17: Shaft Stache

00:05 Mo Facts with Adam Curry for December 2nd, 2019. This is episode number 17. And I'm in the dark. Hey, Mo. How you doing? How you doing, sir? You're doing well. How about yourself? Yeah, I'm good. You've kept me in the dark. Yeah, this is one of the cases where I didn't share with you what the show topic was going to be for a reason because I want your gut reaction to something. Okay. That's where we're at. Well, that's always exciting. If you're getting a gut reaction, you never know what can happen. Which, of course, is one of the beautiful things of this show is where we really don't discuss too much ahead of time.

00:47 Maybe you'll give me a topic or maybe I'll shoot you a couple things that are interesting to talk about. But we just kind of freewheeled it from there with Mo's expertly put together rundown. And a reminder, this is a value for value podcast, which means there's no commercial interest involved. There's no advertising, no pitches. The only thing we ask is you consider how much value you received from listening to the show. And whatever that value is, translate that into a number and send it off to us. You can go to mofax.com, find out how, or mofundme.com, M-O-E-FundMe.com, and participate in keeping the show on the air. Yeah, well, where do we go, Mo? Where do we start? Oh, I guess we can get right into it.

01:29 Queen and Slim trailer. Can I ask you something? What took you so long to respond to me? I sent you a very well-crafted message release called Pentoday Out of the Blue. You hit me up ass. If you want to grab them, what change? I didn't feel like being alone. Not tonight. You turned to Tinder to what happens tonight. Did you think we were going to have sex? I thought we were going to hang out. Maybe get to know each other. Phil Dex get a turn signal back there. I'm going to ask you to step out of the vehicle for me. Could you please hurry up? What are you saying? It's just cold. Keep your hands right. Is he under arrest? What is your magic? Just chill, just chill. I'm wishing for myself.

02:16 Now let's go. Kill us. Got killers. Who's self-defense? You don't have to outrun them. We just have to make sure they don't know where we are. This is Kentucky, my friend. There's some more going on out there. Are you welcome listening to our home? Y'all really gave us something to believe in. We needed that for real. Let's go. We gotta remove Black Phantoms. Power to the people. Wow. Now, this is a movie trailer that completely passed me by. I have no idea. No idea what. I don't know a lot about movies in general, but I have no idea what this is about. All right. So this is Queen and Slim. It's a universal

03:02 pictures project. It was, let me see. It was released over the weekend on the 27th in the United States. And it was written by Miss Lena Waith and directed by Melina Mata Matt Sakakis. So it's one of the latest. And I have to give credit. And I'm not being a hater here, but I guess that's not what we do. But it's one of the finest pieces of trauma-based entertainment propaganda.

03:40 When I heard the trailer, all I could think of was trauma, trauma, entertainment, trauma-based entertainment. Okay. Yes. Yeah. So this on the show, we only address things that bleed over into political, social, political topics. So on the socials, this has been the latest and greatest. And I say, use the word again, piece of propaganda. People are, oh, it's the greatest thing since sliced bread. Oh, you have to see this movie. And when I see that, that's how it became on my.

04:20 Well, I saw the trailer seven months ago. So I was like, seven months out, you see a trailer, especially being a black film, you know that Hollywood is going to be pushing this. Pushing it, pushing it. Yeah, okay. Yeah, because that's a long way out to start a promo on their Star Wars type timeline. Correct. And so the reason why I kept this under wraps is, I guess you gave it to me, but what did you take away from that trailer? Well, there was a lot going on first time I heard it, but it sounded like, is it something with the cops killing black people? That's what it sounded like. like to me.

05:04 Not having seen anything, not having looked it up, just listening, just hanging out with Mo. I'm like, oh, yeah, okay, I get it. I know what kind of film this is. So, yes. But in this case, the rabbit got the gun. I use that term that term. Where, um, well, let's get into uh, Brandon Avery, a movie critic, explain the plot. But what is this movie Queen and Slim about exactly? Well, Slim and Queen's first dates take an unexpected turn when a policeman pulls them over for a minor traffic violation. When the situation escalates, Slim takes the officer's gun and shoots him in self-defense.

05:47 Now labeled cop killers in the media. Slim and Queen feel that they have no choice but to go on the run and invade the law. When a video of the incident goes viral, the unwitting outlaws soon become a symbol of trauma, terror, grief, and pain for all people across the country. Oh, brother, one of these. And this is what you said, universal. Yes, this is universal. And this is the same movie house that gave us Harriet. Ah, okay. Yes. Gotcha. Harriet, which of course was no good. It was no good at all.

06:27 And you were going to see us. No good. No, good. Completely wrong. Everything was off. Wrong actress. No, no, no, no. And when I say no good, I want to make a couple of things clear. These people that make these movies are very talented. The viewpoint when I say no good is the effects that the people that hire them to make these movies, the outcome they expect from them. That's why I say no good. Because these people are very, they are talented directors and writers. And so it's not hate. And I know a lot of people are rolling their eyes right now, but I want to remind-let me say this about our audience.

07:08 We have a very intelligent audience that understands the nuance conversation. But for some people that may just be coming in and they're rolling the eyes at think that I'm just being a hater. I want to remind them. Wait a minute, Mo. Did you get some pushback over Thanksgiving with the family in town? Did some people start moaning at you? Oh, no, but I know what to expect when you go at the propaganda pieces. You're going to get this knee-jerk reaction. Yeah. And I want to remind people that I am a black man. Oh, that's right. We almost forgot. Okay, good. And I am a white man. Hello. Welcome to MoFax with Adam Curry. All right. So, so as the man said in the trailer, it's about trauma.

07:53 As I've said, it's about trauma. So I found this interesting clip about the movie You Are Never Really Here with, I think, Joaquin Phoenix. Yes. And they had a very interesting take on how movies capture and portray trauma. I want you to listen to something. The sound of fireworks. Let's take away the lights for now. The sound seems pretty normal and familiar. But after hearing it for a while, the sporadic bursts and crackling combustions begin to form an invisible nuisance.

08:28 What if I asked you to listen to this for an hour, a day, or a week? Everywhere you went to, and even when you had to go to sleep, forced to even find it in your dreams, it would become unbearable and exhausting. How would you be able to go about your day? Your normal tasks and interactions would be greatly affected. It's as if you're living in a disorienting reality apart from everyone else, always on edge, at the mercy of the next destabilizing pop, hoping for a moment of silence. While preparing to make the film You Were Never Really Here, director Lynn Ramsey gave a recording of fireworks to Joaquin Phoenix to prepare him for his role. It's an interesting way to introduce someone to the mindset of a person afflicted by a traumatic event.

09:12 Trauma is a relentless and constant assailant that can intrude in all aspects of a person's life. It's an invisible aggressor with the power of reminding you that it can break you whenever it wants, and that even time has difficulty of silencing it. You know, when I listen to that, if you just add some drugs to it, you've got a perfect MK Ultra program. And they said trauma's the perfect assailant that it can strike at any time. And what these films do are set out to do, and I'm going to prove my case, is to reaffirm that trauma and to bring it a keep, keep, it's like an update to the firmware.

09:55 You know, we got to keep them in a state of trauma at all times. Okay, so hold on a second. What I understand now is the way this, the path of this particular episode is everybody's traumatized one way or the other, in particular from mainstream media. There's different types of it. Some are targeted, some are general, some everybody has. There's some very specific ones to groups. And what we're going to do here is we're going to update everybody's firmware to clear out their brains. No, it's to update the victimization mentality in quote-unquote black people.

10:31 Okay. So that's why you have the slave movies and the slave movies have really run its course because people have gotten aware of what they want to do with the slave movie. So now they have to do a pivot to a new type of traumatization. So the slavery, the kunta kinte is no longer triggering the way it used to. Now we've got to do something a little more updated. Yes, because people that are aware, you don't get the same crowd. So now you have to get, you know, give the crowd something new with the same memes and tropes. But yeah, so that's what we're seeing in Hollywood right now.

