- 3 months ago
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00:00Everyone who ever saw a movie laughed at Steppin' and Fetchit.
00:04Come out, come out, wherever you is, wherever you be, wherever you do.
00:10Come out, come out, wherever you am.
00:14How's the government looking for you?
00:17Where you going, stranger?
00:18You scared somebody stiff like that?
00:21I'm looking for hillbillies as you are.
00:24I ain't saying I am, and I ain't saying I ain't.
00:26Well, that's close enough for me, because I'm tired of walking myself.
00:31The government told me I got to bring in a hillbilly, so you come go with me to Washington.
00:37I ain't no going.
00:39That's the color of another horse.
00:43Well, I tell you, you don't go for me.
00:47We go for the Navy.
00:51No.
00:51No, I won't go for the Army.
01:03It's too bad he was as good at it as he was.
01:06The character he played was planted in a lot of people's head,
01:09and they remember it the rest of their lives as clear as an auto accident.
01:13What's that?
01:14Are you an Indian?
01:15Is I a man you don't know?
01:19I got, I'm Indian, I got one foes of Cherokee, two foes, Seminole, and I got four-fifths of Hiawasa.
01:32Wait a minute!
01:33Hiawasa was a woman!
01:34I can't help it, I got four-fifths of them.
01:38He played in movies with other actors who were as American as Mom's Raspberry Jell-O.
01:42If they accepted the stereotype, how wrong could it be?
01:47Mr. Judge Rigby, can I see you some, please?
01:49Well, I'm pretty busy.
01:51Yes, but I just want to ask if you heard about it.
01:55Heard about what?
01:56About over at my house, night before last year.
01:59Oh, another baby?
02:00Yes, sir, you sure guessed it, you heard?
02:02What's his name?
02:03Oh, we call him L.R. Lyleas Rigby-Liverton.
02:08Oh, named him after me, did you?
02:09Yes, sir, the Lyleas Rigby, I told my wife, I said, honey, I know Jerry's show gonna be gratified.
02:16Well, of course, yes, I appreciate the honor.
02:18Yes, sir.
02:19I suppose a compliment, and I ought to do something for you.
02:21Yes, sir, that's what I thought, because...
02:23You come over to my place tomorrow, and I'll give you a job.
02:26Yeah.
02:26Break and leave.
02:30I asked him for weight.
02:32Really?
02:33All-American, little Shirley Temple played a lot of parts that had involved her with black actors.
02:40She was always real nice to them.
02:41Oh, James Henry, you always do it wrong.
02:45This is an imitation Step and Fetch had named Willie Best with Shirley.
02:51Come on, Miss Burgi.
02:53I just won't budge.
02:55I'll show them I'm not...
02:56The cute little white girl was brave and strong in the face of danger, and the big black man was stupid and cowardly.
03:03What are you afraid of them for?
03:06Oh, honey child, them Yankees is mighty powerful.
03:09They can even change the weather.
03:11Yes?
03:13Whenever they come around, I never know whether it's winter or summer.
03:17I'm shivin' and sweatin' at the same time.
03:22James Henry.
03:23Served these cookies to Master Harold and wiped his chin.
03:28Yes, ma'am, Miss Burgi.
03:31She was good to them, and they were good to her.
03:34Sort of a master and pet relationship.
03:37How would you like to see Uncle Billy dead?
03:41All right, James Henry, let's get going, sir.
03:44This is Bill Bojangles Robinson, one of the great ones.
03:56But if he wanted to work and dance, he had to come into a picture through the servant's entrance.
04:00Shirley was good to children, too.
04:14They loved their little mistress, and she treated them well.
04:18Just like they were equals.
04:35Miss Burgi, please, ma'am, we all done come here to wish you many happy, happy returns of the day.
04:54And we all done made you a dollar.
04:56Here it is.
04:57Miss Burgi, there was more I had to say, but let me.
05:02I just got it.
