January 13, 2025 • 63 mins
Dive into the multifaceted career of Tyler Perry in this thought-provoking episode of End of a Species. Join hosts Jeff, Super Solid, and Liv as they dissect Perry’s evolution as a director and writer, and explore its impact on the Black community. Super Solid brings a critical perspective to Perry’s work, while Liv delves into his background and the personal experiences that shape his narratives. Moderated by Jeff, this episode offers a balanced view that will engage, inform, and spark conversation among listeners. Don’t miss this deep dive into one of entertainment’s most polarizing figures!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:08):
So what I was
not being soft with the kaddunka chuds is like
a new goal for me It's a it's
just a new goal because they have no problem saying
the most anti-black shit they've ever said in their lives
you know, uh and yeah,
(00:30):
like degrading black people uh being as vitriolic as possible.
But then when you kirk out,
all of a sudden now it's oh, how could you talk about that?
I can't believe you would be that, you know, uh, then all of a sudden you're the racist in the situation.
It's like, no, slim, like you start you
why are you dishing it when you're not prepared to take it?
(00:53):
Exactly this, exactly.
Like you sit up here, you do the racism, the microgressions,
the macroaggressions, you deny the racism in and of itself.
And then when you get checked about denying the racism, all of a sudden,
I'm the racist for calling out the racism.
How does that make sense?
It's like they don't realize that for the most part, like
(01:18):
we code switch to fit in so that
everybody's comfortable, but we could we wild boys.
We we could do the wild shit if you know what I mean?
If we wanted to
the dial could be switched all the way off.
We grew up in the 80s, bro.
(01:38):
That there is there is no line that we won't cross.
We grew up in the 80s and we're still here.
We survived we survived.
The lead poisoning that
Yo, Ronald Reagan up
in metric tons of booger sugar in our community.
(02:00):
We tank that.
We just walk you know, uh when when I would go to uh
I can't even call that summer camp, but like my my church when
I was growing up had just like daycare
shit and playing in tag base was
the asbestos wall, like where the wall where the asbestos was poking out.
(02:23):
that was base with tag like you you had to grab all
of that and if you wasn't getting a full, so we we survived that shit.
That's what you were rushing toward, you know
that's what that's what we were trying to get to and
not while we were running away from the the the other kid,
(02:46):
that is the the the cloth that we're cut from.
So when you, you know, when you shake
that hornet's nest, that's what you're shaking.
That's what you're enticing.
You know what I mean?
Anyway, for everybody watching.
I feel like racism deserves my ire is all I'm saying.
(03:08):
I'm sorry.
Yeah, no, yeah.
So welcome.
This is the second episode of the End of a Species podcast.
I'm Jeff.
We're here we're Super Solid.
We're here with Liv2bgr8.
You may know us if you are on TikTok
or if you saw us in the street and we' like, are you that guy?
And I said, nah, I'm not I'm not that dude. um chances
(03:29):
are I lied to you, but uh today we we have a great topic.
We're talking about
uh the one the only the enigmatic,
the uh director, the uh the Medea Tyler Perry.
And and this topic
(03:51):
came it was borne out of several conversations like you
and I, solid, we talked about this for like an hour, like maybe
three months ago, three, four months ago and just
the different critiques on
Tyler Perry.
Now, if you are a huge Tyler Perry fan,
buckle up this ain't going to be this is going to be pretty, but it ain't going to be it ain't going to be pretty.
(04:13):
And then me and you Liv, we was on the phone and
you just happened to throw a throwaway line like, yeah, you know, I'm a fan of Tyler Perry.
I was like a word?
All right.
Let's, you know, we throw down all the time, so let's throw down.
Let's let's talk about it.
So, uh solid, I'm going to start with you.
(04:33):
uh tell me a just an intro of your overall outlook on Tyler.
Okay, so my my
youngest sister uh used to date this guy, right?
We call him the ban fo, which is
a uh an acronym for the bitch ass n**** from buffoe.
(04:58):
He, uh,
the bandfold at at the time when my
sister was like in high school, she was like madly in love with him, right?
Like he was the guy, right?
Like she was involved, she was enthralled with him.
He was he was you know, he
she was what he was all about, or he was he
(05:18):
is what she was all about, right?
And um, as she grew, as
her palette changed as she was exposed to new things, which is my brother-in-law,
right?
Um, she just didn't need she had no more need for him.
Now, that's not to say bro wasn't talented.
That's not to say that bro wouldn't, you know, good for what he was good for.
(05:42):
It's just,
uh, she's moved on to to to
something more sophisticated, right?
I feel like black people are going through that experience
with Tyler Perry and so our palate has changed.
We've grown, we've moved on.
uh, I believe that, you know, all media
(06:03):
consumption, part of media consumption is
being able to be in community with other people who have consumed that same media.
I think for black people, that dynamic is
amplified, like to the nh degree. uh,
if you think I'm lying, just think about what the opening week
(06:24):
was like for uh Black Panther.
right?
How how we consume media is to be in communion with each other?
I think that's one of the big reasons why Tyler Perry initially
had his draw because this was a black fiend.
This was for black people.
(06:46):
This was this was uniquely, you know, and it was Christian.
and you you know n****s love Jesus, you know?
So it was a it was a thing where
uh, if you was on that Tyler Perry, you could say a line
from a Tyler Perry movie, you could say some shit like, I know whoop your ass.
And then somebody next to you then seen the same junk, they like, oh, I know what you talking about.
(07:11):
Right?
it was simplistic.
It was if you didn't know, you was out, you out the club.
Oh, if you do oh, my bad.
Yeah, if you know if you didn't know, you know what I'm saying?
Like if you didn't know, you oh, you didn't you didn't catch that, you know.
Right, right, right.
um And so I see the
(07:31):
utility of of one Tyler, uh Tyler,
um Bartholomew Perry, right?
uh, one what's it what's his name?
uh, Tyler um, Isaac's Perry.
No, but I I see his value.
I see I see, right?
(07:53):
um, I
the thing is, as time
has passed as um
our environment has changed, as Tyler
Perry has grown and as we have grown, right?
Or as as Tyler Perry's
um wealth has grown, Tyler
(08:14):
Perry's artistry has not.
and that's my biggest gripe with Tyler Perry. um
he is not growing with us.
He's he's doing the same thing that he did with
uh the plays.
He's doing the same thing that he did with um, uh
(08:37):
what's what's the name of the j uh a diary of a mad black woman?
The only change that he's truly made that I that I can
witness um is he's moving closer to secularism.
I and I'm almost insulted
(08:58):
because I feel like he I feel like he says, um
I let him use the F word.
This this is groundbreaking Tyler Perry.
He said the F word, right?
You got the new junk beauty in the black.
B booty shots.
I got a
why y'all not why y'all
(09:19):
not, uh giving me my damn, uh, uh what what's it called?
The uh Golden Globe, not Golden Globe.
What's the name Oscar?
Yeah, why where are my Oscar at?
booty shots?
It's still it's
still the Tyler Perry of your just with curse words and booty clatter.
It's it's not it's not hitting from me.
(09:42):
How about you?
Yeah, I just
telling that story I was thinking about like it was itin9, 2000.
I was like seventh Eighth grade.
And I remember y'all remember the bootleg DVDs,
but we used to get from Walmart park a lot
all the time we go crow on DVD and they had the
(10:03):
horrible people be walking through the screen or whatever.
I remember seeing my first Tyler Perry
play on one of those, right?
And it just became a thing.
We always look out for the Tyler Perry plays and all of that.
And so I I grew up with Tyler Perry and
it's interesting to me that even even though
I can agree with the points of him not necessarily growing
(10:25):
with the black community as a collective, he he's grown with his base.
when we look at diary of a mad black or a diary of a black woman, right?
That was number one in 2005.
Medea's homecoming is number one in two in 2022.
right?
So so when we talk about the quality of the work that he's actually putting in,
(10:47):
he is putting that work in, um but I do believe that
there's underlying mission that he has to
stay in tune and it has a lot to do with his growing and development.
Like if you know about Tyler Perry, you know about the child abuse,
in that he endured from his father.
One of the reasons his name is Tyler Perry, um is
is because he wanted to distance himself from that abuse.
(11:09):
Um, and he talks about this and um an interview with Oprah of
how the imagination that he has in the creation of these characters
uh, specifically, uh, is because of
that trauma because when he was getting abused, he would have to
go to a different space and that space in his mind cultivated,
which, again, with some people might have split some other personality disorder.
(11:31):
But with Tyler Perry, it became a a
a realm of of creativity that he took something really
negative and transitioned it to some positive.
I think that what he is discussing, um,
it's to a specific group of people and his base,
even though he may not have changed with the collective of bad black people, he
(11:52):
continues to grow and change to be the voice of his base.
He grew up in the chitland circuit coming through the south, you know
he's owned and prioritized and owned the rights of all of his work
over the past 30 years.
So I think that it's in that that we look at the
crux of the man and who makes the man because a
lot of it, it goes into who he is.
(12:16):
So what I'm what I'm hearing
from both of you is like from from solid,
the black it's almost like the black community has moved on to other
things and Tyler Perry has been left behind.
Liv, you're saying that he has a base and he's grown it.
Do you think the base that he's grown
is the black community?
(12:37):
Yeah, I think not not not even just
the black community, but more specifically, um for black women, if you understand, like Tyler Perry.
His first ten plays and his first well, first five plays
and first five movies were specifically
to to put to light the struggles
of black women and the strength of black women, right?
(12:57):
And it's in that I think that
he looks to prioritize specific aspects of the black community.
Now which I do agree with solid.
I mean, there are other aspects that he can tap into and grow into,
but he he specifically targeting a specific group of people.
You you agree?
(13:20):
I don't agree that it's for black women.
I think Tyler Perry movies are for broke n*****s.
I'm keeping in the be. uh, and I'm gonna tell you why.
Think about who the protagonist
is in every the male protagonist in every Tyler Perry movie.
(13:42):
right?
It's the surprise I it's the dirty car roll.
you feel me?
uh, daddy's little girls, uh, it was the broken n**** trying to be a good dad, right?
Uh, it was a diary of a mad black woman.
It was it was the bro n**** with the corn rose, uh, that was secretly Shemar Moore.
(14:07):
right?
um rose.
Divorce in the black.
It was the it was the broke farm n**** night
it was like these movies are like mid are a really a glorification of
who I think Tyler Perry used to see himself as.
