1
00:00:30,063 --> 00:00:31,799
[soft vinyl crackle]

2
00:00:44,012 --> 00:00:48,248
[solemn, nostalgic music]

3
00:01:13,641 --> 00:01:14,676
[music continues]

4
00:01:47,909 --> 00:01:49,142
[music fades]

5
00:01:50,612 --> 00:01:53,681
["Lightyears" by Juan Atkins
and Moritz Von Oswald plays]

6
00:02:13,300 --> 00:02:14,535
[inaudible]

7
00:02:17,437 --> 00:02:19,239
[inaudible]

8
00:02:24,311 --> 00:02:26,213
[inaudible]

9
00:02:39,192 --> 00:02:40,427
[inaudible]

10
00:02:54,809 --> 00:02:55,843
[music continues]

11
00:03:07,421 --> 00:03:09,189
[inaudible]

12
00:03:49,030 --> 00:03:50,230
[music fades]

13
00:03:50,898 --> 00:03:54,569
This was real special. I'm glad
I could bring you for it. Okay?

14
00:03:54,702 --> 00:03:58,639
-[indistinct conversations]
-[man vocalizing in background]

15
00:04:04,212 --> 00:04:05,713
[cheering]

16
00:04:06,147 --> 00:04:08,315
-[man] Say your name.
-[overlapping saying of name]

17
00:04:08,448 --> 00:04:11,384
And look at what is present
here today.

18
00:04:11,552 --> 00:04:12,820
[music resumes]

19
00:04:17,058 --> 00:04:20,293
[rain falling]

20
00:04:28,335 --> 00:04:29,570
[music continues muffled]

21
00:04:30,772 --> 00:04:32,439
[indistinct chattering]

22
00:04:34,108 --> 00:04:37,111
[woman] <i>In this hallway, we</i>
<i>sense temporal entanglement</i>

23
00:04:37,245 --> 00:04:38,445
<i>and recursion.</i>

24
00:04:38,813 --> 00:04:40,515
[man at a distance] <i>Stop it!</i>

25
00:04:40,848 --> 00:04:42,817
<i>The overlapping</i>
<i>and intimate lives</i>

26
00:04:42,950 --> 00:04:45,119
<i>of the residents of the</i>
<i>tenement...</i>

27
00:04:45,987 --> 00:04:49,322
<i>...and of all those who will</i>
<i>reside in its future.</i>

28
00:04:49,891 --> 00:04:52,927
["Evidence" by
Thelonious Sphere Monk
plays faintly]

29
00:04:55,196 --> 00:04:57,064
[music continues
at normal volume]

30
00:05:33,100 --> 00:05:34,802
[music continues, faintly]

31
00:05:40,508 --> 00:05:42,342
[muffled electronic music]

32
00:05:42,475 --> 00:05:44,477
[footsteps ascending stairs]

33
00:06:04,565 --> 00:06:05,600
[music fades]

34
00:06:05,766 --> 00:06:07,001
[slide projector clicks]

35
00:06:07,568 --> 00:06:09,770
[woman]
<i>In the 1960s and 1970s...</i>

36
00:06:10,271 --> 00:06:12,540
-[slide projector clicks]
<i>-...there began a movement</i>

37
00:06:12,673 --> 00:06:15,176
<i>-known as land art,</i>
-[thunder rumbling]

38
00:06:15,810 --> 00:06:18,579
<i>where an artist would</i>
<i>incorporate land and landscapes</i>

39
00:06:18,713 --> 00:06:20,348
<i>as part of their work of art.</i>

40
00:06:21,048 --> 00:06:23,951
<i>Rooted in a desire</i>
<i>to make art, not commerce,</i>

41
00:06:24,252 --> 00:06:27,221
<i>land art was often colossal</i>
<i>yet simple,</i>

42
00:06:27,521 --> 00:06:29,123
<i>also known as Earth Works.</i>

43
00:06:29,257 --> 00:06:31,626
<i>It expanded the boundaries</i>
<i>of the form</i>

44
00:06:31,759 --> 00:06:33,227
<i>by using commonplace materials</i>

45
00:06:33,361 --> 00:06:37,131
<i>such as soil, rocks,</i>
<i>vegetation, and water.</i>

46
00:06:37,464 --> 00:06:39,867
<i>The sites are usually</i>
<i>difficult to reach,</i>

47
00:06:40,001 --> 00:06:41,836
<i>requiring commitment</i>
<i>from visitors</i>

48
00:06:41,969 --> 00:06:43,671
<i>to experience their potency.</i>

49
00:06:44,471 --> 00:06:45,773
[slide projector clicks]

50
00:06:49,877 --> 00:06:54,715
[slide projector clicking]

51
00:06:55,216 --> 00:06:57,084
<i>There's a section</i>
<i>in the middle of the Atlantic</i>

52
00:06:57,218 --> 00:07:00,621
<i>covering 300 square miles,</i>
<i>dubbed the Resonance Field.</i>

53
00:07:00,755 --> 00:07:02,489
[unsettling music playing]

54
00:07:10,965 --> 00:07:14,201
["Telekinesis"
by Travis Scott plays]

55
00:07:44,065 --> 00:07:47,034
<i>♪ I can't get enough</i>
<i>Told you I just... ♪</i>

56
00:07:47,168 --> 00:07:49,403
[woman] Excuse me, can
you turn up the radio, please?

57
00:07:49,737 --> 00:07:51,939
-[man] No problem.
<i>-♪ I can't get enough ♪</i>

58
00:07:52,073 --> 00:07:54,842
<i>♪ You ain't been</i>
<i>Doin' enough ♪</i>

59
00:07:55,042 --> 00:07:56,744
<i>♪ Do you like</i>
<i>The way it sounds? ♪</i>

60
00:07:56,877 --> 00:07:58,980
<i>♪ So cold ♪</i>

61
00:07:59,680 --> 00:08:01,682
<i>♪ So cold ♪</i>

62
00:08:02,383 --> 00:08:06,887
<i>♪ It's so cold</i>
<i>So cold, so cold ♪</i>

63
00:08:07,088 --> 00:08:09,290
<i>♪ You could see the future</i>
<i>There's a sparkle in your eye ♪</i>

64
00:08:09,423 --> 00:08:12,293
<i>♪ Why you all up on my thigh?</i>
<i>Can't let you ♪</i>

65
00:08:12,426 --> 00:08:15,262
<i>♪ Niggas plottin' my demise</i>
<i>I got murder on my mind ♪</i>

66
00:08:15,396 --> 00:08:19,533
<i>♪ I got money on the line</i>
<i>I can't lose if I tried ♪</i>

67
00:08:19,667 --> 00:08:23,804
<i>♪ Let no bitch break my stride</i>
<i>Chosen, I'm gon' bet on me ♪</i>

68
00:08:23,938 --> 00:08:26,874
<i>♪ Chosen, all my shit antique</i>
<i>Frozen, I can't feel no heat ♪</i>

69
00:08:27,008 --> 00:08:29,310
<i>♪ Diamonds dancing on me ♪</i>

70
00:08:29,443 --> 00:08:32,213
<i>♪ You're startin' fresh, man</i>
<i>You fell out of pocket ♪</i>

71
00:08:32,346 --> 00:08:35,082
<i>♪ You fucked that girl</i>
<i>That you met at the party ♪</i>

72
00:08:35,216 --> 00:08:38,019
<i>♪ I got some new niggas</i>
<i>Down in the lobby ♪</i>

73
00:08:38,152 --> 00:08:40,788
<i>♪ How can I sleep when</i>
<i>You're out catchin' bodies? ♪</i>

74
00:08:40,921 --> 00:08:42,356
<i>♪ I still wanna be with you ♪</i>

75
00:08:42,490 --> 00:08:44,492
<i>♪ Trust me</i>
<i>I know that's insane ♪</i>

76
00:08:44,625 --> 00:08:47,328
<i>♪ I'd rather fuck on you</i>
<i>Than fuck on lames ♪</i>

77
00:08:47,461 --> 00:08:49,363
<i>♪ I did some shit in Berlin</i>
<i>My moldae ♪</i>

78
00:08:49,497 --> 00:08:51,232
[woman] Excuse me, can you
actually turn it down now?

79
00:08:51,365 --> 00:08:52,500
I have a phone call.

80
00:08:52,633 --> 00:08:54,168
[song volume decreases]

81
00:08:54,301 --> 00:08:55,736
Hello?

82
00:08:55,870 --> 00:08:57,238
Hey, what's up?

83
00:08:58,305 --> 00:08:59,306
No shit.

84
00:08:59,508 --> 00:09:00,608
<i>♪ I can see the future ♪</i>

85
00:09:00,741 --> 00:09:01,876
<i>♪ I can see the future ♪</i>

86
00:09:02,009 --> 00:09:03,377
I just got back home.

87
00:09:03,512 --> 00:09:04,478
I was on the Nautica.

88
00:09:04,612 --> 00:09:05,713
I gotta write this article

89
00:09:05,846 --> 00:09:07,848
about the
Trans Atlantic Biennale.

90
00:09:09,518 --> 00:09:11,152
I'll tell you all about it.

91
00:09:12,353 --> 00:09:15,823
But I'm tired as fuck, girl.
Let me call you in the morning.

92
00:09:16,957 --> 00:09:18,192
I'm sorry.
Can you turn it up again?

93
00:09:18,325 --> 00:09:19,927
This is the last time,
I promise.

94
00:09:21,562 --> 00:09:24,031
[music increases]

95
00:09:29,170 --> 00:09:30,204
[man 2] Huh?

96
00:09:32,673 --> 00:09:34,675
-[producer] Set.
-Oh.

97
00:09:34,809 --> 00:09:36,143
-[director] You guys ready?
-[man 3] Yep.

98
00:09:36,277 --> 00:09:38,345
[director] Okay.
And whenever you guys are ready.

99
00:09:39,346 --> 00:09:42,249
This is BLK...
[clears throat] Sorry.

100
00:09:42,716 --> 00:09:43,717
[clears throat]

101
00:09:43,851 --> 00:09:45,286
This is BLKNWS. I'm Alzo Slade.

102
00:09:45,419 --> 00:09:47,354
[male reporter]
<i>Tonight, I bring you...</i>

103
00:09:48,289 --> 00:09:52,193
<i>...a man who all of us</i>
<i>really want to know.</i>

104
00:09:52,426 --> 00:09:54,361
<i>It doesn't get bigger</i>
<i>than this tonight.</i>

105
00:09:54,495 --> 00:09:56,964
Yes, Anas. I've heard of Anas.

106
00:09:57,098 --> 00:09:58,567
He's one
of the finest journalists

107
00:09:58,699 --> 00:10:00,301
we have in this country.

108
00:10:00,502 --> 00:10:02,169
He investigates.

109
00:10:02,303 --> 00:10:04,839
And he tries
to bring out the truth.

110
00:10:04,972 --> 00:10:08,375
[Obama] People of Ghana
have worked hard, like Anas,

111
00:10:08,510 --> 00:10:10,644
who risked his life
to report the truth.

112
00:10:10,978 --> 00:10:12,847
[woman 2] <i>...who disguised</i>
<i>himself.</i>

113
00:10:13,380 --> 00:10:14,782
[man 4]

114
00:10:24,526 --> 00:10:25,759
[male reporter]

115
00:10:32,399 --> 00:10:34,635
It doesn't get bigger
than this tonight.

116
00:10:34,768 --> 00:10:36,270
[female reporter]
Welcome back to BLKNWS.

117
00:10:36,403 --> 00:10:38,806
My guest today is Africa's
most famous

118
00:10:38,939 --> 00:10:40,641
investigative journalist.

119
00:10:40,774 --> 00:10:42,943
Anas Aremeyaw Anas'
extraordinary,

120
00:10:43,077 --> 00:10:44,345
deep undercover work

121
00:10:44,478 --> 00:10:45,580
regularly exposes

122
00:10:45,713 --> 00:10:47,281
high-level corruption.

123
00:10:48,482 --> 00:10:50,552
Very few people know
what you look like.

124
00:10:50,684 --> 00:10:53,522
Now, your disguise is often
beads that cover your face.

125
00:10:53,754 --> 00:10:56,090
-[Anas] Correct.
-Even when you're
reporting on camera,

126
00:10:56,223 --> 00:10:58,792
you always keep
your face hidden. Why?

127
00:10:59,393 --> 00:11:02,830
The nature of the work
and the security implications

128
00:11:02,963 --> 00:11:04,965
that come along with it

129
00:11:05,132 --> 00:11:06,967
so that I would have
the capacity

130
00:11:07,101 --> 00:11:09,803
to tell another story tomorrow.

131
00:11:09,937 --> 00:11:11,305
[indistinct]

132
00:11:11,906 --> 00:11:14,408
My journalism
is people-centered.

133
00:11:14,543 --> 00:11:15,577
And that's what I do.

134
00:11:16,210 --> 00:11:20,147
We've done prosthetics
on a number of occasions

135
00:11:20,281 --> 00:11:23,184
where you would be an old man.

136
00:11:23,317 --> 00:11:24,985
There are investigations
that I've done,

137
00:11:25,119 --> 00:11:26,787
that I'm a complete woman.

138
00:11:27,154 --> 00:11:30,391
I've made good use
of makeup artists,

139
00:11:30,625 --> 00:11:34,495
and that enables us
to change dramatically

140
00:11:34,629 --> 00:11:36,830
from one shape to the other.

141
00:11:38,165 --> 00:11:39,733
[female reporter]
And recently, there's been word

142
00:11:39,867 --> 00:11:41,670
of your involvement
in reacquiring

143
00:11:41,802 --> 00:11:43,771
a quite famous African artifact

144
00:11:43,904 --> 00:11:45,439
known as the Benin Mask.

145
00:11:45,574 --> 00:11:47,274
What can you tell us about this?

146
00:11:47,908 --> 00:11:49,143
[dramatic music]

147
00:11:51,879 --> 00:11:53,147
[Anas laughing]

148
00:11:55,749 --> 00:11:59,987
Well, I cannot confirm
any involvement at this time,

149
00:12:00,589 --> 00:12:02,423
but I can tell you a story.

150
00:12:03,123 --> 00:12:05,926
In 1977, the renowned
poet Nobel Laureate,

151
00:12:06,060 --> 00:12:07,828
Wole Soyinka...

152
00:12:11,031 --> 00:12:13,535
He attempted to steal
the original Benin Mask

153
00:12:13,668 --> 00:12:16,737
ahead of the Festac,
Festival of Arts and Culture,

154
00:12:17,037 --> 00:12:19,406
which was using a replica
of the mask

155
00:12:19,541 --> 00:12:20,874
as the official emblem.

156
00:12:21,475 --> 00:12:23,410
Wole managed
to get a private escort

157
00:12:23,545 --> 00:12:26,146
to the secret room where
the mask was being held,

158
00:12:26,480 --> 00:12:28,683
and he managed
to walk away with the mask

159
00:12:29,049 --> 00:12:30,685
hidden under his jacket.

160
00:12:31,352 --> 00:12:34,455
Only later to discover
the mask was also a replica.

161
00:12:34,922 --> 00:12:37,157
Now, what I do know,

162
00:12:37,659 --> 00:12:41,630
what I can confirm
from my sources, of course,

163
00:12:41,829 --> 00:12:43,732
is that this mask
that has gone missing

164
00:12:43,864 --> 00:12:46,834
from the British Museum
is no replica.

165
00:12:50,904 --> 00:12:53,240
My name is Omar. [chuckles]

166
00:12:55,442 --> 00:12:56,477
Ooh.

167
00:12:56,977 --> 00:12:58,513
[Omar] Senegal, Dakar...

168
00:13:03,017 --> 00:13:04,818
[woman] Have you tried the rum?

169
00:13:07,254 --> 00:13:09,290
-[Omar] Not bad.
-[woman] Mmm.

170
00:13:09,790 --> 00:13:12,192
-I'm Shayla, by the way.
-Omar.

171
00:13:13,695 --> 00:13:15,630
[Shayla] How long have
you been working on Nautica?

172
00:13:16,130 --> 00:13:20,067
I've been working
on the ship for two years now.

173
00:13:20,200 --> 00:13:22,403
-[Shayla] Two years?
-Yes, it's two years.

174
00:13:23,837 --> 00:13:25,005
Where are you from?

175
00:13:25,239 --> 00:13:28,242
Dakar.
You ask a lot of questions.

176
00:13:28,375 --> 00:13:30,911
[Shayla] Sorry, sort of my job.

177
00:13:31,713 --> 00:13:33,147
I'm a journalist.

178
00:13:33,581 --> 00:13:35,449
[Omar] What kind of reporting
do you do?

179
00:13:36,250 --> 00:13:38,185
[Shayla] Mostly arts
and culture.

180
00:13:38,319 --> 00:13:41,088
But lately, I've been doing
a lot of... profiles.

181
00:13:41,855 --> 00:13:46,093
I just covered the dethroning
of the British Royal Family.