05:05Don't you worry.
05:06This is the very nicest present I got.
05:09Thank you ever so much.
05:11Yes, indeed, children.
05:12It was very thoughtful and sweet.
05:14Come down here.
05:16I'll see you later.
05:18See you later.
05:18Oh, baby, baby.
05:20I suppose it might have surprised a lot of Holly producers that singing like that could actually make a lot of people, mostly black, sick to their stomach.
05:28This is a lot of fun, isn't it?
05:29The newsreels that were shown along with feature films knew a good thing when they saw one.
05:36They helped keep all the black cats in their place.
05:39Nobody black ever did anything very newsy in a newsreel.
05:42They did things like eat watermelon in watermelon-eating contests.
05:59Then another favorite for the newsreel cameraman was the film people throwing things at them.
06:07Good sport.
06:08Some college football publicity man decided this was a good idea.
06:15And there were a lot of very funny golf pictures.
06:18If you weren't black, they were funny, I guess.
06:21Well, you keep still, see?
06:34Otherwise, you'll have flowers in your room and you won't smell them.
06:38Oh, boy.
06:40Oh, hey, hey.
06:43Everything suggested the black man was nothing.
06:45Hollywood adopted a sort of British attitude toward black natives of other countries.
06:54They were always sneaking around in the bushes, you know, carrying stuff on their head.
06:59White men weren't supposed to get caught sweating.
07:01I've seen a picture called Prestige, and it stated the colonial attitude.
07:05Don't let it break, Andre.
07:06Take to him your race for a wedding gift, the Prestige of the white man.
07:14That means everything you stand for, and it is the only weapon you two will have, Prestige.
07:22But it is enough to preserve you.
07:24Yes, sir.
07:25Even though most non-white natives of any place were savages in films,
07:36it often pleased white producers to endow a few chosen blacks
07:39with the virtue of great loyalty to him, the white man.
07:44Here's one defending Anne Harding to the death.
07:49There was always one loyal and true black man who would do anything for his master.
07:55Some of them were wonderful people.
08:00You know, if you really get a good one.
08:05Mostly, though, Negroes were not heroes.
08:08They were a bit part servants.
08:10Railroad polvers.
08:10Watch your step, sir.
08:13Now, this is your destination, folks.
08:15They made very good chauffeurs.
08:19Looked good in their caps.
08:23Good morning, Colonel, sir.
08:24And they were great at serving all kinds of drinks.
08:31That coffee, you old, stays with you like poor relations.
08:34What says you got there?
08:35Just that for his tea.
08:38Wherever there was a thirsty master,
08:40there were they also.
08:42And one question they never answered when the Negro woman was taking care of the white woman's kids.
09:06Who was taking care of hers?
09:08They did all kinds of odd jobs around the picture, like walking horses.
09:15When they weren't walking horses, they were out back playing craps, of course.
09:20Recreation.
09:21They met people at the station for their masters.
09:25Is, uh, is, uh, you folks, uh...
09:30We've come all the way from Ireland.
09:32Mr. Milford's expecting us.
09:34Mr. Milford.
09:35Yes, sir.
09:36Yes, sir.
09:37You is which I'm looking for.
09:38I'm Mr. Milford's boy.
09:40His boy, you say?
09:43Yes, sir.
09:44Murphy's the name, sir.
09:45Did you say Murphy?
09:47Yes.
09:47They call me Walkin' Murphy.
09:54Walkin' Murphy?
09:55Yes, sir.
09:56Most of us Murphys down here just sit.
09:59I walk.
10:00They make wonderful servants all kinds in pictures.
10:04Dumb but loyal.
10:06John, isn't it the beautiful night?
10:08I just love parties, don't you?
10:11I beg your pardon?
10:12Thank you kindly.
10:17Yes, hello.
10:20Oh, this is the Baragun residence.
10:23Oh, come on, Mona.
10:25And get you ready, ready.
