#61. Turner Classic Movies

Pre-Obama America (POA) is gone, dead for the ages. Acting as celluloid mausoleums interning and memorializing a long dead nation, movies depict this era that has passed into the pages of history, haunting all those who view the images and forever taunting them with a glimpse of stability and an uncompromising belief that tomorrow would be better than the next day.

In Field of Dreams, Kevin Costner’s character Ray has the chance to play catch with his father one last time – his ghost when he was in his early 20s - and comments to his wife at the sight of his dad:

“Look at him. I only remember him as an old man, when he was beaten down by life. He has his whole life before him and I’m not even a glimmer in his eye.”

Turner Classic Movies (TCM) is a channel devoted to showcasing the glories of Pre-Obama America, as chronicled in film. Timeless classics that still resonate with viewers who watch them today (look over the American Film Institute’s Top 100 Films ever made and notice this startling truth – that POA is immortalized in motion pictures and they will forever plague those who bemoan that era for wanton cruelty) realize all that has been lost in the span of a few generations by the vivid reminder that John Wayne, Cary Grant and James Stewart provide.

Black people view TCM and wonder with amusement and bewildered looks of incredulity at the virtual whiteout that they see depicted in the films. In the dark days of POA, directors and casting agents weren’t handcuffed with filling quotas and diversity mandates (comic book movies had yet to made, so no Nordic Gods could be depicted with melanin-enriched skin) and Hollywood was in the business of making movies that appealed to the masses and reflected the morals of a nation comprised of 90 percent of the same racial group.

TCM rated the 15 most influential films of all-time and one glaring similarity exists between every film: the lack of Black faces – save Gone With the Wind that depicted Black people in a light comparable to Song of the South – that one will see in each movie:

The channel, created by Ted Turner as part of his Turner Broadcasting System, began broadcasting on April 14, 1994. The date was chosen for its significance as "the exact centennial anniversary of the first public movie showing in New York City." The very first movie ever screened on TCM was the 1939 classic epic Gone With The Wind, exactly what its sister station, TNT, had aired as its debut program six years before.

At the time of its launch, TCM competed against AMC (at the time, called American Movie Classics), which had a virtually identical format to TCM as both cable channels ran mostly pre-1970 films; though by 2002, AMC had reformatted itself to feature films from all eras, leaving TCM as the only cable movie channel devoted entirely to classic films.

Before the creation of TCM, quite a few titles from its vast library of movies were broadcast — with commercial interruptions — on Turner's TNT channel, along with Turner's controversial colorized versions of black-and-white classics such as The Maltese Falcon.

Unlike AMC, Turner Classic Movies is essentially commercial-free (advertising only TCM products, promos for specific films scheduled to air on the channel in primetime typically using the film's original movie trailer as well as promos for special programming and featurettes about classic film actors and actresses, and only airing these advertisements in between features so as not to interrupt the film). TCM's content has also remained mostly uncut and uncolorized (depending upon the original content of movies, particularly movies rated by the MPAA after 1968). Because of the uncut and commercial-free nature of the channel, TCM is formatted similarly to a premium channel; as such, viewers might find that certain films, particularly those made from the 1960s onward, may feature nudity, sexual content, violence and strong profanity (though most films airing on TCM are devoid of such content as it mostly airs pre-1960 films, when content standards for films were more restrictive; films containing sexual content, violence and strong profanity, when scheduled, are typically aired on the channel only at night); the channel also features premium channel-style ratings bumpers seconds before a film starts (though films on TCM are rated using the TV Parental Guidelines as most movies aired were made before the MPAA ratings system was established) instead of displaying a rating icon on-screen at the very start of a movie.

An unbridled optimism can be found in the movies that glorify this generation – though at the time of production, no one involved with the making of any of these movies could understand the severity of the crimes they would be committing when viewed by future generations who live after the fall of POA – and it is infectious when viewed for the first time.

Actors and directors who made films such as How the West was Won could scarcely comprehend the egregiousness of their actions, when viewed by later generations that came to believe that Manifest Destiny was an idea conjured by insidious pale faces intent on the genocide of peaceful tribes roaming the land freely.

Why do these people not suffer from the uncontrollable white guilt that is found so readily in movies as of late and taught with earnest enthusiasm by Crusading White Pedagogues in schools across the nation?

There is something frightening about watching movies on TCM and realizing that entire generations of men and women once lived in a world where the tenets of Black Run America (BRA) had no power, no influence and no discernible impact on the lives of those captured on camera for those to remember for as long as devices exist that playback ageless memories on film.

Turner Classic Movies represents a window into a past that few could ever believe existed, were it not for films starring such men such as Clark Gable, Errol Flynn and Charles Bronson among others.

No, these films remain vestiges of a time that taunt us with simplicity, reminders of a greatest generation that dies daily and would rather cling to memories of a past then remain agitated by glimpses of a horrific future broadcast on the nightly news.

And that, is the most potent weapon that Disingenuous White Liberals and those who find employment and promotion thanks to BRA fear. Memory, remembrance of things past and that could be once again.

You see, Turner Classic Movies show films that promote a spirit that those in power now view as degenerate and they hope, ethereal. If not, these movies will be banned and in many cases permanently destroyed. TCM – which has gone to great lengths to restore many films – must be removed from cable and digital broadcasts so that the vile it distributes can be forever expunged and never to shown again.

Stuff Black People Don’t Like includes Turner Classic Movies, a channel devoted to lionizing Pre-Obama America and exalting it to heights that cause those in power to pause, albeit momentarily. Even DWL’s look at the actors in these films with a mixture of admiration and trepidation, recalling the time they first viewed the film and the emotions that came with it, yet realizing that the world in the 21st century resembles Falling Down more than it does Singing in the Rain.

TCM must be banned and the films shown on the channel removed from circulation and private homes immediately. These living memories of Pre-Obama America are an abomination for they have the ability to entertain, induce laughter and tears and worse, inspire.

When the Soviet Union dissolved, Russians began to display Christian iconography long deemed seditious and banned by the ruling Bolsheviks, remnants of a defeated people and a false religion that Communism replaced.

Risking death if these items were unearthed by commissar , these Russians had hidden crosses and religious pictures as reminders of what they once had and it is time that movies from Pre-Obama America be treated as subversive and treasonable material as well.

TCM is disloyal and a source of rebellious information that must be removed from circulation, for the memories of all that has been lost cannot be transmitted to a viewing public who are beginning to see with greater clarity than ever before.