11:14 Like I said, throughout this episode, I will prove my case. But one of the things, just on the surface level, is that the main characters in this movie, as well as Harriet, are non-ADOS actors. Okay. And is that important for this particular movie? Could it just be anyone who's brown, black, off-white color, et cetera? Or is it specific to the storyline? Well, I question: why do they use non-ADOS actors? Is it because you want to? Are you replacing us?

11:54 Are you don't want the actors to be traumatized on set where a non-ADOS person might not have the same triggers? I mean, it's several different reasons why. Or perhaps they did a casting and they thought these actors were best suited for the role with their experience, their acting skills, and their overall looks. This could be true as well. But when you start to see two, three, four, five, six data points of ADOS, Foundational Blacks, whatever you want, what term you want to do, Native Blacks. That's the term we chose to use on this show. When you start to see those being replaced by non-native black actors, yeah, you got to ask what's going on.

12:38 It does get your attention. And by the way, I've tried out Native Blacks with white friends of mine. Doesn't go over well. I'm sure it doesn't. Hugely triggering. And then if I add on to it, hey, my best friend Mo is black and he told me to say that. It's just the hole gets deeper. It's worse. Yeah, shut up, boomer. Okay. I'm a baby boomer. Exactly. So, just like I said, this is a service level, and it's not really important to this movie, but I'm just bringing up this trend. I'm sure I'm stating a trend that we're seeing here. So Brandon Avery, he makes note of the same thing I've identified.

13:20 And of course, guys, you know, from the trailers and all the promotions and marketing that this stars Daniel Kaluya, who was in Get Out. He was also Sincario. He was also in Widows, and I did not like that movie. And I did not like his performance in Widows as well. But I thought he did a great job in Get Out. And a newcomer that I've never heard of before, Jodi Turner Smith. She's done a lot of television. She's a British actor as well as Mr. Daniel Kaluya, who also was in Black Panther as Wakabi. I forgot to mention that. And, you know, those are our two main leads. And, you know, while I first saw the trailer for this movie, my expectations were mediocre. I mean, it looked good.

14:00 I did a reaction to it. You can, you know, go check that out on my channel. But at the same time, I just wasn't too thrilled with it because, you know, while this centers on two black American characters, you know, I was just a bit disappointed because if you know me, if it is a black American character, I want that roles fulfilled by actual black American actors and actresses. And who is Brandon Avery? Because I couldn't find him very that quickly. Oh, Brad, Brandon Avery. He's a YouTube movie critic. He has a pretty sizable channel. I think it's just my opinion. I want to say, is his name or his channel right offhand? But if you search Brandon Avery, you'll find him. He does a lot of movie critiques, especially being black films.

14:45 So that's where we are. So I'm not the only person. only person that recognized that ADOS, Foundational Blacks, actors, I mean, roles were being filled by British actors. A couple years ago, Samuel L. Jackson made the same observation. The thing in my mind is, I know the young brother is in the movie and he's British. So there are a lot of British, black, British actors that work all the time. All the time. All the time. So I tend to wonder what would that movie have been with an American brother who really understands that in a way.

15:26 Because, I mean, Daniel grew up in a country where, you know, they've been interracial dating for 100 years, you know. And I'm sure the director helped. And, you know, some things are universal, but everything ain't. That's right. You know, which is one of the things about, you know, about Selma and some other things. I go, well, you know, there are some brothers from America that could have been in that movie that would have, you know, had a different idea about how that works or about how King thinks or about that. What is that casting thing where you get the British black actor versus the American black actor to play the black? What is that? They're cheaper than us for one thing.

16:04 All right. I have to say one other thing. When it comes to choosing black British actors over black American actors, this pisses me off too. The British invasion in general, I'm a little tired of. And it's true. They do have a different rate scale. There's a whole bunch of other reasons why Hollywood loves them. But Hollywood also is just completely biased towards the British actors. And I don't, I think Hollywood has an issue with that as well. But certainly when you make it black actors, then it's just kind of silly. It's one thing to be non-Aidos. It's one thing to be non-American altogether. That is clearly off color, to coin the phrase.

16:46 And maybe people may be overly sensitive just because we do feel like we're being replaced. We had this conversation a few episodes ago because of multiracial people. We feel like we're being replaced by that. Due to immigration, we feel like we're being replaced by that. And then when you see it start reflecting on film on screen, where you like, who is that person? We had the Obama effect when you really take a look at him. He wasn't ADOS or native black. So it's like when you start putting these data points together, it becomes, it irks you in a way.

17:24 And I would say, what is really going on? Perhaps the Obama presidency has left an indelible mark of disappointment for foundational blacks. Because Obama just didn't do much. Yeah, he didn't do much at all. But then it's like, did we expect him to when we start really starting to look at his background? Well, we thought Michelle would rub off on him and it would help a bit. And, you know, that was kind of the backstop, I think, for the argument. Yeah. But it was clear that he was an elite. And I think that's another thing with the maybe British thing because there's a certain elitism

18:08 with black immigrants. Because let me make this clear. A large portion of black immigrants are elites from their country, their home country. Not all, but a sizable portion. Right. But I don't want to get stuck on this point too much. But of course, when Samuel Jackson said that, he had to clarify his comments. Samuel L. Jackson clarifies comments he made about casting black British actors in African American roles. There are a lot of British, black, British actors that work all the time. All the time. All the time. So I tend to wonder what would that movie have been with an American brother who really understands that in a way.

18:56 You actually take a snippet of what somebody says and you make a headline out of it. You listen to the conversation, you know, it turns to another thing. You know, I totally respect and love all those UK guys that come over here and work. And I understand that coming here gives them a unique opportunity to advance their careers and hopefully go back home and create opportunities for their friends and other guys and let them know that they can come here and they can succeed. Do they know him black? He might wanna, you know. As far as, you know, me talking about get out. I mean, I've known Daniel for a very long time. I knew Daniel when he was a young writer, actor in the UK. You know, I had literally introduced him to his agent. So I'm looking forward to y'all coming over here. You know, hopefully I run into you on set somewhere. We can talk it out and we can work it out. You know, it's all good.

19:41 Yeah, he said with clenched teeth. It's all good. My best. best friend is my best friend is a black British actor. That's right. I can't wait to hang out with him. Yeah. Yeah. So he had to recant his statement. And I can understand why. Well, yeah, he's a part of the system. He's a switch back from Hollywood. Basically, you caught us roles that keep coming. You had to play. You had to play alone. But I want to make a point that in the conversation where he made this statement, he was talking at Hot 97, one of the urban radio stations in New York, and he was speaking to Mr. Ebro. Mr. Ebro is going to come back, come back a few clips from now, but just keep that in mind, all the listeners out there, and you as well, Adam.

20:26 Okay. So Miss Lena Wade, she visited Hot 97 during the press run for Queen and Slim. And she's the she wrote. She wrote the movie, correct? She's the writer of the movie. And she was asked about British actors playing the American roles. So how do you feel about there's been a conversation that we now have had on our show, and it's been a lot of places about black British actors playing American parts. Queen and Slim obviously is a black story, but it is also an American story. For sure. Daniel, of course, is an amazing British actor. Your thoughts on that whole thing. Honestly, I think it's divisive, you know, and I think it's, it doesn't move the culture forward.

21:10 And I always say this, you know, for anyone that has that argument or like, oh, let's get some American or whatever. It's like at the end of the day, if you're black and you get pulled over by a police officer, he's not going to not kill you because you have a British accent. That is a fact. So we're all together. You know, black is black is black is black. And we all get discriminated against. We all get treated like second-class citizens in a country that our ancestors helped build. And to me, I'm a big proponent of black unity. I don't care where you come from. If you're black, we family. Well, first of all, I just disagree. If you're pulled over and you hit the cop with a British accent, which you might want to try one time, Mo, just as an idea, I think you're good to go.

