Speaker 1: Oh, it's show tied. People say, good money to see
Speaker 1: this movie. When they go out to a theater, they
Speaker 1: want cold sodas, hot popcorn, and no monsters in the
Speaker 1: protection booth. Everyone pretend podcasting isn't boring.
Speaker 2: Don it off.
Speaker 1: Scared as hell about being the dad, especially with everything
Speaker 1: that just went on.
Speaker 3: I think that all hell is gonna break loose sooner
Speaker 3: than later. Sure, no need to take it.
Speaker 1: See that more militia, more and more street fighters. What
Speaker 1: they say about organizations like this, you know those guys
Speaker 1: are making up for something that they were lacking in
Speaker 1: the family. That wasn't really the case for me. Everything
Speaker 1: in my life. I've always been go big or go home.
Speaker 1: All this for thirty seconds of.
Speaker 2: Time, I might not go to jail.
Speaker 1: There's a possibility of me not getting arrested. We got
Speaker 1: guys in New York, one of which is married to
Speaker 1: a black woman with black children.
Speaker 3: That doesn't make you not racist if you have a
Speaker 3: black they have.
Speaker 1: I cannot grasp that concept.
Speaker 3: Eight people will suffer a long train of abuses until
Speaker 3: it gets to a point where I've added up.
Speaker 1: Let's storm the capital.
Speaker 2: Hello, dear, how are you?
Speaker 1: I'm perfectly safe and everything is good.
Speaker 3: We're just mating this little cold paint hole water and
Speaker 3: I was wearing my mass the whole time. The end
Speaker 3: result of this has to be a whole up pariot.
Speaker 3: It has to be.
Speaker 1: Now they're saying, oh, well, you know words message terrorists
Speaker 1: and this and that. If you think DC was bad,
Speaker 1: just wait, just wait.
Speaker 3: Hey, folks, welcome to the Projection booth. I'm your host,
Speaker 3: Mike White. On this episode, I am talking with Michael Primo.
Speaker 3: He is the director of the twenty twenty four documentary Homegrown.
Speaker 1: It is a.
Speaker 3: Pretty eye opening documentary all about the insurrection in twenty
Speaker 3: twenty one, follows a few mega folks. Definitely a little
Speaker 3: bit of a difficult watch, but a good watch. Had
Speaker 3: a great time talking with mister Primo, and I hope
Speaker 3: that you enjoyed this interview. Tell me a little bit
Speaker 3: about you and your backstory. How did you get involved
Speaker 3: in filmmaking.
Speaker 1: I am an artist, filmmaker, journalist. I've worked in the
Speaker 1: arts probably you know, since I was in middle school.
Speaker 1: I went to drama school and worked in theater. I
Speaker 1: you know, worked in local repertory and doing like background
Speaker 1: extra stuff. As a teenager, I went to drama school
Speaker 1: and was making theater for years and years and years
Speaker 1: while simultaneously also making photos and trying to pitch them
Speaker 1: to local newspapers. I was doing that right at that
Speaker 1: moment when digital was becoming a thing and then papers
Speaker 1: were being consolidated and hiring interns just to take photos
Speaker 1: on cheap digital cameras. So it was it was a
Speaker 1: funny moment. And I eventually got a job with story Core,
Speaker 1: a national history project on MPR, and it was kind
Speaker 1: of early days of the project. The project hadn't been
Speaker 1: around for more than a decade at that point, I
Speaker 1: don't think, and that really just set me on this
Speaker 1: path of documentary work and then filmmaking. That just really
Speaker 1: excited the sort of something in me that motion pictures
Speaker 1: and cinema is where I want to go.
Speaker 3: What were some of those early story Core stories for you?
Speaker 1: So story Corps had the sort of general tour where
Speaker 1: there were just these booths and these airstream trailers crisscrossing
Speaker 1: the country, and then they had special thematic initiatives, and
Speaker 1: I was doing a lot of those sort of thematic
Speaker 1: special initiatives, and so I was doing one that was
Speaker 1: collecting nine to eleven stories, which were amazing, and I'd
Speaker 1: spent a lot of time with firefighters who were sort
Speaker 1: of reliving and unpacking that day, and those stories sort
Speaker 1: of live at the nine to eleven Museum. In addition
Speaker 1: to the Library of Congress, I was also working with
Speaker 1: the Grio Initiative, which was a project of the Smithsonian's
Speaker 1: African American History Museum, where we were collecting something like
Speaker 1: two thousand stories of African Americans around the country, and
Speaker 1: that was fascinating. That was just like an unparalleled opportunity
Speaker 1: to travel the country, like Alan Lomex, just like listening
Speaker 1: to people's story around this sort of like pivotal moment
Speaker 1: in American history.