10:28Come on, Mona.
10:30The things were getting pretty tough during the 30s.
10:33And a good thing for a lot of black actors
10:35was that they made a movie called The Green Pastures
10:38with, like they say, a cast of thousands.
10:42It gave a lot of people work,
10:43but it had all the old stereotyped characters.
10:46It was clever and funny and all black.
10:49But it was a white man's picture.
10:52I, the Indian.
10:55Henry, you sure got the prettiest wings.
10:57Oh, they just my old ones.
10:59Cigars, gentlemen.
11:00Cigars, gentlemen.
11:01Cigars, gentlemen.
11:02Cigars, gentlemen.
11:02Oh, Lord, the smokehouse is empty.
11:05Oh, Lord, let me get them groceries.
11:08Oh, Lord, let me see that little sick.
11:12Man.
11:14Come on, you're going to feed me or not?
11:16Hey!
11:17Why, you're just a little boy,
11:19gambling and sinning
11:21and chewing tobacco like you was your own pappy.
11:24And you've been drinking sunny kick mammy wine, too.
11:27You gamers ought to be ashamed of yourself
11:29leading this boy to sin.
11:30Why, he's the best crapshoot in town.
11:33If you find my mammy, you can do what I can.
11:35While Hollywood was turning out films,
11:37radio came along and decided to get in on it, too.
11:40Two white fellows from Chicago invented two black characters
11:43they named Amos and Andy.
11:44They played their parts on the radio for 30 years.
11:47This is them doing their bit.
11:50Well, Brother Crawford looks pretty good
11:51since he's been here at Palm Springs, don't we?
11:53Yeah, looks like his wife done beat him on it.
11:56When radio moved over to let television in,
11:58Amos and Andy went with it.
12:00These two white cats couldn't play Amos and Andy
12:03where you could see them,
12:04so what they did was they had a black cast.
12:07Cast was different,
12:09but the stereotypes were the ones
12:10that the white people had come to know and love.
12:13They were shady characters with money.
12:15Well, I got the books right here,
12:17and they're open to each and every brother's
12:19complete inspection.
12:21Get your hands off of that thing there.
12:24So you want to see the financial books, huh?
12:26Yeah.
12:27Well, there it is.
12:29There it is.
12:30You done see them.
12:31I had to meet in the children.
12:33They were still slow and lazy.
12:35Are you sure they are not here?
12:37Oh, yes.
12:38They told me so themselves.
12:42Have them report to our office right away.
12:45I sure tell them all right.
12:47They had trouble with the English language.
12:53Misused words a lot.
12:56And Mr. Brown, my new secretary here,
12:59ain't going to have no time
13:00for no extracuritical activities.
13:03And I'm telling you now,
13:04as long as you have that secretary in your office,
13:06I'm going to work as a secretary myself.
13:09Oh, give me a little tomato, huh?
13:12Oh, I'm putting my foot down.
13:15They had trouble with women.
13:19And it was always the women who were dominant.
13:23Come on, Herman.
13:24Mostly black actors aren't playing
13:30the old stereotypes anymore.
13:32There are people who say
13:34they're playing a new stereotype.
13:36Sidney Poitier is always helping
13:38some little old ladies across the street
13:40whether they want to go or not.
13:42The black people in this country
13:43got a bum deal for a long while.
13:45And it won't hurt much
13:46if we see a little of that now and then.
13:52Stanley Kramer has let us use some scenes
13:54from Guess Who's Coming to Dinner.
13:58You look at these and remember
14:00Birth of a Nation.
14:02This is the opening scene
14:03when Catherine Houghton is bringing
14:04Sidney home for the first time.
14:06This is Dr. Prentiss.
14:08John, Miss Matilda Binks.
14:10Pleased to meet you, Miss Binks.
14:12I've certainly heard a great deal about you.
14:14Catherine Hepburn and Spencer Tracy
14:17are the girls' parents.