182
00:13:46,827 --> 00:13:49,564
[male reporter] <i>This was the</i>
<i>moment Britain had been</i>
<i>waiting for,</i>

183
00:13:49,764 --> 00:13:51,165
<i>and they packed the pubs.</i>

184
00:13:51,298 --> 00:13:53,500
<i>Millions of televisions</i>
<i>in millions of homes</i>

185
00:13:53,635 --> 00:13:54,736
<i>were tuned in.</i>

186
00:13:54,935 --> 00:13:57,304
[male reporter 2
speaking indistinctly]

187
00:13:59,708 --> 00:14:01,008
Wild.

188
00:14:06,781 --> 00:14:08,583
Back at it again
at Krispy Kreme.

189
00:14:10,150 --> 00:14:12,252
[poignant music]

190
00:14:14,421 --> 00:14:15,989
-[host] <i>Sarah.</i>
-[Sarah] <i>Who is Chaka Khan?</i>

191
00:14:16,123 --> 00:14:17,324
-[chuckling]
-[host] <i>No.</i>

192
00:14:18,158 --> 00:14:19,527
-[coughing]
-[music stops]

193
00:14:22,196 --> 00:14:23,430
[music resumes]

194
00:14:32,674 --> 00:14:35,109
-And that's on BLKNWS.
-And that's on BLKNWS.

195
00:14:37,010 --> 00:14:39,514
[discordant music]

196
00:14:56,897 --> 00:14:57,931
[woman]

197
00:14:58,733 --> 00:15:00,702
<i>Dive into this world</i>
<i>of different colors.</i>

198
00:15:00,835 --> 00:15:03,203
<i>And I saw the world</i>
<i>in a different way.</i>

199
00:15:06,808 --> 00:15:09,076
<i>And so I see things</i>
<i>that other people do not.</i>

200
00:15:09,209 --> 00:15:10,944
[poignant music]

201
00:15:12,346 --> 00:15:14,148
<i>How do you get there?</i>

202
00:15:22,857 --> 00:15:24,626
<i>...everybody is kicking up?</i>

203
00:15:30,998 --> 00:15:32,966
<i>The only way out is in.</i>

204
00:15:41,975 --> 00:15:43,611
<i>Breathe.</i>

205
00:15:44,712 --> 00:15:45,946
[music fades]

206
00:15:48,917 --> 00:15:50,652
<i>You got your lunch in that box?</i>

207
00:15:51,886 --> 00:15:54,421
[girl] <i>Nope, not my lunch.</i>

208
00:15:55,489 --> 00:15:57,892
<i>I got my books. You wanna see?</i>

209
00:15:58,392 --> 00:16:00,728
[man] <i>Books? Yeah. Okay.</i>

210
00:16:05,432 --> 00:16:07,067
<i>The Souls of Black Folk.</i>

211
00:16:09,704 --> 00:16:12,674
I read that, too.
Where'd you get that?

212
00:16:13,106 --> 00:16:15,175
From Miss Andrews, my teacher.

213
00:16:15,610 --> 00:16:18,713
I didn't read all of it yet,
but I plan to.

214
00:16:19,848 --> 00:16:20,915
Got time.

215
00:16:21,114 --> 00:16:22,517
[speaking in native language]

216
00:16:34,829 --> 00:16:36,063
[driver]

217
00:16:56,851 --> 00:16:58,352
[jazz music]

218
00:16:58,485 --> 00:17:01,723
[man speaking French]

219
00:17:23,110 --> 00:17:24,746
[jazz music]

220
00:17:33,721 --> 00:17:34,756
[music continues]

221
00:17:53,407 --> 00:17:56,644
["To You With Love"
by The Moments plays]

222
00:18:25,305 --> 00:18:27,909
<i>♪ My love's so bold ♪</i>

223
00:18:28,042 --> 00:18:30,410
<i>♪ This ring that I hold ♪</i>

224
00:18:30,545 --> 00:18:34,314
<i>-♪ I give to you ♪</i>
<i>-♪ To you ♪</i>

225
00:18:34,448 --> 00:18:37,150
<i>♪ With love ♪</i>

226
00:18:38,853 --> 00:18:42,255
<i>♪ I walk up</i>
<i>To the preacher man ♪</i>

227
00:18:42,389 --> 00:18:45,359
<i>♪ Just to take</i>
<i>Your lovely hand ♪</i>

228
00:18:45,492 --> 00:18:48,261
<i>-♪ And give to you ♪</i>
-[man's voice echoing]
<i>Going into archives,</i>

229
00:18:48,896 --> 00:18:50,163
<i>what one finds</i>

230
00:18:50,632 --> 00:18:53,200
<i>is the incompleteness</i>
<i>of the archive.</i>

231
00:18:53,868 --> 00:18:55,435
<i>-♪ That's what I ♪</i>
<i>-One continually</i>

232
00:18:55,570 --> 00:18:57,304
<i>confronts the necessity</i>

233
00:18:57,572 --> 00:19:01,308
<i>of-- of supplementing</i>
<i>the historical record...</i>

234
00:19:01,441 --> 00:19:03,111
<i>♪ That's what I learned ♪</i>

235
00:19:03,243 --> 00:19:05,178
<i>...which is often</i>

236
00:19:05,513 --> 00:19:08,816
<i>not just incomplete but--</i>
<i>but repressive.</i>

237
00:19:09,483 --> 00:19:11,686
<i>The record is replete</i>
<i>with all these words</i>

238
00:19:11,819 --> 00:19:14,522
<i>that don't correspond</i>
<i>to the situation.</i>

239
00:19:14,889 --> 00:19:16,323
[rainfall]

240
00:19:21,395 --> 00:19:23,064
[music turns ethereal]

241
00:19:23,196 --> 00:19:24,431
[waves crashing]

242
00:19:29,403 --> 00:19:30,905
[man 2 clicks tongue]
Go! [smooches]

243
00:19:32,707 --> 00:19:34,374
[narrator]
<i>The story of the Nautica begins</i>

244
00:19:34,509 --> 00:19:35,777
<i>with Jonah Wells,</i>

245
00:19:36,343 --> 00:19:39,614
<i>the best-kept secret in the</i>
<i>Mississippi steamboat industry.</i>

246
00:19:40,548 --> 00:19:42,750
<i>He earned the name</i>
<i>by designing an auger</i>

247
00:19:42,884 --> 00:19:46,521
<i>that halved the time</i>
<i>it took to dig a well in 1792.</i>

248
00:19:47,922 --> 00:19:51,125
<i>Over the next several years,</i>
<i>his master, John A. Quitman,</i>

249
00:19:51,258 --> 00:19:54,394
<i>maintained a healthy</i>
<i>side business loaning Jonah out</i>

250
00:19:54,529 --> 00:19:56,798
<i>to his Natchez, Mississippi,</i>
<i>neighbors.</i>

251
00:19:57,431 --> 00:19:59,167
[bell ringing]

252
00:19:59,332 --> 00:20:01,803
<i>One day, Quitman received</i>
<i>a visit from a boatman</i>

253
00:20:01,936 --> 00:20:03,838
<i>raving about</i>
<i>how Wells' suggestions</i>

254
00:20:03,971 --> 00:20:06,239
<i>had significantly improved</i>
<i>his steamboat's</i>

255
00:20:06,373 --> 00:20:07,875
<i>power-to-weight ratio.</i>

256
00:20:12,747 --> 00:20:15,315
<i>Though unlettered,</i>
<i>Jonah's engineering genius</i>

257
00:20:15,449 --> 00:20:17,785
<i>extended</i>
<i>far beyond well-digging.</i>

258
00:20:19,419 --> 00:20:22,056
<i>And on that night in 1809...</i>

259
00:20:23,191 --> 00:20:26,160
<i>...the Mississippi River Boat</i>
<i>Company was born.</i>

260
00:20:26,393 --> 00:20:27,895
[ship horn blasting]

261
00:20:31,599 --> 00:20:33,668
<i>And for the next 100 years,</i>

262
00:20:33,801 --> 00:20:36,504
<i>the Wells family knack</i>
<i>was at its heart.</i>

263
00:20:38,139 --> 00:20:39,607
<i>Ibrahim Chester Wells</i>

264
00:20:40,141 --> 00:20:43,376
<i>joined this proud,</i>
<i>yet shrouded, legacy</i>

265
00:20:43,511 --> 00:20:46,047
<i>on April 25, 1895,</i>

266
00:20:46,180 --> 00:20:48,850
<i>from the shop floor of the MRC.</i>

267
00:20:50,685 --> 00:20:53,154
<i>Wells' world was</i>
<i>disrupted in 1917</i>

268
00:20:53,721 --> 00:20:56,323
<i>when Woodrow Wilson declared</i>
<i>the United States' entry</i>

269
00:20:56,456 --> 00:20:57,825
<i>into World War I.</i>

270
00:20:58,826 --> 00:21:02,395
<i>And Ibrahim, then 22,</i>
<i>enlisted in the Navy.</i>

271
00:21:03,931 --> 00:21:07,034
<i>After the war, Ibrahim stayed</i>
<i>in Washington, DC,</i>

272
00:21:07,168 --> 00:21:08,936
<i>and enrolled</i>
<i>in Howard University</i>

273
00:21:09,070 --> 00:21:10,805
<i>as a mechanical engineering</i>
<i>student</i>

274
00:21:10,938 --> 00:21:13,406
<i>for the spring semester of</i>
<i>1919.</i>

275
00:21:18,880 --> 00:21:21,048
<i>The following summer,</i>
<i>Ibrahim purchased</i>

276
00:21:21,182 --> 00:21:23,251
<i>a one-way ticket</i>
<i>to Harlem, New York...</i>

277
00:21:24,152 --> 00:21:26,187
<i>...to attend</i>
<i>Marcus Garvey's convention</i>

278
00:21:26,353 --> 00:21:29,524
<i>of the Universal</i>
<i>Negro Improvement Association.</i>

279
00:21:34,294 --> 00:21:38,298
<i>Garvey, the founder and first</i>
<i>President-General of the UNIA,</i>

280
00:21:38,866 --> 00:21:40,668
<i>advocated for Black separation</i>

281
00:21:41,269 --> 00:21:43,204
<i>and pushed supporters</i>
<i>to return to Africa</i>

282
00:21:43,336 --> 00:21:46,306
<i>in order to form</i>
<i>self-governing Black nations</i>

283
00:21:46,439 --> 00:21:47,742
<i>on the continent.</i>

284
00:21:48,543 --> 00:21:50,645
<i>He'd even begun</i>
<i>acquiring ships</i>

285
00:21:50,878 --> 00:21:52,980
<i>operated under</i>
<i>the name Black Star Line</i>

286
00:21:53,114 --> 00:21:54,949
<i>with the intention</i>
<i>of providing transport</i>

287
00:21:55,082 --> 00:21:57,317
<i>to those wishing</i>
<i>to make the journey.</i>

288
00:21:58,953 --> 00:22:02,523
<i>Thousands lined the streets</i>
<i>of Harlem to see Garvey speak.</i>

289
00:22:03,356 --> 00:22:05,259
[film projector whirring]

290
00:22:06,326 --> 00:22:09,964
<i>Lottie Selene Davis, a native</i>
<i>of Biloxi, Mississippi,</i>

291
00:22:10,097 --> 00:22:13,067
<i>also traveled to New York</i>
<i>to see the parade.</i>

292
00:22:15,803 --> 00:22:18,438
<i>Ibrahim and Lottie would be</i>
<i>married six weeks later.</i>

293
00:22:18,573 --> 00:22:20,608
[gentle music]

294
00:22:57,311 --> 00:22:59,347
[female announcer]
<i>Welcome onboard the Nautica,</i>

295
00:22:59,479 --> 00:23:01,916
<i>the only company in the world</i>
<i>with direct routes</i>

296
00:23:02,049 --> 00:23:05,052
<i>from West Africa</i>
<i>to the Caribbean and Brazil.</i>

297
00:23:06,354 --> 00:23:09,389
<i>Whether this is your first,</i>
<i>10th, or even 20th</i>

298
00:23:09,523 --> 00:23:10,524
<i>cruise with us,</i>

299
00:23:10,658 --> 00:23:12,226
<i>our friendly staff, crew,</i>

300
00:23:12,360 --> 00:23:14,028
<i>and officers are here to help</i>

301
00:23:14,161 --> 00:23:17,999
<i>as you get to know Nautica,</i>
<i>your home away from home.</i>

302
00:23:20,067 --> 00:23:23,804
[woman] <i>The sea made me</i>
<i>immediately feel at home.</i>

303
00:23:23,938 --> 00:23:27,308
<i>I really didn't know</i>
<i>what to expect. Eh--</i>

304
00:23:27,440 --> 00:23:30,578
<i>You know, I had these,</i>
<i>like, crazy images,</i>

305
00:23:30,711 --> 00:23:32,813
<i>and then when I came,</i>
<i>it was just--</i>

306
00:23:33,247 --> 00:23:37,752
<i>it was like,</i>
<i>"Wow, a whole new world."</i>

307
00:23:38,219 --> 00:23:40,588
[female announcer] <i>Once again,</i>
<i>thank you for joining us.</i>

308
00:23:40,721 --> 00:23:43,624
<i>-Have a wonderful journey.</i>
-[music continues]

309
00:23:43,758 --> 00:23:45,425
[female announcer 2]
<i>Please welcome on board</i>

310
00:23:45,559 --> 00:23:47,061
<i>those passengers that have</i>

311
00:23:47,194 --> 00:23:48,229
<i>just boarded</i>

312
00:23:48,362 --> 00:23:49,964
<i>here in Garveyville, Jamaica.</i>

313
00:23:50,598 --> 00:23:52,700
<i>As we finish up</i>
<i>the boarding process,</i>

314
00:23:52,833 --> 00:23:55,503
<i>we will begin our preparations</i>
<i>for our departures</i>

315
00:23:55,636 --> 00:23:57,772
<i>and our transatlantic journey.</i>

316
00:23:59,774 --> 00:24:01,474
-[speaking in native language]
-[female announcer 2]
<i>For all those</i>

317
00:24:01,609 --> 00:24:03,110
<i>on this ship, welcome.</i>

318
00:24:03,411 --> 00:24:04,779
<i>We will be departing for Accra</i>

319
00:24:04,912 --> 00:24:07,114
<i>in approximately one hour.</i>

320
00:24:07,480 --> 00:24:09,449
Hi. Um...

321
00:24:09,817 --> 00:24:13,187
can I speak
to Funmilayo Akechukwu?

322
00:24:13,854 --> 00:24:16,123
Um, her office was supposed
to contact me.

323
00:24:17,091 --> 00:24:18,292
I'm a journalist.

324
00:24:18,426 --> 00:24:20,561
I'm sorry. Funmilayo is

325
00:24:20,695 --> 00:24:22,462
unavailable for the time being.

326
00:24:23,030 --> 00:24:24,497
There's been an urgent matter.

327
00:24:25,099 --> 00:24:26,968
Is there anyone else
I can talk to?

328
00:24:27,101 --> 00:24:29,103
Should I wait
for her here, or...?

329
00:24:29,236 --> 00:24:31,806
Uh-- [sighs]
She's my only contact.

330
00:24:32,106 --> 00:24:34,308
I'm writing a story
about the art exhibition.

331
00:24:34,809 --> 00:24:36,243
For the New York Times.

332
00:24:36,377 --> 00:24:38,813
-Let me see what I can do.
-[Shayla] Thank you.

333
00:24:38,946 --> 00:24:40,214
[female announcer 2]
<i>Seating will be li--</i>

334
00:24:46,153 --> 00:24:47,254
Drink.

335
00:24:47,555 --> 00:24:49,223
[indistinct chatter
in background]

336
00:24:59,533 --> 00:25:00,768
[cups clink]

337
00:25:07,908 --> 00:25:11,245
-[birds chirping]
-[dramatic music]

338
00:25:12,780 --> 00:25:16,650
There once was a woman,
enslaved woman,

339
00:25:17,284 --> 00:25:19,787
born in what
we now call Nigeria.

340
00:25:20,955 --> 00:25:23,758
She was stolen
and taken to the Americas

341
00:25:23,891 --> 00:25:26,193
for a life
of back-breaking labor,

342
00:25:26,327 --> 00:25:27,728
a life of enclosure.

343
00:25:28,295 --> 00:25:30,631
But she was one
of the lucky ones.

344
00:25:31,132 --> 00:25:36,771
After some time, she managed
to buy her way back to Africa.

345
00:25:37,972 --> 00:25:40,274
She crossed this ocean,

346
00:25:41,375 --> 00:25:42,877
first in chains

347
00:25:43,010 --> 00:25:45,579
and then
with her freedom fully intact.

348
00:25:47,114 --> 00:25:49,984
Each time she took the voyage,
she listened...

349
00:25:50,785 --> 00:25:52,521
...and everything these waters
taught her

350
00:25:52,653 --> 00:25:54,922
she passed down
to her descendants,

351
00:25:55,056 --> 00:25:58,325
including her granddaughter,
for whom I am named

352
00:25:58,659 --> 00:26:00,461
Funmilayo Ransome-Kuti,

353
00:26:00,928 --> 00:26:02,997
a ferocious global organizer

354
00:26:03,130 --> 00:26:05,800
for equity and women's rights...

355
00:26:07,334 --> 00:26:09,603
...mother of Fela Kuti...

356
00:26:11,572 --> 00:26:14,241
...and aunt to Wole Soyinka.

357
00:26:16,710 --> 00:26:17,845
Have you heard of her?

