Topic: Miami

12 chapters across the catalog

87: Ye & They
• 3:13:15 - 3:18:11

87: Ye & They

Louis Farrakhan on Sports Plantations

A clip of Louis Farrakhan describes professional sports teams as "plantations," specifically naming the Jewish owners of the Miami Heat and Cleveland Cavaliers. Farrakhan argues that Black athletes like LeBron James are "top stars" who are still ultimately controlled by owners who profit from their labor. The hosts discuss why James and other athletes are restricted from speaking freely on certain topics due to their corporate ties.

83: Sources and Methods
• 15:14 - 20:03

83: Sources and Methods

Obama's Campaign Tactics and the "Rent-a-Heckler" Theory

Analysis of a 2018 Barack Obama rally for Andrew Gillum suggests that media outlets like MSNBC used audio editing techniques, such as noise gates, to enhance the impact of Obama's speech. The discussion explores the theory that hecklers at these events are sometimes staged to allow the speaker to appear more charismatic and "fired up" in response. This tactic is viewed as a form of psychological "spells" cast by the mainstream media on the audience.

83: Sources and Methods
• 32:35 - 38:03

83: Sources and Methods

The Miami Beach Hotel Incident and the "Fourth Person"

In March 2020, Andrew Gillum was found inebriated in a Miami Beach hotel room where another man, Travis Dyson, was treated for a drug overdose. Police discovered baggies of suspected crystal meth, yet no charges were filed at the time. The discussion focuses on the "fourth person" allegedly in the room and the fact that police body cam footage was blurred or silenced for "privacy reasons," suggesting a high-level cover-up.

83: Sources and Methods
• 38:04 - 40:14

83: Sources and Methods

Crystal Meth Discovery and Gillum's Public Apology

Following the hotel incident, Andrew Gillum released a statement claiming he was in Miami for a wedding and had merely consumed too much alcohol. He denied using methamphetamines but subsequently entered rehab for depression and alcohol abuse. The segment questions how Gillum was allowed to walk away from a scene containing illegal drugs without immediate legal consequences.

83: Sources and Methods
• 43:03 - 48:46

83: Sources and Methods

Evidence from the Mondrian Hotel Overdose

Local news reports from Miami Beach provide details on the night Andrew Gillum was found in a "messy" hotel room at the Mondrian South Beach. Evidence photos showed stained linens and various pills, while police reports described Gillum as unable to communicate. Despite the presence of three bags of crystal meth, the investigation did not lead to criminal charges until the recent federal indictment.

83: Sources and Methods
• 2:00:08 - 2:03:41

83: Sources and Methods

Staged Evidence and the Ricochet Movie Parallel

The hosts analyze the evidence photos from the Miami Beach hotel room, suggesting the scene looks "staged" due to the neat placement of pill bottles. A parallel is drawn to the Denzel Washington movie *Ricochet*, where a rising politician is set up with drugs and a prostitute to ruin his career. The segment reiterates the mystery of the "fourth person" and the possibility of a professional hit job.

83: Sources and Methods
• 2:51:48 - 2:54:30

83: Sources and Methods

Religious Double Standards and the Pulse Nightclub Shooting

The segment highlights a perceived double standard in how different religions are treated by political activists. While the Black church is pressured to change its views, other religions like Islam are often given a pass due to political correctness. The 2016 Pulse Nightclub shooting is used as an example where the shooter's background complicated the media's ability to use the event for a specific political narrative.

83: Sources and Methods
• 3:05:11 - 3:09:55

83: Sources and Methods

Conclusion and the Mystery of the Fourth Person

The episode concludes with a final reflection on the Andrew Gillum case and the lingering mystery of the "fourth person" in the hotel room. The hosts reiterate the importance of paying attention to the "big forces" at work in the Department of Justice. The show ends with a musical performance of "Somewhere Over the Rainbow," dedicated to the themes of the episode.

58: Prop Joe
• 20:07 - 24:21

58: Prop Joe

Kamala Harris, Uncle Luke, Fried Chicken Certification

Luther Campbell, also known as Uncle Luke, interviewed Kamala Harris following a critical article he wrote regarding her record on prison reform. During the meeting, Campbell claimed he "certified" her Blackness after they shared a meal of fried chicken, a move critics describe as a stereotypical caricature. The segment highlights the performative nature of political outreach to Black voters in Florida and the "code-switching" employed by candidates.

54: Lemonhead Delight
• 1:13:59 - 1:18:49

54: Lemonhead Delight

Latino Voter Shifts in Arizona and Florida

A CBS News report highlights a "sea change" in the Latino vote, with significant support for Donald Trump among Cuban and Venezuelan Americans in Florida due to anti-socialism sentiments. The hosts discuss how Cubans act as a cohesive voting bloc similar to ADOS. They contrast the lack of shaming for Latino Trump voters with the intense shaming directed at black Trump supporters.

53: 2020 Vision
• 50:42 - 54:15

53: 2020 Vision

Miami-Dade County Turnout Alarms for Biden Campaign

CNN's David Axelrod and Congresswoman Frederica Wilson express concern over low Democratic turnout in Miami-Dade County. The hosts interpret this "alarm sounding" as a sign of desperation, noting that the Biden campaign's lack of door-to-door canvassing during the pandemic may have severely hindered their ground game.

28: Black Don't Crack
• 24:01 - 31:10

28: Black Don't Crack

Scarface Influence and the Glorification of Tony Montana

The 1983 film Scarface is identified as a pivotal cultural touchstone that shaped the aspirations of a generation, particularly within hip-hop. The narrative of Tony Montana rising from nothing to power provided a template for the "coming up" ethos in impoverished communities. The segment also notes that the film was a remake of a 1932 production funded by Howard Hughes.