14:19Thank God he's right.
14:20She's 23 years old
14:21and the way she is
14:22is just exactly the way
14:23we brought her up to be.
14:26We answered her question.
14:27She listened to our answers.
14:29We told her it was wrong
14:30to believe that the white people
14:32were somehow essentially superior
14:33to the black people.
14:35Or the brown or the red
14:36or the yellow ones for that matter.
14:38People who thought that way
14:39were wrong to think that way.
14:41Sometimes hateful, usually stupid,
14:43but always, always wrong.
14:46That's what we said.
14:49And when we said it,
14:51we did not add
14:52that don't ever fall in love
14:54with a colored man.
14:58Well, Sidney tells it like it is
14:59to his old man.
15:01You and your whole lousy generation
15:04believes the way it was for you
15:05is the way it's got to be.
15:07And not until your whole generation
15:08has lain down and died
15:10will that dead weight of you
15:11be off our backs.
15:13You understand?
15:14You've got to get off my back.
15:15You're my father.
15:44I'm your son.
15:47I love you.
15:49I always have.
15:51And I always will.
15:54But you think of yourself
15:56as a colored man.
15:59I think of myself
16:00as a man.
16:02by the time the world of movies
16:14and the world of education
16:17get into the streets of black America,
16:19some strange things happen.
16:33Because what history and the movies
16:36have told the black man
16:38is that he's nobody
16:39unless he joins the white world.
16:42The white world only comes
16:44into the black ghetto by messenger.
16:45The message used to read
16:47black is nothing,
16:49white is beautiful.
16:50For this reason,
16:52a lot of black people
16:52have spent their lives
16:54trying to be white.
16:56For instance, hair.
16:58Some people still call
16:59straight hair good hair
17:00because it looks like white hair.
17:03Kinky hair is bad hair.
17:05The man on the right
17:05is having his hair cut naturally.
17:07The man on the left
17:08is having a process.
17:10What the barber is doing
17:11is applying harsh chemicals
17:13to his head
17:13so he'll have straight hair
17:15like all those movie stars have.
17:17It's a painful, long job
17:19that costs about six dollars
17:21and has to be looked after
17:22every couple of weeks.
17:24These days,
17:25many young black men
17:26find the whole process demeaning.
17:28It's going out of fashion
17:29even in the ghetto.
17:31It takes pain to become
17:32like a white man
17:33and more pain
17:34when you know you can't make it.
17:41For a while,
17:41it seemed to the black community
17:43that the way to escape
17:44was to get as rich as possible
17:46and look as white as possible.
17:49And as affluence came
17:50to some black people,
17:52all the lessons of history
17:53and all the lessons of the movie
17:55seemed to be
17:56succeed on the white man's terms.
17:59So,
18:00the middle class Negro
18:01took the white man's dreams
18:02and tried to make them his.
18:07Today,
18:07many middle class Negroes
18:09have the education
18:10and the money
18:10to provide themselves
18:12with all the white man's dreams
18:13but one,
18:15universal social acceptability.
18:17He has not yet been able
18:19to join in any normal
18:20or casual way
18:21the white man's affluent society.
18:24So he has his own.
18:27The white man's attitudes
18:28still exclude the black man
18:30and the black woman.
18:31There's a fallacy in this country
18:33that says that any man
18:36by his marriage
18:37can make it.
18:39That is not true.
18:42Do not believe that.
18:45It is not true
18:46because any man
18:49in this society
18:50cannot make it.
18:53That's where the whole fallacy is.
18:55The white man keeps saying to you
18:58if you just stop being black,
19:00if you just stop shooting
19:01your people on Saturday night,
19:03if you just stop talking
19:04Negro dialogue,
19:05if you clean yourself up,
19:07get yourself a job,
19:08you're going to make it
19:08in this society.
19:09It's not true.
19:10I know for myself
19:12I have a master's degree
19:13in social work
19:13and I know that people
19:14won't accept me.