(14:27):
I'm keeping in the being, right?
Because we do know he came from.
I hate to say got it out the mud, but Tyler Perry did get it out the mud, right?
um the um the
constant saving of of black women that he
has uh black men do in these movies, right?
(14:49):
I I was watching divorce in the black and I was thinking
for a second, for a second, I was like, yo, did
Tyler Perry read about the Beckdale test?
Like is he gonna is he gonna get it this time?
Is he is he is the answer to all this woman's
problems not going to be a broke n****?
Nah, no, no.
(15:12):
There was a scene in the car.
If you if for those of you who don't know about the Bechdale test, the
Bechdale test is like, uh, basically these rules there has to be uh two women and they in the movie.
They have to have a conversation about something other than a man, right?
These are their prerequisites, right?
And so, um, uh, divorce
of the black got dangerously close to passing the the McDdale test.
(15:36):
And it was even cooler when uh, Megan Good's
character says, I'm not I'm not with that right now.
Now's not the time.
right?
Now it's not the time why why are you approaching me?
The almost the next scene,
not in the back of the pickup truck and she trying to get some
from from uh from the farming and and can't get you see where I'm going with this?
(15:59):
um
the salaciousness, when we
talk about growth, there is no denying that uh
Tyler Perry has been extremely successful, right?
With that success, I mean, he's bought 330 acres.
(16:19):
His his his studio is 330 acres long.
I mean like he's the reason why um
Georgia's Atlantais becoming the new Hollywood.
Like we can't we can't mince words about that.
Like we can't pretend like that's not a reality, right?
I never even thought of it that way.
(16:41):
Yeah, I'm I if I'm wrong, somebody correct me.
Like Tyler Perry is the reason, right?
And then hence hints the duality, right?
Because
um because, but but
what doesn't make sense to me is if he's doing so well,
why isn't he hiring writers?
(17:03):
He's still writing everything himself.
right?
There's so many uh woman writers in Atlanta.
There are so many queer writers in Atlanta,
like the people the same people he wants to shove into his movies from his perspective
and he has no writers of the same ilk.
(17:25):
None of his writers match the characters that he's putting in there.
It just it it just, uh it doesn't make any sense to me.
It doesn't ma and and really I feel like it's just
this whole like if it ain't broke, don't fix it.
Now, economically, uh financially cool,
bro. our hats off to you.
All right?
(17:47):
But as far as my artistic palate goes,
I need I just need new shit.
I need I need better I need more sophisticated and I can't stay with the ban fo.
You know what I'm saying, despite how how how big his glow
up is, despite how much money he got if he's not if he's not
(18:07):
uh edifying, if he's not supplying me with something else.
I can go to O' Donald Glover
and we can do a a a critical analysis
or we can do a movie analysis that will last the span of a year.
I can go to a Jordan Peel.
We're still doing video analysis.
(18:28):
We're still doing movie analysis
on us on note.
That's three movies.
Get out three movies and we're still doing analysis on them.
We're still picking up nuance and and and Easter
eggs and things like that because it was
complex.
It was it was sophisticated.
(18:49):
It was everything that a minstrel show is not.
right?
It was everything other than ha ha, look
at them n****s. ha ha, look at them black people, let's laugh at them for being so damn black.
Jordan Peel gives us ha ha,
(19:09):
that's funny, but it's funny because it's funny and let's think about what the hell we watching.
You feel me?
I don't I don't disagree.
I think, though, that they're different.
I wouldn't compare Tyler Perry to like, uh big
mama and Mark Lawrence or Eddie Murphy when it comes to
uh that those types of minstrel shows.
(19:30):
I do believe that Medea Myea is
born out of uh his inability
as a child to be able to save his mother.
I think that the antagonist that you discuss in his movies
is quite literally different aspects of his father. um
and and that if he couldn't be the hero then, um
so in his movies and in his videos now, he he would like to like
(19:53):
he paints himself as that hero and in his his
scripts, his plays that that's art.
right?
And in his art and in his craft, like there is a reason behind
that art in that craft.
And I think it gets to the crux of the man that
when we were talking about just the creation of Medea.
(20:14):
That was a fluke.
That was a fluke.
I mean one of his plays, it was like 95, 96 when
he was just picking up, uh just picking up steam. and
uh one of his the woman that was supposed to play Mia just kind of backed out of the show.
and it last minute they had to rewrite the
script, rewrite some things, wrote in a couple of jokes, did some music.
(20:37):
Boom, he got some hot has.
They finished out the week with my idea by the end of the by the end of the week.
It was a packed house and everybody screaming for Medea.
Media wasn't born out of him trying to represent black women.
Media was born out of his inability to save his mother.
Media was born out of those times when he was a child and he
would be around with his mom on Fridays and they'd be playing cards
(20:59):
and black women would tell their stories.
and when when times would become hard, then he would see women break down.
He would see another woman step in and say a joke to
be light in the mood, right, to help endure understand this is in the in the in theins.
You know, a lot of things or not, that's not 90s in the early 80s, 70s.
(21:21):
I just I'm a clown, so I got to
I'm a clown, so I got to put that up just for a second.
That's it's.
That's.
That's just that's just amazing.
All right.
I I'm will take it down, but yeah, go ahead, I'm sorry.
(21:42):
I just I'm just being dumb.
Yeah, so so I think I think when we're talking about like
the duality of Tyler Perry, um a lot
of a lot of the issues and problems that that people have criticized
him and his art is really just his his own personal therapy.
um when you're talking about those stories that that are being told,
(22:02):
these are stories within our communities are issues within our community,
abuse, rape, uh, uh poverty, right?
um the the way these things impact men and how men harm women.
uh, and and how we want to to do better for ourselves in our community.
And at the end of all of his movies at the end of all of his
(22:23):
uh plays, it's about 15 or 20 minutes that is consistent
where he has that that that
self-diagnosis um and and
and therapy that he gives to the crowd to the audience, people that are watching his videos and movies.
It plays and movies.
So I I don't necessarily disagree.
(22:43):
I just think that there's more um to the
art and to the craft and to the artists, which it's hard
to really move away from that as him because that was his therapy.
That was his sense of expression.
That's his art and his craft.
I have a so this one's to you solid.
(23:04):
Like when when I think about Tyler Perry and
I think about just general mov like black movies, right?
Movies for black people.
I I think about a critique that
I always have for the overall approach that Hollywood takes.
and that critique is that it's very caricaturized.
(23:29):
It's very stereotyped.
It's very like if you think of movies that depict
what what Hollywood would say their take on the very
first black team of doing X, right?
The the racism that group encounters is always like over the top.
Like you can't do this here
(23:51):
as opposed to.
Yeah, like exactly that as opposed to the
stuff that we that that we experience, which is people
who say, I oh, I love I love black people.
Harry you solid you so or or you know what, let me see if this is so well spoken.
I got a black friend
(24:13):
I still have that.
You heard that it's it's literally that, right?
So it's not what we experience isn't the caricature of it.
It's
the the um the microaggressions,
the um the denial, like like you were saying before live.
(24:35):
And um
when I when I look at Tyler Perry movies,
if I have that same critique, I think I have that critique
that I have is for the Hollywood approach
as a whole, not just Tyler Perry.
Does that make sense?
(24:56):
So you are you're saying that the very well okay.
Now this is what I'm going to say, and I'm going to contradict myself a little bit, okay?
A lot of the time
writers just do
not trust the audience enough to
leave things up to interpretation, right?
(25:20):
You, me andiv, you
live and I spend a lot of
time online, uh, arguing with Kadunka charts.
These are people
who are not good at nuance, right?
These people don't they don't.
They don't they don't understand nuance that right?
(25:44):
um
So for a good reason, Hollywood
doesn't really trust the audience to pick up on those subtleties.
right?
uh so and
so you will see a lot of blatant, uh,
(26:05):
the showing of like, okay, no, look, this
is a racist, right?
This breaking down burning style because if they don't telegraph it that way,
you the audience might not understand what's going on and
you have to remember that at the end of the day, movies, Hollywood
in general are about making money.
(26:25):
And so if an audience doesn't feel like
um they can really get on board or if they feel dwarfed,
if they feel self-conscious because your movie was too highbrow, right?
Sometimes they just don't, right?
And I would almost be forgiving
(26:45):
of Tyler Tyler Perry's telegraphing, right?
His his um extreme
caricatures, I would almost be forgiving if
we didn't have a Jordan peel.
What I realized when when get out came out,
(27:07):
what I realized when Black Panther came up, right?
was that we were
yearning for high brow.
We were yearning for nuance.
There was an entire demographic of black intellectuals who wanted to be entertained intellectually.
(27:30):
uh and so I'm
kind of I'm I'm at this this I'm this duality this dualuality.
I'm in this purgatory where
um there's just this long history of, and I'm guilty of it too, right?
Like I I've I've said all my life a lot of times my media diet is mostly smut, right?
(27:52):
I'm watching pop the balloon or find love.
I'm watching all the basketball, all the wives.
If the if the show has the word wives in it, I'm watching
all right?
Uh, Real Housewives of the bakery.
You know what I mean?
Real cheese wives of Wisconsin.
I'm I'm watching all of it, right?
Somebody's somebody's going to watch this
(28:13):
or listen to this podcast and take notes
and there's going to be a real Cheese Wives watch more words.
That's going to be a thing.
Realese Wives in Wisconsin.
That's I mean, that's the move, right?
Uh
But I could almost it's this it's this duality.
(28:35):
It's
this reductivity, this regressiveness,
uh, this black exploitation, uh being repeated
over and over and over and over again, and then we keep getting locked into
not getting the type of media that we yearn for
because we take what we are given,
(28:56):
right?
And or, um,
you know, or we wait for some
high brow n**** to come along and give us something that's,
you know, uh, and bread crumbers,
right?
Uh, uh, Jordan Peele come
by and drop three hot ones and then just like we never seen the n**** again.
(29:19):
You know what I'm saying?
Like where is hurry up, Jordan, right?
I had a cabbat and I can't remember what it was um
because this coffee is a very special coffee. uh but I
I do agree with you.
(29:40):
I think, um, but I think it goes back to the point I've been making this entire time.
It's about the man because like when we look at Tyler Perry and
his rise around the chitlin circuit, um he started funding his own plays.
he he would go around at his plays and and
he would have ate subscribe to my mailing list, go to my website.
