The First Day of Christmas at SBPDL: Holiday Inn

Everybody loves the song White Christmas, for the season isn't complete without hearing Bing Crosby sing those familiar notes.

White Christmas is one of the nations favorite Christmas songs, and puts everyone who hears it in the Christmas spirit. Of course, the song comes from the movie of the same name, right?

Nope. You'd be wrong and the reason of this oversight is simple: the movie that originally had the first rendition of White Christmas is one of the most horribly offensive movies ever made, for an infamous Black-face scene completely places the soon to be discussed film in the category of unwatchable.

Holiday Inn, starring Bing Crosby is that film, and the film has the incredible honor of being one of the most offensive films for Black people to watch in the history of cinema:

"Holiday Inn is a 1942 film starring Bing Crosby and Fred Astaire, with music by Irving Berlin. The film has twelve new songs, one brief use of "Oh How I Hate to Get Up in the Morning," written in 1917 for the World War I musical "Yip Yip Yaphank" which was reprised on Broadway in 1942 under the title "This Is the Army" and a complete reuse of "Easter Parade," written for the 1933 Broadway review "As Thousands Cheer". An original song from this movie is "White Christmas".

Beginning in the 1980s, some broadcasts of the movie have cut out the "Abraham" musical number entirely, undoubtedly because of its depiction of a blackface minstrel show incorporating what is now considered offensively stereotyped mannerisms and dialect.^[1] Turner Classic Movies has left the "Abraham" number intact during their screenings of Holiday Inn both for historical purposes, and because it is TCM's policy to show films uncut."

Oh no. Much like Al Jolson, Holiday Inn uses Black-face in a prominent scene that induces cries of racism and insidious intentions on the part of white people to lynch and "keep down" Black people:

"The New York Times has been running an end-of-year appreciation of classic holiday movies. Today, A. O. Scott actually appreciated the Bing Crosby movie “Holiday Inn.”

"I have already expressed my view of this movie in this blog. Its (horribly) extended blackface song sequence, with whites singing in “Negro dialect” about “Fadder Abraham” is unconscionable, sickening, and impossible to excuse or rationalize. A. O. Scott does both.

The problem with this terrible racist scene, for Scott, is that it “dates” the film “somewhat”, and makes it “unpalatable” for “current sensibilities.” But “it’s important to remember that this movie is more than 65 years old.” Problem solved! My current sensibility is satisfied now.

Racism is never excusable because there was simply never a time in history when people did not know racism was used to hurt and oppress others. And frankly, to excuse a movie playing when people I know were alive for being from some ancient, distant time (65 years ago) is beyond lame. There is no place for accepting and softening crap like this in the United States of America at any time, but perhaps especially now."

Oh no. A movie with Black-face, made by people who comprised The Greatest Generation and Pre-Obama America... yikes!

Let's be straight-forward: the day will come when anything unpalatable to Black people is thrown into a great big funeral pyre that will represent the purging of Pre-Obama America from the new world Disingenuous white liberals have created for us all.

Holiday Inn, a timeless classic that has the unfortunate scene of white people dressed incognito behind a facade of Blackness, will be one of the first films to be decimated in that funeral pyre.

For the time being, Stuff Black People Don't Like includes Holiday Inn, for this film is the 1st Day of Christmas at SBPDL. It prominently features a Black-face scene that wasn't met with antipathy when it debuted in the 1940s, for this wasn't a 'racist' act then. Only recently have people decided that every brick of Pre-Obama America must be pulled down and the singing of Bing Crosby while wearing black make-up represents a pivotal yule-block of that nation.

Imitation is the sincerest form of flattery, or so it has been said, but in the case of Black-face, it is grounds for having your classic movie boycotted or being expelled from college.

Read More

#553. Vigilante Movies

We live in a world where the printed word is fading in popularity. Visual stimulation through the medium of movies and video games has supplanted reading and led to a significant decline in readership throughout the country.

The National Endowment for the Arts has an incredibly somber analysis of the situation available to read here.

Video games generate more than $17 billion a year in sales (68 percent of American households play video games each year), and movies and DVD sales bring in more than $45 billion each year, and yet, remember:

"According to a fascinating, if frightening, report last year by the National Endowment for the Arts, more than 40 percent of Americans under 44 did not read a single book — fiction or nonfiction — over the course of a year."

These movies and video games represent fiction and mere entertainment, an escape from reality. By spending countless hours watching movies and delving into the fictitious world of video games, people create a sense of cognitive dissonance that enables from living in world dominated by unpleasant hate facts about the real world.

Take the popular television show Law and Order and the false world it delivers each week:

"For years, Law & Order, which is filmed in Manhattan, advertised its episodes as being "ripped from the headlines," a claim Wolf and star Jerry Ohrbach still make in interviews. But instead of depicting reality, Wolf's scriptwriters take high-profile crimes committed by blacks, and replace the bad guys with whites, and invent white racist monsters that bear no relation to anything seen in New York during the past 100 years.

And so, while according to NYPD crime reports, over 89 percent of suspects in violent crimes are black or Hispanic, L&O presents a looking-glass world in the grips of a white crime wave."

One popular form of story-telling that has been with us throughout human history is the revenge-tale (from Homer, Ovid, Shakespeare, Dumas, etc.). A character wronged by a villain and then left for dead - who endures what Joseph Campbell called "a heroes journey" - ends up vanquishing his foe at the end of tale, exacting revenge.

These are the stories that stay with us, for they resonate deeply in our minds and hearts, painting an image of evil being defeated so that good cannot only survive, but endure.

Yet, shows like Law and Order, and American cinema depict something strange in movies, as all plots and stories center around a glaring falsehood: Pre-Obama America never ceased to exist and all criminality is performed by evil white people, at the expense of Black people.

In the real world, watching the nightly news brings the grim nature of Black people and their strong propensity to commit criminal acts to the surface, for in the world of entertainment the truth of Black people and crime is but a pernicious myth laying at the bottom of a murky ocean where only hate-fact wielding Nazi's dare swim.

However, despite the myths that permeate the entertainment industry, most people are cognizant of the reality of Black-on-white crime and the need for Whitopia's.

No movie has yet to be filmed that showcase the heinous murders that have taken place in every city where whites and Black people co-exist, that paint the unhappy - yet true - picture of Black-on-white crime.