19:16And I was an honor student
19:17and I know I can make it.
19:20They won't accept me.
19:21They don't discriminate against me
19:23because I'm a Christian.
19:25They're discriminating against me
19:26because I'm black.
19:30The message down here
19:31is coming in stronger.
19:33It's be yourself,
19:34be black.
19:35The new generation
19:36of black young Americans
19:37is asserting itself
19:39in a new
19:39and possibly disturbing way.
19:42Many black Americans
19:43are giving up
19:44on American society.
19:46If you can't wash white,
19:47even if you have the money,
19:49if you can't wash white
19:50because you are basically black,
19:52what you do is react,
19:54sometimes radically.
19:56Here is a measure
19:57of the reaction
19:57to white is beautiful.
20:00This is a storefront school
20:01in Philadelphia.
20:02The children are being given
20:03a black preparation
20:04before they enter
20:05the city's schools.
20:07They're not especially
20:08gifted children.
20:09They're just from
20:09the neighborhood.
20:12One black man
20:13named John Churchville
20:14put it all in finance.
20:16Right?
20:17You understand that?
20:18Yeah.
20:18All right.
20:19A number is a concept
20:20of quantity or an amount.
20:22That is wrong.
20:24No.
20:25A number is a concept
20:27of quantity or an amount.
20:28That is dead wrong.
20:29He's not only teaching
20:30new math to children
20:31whose ages range
20:33from 17 months
20:34to five years.
20:35He's decided to give them
20:37the emotional armor
20:38they need
20:39to protect themselves
20:40against the education
20:41they're sure to receive
20:42when they start kindergarten.
20:44Anybody tells you
20:45something wrong,
20:46are you going to do it?
20:47No.
20:48What do you want, Janelle?
20:52I want freedom.
20:54When do you want it?
20:55I want my freedom, ma'am.
20:57No, you have to wait
20:58until next week, Janelle.
20:59You can't have it now.
21:00Can you wait
21:02until next week?
21:03Yes.
21:03Okay.
21:04I want you to sit down.
21:06All right, young man.
21:07Stand up.
21:10When do you want
21:11your freedom, young man?
21:12I want freedom there.
21:13You can wait
21:14until next week, though,
21:14can't you?
21:15No.
21:17Michael,
21:17you just have to wait
21:18until next week.
21:19You can't have it now.
21:21Are you willing
21:22to wait until next week?
21:23No.
21:24Suppose I said that
21:26you have to wait
21:29until next week.
21:30Now, you're going to wait
21:30until next week, aren't you?
21:31No.
21:35How are you going
21:36to get your freedom?
21:37I will use any means
21:39necessary to get my freedom.
21:42Any means necessary?
21:45Yes.
21:48You know, all right.
21:49Sit down.
21:51Young man,
21:52what is your name?
21:53My name is Alex Houston.
21:55Levantepe.
21:56What is your nationality?
22:02My nationality
22:04is Afro-America.
22:05What is freedom?
22:07Freedom is black power.
22:08What is black power?
22:10Black power is...
22:14Do you know
22:15what black power is?
22:17No.
22:17Well, then,
22:18you should never use,
22:19you should never make
22:20any statements
22:20if you don't know
22:21what they mean.
22:22I'm sorry,
22:23I don't know.
22:24All right.
22:25How old are you,
22:26young man?
22:27I am four years old.
22:30You're not four,
22:31Eric.
22:31Now, you tell me
22:32you're right age.
22:34How old are you?
22:38How old are you?
22:41I am four years old.
22:45Are you sure you're four?
22:46Yeah.
22:46You're going to let me
22:47turn you around
22:48and tell you
22:48you're some other age?
22:49You're six years old,
22:50Eric.
22:51No.
22:52I can't hear you,
22:53Eric.
22:54No.
22:55Are you being
22:55frightened by me?
22:57No.
22:59I'm a teacher.