Speaker 3: How did you get involved with Homegrown?
Speaker 1: The idea for Homegrown first started sort of bubbling in
Speaker 1: our brains around twenty sixteen, twenty seventeen. We were watching
Speaker 1: this sort of widening chasm in American political life that
Speaker 1: I hadn't seen probably since maybe the early nineties. You know.
Speaker 1: I came up in that sort of era of the
Speaker 1: culture Wars, of that particular error and what was happening
Speaker 1: when twenty fifteen, sixteen seventeen made that seem tame, there
Speaker 1: was something in the air that felt like something large
Speaker 1: and consequential was coming, And I of course didn't know
Speaker 1: what that was or what that meant, but my experience
Speaker 1: with social movements and my understanding of social movements, there
Speaker 1: was just this like alignment happening among or that I
Speaker 1: observed among all these different factions across the conservative spectrum
Speaker 1: that were coming together in a way that was seen unique.
Speaker 1: By twenty eighteen, we had finally organized our lives to
Speaker 1: really sort of eraise a little bit of money to
Speaker 1: dive into this project. We started filming people in twenty eighteen,
Speaker 1: and we were really in trying to better understand what
Speaker 1: people were fighting for, what was motivating them to get
Speaker 1: off their computer and just sort of step into the street,
Speaker 1: so to speak. And we really wanted to know why
Speaker 1: and what was motivated them. And we were particularly interested
Speaker 1: in this sort of like bubbling sentiment that maybe violence
Speaker 1: was the only way to solve our political problems, and
Speaker 1: that I found fascinated and really wanted to understand better
Speaker 1: why people thought that might be the only course of action.
Speaker 3: How easy or difficult was it for you to film
Speaker 3: these folks, and did they welcome with open arms or
Speaker 3: really ardent suspicion.
Speaker 1: It was a mix of both. We live in this moment,
Speaker 1: as you know, where there's just like so much sort
Speaker 1: of animosity towards the news media, so much skepticism. I
Speaker 1: feel like, you know, everyone has the so many more
Speaker 1: avenues to be able to sort of broadcast and control
Speaker 1: their own image, that people are largely suspicious of other
Speaker 1: people interested in endeavor. But it was a real mix.
Speaker 1: We met people that were kind of embraces with open arms.
Speaker 1: They were like, Wow, why do you want to talk
Speaker 1: to us? And some people were intrigued by the fact
Speaker 1: that we were independent. When I explained what we do,
Speaker 1: They're like, oh, wow, you're like a small business, like
Speaker 1: a mom and pop shop. And I'm like, yeah, I
Speaker 1: guess so. I'd never really thought about myself that way,
Speaker 1: but yeah, every filmmaker is a small essentially a small business.
Speaker 1: Every film you created, you're starting a new business essentially.
Speaker 1: That really engendersome good will That was separated us from
Speaker 1: some of the animosity that was directed at some of
Speaker 1: my friends and colleagues who worked for sort of mainstream outlets,
Speaker 1: And some people were just intrigued that someone like me
Speaker 1: wanted to even know or talk to them because this
Speaker 1: sort of us versus them posture that so many people
Speaker 1: in American society have sunk into. Like there was this
Speaker 1: degree of sort of oh, wow, you're not supposed to
Speaker 1: want to talk to me, you want to hate me, right,
Speaker 1: And I'm like, I don't know if that's actually true.
Speaker 1: We're just sort of the truth we tell ourselves over
Speaker 1: and over, so we believe it that alone, like we're
Speaker 1: really intrigued people, and that that gave us. That allowed
Speaker 1: us to get some access to people because they were
Speaker 1: just so intrigued that we even wanted to stop and
Speaker 1: talk to them, and we got far more access than
Speaker 1: we anticipated. We filmed with dozens of, you know, a
Speaker 1: dozen people across the country and it wasn't until we
Speaker 1: got into the edit that we had to make those
Speaker 1: really hard choices. And that's not uncommon for a very
Speaker 1: tae film to be able to find the film in
Speaker 1: the edit.
