Rod, Justin and Karen discuss the need for middle management, minimum wage, mattress topper, moving up Spotify charts, making a schedule for the Nerd Off, Cheaters, the second impeachment and listener feedback.
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PG 275: American Capitalism
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Hey Karen, Rod and Jilliam O’Neil
I wanted to ask you black revolutionary negroes if you watched Judas and the Black Messiah yet. It’s free for you capitalists in the US on HBO Max, but up here in Canada, we have to pay to watch it. All those HBO Max movies are released in Canada for the theatres and pay per view, since the theatres are not yet open. So I paid the 24.99 and watched it.
It was a great movie. I heard Shaka King on a podcast talking about getting it made. He and Ryan Coogler met at Sundance back in 2013 and hit it off. Ryan Coogler’s movie Fruitvale Station got bought but Shaka’s didn’t. Nevertheless they maintained their friendship over the years and when the opportunity to make Judas came about Coogler, now a successful filmmaker, hopped aboard as a producer and helped secure funding from a major studio. As Shaka explained it, to tell a period piece right, you need a big budget and they weren’t getting the required money independently. Inspiring story right? This is what happens when more of us get behind the camera. We bring more of us to the table. I thought so, you probably think so, but guess what? To paraphrase T’Challa, WE WERE WRRRONG, WE WERE ALL WRRRRONG. According to black communist twitter, Judas and the black Messiah ain’t nothing but capitalist propaganda co-opting brother Fred Hampton’s truth. How? Let me count the ways:
1) This film was made for 26 million capitalist dollars while Fred’s widow and now adult son have to resort to a go-fund-me to secure headquarters for the new Black Panther Cubs organisation.
2) This capitalist screed centers that snitch William O’Neil while sidelining the true righteous brother Fred Hampton. Can you dig it?
3) This one is the most incredulous one to me. Apparently the film makers let white supremacy off the hook by not being explicit enough in the depiction of Fred’s brutal murder at the hands of Chicago law enforcement. I thought we were supposed to rail against the cavalier depiction of black trauma?
4) Hampton and O’Neil were 21 and 19 respectively and by using Kaluaya and Stanfield who were much older, they diminished the impact of the story.
These criticisms come from people I’ve seen online nuttin’ all over white shit all the time. I saw the same shit with Lovecraft Country and I have to agree with what you said about that. Some of us see this black artist get major money from the establishment to produce this black-ass story and then feel the need to nitpick it to death. Make no mistake all the points made above, even if you accept them as valid (they aren’t) they would do nothing to diminish the impact of the story being told. On a happier note, Kaluya’s performance was masterful and should get awards buzz.
Sorry for the long email but take care and keep hatin’ on these successful capitalist niggas.
Amil