in reality, everything worth

728
00:45:54,760 --> 00:45:59,440
Speaker 1: the dawn takes a trial and effort, maybe some failures,

729
00:46:00,880 --> 00:46:05,640
Speaker 1: some fall downs, and some get backups, meaning that you

730
00:46:05,719 --> 00:46:09,960
Speaker 1: run out of information. That you scanned all the books

731
00:46:10,000 --> 00:46:13,080
Speaker 1: and watch all the documentaries, but there's more you want

732
00:46:13,120 --> 00:46:17,640
Speaker 1: to know. And that means that means a trip. That

733
00:46:17,719 --> 00:46:20,560
Speaker 1: means you've got to go and find out for yourself.

734
00:46:20,840 --> 00:46:26,160
Speaker 1: If you want to know so bad, if you don't

735
00:46:26,160 --> 00:46:32,960
Speaker 1: sound like a quadruple Daria or whatever, right, it wouldn't

736
00:46:33,000 --> 00:46:36,359
Speaker 1: do so bad if you've got so many opinions you

737
00:46:36,400 --> 00:46:40,640
Speaker 1: know about things. If you want to know so big,

738
00:46:43,160 --> 00:46:45,640
Speaker 1: sign the funk out. I said it, like I said it,

739
00:46:45,880 --> 00:46:51,240
Speaker 1: Find the fuck out. Oh do y'all know? Okay, So

740
00:46:51,800 --> 00:46:56,560
Speaker 1: do y'all know any historical facts that are like wild

741
00:46:56,719 --> 00:46:59,920
Speaker 1: that people think people would just be surprised and all

742
00:47:00,000 --> 00:47:03,800
Speaker 1: our specific like event or a person in history that's,

743
00:47:03,960 --> 00:47:07,759
Speaker 1: you know, maybe different from what they assume. We're no

744
00:47:09,120 --> 00:47:13,440
Speaker 1: sure I do. I can't tell those things you can't know? Well,

745
00:47:13,480 --> 00:47:17,239
Speaker 1: I look, I tell something. I say this listen, I'm

746
00:47:17,280 --> 00:47:18,920
Speaker 1: gonna just say because these two ain't gonna say it.

747
00:47:18,920 --> 00:47:21,319
Speaker 1: As far as history, there's an episode of Unsung that

748
00:47:21,360 --> 00:47:23,279
Speaker 1: speaks on a certain history that all three of us

749
00:47:23,280 --> 00:47:25,440
Speaker 1: were involved in. They don't have all three of us

750
00:47:25,480 --> 00:47:27,520
Speaker 1: involved in it, and so I would just say that

751
00:47:27,600 --> 00:47:32,759
Speaker 1: as that story goes on that you know, you I

752
00:47:32,880 --> 00:47:35,480
Speaker 1: was talking about his story, that is his story. We

753
00:47:35,520 --> 00:47:37,759
Speaker 1: are history. We was a part of history, and as

754
00:47:37,800 --> 00:47:40,640
Speaker 1: we because as we are getting older, y'all, and as

755
00:47:41,000 --> 00:47:43,680
Speaker 1: as we get older, we are now telling stories that

756
00:47:43,800 --> 00:47:45,799
Speaker 1: younger people wasn't there to witness. And so if they

757
00:47:45,840 --> 00:47:47,719
Speaker 1: hear it all other things, it's like, oh, that's what

758
00:47:47,800 --> 00:47:55,160
Speaker 1: it was, that's important, Like that's old. I just I

759
00:47:55,239 --> 00:47:57,239
Speaker 1: was just the person here. My numbers is the same

760
00:47:57,320 --> 00:48:01,960
Speaker 1: and everything. Yeah, you know, so, oh snap, you know

761
00:48:02,040 --> 00:48:06,440
Speaker 1: what I'm saying. So okay, But what was the change?

762
00:48:06,719 --> 00:48:09,720
Speaker 1: I'm sorry that was. I love shout out to Unsung

763
00:48:09,800 --> 00:48:11,759
Speaker 1: is thank you for featuring me on on two of

764
00:48:11,800 --> 00:48:15,480
Speaker 1: those episodes. But you know, history is ugly. Sometimes they

765
00:48:15,520 --> 00:48:19,360
Speaker 1: would just say, yeah, history it's ugly. It's hard. You

766
00:48:19,400 --> 00:48:25,920
Speaker 1: know why, because we're dealing with human beings, human men,

767
00:48:26,840 --> 00:48:29,080
Speaker 1: and people don't want it's hard to when it's hard

768
00:48:29,120 --> 00:48:31,200
Speaker 1: to think about people that you love as full as

769
00:48:31,280 --> 00:48:33,839
Speaker 1: human beings. Hello, we are dealing with that right now.

770
00:48:34,160 --> 00:48:36,840
Speaker 1: Products that people have put out that you love, and

771
00:48:36,840 --> 00:48:38,680
Speaker 1: then you realize that person that put up our product

772
00:48:38,960 --> 00:48:42,080
Speaker 1: is a whole goddamn fool. They goddamn mind saying ship

773
00:48:42,320 --> 00:48:44,320
Speaker 1: and wearing T shirts looking crazy out on these streets.