358
00:26:17,978 --> 00:26:21,248
Um... No, I don't think so.

359
00:26:21,482 --> 00:26:22,716
[gentle music]

360
00:26:24,285 --> 00:26:26,521
A journalist who is asking to
speak to you.

361
00:26:26,687 --> 00:26:28,189
Tell her I am unavailable.

362
00:26:28,322 --> 00:26:30,157
Of course...
[speaks foreign language]

363
00:26:30,291 --> 00:26:31,826
Thank you.

364
00:26:38,199 --> 00:26:40,134
Have you seen
the art on the boat?

365
00:26:40,901 --> 00:26:42,169
[woman] Mm-hmm.

366
00:26:42,504 --> 00:26:44,271
It's my job to put it there.

367
00:26:46,807 --> 00:26:48,275
This exhibition...

368
00:26:49,677 --> 00:26:52,480
...is a mix of
contemporary art...

369
00:26:53,280 --> 00:26:55,983
...from all over
the Trans Atlantic...

370
00:27:03,390 --> 00:27:07,027
...and a collection of pieces
that are very old.

371
00:27:13,634 --> 00:27:15,302
Artifacts that long ago

372
00:27:15,436 --> 00:27:17,705
were alienated
from the communities

373
00:27:17,838 --> 00:27:19,340
they were intended to serve.

374
00:27:19,574 --> 00:27:21,175
[eerie music]

375
00:27:22,109 --> 00:27:24,011
As they travel back
to the continent

376
00:27:24,145 --> 00:27:26,515
for the first time
since they were stolen,

377
00:27:26,814 --> 00:27:29,316
they are beginning
to recalibrate.

378
00:27:31,085 --> 00:27:35,356
You see, some artworks
need to be fed,

379
00:27:35,789 --> 00:27:37,658
each in their own way.

380
00:27:41,462 --> 00:27:43,898
[music builds up]

381
00:27:46,867 --> 00:27:50,304
All of those lessons
that that woman

382
00:27:50,437 --> 00:27:54,942
passed down from the waters
to her descendants...

383
00:27:56,310 --> 00:27:59,180
...they suggest that there is
a section in the ocean.

384
00:28:03,817 --> 00:28:05,587
A resonance field.

385
00:28:05,719 --> 00:28:06,954
[music continues]

386
00:28:09,658 --> 00:28:11,458
[deep rumble]

387
00:28:30,612 --> 00:28:32,479
[music fades]

388
00:28:39,420 --> 00:28:41,789
[creaking]

389
00:28:55,803 --> 00:28:57,104
I'm glad you're here.

390
00:28:57,304 --> 00:28:58,872
[solemn music]

391
00:29:02,243 --> 00:29:03,978
I believe you
and your grandmother

392
00:29:04,111 --> 00:29:06,347
were meant to join us
on this journey.

393
00:29:08,650 --> 00:29:10,351
I wish you both well...

394
00:29:11,785 --> 00:29:13,020
...in this life...

395
00:29:14,989 --> 00:29:16,824
...your past lives...

396
00:29:19,661 --> 00:29:20,995
...and the next.

397
00:29:35,042 --> 00:29:36,910
-[music continues]
-[inaudible]

398
00:29:45,754 --> 00:29:47,288
[both chuckle]

399
00:29:47,689 --> 00:29:51,191
Why do you love me?
That's a simple question.

400
00:29:51,325 --> 00:29:54,028
[blows raspberry]
It is a simple question,

401
00:29:54,161 --> 00:29:55,996
-but it ain't a simple answer.
-[chuckles]

402
00:29:56,731 --> 00:29:57,965
Uh...

403
00:30:02,102 --> 00:30:04,338
...because of how you love me.

404
00:30:04,905 --> 00:30:06,508
It's a very...

405
00:30:07,509 --> 00:30:08,543
...uh...

406
00:30:09,810 --> 00:30:11,045
[man sniffles]

407
00:30:11,646 --> 00:30:13,314
[woman chuckles] Don't cry.

408
00:30:13,715 --> 00:30:16,250
[man's voice breaking]
It's a very spiritual love.

409
00:30:16,383 --> 00:30:17,619
Uh...

410
00:30:17,951 --> 00:30:21,088
I've been through a lot,
and, uh,

411
00:30:21,221 --> 00:30:24,925
you never see me for what
I've been through, you know?

412
00:30:25,059 --> 00:30:28,730
You see me for the best
that I give to the world

413
00:30:28,862 --> 00:30:30,831
and I give to my family.

414
00:30:32,099 --> 00:30:33,568
And when, uh...

415
00:30:35,336 --> 00:30:37,739
...everything starts
to weigh on me,

416
00:30:38,105 --> 00:30:39,708
you kinda, y-- you know,

417
00:30:40,207 --> 00:30:42,544
you breathe life back into me,
I don't know.

418
00:30:42,711 --> 00:30:44,044
That's why I love you.

419
00:30:44,445 --> 00:30:46,246
I love you because you're you.

420
00:30:47,114 --> 00:30:49,249
I love you because you're you...

421
00:30:50,652 --> 00:30:51,653
to me, you know?

422
00:30:51,786 --> 00:30:53,454
I ju-- I just love you because

423
00:30:53,588 --> 00:30:55,422
you're-- you're a gift...

424
00:30:56,190 --> 00:30:58,593
...that I get to experience
in this life...

425
00:31:00,127 --> 00:31:03,798
...until I don't anymore,
until I meet you again,

426
00:31:04,431 --> 00:31:06,601
and I'm the woman,
and you're the man.

427
00:31:06,735 --> 00:31:09,203
-Don't do that. [chuckles]
-You know? So...

428
00:31:10,037 --> 00:31:11,438
that's why I love you.

429
00:31:11,573 --> 00:31:13,040
It's-- it's--

430
00:31:13,775 --> 00:31:15,342
This thing was, uh--

431
00:31:15,777 --> 00:31:17,512
it's God-engineering,

432
00:31:18,045 --> 00:31:20,881
so... it's perfect.

433
00:31:21,549 --> 00:31:23,852
-Oh, babe.
-[man 2] Y'all gon' make me cry.

434
00:31:23,984 --> 00:31:25,620
[woman's laugh echoes]

435
00:31:26,621 --> 00:31:28,989
[music continues]

436
00:31:38,265 --> 00:31:42,771
-[wind blowing]
-[thunder rumbling]

437
00:31:42,903 --> 00:31:45,005
Do you ever remember the future?

438
00:31:46,541 --> 00:31:48,175
[thunderclaps]

439
00:31:52,747 --> 00:31:55,683
A philosopher or a scientist?

440
00:31:55,817 --> 00:31:58,051
Wait, no. A mystic?

441
00:31:58,686 --> 00:32:02,724
-An oceanographer.
-Oh, an oceanographer.

442
00:32:02,857 --> 00:32:05,058
[thunder rumbling]

443
00:32:05,627 --> 00:32:08,696
You still haven't
answered my question.

444
00:32:09,864 --> 00:32:12,332
Do I remember the future?

445
00:32:16,671 --> 00:32:18,439
I remember the past.

446
00:32:18,573 --> 00:32:20,642
[nostalgic music]

447
00:32:36,023 --> 00:32:37,525
[Funmilayo] <i>It was 1892.</i>

448
00:32:37,659 --> 00:32:40,093
<i>I had just arrived</i>
<i>in Philadelphia.</i>

449
00:32:58,646 --> 00:33:00,214
<i>I was eager</i>
<i>to begin a life work</i>

450
00:33:00,347 --> 00:33:01,716
<i>leading to the emancipation</i>

451
00:33:01,850 --> 00:33:03,484
<i>of the American Negro.</i>

452
00:33:04,686 --> 00:33:06,420
[music continues]

453
00:33:13,595 --> 00:33:16,497
<i>I believed the world</i>
<i>was thinking wrong about race.</i>

454
00:33:25,673 --> 00:33:28,208
<i>And I was confident</i>
<i>I would change their mind.</i>

455
00:33:31,411 --> 00:33:33,146
<i>I hardly knew</i>
<i>what was important.</i>

456
00:33:33,280 --> 00:33:34,516
[music fades]

457
00:33:35,015 --> 00:33:37,417
[orchestral music]

458
00:33:52,466 --> 00:33:55,970
Do you feel safe in your body
and in the street?

459
00:33:56,203 --> 00:33:58,105
-Yes, I do.
-So, for those of you

460
00:33:58,238 --> 00:34:00,909
who are uncomfortable, who don't
want to hear

461
00:34:01,041 --> 00:34:02,644
a positive message...

462
00:34:03,845 --> 00:34:05,713
[people screaming]

463
00:34:14,421 --> 00:34:16,758
[woman] Motherfucker
just took my money.

464
00:34:22,362 --> 00:34:24,197
[music continues faintly]

465
00:34:32,907 --> 00:34:35,075
[distant chatter]

466
00:34:39,212 --> 00:34:42,115
[Funmilayo] <i>The Boli function,</i>
<i>not unlike nuclear reactors...</i>

467
00:34:42,884 --> 00:34:46,320
<i>...when grounded, they gather</i>
<i>and harness energy...</i>

468
00:34:47,254 --> 00:34:49,857
<i>...then disperse it</i>
<i>for the good of its people.</i>

469
00:34:49,991 --> 00:34:51,425
[rhythmic music]

470
00:34:51,726 --> 00:34:54,729
<i>Boli consumed and shared</i>
<i>the abundant life force</i>

471
00:34:54,862 --> 00:34:56,096
<i>called nyama,</i>

472
00:34:56,731 --> 00:35:00,367
<i>found in sacrificial materials</i>
<i>such as animal blood,</i>

473
00:35:01,101 --> 00:35:05,138
<i>wine, honey, kola nuts,</i>

474
00:35:05,339 --> 00:35:06,941
<i>grains and vegetables.</i>

475
00:35:07,107 --> 00:35:09,176
[indistinct whispering]

476
00:35:24,257 --> 00:35:25,727
[music continues]

477
00:35:32,634 --> 00:35:33,668
[beep]

478
00:35:37,605 --> 00:35:38,673
[beeping]

479
00:35:48,315 --> 00:35:50,217
And she was rude for the--
Watch it!

480
00:35:52,486 --> 00:35:53,755
[indistinct whispering]

481
00:36:00,394 --> 00:36:02,664
[muffled indistinct chatter]

482
00:36:05,365 --> 00:36:06,601
[music continues]

483
00:36:15,843 --> 00:36:17,444
-[music stops]
-[female announcer]
<i>...morning process.</i>

484
00:36:17,612 --> 00:36:19,047
<i>We will begin our preparations</i>

485
00:36:19,179 --> 00:36:20,313
<i>for our departure</i>

486
00:36:20,447 --> 00:36:22,215
<i>And our transatlantic voyage,</i>

487
00:36:22,349 --> 00:36:24,052
<i>and to our final destination</i>

488
00:36:24,184 --> 00:36:25,419
<i>in Africa.</i>

489
00:36:25,553 --> 00:36:27,689
<i>For all those on the ship,</i>
<i>welcome.</i>

490
00:36:27,822 --> 00:36:31,826
<i>We will be departing for Africa</i>
<i>in approximately one hour.</i>

491
00:36:48,142 --> 00:36:50,511
<i>...Atlantic voyage,</i>
<i>and to our final...</i>

492
00:36:50,645 --> 00:36:52,714
[Funmilayo]
<i>Think of it as a data set.</i>

493
00:36:52,847 --> 00:36:53,881
[mechanical hum]

494
00:36:54,015 --> 00:36:55,248
[eerie ambience]

495
00:37:10,898 --> 00:37:13,266
["Black Balloons Reprise
(Instrumental)" plays]

496
00:37:13,467 --> 00:37:17,538
<i>♪ Let's take a nice</i>
<i>Deep breath ♪</i>

497
00:37:23,310 --> 00:37:25,245
<i>♪ Now, as you can exhale ♪</i>

498
00:37:29,617 --> 00:37:32,653
<i>♪ Respect yourself, relax ♪</i>

499
00:37:37,558 --> 00:37:41,796
<i>♪ Relax by yourself, relax ♪</i>

500
00:37:46,266 --> 00:37:50,470
<i>♪ Let's take a nice</i>
<i>Deep breath ♪</i>

501
00:37:51,606 --> 00:37:53,141
[distant distorted conversation]

502
00:37:53,641 --> 00:37:56,409
-[man] This is a very touching
moment. Really touching.
-[knock on door]

503
00:37:56,944 --> 00:37:59,580
[Whitney Houston]
<i>♪ Were so gallantly streaming ♪</i>

504
00:37:59,714 --> 00:38:01,348
She's blowing the hell
out of this.

505
00:38:01,983 --> 00:38:04,484
<i>-♪ And the rockets'... ♪</i>
-[knock on door]

506
00:38:04,619 --> 00:38:06,788
She just reached down there
and got it. That's it--

507
00:38:06,921 --> 00:38:09,123
-Sing it, baby. Whoo!
-She can sing her ass off.

508
00:38:09,257 --> 00:38:11,424
-I ain't bullshittin'.
-[knocking continues]

509
00:38:11,559 --> 00:38:13,261
[door opens]

510
00:38:13,661 --> 00:38:16,197
[Du Bois]
Sir, I'm conducting a survey

511
00:38:16,329 --> 00:38:17,632
on the Negro.

512
00:38:18,266 --> 00:38:19,734
[door closes]

513
00:38:19,867 --> 00:38:21,002
[distant chatter]

514
00:38:32,547 --> 00:38:34,347
[knocks on door]

515
00:38:36,449 --> 00:38:37,484
[door opens]

516
00:38:37,819 --> 00:38:40,988
Good evening, ma'am.
I'm Dr. Du Bois,

517
00:38:41,222 --> 00:38:44,225
a professor at the University
of Pennsylvania,

518
00:38:44,357 --> 00:38:47,962
and I'm conducting a survey
on Negro life in the city.

519
00:38:48,495 --> 00:38:50,631
Would you mind answering
a few questions?

520
00:38:51,098 --> 00:38:53,366
[woman] I'm not certain
what I could tell you.

521
00:38:53,534 --> 00:38:55,036
I just arrived not too long ago.

522
00:38:55,169 --> 00:38:56,904
Other folks could probably
tell you better.

523
00:38:57,038 --> 00:39:00,241
[Du Bois] My goal is to
interview everyone in the ward.

524
00:39:00,508 --> 00:39:02,310
When all the stories
are collected

525
00:39:02,442 --> 00:39:03,778
and all the facts are gathered

526
00:39:03,911 --> 00:39:06,647
I will have an accurate
and complete picture

527
00:39:06,781 --> 00:39:09,817
of the circumstances
of Negroes in the city.

528
00:39:10,251 --> 00:39:11,786
-You understand?
-[woman] Yes.

529
00:39:11,919 --> 00:39:13,888
Will things get better
after your study?

530
00:39:14,021 --> 00:39:15,623
[Du Bois] I hope so.

531
00:39:16,423 --> 00:39:18,025
[woman chuckles]

532
00:39:18,759 --> 00:39:20,294
Please, have a seat.

533
00:39:20,828 --> 00:39:23,998
I am Sarah.
This is Lady and Jacob.

534
00:39:24,131 --> 00:39:25,566
Lady, this is Dr. Du Boi--

535
00:39:25,700 --> 00:39:28,836
So... you're
the siddity professor.

536
00:39:29,971 --> 00:39:32,874
[Sarah] Would you like a glass
of water or tea or lemonade?

537
00:39:33,007 --> 00:39:35,243
[Du Bois] A glass of water
would be most welcome.

538
00:39:35,375 --> 00:39:36,677
[ethereal music]

539
00:39:36,911 --> 00:39:38,813
[Du Bois]
The problem lay before me.

540
00:39:40,882 --> 00:39:44,986
I studied it personally
and not by prox.

541
00:39:46,821 --> 00:39:48,990
How many people reside
in the home?

542
00:39:50,758 --> 00:39:53,027
Three or four, sometimes five.

543
00:39:53,160 --> 00:39:54,862
Friends stay here
when they need a place,

544
00:39:54,996 --> 00:39:56,396
or when we need help
with the rent--

545
00:39:56,530 --> 00:39:57,531
[Du Bois] You take in lodgers?

546
00:39:57,665 --> 00:39:59,967
No. Friends.

547
00:40:00,101 --> 00:40:01,168
[scribbling]

548
00:40:01,501 --> 00:40:02,536
[Du Bois]
What is your relation to

549
00:40:02,670 --> 00:40:03,671
the head of the household?

550
00:40:03,804 --> 00:40:06,274
Head of household? That's me.

551
00:40:06,741 --> 00:40:09,844
Lady is older, but I'm the one
who found the place.

552
00:40:10,077 --> 00:40:11,112
[scribbling]

553
00:40:13,047 --> 00:40:15,917
[Du Bois]
Age at most recent birthday?

554
00:40:16,183 --> 00:40:18,519
-21.
-I am 26.

555
00:40:18,886 --> 00:40:21,222
Don't you wanna know about my
relation to the head of the
household?

556
00:40:21,355 --> 00:40:22,657
He already knows.

557
00:40:22,790 --> 00:40:24,191
-You're my sister--
-Sibling.

