This website will serve to educate the general public on Black people and the Stuff That Black People Don't Like. Black people have many interesting eccentricities, which include disliking a litany of everyday events, places, household objects and other aspects of their everyday life.
Black people are an interesting subject matter and this website will chronicle the many problems in life that agitate this group of people.
To suggest material, please contact sbpdl1@gmail.com
Showing posts with label Pre-Obama America. Show all posts
Showing posts with label Pre-Obama America. Show all posts
Any movement that is frequented by a majority of white people will be automatically pegged as racist in its intent. The dreaded N-word, NASCAR, has long been the butt of numerous jokes regarding the monochromatic fan base of the sport.
Limited government and low taxation are foundational myths of the Tea Party belief structure and these run counter to the manner in which Black Run America (BRA) is governed.
Indeed, someone must pay for social programs and if the Tea Party movement had their ideas implemented then programs that help maintain BRA would be sorely under-funded.
Sadly, what is lost to those who even pose the question of a fictional “Black Tea Party” is that anti-racism is accepted as the tool to control unpopular thought in America. The Tea Party people fear being called racist and run from any unpopular discourse that might label them as such, despite the righteous indignation of Disingenuous White Liberals who know – axiomatically – that the Tea Party participants are inherently racist.
It is an interesting thought experiment though: What would happen if the Tea Party participants were Black? How would the media depict this movement?
Perhaps, they would cover the Tea Party with the same zeal they cover Flash Mobs, a uniquely Black activity that usually results in major property damage wherever they occur?
Here is the ultimate question: Who stands to lose the most if the Tea Party people succeed? If limited government, fiscal responsibilities and the rollback of government intrusion into Americans lives happened tomorrow, who would benefit?
How many government programs that benefit Black people would be cut immediately, as the taxes collected and money allocated for these programs ended?
If the Tea Party were Black, you can be assured that no media talking-head would dare insinuate that the participants were racist as Black people exercising their right to demonstrate collectively is never, ever construed as racist, but merely an outgrowth of positive community feedback.
Anytime a Tea Party activist is interviewed by the media, they immediately are on the defensive from accusatory questions of the racist nature of their organization. This is never the case of majority Black endeavors, which are treated with the utmost respect. Indeed, CNN ran a glowing story entitled “Black in America” which never at hinted at the intrinsic prejudicial elements within that feature.
Does anyone really believe CNN would put together a feature entitled “White in America” that asked penetrating and probing questions about the future for whites in America?
No. If the Tea Party is to survive and become relevant in an increasingly tribal America (fragmenting by the day) then they must become numb the term “racist”. That term is the nullifies any arguement, for know matter how well-argued or factual a case may be against something if it is labeled racist then that characterization sticks. That is ultimate hate fact.
You can’t wash it off with soap and then present it to the public again with a smiling Black face (like Lloyd Marcus) and expect people to embrace your movement with open arms.
The elite of this nation have declared war on the Tea Party movement in America for one reason: they represent a challenge to Black Run America, unlike any entity before. And if BRA goes, so goes Disingenuous White Liberals. The latter has wedded itself to the former and the symbiotic relationship will wither away if the Tea Party would only deflect the criticisms of their devout enemies.
Remember, if the Tea Party people got their way then no programs that help out Black people and minorities would be funded through taxes. Redistribution of wealth would end.
The Tea Party is still a disjointed, splintered group of disgruntled white people afraid to rally around the only banner they secretly share: the love of Pre-Obama America.
When they do, Black Run America is finished.
The Tea Party is not Black, nor will it ever be and there is an obvious reason for this: the policies Tea Party participants espouse are not universal. They are particular to a distinct people who refuse to admit that their ancestors brought forth these ideals to the land mass that became the United States.
During the 2008 election, you wouldn't have been wrong to confuse the title of Fox's hit television show "American Idol" with the fictional title of a documentary about Mein Obama, Barack H. Obama.
Mein Obama is the ultimate American Idol, a hero for our downtrodden nation and the embodiment and desires of Disingenuous White Liberals in every county of the country.