Speaker 3: Now, I'm curious how many people were in your crew
Speaker 3: when you're out there? Does that also help when it
Speaker 3: comes to making you not as threatening with a whole
Speaker 3: bunch of folks and sound and video and all.
Speaker 1: That That's is absolutely I think was key to it
Speaker 1: for most of the shoots, it was myself directing and shooting,
Speaker 1: is doing this primary cinematography, and my producing partner, Rachel Falcone,
Speaker 1: also does sound for motion pictures, so it was just
Speaker 1: us two of us. Some shoots we had another colleague,
Speaker 1: Jim Urkhart, who makes also a photojournalist for Reuter's, and
Speaker 1: then some shoots we had we did have a second camera,
Speaker 1: our friend, our colleague Brady Holden, but you know, it
Speaker 1: was that was largely a factor of the pandemic. You know,
Speaker 1: going before the pandemic, we had designs to have kind
Speaker 1: of maybe like a four person crew kind of moving around,
Speaker 1: but the pandemic really created the need to just be
Speaker 1: as slim as possible for obvious reasons, and so ended
Speaker 1: up being just me and Rachel on a lot of
Speaker 1: shoots as well as Jimmy, And Jimmy was also there
Speaker 1: shooting for Reuters, so he was sort of had this
Speaker 1: double duty going on, and that was how we did
Speaker 1: most of the film.
Speaker 3: So eventually you do focus in on just a handful
Speaker 3: of folks. I'm curious, how did you kind of make
Speaker 3: those inroads with those people and say, like this is
Speaker 3: going to be one of the people that I follow.
Speaker 1: Yeah, so what we did after to prepare for the
Speaker 1: project where so I'm just trying to read as many
Speaker 1: of the sort of nonfiction books that were written post Obama,
Speaker 1: like the backlash to President Obama's time in office, and
Speaker 1: that informed a lay of the land. And so we
Speaker 1: just started going out and developing sources like you do
Speaker 1: with an investigation, and so meeting people, and we would
Speaker 1: follow people and initially what we were interested in, because
Speaker 1: it's cinema, it's its motion picture. We needed to have
Speaker 1: people who were sort of out there in the world.
Speaker 1: And we met a lot of interesting, fascinating people that
Speaker 1: were just kind of doing a lot more online. And
Speaker 1: so immediately that sort of like cut out a whole
Speaker 1: swath of people that we could follow. And then once
Speaker 1: we sort of had a bunch of folks in the
Speaker 1: cans so to speak, who you know, had given us
Speaker 1: the privilege of allowing us to spend a lot of
Speaker 1: time with them, it became a different sort of task.
Speaker 1: And that task was, Okay, we've now spent you know,
Speaker 1: a year, two three years sort of in this world
Speaker 1: understanding these people. How do the people that we select
Speaker 1: as the final participants of the film represent not only
Speaker 1: their own truths, but how do they but can they
Speaker 1: speak to broader trends? Can they speak to sort of
Speaker 1: like a whole swath of people who may kind of
Speaker 1: fit a similar profile. And so that's what led us
Speaker 1: to the sort of final three people in the film.
Speaker 1: This one individual named Chris, who we were really interested in,
Speaker 1: intrigued and following initially because he was one of those
Speaker 1: people who before twenty sixteen he self identified as never
Speaker 1: really being into politics, never really caring about presidential elections
Speaker 1: at all. But there was something about Trump riding down
Speaker 1: that golden elevator and what he was saying that really
Speaker 1: spoke to him, and I thought that was intriguing, particularly
Speaker 1: because he was somebody who was from New Jerseys, from
Speaker 1: the Tri state area as well, and so like I
Speaker 1: grew up with Trump my whole life, just in the tabloids,
Speaker 1: he was just like a known commodity. So it was
Speaker 1: really fascinating that someone who also sort of just grew
Speaker 1: up with Trump and the tabloids would suddenly be intrigued
Speaker 1: by somebody there who was not necessarily new to their
Speaker 1: life and what they were saying. But Chris really spoke
Speaker 1: to that bad was this Latino dude from South Texas
Speaker 1: who he met at the time he was living in Utah,
Speaker 1: and he represented the sort of like increasing multicultural, sort
Speaker 1: of element of the conservative movement that I didn't really
Speaker 1: see represented in the media. The conservative movement is largely
Speaker 1: trade as a sort of monochromatic occurrence, but that what
Speaker 1: we found in are reporting and being out there in
Speaker 1: the world. There was a lot more people of color
Speaker 1: who were called to the movement than we had seen
Speaker 1: previously reported, so that was why he was important. And
Speaker 1: then Randy, the third person in the story, third participant,
Speaker 1: represented that sort of tireless behind the scene organizer who's
Speaker 1: spends a lot of time on the phone and on
Speaker 1: the computer and on their sort of chat rooms just
Speaker 1: sort of like building momentum for the movement and organizing
Speaker 1: and coordinating. And that sort of organizing is sort of
Speaker 1: hard to show in films because a lot of it
Speaker 1: is quiet, one on one time with individuals or online work.