774
00:48:44,400 --> 00:48:49,120
Speaker 1: It's hard. It's it's hard. And people who we who

775
00:48:49,120 --> 00:48:53,080
Speaker 1: we've learned to revere and you know, you know, years

776
00:48:53,120 --> 00:48:55,600
Speaker 1: after their deaths and things like that, like I said,

777
00:48:55,880 --> 00:48:59,800
Speaker 1: and they've been elevated to a certain space and the

778
00:49:00,040 --> 00:49:02,360
Speaker 1: story around what they did is being elevated to a

779
00:49:02,400 --> 00:49:05,359
Speaker 1: certain space, and you just don't really know, okay, well,

780
00:49:05,360 --> 00:49:07,360
Speaker 1: who was really behind it? Who was really such a

781
00:49:07,360 --> 00:49:09,360
Speaker 1: such as I mean to think of the things that

782
00:49:09,400 --> 00:49:13,640
Speaker 1: people say about folks these days, and knowing that them

783
00:49:13,719 --> 00:49:18,600
Speaker 1: same folk were an intricate part of planning the March

784
00:49:18,719 --> 00:49:21,759
Speaker 1: on Washington or a big part of making sure that

785
00:49:21,800 --> 00:49:27,040
Speaker 1: the civil rights movement moved forward, whether that was involved complex,

786
00:49:27,280 --> 00:49:30,879
Speaker 1: Oh my god, Jesse Jackson, Hello, I mean, it's damn.

787
00:49:30,880 --> 00:49:32,319
Speaker 1: I had I was gonna tell you something. I had

788
00:49:32,320 --> 00:49:37,040
Speaker 1: a whole thought I lost it about history recently. Oh

789
00:49:37,239 --> 00:49:42,080
Speaker 1: don't do drugs. Yeah, don't just say no. On that note,

790
00:49:43,040 --> 00:49:52,040
Speaker 1: I just want to say forgive me come for sharing

791
00:49:52,080 --> 00:49:55,279
Speaker 1: this time with us, and I know you've come up

792
00:49:55,320 --> 00:49:57,640
Speaker 1: with your own thoughts if you like to share them,

793
00:49:57,680 --> 00:50:01,720
Speaker 1: you know you know you can. Um eight six six

794
00:50:01,800 --> 00:50:06,000
Speaker 1: Hey you ros say hi to meom all souls, Thank

795
00:50:06,040 --> 00:50:08,320
Speaker 1: you so much for listening to Jay that Ill podcast.

796
00:50:08,760 --> 00:50:21,080
Speaker 1: Please please find your joy and protect your peace. How

797
00:50:21,160 --> 00:50:27,280
Speaker 1: do you eat an elephant? One? By? It time? Hey, listeners,

798
00:50:27,480 --> 00:50:30,799
Speaker 1: it's Amber the producer here. Whether you've seen the Woman

799
00:50:30,920 --> 00:50:34,000
Speaker 1: King yet or not, African history is something we should

800
00:50:34,040 --> 00:50:36,440
Speaker 1: all get into. I'm going to share an article with

801
00:50:36,440 --> 00:50:38,719
Speaker 1: you in the show notes about the Dahomie people from

802
00:50:38,719 --> 00:50:42,840
Speaker 1: the Smithsonian. I also want to encourage you all to

803
00:50:42,960 --> 00:50:47,319
Speaker 1: understand your own bloodlines a little deeper. I also want

804
00:50:47,360 --> 00:50:49,920
Speaker 1: to encourage all of you to understand your own bloodlines

805
00:50:49,960 --> 00:50:53,359
Speaker 1: and deeper ways. One way my family has done this

806
00:50:53,520 --> 00:50:57,400
Speaker 1: is with African ancestry. DNA kids at home test reveals

807
00:50:57,440 --> 00:51:00,560
Speaker 1: the specific roots of your mother's maternal life up to

808
00:51:00,680 --> 00:51:04,400
Speaker 1: two thousand years ago, and if your DNA is connected

809
00:51:04,440 --> 00:51:08,040
Speaker 1: to Africa and your results, you'll receive both the country

810
00:51:08,200 --> 00:51:12,640
Speaker 1: and ethnic group of origin. It's really cool. Last season, Jill, Layah,

811
00:51:12,719 --> 00:51:15,239
Speaker 1: and Asia took the test and discussed their results on

812
00:51:15,280 --> 00:51:18,279
Speaker 1: an episode of the podcast I'll Lead the Test, and

813
00:51:18,400 --> 00:51:33,960
Speaker 1: that episode in the show notes as well. Hi, if

814
00:51:34,000 --> 00:51:36,840
Speaker 1: you have comments on something you said in this episode

815
00:51:37,200 --> 00:51:40,759
Speaker 1: called eight six six, Hey Jill, if you want to

816
00:51:40,760 --> 00:51:44,080
Speaker 1: add to this conversation, that's eight six six four three

817
00:51:44,200 --> 00:51:47,400
Speaker 1: nine five four five by don't forget to tell us

818
00:51:47,400 --> 00:51:50,479
Speaker 1: your name and the episode you're referring to. You might

819
00:51:50,840 --> 00:51:54,520
Speaker 1: just hear your message on a future episode. Thank you

820
00:51:54,560 --> 00:51:58,279
Speaker 1: for listening to Jill Scott presents Jay dot Ill. The

821
00:51:58,320 --> 00:52:04,080
Speaker 1: podcast m J dot Ill is a production of I

822
00:52:04,400 --> 00:52:08,520
Speaker 1: heart Radio. For more podcasts from I heart Radio, visit

823
00:52:08,560 --> 00:52:12,799
Speaker 1: the i heart Radio app, Apple podcast, or wherever you

824
00:52:12,880 --> 00:52:14,480
Speaker 1: listen to your favorite shows.