His gushing bride, Michelle Obama (henceforth known as The Big MO), was electrifying the nation with her comments of the undeniable pride she felt for her nation now for the first time, since it had repudiated the repugnant sins Pre-Obama America and accepted a leader of sound mind, full of cognition and post-racial feelings to finally erase doubt, fear and anxiety and usher in a new day for the country.
Truly, MeinObama's character is beyond reproach, boasting all of the qualities that an American Idol must possess. Oddly, he has been the receipent of a Nobel Peace Prize before being invited to appear on a television show that has co-opted a fitting moniker for the first Black president.
Zod-Obama is an American Idol in a way that Simon Cowell could never dream of offending with witticism and quips enhanced with his impeccably puckish delivery and English accent.
And now the titan of American pop culture has finally found synergy with the television show that dares to utilize his nickname without offering tribute and kneeling before him in reverence.
Yes, Mein Obama - the ultimate American Idol - is appearing on the American Idol:
The President and First Lady took time out of their busy schedules on Wednesday to sit down for a taping with "American Idol" as part of the hit show's fundraising event set to air next week.
"Idol Gives Back" is a two-hour charity performance that has already raised more than $140 million in contributions for global organizations.
This year's beneficiaries include Children's Health Fund, Feeding America, Malaria No More, Save the Children's U.S. Programs and the United Nations Foundation.
The special episode typically features big-name stars. It will air on Wednesday, April 21 at 8 p.m. ET.
The chops-licking over the declining performance of Fox’s “American Idol” may grow more intense in the wake of the Tuesday night ratings for that perennial powerhouse. Fewer people watched “Idol” on Tuesday (when the contestant Crystal Bowersox performed with the didgeridoo player Ernie Fields, both left) than watched ABC’s “Dancing With the Stars” on Monday. (“Dancing” runs performance episodes on Mondays, with results on Tuesdays; “Idol” generally has performance on Tuesdays with results on Wednesdays.)
And for a second consecutive week, in the category Fox cares most about — viewers between the ages of 18 and 49 — “Idol,” if the Tuesday overnight ratings hold, will post its lowest number ever for a two-hour edition of the show. It will also be the lowest-rated Tuesday edition of the show since an hourlong episode on Aug. 13, 2002, in its first season, when the series played in the summer. “Idol” had a total audience of about 20.4 million on Tuesday, below the 21.2 million that “Dancing” averaged for its performance show on Monday. (The “Dancing” results on Tuesday averaged a total audience of 12.3 million.) But the “Idol” 7.1 rating among viewers 18 to 49 is what will be most noticed. That is down from a 7.7 a week ago and down from the 8.1 the show averaged for the three previous weeks.
It can't be so? Two American Idols (Mein Obama and the long running karaoke contest masquerading as entertainment) are fading into irrelevance and ratings obscurity?
Wait? Isn't this all the plot of a Hollywood comedy that starred another caricature of an extremely unpopular President using a national-renowned singing show to bolster his sagging approval ratings?:
"American Dreamz" is a comedy, not a satire. We have that on the authority of its writer-director, Paul Weitz, who told Variety: "Satire is what closes on Saturday night. So it's a comedy." Actually, it's a satire. Its comedy is only fairly funny, but its satire is mean, tending toward vicious. The movie is more slapdash than smooth, more impulsive than calculating, and it takes cheap shots. I responded to its savage, sloppy zeal.
The movie has two targets, "American Idol" and President Bush, not in that order. As it opens, a TV producer and star named Martin Tweed (Hugh Grant) is planning the new season of his hit show. On camera, he's Simon Cowell. Off camera, he's Machiavelli, scheming for contestants who get the highest ratings. The season will end in a three-way contest between a Hasidic Jew rapper (Adam Busch), a corn-fed Ohio blond (Mandy Moore) and a theater buff from Iraq (Sam Golzari), who is secretly a terrorist.
Meanwhile, in the White House, President Staton (Dennis Quaid) awakens after his re-election victory and has an impulse: "I'm gonna read the newspaper!" He asks for the New York Times. "We can get one," an aide assures him uncertainly. He finds the paper instructive. "Did you know there are three kind of Iraqistans?" he asks his chief of staff (Willem Dafoe), who looks uncannily like Dick Cheney. Surrounding himself with books and even the left-wing Guardian from England, the president isn't seen in public for weeks. "There is a lot of interesting things in the paper!" he marvels.