And so what he started to do was quite literally
(30:02):
take people that were getting $10 tickets and he would have a million people been
subscribed by by two thousand and by 2002, 2003,
a million people that subscribed is on his emailing list when he says he has
a show in Chicago or Cadtanooga.
I mean, that goes out and all of a sudden that show is sold out before he even shows up.
And and so because he had those humble
(30:23):
beginnings, because his first shows failed,
like he has always had to be the architect that
that perpetuates that that creates the environment that does everything.
And when you've done that for so long within the society, it's hard to to kind of let go of that realm.
And I think this is one of the control issues, which I do agree with you, super is
is a is a is a is a knock against how the period and I
(30:45):
amplify to get to this platform to lift other marginalized voices.
But to the other part of that is that
white supremacy exists.
It's real and it's alive all throughout Hollywood.
7 percent of the population makes a 98% of the media
historically, you know?
And so when we're talking about what makes up the vast majority
(31:08):
of media, when we look at diary of a mad black woman, they're supposed
to do five million in box office based on all Hollywood Hollywood theater is not going to sell.
They said black people don't go to the movie theaters and all of these things.
but it did 50 million, right?
So this goes to one of the one of the
one of the issues is one navigating racism and white
(31:30):
supremacy in Hollywood, while all while owning the rights to everything that you do.
The other part of it is is is understanding never
turning it back on the people that got you there, right?
And the characters that were created and cultivated to talk
about and discuss the live reality of a specific group of people,
you know.
(31:51):
And it's not and I'm not going to deny silent.
I don't believe that it's for every black person.
I don't believe black people are entirely a monolith.
I believe that
that Z Langston Hughes criticized Zoel
Hurst said that she spoke for Darkies, you know?
the
NAACP boycotted Amos and Andy and the color purple because they didn't like the depiction of black men.
(32:16):
It wasn't Amos and Andy was was was uh
the 1952, 1953.
It got boycotted and you didn't see another black person
on TV a black cast at all until
what the late the early 70s, late 60s,
you know, and then we really weren't even represented until Michael hit MTV.
(32:39):
and so so I think in navigating and understanding the
realm of TV and media and having to cut
through that red tape, house of pain is a phenomenal example of that when it comes to house of pain, uh
usually to get syndicated and get get through those loops, you have to
do 10 episodes and then if you get lucky, you get another 24 and
then you build after that, but you know, they
(33:01):
wanted to take control of his work.
Then he said, no, so he ended up funding the entire thing himself,
right?
And so to to protect black people to create
a space for black philanthropy and black opportunities,
he's had to move in a particular way.
So I think that the criticisms about them, I
think are valid, but I think it's more nuanced because of the level of white supremacy
(33:26):
that that that that that persists in Hollywood.
Once you once you get to that mountaintop, though, like sure.
So when when when he starts, he has
um struggles with having to fund stuff himself,
having to navigate this whole world, but then you get to that mountaintop.
(33:47):
Is there a responsibility there now
to change, like
to change your style, to change your your message to
to make it to refine it, right?
(34:08):
I'm sorry.
Yeah, no, listen, he can still make the same movie.
He can get he can still make uh dark
skinned, uh n**** abuses woman light skinned n**** saves her.
He can still make that movie, right?
But he can he can do so um
with a team of writers that are going to tell right
(34:31):
that aren't going to just do these exposition dumps in the middle of the movie.
He can do so without making a movie in eight days.
He made it acrimole in eight days to the
point where my wife and I were in the movie theater
and I shouted out and I take I take the movie theater experience very seriously.
Probably more serious than I should.
(34:54):
I shouted out in the middle of the movie.
I said, blue screen because it
was so obvious I noticed blue screens.
I noticed green screens and in all movies.
Like everybody does it,
right?
I I know what it happened in my favorite movies, the the matrix.
I know, but it was so obvious and so
(35:14):
poorly done that it shocked me and I I
had to exclaim blue scream because it was just like and there was no reason for that.
There was no need for that.
Now, does he does he as
an artist have a responsibility to change his style?
No,
(35:35):
no.
Does he have an opera
an obligation or does he have an obligation to change his style of no?
Does he have an obligation to give a a higher quality
of product in his style?
Yes, because the consumer deserves better, right?
(35:57):
Like they always will.
you know, um there are ways that he's cut costs by
by building his studio um he cut costs.
It was a genius move.
He can make any move any scene he wants on his lot.
right?
(36:18):
Quick and fast, right?
He can he can do it.
But because he's rushing to through
production, because he's rushing through editing, because he's uh
just picking up a script off of, you know, his writer's
table where the writer's table is covered in
only scripts that he's written, right?
We're seeing things we're
(36:39):
seeing products that are worse than diary of a mad black woman.
And I hate to come back to acrimony.
How you will have diary of a mad black woman
and then come out with agrimony and it's just mad black woman.
It just wasn't no diary.
But
um there's no
(37:01):
reason why divorce in a black, there's no
reason why um what's the one with Kelly Rowan?
uh No, I can't think of it either.
I'll look it up.
Mia Coppa.
right?
There's no reason why these these these
(37:22):
new films and these new television shows should be
worse than the ones he first started or started off me.
There's there's just no excuse for that.
as far as production value. um as
far as the writing goes, if I'm sitting there
watching your film and then you stop all momentum
(37:43):
so that you can update me as to what's happening in the film,
right?
Uh, me and my friend are riding along in the car and instead
of talking about, right, we we stopped talking and we go, yeah, so
uh, are you with that guy that's next to that dude and doing that thing?
Yeah, I went to go see him the other day and this is what he told me and
this is where we were and that's how we and now we're up to date on the story.
(38:05):
The exposition dumps
are are they break up the pacing
of the movies, like they're they're they're gross.
They're really gross.
Um, it's something that an amateur would do, and Tyler Perry is not an amateur.
You know what I mean?
Um, these are the things that I'm talking about.
Like he could hire editors, he could hire writers
(38:26):
a writer's room that can that can like get that shit fixed up
and still make the same movie, you know?
I I agree.
I think that the Tyler Perry and
and I love his rise because it he came off of he found
his rise on the on the shoulders of giants coming in coming in through the chitland.
(38:49):
It's really where he got his rise from.
And I think that he's entering a level where his job
and his obligation, uh to your point silent, is to
pave the way for the next for somebody that's going to surpass him.
He's and he's not paving that way.
And I think there are a lot of creative black writers,
um playwrights out here, uh that that that have the juice,
(39:14):
right?
And he has the wreath and he and his his infrastructure
has the reach to be able to sie through and find that one, right?
And and to to have that one be the one to
stand on his shoulders and to continue to move forward and break ground in in this
media production.
Because I think it's bigger than just his movies in the audience that he speaks to.
(39:36):
I think it's a it's a direct assault onto the
the racism and white supremacy that has perfated the media at news consistently.
Going into the next four years,
uh Tyler Perry's
studios, his production can quite lily have the ability to
to combat the negatively charged narratives around
(39:58):
black people that we're going to see be perpetuated, right?
And I think he has an obligation to do that.
Now, does he have an obligation?
He also has an obligation to his audience to the
people that got on there to the people that still support him, the people that have been
there over the past 30 years that that have
quite literally given their dollars, their views, their
(40:19):
their love to him in his in his support.
So I think it's twofold, and this goes into the duality
of what it is to be Tyler Perry.
So I'm looking through um
Tyler Perry's, I guess, uh
(40:41):
works, his uh, his movie list.
One of the ones that jumps out at me is why did I get married?
Um, and and why did I get married too?
And and that, I mean, I'm I'm
thinking about like the elevation of the work.
(41:03):
Love Love it hated that movie is very like
every every character in that movie is an archetype.
There's I don't I remember
when I first saw it, the character development for me wasn't like,
it was like, hey, this is the person who's not confident.
This is the person who's overbearing.
(41:25):
And so like
even from the beginning, you have an opportunity to take these four couples
that are married and and show like a tapestry of like
marriages are not that, right?
Like it's not like
you work too much and that's the end of
the, you know, and then
(41:47):
comparing that to, you know, I know we mentioned diary of
a Mad black woman, again, same thing.
I think that's where my question about the responsibility goes is
do we do we want to see
um in in the coming works
from Tyler Perry more of
(42:10):
a well-rounded character that shows like, hey,
I mean, again, Hollywood gives you archetypes.
That's the thing.
But black people are not that, right?
The the uh the black diaspora when we when we showcase
our our stuff, you go as far back as like you mentioned Langston Hughes, but just the poetry and the writings of
(42:33):
everything in black history has
never been, you know, my my
mom was just mad all the time because she was so tired.
There was there was so there's so much color and so much development.
And for me,
(42:55):
I know that my my critique for Tyler Perry could
be the critique of Hollywood, but and maybe
I'm just being too hard on black media, but I feel like I want to see
something there that is I mean
to to to use your word solid is is something more,
something over and above what would be expected.
(43:21):
and I think to myself sometimes I like that maybe
that's my own anti-blackness because I don't hold it to the same standard, but I love it.
You know what I mean?
When I think of
Richard Wright, I love it.
Like if you read Blackboard, right?
When I think of uh Maya Angelo, I love like
(43:41):
there there's a difference,
Okay, okay, so I am going to push back a little bit Because
first of all, uh why did I get married part one?
I told you, that's my shit.
I like I told you I love a good
like I don't have to think ass movie.
I do.
(44:03):
Um, and I I'd be lying to you if at
the time when I was watching it, I wasn't trying to insert myself
into each character and and say like, maybe that's kind of what I got, you know.
um you just mentioned some some timeless works, right?
You know what else is the timeless work?
(44:24):
uh, green eggs and ham.
Bruh.
Am I lying?
You're not lying. is it
When did greens?
let's do a real quick.
When did that first get published?
(44:51):
1960?
1960.
60 years.
60 some odd years later.
You know what I mean?
uh it doesn't
have to be profound to be a classic.
(45:15):
right?
um but if we would
have gotten green A and ham and no lorax,
you you see what you see where I'm going with this?
Like if you continuously give me new new no no shit.
Right?
(45:36):
If you continuously give me new stuff.
and I notice a point where consistently
the quality of the new stuff you're giving me uh
is is worse than the initial.
You know what I mean?
So, like, and you
mentioned what what do we want to see from T Tyler Perry?
(45:57):
I'm good.
I'm I'm I'm good.
I got what I needed from T Tyler Perry.
And now, and
it's I got other other shit, damn, you know what I mean?
that's actually kind of cold.