Yet, hardly a month goes by when a movie isn't introduced that depicts evil white men attempting to subjugate Black people and permanently make them a second-class.

How many times has a movie been made that accurately shows Black people committing a crime against white people, and then shows said white person demanding justice (that is what happens in A Time to Kill, but it is reversed)?

Think about revenge movies for a moment - since so few people read anymore - and consider what every classic vigilante movie offers: husband and wife have a charmed life with perfect kids; some form of evil (always a white person) disrupts this equilibrium and inflicts great harm (possibly death) on a family member; distraught husband decides to take matters into his own hands when the justice system fails him.

This could be the plot of so many films, from Death Wish, Death Sentence, The Exterminator, The Punisher, Batman, The Boondock Saints, etc.

In Death Wish, Charles Bronson stars as a liberal whose paradigm is destroyed when white muggers rape his wife and daughter, killing the former and sending the latter into a state of psychological paralysis. He doesn't don a mask and scurry over rooftops in Gotham City, but he does confront muggers and potential murderers by engaging in vigilantism, turning New York City into a safer place in the process.

Bronson's character has a conversation with his son-in-law that is riveting:

Paul Kersey: Nothing to do but cut and run, huh? What else? What about the old American social custom of self-defense? If the police don't defend us, maybe we ought to do it ourselves.

Jack Toby: We're not pioneers anymore, Dad.

Paul Kersey: What are we, Jack?

Jack Toby: What do you mean?

Paul Kersey: I mean, if we're not pioneers, what have we become? What do you call people who, when they're faced with a condition or fear, do nothing about it, they just run and hide?

Jack Toby: Civilized?

Paul Kersey: No.

The vast majority of people killed by Bronson's character in the Death Wish series happen to be white people, thus conflicting with the reality of crime in major cities.

A 2007 Kevin Bacon film, Death Sentence, shows a perfect suburban family ruined by a multi-cultural gang (a Hollywood creation, for all gangs are racially united). Bacon's character realizes the law is inadequate and fights back against those who took away his idyllic life.

Remember, impressionable minds watch movies and our manipulated by what they see on film, and to show the truth of crime in America would create a serious amount of cognitive dissonance that would have far reaching effects on the amount of sports consumed in this country and could flicker some sort of brain activity among the individual indulging in countless hours of SportsCenter on ESPN.

Perhaps Hollywood's most interesting character that has been so poorly executed in three different films is the Marvel comic character, The Punisher:

"The Punisher is a vigilante who considers killing, kidnapping, extortion, coercion, threats of violence and torture to be acceptable crime-fighting tactics. Driven by the deaths of his family, who were killed by the mob when they witnessed a gangland execution in New York City's Central Park, the Punisher wages a one-man war on the mob and all criminals in general by using all manner of weaponry.

His family's killers were the first to be slain. A war veteran, Castle is a master of martial arts, stealth tactics, guerrilla warfare and a wide variety of weapons."

Strangely, Castle's enemies always seem to be Italians or other various white people, mobsters, etc. Never Black people, for you see, in movies, we still live in Pre-Obama America where 90 percent of the population is white.

Consider The Boondock Saints, and the infamous joke that film contains. The righteous brothers in that film decide to be God's agents of eradicating sinners on earth, and engage in a brutal war against - like the Punisher - white people.

Even though these movies, from Death Wish to The Punisher depict a white dude blowing away other white dudes, Black people get uneasy, for many Black people know the truth of crime in America.

These films offer mere escapism for all involved who view them, but Black people are well aware of the undertones of such films as Dirty Harry and Death Wish:

"Most irresponsible was the 1974 release of Death Wish which went on to repeat itself in 1982, 1985, 1987 and 1994. Death Wish featured the diminutive and fading actor Charles Bronson, impressive in Once Upon a Time in the West (1968), but now reduced to the depraved Paul Kersey, a white everyman driven to take revenge against street scum when his family is wiped-out.

Playing to such paranoia, which continues to be manipulated by the National Rifle Association, made a raving gun-nut out of the actor Charleston Heston. Over-rated as an actor, Heston never hesitated to mention the Los Angeles Watts Riots of 1965 as chief among his reasons for owning a gun."

Roger Ebert decided to bestow upon Dirty Harry the title of fascist:

"But wait a minute. The movie clearly and unmistakably gives us a character who understands the Bill of Rights, understands his legal responsibility as a police officer, and nevertheless takes retribution into his own hands. Sure, Scorpio is portrayed as the most vicious, perverted, warped monster we can imagine -- but that's part of the same stacked deck. The movie's moral position is fascist. No doubt about it."

Dirty Harry was but a movie, and crime has gotten much worse since 1970, no thanks to the film and fine police work of Officer Callahan in stopping all those real murderers.

Stuff Black People Don't Like includes vigilante movies, for even though Black are never the antagonists in these films, the unpleasant reality of nightly newscasts leaves most Black squeamish. Vigilante movies show normal reactions to melancholy experiences and the natural desire for self-preservation and revenge unfolding in celluloid beauty.

The real-life passivity of white people when confronted with criminality and the Black world that they live in now, is incredibly unnatural. Science can't explain it.

The United States will continue to descend into chaos, caused by massive inner-city crime and black-on-white as well as horrible black-on-black violence.

It is in the movies we will escape to find fictional solutions, and relax in the cheerful words of Travis Bickle:

"Someday a real rain will come and wash all this scum off the streets."

Read More

#311. Bill and Ted's Excellent Adventure

Stuff Black People Don't Like would love it if everyone in America would read. This is not be to the case nor will it ever be, as we live in a country where 25 percent of the country doesn't even bother to pick up a book:

"One in four adults read no books at all in the past year, according to an Associated Press-Ipsos poll released Tuesday. Of those who did read, women and older people were most avid, and religious works and popular fiction were the top choices."

Worse, in Detroit where 9 out 10 people are Black people, the illiteracy rate is approaching levels never before seen in the United States:

"It’s no coincidence that Detroit has one of the highest illiteracy rates in the country and has classified over 47% of adults as functionally illiterate, according to the National Institute for Literacy. To make matters worse, Detroit has a higher illiteracy rate than countries in Africa -- where the children have never seen a book."