21:52 I think it's, oh, it's one of those guys. Yeah, what are you actor? Yeah. So she slips something in there. She says that of all our ancestors, a country that all our ancestors helped build. Yeah, I want to play. I want to play that again. I want to play that again. So we all in this together. You know, black is black as black is black. And we all get discriminated against. We all get treated like second-class citizens in a country that our ancestors helped build. And to me, I'm a big proponent of black unity. I don't care where you come from. If you're black, we family. Wow. Okay. I agree with most of her statement there.

22:35 This one little the pee in the mattress. This country that all our ancestors helped build. No. And this is the rub of foundational blacks, AIDOS versus non-native blacks. This is the rub. No, you want to come and claim ownership of a legacy that's not really yours. I would be very offended. I would not. Okay, let me say that. Hold on. I mean, this is not even black or white. No, no, Brits. Look, originally, yeah, we were all Brits who came over. It was the original Brexit. But after that, we drew a line. You know, it's like, okay, we're declaring our independence.

23:20 We're building this country. And that was it. And the help didn't come from Britain. It's a very odd thing to say. But this is politically driven. It's globally driven. This is my whole point. This is the whole all black is this monolith and we have to stick together. You can't divide, you know, can't divide us. And, you know, this is the thing. All of this plays a role into politics. All of this is stay herded. You know, we're all one black monolith. And if we're all going to receive anything, it's going to be for everybody.

24:01 And as we talked about in previous episodes, this is not the case. It's also an eraser. It's an erasure of history. It's not cool. And I would expect to be checked if I went to Jamaica. It's like, yeah, all my essays helped build this. Or if I went, you know, to any other non-American place and try to lay claim to what they've built. So, I mean, I don't, so I'm just being fair in that, in that sense. So Ebro, the one that Samuel Jackson was talking to before two years prior when he made the comment about. about black actors. He's going to chime in on the British actors playing American roles.

24:46 Well, that's pan-Africanism. Right. And I think that's the piece that the slave master, right? And the plantation has programmed into American blacks is thinking that our experience is somehow disconnected completely from the transatlantic slave trade and slaves that went to Jamaica, slaves that went to the Dominican Republic, Brazil, the colonialism that took place on the continent in Africa, right? Slaves that ended up in Europe via that same colonialism, right? So our brains are programmed to think that somehow that's not us.

25:23 That is us. And the power actual dynamic is when we separate ourselves because of that, that's how they continue to keep us weak. Wow, that's interesting. What a reversal that is. Jeez. Okay, so just to distill in my brain, you said, all right, all the slaves all across the world all came from Africa. Not true, but okay, we'll give them that. Therefore, you are by definition united in your pan-Africanism, which is by Pan-Africanism is a political movement. It's a political statement, political grouping. And therefore, the part that I find interesting is magically, everybody helped build America

26:11 exactly. And if you want to take yourself and, you know, identify yourself as a subset of that group that's anti-black or anti-pan-Africanist, when nobody has made a complaint about people referring to themselves as Haitian or Jamaican or whatever. All the West Indies, yeah. Yeah. All the West Indies identify themselves and they fly their flag. That's like pretty much any immigrant group when they come to America, they identify themselves by their home country. Where this is where Ados has a weird, we have a weird experience because your flag is

26:51 the stars and stripes, my friend. Right. And it's a, like you say, it's a weird reverse because we're looked at differently because, oh, you fly the flag or you're your oppressor. It's like, huh? It's like, yeah. So, but as I say again, all of this is political. All of this has to do with 2020 in a weird type way because it's like, stay on, stay in the herd, stay on the plantation, and do everything expected to do of you and being black. And one of them is voting. I know that's a stretch, but we're going to see later, as I promised, how films are used as mind control. And it's so good when you say it's a stretch, that means your mind is going to be exercised on this very show.

27:37 Yes. So Lynna Waith, she goes into the characters of Queen and Slim. Finding the characters was interesting because I didn't want them to be prototypes, but yet, and that's if they are prototypes, you know, for every black man, every black woman, although we are not all a monolith, but I really kind of wanted to put pieces of us into these characters so that way we could see ourselves and them. To me, the templates were Malcolm X and Martin Luther King in terms of ideologies and ways of going through life and in the most simplest terms. You can see now how they load these characters up with ideology.

28:22 Yes. And people always say, it's just a movie, Mo. Relax. It's just a movie. No, nothing is ever just a movie. Every movie, even from Star Wars to Matrix to all, even the science fiction films, have a substory to the people that have eyes to see. That's also the why movies we connect with movies, even if you don't exactly understand what is going on, you connect at a deep level because of the story, because of the characters, because of what's going on. Whether nefarious or not, it's always intended to connect to you somehow. And there's a lot of intersectionality into this movie as well.

29:03 And it has a transgender female character, and her name is Goddess. So it's so even the naming, and like I said, the names of the characters in this movie is not Queen and Slim. It is not. And we're going to let Lena Wade explain Queen and Slim. My biggest pet peeve is hearing characters' names and scripts. If you ask anyone that works with me, knows that that's what I think I scratch out very often. Because again, it's about groundedness and reality. If you think about having a conversation with a person, how many times do you say their name? their name in the conversation? So, now I know why people do it. They do it because they want the audience to be aware of what the characters' names are or if they forget the characters' names. But the truth is, the names are not important.

29:48 It's really about who these characters are. And again, wanting for people to see themselves in the characters. In essence, anyone can be queen. Anybody can be slim. It's all these are sort of like nicknames we all give each other within the black community. You know, whether it be a black man saying, What up, queen, or what up, slim? Oh, okay. I guess they do that in Britain too. Yeah, queen slim. Now, that's not queen. It's not just a black thing, by the way. This is universal as far as I know. Well, maybe it goes back to the 80s, but people would call me Slim. And Queen is a thing of today. Slay queen. That's a very white girl thing, actually.

30:34 Yep. But look at the disparity between the two names: Slim is an ordinary loser, dude. Hey, Slim. Okay, you got no muscles. You're nothing, but here's the queen. Exalted. Like you said, Slay Queen. She's a queen. So I had this, I did some digging around YouTube and I found this female and I didn't capture her name. I'm sorry for that, guys. But she is a pro-woman, pro-feminist, a blogger, vlogger. And she talks about the stereotypes used in black movies and explains what is a queen.

31:13 Today, I'm going to talk about stereotypes. And I'm going to discuss four different stereotypes: the Mammy, the Jezebel, the Sapphire, and the Queen. And then last, we have the Queen, which I hate so much because so many people are using it nowadays and it's so annoying, right? Because the queen is just drawing this binary between like this Jezebel, you know, hypersexualized, fast, black girl, and then this respectable woman, right? She's smart, she's in her books, she doesn't go out, she has natural hair. It's all these respectable qualities of what people think is respectable, right? And what it really is, it's really baseless. It's really nonsical because it really means nothing.

31:55 It's literally what is a way for men to exert their dominance over, you know, black women, right? It's like if you don't fit into this box, then you're automatically not a queen. Oh, that's interesting. I have a very different take on that. You know, the African queen has very high standing. Queen Latifah, you can't touch her. But she's talking about how it's used in modern-day intersectional circles. Gotcha. How it's perceived. And it's amazing. Lena Waith, who's a member of the LGBT community, will use that title queen if it's perceived that way as a stereotype. So, but Lena Waith, she goes on to talk about the white gays.