(46:18):
bro.
I think it's I think that's true, though.
I think that it's a space where, like for
example, as a as a retired basketball player, right?
I do believe that it's a part of my responsibility
to continue to payave the way and give knowledge and expertise to the next generation,
to to cultivate a new era of people.
I believe that's the obligation when you when you're looking at being
(46:41):
being that CEO of a company, you're always looking for that one to continue the legacy, right?
And and right now,
who who does Tyler Perry have with his span with his reach, right?
Who does he have under his wing that's that's creating that next
legacy, that that's that next one, right?
What could what could Jordan Peele do
(47:02):
in combination with Tyler Perry?
Right?
What could matter of fact, what could somebody like Trevor Noah do?
You about to see solid explode.
Jordan Peelebury collapse
hear me out. me out, hear me.
(47:27):
You give the give Jordan Peel, right?
the black card, right to go
out and create, right to go
out and create to go and say listen, I have built this thing
now go out and be the best that you can be.
(47:48):
What do you think?
What do you think he's going to produce?
He's going to make some listen with a million dollar budget
and we we hear a million dollars and we're like ooh, right?
But a million dollars in California is is a two bedroom house.
Yeah, that's true
With a million dollar budget, Jordan Peel
(48:11):
gave us a literal neocl classic
on the dynamic or the
experience of white people Negophilia and white white liberals.
Right?
The racism that comes from white liberals.
I mean gemini the fuck cricket.
(48:33):
Like my man's was on it.
you getama a big budget you
getama a MCU budget
That's the whole point I'm making is that that's my biggest right with Tyler Perry, right?
It's not that that he he had to do what he had to do over the past 30 years.
(48:55):
I understand what he creates.
I understand the audience that he who.
I also understand the man and the duality of why he sticks
to the narratives that he sticks to because it's a form of therapy
and it's his art at the same time,
we are entering a space where one we're in
a one one of the most racially charged times since the civil rights movement.
(49:16):
Okay?
We live in a in the society of copaganda
and anti-blackness that that the means and vilifies black people.
As a collective, we we saw
black people coalesce and raise over, what, 700
billion, what $900 billion for Kamala Harris on our run,
right?
(49:38):
Tyler Perry has the ability and the funding, right?
And the resources and the people and the power to quite literally combat
white supremacist propaganda and media in all its forms, right?
And I and I think that that's my biggest gripe and I and it's the super solid point.
Like I'm cool with you.
(49:59):
We got what you, we got what you are.
We know who you are.
You're going to continue to do that.
Listen, into your face into your base and into your crowd, people like me, I grew up on them.
I'm never going.
You know what I'm saying?
It's always going to be my dog.
At the same time, the black community does need more.
We need more because
(50:21):
heavy is the is the is a crown. heavy is the head that bears the crown, right?
And and right now, how many
people in in American history, right?
When it comes to media, you got you got people like Denzel, Carl Robesen, right?
I mean, uh, Paul Paul Robesen, right?
That the icons, Samuel L. Jackson have
(50:42):
not achieved what he has achieved.
They have not done what he has done, but they are icons, right?
Viola Davis, K Washington,
right?
You you have you have Hallerry, you
know, that that these are icons.
I know, and I had to be Hallie is my thing and I'm going to go Stacey
(51:02):
Dash too just because and Megan Fox, uh Megan good,
I'm sorry, Megan good, Megan good.
Okay?
Because listen, aremed by what's going on right now?
What's happening?
my questions so they automatically get the number one spot,
but we rewind,
(51:28):
if you, I's But like
and the thing about people like that that are that aren't even
in the media world, but just black icons that haven't achieved what he has achieved.
Martin Luther King, with all of his wealth and with
(51:51):
all of the resources he had, Malcolm X, like Tyler Perry has achieved more
from from an economic in a political and
a power standpoint than than really,
anybody in in sense, what um
I can't even think of anybody.
And so when you have that level of power and that level of influence,
(52:15):
like we need to ensure that we're protecting
black people, that we are advocating for the voices of
all black people, you know, I'm
not supposed to eat past how you just drop Stacey dash in there, though.
I'm just going to let that
I get it.
I get it.
(52:37):
not today, though, not not
today. as if
as ifade me forever with the with yeah,
but like, I'm still I'm a side eye a little bit.
You you see what I'm saying?
(52:59):
I'm side eyeing, but I get it, but I'm side.
But yeah, like boom by stick side eye.
Because
I don't know if you've seen any of her latest work.
I don't need to see it.
I saw her early work.
It doesn't matter. the
(53:19):
latest work features hats that are red, yo.
You didn't know about you
Yo, we ruining a lot turno you know what turn
on the light in your wick because I can't see your face right now and I
got the I got the lights on but they they dim.
All right.
Because I wanted to see your like literal reaction to that.
(53:42):
I didn't know you didn't know that.
I thought was
I didn't This ain't
V type situation where Vis is just going through like a like a
(54:06):
Uh-oh.
I think we lost solid for a second.
Oh, no, that ain't true.
Hold on, I'mma pause it.
Oh.
Okay.
Yeah, yeah, so
(54:27):
Yo, he looking it up and uh
it's worse than two girls one.
Oh no.
You don't see it no what is this?
(54:54):
That's that's what What is this?
I actually
feel bad that that happened when
that there is no Santa Clausive anti-black.
(55:18):
That's why I said.
It be your own people your
fucking All right. um
it's shameless plug time because it's shameless plug
time and shameless plug time means boom.P
(55:41):
by solid, let's uh let's talk about
um let's talk about merch and how
you can the podcasts and uh
the lives and the YouTubeubes and the all the websites.
And boy, we got some cool stuff coming up, but like for right now
we have got merch for you to to for you to like
(56:04):
peruse and buy and rock so you can show that you're,
you know, rocking the platform, supporting the the content
while live's reality is like.
That's why that's why she that's why she looked like that today versus that
she did in and 2016 because the white supremacy makes her age poorly.
(56:25):
It went back to the left. the amount of years that he just went through
just now, right?
Oh, oh, wait, let me let me back
So listen, yall, we still have the hoodies.
Okay.
We still got that flannel do me a favor, Jeff.
Click on that flannel real quick. this is
(56:49):
my favorite and not a single person has purchased this one yet.
If we scroll down just a little bit there,
you can see the Lolo on the back of the flannel
I mean, come on now that's fire.
You can get you a red and black lumberjack with the
hat to match Well, you can't get the hat to match.
I just wanted to finish Biggie's line.
(57:11):
uh but in my house, all
right in the solid household, we are notorious flannel around the wters.
Okay?
Get out of here.
Around the wa?
We' flannel around the you wasn't lying.
Yeah.
We got the red and black Johns.
(57:34):
And the reason why I'm big on that I like
it's just like a house full of uh bill and tens over here.
We' we just wrap the red and black flannel around the waist.
That's just what we do. um
But that's the one that I really want
to call people's attention to because um I
feel like it is so dope, right?
(57:58):
And there's so many style options you can use a red and black flannel for.
um just to just it just elevates
the outfit just a little bit, especially if you got you some leather on, like a leather jacket.
You know what I mean?
uh if you want to go for a grunge look, put
that red and black flannel around your waist.
It's a it's a wrap.
(58:20):
um Also we got the um phone cases, right?
For literally every type of phone um that
is uh post 2012.
um and they of the they're affordable prices.
You know what I mean?
(58:41):
They're the same ones.
So if you go into
that's cool yeah um 100% percent.
So we got uh, you know, iPhone and android is up here.
That's perfect. um First of, why is Android even up there
bro because I listen, I
didn't want to alienate any um any
(59:03):
uh consumers, but I'm just going to say you and I both know
uh which the which one is the superior phone case is all I'm going to say.
Very much so.
I concur.
And, you know, of course, if you want to uh
let me, move this around a little bit,op,
(59:25):
b, pop, b pop, bop, bop, bop.
And we have also end of a species merch.
What I'm going to say, I'm not going to highlight any products today that
you could use to uh to support the the podcast.
I am going to say that come in this week we will have a new line.
(59:46):
the Bob and row six line will premiere at the end of this week.
And so anybody who's been looking for
that, there is something really special because my birthday
is imminent.
It is in 13 days.
We're celebrating my 45th birthday.
And for that I want to do some stuff for for
(01:00:07):
for the proletariat, which is what 4TP stands for.
But um I 100% percent want to make sure
that um that I have some fun stuff for
it for the audience to uh take part in while we
do our birth day celebrations.
In the interim, you know, you can support end
of a species by going to the merch store.
(01:00:29):
um but like I said, the Bob and row six line will be coming
uh and will be imminent. along with some other fun
stuff, uh Jeff's birthday fun stuff. um with
that, does anybody have any final words like I think we put Tyler through the ringer
and uh this probably
(01:00:52):
I think this is going to shed light on Tyler Perry so people view them differently.
It shows the duality of the man.
Yeah, absolutely.
And if I don't we love Tyler Prairie like it's
it's we love the ban fo.
You know what I'm saying?
I love the banfo.
I just can't be
(01:01:12):
I just can't be with them no more, not when not when my
new my new man treats me so good.
You know what I'm saying?
when when Don when Donald Glover gives me Mrs Mr. and Mrs. Smith,
and Atlanta, you know, he he take me shopping.
(01:01:34):
I had to get my passport for Donald Glover.
That's all I'm saying.
Listen, I think Tyler Perry is going to see this, right?
I'm going to call it right now.
He's going to see this and he's going to hit me up and he's going to be like, yo,
live, you for the proletariat in the species.
I need
that he's going to bring us in Tyler Perry.
I know you watch.
I know you are.
(01:01:55):
I know you are.
Listen, listen, we are here, right?
We are here to help expand the brand.
We are here to help our community.
Let us let us be a part of the mission, Tyler.
I'm of
them highbrow Negroes you. minute, wait a minute, a
minute minute you need to tell me, let me just be honest.
(01:02:16):
Let's be honest right here right now onecies.
Tyler Perry comes to you and says soup and salad
soup and salad, a ten million dollar budget for you.
I need you to go create your vision.
Are going to give me the money?
Yeah.
(01:02:38):
how much creative liberty do I haveonomy hold on hold on.
Media got to be in that John.
I'm going to
sit uh Medea down and Media's going to be next to auntie Wiggs
and and we're going
(01:03:00):
to see a real black woman next to next
to a representation of a black woman.