However, Americans do love to see movies, as in 2008 the top 10 movies out of Hollywood brought in just under $3 billion at the domestic box office. This number does not include DVD rentals or sales revenue.

Movies will always be the medium whereby people can have their minds manipulated to believe anything. Edward Bernay wrote an important book on propaganda and had this to say, which can be linked to what happens when people watch movies:

"Those who manipulate the unseen mechanism of society constitute an invisible government which is the true ruling power of our country. We are governed, our minds are molded, our tastes formed, our ideas suggested, largely by men we have never heard of. This is a logical result of the way in which our democratic society is organized.

Vast numbers of human beings must cooperate in this manner if they are to live together as a smoothly functioning society. In almost every act of our lives whether in the sphere of politics or business in our social conduct or our ethical thinking, we are dominated by the relatively small number of persons who understand the mental processes and social patterns of the masses. It is they who pull the wires that control the public mind."

Remember this fact, as we bring you today's entry.

"Do you know where there are any personages of historical significance around here?" asked Bill S. Preston, esquire, one of the co-creators of the important band Wyld Stallyans. You see, this band will bring about world peace:

"Hi, welcome to the future. San Dimas California 2688. And I'm telling you it's great here. The air is clean, the water's clean, even the dirt, it's clean. Bowling averages are way up, mini-golf scores are way down. And we have more excellent water slides than any other planet we communicate with. I'm telling you this place is great! But it almost wasn't. You see, 700 years ago, the two great ones, ran into a few problems. So now I have to travel back in time to help them out. If I should fail to keep these two on the correct path, the basis of our society will be in danger. Don't worry, it'll all make sense. I'm a professional."

The movie in question? Bill and Ted's Excellent Adventure, a movie about two white dudes from California that are destined to start a rock band that will in turn bring about world peace and an unprecedented era of prosperity. However, Preston and Ted "Theodore" Logan - played by Keanu Reeves - must first pass their high school history final.

If world peace is to come to fruition, then these band mates must pass their history class, so Rufus - a character from the future played by George Carlin - goes back in time to help out the dynamic duo.

Sound confusing? Try this explanation of the plot:

"The film opens in the future San Dimas, California, with Rufus (George Carlin) preparing to use a time-traveling phone booth to travel back to 1988 to make sure that Bill S. Preston, Esq. (Alex Winter) and Theodore "Ted" Logan (Keanu Reeves) remain together as the band "Wyld Stallyns", as their music is the core of the future's Utopian society. Rufus finds that Bill and Ted are on the verge of failing their high school history class, and should Ted fail, his father, police captain Logan (Hal Langdon) will ship him off to an Alaskan military academy, effectively ending the pair's dreams of forming a band. As the two try to write a history report by asking customers questions at a local Circle K, Rufus introduces himself to them.

Though Bill and Ted are skeptical of Rufus' claims, they are convinced when future versions of themselves land nearby and explain the situation to them. Rufus shows Bill and Ted how the time machine works by taking them back to see Napoleon Bonaparte (Terry Camilleri) preparing for battle. Rufus returns to the present and leaves the two with the time machine; after Rufus leaves, they discover that Napoleon was dragged with them back to the present, and get an idea: to pass their history exam, they will go back in time and kidnap other historical figures and have them explain what they think of the San Dimas of the present. Bill and Ted leave Napoleon with Ted's younger brother Deacon while they travel back to the past."

Black people enjoy this movie, up until Bill and Ted decide to journey into the past to find "personages of historical influence" for in their journey in the past, they fail to get any Black people to help out their history project!

Who do they get instead?:

"Bill and Ted first collect Billy the Kid (Dan Shor) and Socrates (Tony Steedman) (whom they refer to as /ˈsoʊkreɪts/ "So-Crates"), who are both confused but eager to help the pair. When they travel to 15th Century England, they become smitten with Princess Elizabeth (Kimberley Kates) and Princess Joanna (Diane Franklin), but fall into trouble with their father the King; they manage to escape with the help of Billy and Socrates and continue traveling through time. Soon, they have collected Sigmund Freud (Rod Loomis), Ludwig van Beethoven (Clifford David), Genghis Khan (Al Leong), Joan of Arc (Jane Wiedlin), and Abraham Lincoln (Robert V. Barron)."

So, Bill and Ted journey back in time and garner the help from six white people and a mongol. Black people have the great advantage of being from the continent where life is said to begin, yet strangely, no great Black civilizations exist there nor is there any evidence a great Black civilization ever existed.

Black people find the fact that Bill and Ted didn't get any Black people strange, when confronted with the fact that the currently accepted "Out of Africa" theory has all of civilization and the earth's many people originating from that continent.

If this theory were true, why is there no evidence that intelligent life has ever existed there, through ruins of a great past civilization? Black people don't like this historical fact one bit.

Now, it is true that most historical Black people fall into two categories: entertainer or civil rights activist (entertainer includes singer, athlete or movie star). It is hard to come up with other Black people that are famous that don't fit into either of these categories (most famous Black innovators are precisely famous for being pillars that hold up the civil rights movement).

Interestingly, Black people find it mystifying that Bill and Ted steadfastly refused to go to Ancient Egypt to get a Black person to testify to that Nubian civilization that built the pyramids, but that would run counter to historical fact:

"The second and more pernicious mission of the Afrocentrists is to create a past that never existed—a past in which Africa was at the center of world history. This is done primarily by tracing key elements of Western civilization and contemporary culture to African roots, and crucially to ancient Egypt.

If it can be demonstrated that major strands in Western philosophy, literature, and mathematics originated in the land of the pharaohs, and if it can also be shown that ancient Egypt was an “African” civilization in more than the narrowly geographic sense, then large parts of Western learning and culture can be claimed and celebrated as African. Many a forest has fallen in service to this cause, and many an American student is now being taught that Socrates was black and other such non-facts."

Black people refuse to believe that Ancient Egypt was not created except through the hard work of Black people. Where those Black people went is still a mystery, but Black people believe with all their heart, despite no evidence to the contrary, that Ancient Egypt is their civilization.


It is through the help of white people and a Mongol that Bill and Ted are able to unite the world in peace. Nary a Black person helps in this crusade.