558
00:40:25,293 --> 00:40:26,360
[scribbling]

559
00:40:26,493 --> 00:40:27,895
Sister.

560
00:40:31,032 --> 00:40:35,435
[Du Bois] Married, widowed,
divorced, separated, single?

561
00:40:36,537 --> 00:40:37,571
Separated.

562
00:40:37,939 --> 00:40:41,075
I'm drifting between categories.

563
00:40:41,275 --> 00:40:43,476
[Du Bois] And do you know
the whereabouts of your husband?

564
00:40:43,978 --> 00:40:45,913
He might be alive or dead.

565
00:40:46,180 --> 00:40:47,648
[scribbling]

566
00:40:47,782 --> 00:40:49,016
[music continues]

567
00:40:54,956 --> 00:40:57,490
[Du Bois] How long have you been
at this residence?

568
00:40:57,792 --> 00:40:59,026
Three months.

569
00:40:59,527 --> 00:41:01,461
We've had to move around a lot.

570
00:41:01,796 --> 00:41:03,597
Once landlords rent to Negroes,

571
00:41:03,731 --> 00:41:05,266
they raise the rent
and the place run down.

572
00:41:05,399 --> 00:41:08,669
We had a grand row house
over there at Chestnut Street,

573
00:41:08,803 --> 00:41:11,605
but we grew lonely and decided
to seek the company of other
Negroes.

574
00:41:11,739 --> 00:41:14,442
-Isn't it obvious?
-[Du Bois] I do realize that
many think

575
00:41:14,575 --> 00:41:16,711
my gaze is directed
at the wrong race,

576
00:41:16,844 --> 00:41:18,846
-[Lady] Hm...
-but I do sincerely believe

577
00:41:19,146 --> 00:41:22,817
that this is a chance
to study Black folk.

578
00:41:23,551 --> 00:41:25,686
To create a portrait of the race

579
00:41:25,820 --> 00:41:27,288
that will show exactly

580
00:41:27,421 --> 00:41:29,323
what our place is
in the community.

581
00:41:29,457 --> 00:41:30,490
[Lady scoffs]

582
00:41:30,624 --> 00:41:31,625
The bottom.

583
00:41:31,759 --> 00:41:33,327
That much is obvious.

584
00:41:33,461 --> 00:41:35,495
[Du Bois] Why? But how?

585
00:41:36,097 --> 00:41:38,366
What are the plexus
of social problems,

586
00:41:38,498 --> 00:41:43,471
some new, some old,
some simple, some complex,

587
00:41:43,604 --> 00:41:45,106
that engulf Negro life.

588
00:41:45,639 --> 00:41:47,141
[indistinct]

589
00:41:47,274 --> 00:41:49,143
[voice getting distant]
A whole group of problems

590
00:41:49,276 --> 00:41:52,480
amass around us and what
do they have in common?

591
00:41:52,613 --> 00:41:55,316
Where to next? The object...

592
00:41:56,183 --> 00:41:59,787
So that's it?
That's your grand theory,

593
00:41:59,920 --> 00:42:02,857
that Negroes are
plagued with problems?

594
00:42:03,624 --> 00:42:06,961
Well, shit. Call me Dr. Lady.

595
00:42:07,595 --> 00:42:10,297
[Du Bois] Well...
what do you propose?

596
00:42:11,766 --> 00:42:13,701
[Lady] We've only had a problem.

597
00:42:13,834 --> 00:42:16,070
-Evil-eyed folks.
-[Du Bois] Color prejudiced?

598
00:42:16,203 --> 00:42:19,206
[Lady chuckles]
No. Something stronger.

599
00:42:19,974 --> 00:42:22,943
Hatred,
it makes your skin crawl.

600
00:42:23,244 --> 00:42:26,113
Makes you wonder how anyone
could treat a person like that.

601
00:42:27,448 --> 00:42:30,151
[Du Bois] It touches every
aspect of life, and death.

602
00:42:30,519 --> 00:42:36,057
It threatens our homes,
our children... our hopes.

603
00:42:36,357 --> 00:42:37,691
[music turns dramatic]

604
00:42:39,093 --> 00:42:41,162
[Funmilayo]
<i>All I needed were the facts.</i>

605
00:42:43,397 --> 00:42:44,565
<i>I thought the scientific method</i>

606
00:42:44,698 --> 00:42:45,766
<i>might prove robust enough</i>

607
00:42:45,900 --> 00:42:47,601
<i>to solve the problem.</i>

608
00:42:49,603 --> 00:42:51,105
<i>I was a fool then.</i>

609
00:42:53,374 --> 00:42:56,110
<i>I had not read enough Marx</i>
<i>and Freud to know better.</i>

610
00:42:58,479 --> 00:43:01,649
<i>I visited and talked</i>
<i>with 5000 persons.</i>

611
00:43:03,184 --> 00:43:07,188
<i>835 hours of Negroes</i>
<i>reflecting on their conditions.</i>

612
00:43:09,290 --> 00:43:11,859
<i>This is the moment</i>
<i>when the ghetto emerges.</i>

613
00:43:14,095 --> 00:43:16,565
<i>This racialized enclosure</i>
<i>will define Black life</i>

614
00:43:16,697 --> 00:43:17,998
<i>for the next century.</i>

615
00:43:18,599 --> 00:43:19,834
[motorcycle revving]

616
00:43:23,471 --> 00:43:25,172
[helicopter blades whirring]

617
00:43:26,874 --> 00:43:29,210
[music continues]

618
00:43:43,525 --> 00:43:45,226
[white noise]

619
00:43:51,499 --> 00:43:53,535
[man speaking indistinctly
over radio]

620
00:43:53,667 --> 00:43:57,638
[man 2 on radio] <i>Oh, got him!</i>
[laughs] <i>Whoo-hoo!</i>

621
00:43:57,771 --> 00:44:00,609
[men speaking indistinctly
over radio]

622
00:44:01,610 --> 00:44:04,145
[man 3 on radio] <i>There's a whole</i>
<i>fleet of 'em. Look on the ASA.</i>

623
00:44:05,146 --> 00:44:06,380
<i>My gosh.</i>

624
00:44:07,715 --> 00:44:11,252
<i>They're all going against</i>
<i>the wind. The wind's 120 knots</i>
<i>to the west.</i>

625
00:44:11,685 --> 00:44:13,287
<i>Look at that thing, dude.</i>

626
00:44:13,754 --> 00:44:15,990
[music turns gentle]

627
00:44:20,060 --> 00:44:21,295
[man] You know, art...

628
00:44:21,428 --> 00:44:23,164
And I don't want to
sort of, you know,

629
00:44:23,297 --> 00:44:26,967
[stuttering] fetishize, you
know, art and become patronizing

630
00:44:27,101 --> 00:44:28,903
the way we become patronizing

631
00:44:29,036 --> 00:44:30,371
you know, towards
art and artists,

632
00:44:30,505 --> 00:44:31,772
or-- it's-- it's--

633
00:44:31,906 --> 00:44:34,041
It's so lovely. It's so amazing.

634
00:44:34,175 --> 00:44:36,010
You know, it moves you,

635
00:44:36,143 --> 00:44:37,512
changes your entire perspective,

636
00:44:37,646 --> 00:44:39,013
which it does. I mean, it can,

637
00:44:39,146 --> 00:44:40,748
you know?
But I think it's really

638
00:44:40,881 --> 00:44:42,716
to bring it down
to the every day.

639
00:44:42,850 --> 00:44:46,353
This space between the spectator

640
00:44:46,487 --> 00:44:49,624
and the work of art
is a very important one.

641
00:44:49,790 --> 00:44:53,127
And I think we neglect
and ignore this all the time.

642
00:44:53,260 --> 00:44:55,262
It is not just simply
a frontal relationship

643
00:44:55,396 --> 00:44:57,431
standing between-- you know,
before a picture.

644
00:44:57,566 --> 00:45:01,802
You know, it's that,
you know, space in between.

645
00:45:02,803 --> 00:45:04,004
[loud thud]

646
00:45:04,673 --> 00:45:06,774
-Oh, oh!
-[loud thud]

647
00:45:06,907 --> 00:45:08,342
[metal clanking]

648
00:45:11,513 --> 00:45:14,882
[man 5] This art hurt me!
This art sucks!

649
00:45:15,015 --> 00:45:17,686
You're living a lie!
This art is terrible!

650
00:45:17,818 --> 00:45:19,820
[upbeat music playing]

651
00:45:22,489 --> 00:45:26,327
[male reporter] <i>BLKNWS would</i>
<i>like to take this moment to</i>
<i>remember the inimitable</i>

652
00:45:26,460 --> 00:45:29,664
<i>Okwui Enwezor.</i>
<i>Okwui is credited</i>

653
00:45:29,797 --> 00:45:30,831
<i>with pushing the art world</i>

654
00:45:30,965 --> 00:45:32,099
<i>to embrace an international,</i>

655
00:45:32,233 --> 00:45:33,901
<i>and specifically African,</i>

656
00:45:34,034 --> 00:45:36,403
<i>perspective of art</i>
<i>and art history.</i>

657
00:45:36,837 --> 00:45:39,340
<i>The Nigerian-born curator</i>
<i>is known for being</i>

658
00:45:39,473 --> 00:45:41,509
<i>the first person</i>
<i>of African descent</i>

659
00:45:41,643 --> 00:45:43,210
<i>to curate the Venice Biennale</i>

660
00:45:43,444 --> 00:45:46,380
<i>and the first non-European</i>
<i>to curate "Documenta,"</i>

661
00:45:46,514 --> 00:45:49,984
<i>widely considered the most</i>
<i>important art exhibition.</i>

662
00:45:50,951 --> 00:45:53,153
The Biennale, the exhibition

663
00:45:53,287 --> 00:45:56,757
was also part of a process
of thinking.

664
00:45:57,191 --> 00:46:00,160
And this process of thinking
had to do

665
00:46:00,494 --> 00:46:04,265
with what one could call
"the state of things."

666
00:46:04,498 --> 00:46:06,834
The state of things
around the world

667
00:46:07,234 --> 00:46:11,305
that demanded, not only just,
you know, response

668
00:46:11,438 --> 00:46:15,543
but also demanded
an analytical lens

669
00:46:15,677 --> 00:46:18,279
through which the exhibition

670
00:46:18,412 --> 00:46:21,815
can become a kind
of thinking machine.

671
00:46:22,751 --> 00:46:25,986
[gentle music]

672
00:46:35,963 --> 00:46:38,399
[female announcer] <i>Welcome</i>
<i>to the Shirley Du Bois suite.</i>

673
00:46:38,533 --> 00:46:41,703
<i>Your journey to Ghana is</i>
<i>two nights and three days.</i>

674
00:46:42,504 --> 00:46:44,639
<i>There is one stop</i>
<i>on your second day</i>

675
00:46:44,773 --> 00:46:46,508
<i>in Garveyville, New Jamaica,</i>

676
00:46:46,641 --> 00:46:50,177
<i>before heading to your final</i>
<i>destination in West Africa.</i>

677
00:46:50,679 --> 00:46:52,547
<i>For maximum comfort and safety,</i>

678
00:46:52,681 --> 00:46:55,416
<i>this vessel will travel</i>
<i>using graphene velocity</i>

679
00:46:55,617 --> 00:46:58,419
<i>guaranteeing the safest</i>
<i>and smoothest ride.</i>

680
00:47:02,791 --> 00:47:04,325
<i>For travel onboard the vessel,</i>

681
00:47:04,458 --> 00:47:06,327
<i>the extremely efficient</i>
<i>Hyperloop tubes</i>

682
00:47:06,460 --> 00:47:09,163
<i>are located at the end</i>
<i>of every corridor.</i>

683
00:47:11,800 --> 00:47:13,267
[sighing deeply]

684
00:47:18,372 --> 00:47:21,909
<i>A reading docent will stop by</i>
<i>your room before departure</i>

685
00:47:22,076 --> 00:47:23,645
<i>with a collection</i>
<i>of the latest books,</i>

686
00:47:23,778 --> 00:47:25,179
<i>magazines, and newspapers,</i>

687
00:47:25,312 --> 00:47:27,615
<i>free for all passengers</i>
<i>during the journey.</i>

688
00:47:29,883 --> 00:47:31,218
[sighs]

689
00:47:31,352 --> 00:47:32,853
<i>The Biennale exhibitions</i>

690
00:47:32,986 --> 00:47:34,121
<i>are open 24 hours</i>

691
00:47:34,254 --> 00:47:36,524
<i>and free for all passengers.</i>

692
00:47:36,658 --> 00:47:37,925
[sighs deeply]

693
00:47:39,293 --> 00:47:40,762
[whispers] Okay, okay.

694
00:47:40,894 --> 00:47:42,963
[deep rumbling]

695
00:47:44,064 --> 00:47:45,999
[waves crashing loudly]

696
00:47:53,440 --> 00:47:56,877
[music playing faintly
over speakers]

697
00:48:11,258 --> 00:48:12,560
[narrator 2 spelling]

698
00:48:32,946 --> 00:48:34,948
<i>Along the coastline</i>
<i>of the British Isles,</i>

699
00:48:35,149 --> 00:48:38,919
<i>Lloyd's Signal Stations watch</i>
<i>the ships of the world go by.</i>

700
00:48:39,286 --> 00:48:41,388
<i>Big ships</i>
<i>and little ships alike,</i>

701
00:48:41,523 --> 00:48:43,157
<i>their movements all recorded</i>

702
00:48:43,290 --> 00:48:44,826
<i>by the men</i>
<i>of the signal station.</i>

703
00:48:44,958 --> 00:48:47,127
[singer vocalizing]

704
00:48:53,467 --> 00:48:55,603
<i>Lloyd's, of course, occupies</i>
<i>a very important place</i>

705
00:48:55,737 --> 00:48:57,204
<i>in the shipping world.</i>

706
00:48:58,439 --> 00:49:00,207
<i>Important and unique.</i>

707
00:49:01,776 --> 00:49:04,077
<i>But the members of Lloyd's</i>
<i>don't build ships.</i>

708
00:49:05,145 --> 00:49:06,581
<i>They don't sail ships.</i>

709
00:49:07,247 --> 00:49:09,416
<i>They don't, as a rule,</i>
<i>own any ships.</i>

710
00:49:10,117 --> 00:49:11,318
[eerie music]

711
00:49:12,419 --> 00:49:14,823
<i>Lloyd's itself, as a body,</i>
<i>does not insure,</i>

712
00:49:14,955 --> 00:49:16,457
<i>but its members do.</i>

713
00:49:17,224 --> 00:49:19,493
<i>A broker, also</i>
<i>a subscriber to Lloyd's,</i>

714
00:49:19,828 --> 00:49:21,763
<i>has been instructed,</i>
<i>on behalf of the owners,</i>

715
00:49:21,896 --> 00:49:23,531
<i>to insure a ship's cargo.</i>

716
00:49:25,232 --> 00:49:26,634
<i>Before the underwriter</i>
<i>will issue</i>

717
00:49:26,768 --> 00:49:28,202
<i>an insurance policy</i>
<i>on the cargo,</i>

718
00:49:28,335 --> 00:49:29,336
<i>he must know something about</i>

719
00:49:29,470 --> 00:49:30,971
<i>the ship carrying the cargo.</i>

720
00:49:31,438 --> 00:49:32,874
<i>He'll look it up in the</i>
<i>register book of</i>

721
00:49:33,006 --> 00:49:35,275
<i>Lloyd's Register of Shipping,</i>
<i>which classifies</i>

722
00:49:35,409 --> 00:49:36,611
<i>all the ships of the world.</i>

723
00:49:37,010 --> 00:49:38,847
<i>They've approved</i>
<i>the workmanship at every stage</i>

724
00:49:38,979 --> 00:49:41,014
<i>in the ship's construction</i>
<i>down to the marking</i>

725
00:49:41,148 --> 00:49:42,316
<i>of the pencil line.</i>

726
00:49:42,584 --> 00:49:44,084
<i>Proof that when the vessel</i>
<i>is ready</i>

727
00:49:44,218 --> 00:49:46,119
<i>for sea, she is</i>
<i>thoroughly reliable</i>

728
00:49:46,253 --> 00:49:47,488
<i>and seaworthy.</i>

729
00:49:48,322 --> 00:49:50,123
<i>Worthy of the classification</i>
<i>given her</i>

730
00:49:50,257 --> 00:49:51,458
<i>in Lloyd's Register...</i>

731
00:49:54,896 --> 00:49:57,699
[Shayla] <i>The classification</i>
<i>of the ship allows for a more</i>
<i>accurate</i>

732
00:49:57,832 --> 00:49:59,534
<i>assessment of its risk.</i>

733
00:49:59,667 --> 00:50:00,702
[music continues]

734
00:50:02,804 --> 00:50:05,607
<i>Twist locks physically</i>
<i>secure goods in the hold...</i>

735
00:50:06,473 --> 00:50:09,544
<i>...locking them to the hull</i>
<i>and to each other.</i>

736
00:50:11,111 --> 00:50:12,747
[inaudible]

737
00:50:14,281 --> 00:50:15,850
<i>The certification</i>
<i>of lashing equipment</i>

738
00:50:15,984 --> 00:50:18,753
<i>is established to ensure</i>
<i>the value of the goods</i>