Speaker 1: And where we found somebody who was sort of like
Speaker 1: really gregarious and sort of out there doing that work,
Speaker 1: he felt like he was important to include.
Speaker 3: There's that whole idea of by you being a documentary
Speaker 3: filmmaker that you actually kind of change your subject just
Speaker 3: by turning your camera on them. And I'm curious as
Speaker 3: far as did you find a time where you think
Speaker 3: maybe your people were holding back just because you're filming them,
Speaker 3: or did they eventually become completely natural.
Speaker 1: I don't know if people could ever become completely natural,
Speaker 1: but certainly people let down their guard. I think one
Speaker 1: of our big takeaways from our time at Story Corps
Speaker 1: was how important creating an environment of sort of trust
Speaker 1: and and that that's inviting can set the stage for
Speaker 1: people sort of letting down their guard and sort of
Speaker 1: like maybe they're performing a little bit at the start,
Speaker 1: but the more time you spend with people and the
Speaker 1: sort of like the more of a rapport that you
Speaker 1: develop with people, eventually they're going to sort of let
Speaker 1: down that guard and just sort of slip back into
Speaker 1: the way they normally are. And I think that's feel like,
Speaker 1: that's what we experienced, and that's was also a factor
Speaker 1: of the amount of time we spent with people. You know,
Speaker 1: we spent years with these individuals, and after a while,
Speaker 1: people just are who they are. I think one of
Speaker 1: the examples of that was in was on around January
Speaker 1: sixth with Chris. One of the people in the movie
Speaker 1: that you know Chris had was it was so excited
Speaker 1: to be at to be in DC for January sixth,
Speaker 1: and the night before I kept saying, hey, like, don't
Speaker 1: leave the hotel without us. I was really afraid that
Speaker 1: we'd just sort of lose him in a crowd of people.
Speaker 1: We'd have to like sort through the sea of people
Speaker 1: to be able to find him. And I was like, Bro,
Speaker 1: it's just like, don't leave the hotel without telling us. Please,
Speaker 1: don't leave the hotel without telling us. And of course
Speaker 1: I wake up in the morning, He's on the phone.
Speaker 1: He's like, dude, where are you. I'm like, bro, don't
Speaker 1: tell me you left the hotel. He's like, yeah, I'm
Speaker 1: already out of here. The crowd starting to gather. We
Speaker 1: were like, oh, okay, so you know, you wake up,
Speaker 1: grab my camera. I'm out the door. And so that
Speaker 1: sort of like reinforced in our opinion the fact that like,
Speaker 1: regardless of whether or not we were there or not,
Speaker 1: he was going to do the things that he said
Speaker 1: he was going to do and eventually did that. We
Speaker 1: happened to document.
Speaker 3: What was it like that day being there amidst all
Speaker 3: of that chaos.
Speaker 1: Yeah, and I was certainly day I'm not gonna forget
Speaker 1: one of the craziest shoots I've ever been on, for sure.
Speaker 1: So we, you know, having been so deeply immersed and
Speaker 1: with people in this movement for so long, we knew
Speaker 1: that something was going to happen. We could have never
Speaker 1: imagined that this was going to happen, but we knew
Speaker 1: that the things were building to a point where something
Speaker 1: was gonna pop. We were kind of mentally preparing ourselves
Speaker 1: for that as well as sort of like the sort
Speaker 1: of safety and security protocols that we were sort of
Speaker 1: developing along the way. And when Trump sent that text
Speaker 1: around Christmas of twenty twenty saying, you know, this certification
Speaker 1: is on the sixth, there's gonna be lots of people.