Stuff Black People Don't Like includes Bill and Ted's Excellent Adventure, a seemingly innocent 1980s film that drives a dagger deep into the heart of Black people whenever they sit down to view it. For Martin Luther King, Harriet Tubman and ... getting fuzzy here ... Marcus Garvey perhaps (?) should be included in the historical panoply that ensure the world is saved and that Bill and Ted pass history.

Sadly, the contributions of Black people - from America or from Africa - are left out of Bill and Ted's Excellent Adventure. A clear cut case of Euro centrism? Or, a clear cut case of historical accuracy? No one reads anymore. People watch movies. And Black people worry that Bill and Ted's Excellent Adventure will derail all the great hopes that Afro-centrism had for white people everywhere.

Read More

#554. The Joke from The Boondock Saints

Black people aren't dumb. As we have discussed, they know all about disingenuous white liberals (DWL's) and how they really view Black people.

DWL's love Black people - only as long as they don't live near them nor attend their kids schools. If they violate this code, then DWL's find it difficult o deal with Black people.

The entry on "The End of Knowing" has been a popular one here at SBPDL, as people have found it difficult to understand the movies intricate mythology and the Nordic undertones that movie portrays.

It is wrong to casually dismiss the ending and the SBPDL interpretation of the film, for DWL's would love to live in a world devoid of Black people. The only problem is that they would have no minority group to use and manipulate for power.

As we will see in a future entry, Black people do not like vigilante movies. One of those movies is the 1999 film, The Boondock Saints, a film that has gained cult status around the world:

"The Boondock Saints is a 1999 crime thriller film written and directed by Troy Duffy. The film stars Sean Patrick Flanery and Norman Reedus as Catholic Irish American fraternal twins, Conner and Murphy MacManus, who become vigilantes after killing two members of the Russian Mafia in self-defense. After a message from God, the brothers, together with their friend David Della Rocco, set out to rid their home city of Boston, Massachusetts of crime and evil; all the while being pursued by FBI Special Agent Paul Smecker (Willem Dafoe)."

The two Irish brothers are on a Holy crusade to cleanse Boston - all of their targets in the film are white, whether they be Russian, Italian or Jewish - of evil and they are accompanied by another friend who early in the film absolves Black people from being in the cross-hairs of the Saints, through a joke.

David Della Rocco plays The Funnyman, a low-level mobster who ends up being the Boondock Saint's third wheel. In the film, he is forced to tell a joke - now remember, one of the things we have established here at SBPDL is the high levels of crime that Black people have a propensity to delve into, but Hollywood (and LA Law) turn a blind eye to this reality and always make the vigilante's antagonist white guys, or mobsters - and Black people find this attempt at humor horrifying.

As stated, the joke plays upon Black people's worst fear, for it confirms the reality of their deepest darkest nightmares: that given the choice, white people would prefer to have a Coke than to living in the same country as Black people (below is the joke):

Yakavetta: I'm having a shitty day. I'm depressed. Tell me a funny joke.
Rocco: Now? A joke? Uh... um, uh... A joke. Yeah, alright. Um... There's these, uh, three guys, uh... a-a-a-a spic, a-a-a-a white guy and a black guy.
Yakavetta: Nigger.
Rocco: Yeah, n-n- Yeah. And-and they walk along the beach, they see this pot, they rub it, genie comes out. Genie says, you know, "You wish for anything you want." So, he asks, uh-uh, Mexican what-what he wants, and he goes, uh, uh, "I want, uh, all my people in America to be happy and free and in Mexico." And so, genie - Poof! And, all the spics are in Mexico. And then he asks the black guy...
Vincenzo Lipazzi: Nigger.
Rocco: Yeah, that's what I said. Goes to the, uh- uh, nigger, says, uh, "What do you want?" And he goes, um, uh, "I want all my African- my nigger brothers in America to be back in Africa and-and happy and everything." You know? So, genie goes poof! And, um, all the niggers in America are in Africa. And, uh, uh, uh, this is go- I'm not funny today. I-I know. I'm havin' a hard day. I-I-I- This joke sucks. It's-it's-it's a stupid joke.
Yakavetta: Continue the joke.
Rocco: So the genie says to the white guy, uh, um, "What's your one wish?" And the white guy goes, "You mean to tell me all the niggers and spics are out of America?" Genie goes, "Yeah." He says, "Well, um, I'll have a Coke, then."

DWL's were exposed with this joke - and it came from a movie about cleansing America of its evil inhabitants. Hispanics and Black people were excluded from being targets in The Boondock Saints, because the joke told by "The Funnyman" magically removed them from the Saint's cross-hairs ( Black people are correct; all white people love the idea of Pre-Obama America and look at the state of major US cities under Black rule as justification for their "I'll have a Coke" attitude).

Crime, academic standards being lowered and getting upset over the loss of chicken are byproducts of living under Mein Obama rule.

Stuff Black People Don't Like includes the "I'll have a Coke" joke from The Boondock Saints, because Black people know that all white people, if they found themselves in the same situation as the jokes participants, would gladly wish for a Coke from the genie as well.

Read More

#83. Real American Heroes

Debuting in 1964, a toy would take the United States by storm and spawn a multi-billion dollar franchise that recently culminated in a live-action Hollywood film that garnered more than $55 million in its opening week.

G.I. Joe, named after the term ‘General Issue’ and subsequently a generic term used to denote all U.S. soldiers, is as American as apple pie. A Real American Hero was G.I. Joe and millions upon millions of children played with the various toys in their different incarnations from its genesis to the 1980s version that spawned a hit cartoon and cartoon movie as well.

Extolling the virtues of Pre-Obama America and protecting the United States of America from the evil terrorist organization Cobra, G.I. Joe represented all that was great about the nation. The finest troop’s were selected to fight for G.I. Joe, and in the 1980s cartoon, were overwhelming populated by white people.

Black people enjoyed the cartoon show, entitled G.I. Joe: A Real American Hero, because they were represented with the great character Road Block. But as the show went on, they realized that the Black character Road Block was seemingly an innocuous character, a Token Black, that had little impact on the overall G.I. Joe universe.

In reality, it was but white people that saved the United States time and time again from the evil plans of Cobra Commander and his Cobra Organization. It became increasingly obvious that only white people were synonymous with “Real American Heroes” and that Black people were but secondary characters in the fight to save Pre-Obama America.