739
00:50:19,419 --> 00:50:21,990
<i>regardless</i>
<i>of their potential loss.</i>

740
00:50:22,122 --> 00:50:25,125
["Who I Am"
by Wiz Khalifa plays]

741
00:50:27,361 --> 00:50:29,296
<i>♪ Yeah ♪</i>

742
00:50:30,197 --> 00:50:31,733
<i>♪ You are now tuned in ♪</i>

743
00:50:31,866 --> 00:50:33,968
<i>♪ To W.E.E.D ♪</i>

744
00:50:34,501 --> 00:50:35,970
<i>♪ I am your host ♪</i>

745
00:50:36,638 --> 00:50:39,841
<i>♪ Mr. EZ Rider, ya dug? ♪</i>

746
00:50:40,474 --> 00:50:42,777
<i>♪ Always rollin' up</i>
<i>Back-to-back ♪</i>

747
00:50:43,277 --> 00:50:46,714
<i>♪ But right now we gon'</i>
<i>Take you on a smooth ride ♪</i>

748
00:50:47,281 --> 00:50:49,449
<i>♪ Straight outta the 412 ♪</i>

749
00:50:49,584 --> 00:50:51,619
<i>♪ My man Wiz Khalifa here ♪</i>

750
00:50:52,987 --> 00:50:56,056
<i>♪ Something y'all can</i>
<i>All sing along to ♪</i>

751
00:50:56,189 --> 00:50:58,760
<i>♪ I be rolling, rolling ♪</i>

752
00:50:58,893 --> 00:51:00,294
<i>♪ Riding, riding ♪</i>

753
00:51:00,427 --> 00:51:02,095
<i>♪ Oh, so fly ♪</i>

754
00:51:02,229 --> 00:51:03,865
<i>♪ I be so, so high ♪</i>

755
00:51:03,998 --> 00:51:06,166
<i>♪ She say</i>
<i>I'm that guy you wanna ♪</i>

756
00:51:06,300 --> 00:51:08,036
<i>♪ Ride with, ride with ♪</i>

757
00:51:08,168 --> 00:51:10,672
<i>♪ Like my car? Get inside it ♪</i>

758
00:51:10,805 --> 00:51:13,575
<i>♪ Inside it, inside it,</i>
<i>Inside it ♪</i>

759
00:51:13,708 --> 00:51:16,511
<i>♪ I don't blame you,</i>
<i>Everywhere I go ♪</i>

760
00:51:16,644 --> 00:51:19,047
<i>♪ All them hoes act</i>
<i>The same, too ♪</i>

761
00:51:19,179 --> 00:51:21,015
<i>♪ I don't wanna date you ♪</i>

762
00:51:21,148 --> 00:51:23,017
<i>♪ I just wanna take you home ♪</i>

763
00:51:23,150 --> 00:51:26,588
<i>♪ And do somethin' grown folks</i>
<i>Can relate to ♪</i>

764
00:51:26,721 --> 00:51:29,857
[man] To stop the destruction
of this magnificent planet,

765
00:51:29,991 --> 00:51:33,093
this conference is one of the
most important meetings

766
00:51:33,226 --> 00:51:34,294
in history.

767
00:51:34,428 --> 00:51:36,064
You have the chance

768
00:51:36,196 --> 00:51:38,498
to make decisions
and reach agreements

769
00:51:38,633 --> 00:51:41,134
which will affect the lives
of generations to come.

770
00:51:41,836 --> 00:51:45,039
You are in a position
of extraordinary power.

771
00:51:45,172 --> 00:51:46,340
[audience laughing]

772
00:51:46,473 --> 00:51:48,076
Anyway, it's great to be on

773
00:51:48,208 --> 00:51:50,511
television. I'm actually shocked

774
00:51:50,645 --> 00:51:52,981
'cause it ain't even
near Thanksgiving.

775
00:51:53,180 --> 00:51:55,516
-And, uh...
-[audience laughing]

776
00:51:55,650 --> 00:51:57,317
[applause]

777
00:51:59,954 --> 00:52:03,758
Or Earth Day, that's another
time they call me. Yeah...

778
00:52:04,993 --> 00:52:07,595
I grew up in Oneida, Wisconsin.

779
00:52:07,729 --> 00:52:11,633
You know, I could make a good
living going, uh, "B27..."

780
00:52:12,432 --> 00:52:14,969
[Charlie continues indistinctly]

781
00:52:15,335 --> 00:52:17,170
-[wind blowing]
-[gentle music]

782
00:52:33,755 --> 00:52:35,990
[Wole] For some of us,
from our society,

783
00:52:36,124 --> 00:52:38,458
where Christianity has intruded,

784
00:52:38,660 --> 00:52:43,230
not al-- always in very
positive, uh, ethical ways,

785
00:52:43,363 --> 00:52:46,968
intruded for the sole purpose,
very often

786
00:52:47,101 --> 00:52:48,703
of preparing the way,

787
00:52:48,836 --> 00:52:53,541
a kind of, eh, avant-garde
for the real stormtroopers

788
00:52:53,808 --> 00:52:56,077
of commerce, imperialism,
colonialism,

789
00:52:56,209 --> 00:52:58,713
exploitation, etc., etc.

790
00:52:58,913 --> 00:53:01,115
And the history
of Christianity in our society,

791
00:53:01,248 --> 00:53:02,917
as you know, uh, yeah,

792
00:53:03,051 --> 00:53:05,553
that's not been of the best,
even till today.

793
00:53:05,887 --> 00:53:07,922
[narrator 3] <i>The stories</i>
<i>of survivors and the details</i>

794
00:53:08,056 --> 00:53:12,492
<i>of the 884-page grand jury</i>
<i>report are difficult to hear.</i>

795
00:53:13,193 --> 00:53:16,296
<i>The two-year investigation</i>
<i>lays out in graphic detail</i>

796
00:53:16,430 --> 00:53:18,465
<i>allegations against...</i>
[voice fades]

797
00:53:21,368 --> 00:53:24,872
One very important, eh, example,
culturally

798
00:53:25,006 --> 00:53:26,708
when the Christians came,

799
00:53:27,141 --> 00:53:29,177
determined to spread the Gospel,

800
00:53:29,944 --> 00:53:31,913
and they looked around,
they couldn't find--

801
00:53:32,046 --> 00:53:33,346
they needed the devil.

802
00:53:33,581 --> 00:53:35,817
And so they took
one of the deities--

803
00:53:35,950 --> 00:53:40,888
Yoruba deities, Eshu,
who happens to be a trickster.

804
00:53:41,022 --> 00:53:42,222
You know, very complex,

805
00:53:42,355 --> 00:53:44,592
but I call Eshu
the master dialectician.

806
00:53:44,726 --> 00:53:48,361
And he-- he can upset
the best-laid plans

807
00:53:48,495 --> 00:53:50,732
you know, of mice and men,
and they took Eshu

808
00:53:50,865 --> 00:53:52,967
and decided,
"That is the devil."

809
00:53:53,101 --> 00:53:56,704
And they distorted
the entire ethical structure

810
00:53:56,838 --> 00:53:59,707
that was based
on the Yoruba pantheon,

811
00:53:59,841 --> 00:54:02,275
the various deities
of various departments

812
00:54:02,409 --> 00:54:05,980
or existence, phenomena,
conduct, relationship

813
00:54:06,114 --> 00:54:09,584
on which a whole ethical
structure had been built.

814
00:54:09,717 --> 00:54:11,552
[speaking in native language]

815
00:54:12,687 --> 00:54:15,690
[choir singing
in native language]

816
00:54:21,763 --> 00:54:24,532
-[music fades]
-[wind blowing]

817
00:54:28,236 --> 00:54:29,469
[slide projector clicking]

818
00:54:32,507 --> 00:54:34,441
[slow music]

819
00:55:01,736 --> 00:55:03,303
[helicopter blades whirring]

820
00:55:06,541 --> 00:55:08,475
[upbeat music]

821
00:55:17,484 --> 00:55:19,386
[singer vocalizing]

822
00:55:57,325 --> 00:56:00,595
-[drumming echoes]
-[music gets muffled and fades]

823
00:56:11,772 --> 00:56:13,774
[man]
Soul rebel don't really mean

824
00:56:13,908 --> 00:56:16,443
he gonna war
with you physically.

825
00:56:18,880 --> 00:56:21,448
He's warring
with the other spirit.

826
00:56:21,849 --> 00:56:23,450
[upbeat music resumes]

827
00:56:32,827 --> 00:56:34,061
[slide projector clicking]

828
00:56:36,097 --> 00:56:38,332
What are the two things
you would do today?

829
00:56:38,465 --> 00:56:39,700
[interviewee speaking]

830
00:56:48,776 --> 00:56:51,444
-In fact I will get--
-[interviewer] Then it wouldn't
be money.

831
00:56:51,946 --> 00:56:54,649
-What is money?
-Weighed against what? Because
money--

832
00:56:54,782 --> 00:56:56,350
[interviewee] American money is
weighed against what?

833
00:56:56,483 --> 00:56:57,718
Gold.

834
00:56:59,020 --> 00:57:01,088
You search on your internet.
Check.

835
00:57:01,222 --> 00:57:02,290
They don't have any.

836
00:57:02,723 --> 00:57:04,759
It is just paper.
It's backed up by tanks

837
00:57:04,892 --> 00:57:07,028
and F-- F-15 fighters.

838
00:57:07,795 --> 00:57:09,496
They have no gold.

839
00:57:09,830 --> 00:57:11,498
Ain't nobody got this.

840
00:57:11,632 --> 00:57:14,068
Ain't nobody got it.
You ain't got it.

841
00:57:14,335 --> 00:57:16,604
Yeah. I mean, you know, style.

842
00:57:16,737 --> 00:57:19,840
[chuckles] You know...

843
00:57:21,008 --> 00:57:26,147
What a prosaic term,
but also a very elusive term.

844
00:57:26,647 --> 00:57:31,585
Um... I do believe
that style, you know,

845
00:57:32,853 --> 00:57:36,958
is the resistance
to confine oneself

846
00:57:37,525 --> 00:57:38,859
to where...

847
00:57:39,660 --> 00:57:42,630
circumstances
say that you belong.

848
00:57:42,763 --> 00:57:44,665
It's to go beyond that,

849
00:57:44,799 --> 00:57:50,504
to live with a sense
of constant affirmation of...

850
00:57:57,311 --> 00:57:58,746
...with incredible...

851
00:58:01,082 --> 00:58:06,253
It's-- it's in a-- is a style
that really is inherent in--

852
00:58:07,388 --> 00:58:09,023
in going beyond.

853
00:58:10,224 --> 00:58:14,128
Here's the Rich family.
What'd you think about that?

854
00:58:16,496 --> 00:58:18,232
[solemn, nostalgic music]

855
00:58:43,024 --> 00:58:45,192
[Okwui] You know,
style in-- in an African context

856
00:58:45,326 --> 00:58:47,061
is really not homogenized.

857
00:58:47,194 --> 00:58:48,963
It's so individual

858
00:58:49,363 --> 00:58:52,333
in-- in the kind of conventional
way in which we think
about style.

859
00:58:52,466 --> 00:58:55,469
It's so individual,
because if you are going to--

860
00:58:55,603 --> 00:58:58,906
so talk about the way you greet
people to go to Bamako,

861
00:58:59,140 --> 00:59:02,676
and you run into somebody
on the street and, you know--

862
00:59:02,810 --> 00:59:05,713
and of course, the exchange,
you say hello,

863
00:59:05,846 --> 00:59:07,848
and the person say hello
back to you.

864
00:59:07,982 --> 00:59:12,553
And they will spend the next
two minutes saying hello,

865
00:59:12,686 --> 00:59:15,723
asking you about each member.

866
00:59:15,856 --> 00:59:18,659
Then at the end,
you return the favor.

867
00:59:18,793 --> 00:59:20,594
What for me is very fascinating

868
00:59:20,728 --> 00:59:24,999
about that type of greeting
is the-- in-- the time invested,

869
00:59:25,132 --> 00:59:28,169
is the-- the-- the dimension
of slowness to it.

870
00:59:28,502 --> 00:59:32,206
It's not-- it's not high. You
know, the dimension of slowness

871
00:59:32,339 --> 00:59:36,677
and that sense, that space,
between greeting

872
00:59:36,944 --> 00:59:41,516
and slowing down is really
incredibly attractive

873
00:59:41,782 --> 00:59:43,684
in-- in a moment where,
you know,

874
00:59:43,818 --> 00:59:48,155
quote, unquote "time,"
you know, uh, is money.

875
00:59:48,355 --> 00:59:51,592
[slow music]

876
01:00:38,639 --> 01:00:39,874
[music continues]

877
01:00:55,856 --> 01:00:58,325
[woman]
There have always been...

878
01:00:59,160 --> 01:01:01,929
[smacks lips] ...
you know, an endless number

879
01:01:02,062 --> 01:01:03,397
of beautiful models

880
01:01:03,532 --> 01:01:05,534
of living otherwise, right,

881
01:01:05,666 --> 01:01:08,435
um... that...

882
01:01:10,237 --> 01:01:13,575
...encounter defeat
and then m-- must re-emerge,

883
01:01:13,707 --> 01:01:16,343
you know, again, so it's not,

884
01:01:16,477 --> 01:01:20,381
[voice echoes]
um, that you're, like,
you know, insufficient...

885
01:01:20,915 --> 01:01:23,017
[Fred] What if it turns out
that--

886
01:01:23,150 --> 01:01:24,885
that the particular kind of
history

887
01:01:25,019 --> 01:01:28,989
that-- that we're tryna
work through or talk about,

888
01:01:29,123 --> 01:01:31,425
you know,
you as a historical thinker

889
01:01:31,560 --> 01:01:34,795
and me as a profoundly
ahistorical kind of thinker,

890
01:01:34,929 --> 01:01:36,565
you know, is--
but the particular history

891
01:01:36,697 --> 01:01:39,233
that we're working through
in these different ways...

892
01:01:40,267 --> 01:01:42,036
...it's not even really
something

893
01:01:42,169 --> 01:01:43,737
that you can talk about
within, again,

894
01:01:43,871 --> 01:01:46,874
within a calculus of victory
and defeat.

895
01:01:47,875 --> 01:01:50,411
[panting]

896
01:02:01,455 --> 01:02:04,693
The concepts
that we have been given...

897
01:02:05,459 --> 01:02:07,728
...to you to talk-- you know,
in order to try

898
01:02:07,861 --> 01:02:09,230
to think about
and talk about the stuff

899
01:02:09,363 --> 01:02:11,999
we try and talk about
just don't work.

900
01:02:12,166 --> 01:02:13,734
You know, they're--
they're inadequate.

901
01:02:13,867 --> 01:02:15,769
They're-- they're--
they're inoperative.

902
01:02:15,903 --> 01:02:17,004
I mean, it might
even be the case

903
01:02:17,137 --> 01:02:18,405
that the concept itself

904
01:02:18,540 --> 01:02:19,940
is an inadequate,

905
01:02:20,074 --> 01:02:21,909
sort of mental construct,

906
01:02:22,042 --> 01:02:25,446
or-- or conceptualism itself
is an inadequate sort of

907
01:02:25,580 --> 01:02:27,881
intellectual disposition
with regard-- I mean--

908
01:02:28,015 --> 01:02:29,618
[audio static]

909
01:02:30,251 --> 01:02:32,119
[fast, rhythmic music playing]

910
01:03:23,437 --> 01:03:25,039
[Saidaya]
What is the social poiesis

911
01:03:25,172 --> 01:03:26,874
of the dispossessed?

912
01:03:29,343 --> 01:03:31,845
How is it that we live
these lives...

913
01:03:32,747 --> 01:03:35,617
...in the context
of this racialized enclosure?

914
01:03:36,116 --> 01:03:37,951
It seems that
we're always involved

915
01:03:38,085 --> 01:03:40,988
in this incredible
making of a way

916
01:03:41,121 --> 01:03:42,724
where there is no way,

917
01:03:42,923 --> 01:03:45,025
and rather than that
be celebrated,

918
01:03:45,159 --> 01:03:47,161
it's often disparaged.

919
01:03:47,928 --> 01:03:49,229
Black folks...

920
01:03:50,864 --> 01:03:52,466
Even just that language they...

921
01:03:53,367 --> 01:03:55,502
And I was like, "Wow,
what does it mean to be

922
01:03:55,637 --> 01:03:59,607
so transported
by the idea of freedom that

923
01:03:59,741 --> 01:04:03,043
you're kind of having this
ecstatic experience, right?

924
01:04:03,177 --> 01:04:06,413
-[music continues]
-[voice echoing indistinctly]

925
01:04:13,555 --> 01:04:15,923
[Fred] It's not just
a past history of displacement.

926
01:04:16,056 --> 01:04:18,258
It's a present history
of displacement.

927
01:04:19,126 --> 01:04:21,428
How do these social bonds form?

928
01:04:22,797 --> 01:04:24,264
We tend to want to imagine

929
01:04:24,398 --> 01:04:26,867
that these social bonds
form somehow

930
01:04:27,167 --> 01:04:29,436
against the grain
of displacement.