32:40 So, for someone like me who does care about color and cares about the community and the culture, I have to be mindful to figure out ways to get as much power as I can to tell our stories as authentically as I possibly can. But it's still things like if I want to do like a black drama, there's still this thing about like, well, can they, can they be more, can they be more levity? Can they smile more? Can they do this? Or I don't understand that. So we still sometimes have to water down our work so that we can get it on the air or get it on the screen. And that's why I think Queen and Slim is so unique because I said to them, This will not be touched by the white gays. Like, we've been watching y'all's movies crazy. Yeah, white people, white voice, white hands, white eyes.

33:23 This is this is for us. Okay. White gays, a term I've not come across before. Let's be clear. She says she takes ownership for everything in this movie because she told the white people in Hollywood this project is hands off. That's what she just said. But for you to cast certain characters in a certain way, Queen being one of them. Let's see. Queen, I did some more digging and I actually found the casting call for a queen.

34:05 Oh, really? Yes. And let's see here. It said, Queen, she should be brown-skinned. If she were a slave, she would have had worked in the fields and had a tough exterior for a reason. This is how they're casting their movies. Kind of superficial. So, and here's another thing from the script. So, there's another character in there called Uncle Earl. And this is from the script itself because the script was actually publicized on social media. It says, Queen's opened the door to find her Uncle Earl counting money by hand. There's lots of Uncle Earl is like Chicken George if he wasn't a slave.

34:49 Okay. So, this is what she's selling to Hollywood. And now, you see why I have a problem with it. And I know this is what goes on behind the closed doors. But now, with this movie, it's being publicized. We're starting to see behind the scenes, and it's kind of like she's a gatekeeper. These people in Hollywood are gatekeepers. Like, oh, I can give you the black experience. But isn't it when I hear this? Isn't she actually literally giving the white gays version when I hear the casting call like that? Oh, it's like Chicken George. I mean, that's a white gays type definition, or am I missing the point?

35:30 No, that's exactly the point. You get it, it's a dead ringer. And that is the case of she is the shield they hide behind. It's like, give us something that can be palatable to put on a big screen, but you give it your little flavor. This is what's being, this is what's being, um, I believe, being negotiated behind the scenes. But there's this weird statement, and this really has nothing to do with the story as we go on, but it's just a weird sidebar that I want to address.

36:08 So, this guy named Rosenberg on Hot Night 7, he's a white Jewish male, and he says that whites have no community, just blind, like, yo, some black people are going through something, they need us. Boom, he said, that piece is something that I think, you know, obviously, coming from a family of black people and white people, and seeing that on both sides, I know that that takes place. But mainstream America doesn't see black America that way, right? But also, this is important to point out that that does not exist for white people. There may be on some crazy clandestine race and racist world, it does, but in a typical regular person, there's no such thing as white community.

36:53 That's not a thing. Well, first of all, obviously, Rosenberg was invited to the barbecue, so he speaks from a huge experience. Yeah, F cookout. The cookout. That's what I meant. Yeah, Rosenberg, I think he was feeling his privilege kind of like showing through. So now he has the downtown. Oh, white people don't really have a community. And him being a Caucasian Jewish person, they have one of the tightest-knit communities known to man. Oh, yeah. Well, of course, Jews, a lot of Jews do not consider themselves white.

37:33 That's a little caveat we got to put there. Interesting. I don't know that. Oh, yeah. Oh, yeah. Many Jews say, well, I'm not white. I'm Jewish. It's different. And I can't speak to that any more than I can speak to black. But there's one thing I will say. I personally am sick and tired of this whole community concept because that's bullshit. The LGBTQQIAPKK L M N O P community. There's no community. And I'm sure that you are not in the same community as some gangbanger in Compton. No, your culture is what ties you to a community.

38:14 Thank you. And culture comes off of morals and shared morals and shared experience and experience. But I thought it very, and this is like I said, this is a sidebar. I just thought it was very disingenuous of Rosenberg to say he, we don't have a community when, dude, you're ideal community. The ultimate community is Jewish. Yes, of course. Right. But that's just going to show you when you're the only white guy in the room, you got to kind of bow down and not let your privilege shine. I know. Imagine doing a podcast with a black guy. It's really hard. You got to be on your toes all the time.

38:52 It's tough. So, so Lenaway, she exposes Hollywood and this next clip and their motives on the jackpot. You know, there's still battles that we got to fight and things that we have to do. Give me an example. You know, it's still, here's the deal. Most networks and studios are still owned by white guys, you know, and so, and the truth is black content sort of represents a lot of jackpots. jackpot a little bit right now. It's like they know that this experience can be commodified. And at the end of the day, I always tell people, Hollywood don't care about color, they care about commerce.

39:36 Well, there you have it. Yeah. It's all about the Benjamins. Well, yeah, they do care about color. It's just that the color is green. That's green. It's well known. Yeah, sure. And she let that slip out because what we have this viewpoint of all these liberal woke white folks in Hollywood, and they really just want to put the black experience on the screen so the whole world can see what really goes on. No. No, that's a great commodity right now. Yes. And what I, everything I hear her say, and just the way I'm receiving it, is apologizing. She's, in a way, apologizing for what she did. Because she said, well, you know, we got to do this.

40:17 There's a bunch of white dudes in Hollywood. Well, you know, we got to, this got to be a commodity. We got to sell. It's got to be in. We got to have the right names. Everything is kind of an excuse. And this is nothing new because she understands what she's doing and she has to apologize for it for the people that can really see past the bull crap. Yeah. Which I am one of them. So what I've identified here, we've identified this term on this show of trauma-based entertainment. But what it really is, is this weird sub genre of a horror movie. That for color girls shit. That shit was an African-American horror movie, man. Temptations was an African-American horror movie.

40:57 For Colored Girls, it was an African-American horror movie. I think he had something to do with Precious. That was an African-American horror movie. I just, I don't know, man. Is this like Tyler Perry? He paints a very negative portrayal of black men. We ain't that bad. Like, Jesus Christ. Like, Tyler Perry makes us seem like we ain't shit. And it'd be, it'd be the, it'd be the well-off brothers. It'd be the brothers that be doing something. Yeah. It's true. Can you think of a movie that is that it has black actors that is not trauma-based in recent memory? Either it's going to be a comedy. These are two. And I think it follows with the Hollywood model because this is the only thing you see, really the two movies that you see in large quantities produced, the horror movie or the comedy.

41:41 Right. Those are only two. So they say, how can we, we can't do a slave movie anymore. So let's create this weird hybrid. Hybrid of a shocker. What's the, what's the, it's a, it's a term for the movie. I can't think of it. But it's like when you go in there, it's intense. You know, it's a, it's an intense experience. And that's what they give us. A thriller. Realize it's very a thriller. A thriller. That's the one I'll. So you have these racially based thrillers, which they give to us. And black people live vicariously through the movie.

42:26 And at the same time, it has to appeal to white audiences if it's going to make any money. Yes, it has to be safe enough where it's palatable to your ordinary average white viewer or the white person is so sympathetic and guilty. They feel white guilt that they'll go through the movie. And I've heard white people say this. I've seen that movie twice. This is the 12 years of slave things. They live the opposite, like the guilt. So you have the victimization mentality going to see it for one reason. And you have the white guilt-ridden person going to see it for another reason. And they're both living this weird experience.

43:13 So there you have it. But that was Charlamagne and God, and he identified it. He was talking about Tyler Perry movies, but Tyler Perry, what Tyler Perry has done is identify that you can have a strictly mostly black audience and be very lucrative. You can make a lot of money at it if it's niche enough. And that's what you're seeing with these films. So we have another clip from Charlamagne, one of our frequent contributors to the show. And he talks about no more slave movies. I saw the movie. Great movie. You know, definitely deserved it. You're a white vlad, so of course you thought that was a great movie.