Interestingly, in the War on Terror and the fight for Iraqi Freedom, it has been white people who have died in incredible numbers defeating and then rebuilding Iraq. 75 percent of the deaths have been white personnel and only 9 percent of the deaths have been Black people. Real American Heroes, in the fight to bring freedom to the Middle East has largely been the burden of white people, even though the military is making every effort to get Black people to die for Post-Obama America.

Black enlistment in the military is declining, which leads one to believe Black people don’t want to be real American heroes, even in the new Age of Obama:

“Defense Department statistics show the number of young black enlistees has fallen by more than 58 percent since fiscal year 2000. The Army in particular has been hit hard: In fiscal year 2000, according to the Pentagon statistics, more than 42,000 black men and women applied to enlist; in fiscal year 2005, the most recent for which a racial breakdown is available, just over 17,000 signed up.”

Real American Heroes have always been white people, as they have died in numbers that are usually disproportionate to their actual percentage of the population, especially in the latest military conflicts around the world.

However, the recent rise of The Age of Obama has created a new hysteria among Black people to fall down in obsequious praise to their leader and this new found desire to serve their leader – Mein Obama – culminated in G.I. Joe: The Rise of Cobra.

In this film, G.I. Joe is no longer fighting for just the United States, but is an international organization that includes a Black person from England, a couple of white people and a little revisionism of the cartoon as Ripcord is now a Black person, although he is a white person in the cartoon. Played by Marlon Wayans, Ripcord is now a Black guy that can even fly an advanced fighter, even though the real Air Force is less than 2 percent Black pilots.

The G.I. Joe film reflects Post-Obama America and Black people love it, even though it has no reflection on the actual military that – in reality - defends the country they love to hate. Black people, you must remember, don’t like pre-Obama America.

Most telling, the film has depicted the enemies, led by Cobra Commander, as a bunch of white people. You see, in the Post-Obama America, the enemies can only be white people. Black people are the new heroes.

However, the reality of special forces in the United States paints a depressing picture for Black people and their involvement in them, and further pushes the G.I. Joe movie into the realm of absurd fiction:

The Army Special Forces, known by distinctive green berets, has 234 African-American officers and soldiers in a force of 5,200 men. Blacks make up 4.5 percent of the Green Berets, compared with nearly 24 percent of the male soldiers in the Army.

The Navy has only 31 blacks among its 2,299 Sea-Air-Land, or SEAL, commandos, less than 2 percent of the force. African-Americans constitute nearly 17 percent of the male personnel within the Navy.

And, the Air Force' s special-tactics groups have only eight blacks in a force of 472 men, less than 2 percent. Servicewide, about 14 percent of the Air Force' s male personnel are African-American.

The new G.I. Joe is the stuff Black people enjoy, because it has replaced a key component of the Stuff Black People Don’t Like, pre-Obama America iconic figures. G.I. Joe was an institution and represented the best of pre-Obama America, but it was too white. Now, the multicultural cast of the new movie perfectly depicts the fantasy that Black people have created in Post-Obama America.

Stuff Black People Don’t Like includes Real American Heroes, because they represent the virtues of Pre-Obama America, and Black people know that any time white people think about the good old days of America, they fondly remember only Pre-Obama times.

And remember, knowing is half the battle.

Read More

Mourning John Hughes at SBPDL

There was no post yesterday as SBPDL mourns the loss of visionary movie director John Hughes, who we profiled last month as #317 on Stuff Black People Don't Like.

A new post will be forthcoming tonight, but for now, we mourn the loss of John Hughes and his movies, which will forever be included in Stuff Black People Don't Like.

His films will long be remembered by white people everywhere as they canonize a time, place and people that is gone forever. We now live in the Age of Obama, and everything before his magnificent reign is but a memory.

Stuff Black People Don't Like will always include The Breakfast Club, Uncle Buck, Home Alone, Ferris Bueller's Day Off, Sixteen Candles, Pretty in Pink, Weird Science and John Hughes Movies, because they exist as a testament to the 1980s and a world seemingly untouched by Black people and devoid of them entirely.

Rest in Peace, John.

Read More

#677. The End of "Knowing"

Movies are one of Black people's favorite forms of entertainment. Films like Soul Plane and Don't Be a Menace to South Central While Drinking Your Juice in the Hood have long been some of Black people's favorite cinematic treats.

However, a recent Nicholas Cage movie left Black people wondering if Leni Riefenstahl had directed the film posthumously. The science-fiction film, Knowing, grossed more than $175 million worldwide and was a moderate success during its theatrical release in 2009, in America.

It might have been a bigger hit, had the trailers for the film been more forthcoming about the plot, as Nicholas Cage - whose hairline continues to change in each film - plays an MIT professor who uncovers a 50-year-old numerical sequence that has correctly forecast major disasters:

IMDB.com describes the plot this way:

"When John (played by Cage) was looking at the numbers, he quickly realized that it was some type of code that predicted the month, date and year of a specific disaster, and how many people died in that particular disaster. After witnessing a plane crash at Logan International Airport, and saving people from a freak New York Subway accident, John realizes that the last disaster on the code is the end of the world when one of the Sun's solar flares will scorch the Earth."

So it's another end of the world flick, and like in so many movies before it, Black people don't get a chance to save the world from solar flares. In fact, they barely are even seen in the film at all.

What makes this film so incredible and yet, so offensive to Black people - and perhaps all non-whites - is the ending of the film. For, like in Nordic mythology, the end of the world is met with fire, complete destruction and yet, a re-birth of Nordic life. A Ragnarök that seems alien to Black people.

Throughout Knowing, strange Blond hair, blue eyed people help the son of Cage's character and in the end, these angelic people turn out to be the savior of mankind, or perhaps only European-kind, as they are aliens that take two white children (one being Cage's character) to another planet. There, they avoid the destruction of earth and the film ends with the white children (one boy and one girl) running in fields of gold (perhaps the Elysium field's).

As the world is about to consumed by fire, Cage's character in the film reunites with his father, who tells him, "This isn't the end son," to which he replies, "I know."

Prior to making it to his parent's home though, he traverses through Boston and New York City, where mobs of people are looting the cities as anarchy reigns. Interesting, Beethoven's 7th Symphony Major, 2nd Movement - Allegretto in A Minor" is playing as he makes his way throughout he cities, a stark contrast to the savagery outside the windows of his car and the beauty within.