And we
and uh we you know, and we just don't let that be that.
We're going to let the jux the juxtaposition speak for itself.
All right.
On that no, everybody like this comment,
(01:03:22):
let us know what you think. subscribe. go to endofisspecies.com,
go to 4tp by solid, show support, and we'll see you guys next time.
So what I was
not being soft with the kaddunka chuds is like
a new goal for me It's a it's
just a new goal because they have no problem saying
the most anti-black shit they've ever said in their lives
you know, uh and yeah,
(00:30):
like degrading black people uh being as vitriolic as possible.
But then when you kirk out,
all of a sudden now it's oh, how could you talk about that?
I can't believe you would be that, you know, uh, then all of a sudden you're the racist in the situation.
It's like, no, slim, like you start you
why are you dishing it when you're not prepared to take it?
(00:53):
Exactly this, exactly.
Like you sit up here, you do the racism, the microgressions,
the macroaggressions, you deny the racism in and of itself.
And then when you get checked about denying the racism, all of a sudden,
I'm the racist for calling out the racism.
How does that make sense?
It's like they don't realize that for the most part, like
(01:18):
we code switch to fit in so that
everybody's comfortable, but we could we wild boys.
We we could do the wild shit if you know what I mean?
If we wanted to
the dial could be switched all the way off.
We grew up in the 80s, bro.
(01:38):
That there is there is no line that we won't cross.
We grew up in the 80s and we're still here.
We survived we survived.
The lead poisoning that
Yo, Ronald Reagan up
in metric tons of booger sugar in our community.
(02:00):
We tank that.
We just walk you know, uh when when I would go to uh
I can't even call that summer camp, but like my my church when
I was growing up had just like daycare
shit and playing in tag base was
the asbestos wall, like where the wall where the asbestos was poking out.
(02:23):
that was base with tag like you you had to grab all
of that and if you wasn't getting a full, so we we survived that shit.
That's what you were rushing toward, you know
that's what that's what we were trying to get to and
not while we were running away from the the the other kid,
(02:46):
that is the the the cloth that we're cut from.
So when you, you know, when you shake
that hornet's nest, that's what you're shaking.
That's what you're enticing.
You know what I mean?
Anyway, for everybody watching.
I feel like racism deserves my ire is all I'm saying.
(03:08):
I'm sorry.
Yeah, no, yeah.
So welcome.
This is the second episode of the End of a Species podcast.
I'm Jeff.
We're here we're Super Solid.
We're here with Liv2bgr8.
You may know us if you are on TikTok
or if you saw us in the street and we' like, are you that guy?
And I said, nah, I'm not I'm not that dude. um chances
(03:29):
are I lied to you, but uh today we we have a great topic.
We're talking about
uh the one the only the enigmatic,
the uh director, the uh the Medea Tyler Perry.
And and this topic
(03:51):
came it was borne out of several conversations like you
and I, solid, we talked about this for like an hour, like maybe
three months ago, three, four months ago and just
the different critiques on
Tyler Perry.
Now, if you are a huge Tyler Perry fan,
buckle up this ain't going to be this is going to be pretty, but it ain't going to be it ain't going to be pretty.
(04:13):
And then me and you Liv, we was on the phone and
you just happened to throw a throwaway line like, yeah, you know, I'm a fan of Tyler Perry.
I was like a word?
All right.
Let's, you know, we throw down all the time, so let's throw down.
Let's let's talk about it.
So, uh solid, I'm going to start with you.
(04:33):
uh tell me a just an intro of your overall outlook on Tyler.
Okay, so my my
youngest sister uh used to date this guy, right?
We call him the ban fo, which is
a uh an acronym for the bitch ass n**** from buffoe.
(04:58):
He, uh,
the bandfold at at the time when my
sister was like in high school, she was like madly in love with him, right?
Like he was the guy, right?
Like she was involved, she was enthralled with him.
He was he was you know, he
she was what he was all about, or he was he
(05:18):
is what she was all about, right?
And um, as she grew, as
her palette changed as she was exposed to new things, which is my brother-in-law,
right?
Um, she just didn't need she had no more need for him.
Now, that's not to say bro wasn't talented.
That's not to say that bro wouldn't, you know, good for what he was good for.
(05:42):
It's just,
uh, she's moved on to to to
something more sophisticated, right?
I feel like black people are going through that experience
with Tyler Perry and so our palate has changed.
We've grown, we've moved on.
uh, I believe that, you know, all media
(06:03):
consumption, part of media consumption is
being able to be in community with other people who have consumed that same media.
I think for black people, that dynamic is
amplified, like to the nh degree. uh,
if you think I'm lying, just think about what the opening week
(06:24):
was like for uh Black Panther.
right?
How how we consume media is to be in communion with each other?
I think that's one of the big reasons why Tyler Perry initially
had his draw because this was a black fiend.
This was for black people.
(06:46):
This was this was uniquely, you know, and it was Christian.
and you you know n****s love Jesus, you know?
So it was a it was a thing where
uh, if you was on that Tyler Perry, you could say a line
from a Tyler Perry movie, you could say some shit like, I know whoop your ass.
And then somebody next to you then seen the same junk, they like, oh, I know what you talking about.
(07:11):
Right?
it was simplistic.
It was if you didn't know, you was out, you out the club.
Oh, if you do oh, my bad.
Yeah, if you know if you didn't know, you know what I'm saying?
Like if you didn't know, you oh, you didn't you didn't catch that, you know.
Right, right, right.
um And so I see the
(07:31):
utility of of one Tyler, uh Tyler,
um Bartholomew Perry, right?
uh, one what's it what's his name?
uh, Tyler um, Isaac's Perry.
No, but I I see his value.
I see I see, right?
(07:53):
um, I
the thing is, as time
has passed as um
our environment has changed, as Tyler
Perry has grown and as we have grown, right?
Or as as Tyler Perry's
um wealth has grown, Tyler
(08:14):
Perry's artistry has not.
and that's my biggest gripe with Tyler Perry. um
he is not growing with us.
He's he's doing the same thing that he did with
uh the plays.
He's doing the same thing that he did with um, uh
(08:37):
what's what's the name of the j uh a diary of a mad black woman?
The only change that he's truly made that I that I can
witness um is he's moving closer to secularism.
I and I'm almost insulted
(08:58):
because I feel like he I feel like he says, um
I let him use the F word.
This this is groundbreaking Tyler Perry.
He said the F word, right?
You got the new junk beauty in the black.
B booty shots.
I got a
why y'all not why y'all
(09:19):
not, uh giving me my damn, uh, uh what what's it called?
The uh Golden Globe, not Golden Globe.
What's the name Oscar?
Yeah, why where are my Oscar at?
booty shots?
It's still it's
still the Tyler Perry of your just with curse words and booty clatter.
It's it's not it's not hitting from me.
(09:42):
How about you?
Yeah, I just
telling that story I was thinking about like it was itin9, 2000.
I was like seventh Eighth grade.
And I remember y'all remember the bootleg DVDs,
but we used to get from Walmart park a lot
all the time we go crow on DVD and they had the
(10:03):
horrible people be walking through the screen or whatever.
I remember seeing my first Tyler Perry
play on one of those, right?
And it just became a thing.
We always look out for the Tyler Perry plays and all of that.
And so I I grew up with Tyler Perry and
it's interesting to me that even even though
I can agree with the points of him not necessarily growing
(10:25):
with the black community as a collective, he he's grown with his base.
when we look at diary of a mad black or a diary of a black woman, right?
That was number one in 2005.
Medea's homecoming is number one in two in 2022.
right?
So so when we talk about the quality of the work that he's actually putting in,
(10:47):
he is putting that work in, um but I do believe that
there's underlying mission that he has to
stay in tune and it has a lot to do with his growing and development.
Like if you know about Tyler Perry, you know about the child abuse,
in that he endured from his father.
One of the reasons his name is Tyler Perry, um is
is because he wanted to distance himself from that abuse.
(11:09):
Um, and he talks about this and um an interview with Oprah of
how the imagination that he has in the creation of these characters
uh, specifically, uh, is because of
that trauma because when he was getting abused, he would have to
go to a different space and that space in his mind cultivated,
which, again, with some people might have split some other personality disorder.
(11:31):
But with Tyler Perry, it became a a
a realm of of creativity that he took something really
negative and transitioned it to some positive.
I think that what he is discussing, um,
it's to a specific group of people and his base,
even though he may not have changed with the collective of bad black people, he
(11:52):
continues to grow and change to be the voice of his base.
He grew up in the chitland circuit coming through the south, you know
he's owned and prioritized and owned the rights of all of his work
over the past 30 years.
So I think that it's in that that we look at the
crux of the man and who makes the man because a
lot of it, it goes into who he is.
(12:16):
So what I'm what I'm hearing
from both of you is like from from solid,
the black it's almost like the black community has moved on to other
things and Tyler Perry has been left behind.
Liv, you're saying that he has a base and he's grown it.
Do you think the base that he's grown
is the black community?
(12:37):
Yeah, I think not not not even just
the black community, but more specifically, um for black women, if you understand, like Tyler Perry.
His first ten plays and his first well, first five plays
and first five movies were specifically
to to put to light the struggles
of black women and the strength of black women, right?
(12:57):
And it's in that I think that
he looks to prioritize specific aspects of the black community.
Now which I do agree with solid.
I mean, there are other aspects that he can tap into and grow into,
but he he specifically targeting a specific group of people.
You you agree?
(13:20):
I don't agree that it's for black women.
I think Tyler Perry movies are for broke n*****s.
I'm keeping in the be. uh, and I'm gonna tell you why.
Think about who the protagonist
is in every the male protagonist in every Tyler Perry movie.
(13:42):
right?
It's the surprise I it's the dirty car roll.
you feel me?
uh, daddy's little girls, uh, it was the broken n**** trying to be a good dad, right?
Uh, it was a diary of a mad black woman.
It was it was the bro n**** with the corn rose, uh, that was secretly Shemar Moore.
(14:07):
right?
um rose.
Divorce in the black.
It was the it was the broke farm n**** night
it was like these movies are like mid are a really a glorification of
who I think Tyler Perry used to see himself as.
(14:27):
I'm keeping in the being, right?
Because we do know he came from.
I hate to say got it out the mud, but Tyler Perry did get it out the mud, right?
um the um the
constant saving of of black women that he
has uh black men do in these movies, right?
