So remember that guy that said his bike was “ghetto” cause it was broken?
Well, he wants to help me write my Frederick Douglass script.
He mentioned it in class one day and I’m pretty sure I laughed in his face.
WHY THE HELL WOULD I LET SOME WHITE KID WHO CALLED THEIR BIKE GHETTO COME ANYWHERE NEAR ME AND PRECIOUS FREDERICK DOUGLASS?
YOU BETTER GET THAT SHIT OUTTA HERE.
And on a side note.
Quentin Tarantino…Django Unchained, huh?
I see you.
Tarantino is the most overrated director since Tyler Perry, except more so because he’s taken seriously by people that matter. I’m not impressed with cinematic pastiche, and I won’t give you credit for exhuming work the average consumer is too young to remember and presenting it as groundbreaking and original. But ever since that whole deplorable exercising of warped, first amendment, unapologetic, racist, white male bravado that hadn’t been since Bull Connor (aka that scene where a wimpy, privileged fuck, Tarantino uses nigger about six times in a way so flaccid you know it took every ounce of his being to not look over his shoulder to make sure the room was void of color). he’s been apologizing and making subtle kisses to the collective African-American ass in every film he’s done since. It probably came to it’s height in Inglorious Basterds when a Nazi threw intellectual shade on America for their treatment of the American negro. Thank-you National Socialist Party of Germany. Thank-you Tarantino. The NAZIS SAID WEES GONE BE FREE!! *shuffles*
Or…Tarantino, his back handed compliments, and flavorless attempts to get back in my good graces can swallow my boom mic from the back. Speeding, camera set, action.