Classical music ( a future inclusion to the growing list of SBPDL) accompanying the end of the world is just to much for Black people, especially one in which angels or aliens only saved white children.

What's more is after the white children are safe from the fiery remnants of earth, they run toward a magnificent white tree. Accompanied by two white rabbits - a sign of fecundity - the white children are prepared to rebuild a world that the movie stated, unequivocally, that needed "a cleansing". That's how Knowing ends... and it was made in 2009.

Below, you can watch the last few minutes of the film, including the part of the movie that Black people found so offensive. For a world without Black people would never function properly, as entertainment would be but a mesh of whiteness.

Knowing, directed by Alex Proyas (who also directed the fantastic movies The Crow and Dark City), has been put on notice. The world in his latest film was destroyed, not even saved by Black people, but was afforded a re-birth where white children, headed toward a white tree, accompanied by white rabbits are to re-build civilization.

Stuff Black People Don't Like includes Knowing, because this film shows that angels (or aliens) would only chose white children to re-build a world, and give them a pure Nordic mythological paradise to do it in, and yet, Black people are forced to endure the destruction of earth.

In the new world to come, the aliens (or angels) of Knowing decree that Black people serve no fucntion, and leave them behind to fires of the solar flares. The film is racist, and SBPDL has yet another entry.

(NOTE: YOUTUBE has to take down this ending a lot, due to copyright, so please check out the movie yourself and come to your own conclusions)

Read More

#209. The Blue Collar Comedy Tour

Black people know humor. Pop in the DVD of Coming to America for a Black person, and you'll have them hooked for the next two hours and in a deep, humor induced trance of epic proportions.

The lineage of humor in the Black community stretches back to the the early slave narrative, when one Black slave would entertain the others, behind their masters back - as depicted in the movie Life - and can be seen at full display in the Richard Pryor sketches of the 70s, the Eddie Murphy SNL skits and the subesquent movies he would make in the 1980s.

Will Smith and Martin Lawrence filled the void when Eddie Murphy made horrible movie decisions in the 1990s, and then came Chris Tucker and his role in Friday, and the subsequent Rush Hour franchise.

You might say that Black people now have the ultimate funny-man entertaining them exclusively, as Tyler Perry and his TBS shows and movies - that usually star him in drag - have become all the rage in the Black community. It is hard to find a white person who actually has seen a Tyler Perry movie or show, but Black people incorporate his programs and movies into their daily diet of Sprite and BET.

Black people find Chris Rock and Dave Chappelle funny, but our uncomfortable with some of their performances in the past, which Black people justly believe help to perpetuate negative Black stereotypes. Rock and Chappelle, though Black, fail to be Black enough in their comedy, as the only positive symbol of comedy in the Black community is making fun of whitey, not pointing out the problems that plague the Black community - which mainly consist of Blacks themselves.

However, one form of comedy Black people find offensive, if not downright irritating, is the Blue Collar Comedy Tour, Comedy Central's white answer to the Black phenomenons known as Def Comedy Jam and The Kings of Comedy.

Black people find the Blue Collar Comedy Tour a form of kryptonite, and like when Black people hear classical music, run in the opposite direction or quickly change the channel anytime Black people are exposed to the vile message that the four white guys who contribute to the Blue Collar Comedy Tour spew.

Those four white guys include the uber-redneck jokester Jeff Foxworthy, Larry the Cable Guy, Bill Engvall and Ron White. Combined, this fearsome foursome - to Black people - crack jokes about middle America, the South, rednecks and everyday mishaps. The bulk of the jokes revolve around lower-class white people and their ways, but all white people find the Blue Collar Comedy Tour funny, even if they wear white collars to work.

Black people don't like this one bit. Anytime white people show racial solidarity, as Black people did when voting 96 percent for Mein Obama in 2008's presidential election, Black people are uneasy and smell the pungent odor of racism.

When four white comics come together, under the "accusations-of-racism" force-field, known as the Blue Collar Comedy Tour, Black people are weaponless and are deprived of name-calling - their equivalent of a nuclear weapon in the on-going war against white people that they are waging.

The Blue Collar Comedy Tour is seen as a revival of sorts by Black people, where white people come together for humor and conviviality. Never is negative word spoken of Black people, but the paranoid nature of Black people leads them to believe anytime white people congregate together, a lynch mob isn't far from forming.

The only jokes delivered at the Blue Collar Comedy Tour consist of "You might be a redneck if....", or "Get er done". No jokes at Black people's expense, just jokes at white people's expense.

Stuff Black People Don't Like will always include the Blue Collar Comedy Tour, because four white guys cracking jokes to an entirely white audience is too much whiteness for Black people to handle. And even though the jokes aren't racial in nature, white people laughing and having fun without the help of any Black people is seen as a major offense to all Black people, for they are the ultimate form of entertainment.

Even though it's called the Blue Collar Comedy Tour, Black people still see it as the White Comedy Tour, a title they would never, ever allow.

Read More

#314. Movies Where Black People Don't Save the World

In two days time, the United States will celebrate the 40th Anniversary of the Landing on the Moon. Contrary to those who believe in hoaxes, the US really did go to the moon. Making it to the moon was mankind's (to be truthful, European man's) greatest achievement, as visiting the stars and breaking free of the earthly shackles of confinement for adventure and progress was a major step forward in human evolution.

However, that moment of actually walking on the moon was overshadowed recently by one of the truly great moments for Black people, when in the 1996 Science-Fiction film Independence Day Black people finally saw a Black man save the world.

Will Smith is one of the first Black guys to ever save the world in a movie - granted he had help from a lot of white guys and really only flew the captured alien spaceship to the alien mother ship - and this marked a major first in motion picture history.

Smith played a Navy F-18 fighter pilot who aspired to be a NASA astronaut, but he was continually denied for, among other things, dating a stripper. Now, in reality Black people make up only 1.9 percent of United States Air Force Fighter Pilots (granted he was a Navy Fighter Pilot in the movie, but those numbers aren't available as USAF numbers are), but remember, movies are a form of escapism from reality and project what people want to see or what people want you to believe:

"Only 1.9 percent of Air Force pilots are black, according to AFPC. Of 14,130 Air Force pilots, 270 identified themselves as black; another 620 declined to report their race.