(14:49):
I I was watching divorce in the black and I was thinking
for a second, for a second, I was like, yo, did
Tyler Perry read about the Beckdale test?
Like is he gonna is he gonna get it this time?
Is he is he is the answer to all this woman's
problems not going to be a broke n****?
Nah, no, no.
(15:12):
There was a scene in the car.
If you if for those of you who don't know about the Bechdale test, the
Bechdale test is like, uh, basically these rules there has to be uh two women and they in the movie.
They have to have a conversation about something other than a man, right?
These are their prerequisites, right?
And so, um, uh, divorce
of the black got dangerously close to passing the the McDdale test.
(15:36):
And it was even cooler when uh, Megan Good's
character says, I'm not I'm not with that right now.
Now's not the time.
right?
Now it's not the time why why are you approaching me?
The almost the next scene,
not in the back of the pickup truck and she trying to get some
from from uh from the farming and and can't get you see where I'm going with this?
(15:59):
um
the salaciousness, when we
talk about growth, there is no denying that uh
Tyler Perry has been extremely successful, right?
With that success, I mean, he's bought 330 acres.
(16:19):
His his his studio is 330 acres long.
I mean like he's the reason why um
Georgia's Atlantais becoming the new Hollywood.
Like we can't we can't mince words about that.
Like we can't pretend like that's not a reality, right?
I never even thought of it that way.
(16:41):
Yeah, I'm I if I'm wrong, somebody correct me.
Like Tyler Perry is the reason, right?
And then hence hints the duality, right?
Because
um because, but but
what doesn't make sense to me is if he's doing so well,
why isn't he hiring writers?
(17:03):
He's still writing everything himself.
right?
There's so many uh woman writers in Atlanta.
There are so many queer writers in Atlanta,
like the people the same people he wants to shove into his movies from his perspective
and he has no writers of the same ilk.
(17:25):
None of his writers match the characters that he's putting in there.
It just it it just, uh it doesn't make any sense to me.
It doesn't ma and and really I feel like it's just
this whole like if it ain't broke, don't fix it.
Now, economically, uh financially cool,
bro. our hats off to you.
All right?
(17:47):
But as far as my artistic palate goes,
I need I just need new shit.
I need I need better I need more sophisticated and I can't stay with the ban fo.
You know what I'm saying, despite how how how big his glow
up is, despite how much money he got if he's not if he's not
(18:07):
uh edifying, if he's not supplying me with something else.
I can go to O' Donald Glover
and we can do a a a critical analysis
or we can do a movie analysis that will last the span of a year.
I can go to a Jordan Peel.
We're still doing video analysis.
(18:28):
We're still doing movie analysis
on us on note.
That's three movies.
Get out three movies and we're still doing analysis on them.
We're still picking up nuance and and and Easter
eggs and things like that because it was
complex.
It was it was sophisticated.
(18:49):
It was everything that a minstrel show is not.
right?
It was everything other than ha ha, look
at them n****s. ha ha, look at them black people, let's laugh at them for being so damn black.
Jordan Peel gives us ha ha,
(19:09):
that's funny, but it's funny because it's funny and let's think about what the hell we watching.
You feel me?
I don't I don't disagree.
I think, though, that they're different.
I wouldn't compare Tyler Perry to like, uh big
mama and Mark Lawrence or Eddie Murphy when it comes to
uh that those types of minstrel shows.
(19:30):
I do believe that Medea Myea is
born out of uh his inability
as a child to be able to save his mother.
I think that the antagonist that you discuss in his movies
is quite literally different aspects of his father. um
and and that if he couldn't be the hero then, um
so in his movies and in his videos now, he he would like to like
(19:53):
he paints himself as that hero and in his his
scripts, his plays that that's art.
right?
And in his art and in his craft, like there is a reason behind
that art in that craft.
And I think it gets to the crux of the man that
when we were talking about just the creation of Medea.
(20:14):
That was a fluke.
That was a fluke.
I mean one of his plays, it was like 95, 96 when
he was just picking up, uh just picking up steam. and
uh one of his the woman that was supposed to play Mia just kind of backed out of the show.
and it last minute they had to rewrite the
script, rewrite some things, wrote in a couple of jokes, did some music.
(20:37):
Boom, he got some hot has.
They finished out the week with my idea by the end of the by the end of the week.
It was a packed house and everybody screaming for Medea.
Media wasn't born out of him trying to represent black women.
Media was born out of his inability to save his mother.
Media was born out of those times when he was a child and he
would be around with his mom on Fridays and they'd be playing cards
(20:59):
and black women would tell their stories.
and when when times would become hard, then he would see women break down.
He would see another woman step in and say a joke to
be light in the mood, right, to help endure understand this is in the in the in theins.
You know, a lot of things or not, that's not 90s in the early 80s, 70s.
(21:21):
I just I'm a clown, so I got to
I'm a clown, so I got to put that up just for a second.
That's it's.
That's.
That's just that's just amazing.
All right.
I I'm will take it down, but yeah, go ahead, I'm sorry.
(21:42):
I just I'm just being dumb.
Yeah, so so I think I think when we're talking about like
the duality of Tyler Perry, um a lot
of a lot of the issues and problems that that people have criticized
him and his art is really just his his own personal therapy.
um when you're talking about those stories that that are being told,
(22:02):
these are stories within our communities are issues within our community,
abuse, rape, uh, uh poverty, right?
um the the way these things impact men and how men harm women.
uh, and and how we want to to do better for ourselves in our community.
And at the end of all of his movies at the end of all of his
(22:23):
uh plays, it's about 15 or 20 minutes that is consistent
where he has that that that
self-diagnosis um and and
and therapy that he gives to the crowd to the audience, people that are watching his videos and movies.
It plays and movies.
So I I don't necessarily disagree.
(22:43):
I just think that there's more um to the
art and to the craft and to the artists, which it's hard
to really move away from that as him because that was his therapy.
That was his sense of expression.
That's his art and his craft.
I have a so this one's to you solid.
(23:04):
Like when when I think about Tyler Perry and
I think about just general mov like black movies, right?
Movies for black people.
I I think about a critique that
I always have for the overall approach that Hollywood takes.
and that critique is that it's very caricaturized.
(23:29):
It's very stereotyped.
It's very like if you think of movies that depict
what what Hollywood would say their take on the very
first black team of doing X, right?
The the racism that group encounters is always like over the top.
Like you can't do this here
(23:51):
as opposed to.
Yeah, like exactly that as opposed to the
stuff that we that that we experience, which is people
who say, I oh, I love I love black people.
Harry you solid you so or or you know what, let me see if this is so well spoken.
I got a black friend
(24:13):
I still have that.
You heard that it's it's literally that, right?
So it's not what we experience isn't the caricature of it.
It's
the the um the microaggressions,
the um the denial, like like you were saying before live.
(24:35):
And um
when I when I look at Tyler Perry movies,
if I have that same critique, I think I have that critique
that I have is for the Hollywood approach
as a whole, not just Tyler Perry.
Does that make sense?
(24:56):
So you are you're saying that the very well okay.
Now this is what I'm going to say, and I'm going to contradict myself a little bit, okay?
A lot of the time
writers just do
not trust the audience enough to
leave things up to interpretation, right?
(25:20):
You, me andiv, you
live and I spend a lot of
time online, uh, arguing with Kadunka charts.
These are people
who are not good at nuance, right?
These people don't they don't.
They don't they don't understand nuance that right?
(25:44):
um
So for a good reason, Hollywood
doesn't really trust the audience to pick up on those subtleties.
right?
uh so and
so you will see a lot of blatant, uh,
(26:05):
the showing of like, okay, no, look, this
is a racist, right?
This breaking down burning style because if they don't telegraph it that way,
you the audience might not understand what's going on and
you have to remember that at the end of the day, movies, Hollywood
in general are about making money.
(26:25):
And so if an audience doesn't feel like
um they can really get on board or if they feel dwarfed,
if they feel self-conscious because your movie was too highbrow, right?
Sometimes they just don't, right?
And I would almost be forgiving
(26:45):
of Tyler Tyler Perry's telegraphing, right?
His his um extreme
caricatures, I would almost be forgiving if
we didn't have a Jordan peel.
What I realized when when get out came out,
(27:07):
what I realized when Black Panther came up, right?
was that we were
yearning for high brow.
We were yearning for nuance.
There was an entire demographic of black intellectuals who wanted to be entertained intellectually.
(27:30):
uh and so I'm
kind of I'm I'm at this this I'm this duality this dualuality.
I'm in this purgatory where
um there's just this long history of, and I'm guilty of it too, right?
Like I I've I've said all my life a lot of times my media diet is mostly smut, right?
(27:52):
I'm watching pop the balloon or find love.
I'm watching all the basketball, all the wives.
If the if the show has the word wives in it, I'm watching
all right?
Uh, Real Housewives of the bakery.
You know what I mean?
Real cheese wives of Wisconsin.
I'm I'm watching all of it, right?
Somebody's somebody's going to watch this
(28:13):
or listen to this podcast and take notes
and there's going to be a real Cheese Wives watch more words.
That's going to be a thing.
Realese Wives in Wisconsin.
That's I mean, that's the move, right?
Uh
But I could almost it's this it's this duality.
(28:35):
It's
this reductivity, this regressiveness,
uh, this black exploitation, uh being repeated
over and over and over and over again, and then we keep getting locked into
not getting the type of media that we yearn for
because we take what we are given,
(28:56):
right?
And or, um,
you know, or we wait for some
high brow n**** to come along and give us something that's,
you know, uh, and bread crumbers,
right?
Uh, uh, Jordan Peele come
by and drop three hot ones and then just like we never seen the n**** again.
(29:19):
You know what I'm saying?
Like where is hurry up, Jordan, right?
I had a cabbat and I can't remember what it was um
because this coffee is a very special coffee. uh but I
I do agree with you.
(29:40):
I think, um, but I think it goes back to the point I've been making this entire time.
It's about the man because like when we look at Tyler Perry and
his rise around the chitlin circuit, um he started funding his own plays.
he he would go around at his plays and and
he would have ate subscribe to my mailing list, go to my website.
And so what he started to do was quite literally
(30:02):
take people that were getting $10 tickets and he would have a million people been
subscribed by by two thousand and by 2002, 2003,
a million people that subscribed is on his emailing list when he says he has
a show in Chicago or Cadtanooga.
I mean, that goes out and all of a sudden that show is sold out before he even shows up.