43:55 Oh, really? You didn't think it was a great movie? I don't watch no 12 years of slave, man. I don't want to see that bullshit for what? Listen, man, I'm all up. Hey, man, they won Best Picture. Salute to them. Congratulations. I'm not into slave movies no more. Why do we need more slave movies? We got enough slave movies, man. You got Roots. You got 12 Years of Slave. We had Amistad. We had Beloved. You got all these documentaries on slavery. We had Django. Django, which and Django is my favorite slave movie of all time, by the way. And the reason it's my favorite movie of all time, because Django wasn't no victim. All right. Django burnt the plantation down, killed all the slave masters, killed all the house niggas, and rode off into the sunset with Carrie Washington.

44:36 That's the kind of slave movies I like. Movies that have a very, very happy ending. Okay. Why am I starting to like Charlemagne a little bit? This can't stand. This is the thing with him. And that's the beauty about being a gatekeeper. You say just enough. Yeah, you're right. But you can keep your black card. Yeah, you're right. You're right. But then they slip the little, you know, the no-look in there. You know, this, I'll call it the pee in the mattress. It's always something that makes you uncomfortable with the person. Because there's certain topics they can't broach you. There's certain things they can't say. Well, I agree. I think that the role of gatekeeper is what he's playing expertly here.

45:20 Yeah. So what he said in that last clip was very important. And as we're at the point in the show, we always got to go back. No. Because these kind of things have been seen before. So we have Mr. Charles Woods, which is a black film archivist and historian. And he talks to us about the real reason behind black exploitation. He makes Sweetback's badass song. Nobody went to see that film. Personally, I'm going to say it. Piece of crap.

46:01 As far as I'm concerned, okay? What helped get that going was the support of the Black Panthers. What's the name gave it a big write-up? Go see this film. They wanted to tie in. Huey Newton. Huey Newton. Revolutionary this and all of that. What had a lot of brothers going to see it? There's a whole lot of stuff going on in there, you know. What did he introduce in that film? Black and white sex. Black men and black women making love. A black man striking a white man because he kills a cop. All right. But we can also call that film NIGGER on the run.

46:43 Because all through the movie, that's what he's doing running. And Charles Woods. I'm not familiar with him. Okay, like I said, he was a black archivist, black film archivist and historian. And he does a moniker is the professor. Oh, so I mean YouTube as well? Yes. Okay, good. Well, I mean, he also is. I mean, he's known for his work in looking at black films. But if you notice in that clip, he said you could call it the movie he was speaking about is Sweetbacks, Sweet Sweetbacks, Badass Song. And this is one of the black exploitation films that predated Shaft.

47:28 As he said, it was a piece of crap in his knowledgeable opinion. And he said, what? It's about what? Black people making love. Yeah. And a black person killing a white cop. And then N-I-G-G-E-R on the run is what he said. You call it film. Don't we see a parallel here? Oh, you stumped me. This is what Queen of Snipes is about. This is the exact same movie. Thank you. Okay, I got it. So it's the same movie, the same idea, the same plot, essentially. And of course, I've seen neither. Oh, wow. And when did that movie come out?

48:11 So that's early 70s? Yes, predate Shaft. So it had to be the early 70s. Wow. So it's really just a shitty remake of a Black Exploitation flick. It's a cycle. Yeah, yeah, yeah, yeah. It's a complete cycle. And we're going to understand why, as Mr. Charles Woods continues on and Black Exploitation 2. I don't know if a lot of people wear this. They fought over him wearing a mustache. Because usually what happens is the trope for heroes, you don't give them a mustache. The only one who helped get away with that was Clark Gable. But, you know, if we're talking about what stereotypes do or what accepted images, they're shorthand.

48:55 So if you have a blonde, she's dumb. You have someone with glasses and a pipe, he's smart. So you put the mustache, that's the villain. They gave, finally, they consented. Okay, well, let him have a mustache. But that was a phony mustache that Roundtree was wearing. Are you aware of that? I never knew that. Okay. Oh, yeah. Yeah, so smart. Yeah. Yeah. What he's talking about here is Shaft. Yeah, of course. And Shaft came after Sweetback's sweet ass song. I mean, badass song, excuse me. And Shaft was one of the films that struck the right chord because Shaft was really the good guy. But I put that clip in here just to show you, even down to the facial hair. Oh, yeah.

49:40 It's negotiated because everything is representative of something. And that's movies in general, but it's obvious what's going on here. Sure, sure. But like you said, the blondes are dumb. The guy with the pipe, and you know, smart. And you had a guy, a black guy with a mustache. He would be seen as the villain. But the movie was so good, Shaft was able to break that mold of a good guy having a mustache. So, even though it was fake, and I didn't know that, that's a little trivial fact for people out there. It was an awesome mustache, though. So now Charles Wood is going to talk about

50:25 how films had an impact on him when he watched them. One of the other things I failed to mention was growing up. Not only did I want to be a white man, I also wanted to make love to Virginia Mayo, Rhonda Fleming. These names you have to look up, but brainwashed you. Yes, brother. Now I'm looking at Pam Greer, Black Chocolate, Gloria Henry. Now we're talking. This is something for us. Now, people might ask the question: well, Mo, why does black people fall so susceptible to films

51:12 and music? Well, and it's not just black people. I was going to say, it's poor people. Yes. Thank you. Poor people, this is how they transfer their history. It's through. I mean, a lot of Irish, old Irish, I think it's called jigs or whatever, the songs that they sing contain history stories in them. Because even people that weren't literate, they could sing. Well, the country and Western does this. Of course, hip-hop is, you know, started off as the black CNN back in the rapper days, I would say. Hollywood, Nollywood.

51:55 I mean, these things. But also, how about the Negro spiritual songs? I mean, all of this stuff. That's worldwide. And the masses, of course, in general, most people in the world are poor. So that's why we have these types of storytelling, no matter how you do it, but a story told in a way that is easy to remember in a lyric or in a movie that is simplified and puts things together that really are hard to do in the same time span in real life. That's how we continue stories about our culture, our background, our families, our history, our everything.

52:32 And that's why a really good movie can relate to several different layers and intelligence level of people. Because you take a simple child movie like Lion King to the children, they take one thing from it, but to the trained eye, there's a lot of socio-political topics covered in there. Especially, I mean, that just goes to show even in a child's movie that it can have those different layers to it. Well, now here we are. If you have a bubbling undercurrent throughout the poor society of unrest,

53:15 Charles Woods explains what the purpose of a movie is. These films help quell those riots. Because remember, we had the Colonel Commission studying why we had all these riots. These films helped to calm that down. I called it rioting in the movie theaters. Because all of our anger and our angst, we were able to vent and seeing people who look like us kick the white man's behind. And what was the subtitle of Blacksploitation? Get Whitey.

53:55 For every drop of black blood spilled, a white man pays. He had a plan to stick it to the man. The man. See, we were beating the man. And so I call it rioting in the the movie theater because this was rioting without destroying anything, it was a catharsis for us. Wow, yeah, you get the point. Well, I was also thinking about my first experience in uh in an all-black movie theater in New York City.

54:34 I was invited to the uh the opening night of Coming to America with Eddie Murphy and Arsenio Hall. And that experience with uh yes, you know, you go all of my movie experiences. Now, granted, I'd grown up in Europe most of the time. You know, you go to the movie and you know, people will laugh and uh say things at appropriate moments, but man, that experience and it was in New York City was something different. That was like people jumping up in the aisles and yelling, like, no, stop, no, no, no, don't go there, turn around. It was crazy. I loved it, but it was very different. And that's what Mr. Charles would have said in the last 10, 15 seconds of that clip.

55:15 It was catharsis. Yeah, it's a release. Yes. And if you're the elite, now you understand why they make movies like this. Yeah, we want to take the pressure off. Yeah, take the pressure off the cooker. Right. So when you have movements like Black Lives Matter, every time you have an uprising, Hollywood and Elite get together and say, Let's give them films where they can live vicariously through the characters. And they can have that, like you said, take the pressure off the cooker. It's even a little, it's even a little better than that, knowing somewhat of how Hollywood works. They actually have a shelf or a slate, as they call it, of movies ready to go.