“We’ve been trying for 20 years to get more black pilots, but it’s a little lower than it was 20 years ago,” said Stewart, who is a pilot.

The drop in pilots is harder to explain but probably stems from blacks being underrepresented in the sciences and technical fields, where the Air Force gets many of its pilots, Dorn said."

What Black people don't like that much though, is the scene at the end of Independence Day that shows the alien ships being destroyed by aircraft around the world. In a montage scene, ships are seen destroyed in Australia, Egypt and Africa. In the Africa scene, a number of Africans are shown with spears celebrating, with the spaceship smoldering in the distance.

This scene is one Black people don't like very much, because it shows why all alien invasion movies are silly and, militarily, poorly planned (like why in Signs did the aliens attack a planet made of 70 percent water, when H2O kills them?): if aliens wanted to invade earth, logically they would invade Africa first, which is a continent completely devoid of air defenses, or for that matter ground defenses. Then, after establishing a foothold on earth, they could work on pacifying actual threats, like Russia, the United States, China, Israel and NATO countries.

Seeing Black people with spears - celebrating the destruction of a massive alien ship - in Independence Day reminded Black people that without European technology they would be subjected to the old adage of the gatling gun:

"Whatever happens
we have got,
the Gatling gun
and they have not."

Independence Day is one of the few movies to depict a Black person saving the world, as most movies depict white guys saving the world, which Black people do not enjoy seeing.

Take for instance two 1998 films centered around the same theme of threats from space - a giant asteroid headed to earth, heralding our eventual destruction. Deep Impact and Armageddon came out months apart and both are about the end of the world.

In both movies, a Black person is thrown onto the shuttle crews that hope to thwart the evil rocks as they traverse through space and head to earth. But both Black characters play minor roles in the movies.

However, the film Armageddon might be one of the more depressing movies for Black people to watch, as it is a glorification of everything white and perhaps the movie that both implicitly and explicitly lets the viewer know that "whiteness" is the reason the end of the world won't happen.

In that movie, all of NASA's astronauts are white; almost all the NASA crew team in Houston is white; all but one of Bruce Willis' oil drilling team (which is picked to drill a hole on the asteroid and planet a nuclear bomb into it) are white; and the President of the United States - a white guy - gives a speech that reminds Black people of the image of Africans carrying spears in Independence Day:

"I address you tonight, not as the President of the United States, not as the leader of a country, but as a citizen of humanity. We are faced with the very gravest of challenges, The Bible calls this day Armageddon. The end of all things. And yet for the first time...in the history of the planet, a species has the technology… to prevent its own extinction. All of you praying with us need to know… that everything that can be done to prevent this disaster… is being called into service. The human thirst for excellence, knowledge every step up the ladder of science, every adventurous reach into space, all of our combined modern technologies and imaginations, even the wars that we’ve fought, have provided us the tools… to wage this terrible battle. Through all the chaos that is our history, though all of the wrongs and the discord, through all of the pain and suffering, Through all of our times, there is one thing that has… nourished our souls. And elevated our species above its origins. And that is our courage. Dreams of an entire planet are focused tonight… on those 14 brave souls… traveling into the heavens. And may we all, citizens the world over, see these events through. God speed and good luck to you."

This speech is not a celebration of anything more than "whiteness", that field of academics that studies how evil white people are, and theorizes about ways to destroy the sin of whiteness.

As Armageddon shows, without those vile white people and their technology and their desire to send rockets into space - and to invent flying - and to have the courage to fail and then try again, the world would be left in the hands of those Africans with spears from Independence Day.

The movie was made by Michael Bay, the same Michael Bay who directed - gasp - Transformers 2, which has been called a racist movie for its depiction of the two robots who have Black personalities.

Remember, the idea and goal of "whiteness studies" is to:

"The key to solving the social problems of our age is to abolish the white race, which means no more and no less than abolishing the privileges of white skin. Until that task is accomplished, even partial reform will prove elusive, because white influence permeates every issue, domestic and foreign, in U.S. society."

Of course, if this where to happen, there would be no more technology from white people to save the earth in movies, or in real life. It would be left to the capable hands of Black people, as demonstrated in Independence Day.

Stuff Black People Don't Like include movies where they don't save the world, because only through the mythical powers of cinema can such an idea ever be made reality.

Read More

#32. The Lord of the Rings Trilogy

Movies offer theatergoers a reprieve from the real world and a glimpse into fantastical lands, the opportunity to escape the doldrums of life and enter the realm where anything is possible.

Black people love movies for this reason and, though they have great difficulty sitting through them and maintaining the required silence, depart from reality as easily as any other race.

In film, people can watch their heroes come to life in full grandeur and they can remove the worry, doubt and disappointment they feel with the triumphant achievements of the actors they view. Black people love film, although some films and directors they find less appealing than others.

One film(s) is firmly at the top of the list of movies that Black people do not like, and to ask any Black person of their least favorite film would invariably give you one answer: The Lord of the Rings and the the two sequels that followed.

J.R.R Tolkien's masterpiece will never be replicated in its scope, beauty and majestic presentation - in either film or in its book form - and Black people perceived this when watching Peter Jackson's epic 10+ hour films.


The tale of elves, dwarfs, hobbits and men pitted against the forces of evil in defense of Middle-Earth is the ultimate myth of European Man fighting for the only thing that matters on this planet: your own people. Black people understand the idea of universal solidarity almost better than any other race, and what their eyes saw in The Lord of the Rings, The Two Towers and The Return of the King left them universally trembling.

You see, in the movies nary a Black face is to be seen, save for the potential metaphor of the Orcs and the armies of the evil Sauron as non-Europeans attempting to subjugate the combined white people of Middle-Earth.

Each movie stands alone as a glorification of whiteness, an idea that Black people see as but a social concept when used to define white people, but when the idea of racial brotherhood is ever discussed, it can only be synonymous with Black people.

In one of the more moving scenes in cinema history (see The Two Towers), the fortress of Helms Deep is about to be overrun by tens of thousands of Orcs, bent on the utter annihilation of the the Middle-Earth's main defense, the Rohirrim:

"Despite Aragorn and Gimli's best efforts, the Uruk-hai manage to penetrate the main door and soon the stronghold is overrun. In the midst of battle, Haldir is slain and the few remaining Elves fall back into the Keep. In the Hornburg, however, the Uruks have also scaled the walls, and have breached the gate, forcing the defenders to retreat into the Keep."