And and so because he had those humble
(30:23):
beginnings, because his first shows failed,
like he has always had to be the architect that
that perpetuates that that creates the environment that does everything.
And when you've done that for so long within the society, it's hard to to kind of let go of that realm.
And I think this is one of the control issues, which I do agree with you, super is
is a is a is a is a knock against how the period and I
(30:45):
amplify to get to this platform to lift other marginalized voices.
But to the other part of that is that
white supremacy exists.
It's real and it's alive all throughout Hollywood.
7 percent of the population makes a 98% of the media
historically, you know?
And so when we're talking about what makes up the vast majority
(31:08):
of media, when we look at diary of a mad black woman, they're supposed
to do five million in box office based on all Hollywood Hollywood theater is not going to sell.
They said black people don't go to the movie theaters and all of these things.
but it did 50 million, right?
So this goes to one of the one of the
one of the issues is one navigating racism and white
(31:30):
supremacy in Hollywood, while all while owning the rights to everything that you do.
The other part of it is is is understanding never
turning it back on the people that got you there, right?
And the characters that were created and cultivated to talk
about and discuss the live reality of a specific group of people,
you know.
(31:51):
And it's not and I'm not going to deny silent.
I don't believe that it's for every black person.
I don't believe black people are entirely a monolith.
I believe that
that Z Langston Hughes criticized Zoel
Hurst said that she spoke for Darkies, you know?
the
NAACP boycotted Amos and Andy and the color purple because they didn't like the depiction of black men.
(32:16):
It wasn't Amos and Andy was was was uh
the 1952, 1953.
It got boycotted and you didn't see another black person
on TV a black cast at all until
what the late the early 70s, late 60s,
you know, and then we really weren't even represented until Michael hit MTV.
(32:39):
and so so I think in navigating and understanding the
realm of TV and media and having to cut
through that red tape, house of pain is a phenomenal example of that when it comes to house of pain, uh
usually to get syndicated and get get through those loops, you have to
do 10 episodes and then if you get lucky, you get another 24 and
then you build after that, but you know, they
(33:01):
wanted to take control of his work.
Then he said, no, so he ended up funding the entire thing himself,
right?
And so to to protect black people to create
a space for black philanthropy and black opportunities,
he's had to move in a particular way.
So I think that the criticisms about them, I
think are valid, but I think it's more nuanced because of the level of white supremacy
(33:26):
that that that that that persists in Hollywood.
Once you once you get to that mountaintop, though, like sure.
So when when when he starts, he has
um struggles with having to fund stuff himself,
having to navigate this whole world, but then you get to that mountaintop.
(33:47):
Is there a responsibility there now
to change, like
to change your style, to change your your message to
to make it to refine it, right?
(34:08):
I'm sorry.
Yeah, no, listen, he can still make the same movie.
He can get he can still make uh dark
skinned, uh n**** abuses woman light skinned n**** saves her.
He can still make that movie, right?
But he can he can do so um
with a team of writers that are going to tell right
(34:31):
that aren't going to just do these exposition dumps in the middle of the movie.
He can do so without making a movie in eight days.
He made it acrimole in eight days to the
point where my wife and I were in the movie theater
and I shouted out and I take I take the movie theater experience very seriously.
Probably more serious than I should.
(34:54):
I shouted out in the middle of the movie.
I said, blue screen because it
was so obvious I noticed blue screens.
I noticed green screens and in all movies.
Like everybody does it,
right?
I I know what it happened in my favorite movies, the the matrix.
I know, but it was so obvious and so
(35:14):
poorly done that it shocked me and I I
had to exclaim blue scream because it was just like and there was no reason for that.
There was no need for that.
Now, does he does he as
an artist have a responsibility to change his style?
No,
(35:35):
no.
Does he have an opera
an obligation or does he have an obligation to change his style of no?
Does he have an obligation to give a a higher quality
of product in his style?
Yes, because the consumer deserves better, right?
(35:57):
Like they always will.
you know, um there are ways that he's cut costs by
by building his studio um he cut costs.
It was a genius move.
He can make any move any scene he wants on his lot.
right?
(36:18):
Quick and fast, right?
He can he can do it.
But because he's rushing to through
production, because he's rushing through editing, because he's uh
just picking up a script off of, you know, his writer's
table where the writer's table is covered in
only scripts that he's written, right?
We're seeing things we're
(36:39):
seeing products that are worse than diary of a mad black woman.
And I hate to come back to acrimony.
How you will have diary of a mad black woman
and then come out with agrimony and it's just mad black woman.
It just wasn't no diary.
But
um there's no
(37:01):
reason why divorce in a black, there's no
reason why um what's the one with Kelly Rowan?
uh No, I can't think of it either.
I'll look it up.
Mia Coppa.
right?
There's no reason why these these these
(37:22):
new films and these new television shows should be
worse than the ones he first started or started off me.
There's there's just no excuse for that.
as far as production value. um as
far as the writing goes, if I'm sitting there
watching your film and then you stop all momentum
(37:43):
so that you can update me as to what's happening in the film,
right?
Uh, me and my friend are riding along in the car and instead
of talking about, right, we we stopped talking and we go, yeah, so
uh, are you with that guy that's next to that dude and doing that thing?
Yeah, I went to go see him the other day and this is what he told me and
this is where we were and that's how we and now we're up to date on the story.
(38:05):
The exposition dumps
are are they break up the pacing
of the movies, like they're they're they're gross.
They're really gross.
Um, it's something that an amateur would do, and Tyler Perry is not an amateur.
You know what I mean?
Um, these are the things that I'm talking about.
Like he could hire editors, he could hire writers
(38:26):
a writer's room that can that can like get that shit fixed up
and still make the same movie, you know?
I I agree.
I think that the Tyler Perry and
and I love his rise because it he came off of he found
his rise on the on the shoulders of giants coming in coming in through the chitland.
(38:49):
It's really where he got his rise from.
And I think that he's entering a level where his job
and his obligation, uh to your point silent, is to
pave the way for the next for somebody that's going to surpass him.
He's and he's not paving that way.
And I think there are a lot of creative black writers,
um playwrights out here, uh that that that have the juice,
(39:14):
right?
And he has the wreath and he and his his infrastructure
has the reach to be able to sie through and find that one, right?
And and to to have that one be the one to
stand on his shoulders and to continue to move forward and break ground in in this
media production.
Because I think it's bigger than just his movies in the audience that he speaks to.
(39:36):
I think it's a it's a direct assault onto the
the racism and white supremacy that has perfated the media at news consistently.
Going into the next four years,
uh Tyler Perry's
studios, his production can quite lily have the ability to
to combat the negatively charged narratives around
(39:58):
black people that we're going to see be perpetuated, right?
And I think he has an obligation to do that.
Now, does he have an obligation?
He also has an obligation to his audience to the
people that got on there to the people that still support him, the people that have been
there over the past 30 years that that have
quite literally given their dollars, their views, their
(40:19):
their love to him in his in his support.
So I think it's twofold, and this goes into the duality
of what it is to be Tyler Perry.
So I'm looking through um
Tyler Perry's, I guess, uh
(40:41):
works, his uh, his movie list.
One of the ones that jumps out at me is why did I get married?
Um, and and why did I get married too?
And and that, I mean, I'm I'm
thinking about like the elevation of the work.
(41:03):
Love Love it hated that movie is very like
every every character in that movie is an archetype.
There's I don't I remember
when I first saw it, the character development for me wasn't like,
it was like, hey, this is the person who's not confident.
This is the person who's overbearing.
(41:25):
And so like
even from the beginning, you have an opportunity to take these four couples
that are married and and show like a tapestry of like
marriages are not that, right?
Like it's not like
you work too much and that's the end of
the, you know, and then
(41:47):
comparing that to, you know, I know we mentioned diary of
a Mad black woman, again, same thing.
I think that's where my question about the responsibility goes is
do we do we want to see
um in in the coming works
from Tyler Perry more of
(42:10):
a well-rounded character that shows like, hey,
I mean, again, Hollywood gives you archetypes.
That's the thing.
But black people are not that, right?
The the uh the black diaspora when we when we showcase
our our stuff, you go as far back as like you mentioned Langston Hughes, but just the poetry and the writings of
(42:33):
everything in black history has
never been, you know, my my
mom was just mad all the time because she was so tired.
There was there was so there's so much color and so much development.
And for me,
(42:55):
I know that my my critique for Tyler Perry could
be the critique of Hollywood, but and maybe
I'm just being too hard on black media, but I feel like I want to see
something there that is I mean
to to to use your word solid is is something more,
something over and above what would be expected.
(43:21):
and I think to myself sometimes I like that maybe
that's my own anti-blackness because I don't hold it to the same standard, but I love it.
You know what I mean?
When I think of
Richard Wright, I love it.
Like if you read Blackboard, right?
When I think of uh Maya Angelo, I love like
(43:41):
there there's a difference,
Okay, okay, so I am going to push back a little bit Because
first of all, uh why did I get married part one?
I told you, that's my shit.
I like I told you I love a good
like I don't have to think ass movie.
I do.
(44:03):
Um, and I I'd be lying to you if at
the time when I was watching it, I wasn't trying to insert myself
into each character and and say like, maybe that's kind of what I got, you know.
um you just mentioned some some timeless works, right?
You know what else is the timeless work?
(44:24):
uh, green eggs and ham.
Bruh.
Am I lying?
You're not lying. is it
When did greens?
let's do a real quick.
When did that first get published?
(44:51):
1960?
1960.
60 years.
60 some odd years later.
You know what I mean?
uh it doesn't
have to be profound to be a classic.
(45:15):
right?
um but if we would
have gotten green A and ham and no lorax,
you you see what you see where I'm going with this?
Like if you continuously give me new new no no shit.
Right?
(45:36):
If you continuously give me new stuff.
and I notice a point where consistently
the quality of the new stuff you're giving me uh
is is worse than the initial.
You know what I mean?
So, like, and you
mentioned what what do we want to see from T Tyler Perry?
(45:57):
I'm good.
I'm I'm I'm good.
I got what I needed from T Tyler Perry.
And now, and
it's I got other other shit, damn, you know what I mean?
that's actually kind of cold.
(46:18):
bro.
I think it's I think that's true, though.
I think that it's a space where, like for
example, as a as a retired basketball player, right?
I do believe that it's a part of my responsibility
to continue to payave the way and give knowledge and expertise to the next generation,
to to cultivate a new era of people.