23:00I said you're six.
23:02I am four years old.
23:04All right, then.
23:05You stand up for it,
23:06then.
23:06You shouldn't be weak.
23:07You stand up and say it.
23:08You ought to scream it
23:09in my face
23:10if I try to tell you
23:10different, right?
23:11Yes.
23:12Have a seat.
23:14Stand up,
23:14young man.
23:15Are you a negro,
23:17Travis?
23:17No.
23:18Are you a flunky,
23:19Travis?
23:19No.
23:20What are you?
23:22I am black and beautiful.
23:23And what else are you?
23:26Are you a boy?
23:27No.
23:28What are you?
23:29I'm a man.
23:30What kind of man?
23:32Black and beautiful man.
23:33What kind?
23:34Are you an old man
23:35or a young man?
23:36Young man.
23:37Very good.
23:38Very good.
23:39Are you going to let
23:39somebody just make you
23:40a boy?
23:41No.
23:42All right.
23:43Suppose I tell you
23:44something wrong,
23:45Travis.
23:46Are you going to do it?
23:47Yes.
23:48You're going to do
23:48something if I tell you
23:49when it's wrong?
23:50No.
23:52Have a seat,
23:53young man.
23:56Eric?
23:58You're going to be
23:59reasonable, aren't you?
24:01No.
24:02Come here.
24:06Here you are.
24:07Fine young man,
24:08right?
24:09Yes.
24:10Are you going to be
24:10scared of me?
24:11No.
24:12Are you going to be
24:12scared of some
24:13president of the United States?
24:15No.
24:16Some mayor?
24:17No.
24:17Some policemen?
24:18No.
24:19All right.
24:20You're a Negro.
24:21Yes!
24:22You're a Negro, Eric.
24:24No.
24:25Somebody pass me my stick.
24:26I said you're a Negro, boy.
24:28No.
24:30You're getting mighty soft.
24:31You're a Negro.
24:32No.
24:33Very good.
24:35All right.
24:35Sit down.
24:37Uh, you, young man.
24:39You come here.
24:39Your nationality is
24:47American Negro.
24:50Yes.
24:51No.
24:52Your nationality...
24:53Now let's go play with me.
24:57You're a Negro.
24:59No.
25:00I am your...
25:01No.
25:02Suppose I threatened
25:02to beat you.
25:03What would you say?
25:04Aren't you a Negro now?
25:06No.
25:07What are you?
25:08I'm black and beautiful.
25:10What is your nationality?
25:11My nationality
25:12is Afro-American.
25:14Suppose I had
25:15some money in my pocket.
25:17Suppose I gave you
25:17a dollar to say
25:18that you're
25:19an American Negro.
25:21This is money now.
25:22Money talks.
25:23Money talks.
25:25This dollar...
25:27And if you don't say it,
25:28you don't get it.
25:28You're an American Negro,
25:29aren't you?
25:30No.
25:31You won't have any money.
25:33You know you need
25:33money, don't you?
25:35Yes.
25:35You need money
25:36to live, don't you?
25:37Yes.
25:37All right.
25:38All you have to say,
25:39Leon,
25:40is that you're
25:41an American Negro.
25:42Aren't you
25:42an American Negro?
25:46Are you an American Negro?
25:48No.
25:49What are you?
25:50I'm black and beautiful.
25:51What's your nationality?
25:52My nationality
25:53is Afro-American.
25:55Very good, man.
25:56Keep it up.
25:57Go sit down.
25:59You had to think
26:00about that a minute,
26:00didn't you?
26:01Yes.
26:01All right.
26:04All right, everybody.
26:05What is your nationality?
26:07My nationality
26:09is Afro-American.
26:12All right.
26:13What do you do to you
26:14in different ways
26:15when you get out
26:15of the school?
26:17They're not going to
26:17just come right up
26:18to you and give you
26:20a dollar or say,
26:21if you say that you're
26:22an Afro-American,
26:22if you say you're
26:23an American Negro,
26:24I'll give you a dollar.