Speaker 1: There will be wild, we knew that it was going
Speaker 1: to be wild. Immediately on cable news and social media,
Speaker 1: the refrain that was just like repeated ad nauseum was
Speaker 1: we need to storm the capitol. We need to storm
Speaker 1: the capitol. We need to storm the Capitol. And so
Speaker 1: hearing all this because of a lot of these groups
Speaker 1: that I'm filing, a lot of these like social media
Speaker 1: groups that I'm in and following are like Blue Lives
Speaker 1: Matter groups and groups that have a lot of police
Speaker 1: law enforcement participation. So I assumed that there would be
Speaker 1: no way we would get anywhere near the Capitol that
Speaker 1: the DC Police and Capitol Police and Parks Police would
Speaker 1: have the sort of capital completely courting off. And when
Speaker 1: we got there that morning, we finally caught up to Chris,
Speaker 1: and Chris went to meet his friends at the beginning
Speaker 1: of at the sort of base of the Capitol before
Speaker 1: Trump even started his speech, preparing themselves to storm the capitol.
Speaker 1: I was absolutely shocked that there was just barely any
Speaker 1: sort of law enforcement presence and there was no sort
Speaker 1: of like riot control like the big gates or the
Speaker 1: dump trucks or all those sort of various riot control
Speaker 1: stuff that the Parks Police and the Capitol Police deploy regularly.
Speaker 1: And that kind of sums up how I processed that day,
Speaker 1: which was like I wasn't surprised, like we knew that
Speaker 1: the call was to storm the Capitol, but we were
Speaker 1: absolutely shocked, like absolutely shocked that there was that the
Speaker 1: response was when it was, and what resulted was, you know,
Speaker 1: was the result normally.
Speaker 3: When I interviewed a documentary filmmaker. I asked them, you know,
Speaker 3: what did your subjects think of the documentary? When did
Speaker 3: they have a chance to see this. I'm curious, what
Speaker 3: do your folks think.
Speaker 1: Of this doc Chris's response was, it's not completely biased,
Speaker 1: so that was ringing endorment endorsement. He was pretty frustrated
Speaker 1: that we didn't include a couple of these conspiracy theories
Speaker 1: that he has in his head that he's convinced. We
Speaker 1: didn't include them because they don't exist, and we were
Speaker 1: just following him and his actions. But the response has been,
Speaker 1: you know, there's some Proud Boys who saw some and
Speaker 1: some former Proud Boys who were like, wow, this is
Speaker 1: the most accurate depiction of January sixth that I've seen
Speaker 1: in the media. Like, That's exactly what my experience was.
Speaker 1: There was moments of highs, there was lows. I was
Speaker 1: running into people that I had seen at all these
Speaker 1: other rallies beforehand. That's, you know, the responses that I'm getting.
Speaker 1: So people felt like we sort of were accurate. They
Speaker 1: were some people are frustrated that there was It makes
Speaker 1: the movement seem more violent than it is for people
Speaker 1: to watch them and make their own judgment about Fad however,
Speaker 1: has not seen the film. I'm hoping to get the
Speaker 1: film dim. He's in jail in Texas on a charge
Speaker 1: unrelated to activism, and now that we have the final
Speaker 1: film and we're sort of getting closer to release, we're
Speaker 1: trying to figure out how to get into the Texas
Speaker 1: jail so he can see that. Yeah, it's a weird
Speaker 1: moment with not having DVDs.
Speaker 3: I'm curious what the audience reactions were when you have
Speaker 3: been able to show this.
Speaker 1: Yeah, the audience reactions have been absolutely overwhelming. I've never
Speaker 1: worked on a film where virtually the entire audience stays
Speaker 1: for the Q and A. It's unprecedented, and particularly in Europe,
Speaker 1: the response has been huge, where people just want to
Speaker 1: know what's happening in America. They want to know the
Speaker 1: mind of the not just the kind of the famous politicians,
Speaker 1: but just the everyday people who are behind this movement.
Speaker 1: This film elicits very strong reactions, and some of the
Speaker 1: st fungest reactions surprisingly have come from some sort of
Speaker 1: more liberal leaning people who are just like annoyed or
Speaker 1: insensed that a film about these people exists and that
Speaker 1: has been fascinating. That has been really telling, where people
Speaker 1: are like, oh, no, this seems sympathetic to them, like
Speaker 1: this that's complete bs, like why did you do this?