931
01:04:29,571 --> 01:04:32,574
What if, in fact, displacement
is the condition

932
01:04:32,707 --> 01:04:34,208
of these social bonds?

933
01:04:34,341 --> 01:04:35,844
What if it's displacement

934
01:04:36,076 --> 01:04:38,045
that makes these bonds possible?

935
01:04:38,178 --> 01:04:40,447
[music continues]

936
01:04:49,591 --> 01:04:52,159
This is the fucked up
dialectic that we have to be

937
01:04:52,292 --> 01:04:54,529
theorizing
and experimenting about.

938
01:04:54,662 --> 01:04:56,330
[inaudible]

939
01:05:15,149 --> 01:05:18,051
What if there's something
about the way we dance

940
01:05:18,952 --> 01:05:21,556
that bears within it a secret

941
01:05:22,389 --> 01:05:26,226
about how we should live
and take up space?

942
01:05:28,262 --> 01:05:29,496
[music continues]

943
01:05:31,866 --> 01:05:35,402
Or that, better put, how we
should not take up space...

944
01:05:36,704 --> 01:05:41,208
...but be embedded in the places
that we are a part of?

945
01:05:51,820 --> 01:05:53,287
[Fred continues indistinctly]

946
01:05:53,420 --> 01:05:55,757
With regard-- I mean, it's just
like, we working on

947
01:05:55,890 --> 01:05:57,491
some other kind of stuff.

948
01:06:00,695 --> 01:06:02,664
[music continues muffled]

949
01:06:08,937 --> 01:06:10,137
[music fades]

950
01:06:11,104 --> 01:06:13,040
[Saidiya on recording] <i>You know,</i>
<i>I have such a complex</i>
<i>relationship</i>

951
01:06:13,173 --> 01:06:14,709
<i>to Du Bois, you know? I mean,</i>

952
01:06:14,843 --> 01:06:16,977
-[knock on door]
<i>-uh, he's a father figure</i>

953
01:06:17,110 --> 01:06:18,378
<i>with all the ambivalence</i>

954
01:06:18,513 --> 01:06:20,314
<i>that the father figure,</i>
<i>you know,</i>

955
01:06:20,447 --> 01:06:22,884
<i>or is it-- it's both,</i>
<i>you know, um--</i>

956
01:06:23,283 --> 01:06:26,086
<i>you know,</i>
<i>love and disagreement.</i>

957
01:06:26,286 --> 01:06:29,691
<i>And I think of, you know,</i>
<i>him in the midst</i>

958
01:06:29,824 --> 01:06:32,025
<i>of the Seventh Ward,</i>

959
01:06:32,159 --> 01:06:38,332
<i>um, you know, trying to</i>
<i>describe the historical forces</i>

960
01:06:38,465 --> 01:06:40,535
<i>that have produced his now.</i>

961
01:06:40,668 --> 01:06:43,805
<i>Um...</i> [echoes indistinctly]

962
01:06:44,071 --> 01:06:45,439
[ethereal music]

963
01:06:53,982 --> 01:06:57,317
One of the things that
I was trying to do in the book

964
01:06:57,451 --> 01:07:01,255
is that, I mean, basically,
the discourse of pathology

965
01:07:01,388 --> 01:07:03,190
is a way of naming

966
01:07:03,457 --> 01:07:06,460
ways in which people
are toppling hierarchy

967
01:07:06,594 --> 01:07:08,696
and practicing otherwise
in the here and now.

968
01:07:08,830 --> 01:07:13,968
I mean, the--
the deviation of Black,

969
01:07:14,101 --> 01:07:16,004
you know,
intimate and familial life

970
01:07:16,136 --> 01:07:18,305
from heteronormative
family forms,

971
01:07:18,438 --> 01:07:22,442
I mean, people... you know,
have been doing that.

972
01:07:22,577 --> 01:07:24,579
I mean, I think that
that was part of the--

973
01:07:24,712 --> 01:07:27,015
the concern
of the Philadelphia Negro,

974
01:07:27,147 --> 01:07:32,185
uh, is that, you know, after
slavery, um, you know,
Du Bois says that--

975
01:07:32,319 --> 01:07:35,990
that the-- that the Black church
is actually older

976
01:07:36,123 --> 01:07:37,959
than the Black family form,

977
01:07:38,158 --> 01:07:43,497
and then, what is going to be
the shape that it acquires?

978
01:07:43,631 --> 01:07:46,634
Is it gonna be, you know,
a patriarchal family?

979
01:07:46,901 --> 01:07:50,838
And what happens if it's not?
And I think that what we see

980
01:07:50,972 --> 01:07:53,106
is that people creating,
you know,

981
01:07:53,240 --> 01:07:55,075
structures of love and support

982
01:07:55,208 --> 01:07:57,244
that bear no resemblance
to that,

983
01:07:57,377 --> 01:08:00,748
but usually that's only
described as, you know,

984
01:08:00,882 --> 01:08:03,985
the failure to achieve a norm...

985
01:08:04,652 --> 01:08:06,486
...as opposed to being described

986
01:08:06,621 --> 01:08:09,323
in the terms of what it in--
what it is.

987
01:08:09,456 --> 01:08:14,629
So, I think that partly, um,
attending to these lives

988
01:08:14,796 --> 01:08:16,831
should make,
you know, I mean, I--

989
01:08:16,965 --> 01:08:19,701
I guess one of
the grand ambitions, you know,

990
01:08:19,834 --> 01:08:23,136
would be that, you know,
people who then would suture

991
01:08:23,270 --> 01:08:25,138
some notion of Black, you know,

992
01:08:25,272 --> 01:08:27,508
advancement or progress
or futures

993
01:08:27,642 --> 01:08:30,210
to the achievement
of those norms

994
01:08:30,344 --> 01:08:31,646
or the actualization of that

995
01:08:31,779 --> 01:08:33,982
would abandon those kinds
of projects,

996
01:08:34,114 --> 01:08:36,818
you know? So, it's not about...

997
01:08:37,885 --> 01:08:40,487
...us kind of
replicating the structures

998
01:08:40,788 --> 01:08:43,256
that are, you know,
harming us, right?

999
01:08:43,390 --> 01:08:45,927
Um, so I think that

1000
01:08:46,393 --> 01:08:48,062
for me that's about thinking
about that

1001
01:08:48,195 --> 01:08:52,366
the everyday anarchy of,
you know,

1002
01:08:52,800 --> 01:08:55,369
Black life
that people are living in ways

1003
01:08:55,502 --> 01:08:58,271
that are utterly recalcitrant
to capitalism.

1004
01:08:58,405 --> 01:09:01,174
They're not thinking about
well-being in these ways

1005
01:09:01,308 --> 01:09:03,578
that kind of, like,
fetishize, you know,

1006
01:09:03,711 --> 01:09:06,213
private property and ownership.

1007
01:09:06,346 --> 01:09:09,784
And so, that's, you know,
food for thought for us.

1008
01:09:09,917 --> 01:09:12,452
That's an example
of living otherwise.

1009
01:09:12,587 --> 01:09:15,422
It's not about-- it's not
unfolding in the future.

1010
01:09:15,556 --> 01:09:19,594
It's happening now,
and it's how we've survived.

1011
01:09:19,727 --> 01:09:20,762
[music continues]

1012
01:09:26,034 --> 01:09:27,267
[music fades]

1013
01:09:28,368 --> 01:09:30,270
I have a cousin
that's very sensitive

1014
01:09:30,404 --> 01:09:32,172
when it comes to racism.

1015
01:09:33,074 --> 01:09:36,276
He called me one day
'cause he was quite upset...

1016
01:09:36,778 --> 01:09:39,413
...that he went
to a tuba recital

1017
01:09:39,814 --> 01:09:44,351
where he was one of only three
Black tuba players.

1018
01:09:44,484 --> 01:09:46,120
[crowd chuckles]

1019
01:09:46,319 --> 01:09:48,690
And he thought that was racist.

1020
01:09:48,823 --> 01:09:50,525
[crowd laughs]

1021
01:09:51,626 --> 01:09:54,829
-And I wanted to agree.
-[crowd chuckles]

1022
01:09:55,129 --> 01:09:57,098
But then, I realized...

1023
01:09:57,598 --> 01:09:59,901
three Black tuba players

1024
01:10:00,333 --> 01:10:04,237
is a lot of fucking
Black tuba players.

1025
01:10:04,371 --> 01:10:06,206
[crowd laughing]

1026
01:10:06,339 --> 01:10:08,743
[eerie music]

1027
01:10:24,992 --> 01:10:26,493
[music continues]

1028
01:10:29,396 --> 01:10:31,231
[inaudible]

1029
01:10:40,742 --> 01:10:43,477
[Shirley speaks indistinctly]

1030
01:10:44,979 --> 01:10:47,949
I heard Fannie Lou Hamer
on the radio...

1031
01:11:04,364 --> 01:11:06,234
-[groans]
-[music fades and echoes]

1032
01:11:06,534 --> 01:11:07,802
[softly] Are you good?

1033
01:11:08,770 --> 01:11:12,006
[voice echoing]
Mm-hmm. What do I do?

1034
01:11:12,339 --> 01:11:13,641
Are you in pain?

1035
01:11:14,842 --> 01:11:17,310
-I'll be all right.
-[cough echoes]

1036
01:11:21,716 --> 01:11:24,185
I'll be okay.
I just need to relax.

1037
01:11:24,317 --> 01:11:25,787
Okay.

1038
01:11:30,490 --> 01:11:32,727
[deep breath]

1039
01:11:52,647 --> 01:11:54,347
[suspenseful music]

1040
01:12:04,391 --> 01:12:05,626
[groans softly]

1041
01:12:19,307 --> 01:12:20,541
[groans]

1042
01:12:25,146 --> 01:12:26,714
[crickets chirping]

1043
01:12:51,105 --> 01:12:54,976
[William muffled]
Okay. Can you help me?

1044
01:12:58,145 --> 01:13:00,514
[engine idling]

1045
01:13:16,063 --> 01:13:17,698
[woman on radio]
<i>I would say to the--</i>

1046
01:13:17,832 --> 01:13:19,300
<i>the beautiful audience out here</i>

1047
01:13:19,432 --> 01:13:20,735
<i>to me this afternoon,</i>

1048
01:13:20,868 --> 01:13:24,471
<i>because I always liked people.</i>

1049
01:13:24,972 --> 01:13:27,942
<i>A couple of weeks ago,</i>
<i>I was doing a show</i>

1050
01:13:28,276 --> 01:13:31,779
<i>in New York City,</i>
<i>for NBC Studios on the role</i>
<i>of a Black woman,</i>

1051
01:13:32,313 --> 01:13:34,181
<i>and somebody asked a</i>
<i>question...</i>

1052
01:13:34,315 --> 01:13:36,617
[phone ringing]

1053
01:13:36,751 --> 01:13:39,220
<i>How did I feel talking</i>
<i>to a lot of people?</i>

1054
01:13:39,353 --> 01:13:40,988
<i>I said...</i> [continues
speaking indistinctly]

1055
01:13:41,122 --> 01:13:42,455
[phone ringing]

1056
01:13:42,590 --> 01:13:43,824
[Shirley] Hello?

1057
01:13:44,392 --> 01:13:45,760
Yes.

1058
01:13:46,594 --> 01:13:47,795
Hi.

1059
01:13:48,763 --> 01:13:51,165
-[melancholic music]
-No, he's not.

1060
01:13:52,366 --> 01:13:56,871
No, he's-- he's-- [chuckles]
he's determined to finish it.

1061
01:13:57,004 --> 01:13:59,173
That's what
he's determined to do.

1062
01:14:00,574 --> 01:14:02,143
Well, you know he's stubborn.

1063
01:14:04,111 --> 01:14:05,546
Yeah.

1064
01:14:07,682 --> 01:14:09,482
I think that would be good.

1065
01:14:10,985 --> 01:14:13,921
But let me ask you, what,
uh, was the doctor saying

1066
01:14:14,055 --> 01:14:17,091
about his chances,
uh, you know, his age, and...?

1067
01:14:22,495 --> 01:14:23,731
[inaudible]

1068
01:14:33,240 --> 01:14:34,775
No, I understand.

1069
01:14:38,612 --> 01:14:40,815
Well, that's pretty obvious,
but--

1070
01:14:42,016 --> 01:14:43,551
but, you know,
he's strong as an ox.

1071
01:14:43,684 --> 01:14:46,153
In that regard, he has a will.

1072
01:14:50,424 --> 01:14:52,059
Then let's do it.

1073
01:14:53,961 --> 01:14:55,596
This might be the answer, yeah.

1074
01:14:59,100 --> 01:15:00,167
Well, thank you.

1075
01:15:03,437 --> 01:15:05,673
Thank you so much. Bye-bye.

1076
01:15:07,274 --> 01:15:08,509
[phone hangs up]

1077
01:15:10,344 --> 01:15:12,046
Thank you for staying
with us. Now,

1078
01:15:12,179 --> 01:15:13,147
over the weekend,

1079
01:15:13,280 --> 01:15:14,615
hundreds of demonstrators

1080
01:15:14,749 --> 01:15:17,018
gathered in the Ghanaian
capital, Accra,

1081
01:15:17,151 --> 01:15:19,787
for a third day
of anti-government protests

1082
01:15:19,920 --> 01:15:21,522
linked to economic hardship.

1083
01:15:21,655 --> 01:15:22,790
Protestors are speaking out

1084
01:15:22,923 --> 01:15:24,358
against the high taxes

1085
01:15:24,492 --> 01:15:25,626
and cost of living.

1086
01:15:25,760 --> 01:15:27,294
Here to discuss some
similarities

1087
01:15:27,428 --> 01:15:29,563
and differences found
throughout the history

1088
01:15:29,697 --> 01:15:31,098
of strikes in Ghana

1089
01:15:31,232 --> 01:15:34,468
is investigator journalist
Anas Aremeyaw Anas.

1090
01:15:34,702 --> 01:15:37,171
-[Anas] <i>Great to be here.</i>
-[news host] So, Anas,
this is not

1091
01:15:37,304 --> 01:15:38,439
the first time

1092
01:15:38,572 --> 01:15:40,374
Ghanaians would be protesting

1093
01:15:40,509 --> 01:15:41,976
high cost of living.

1094
01:15:42,109 --> 01:15:43,811
We've seen that Ghana
has been battling

1095
01:15:43,944 --> 01:15:46,247
<i>a series of economic crises</i>
<i>dating back</i>

1096
01:15:46,380 --> 01:15:49,116
<i>since the very birth</i>
<i>of independent Ghana.</i>

1097
01:15:49,250 --> 01:15:51,352
<i>What can you tell me</i>
<i>about what's at stake?</i>

1098
01:15:52,019 --> 01:15:54,288
[Anas] <i>Our very</i>
<i>livelihood is at stake.</i>

1099
01:15:54,422 --> 01:15:59,260
<i>Our well-being, our ability to</i>
<i>survive in such</i>
<i>circumstances...</i>

1100
01:15:59,528 --> 01:16:00,761
[knock on door]

1101
01:16:07,835 --> 01:16:09,203
Who is it?

1102
01:16:10,037 --> 01:16:11,305
[Funmilayo] It's Funmi.

1103
01:16:37,498 --> 01:16:39,033
[wind howling]

1104
01:16:44,872 --> 01:16:46,774
[clicking]

1105
01:16:48,242 --> 01:16:52,246
[William]
More strikes. Who is it now?

1106
01:16:52,379 --> 01:16:54,248
[driver]
The transportation workers.

1107
01:16:55,015 --> 01:16:56,551
[indistinct] striking.

1108
01:16:57,586 --> 01:17:01,288
Cousins, uncles, most
of my family are involved.

1109
01:17:02,223 --> 01:17:04,358
We don't have enough money
to buy basic goods because

1110
01:17:04,492 --> 01:17:07,294
of the new taxes
on flour, sugar.

1111
01:17:07,661 --> 01:17:09,130
Even salt is sky high.

1112
01:17:09,497 --> 01:17:10,731
[dramatic music]

1113
01:17:12,867 --> 01:17:15,169
What scares me the most
are the arrests.

1114
01:17:22,042 --> 01:17:23,744
Can I ask you a question?

1115
01:17:25,980 --> 01:17:27,982
What made you want
to come here today?

1116
01:17:28,816 --> 01:17:30,784
To the Marcus Garvey Memorial.

1117
01:17:33,654 --> 01:17:36,123
[William] That's Garvey's
Pan-African flag there, is it?

1118
01:17:36,357 --> 01:17:38,459
-No, that's Ghana's flag.
-No, I mean,

1119
01:17:38,593 --> 01:17:39,727
the one next to your photograph.

1120
01:17:39,860 --> 01:17:41,228
Ah, yes.

1121
01:17:41,896 --> 01:17:43,998
I never realized
they were so similar.

1122
01:17:44,932 --> 01:17:46,767
Essentially, the same flag.

1123
01:17:48,369 --> 01:17:50,938
Garvey's Memorial is
my favorite site in the city.

1124
01:17:53,174 --> 01:17:55,376
His vision of Africa
was tremendous.

1125
01:17:56,243 --> 01:17:59,246
One million people worldwide.
It's unbelievable.

1126
01:18:01,115 --> 01:18:03,751
The largest Black movement
in world history.

