Get Out of the Yellow Submarine 

Jordan Peele Writer/Director of Get Out

Woke up my peepers was broke. The Voodoo got me; I spected it would. I tried to keep it off, set up Stoney Blue Heart, remembered the Two Prayers.

Borrowed Jason Peele’s Get Out from my brother. He told me he couldn’t wait to hear what I had to say about it. I shook my head, told him it wasn’t good, already had the intel this was an active program. Knew it must  have  gotten to me, when I woke up with reader eye, which is like when you try to see one of those hidden 3D pictures, but  instead you get an involuntary vague grey outline of the thing, that kicks my focus out of whack. 

But here I am, still typing out the blurry words. I decided to take a minute for Art, watch the Beatles Yellow Submarine. Hopefully to wash off the joo-joo off from the nite before. It starts with the song in the main credits. It’s in another language, haunting words; I looked it up, found this interesting explanation: 

One of the many things from Get Out that will stay with you is the music. Donald Glover’s “Redbone” is played, and there’s a creepy sequence with “Run Rabbit Run” by Flanagan and Allen, but the song that I can’t get out of my head is actually part of the film’s original score. It plays during the main credits and at the end of the film, and it’s called “Sikiliza Kwa Wahenga.” 

Writer/director Jordan Peele talked about the song in a recent interview with GQ:
“It’s Swahili, actually. It’s such a cool track. I was into this idea of distinctly black voices and black musical references, so it’s got some African influences, and some bluesy things going on, but in a scary way, which you never really hear. African-American music tends to have, at the very least, a glimmer of hope to it — sometimes full-fledged hope. I wanted Michael Abels, who did the score, to create something that felt like it lived in this absence of hope but still had [black roots]. And I said to him, ‘You have to avoid voodoo sounds, too.’

The words are issuing a warning to Chris. The whole idea of the movie is ‘Get out!’ — it’s what we’re screaming at the character on-screen. They go, ‘Brother, brother,’ in English, and then something to the effect of, ‘Watch your back. Something’s coming, and it ain’t good.'”  Source

“Have to avoid voodoo sounds too” Thats the kicker, isn’t it? Hate to break it to Peele, ah never mind. I know he gets it. Get Out is about doubling, two. Watch it with that in mind. How many times two things, or its multiple, is given focus. And the pillars, Joachim and Boaz, two, how they frame each stage and development of the film. Movies and life are all about what’s going on in the empty space, the background. How things are arraigned and presented. 

Get Out is about mind control and is mind control. Doubling, subject and object, these are processes which take place between the film and the audience as well. There are shots from the characters point of view, which subconsciously encourage us to see things from their perspective. Sorry my eyes are blurring, need a minute of the Fab Four. 

I look at all the lonely people… Trauma is the first step in mind control. Ignite the fight or flights response, distort the higher function, cut off escape, offer alternative cessation of discomfort, put the tea on. There’s this critical scene in all horror movies, the sort of we’re not in Kansas anymore moment, where the rabbit realizes they’ve been caught in the trap. It’s actually a moment of relief for the audience. It’s a breather before the big show. In Get Out this moment occurs when he tries to leave and is stuffed in the basement, with the old TV! 

Would you believe me if I told you I was being followed by a yellow submarine? I wouldn’t. 

I can’t even properly explain Get Out. It’s a program, a racial division program. I’m gonna do some research on writers and background of the film. Also, I will do more research on other people’s response to it. I bet you will find an interesting difference, in different races response to it. Obviously. I think most white people will express horror and surprise and black people will be less surprised, and more, shall I say cautious/conscientious? towards it. Everyone should be taking a deep seat in the existential sweat lodge. So let us not talk falsely now, the hour is getting late…


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