I believe that's the obligation when you when you're looking at being
(46:41):
being that CEO of a company, you're always looking for that one to continue the legacy, right?
And and right now,
who who does Tyler Perry have with his span with his reach, right?
Who does he have under his wing that's that's creating that next
legacy, that that's that next one, right?
What could what could Jordan Peele do
(47:02):
in combination with Tyler Perry?
Right?
What could matter of fact, what could somebody like Trevor Noah do?
You about to see solid explode.
Jordan Peelebury collapse
hear me out. me out, hear me.
(47:27):
You give the give Jordan Peel, right?
the black card, right to go
out and create, right to go
out and create to go and say listen, I have built this thing
now go out and be the best that you can be.
(47:48):
What do you think?
What do you think he's going to produce?
He's going to make some listen with a million dollar budget
and we we hear a million dollars and we're like ooh, right?
But a million dollars in California is is a two bedroom house.
Yeah, that's true
With a million dollar budget, Jordan Peel
(48:11):
gave us a literal neocl classic
on the dynamic or the
experience of white people Negophilia and white white liberals.
Right?
The racism that comes from white liberals.
I mean gemini the fuck cricket.
(48:33):
Like my man's was on it.
you getama a big budget you
getama a MCU budget
That's the whole point I'm making is that that's my biggest right with Tyler Perry, right?
It's not that that he he had to do what he had to do over the past 30 years.
(48:55):
I understand what he creates.
I understand the audience that he who.
I also understand the man and the duality of why he sticks
to the narratives that he sticks to because it's a form of therapy
and it's his art at the same time,
we are entering a space where one we're in
a one one of the most racially charged times since the civil rights movement.
(49:16):
Okay?
We live in a in the society of copaganda
and anti-blackness that that the means and vilifies black people.
As a collective, we we saw
black people coalesce and raise over, what, 700
billion, what $900 billion for Kamala Harris on our run,
right?
(49:38):
Tyler Perry has the ability and the funding, right?
And the resources and the people and the power to quite literally combat
white supremacist propaganda and media in all its forms, right?
And I and I think that that's my biggest gripe and I and it's the super solid point.
Like I'm cool with you.
(49:59):
We got what you, we got what you are.
We know who you are.
You're going to continue to do that.
Listen, into your face into your base and into your crowd, people like me, I grew up on them.
I'm never going.
You know what I'm saying?
It's always going to be my dog.
At the same time, the black community does need more.
We need more because
(50:21):
heavy is the is the is a crown. heavy is the head that bears the crown, right?
And and right now, how many
people in in American history, right?
When it comes to media, you got you got people like Denzel, Carl Robesen, right?
I mean, uh, Paul Paul Robesen, right?
That the icons, Samuel L. Jackson have
(50:42):
not achieved what he has achieved.
They have not done what he has done, but they are icons, right?
Viola Davis, K Washington,
right?
You you have you have Hallerry, you
know, that that these are icons.
I know, and I had to be Hallie is my thing and I'm going to go Stacey
(51:02):
Dash too just because and Megan Fox, uh Megan good,
I'm sorry, Megan good, Megan good.
Okay?
Because listen, aremed by what's going on right now?
What's happening?
my questions so they automatically get the number one spot,
but we rewind,
(51:28):
if you, I's But like
and the thing about people like that that are that aren't even
in the media world, but just black icons that haven't achieved what he has achieved.
Martin Luther King, with all of his wealth and with
(51:51):
all of the resources he had, Malcolm X, like Tyler Perry has achieved more
from from an economic in a political and
a power standpoint than than really,
anybody in in sense, what um
I can't even think of anybody.
And so when you have that level of power and that level of influence,
(52:15):
like we need to ensure that we're protecting
black people, that we are advocating for the voices of
all black people, you know, I'm
not supposed to eat past how you just drop Stacey dash in there, though.
I'm just going to let that
I get it.
I get it.
(52:37):
not today, though, not not
today. as if
as ifade me forever with the with yeah,
but like, I'm still I'm a side eye a little bit.
You you see what I'm saying?
(52:59):
I'm side eyeing, but I get it, but I'm side.
But yeah, like boom by stick side eye.
Because
I don't know if you've seen any of her latest work.
I don't need to see it.
I saw her early work.
It doesn't matter. the
(53:19):
latest work features hats that are red, yo.
You didn't know about you
Yo, we ruining a lot turno you know what turn
on the light in your wick because I can't see your face right now and I
got the I got the lights on but they they dim.
All right.
Because I wanted to see your like literal reaction to that.
(53:42):
I didn't know you didn't know that.
I thought was
I didn't This ain't
V type situation where Vis is just going through like a like a
(54:06):
Uh-oh.
I think we lost solid for a second.
Oh, no, that ain't true.
Hold on, I'mma pause it.
Oh.
Okay.
Yeah, yeah, so
(54:27):
Yo, he looking it up and uh
it's worse than two girls one.
Oh no.
You don't see it no what is this?
(54:54):
That's that's what What is this?
I actually
feel bad that that happened when
that there is no Santa Clausive anti-black.
(55:18):
That's why I said.
It be your own people your
fucking All right. um
it's shameless plug time because it's shameless plug
time and shameless plug time means boom.P
(55:41):
by solid, let's uh let's talk about
um let's talk about merch and how
you can the podcasts and uh
the lives and the YouTubeubes and the all the websites.
And boy, we got some cool stuff coming up, but like for right now
we have got merch for you to to for you to like
(56:04):
peruse and buy and rock so you can show that you're,
you know, rocking the platform, supporting the the content
while live's reality is like.
That's why that's why she that's why she looked like that today versus that
she did in and 2016 because the white supremacy makes her age poorly.
(56:25):
It went back to the left. the amount of years that he just went through
just now, right?
Oh, oh, wait, let me let me back
So listen, yall, we still have the hoodies.
Okay.
We still got that flannel do me a favor, Jeff.
Click on that flannel real quick. this is
(56:49):
my favorite and not a single person has purchased this one yet.
If we scroll down just a little bit there,
you can see the Lolo on the back of the flannel
I mean, come on now that's fire.
You can get you a red and black lumberjack with the
hat to match Well, you can't get the hat to match.
I just wanted to finish Biggie's line.
(57:11):
uh but in my house, all
right in the solid household, we are notorious flannel around the wters.
Okay?
Get out of here.
Around the wa?
We' flannel around the you wasn't lying.
Yeah.
We got the red and black Johns.
(57:34):
And the reason why I'm big on that I like
it's just like a house full of uh bill and tens over here.
We' we just wrap the red and black flannel around the waist.
That's just what we do. um
But that's the one that I really want
to call people's attention to because um I
feel like it is so dope, right?
(57:58):
And there's so many style options you can use a red and black flannel for.
um just to just it just elevates
the outfit just a little bit, especially if you got you some leather on, like a leather jacket.
You know what I mean?
uh if you want to go for a grunge look, put
that red and black flannel around your waist.
It's a it's a wrap.
(58:20):
um Also we got the um phone cases, right?
For literally every type of phone um that
is uh post 2012.
um and they of the they're affordable prices.
You know what I mean?
(58:41):
They're the same ones.
So if you go into
that's cool yeah um 100% percent.
So we got uh, you know, iPhone and android is up here.
That's perfect. um First of, why is Android even up there
bro because I listen, I
didn't want to alienate any um any
(59:03):
uh consumers, but I'm just going to say you and I both know
uh which the which one is the superior phone case is all I'm going to say.
Very much so.
I concur.
And, you know, of course, if you want to uh
let me, move this around a little bit,op,
(59:25):
b, pop, b pop, bop, bop, bop.
And we have also end of a species merch.
What I'm going to say, I'm not going to highlight any products today that
you could use to uh to support the the podcast.
I am going to say that come in this week we will have a new line.
(59:46):
the Bob and row six line will premiere at the end of this week.
And so anybody who's been looking for
that, there is something really special because my birthday
is imminent.
It is in 13 days.
We're celebrating my 45th birthday.
And for that I want to do some stuff for for
(01:00:07):
for the proletariat, which is what 4TP stands for.
But um I 100% percent want to make sure
that um that I have some fun stuff for
it for the audience to uh take part in while we
do our birth day celebrations.
In the interim, you know, you can support end
of a species by going to the merch store.
(01:00:29):
um but like I said, the Bob and row six line will be coming
uh and will be imminent. along with some other fun
stuff, uh Jeff's birthday fun stuff. um with
that, does anybody have any final words like I think we put Tyler through the ringer
and uh this probably
(01:00:52):
I think this is going to shed light on Tyler Perry so people view them differently.
It shows the duality of the man.
Yeah, absolutely.
And if I don't we love Tyler Prairie like it's
it's we love the ban fo.
You know what I'm saying?
I love the banfo.
I just can't be
(01:01:12):
I just can't be with them no more, not when not when my
new my new man treats me so good.
You know what I'm saying?
when when Don when Donald Glover gives me Mrs Mr. and Mrs. Smith,
and Atlanta, you know, he he take me shopping.
(01:01:34):
I had to get my passport for Donald Glover.
That's all I'm saying.
Listen, I think Tyler Perry is going to see this, right?
I'm going to call it right now.
He's going to see this and he's going to hit me up and he's going to be like, yo,
live, you for the proletariat in the species.
I need
that he's going to bring us in Tyler Perry.
I know you watch.
I know you are.
(01:01:55):
I know you are.
Listen, listen, we are here, right?
We are here to help expand the brand.
We are here to help our community.
Let us let us be a part of the mission, Tyler.
I'm of
them highbrow Negroes you. minute, wait a minute, a
minute minute you need to tell me, let me just be honest.
(01:02:16):
Let's be honest right here right now onecies.
Tyler Perry comes to you and says soup and salad
soup and salad, a ten million dollar budget for you.
I need you to go create your vision.
Are going to give me the money?
Yeah.
(01:02:38):
how much creative liberty do I haveonomy hold on hold on.
Media got to be in that John.
I'm going to
sit uh Medea down and Media's going to be next to auntie Wiggs
and and we're going
(01:03:00):
to see a real black woman next to next
to a representation of a black woman.
And we
and uh we you know, and we just don't let that be that.
We're going to let the jux the juxtaposition speak for itself.
All right.
On that no, everybody like this comment,
(01:03:22):
let us know what you think. subscribe. go to endofisspecies.com,
go to 4tp by solid, show support, and we'll see you guys next time.
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