The plot chugs forward on two fronts. On the TV program, we see Sally Kendoo (Moore) playing the role of a screamingly delirious young contestant, pushed by her mother (Jennifer Coolidge) and superagent (Seth Meyers) and dumping her boyfriend (Chris Klein) because he's going nowhere and she's going up-up-up. As the godlike "American Dreamz" producer and judge, Hugh Grant does what he's curiously good at, playing an enormously likable SOB...
When the president is finally blasted out of his bedroom in the White House, he resumes public life with an earpiece so that his chief of staff can dictate, word for word, his response in every situation. That many Americans believe Bush has used such earpieces, and that he rarely if ever reads a newspaper, brings a certain poignancy to these scenes. The First Lady (Marcia Gay Harden) labors behind the scenes to counsel and advise him, and explain stuff to him. Badgered by publicity about his "reclusive" chief executive, the chief of staff decides to book the president on the season finale of "American Dreamz" to show what a great guy he is. The terrorist, who seems headed for the final round, is ordered by his handlers to wear a bomb into the studio.
The buried message of the film, perhaps, is that our political system resembles "American Idol." Contestants are chosen on the basis of superficial marketability, and go through a series of primaries and debates while the pollsters keep score. The winner is not necessarily the deserving contestant from an objective point of view, but is the one with the best poll numbers. A candidate from either party will be defeated if he is not entertaining. His intelligence and matters of right or wrong don't have much to do with it. In this scenario, satire plays the role in politics that Simon Cowell plays on TV.
American Dreamz is a funny film that is entirely forgotten, yet Mein Obama and Big MO are daring to replicate this movie by appearing on American Idol.
Art imitating life, or life imitating art... something like that.
One can only laugh at the parallels that exist between the film American Dreamz and the move by America's First Family to seek solace and a captive audience on American Idol.
Do you think anyone will call into the show and vote for Obama to be the 2010 winner of American Idol? In this day and age, having that prestigious award on your resume is far greater than a contrived Nobel Peace Prize.
Obama and American Idol were made for each other. One can only hope Mein Obama breaks out his rendition of Pants on the Ground.
We live in a world governed by few rules, but the most important of all laws that must be acknowledged without fail is simply this: Thou Shalt Not Display Black People in a Negative Light.
Thus, the need for a month dedicated to celebrating accomplishments of a race largely devoid of any accomplishments or contributions to the United States (outside of entertainment or sports), for Black people's conspicuous absence from collective historical relevance is an unflattering truth that can't be explained away by white racism.
Undoubtedly, you have heard of the first rule of Fight Club - you don't talk about fight club. In the United States of America, anytime a Black person of significance screws up their race is a careful guarded secret - save for their discernible melanin-enhanced skin - and anytime a city with a majority Black populace falters, any mention of the racial makeup of that municipality isn't tolerated.
The corollary to the First Rule of Black Run America (BRA) is you can't acknowledge Black people lest you do so in a positive manner.
Even in Pre-Obama America, Black people found these rules were largely the law of the land.
Unfortunately - as in any society - criminality does exist and we do happen to have individuals who mock the law and defy the edicts set forth by the judiciary in charge of all acceptable public discourse on Black people.
It is discussed in impolite circles that Black people have the strange habit of never passing on seconds and this nearly unspeakable truth has led to gross imbalances in the distribution of calories between the races and thus, the pendulum of corpulence swings Black (the following statistics are from - and we are not making this up - the Office of Minority Health, a division of the US Department of Health and Human Services... and you thought BRA wasn't holding up a kernel of truth):
African American women have the highest rates of being overweight or obese compared to other groups in the U.S. About four out of five African American women are overweight or obese.1
In 2007, African Americans were 1.4 times as likely to be obese as Non- Hispanic Whites.
From 2003-2006, African American women were 70% more likely to be obese than Non-Hispanic White women.
In 2003-2004, African American children between ages 6 -17 were 1.3 times as likely to be overweight than Non-Hispanic Whites.