Aragorn, the epyonmous King in The Return of the King, rallies those still alive to do what few men in history have ever dared; he tells the King of the Rohirrim to ride out and meet the enemy head on:

Theoden: So much death. What can men do against such reckless hate?
Aragorn: Ride out with me. Ride out and meet them.
Theoden: For death and glory.
Aragorn: For Rohan. For your people.
Theoden: The Horn of Helm Hammerhand will sound in the deep, one last time!

Black people weren't buying into the elves, dwarfs and wizards routine, no. What they see is only white people depicted as good and the darkened faces of the Orcs as bad. And then they heard Sam, the loyal bestfriend of Frodo, the hobbit in charge of destroying the one ring, utter these words, in a moment of extreme despair:

Sam: It's like in the great stories Mr. Frodo, the ones that really mattered. Full of darkness and danger they were, and sometimes you didn't want to know the end because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But in the end it's only a passing thing this shadow, even darkness must pass. A new day will come, and when the sun shines it'll shine out the clearer. Those were the stories that stayed with you, that meant something even if you were too small to understand why. But I think Mr. Frodo, I do understand, I know now folk in those stories had lots of chances of turning back, only they didn't. They kept going because they were holding on to something.

Frodo: What are we holding onto, Sam?

Sam: That there's some good in the world, Mr. Frodo, and it's worth fighting for.

Black people viewed this movie as the attempted re-birth of some long dead spirit that white people once had, and were shocked such a movie that glorifies whiteness could be made. Black people view the movie as racist.

One writer wrote:

"Dr Stephen Shapiro, an expert in cultural studies, race and slavery, said the author used his novels to present bigotry through a fantasy world... He said: "Put simply, Tolkien's good guys are white and the bad guys are black, slant-eyed, unattractive, inarticulate and a psychologically undeveloped horde."In the trilogy, a small group, the fellowship, is pitted against a foreign horde and this reflects long-standing Anglo-European anxieties about being overwhelmed by non-Europeans, he said."

Perhaps one-line in the entirety of movie history can induce shivers down all Black people's spine no more than the one Aragorn yells at the footsteps of the Black Gates of Mordor:

Aragorn: Hold your ground, hold your ground. Sons of Gondor, of Rohan, my brothers. I see in your eyes the same fear that would take the heart of me. A day may come when the courage of men fails, when we forsake our friends and break all bonds of fellowship, but it is not this day. An hour of wolves and shattered shields, when the age of men comes crashing down, but it is not this day. This day we fight! By all that you hold dear on this good Earth, I bid you *stand, Men of the West!*

Black people saw this scene in the theaters, they walked out in droves unconsciously. They had just seen a movie that depicted white people as the good guys - a major faux pas in Hollywood - whiteness as the supreme definition of beauty, and non-whites as the enemy.

The Lord of the Rings trilogy will never be replicated again. It is a movie without diversity, or at least to Black people, the wrong kind. And that is why Stuff Black People Don't Like will include anything that comes from Tolkien's pen, or Jackson's video camera.

Read More

#317. John Hughes Movies

The 1980s is considered by many pundits to be the greatest decade in the history of the world. Great music, great fashion and the rise of the imaginary Black family- thanks to The Cosby Show - made the 80s a harmonious place for race relations. Michael Jackson was still Black, Mr. T was still relevant and white America and Black America were living in a peaceful detente after a turbulent 60s and 70s.

In the early 1990s however, that harmony was replaced by universal discord with the Los Angeles Riots, rise of the militia movement and OJ Simpson. A movie was made entitled Falling Down, which depicted a white male fighting back against the corruption and decadence of modern Los Angeles, a vain attempt at showing life in the dwindling majority of California. Of course this movie was pure fiction and never will we see white people show the slightest opposition to their displacement.

Few theoreticians have been able to identify why racial tensions were so great in the early 1990s after such a wonderful decade of integrated decadence in the 80s... until now.

Black people, as has been discerned, love movies. They truly enjoy going to the cinema and watching films for their enjoyment. However, one director's films in the 1980s were subliminally racist and exuded an implicit whiteness that Black people picked up on and in turn, lead to the disastrous downturn in race relations in the 1990s: John Hughes films.

Hughes directed or wrote such classics as Sixteen Candles, The Breakfast Club, Pretty in Pink, Ferris Bueller's Day Off, Weird Science, Home Alone and National Lampoon's Vacation series. The problem with these movies, despite being hilarious and amusing, is that they have few if any Black people. Even the requisite "Token Black" is missing, and in the case of one movie, Sixteen Candles, replaced with an Asian exchange student named Long Duk Dong. In The Breakfast Club, five white students enjoy a Saturday in detention and learn that the social class system that rules the school, hierarchically putting labels on people, is wrong.

However, the world that John Hughes creates in his stories and movies is one devoid of Black people. It is as if non-whites don't exist in this ficticious world of John Hughes and his America is occupied only by cool and hip white people, like Ferris Bueller, Clark Griswold and Cousin Eddie or Buzz McCallister.

Only Black people can be cool and hip, so depicting white people in such Black roles is a major blunder, and John Hughes - who turned out hit after hit in the theaters (the correlation being that the bigger the hit, the whiter the movie) - and his films directly led to the civil breakdown in race relations in the early 1990s.

His desire to make movies that starred the ultimate white guy everyman, John Candy, was more than Black people could take.

It would be incredibly difficult to even name one Black character in a John Hughes movie that even had a speaking part, let alone a minor role. For this reason only, Black people decided to make the early-90s a sea of racial disharmony and those troubled waters have been dicey every since.

Black people consider the John Hughes movies incredibly racist and yet another example of Pre-Obama America that they detest. Take for instance the Hughes film The Great Outdoors, which stars John Candy. There is not one Black face or Black person to be seen the film, as it is a glorification of white people, families and summer.

Most of John Hughes movies take place in Chicago, a city that has a sizable white population and, according to his movies, no Black people.

John Hughes and his movies depict an America without the glory of racial diversity and Black people, and for this reason his films merit yet another inclusion in Stuff Black People Don't Like.

Read More