26:25But they're going to
26:26be very nice to you,
26:27some of them,
26:28and they're going
26:28to try to get you
26:30not to love black people.
26:33They're going to try
26:34to get you to be
26:36something other
26:37than you are.
26:38They're going to try
26:39to make it seem
26:41as though you're
26:41different from the
26:42masses of black people.
26:44And they want you
26:45to go away.
26:46I'll tell you,
26:46I'll give you special
26:47things if you just
26:48come along with me
26:49and do what I say.
26:51But you must reject that.
26:52Now, you know
26:52what that means?
26:53That means you're not
26:54going to have the money
26:55you'd like to have.
26:56And money is not
26:57important.
26:58We need money.
26:59We have to buy
27:00things with it.
27:01But money is not
27:01the thing that we're
27:02living for.
27:04The only thing
27:05that makes a person
27:06worth living
27:07is being a man
27:08and being a woman.
27:09Being strong
27:10in character.
27:11Being straight.
27:13Telling the truth
27:14and living in the truth
27:15and doing the right thing.
27:16You understand that?
27:17So no matter
27:18what happens,
27:20I want you all
27:21to always tell the what?
27:25You may not get
27:26the marks you're
27:26supposed to get
27:27in school.
27:28You may be doing
27:28the work,
27:29but because the teacher
27:29doesn't like your attitude
27:30and she'll always tell you,
27:32I don't like your attitude
27:33because you're independent.
27:35But you're not going
27:36to school for grades.
27:38You're going for what?
27:39None.
27:40All right.
27:41And what kind of people
27:41is everybody in this room
27:43going to be?
27:43Tell me the kind of people
27:44you're going to be.
27:45What else?
27:46You're already there.
27:49What are you going to be?
27:51You're going to be stupid?
27:53No.
27:53What kind of people
27:54are you going to be?
27:55Excellent.
27:56You're going to be excellent.
27:57And what else?
27:58Yes, ma'am?
28:00And strong.
28:01And strong.
28:01And what else?
28:02And good.
28:03And good.
28:04And what else?
28:06And genius.
28:07And a genius.
28:07And what else?
28:08I'm looking for another word.
28:10All of you are geniuses
28:11right now
28:11and you'll be better than that.
28:13What else?
28:13I'm looking for a word
28:14that begins with a B.
28:18Brilliant.
28:18Brilliant.
28:19Brilliant.
28:19And brilliant really means
28:22to shine.
28:23And all of you
28:24will shine.
28:25All of you are really
28:26going to be brilliant.
28:27Good enough.
28:28All right.
28:29How does everybody feel now?
28:31Wow!
28:33You ready to get ready for lunch?
28:35Yeah!
28:37He's hungry.
28:40Well, it's kind of like
28:41brainwashing.
28:42Or is it?
28:44I mean, can you blame us
28:45for overcompensating?
28:47I mean, when you take
28:48the way black history
28:48got lost, stolen, or strayed.
28:51When you think about
28:52the kids drawing themselves
28:53without faces.
28:55And when you remember
28:56the fine actors
28:57who had to play baboons
28:58to make a buck.
29:00I guess you've got to
29:01give us a sin of pride.
29:03Pride.
29:05Hubris in the original Greek.
29:08There's 300 years
29:09we've been in this
29:09American melting pot
29:10and we haven't been able
29:11to melt in yet.
29:12And that's a long wait.
29:15Listen, we've been trying
29:16all kinds of parts
29:17to make the American scene.
29:18We've been trying
29:19to play it straight
29:19and white.
29:22But it's been
29:23just big parts.
29:25Now, from now on
29:26we're going to play it
29:27black and American
29:30because we're proud
29:31of both.
29:33Hubris.
29:34I'm Bill Cosby
29:35and you take care
29:38of yourself.