It is strange to think that a dynamic population that represents 13 percent of the United States population is immune from public discourse, even during Black History Month. We are to celebrate Black History, correct?
It is vital to remember the Iron Law of BRA as we navigate the treacherous waters of the Black diet and find out that a staple of the 'colored' food pyramid is universally known, yet fanatically kept quiet, providing a hilarious dichotomy of truth and untruth.
Black people love fried chicken. Black people have had numerous riots over fried chicken in geographical unrelated cities, providing incidents for sociologist to study that establish a linkage between the unmistakable craving for finger-licking good food that can't be denoted as isolated.
Black people have a fond relationship with Soul Food, a constant ally in times of trouble and a delicious reminder that Black people's best friend will always been fried:
Soul food is an American cuisine, a selection of foods, and is the traditional cuisine of African Americans in the United States. It is closely related to the cuisine of the Southern United States. The descriptive terminology may have originated in the mid-1960s, when soul was a common definer used to describe black culture
Enslavers fed their captives as cheaply as possible, often with throwaway foods from the plantation, forcing slaves to make do with the ingredients at hand. In slave households, vegetables were the tops of turnips and beets and dandelions. Soon, slaves were cooking with new types of greens: collards, kale, cress, mustard, and pokeweed. They also developed recipes which used lard; cornmeal; and offal, discarded cuts of meat such as pigs' feet, oxtail, ham hocks, chitterlings (pig small intestines), pig ears, hog jowls, tripe and skin. Cooks added onions, garlic, thyme, and bay leaf to enhance the flavors. Some slaves supplemented their meager diets by maintaining small plots made available to them to grow their own vegetables, and many engaged in subsistence fishing and hunting, which yielded wild game for the table. Foods such as raccoon, squirrel, opossum, turtle, and rabbit were, until the 1950s, very common fare among the still predominantly rural and southern African American population.
Yes, Black people love soul food.
However, remembering the most important of all laws governing BRA, this factoid is a closely guarded secret and can't be discussed. Just consult with the National Broadcasting Company (NBC), gatekeepers and defenders of the Iron Law of BRA, and you will find this truth to be self-evident:
"A special NBC Black History Month lunch spread -- featuring fried chicken, collard greens and black-eyed peas -- sparked a commissary controversy yesterday, but the African-American chef who planned it doesn't understand the fuss.
"All I wanted to do was make a meal that everyone would enjoy -- and that I eat myself," NBC cook Leslie Calhoun told The Post last night.
Calhoun's proudly planned feast, which she began last year, hit a snag when Ahmir "Questlove" Thompson, the drummer for Jimmy Fallon's "Late Night" show band, The Roots, shot a photo of the menu outside the network's Rockefeller Center cafeteria and posted it on Twitter.
A disappointed Calhoun, who has worked at NBC for eight years, said she's been begging for years to make special entrees in honor of Black History Month, and got her wish last year. The plan was to have one special meal every Thursday during February -- although she said she's nervous about next week.
Asked if she understood why some people might find her menu concept offensive, Calhoun said, "I don't understand it at all. It's what I eat."
Calhoun was in violation of the main law that holds aloft the pillars of Black Run America (BRA) and daring to showcase a universally accepted truth might make her a modern-day Sampson and bring that exalted structure crumbling down.
Disingenuous White Liberals over at National Public Radio (NPR) dared to openly flaunt the first rule of BRA back in 2003, when they discussed "soul food" and how to have a successful Black History Month dinner:
Black-eyed peas, rice, yams, greens, okra and cornbread. To commemorate Black History Month, Talk of the Nation looks at the story of African Americans through the lens of southern cooking, often known as soul food.
The very fact that certain foods are even on the menu in most American restaurants today tells a story of how Africans came to this country and what happened when they got here. The discussion also covers how Southern cooking has come to be known by some as soul food, what that means and what it doesn't, and how the term "soul food" has come to mean more than just food.