55:58 Some of them made a year ago, some of them made two years ago. They can determine to release something. It's not like, oh, we got some problems. We got to release the pressure. Let's go make a movie. No, no, no. This is all done. This is all ready. It's on the plank. It's good to go. That's interesting. I didn't know that point. So they have it. We're ready in the can. Yeah, it's in the can. Sure. So I'm going to go back to Mr. Brandon Avery, the movie critic. And he said his small tidbit that kind of confirms what we heard in the last clip. So after reading their plot synopsis, it sounds kind of fun. It sounds adventurous. Like, wow, you know, two black people killing a cop in self-defense.

56:41 And, you know, in reality, cops are always shooting black people for no rhyme or reason at all. I mean, my goodness gracious. Seems like we're going to have a fantasy on our hand, like kind of like a modern-day Django Unchained or something like that. Yeah, they, oh, we have the genre. The genre is fantasy. Nice. We're going to have a fantasy on our hands. This is sick, man. It's real, but it's sick. But from the 70s to the 80s, black people became aware. And these things can only burn out so long until they go, they become render

57:21 ineffective and then they go away. And then until uprising comes, then you have another wave. I mean, this is how it goes. So we had a gentleman named Mr. Robert Townsend. And now I have these next set of clips because he had a movie called Hollywood Shuffle. Have you ever heard of that? Yeah, yeah, yeah, of course. I remember. I met Robert Townsend. I've met him several times. So Mr. Robert Townsend paid for this movie, Hollywood Shuffle, out of his own pocket. He maxed out credit cards, everything. And it was a huge success. And a huge success. And not only that, but when you fund your own money with your own movies, you could tell the truth in them.

58:03 Yeah. And with that said, Black Acting Schools, Hollywood Shuffle. Hi. My name is Robert Taylor. And I'm a black actor. I had to learn to play these slave parts. And now you can too. At Hollywood's first black acting school. It teaches you everything. 101. Motherfucking giant tricky motherfucker. All right. That's good. That's good. You work. All right. You try it. You fucking mothers. No, no, no, no, man. No, no, no. That's wrong. That's wrong. Watch me. Just be cool. Jack, tricky motherfucker.

58:41 Go back. That's only the beginning. You too can learn to walk black. No, no, no, no. No. No, vehicle. I'm sorry. Yes, yes, yes. I remember this movie. It was great. great. It was very funny. And the funny thing about that clip was what people can't see is you had white men showing the black people how to act black, which was hilarious. Whatever happened to Townsend? I mean, he kind of faded away a bit from memory. I'm sure he's doing something good.

59:26 Hip-hop happened to him. And we're going to get to that in a minute. You're all right. Goggles, man. Put the goggles on. I'm sorry. I'm ahead. Yes. I got to put on the shades. Yeah. So he was telling the truth in this. And in the movie, I suggest everybody go check it out because it is hilarious that this satirical. And the funny thing is in that clip, he's speaking with a British accent, which is which has a whole nother connotation to it. Especially right now with everything that we're talking about. Right. It's weird. I mean, that's why I made a great addition to the clips that I snacked from it.

1:00:07 But he continues on with the black acting school, too. You too can be a black street hood, but this class is for dark-skinned blacks only. Light-skinned or yellow blacks don't make good crooks. Here's a student in our dance class. I didn't still have TV. It just happened to be under my coat. I don't know nothing, policewoman, cold jack, fine side. Yeah, I'm a gang leader. I'm in the warlords, vice lords, onion head. Let's talk to a graduate. This is Ricky Taylor. Ricky graduated from my class three years ago. Ricky, can you tell us what you've been doing since you've graduated? Well, Robert, I played nine crooks, four gang leaders, two dope dealers.

1:00:47 I played a rapist twice. That was fun. Currently, I'm filming a prison movie. I play this tough con that tries to fuck this new inmate. That sounds wonderful. I'm so happy for you. It's coming back. It's coming back. It's funny. What he, and this is a brilliant movie because what he did was poke fun at the roles that black actors at the time in 1987 were being hired for. And you could tell true. You could tell truth to power if you're funding your own movies.

1:01:23 That's what comedy is, man. Comedy is always talking truth to power. All right. And the reason why I wanted to use these clips is until we fund your own movie, it's value for value. It's basically what it is. When you have the freedom to say what you want to say, then people find value in it and then they support it. If you're funded. Well, I stop you right there. MoFundMe.com. That's exactly what this is about. M-O-E-F-U-N-D.com. And if you don't, then you have to go through checking in with the powers that be and say, oh, well, the tests say, screening tests say that that doesn't sit well with white males on screen.

1:02:07 That's our test audience. Yes. Well, you know, most people most Hollywood movies have at least two, sometimes three endings they'll shoot. They'll test market those amongst the audience. I mean, it's so micro. This is why everything sucks. This is why radio sucks. This is why television sucks. It's why the movies suck in general. There's always exceptions, of course. But it's all been micromanaged, you know, down to the single demographic that they expect to exploit the most or get the most out of their wallet from. That's it. It's been sanitized. It's been really sanitized. And there are some good shows out there that capture what goes on in the black community, but they're so far and few between

1:02:50 because either one, they have to put the art over the commerce or you have to get people. And one of the cases was The Wire. They actually got people from Baltimore and they captured them in a realistic, humanized way, not caricatures. But when you're going for the fast buck or the mind control, you need the caricatures. Like Lena Wave said, she needed you to see a little bit of yourself in each character. So it's bullcrap. But for those people that are interesting in signing up for the Black Acting School,

1:03:29 we have the number for you. Classes are enrolling now. Learn to play TV pimps, movie mongers, street punks. Courses include Jive Talk 101, Shuffling 200, Epic Slaves 400, Dial1, 800-555, Koon. Don't try to be cool, call Hollywood Shuffle, that would never make it today. No, no. No. no, no, no. So, as you said before, you were getting ahead. You said, What happened to Robert Townsend?

1:04:07 What happened to people like that? Yeah. Well, you had the influx of hip-hop, and Robert Townsend was seen as being corny. So, you needed a more seedy side to black media going into the 90s, as Mr. Nelson George, the fame director, explains. I mean, I think that what's happened, and this is the dark side of hip-hop, is that sort of in the 60s, black stuff became sold. Everything was sold bread, it was sold food, sold handshakes, blah, blah, blah, blah, blah. Now everything's hip-hop.

1:04:44 Hip-hop this, hip-hop that. But the truth is, it's a much more complicated template. Hip-hop, people sort of view hip-hop as this thing that runs everything, but I always see hip-hop as part of black culture and not the other way around. And that hip-hop responds to more broader general trends in terms of violence, in terms of family issues, education, all these things the music then reflects. But because hip-hop has become this kind of easy shorthand for marketers, they leave out. That's why a guy like Tyler Perry, who I brought up, has been so successful. Okay.

1:05:23 Shorthand for marketers. Yeah, so it's easy. You could throw hip-hop into something, throw a, and when I say hip-hop, we're talking about the negative form of it. They could throw that in the background, a soundtrack, and then they could easily package together a quick movie for a quick buck. So that put the people like Robert Townsend out of business. And as he said in the clip, that's why Tyler Perry became so rich and powerful because he actually reached introduced, even though it was problematic and in its own way, negative, it was a non-hip-hop version.

