No Ad reads this morning, which means we broke on the Red Hill podcast.

It's just the way it goes, no Ad reads.

I don't know why, but we don't have any Ad reads this morning.

It's actually good that we don't have any Ad raise this morning. It's actually good that we don't have any

at raise this morning because before we get into what we're talking about and who

we're talking to today on the Red Hill podcast I like to say rest and

piece of John Singleton. John Singleton, you're going to hear a lot of things about him and his life and his work in the

next couple of days he passed away yesterday as I'm recording this it is Tuesday morning.

John Singleton passed away Monday, but he's one of those guys whose influence

is both quite obvious and also sort of beneath the surface.

The reason why I'll say that is when John

Singleton came along, I think boys in the hood was 92 or 91,

if I'm not mistaken, there was a lot of black films being made, they were being made. At the

forefront of that was Spike Lee, who had already had major major success and someone who had talked about on this particular

podcast.

Spikes movies were incredibly in culturally enriching from a lot of sort of, how can I put it? Older sort of,

Spikeley represented a different generation,

let me put it that way.

When you look at Spikes movies,

there was a ton of jazz in a movie,

even though there was, know public enemy he had

situations like that. Spice movies gave a feel of black exceptionalism and they

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