Speaker 1: And that's fascinating to me. But yeah, by and large,
Speaker 1: people we've got these responses where people are like, well,
Speaker 1: I didn't know I needed to see this film until
Speaker 1: I saw this film. We had this group of women
Speaker 1: who would work in Florida and they describe themselves as
Speaker 1: former Conservatives. They're not full time organizers and activists. They
Speaker 1: have sort of regular jobs and they do some activism
Speaker 1: on the side. And one of them said, well, I'm
Speaker 1: struggling to raise boys in this moment that aren't just
Speaker 1: sort of like wrapped up in this violence and so
Speaker 1: obsessed with this. And I haven't talked to my friends
Speaker 1: or so many of my friends or neighborhoods in the
Speaker 1: last five ten years, and now seeing this film, I
Speaker 1: feel like I have all these ideas on how to
Speaker 1: re engage because I feel like I understand where they're
Speaker 1: coming from just a little bit. And that's been fascinating.
Speaker 3: What is the rollout planned for the film.
Speaker 1: The film premiered at the Venice Film Festival last year.
Speaker 1: We've done our festival circuit. We have broadcasts in Germany
Speaker 1: and Spain and Netherlands and Australia and New Zealand and
Speaker 1: a bunch of these European and Oceanic countries, but we
Speaker 1: don't have US distribution in the United States. Some of
Speaker 1: the more commercial broadcasters have sent us confounding rejection letters
Speaker 1: where they wrote these beautiful letters around how they love
Speaker 1: the film and what it elicited in them and why
Speaker 1: they think it's important, why people need to see them.
Speaker 1: But they can't be the ones to do that. People
Speaker 1: are feel like they're concerned about controversy or they're concerned
Speaker 1: about upsetting the wrong constituent. It's really tough moment, as
Speaker 1: you know, for distribution in America. So we're doing this
Speaker 1: brief window, this premium on demand window where people can
Speaker 1: watch the film by going to Homegrown dot Film, and
Speaker 1: then we're hoping that's still a more courageous broadcaster might
Speaker 1: step to the plate to bring it to wider distribution,
Speaker 1: and if that doesn't happen, we'll continue to distribute it
Speaker 1: on transactional video on demand platforms over the next year.
Speaker 3: Is there any plan for a soundtrack, because I noticed
Speaker 3: a lot of let's say, interesting songs that are being
Speaker 3: played along the way.
Speaker 1: We have talked about that, but I don't I don't
Speaker 1: think that's gonna happen, but we had talked about it.
Speaker 1: I really appreciate your h you're noticing of the of
Speaker 1: the music, both the original score of what's in the film,
Speaker 1: because it's just such a rich tapestry of music that
Speaker 1: you can't really hear anywhere else.
Speaker 3: It certainly is. What do you have plans for your
Speaker 3: next project already?
Speaker 1: Yeah, we have a couple of projects in mind that
Speaker 1: we're sort of raising money for at the moment. I'm
Speaker 1: obsessed with soccer culture and I'm going to do a
Speaker 1: working on a film on a soccer fan culture, the
Speaker 1: ultras as they're called. I'm really excited to sort of
Speaker 1: dive into that.
Speaker 3: Thank you so much for your time. This has been
Speaker 3: such a pleasure talking with.
Speaker 1: You, Mike. It's a pleasure to talk to you. Thank
Speaker 1: you so much for your questions and the work that
Speaker 1: you do. I really appreciate it.
Speaker 2: Dadda, what do you want the world to look like?
Speaker 3: What do you want it to be?
Speaker 4: Do you know that the wall has to size and
Speaker 4: nobody is free.
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Speaker 1: Kicking notar thee across another border Lune.
Speaker 4: Let there people being as sent to your women to
Speaker 4: stop kale and blest children to make America great again.
Speaker 4: Let there be people being as sent to your women
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Speaker 2: Could?
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Speaker 4: the Vergiblung?
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Speaker 4: How do you want him to be because he promoted
Speaker 4: the use of torture and killed families?
Speaker 1: Did your mama come from Mexico? Come from Palistine? Give
Speaker 1: s across another borderlines?
Speaker 4: Less other people in a sent to your women to
Speaker 4: stop kill and bless children make America great? Agast bless
Speaker 4: other people in listen to your women to stop kill
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Speaker 4: kale and black children make America crete again. Let other
Speaker 4: Pa Bulgin listen to your m stop Kale and Black
Speaker 4: Children Make America crete again.
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Speaker 2: Sanda tell Us stand adam. Tell Us pnom sand adam,
Speaker 2: tell Us stand adam