1:06:06 What he did was gave you the black struggle sprinkled with a little Jesus. And it created a huge, it was a huge opportunity. And he created a market. He created a product for that market for the non-hip-hop black market. But because at the time, as you see now, hip-hop's taking over everything. And it's not the positive hip-hop as we talked about on previous shows. They're not marketing positive hip-hop. It's the negative stuff for the same reason as they market these negative movies. But that's where we're at. So. Yeah,

1:06:48 I have nothing but agreement for you. I was just thinking, Robert Townsend, where did he go? I think he got displaced by Kid and Play movies, didn't he? Isn't that what happened? Well, you had, yeah, and then Kid and Play, it's a gradual effect. So they used Kid and Play and positive hip-hop as a Trojan horse. That was fun-loving. I mean, it had like, I mean, it had no more cussing than the Hollywood Shuffle. And it was a fun little movie like House Party and those movies. And then once they got a hold into it's got like Shaft, same thing. Shaft was a positive movie. You had a black cop, you know what I'm saying, cleaning up the neighborhood, kicking ass.

1:07:29 And look at all the movies came after that. Superfly. What was Superfile doing? He was sniffing dope and pimping women. You see, it's always a Trojan horse that comes in as positive. And then they bring in the real motive after that once we become accepting of it. So Mr. George, excuse me, Mr. Nelson George continues on about the media's portrayal of black culture. So it just goes to show you that if you just read the mainstream press, you'd think the only thing that was happening in black American culture was hip-hop.

1:08:04 And in fact, it's far from that. So the complexity and the range of expression within the black community is really always underappreciated and narrowcasted. You have to really be clear that black culture is not a monolith. There's a lot of subsets and interesting tributaries. And that's where the real fun is, actually. Of course it is. Of course. Well, Miss Lena Waith made an interesting observation about Hollywood. She's made the claim that Hollywood studios are owned by majority white males. Is that a completely accurate statement, Adam? Completely. I was going to mention that earlier.

1:08:46 So first of all, a lot of these companies are public, or many of them are public. So they may be run by white guys. at the top. But Hollywood, as far as I know, is pretty much. I know the AMC movie theaters and a lot of the big studios are owned by China, who, as we know, is asshole. China bans hip-hop. Well, Brad, I think it's safe to say that we won't be on television in China anytime soon. Yes, the country's top media regulators of the People's Republic of China now specifically require that programs should not feature actors with tattoos or depict hip-hop culture.

1:09:27 So I'm out of time. You're telling me out. Yo, son, I guess that makes it all bad for us. You know what I'm saying? Actually, how do you have tattoos? You're out. You actually have a Chinese tattoo. They're really cracking down. Chinese rapper Wang Ho, aka PG1, was forced to apologize earlier this month after one of his songs, Christmas Eve, was criticized for promoting drug culture and insulting women. Wait a second. That's my best Christmas Eve ever. His real name sounds like a rapper name, but that's his real name. So he takes his real name, which sounds like a rapper name, and creates a rapper name. Yeah, PG1. He's also Lil Wang.

1:10:09 Oh, yeah. No, well, Lil Wang. Yeah, China definitely has a big influence. Wow. China in this, twice in this series of shows, and one with the NBA and sports and in movies. Yeah, so of course. So, why is it that China feels it's okay for their movie studios? I'm sure they own movie studios. They own a lot of the shares in these record companies as well. It's okay to promote certain music and images to one community, but it's not okay to promote in their own country. Well, no, of course not. They don't want a bunch of people getting all pissed off in their own country. Let that happen in America.

1:10:53 And it could be negative and deleterious, right? Yes. I mean, I would think so. Well, I have the splendid opportunity, which may be far and few in between, to introduce Mr. Alex Jones to the show. Oh, boy. And he is right up the road. And he explains China banned on hip-hop. And they're losing control. Hollywood's folding. Everything's falling. I made the point that they're hoping communist China buys up the big six production houses because they're failing. And I made the point: my God, you people don't even get yourself straight. The communists have already taken over in China, so they don't want homosexuality to talk to kids and training stuff and all this stuff.

1:11:37 They execute you if you're gay in China. I'm not saying that's good. The news picked that up. I did a memo on it last week. I said, you want China to come in and take over because they're authoritarian and can back up Hollywood and because they're anti-American, but they'll execute you for your agenda and they won't even let you air most of your films that they see as anti-family because they understand that the brand of sexual revolution you're selling was designed by the CIA. This is declassified to end the family and bring down this civilization. And this is why I love Alex Jones. He breaks it down so simply.

1:12:19 Yeah. Exactly. What I'd like to know is: now, did you just stumble across this in your research? Are you listening every day to the Info Wars? I used to be a listener to Alex Jones way back. And I think he's the gateway drug to conspiracy analysts and theorists. Yeah. That's like kind of where you start, and then if you, you know, you grow from there and you start seeing, looking for more information. So I was familiar with that. I hadn't heard his clip, but although I was aware of what he stated in this clip as being almost a fact.

1:12:56 Well, and look, and look at it. It's good to have him. Look at how powerful it is, Mo. I mean, we had the whole NBA conversation with China owning the NBA. Well, Nike, of course, but the trifecta. And it's gone. It's no longer discussed. It's off the radar. We've moved on to something else. Don't look over here. Whatever you do, don't look at what China's controlling. Yeah. And it's just telling that a country big as China, 1.6 billion people, tried to ban hip-hop and its imagery, not the actual music, but the imagery and the negative negativity that comes along with it.

1:13:37 And as Alex Jones said, it's a form of propaganda. Now, I have to say something. I'm a somewhat traveled man. I've never been to China, but I have been to Russian. I went to Russia. in 1988 before David Hasselhoff brought the wall down. We all know the Hoff did that. And I met kids who were playing songs themselves, Western music, which they had only heard and had copied down lyrics phonetically. So they didn't even have the written lyrics. Of course, it was, you know, there was a big trade smuggle in cassette tapes.

1:14:17 So they would get a cassette tape. And I just remember being in what was called a restaurant, and it was very elite upscale. Of course, we were visitors. We were there for the Moscow Music Peace Festival at the time, another scam for another day. And the guys, you know, this is like a kid, and he's singing. I don't know if you remember Johnny Hates Jazz, Shattered Dreams. It's just, that was one of the songs he was singing that I remember. And he was singing it like, it was just making up words. It was all phonetically. My point being that in China, they can, they can, and this is worldwide, and it always gives me hope.

1:14:55 Say, yeah, you can block the mainstream channels. You can block the mind control tubes that are going straight into people's brains from the mainstream. Or as you heard Alex say, you know, there's probably more agenda behind it. But luckily, we do have the tools and underneath kids are actually doing this. They're performing it on street corners. I mean, hip-hop didn't appear on top 40 radio. I mean, hip-hop was street battles initially. You know, that's back in the day of Hey You the Rocksteady crew. I was in LA at the, was it BLS? I think it was the BLS street battle in 1981. You know, this is where it came from. It came from the street. So this is all manufactured shit anyway.

1:15:40 So I guess a roundabout way of saying, yes, they're stopping that or they're only using the most negative. But I think human nature, I'm sure if we, Mo, if you and I went to China, that'd be pretty cool, by the way. We'd get some cool looks. I think we would find it. I think we would find kids with their own version of hip-hop that was real underneath. Everything else, I think people have to realize it's all phony. It's all fake. All of it. All of it is with an agenda and with an, if it's mainstream, 90% is just disingenuous. And you can't stop it. No. And I think China understands they can't stop it. So if you can't stop something, just like America, American industry did, you have to infiltrate it and control it.

1:16:25 Yeah. And that's how it works. But I have the final clip. We have Mr. Alex Jones continuing on about China, hip-hop in China. And again, you're like, well, wait, is it a communist program? No. The Rockefeller Foundation. The Ford Foundation. These big groups put all this out in the 50s and 60s, deployed it in the 60s and 70s, and they've done it. The black community had less illegitimacy in the 40s than whites did. Now it's upwards of 80-something percent. That's weaponized control. MTV, force-feeding gangster rap. Folks picked it up, converted their culture to being thugs. So everyone would ostracize them, put them in their own group.