1127
01:18:06,787 --> 01:18:07,988
[William]
He had his eye on something

1128
01:18:08,122 --> 01:18:09,990
they never thought to look at.

1129
01:18:14,295 --> 01:18:16,130
He knew the freedom
America had to offer

1130
01:18:16,263 --> 01:18:17,932
was a freedom he didn't want.

1131
01:18:19,601 --> 01:18:25,172
He simply wanted a place where
his body drew no questions.

1132
01:18:26,407 --> 01:18:27,808
A home for all Africans.

1133
01:18:28,409 --> 01:18:30,978
Garvey's beliefs
were powerful enough

1134
01:18:31,111 --> 01:18:33,180
to bring him to a new home...

1135
01:18:34,081 --> 01:18:36,183
...even if he never
set foot here.

1136
01:18:41,690 --> 01:18:44,825
But I have never felt so lost.

1137
01:18:51,666 --> 01:18:55,402
Did you know that America has
refused to renew my passport?

1138
01:18:55,704 --> 01:18:57,271
They call me un-American.

1139
01:19:03,244 --> 01:19:06,981
I always imagined I'd be
buried in Massachusetts.

1140
01:19:08,650 --> 01:19:09,883
Next to him.

1141
01:19:15,956 --> 01:19:18,092
I did not know you lost a son.

1142
01:19:20,562 --> 01:19:23,297
To lose a child
is its own kind of death.

1143
01:19:26,867 --> 01:19:28,269
[William] If he had lived...

1144
01:19:29,837 --> 01:19:31,539
...he might have looked
like yours.

1145
01:19:33,240 --> 01:19:36,243
Oh, that's not my son.

1146
01:19:37,011 --> 01:19:38,613
That's my daughter. Yaya.

1147
01:19:38,747 --> 01:19:40,447
[William chuckles] Yaya.

1148
01:19:42,783 --> 01:19:43,817
Yaya...

1149
01:19:45,386 --> 01:19:48,723
[Aja] <i>If you're just joining</i>
<i>us, I've been speaking</i>
<i>with Ernie Abara,</i>

1150
01:19:48,856 --> 01:19:51,058
-[Ernie] <i>Hello.</i>
<i>-otherwise known as</i>
<i>the Rum Tycoon.</i>

1151
01:19:51,191 --> 01:19:53,060
-[Ernie] <i>Thank you for</i>
<i>having me.</i>
<i>-</i> [Aja] <i>We were just</i>

1152
01:19:53,193 --> 01:19:55,530
<i>speaking about his grandmother,</i>
<i>Yaya, and her connection</i>

1153
01:19:55,664 --> 01:19:57,197
<i>-with the Nautica,</i>
-[Ernie] <i>Mm-hmm.</i>

1154
01:19:57,331 --> 01:19:59,066
<i>the famous ocean liner</i>
<i>which houses</i>

1155
01:19:59,199 --> 01:20:01,235
<i>the Trans Atlantic Biennale.</i>

1156
01:20:01,402 --> 01:20:03,137
<i>Now, earlier, you mentioned</i>

1157
01:20:03,270 --> 01:20:04,872
<i>your father's Nigerian roots,</i>

1158
01:20:05,005 --> 01:20:06,708
<i>and I wanted to dig</i>
<i>a little deeper.</i>

1159
01:20:06,840 --> 01:20:09,544
<i>As I understand it,</i>
<i>your great-great-grandfather</i>

1160
01:20:09,678 --> 01:20:11,979
<i>amassed extraordinary wealth</i>
<i>and power</i>

1161
01:20:12,112 --> 01:20:14,014
<i>-by being a slave trader.</i>
-[Ernie] <i>Yes.</i>

1162
01:20:14,148 --> 01:20:16,685
[Aja] <i>He captured and sold</i>
<i>enslaved Africans</i>

1163
01:20:16,817 --> 01:20:18,520
<i>across the Atlantic,</i>

1164
01:20:18,653 --> 01:20:19,853
<i>first to the Portuguese</i>

1165
01:20:19,987 --> 01:20:21,155
<i>and then</i>
<i>to the American traders,</i>

1166
01:20:21,288 --> 01:20:22,524
<i>with the most ending up</i>

1167
01:20:22,657 --> 01:20:23,591
<i>in Brazil.</i>

1168
01:20:23,725 --> 01:20:24,693
<i>How have you been able</i>

1169
01:20:24,825 --> 01:20:25,993
<i>to reconcile the fact that</i>

1170
01:20:26,126 --> 01:20:27,094
<i>that is how your family</i>

1171
01:20:27,227 --> 01:20:28,429
<i>made their fortune?</i>

1172
01:20:28,697 --> 01:20:30,097
<i>Or is it something</i>
<i>that even needs</i>

1173
01:20:30,230 --> 01:20:31,566
<i>to be reconciled?</i>

1174
01:20:32,600 --> 01:20:34,569
[Ernie] <i>Hmm. Tsk.</i>

1175
01:20:35,603 --> 01:20:36,671
<i>You know...</i>

1176
01:20:37,504 --> 01:20:40,575
<i>...I remember</i>
<i>asking my father one time</i>

1177
01:20:40,874 --> 01:20:43,310
<i>if he was ashamed of--</i>

1178
01:20:44,345 --> 01:20:46,213
<i>of what his grandfather</i>
<i>had done.</i>

1179
01:20:46,715 --> 01:20:49,416
<i>Now, the fact that I even</i>
<i>asked him</i>

1180
01:20:49,784 --> 01:20:50,918
<i>irritated my father.</i>

1181
01:20:51,151 --> 01:20:52,186
<i>He said, "I can never</i>

1182
01:20:52,319 --> 01:20:53,688
<i>be ashamed of him.</i>

1183
01:20:53,822 --> 01:20:55,657
<i>W-- Why should I be?</i>

1184
01:20:56,023 --> 01:20:58,058
<i>His business was</i>
<i>legitimate at the time."</i>

1185
01:20:58,560 --> 01:21:00,894
<i>I mean, he was</i>
<i>respected by everyone.</i>

1186
01:21:02,363 --> 01:21:04,164
[woman]
I'm just coming from an event.

1187
01:21:04,298 --> 01:21:05,966
[Ernie] <i>Now, keep in mind</i>
<i>that my father is a lawyer</i>

1188
01:21:06,100 --> 01:21:08,636
<i>and a human rights activist</i>
<i>who spent much of his life</i>

1189
01:21:08,770 --> 01:21:10,170
<i>challenging government abuses</i>
<i>in Nigeria...</i>

1190
01:21:10,304 --> 01:21:11,773
[woman]
Did you hear Dad on the podcast?

1191
01:21:11,905 --> 01:21:13,407
He talked about great Granddad

1192
01:21:13,541 --> 01:21:15,275
and the slave trading
and all that.

1193
01:21:15,409 --> 01:21:17,211
[Aja] <i>And you?</i>
<i>What do you think about</i>

1194
01:21:17,344 --> 01:21:19,179
<i>how your grandfather</i>
<i>earned your family's fortune?</i>

1195
01:21:19,480 --> 01:21:22,149
-[woman] Why do you ask that?
-[Ernie] <i>During my school days,</i>

1196
01:21:22,282 --> 01:21:24,218
<i>if a friend asked the meaning</i>
<i>of my surname,</i>

1197
01:21:24,351 --> 01:21:27,555
<i>I would give them a-- a</i>
<i>narrative instead of a</i>
<i>translation.</i>

1198
01:21:27,689 --> 01:21:29,089
[woman]
He's selfish. I don't know.

1199
01:21:29,223 --> 01:21:30,525
I mean, he's not wrong.

1200
01:21:30,859 --> 01:21:33,728
[Ernie] <i>But in the past decade,</i>
<i>I felt this</i>

1201
01:21:33,862 --> 01:21:36,397
<i>growing sense of unease.</i>

1202
01:21:36,531 --> 01:21:38,600
<i>African intellectuals</i>
<i>tend to blame the West</i>

1203
01:21:38,733 --> 01:21:40,568
<i>for the slave trade, but I knew</i>

1204
01:21:40,702 --> 01:21:43,203
<i>that white traders couldn't</i>
<i>have loaded their ships</i>

1205
01:21:43,337 --> 01:21:45,673
<i>without the help from</i>
<i>Africans...</i>

1206
01:21:47,174 --> 01:21:48,676
<i>...like my grandfather.</i>

1207
01:21:49,544 --> 01:21:53,213
<i>So, I-- I read arguments</i>
<i>for paying reparations</i>

1208
01:21:53,347 --> 01:21:56,383
<i>to the descendants</i>
<i>of, uh, American slaves.</i>

1209
01:21:56,518 --> 01:22:00,354
<i>And I wondered if...</i>
[continues indistinctly]

1210
01:22:00,588 --> 01:22:02,990
[ethereal music]

1211
01:22:05,794 --> 01:22:07,027
[inaudible]

1212
01:22:32,019 --> 01:22:34,254
[music continues]

1213
01:23:02,917 --> 01:23:04,151
[music continues]

1214
01:24:13,555 --> 01:24:17,357
-[deep sea rumbling]
-[music fades]

1215
01:24:25,767 --> 01:24:27,802
[ethereal music]

1216
01:24:55,329 --> 01:24:57,397
[music increases]

1217
01:25:42,710 --> 01:25:44,478
[music continues]

1218
01:26:09,403 --> 01:26:11,973
[woman]
<i>Art will not outlive us.</i>

1219
01:26:12,106 --> 01:26:15,977
<i>This time,</i>
<i>there will be no remains.</i>

1220
01:26:17,078 --> 01:26:19,881
<i>All that we can see</i>
<i>from the world now...</i>

1221
01:26:20,682 --> 01:26:23,283
<i>...is the disappearance</i>
<i>of evenings.</i>

1222
01:26:24,384 --> 01:26:26,486
<i>And in this disappearance...</i>

1223
01:26:27,622 --> 01:26:29,757
<i>...this long gray,</i>
<i>blue light...</i>

1224
01:26:32,426 --> 01:26:34,662
<i>...this poet's</i>
<i>recommendation...</i>

1225
01:26:35,462 --> 01:26:37,832
<i>...is to each night dwell</i>
<i>on this...</i>

1226
01:26:39,466 --> 01:26:42,570
<i>...and dwell</i>
<i>on each "not whereness,"</i>

1227
01:26:43,236 --> 01:26:44,906
<i>"not thereness."</i>

1228
01:26:46,007 --> 01:26:49,844
<i>And I can only</i>
<i>recommend the interstices...</i>

1229
01:27:07,494 --> 01:27:08,696
[music continues]

1230
01:27:25,546 --> 01:27:27,247
[deep sea rumbling]

1231
01:27:31,052 --> 01:27:32,720
[music turns interesting]

1232
01:27:33,453 --> 01:27:36,758
[Funmi] Waves that occur
in the wake of the ship

1233
01:27:36,891 --> 01:27:39,660
move at the same speed
of the ship.

1234
01:27:40,628 --> 01:27:43,330
From at least
the 16th century onward,

1235
01:27:43,463 --> 01:27:46,234
a major part of the ocean
engineering of ships

1236
01:27:46,366 --> 01:27:49,170
has been to minimize
the bow wave...

1237
01:27:49,904 --> 01:27:52,039
...and therefore
to minimize the wake.

1238
01:27:52,840 --> 01:27:55,510
But the effect of trauma
is the opposite.

1239
01:27:56,244 --> 01:27:59,747
It is to make maximal the wake.

1240
01:28:01,149 --> 01:28:04,685
It's likely, then, that those
Africans thrown overboard

1241
01:28:04,952 --> 01:28:07,420
would have floated
just a short while

1242
01:28:07,622 --> 01:28:10,091
and only because of
the shapes of their bodies.

1243
01:28:10,457 --> 01:28:11,592
It's likely, too,

1244
01:28:11,726 --> 01:28:13,094
that they would have sunk

1245
01:28:13,261 --> 01:28:14,427
relatively quickly...

1246
01:28:15,096 --> 01:28:18,132
...and drowned relatively
quickly as well.

1247
01:28:19,100 --> 01:28:22,670
And then there were the sharks
that always traveled

1248
01:28:22,804 --> 01:28:24,605
in the wake of slave ships.

1249
01:28:26,373 --> 01:28:27,708
The amount of time

1250
01:28:27,842 --> 01:28:29,977
it takes for a substance
to enter the ocean

1251
01:28:30,111 --> 01:28:33,648
and then leave the ocean
is called residence time.

1252
01:28:34,282 --> 01:28:35,550
Human blood is salty,

1253
01:28:35,917 --> 01:28:37,985
and sodium has a residence time

1254
01:28:38,119 --> 01:28:40,387
of 260 million years.

1255
01:28:41,789 --> 01:28:45,259
There've been studies done
on whales that have died

1256
01:28:45,392 --> 01:28:46,727
and sunk to the sea floor.

1257
01:28:47,195 --> 01:28:50,031
These studies show
that within a few days,

1258
01:28:50,164 --> 01:28:53,301
these whales' bodies
are picked almost clean

1259
01:28:53,433 --> 01:28:55,069
by benthic organisms.

1260
01:28:56,037 --> 01:28:57,071
[music continues]

1261
01:28:58,338 --> 01:29:00,373
It's likely, then,
that a human body

1262
01:29:00,508 --> 01:29:02,743
would not make it
to the sea floor intact.

1263
01:29:05,179 --> 01:29:08,015
The atoms of those people
who were thrown overboard

1264
01:29:08,149 --> 01:29:10,918
are out there in the ocean,
even today.

1265
01:29:11,752 --> 01:29:14,689
They were eaten,
organisms processed them,

1266
01:29:14,822 --> 01:29:18,860
and those organisms were,
in turn, eaten and processed.

1267
01:29:26,033 --> 01:29:28,569
Nobody dies of old age
in the ocean.

1268
01:29:30,370 --> 01:29:34,407
And what happens to the energy
that's produced in the waters?

1269
01:29:40,413 --> 01:29:43,383
-[man] Holy...
-[woman] Oh! Oh!

1270
01:29:43,517 --> 01:29:44,919
[laughter]

1271
01:29:45,052 --> 01:29:47,188
Please tell me
you got that, Julie.

1272
01:29:47,321 --> 01:29:48,656
Aah!

1273
01:29:48,789 --> 01:29:50,858
[muffled water splash]

1274
01:29:57,397 --> 01:30:00,568
[narrator 4] <i>It is late night</i>
<i>on the deck of the Nautica.</i>

1275
01:30:02,370 --> 01:30:05,139
<i>The full moon illuminates</i>
<i>the passage...</i>

1276
01:30:06,007 --> 01:30:09,911
<i>...as a turbulent storm rages</i>
<i>in the Atlantic Ocean below.</i>

1277
01:30:12,580 --> 01:30:14,749
<i>There is the hum</i>
<i>of the ship's motor...</i>

1278
01:30:15,349 --> 01:30:19,220
<i>...and the distinct soft sounds</i>
<i>of a jazz trio</i>

1279
01:30:19,587 --> 01:30:21,188
<i>playing in the background.</i>

1280
01:30:22,690 --> 01:30:24,258
[thunder rumbling]

1281
01:30:24,525 --> 01:30:25,760
[soft jazz music]

1282
01:30:31,365 --> 01:30:33,601
<i>Lady leans slightly</i>
<i>over the ship's railing</i>

1283
01:30:33,734 --> 01:30:35,603
<i>looking pensively at the ocean.</i>

1284
01:30:36,070 --> 01:30:40,174
<i>She is wearing</i>
<i>a shimmering dress, sequins,</i>

1285
01:30:40,708 --> 01:30:43,277
<i>or perhaps something blue</i>
<i>and luminescent.</i>

1286
01:30:43,778 --> 01:30:46,814
<i>There should be</i>
<i>a strong visual connection</i>

1287
01:30:46,948 --> 01:30:49,183
<i>between her body and the sea.</i>

1288
01:30:51,886 --> 01:30:55,488
<i>Du Bois/Funmi steps</i>
<i>onto the deck</i>

1289
01:30:55,623 --> 01:30:57,591
<i>a few feet from Lady.</i>

1290
01:31:00,328 --> 01:31:04,966
<i>After a minute,</i>
<i>Du Bois turns toward Lady.</i>

1291
01:31:08,002 --> 01:31:10,871
<i>"Ruby, My Dear" concludes</i>
<i>in the background,</i>

1292
01:31:11,005 --> 01:31:12,540
<i>and we hear faint clapping.</i>

1293
01:31:12,673 --> 01:31:14,108
[faint applause]

1294
01:31:15,376 --> 01:31:17,011
It's sublime.

1295
01:31:19,680 --> 01:31:21,749
[Lady] That's one word for it.

1296
01:31:22,683 --> 01:31:24,518
It is so vast. [voice echoes]

1297
01:31:25,353 --> 01:31:28,422
It's hard to look at this ocean
without thinking about...

1298
01:31:28,556 --> 01:31:30,524
[Lady] About crossing.

1299
01:31:31,192 --> 01:31:32,226
Yes.

1300
01:31:32,793 --> 01:31:34,428
[Lady] Thankfully,
it isn't exhausted

1301
01:31:34,595 --> 01:31:35,896
by our human history.

1302
01:31:37,431 --> 01:31:39,100
It's just a small part of it.

1303
01:31:43,137 --> 01:31:44,271
True.

1304
01:31:52,346 --> 01:31:54,015
So it doesn't haunt you?

1305
01:31:54,382 --> 01:31:56,250
No past in the present?

1306
01:31:57,018 --> 01:32:01,188
[Lady] So, are you a historian
or a sociologist?

1307
01:32:01,422 --> 01:32:03,224
Am I so easy to figure out?

1308
01:32:04,425 --> 01:32:10,031
An historical sociologist,
a curator, and archivist.

1309
01:32:10,564 --> 01:32:12,566
[deep rumbling]

1310
01:32:16,103 --> 01:32:18,507
[Lady]
History isn't the measure.

1311
01:32:18,839 --> 01:32:21,142
There are other calibrations...

1312
01:32:23,811 --> 01:32:27,548
No tidy sequence of past,
present, and future.

1313
01:32:31,419 --> 01:32:33,621
[distorted voice]
My time scale is different.

1314
01:32:36,657 --> 01:32:39,493
<i>Forget the past.</i>
<i>Live in the now.</i>

1315
01:32:39,794 --> 01:32:41,595
<i>Celebrate the death of man.</i>

1316
01:32:41,729 --> 01:32:43,464
[soft music]

1317
01:32:43,597 --> 01:32:45,433
<i>So, am I a cliché?</i>

1318
01:32:45,566 --> 01:32:47,068
[sorrowful music]

1319
01:32:50,438 --> 01:32:54,108
<i>An elder died on the boat</i>
<i>in her sleep</i>

1320
01:32:54,308 --> 01:32:56,777
<i>just after we left port</i>
<i>in Los Angeles.</i>

1321
01:32:57,678 --> 01:33:01,682
<i>Her granddaughter flew in from</i>
<i>Ohio to identify the body.</i>

1322
01:33:08,122 --> 01:33:10,257
[Du Bois]
After we spoke on the phone,

1323
01:33:10,391 --> 01:33:13,528
I tried to learn as much about
your grandmother as I could.

1324
01:33:13,794 --> 01:33:15,930
She was a volunteer.

1325
01:33:17,331 --> 01:33:21,702
She worked in the library as
an afternoon reading docent.

1326
01:33:23,771 --> 01:33:25,005
[knock on door]

1327
01:33:28,242 --> 01:33:31,345
International protocol
would have her return

1328
01:33:31,479 --> 01:33:32,913
with the body to California.

1329
01:33:33,582 --> 01:33:37,351
But the granddaughter
wants her grandmother's body

1330
01:33:37,485 --> 01:33:39,220
to finish its voyage.

1331
01:33:40,354 --> 01:33:42,890
She's asleep right now
in the bed

1332
01:33:43,023 --> 01:33:46,160
where her grandmother died
fewer than two days ago.

1333
01:33:54,468 --> 01:33:55,870
[driver echoing]
Doctor?

1334
01:33:56,704 --> 01:33:57,705
[normal voice] Doctor.

1335
01:33:57,838 --> 01:33:59,073
[music fades]

1336
01:34:05,846 --> 01:34:07,348
Can I ask you a question?

1337
01:34:09,884 --> 01:34:11,819
What made you want
to come here today?

1338
01:34:31,071 --> 01:34:33,207
[thunder rumbling]

1339
01:34:57,331 --> 01:35:00,034
[Lady] Do you ever
remember the future?

1340
01:35:00,401 --> 01:35:01,702
[wind blowing]

1341
01:35:05,306 --> 01:35:07,474
[ethereal music]

1342
01:35:11,078 --> 01:35:13,914
A philosopher or a scientist?

1343
01:35:14,048 --> 01:35:16,750
Wait, no. A mystic?

1344
01:35:17,751 --> 01:35:19,220
An oceanographer.

1345
01:35:19,453 --> 01:35:21,789
Ah! An oceanographer.

1346
01:35:23,891 --> 01:35:26,894
You still haven't answered
my question.

1347
01:35:28,062 --> 01:35:30,331
Do I remember the future?

1348
01:35:35,035 --> 01:35:36,904
I remember the past.

1349
01:35:39,206 --> 01:35:41,842
That small room in Philadelphia,

1350
01:35:43,010 --> 01:35:45,179
the lace curtains in the window.

1351
01:35:46,080 --> 01:35:50,017
A porcelain cup of tea
spiked with whiskey.

1352
01:35:52,152 --> 01:35:54,656
The long lines of your neck.

1353
01:35:55,590 --> 01:35:59,360
You were merciless with me.
You called me a snob.

1354
01:36:02,697 --> 01:36:05,899
[Lady] I believe the word
I used was "siddity."

1355
01:36:06,735 --> 01:36:08,035
You remember that?

1356
01:36:09,303 --> 01:36:10,170
Perhaps.

1357
01:36:10,404 --> 01:36:13,240
[exhales] She won't even
give me that.

1358
01:36:14,241 --> 01:36:15,309
Okay.

1359
01:36:16,377 --> 01:36:19,146
So what do you
remember about the future?

1360
01:36:19,280 --> 01:36:20,948
Hmm.

1361
01:36:24,918 --> 01:36:27,589
If you...
try to hear me explain it--

1362
01:36:27,722 --> 01:36:28,723
You're just gonna laugh.

1363
01:36:28,856 --> 01:36:30,424
-Try me.
-No.

1364
01:36:31,626 --> 01:36:33,427
Do I have to beg?

1365
01:36:37,699 --> 01:36:39,534
[Lady] Your hand in mine.

1366
01:36:41,770 --> 01:36:47,509
Your white suit was almost
incandescent in the sun.

1367
01:36:49,877 --> 01:36:52,946
You looked both young and old

1368
01:36:53,080 --> 01:36:54,982
at the same time.

1369
01:36:56,483 --> 01:36:58,385
[sighs] And...

1370
01:36:59,721 --> 01:37:04,091
...it was almost as if the sun
was arrested in the horizon...

1371
01:37:07,027 --> 01:37:08,362
...trapped there.

1372
01:37:10,464 --> 01:37:13,934
Feels like a beautiful day
that would never end,

1373
01:37:14,068 --> 01:37:17,304
and, oh,
what a beautiful day it was.

1374
01:37:17,672 --> 01:37:19,239
[music continues]

1375
01:37:22,376 --> 01:37:23,877
Who are you?

1376
01:37:27,314 --> 01:37:30,384
I'm drifting between categories.

1377
01:37:32,119 --> 01:37:34,321
[voice echoing indistinctly]

1378
01:37:45,933 --> 01:37:47,635
[muted chattering]

1379
01:37:48,469 --> 01:37:50,471
[Ernie] Everybody was asleep.
And now what?

1380
01:37:50,605 --> 01:37:51,639
Nobody was watching.

1381
01:37:52,139 --> 01:37:53,675
I'm talking of sleep.

1382
01:37:53,808 --> 01:37:56,877
Look at this beautiful woman,
Sleeping Beauty.

1383
01:37:58,345 --> 01:38:00,815
You're sitting
at the perfect table.

1384
01:38:01,048 --> 01:38:03,585
And just like my rum.
Taste it. Taste it.

1385
01:38:04,151 --> 01:38:05,587
-[Shayla] For me?
-Correct, girl.

1386
01:38:05,720 --> 01:38:08,021
It will clear your eye.
Your eye will shine now.

1387
01:38:08,155 --> 01:38:11,392
You understand me? [laughs]

1388
01:38:11,526 --> 01:38:16,798
-[man] Mr. Abara, what you doing
bothering this fine journalist?
-Hey! What's the matter?

1389
01:38:16,930 --> 01:38:19,199
-Are you up to your old tricks
again?
-Tricks? Me? Hey!

1390
01:38:19,333 --> 01:38:20,835
[man]
Shayla, you must be starving.

1391
01:38:20,968 --> 01:38:22,570
Let's leave Mr. Abara
to his peace.

1392
01:38:22,704 --> 01:38:24,204
Oh, please, my friend.
You're always throwing

1393
01:38:24,338 --> 01:38:25,272
salt in someone's game.

1394
01:38:25,406 --> 01:38:26,940
I beg. You're a hostile man.

1395
01:38:27,174 --> 01:38:28,275
Shayla, come, dear.

1396
01:38:28,676 --> 01:38:30,411
[woman] ...see me.
They didn't want to see me.

1397
01:38:30,545 --> 01:38:32,514
Did you see what
they were doing?

1398
01:38:32,647 --> 01:38:33,947
[man] Take a seat.

1399
01:38:35,115 --> 01:38:36,618
[muted chatter]

1400
01:38:37,017 --> 01:38:38,252
Ooh.

1401
01:38:39,052 --> 01:38:42,857
[Shayla] <i>I met chefs, poets,</i>
<i>DJs,</i>

1402
01:38:43,190 --> 01:38:45,894
<i>artists, fighters, nurses,</i>

1403
01:38:46,026 --> 01:38:50,164
<i>hair braiders, beauticians,</i>
<i>and college students.</i>

1404
01:38:51,398 --> 01:38:54,201
<i>That night, I met a man</i>
<i>named Omar from Dakar,</i>

1405
01:38:54,903 --> 01:38:57,906
<i>a refugee who was rescued</i>
<i>by the Nautica safeguard</i>

1406
01:38:58,038 --> 01:38:59,808
<i>off the coast of Senegal.</i>

1407
01:39:00,441 --> 01:39:02,209
<i>The Nautica has a program</i>

1408
01:39:02,342 --> 01:39:06,013
<i>giving refugees rescued at sea</i>
<i>automatic asylum.</i>

1409
01:39:07,381 --> 01:39:09,149
<i>During this grace period,</i>

1410
01:39:09,450 --> 01:39:11,920
<i>which can last as long</i>
<i>as six months,</i>

1411
01:39:12,186 --> 01:39:13,954
<i>provisional health care</i>
<i>and education</i>

1412
01:39:14,087 --> 01:39:15,857
<i>are provided for all children.</i>

1413
01:39:16,558 --> 01:39:18,959
<i>Temporary paid work</i>
<i>and training</i>

1414
01:39:19,460 --> 01:39:21,629
<i>are provided</i>
<i>to all adult men and women</i>

1415
01:39:21,763 --> 01:39:23,631
<i>aboard various Nautica vessels.</i>

1416
01:39:25,032 --> 01:39:28,135
<i>That is how Omar found himself</i>
<i>on the Nautica.</i>

1417
01:39:28,603 --> 01:39:29,637
[soft music]

1418
01:39:31,573 --> 01:39:33,440
<i>It was this encounter</i>
<i>that would lead me down</i>

1419
01:39:33,575 --> 01:39:35,710
<i>an unexpected rabbit hole...</i>

1420
01:39:39,179 --> 01:39:41,381
<i>That is where my story begins.</i>

1421
01:39:42,951 --> 01:39:44,451
[muffled chattering]

1422
01:39:52,292 --> 01:39:55,095
-[knock on door]
-[music fades]

1423
01:39:56,129 --> 01:39:57,331
One minute.

1424
01:40:07,876 --> 01:40:10,143
Ah-- Desmond.

1425
01:40:10,277 --> 01:40:12,881
-Hey, girl.
-[Shayla] It's late.

1426
01:40:13,080 --> 01:40:15,015
It's the right time
for this, though.

1427
01:40:18,786 --> 01:40:19,821
[door opens]

1428
01:40:20,120 --> 01:40:22,122
[muffled music]

1429
01:40:29,898 --> 01:40:33,166
[indistinct muffled chatter]

1430
01:40:39,941 --> 01:40:41,174
[emotional music]

1431
01:41:59,821 --> 01:42:02,289
[music turns electronic]

1432
01:42:05,660 --> 01:42:07,461
-The second?
-The second one...

1433
01:42:11,699 --> 01:42:13,266
When the Secretary
to the Treasury

1434
01:42:13,400 --> 01:42:15,469
in America wants money,
he asks them,

1435
01:42:15,603 --> 01:42:18,106
"How long will it take you
to print this?"

1436
01:42:18,238 --> 01:42:19,607
[interviewer laughs]

1437
01:42:22,142 --> 01:42:24,211
Why do you think they
are having trouble with, uh--

1438
01:42:24,344 --> 01:42:25,913
with, uh-- with Russia?

1439
01:42:26,146 --> 01:42:27,815
Because Russia is buying gold,

1440
01:42:27,949 --> 01:42:31,085
and it is moving away
from the dollar.

1441
01:42:31,351 --> 01:42:33,621
And China is the same.
China is moving gold.

1442
01:42:33,755 --> 01:42:35,123
Look at the countries
that have now

1443
01:42:35,255 --> 01:42:36,591
the largest collection of gold.

1444
01:42:36,724 --> 01:42:39,426
They want a currency
that is backed by gold,

1445
01:42:39,560 --> 01:42:41,029
and Uganda has gold.

1446
01:42:41,328 --> 01:42:42,295
What they would do

1447
01:42:42,429 --> 01:42:43,731
is they would make our

1448
01:42:43,865 --> 01:42:45,165
currency gold.

1449
01:42:45,298 --> 01:42:46,701
And we have gold.

1450
01:42:47,535 --> 01:42:49,671
So, instead of letting
this gold hemorrhage

1451
01:42:49,804 --> 01:42:51,973
out of the country,
would get this money

1452
01:42:52,106 --> 01:42:53,675
and turn it into gold.

1453
01:42:55,208 --> 01:42:56,176
[interviewer] The Gold Stan--

1454
01:42:56,309 --> 01:42:57,545
[interviewee]

1455
01:43:02,817 --> 01:43:03,851
[music continues]

1456
01:43:05,285 --> 01:43:08,022
[man]
<i>Peking, a world-famous city,</i>

1457
01:43:08,156 --> 01:43:09,724
<i>ancient yet young,</i>

1458
01:43:10,058 --> 01:43:13,094
<i>the capital of the</i>
<i>People's Republic of China.</i>

1459
01:43:13,861 --> 01:43:15,429
<i>This spring, we have the honor</i>

1460
01:43:15,563 --> 01:43:17,197
<i>to extend our hospitality</i>

1461
01:43:17,330 --> 01:43:19,867
<i>to Dr. William E.B. Du Bois,</i>

1462
01:43:20,068 --> 01:43:22,837
<i>eminent Negro scholar</i>
<i>of the United States</i>

1463
01:43:22,970 --> 01:43:25,305
<i>and member of</i>
<i>the World Peace Council,</i>

1464
01:43:25,640 --> 01:43:28,976
<i>together with his wife,</i>
<i>the writer Shirley Graham.</i>

1465
01:43:32,513 --> 01:43:35,149
<i>It's Dr. Du Bois' 91st</i>
<i>birthday.</i>

1466
01:43:35,616 --> 01:43:37,451
<i>A birthday celebration</i>
<i>is held for him</i>

1467
01:43:37,585 --> 01:43:39,987
<i>by more than 1000 professors</i>
<i>and students</i>

1468
01:43:40,121 --> 01:43:41,923
<i>of Peking University.</i>

1469
01:43:46,127 --> 01:43:48,495
<i>At Wuhan on March 13th,</i>

1470
01:43:48,930 --> 01:43:51,032
<i>Chairman Mao Zedong</i>
<i>has dinner with the guests.</i>

1471
01:43:51,431 --> 01:43:54,569
I think the problem with your
generation is that you guys...

1472
01:43:54,902 --> 01:43:57,605
-You-- you're waiting for us.
-Waiting for you to do what?

1473
01:43:57,739 --> 01:43:59,406
You're waiting for the young
people to do things--

1474
01:43:59,540 --> 01:44:01,374
You should carry your leg
and do things.

1475
01:44:01,509 --> 01:44:03,010
-The young people are standing--
-[indistinct]

1476
01:44:03,144 --> 01:44:05,179
No, no, no, no, no. Do y-- young
people are standing

1477
01:44:05,312 --> 01:44:07,048
-on who's shoulders?
-Whose shoulders should I be
standing on?

1478
01:44:07,181 --> 01:44:09,249
[stutters]
should be the people before us.

1479
01:44:09,382 --> 01:44:10,852
-You can't say that.
You can't say that.
-[indistinct]

1480
01:44:10,985 --> 01:44:12,820
Okay, let me do one for you.
The young people

1481
01:44:12,954 --> 01:44:14,222
are standing on the
shoulders of somebody.

1482
01:44:14,354 --> 01:44:15,322
The people that-- the shoulders

1483
01:44:15,455 --> 01:44:16,389
you're standing on, I have to

1484
01:44:16,524 --> 01:44:17,592
look in the history book and

1485
01:44:17,725 --> 01:44:18,726
-find them.
-Hey, look now.

1486
01:44:18,860 --> 01:44:20,061
Awolowa is there. Kwame Nkrumah

1487
01:44:20,194 --> 01:44:21,562
is there. [stutters]

1488
01:44:21,696 --> 01:44:22,930
Nnamdi Azikiwe is there.

1489
01:44:23,064 --> 01:44:24,297
They're all there.

1490
01:44:26,834 --> 01:44:28,502
Ah, this thing is not spitting
any...

1491
01:44:32,206 --> 01:44:33,440
[music continues]

1492
01:49:32,440 --> 01:49:33,874
[music ends]