1:17:04 Everybody kills each other. You're ready for prison. They even have you wear your pants hanging down around your ass, saying, I'm a male whore in a prison. Punk me. Bend me over. And I mean, they can make people dress like prison sex slaves and make it cool because Sunday Redstone MTV sets up. See, Summer Redstone hates you. All right. All right. Okay, first of all, I was at MTV for a long time. I worked there. There was never any memo. There's never anything that went around and get no secret meeting, no handshake.

1:17:48 I was also in the music meetings where we determined what we were going to do. I was the only on-air talent who really ever expressed interest in it, but who was invited to these meetings. And I can just tell you, MTV by itself as an entity had nothing to do with this. They themselves were complete bitches to the music industry. The music industry determined what happened. Once MTV took the lid off and said, okay, now we're going big. And they got different. It used to be owned by American Express. Then it went over to Viacom. That's when Michael Jackson came in. It wasn't because a bunch of white guys at MTV said, well, what do you think, Tom?

1:18:28 Well, I think we should let the black man on the channel. It's about time, don't you think? So, by the way, he's kind of a white guy, this mic. No, it wasn't like that at all. It came from above, man. It was way above MTV, way above the seats. Yeah. It comes from way, way away. above to the trick baby level. Yes. That's where that's what these conversations happen at. Yep. You know, it's at these $50,000 dinners. Well, my kids had this interesting music that they're listening to called hip-hop, and it could be a problem. I think I think I got to play the Trick Baby scene again. Just to remind people. 1974, the movie Trick Baby. It's you liberals who have lifted them up, Howard.

1:19:12 Oh, you conservatives make a mistake. You can't afford to strangle hope in people. Without hope, people become dangerous. No, Howard, you liberals have let them invade our society. You give them jobs, political jobs. Oh, you missed the point. It's only the smart ones we move up. That makes it even worse. No, you know, we have to move them up. If we leave a smart one in the ghetto, he might develop into a leader against us. But if we raise him up into white society, we neutralize him. He feels compelled to try to act like us. He loses his identity and his racial anger, if he has any.

1:19:53 He becomes alien to his brothers. They realize he sold him out and they grow to hate him. He becomes worthless to them and safe for us. No, thank you. In fact, in his love for the creature comforts, except for his color, he's become one of us. Yeah. Now, do you is there's got to be awareness amongst native blacks that this is truly what's going on, particularly with this movie. I mean, what are you hearing about Queen and Slim? Well, with all great propaganda, what it wants to do is to divide.

1:20:36 Yeah. It ain't care which side you take, is to take a side. And a good portion of people see through the bull crap, like I do. And then it's another portion that thinks, well, as long as we're being reflected and you have black people in director roles and writer roles and black faces on screen, it has to be good, right? Right? Yeah. So, right. So this is the weird. Yeah, this is the weird. And it keeps you infighting because it's like, look, it's bad. I mean, we've seen this over and over again. We've seen it from the minstrels of the early 1900s.

1:21:20 Then it came back again in the 1970s with black exploitation. Somewhat in the 90s, it was more on television with homeboys in outer space and silly shows like that. And then every time there's a uprising, and I want people to really see this trend. In the 70s, late 60s, you had 68, which was a really hot year. You had black exploitation come along. In the 90s, when you had Rodney King and that thing come along, then you have Homeboys in Outer Space and the real caricature of negative hip-hop come along.

1:22:01 Now when you have the Trayvon Martin, Ferguson, Black Lives Matter, now here we are. Now, do you feel that there is an uprising, that there truly is an undercurrent of uprising? And this may not be a violent uprising, but is this the uprising that I feel you are a part of? Is the excuse me, services rendered, F off, not going to vote for you unless we see something? Is this the uprising? Yes, this is the maturation, especially the political maturation of non-black people. And it's scary. And I always say this: everything you see right now, because I don't think you'll see really people take to the streets, but when people start taking their political power back and not just giving it away.

1:22:50 That's much bigger than violence. That's a huge deal. That's the biggest. That is the biggest. And that's scary to one group of people. And that's why I harp on that one group of people on this show because they're the ones that are trying to say, get in line, stay in state, stay in formation, do what you normally do. And when we refuse to start doing that, that's when they turn up the propaganda machine. Now, have you seen Queen and Slim yet? No. Do you intend to see it? No. I can't wait to find out what else is in this movie, but it sounds right. Now, what do you say? Now, how about your kids? Do your kids want to see a movie like this? Do you advise them?

1:23:30 Well, when I start seeing the trailers, I'll ask, well, I only have one child that's old enough to really view something like this. I'll ask, what did you? did you see? Like when that trailer played, I'll ask her, what'd you see? What'd you hear? Right. What's the motive here? And now she starts, her eyes become very sharp because she's like, Dad, I saw that. Ah, good. I see how they don't teach. This one thing I don't want anybody to do. I don't tell my children what to think. I teach them how to think. Yes. Exactly. Well, if they come to a conclusion on their own through their own thought process, so be it.

1:24:12 What I take away from this is I'm actually extremely positive because here we are, here you are, really, Mo, exposing this propaganda for what it is. I never would have thought in these terms, I would have still been a little bit stuck in the British actor thing. So thank you for taking this all the way down through the cycles of exploitation and really the disingenuousness of Lena Waith in her explanation of her choices, whereas it's just another one of those. It truly is a trauma, trauma, entertainment flick. And it's meant to, I guess, give people something in these oh-so troubling times.

1:24:57 But above all, it's going to close the ranks and keep people nice and docile where they need to be and just laugh at the screen. And hopefully we've coined the term today of these type of movies as a racial thriller. Racial thriller. There you go. I'm going to have that tattooed on the inside of my eyelids. All right. And I would remind people that the ones that are rolling their eyes and say, oh, Moe, I am a black man. I'm a black man, you idiot. Yeah, that gives you no credits with me, but okay. For the show. Yes.

1:25:38 Mo, thank you. Thank you very much. Once again, this has been good. And I am going to have my eyes open for more about this movie. Also, I think I'm going to go back and watch Hollywood Shuffle. I remember that was so funny. That was so good. Robert Townsend, man. Fantastic. And informative as all great satire. Of course. It has a lot of truth in it. And so the underlying message here is that there needs to be a revolution. The revolution has been taking place for a while. I think the internet is facilitating it. Most people have slipped into the mainstream version of the internet with apps and iPhones and colorful pictures and things that you think are important and the only way to go.

1:26:22 That's just not true. And this is the perfect example of it. This is a program that is done completely void of any corporate interest, which also means it's perilous because we need to fund this for the work to continue. So I will pitch again that we have a value for value model. If you got any value from this, if this is something you're going to tell your friends about, talk about it on the water cooler. By the way, tread lightly. You got to ease into it. Ease into it. It's always, I always got to be careful. You don't want to alienate people right away. It's not easy. Then you need to support it. And please do that by sending whatever you felt this program or whatever information you learned, whatever that value was, send that to us here at MoFax with Adam Curry.

1:27:06 And the easy direct link to do that is mofundme.com, M-O-E-FundMe.com. Thank you again, Mo. This was fantastic. And as I always say, pay attention to everything and the truth will reveal itself. And we will be back next week. I'm traveling Monday, so we'll probably have to do this maybe a little bit later Monday night when I get back or Tuesday. But we will be back regardless. Until then, see everybody with another Mo Facts with Adam Curry. Before the show begins,

1:27:54 my friends cost you fifteen sense to see what life has done to those like you and me. See the man with a broken heart. You'll see that he is sad. He hurts so bad. bad so bad, so rare

1:28:39 the girl who has lost the only love she ever had. There's got to be no satisfaction No doubt about its satisfaction's guarantee So let the sun show me Can afford to pass it by Guaranteed to make it right The sun should be gay step by step by

1:29:25 Can afford to pass it by Guaranteed to make