Discussing the importance of soul food and family cooking are NPR's Vertamae Grosvenor, author of Vertamae Cooks in the Americas' Family Kitchen, and Norma Jean Darden, co-author of Spoonbread and Strawberry Wine: Recipes and Reminiscences from a Black Family and the owner of the Harlem eateries Spoonbread Too: Miss Mamie's and Miss Maude's.
Black History Month is a special time when the open defiance of the Iron Law of BRA is on display, for the entire month is a viewing of the theater of the absurd. Attempts to locate minute contributions from Black people and pass them off as major achievements in the advancement of history leaves little room for the inclusion of any real Black History.
One such advancement befuddled Bill O'Reilly, the Fox News host, who was incredulous that Black people are capable of eating soul food in riot-free environment:
"I couldn't get over the fact that there was no difference between Sylvia's restaurant and any other restaurant in New York City," said O'Reilly on the Sept. 19 edition of his nationally syndicated radio show.
"There wasn't one person in Sylvia's who [was] screaming,'M-Fer was, I want more iced tea," he told National Public Radio's Juan Williams. "[It] was like going into an Italian restaurant in an all-white suburb in the sense of people were sitting there, and they were ordering and having fun. And there wasn't any kind of craziness at all."
Contributions in the culinary arts, plus the civilized manner in which Black people satiate themselves at the dinner table are profound, and the expanding waistlines of Black people - odd that belts would be an accoutrement missing from Black people's wardrobe - should be celebrated, not ridiculed. Makes you wonder how pants on the ground happens in the first place.
But BRA can not last long if the first rule governing decency is violated. Take this similar story out of Denver, where the law was broken and the punishment was swift:
Denver Public School officials are apologizing after a parent complained that a school lunch meant to honor Dr. Martin Luther King, Jr. was stereotypical and offensive.The lunch, planned for Friday, was to include southern-style chicken, collard greens and a biscuit in honor of King.D.P.S. spokesman Michael Vaughn released a statement that said:
“The plan to serve a Southern-style meal in recognition of Martin Luther King Day was well intentioned but highly insensitive in light of certain hurtful cultural stereotypes still harbored in parts of our society.”
Stuff Black People Don't Like includes acknowledging their love for soul food, for this is a crime of the highest offense and in many cases, punishable by medieval methods. We live a strange world, and in this Black Run America, to be among those who can see is a troubling burden. Black people may love soul food, but to acknowledge this is a act of sheer defiance in the face of BRA.
Those who can see are in violation of the number one law governing the United States of America, but remember, civil disobedience is written into the Declaration of Independence.
It has been stated many times that white men can’t jump. This generally accepted fact has an equally acknowledged truth that everyone knows, but few admit publicly: Black people can jump, which is punctuated by the nearly 80 percent of NBA players being of primary African descent.
However, to admit that white people might be impaired when it comes to leaping abilities is to invite a whole slew of stereotyping that could be detrimental to white basketball players development and instead, turn him into primarily an assist machine, or a mere spectator:
“This is a perfect example of the stereotype threat, a theory postulated by sociologist Claude Steele. This stereotype threat is the fear that one’s behavior will confirm an existing stereotype of the group which one identifies.
The white basketball player, no matter what his particular skill set is, fears that he will be grouped with other white players, because he might exhibit those characteristics commonly associated with them (perhaps a legitimate fear). According to Steele, this may greatly affect his performance. In a basketball sense, a white basketball player with just as much or more athletic ability than his black counterpart will fail to perform in many instances because he is aware of the stereotype that “white men can’t jump.”
Racial divisions in basketball have been brought to the forefront of the national discussion with the recent news of an all-white basketball league potentially forming (All-American Basketball Alliance):
“According to the Chronicle, Lewis said he wants to emphasize "fundamental basketball" instead of "street ball" played by "people of color."
Basketball is played differently by white people and Black people, a fact that any connoisseur of the sport could point out. Darryl Dawkins, a former NBA all-star, pointed this out in an interview back in 2007, validating the point made by Lewis:
“White basketball is pick-and-roll, spot-up, guy got his toes together and he shoots. And white guys will box you out until the ball hits the floor. Black guys will jump over you. They had all kind of shake-n-bake and would do everything to entertain the crowd. Nowadays, people appreciate both styles of ball; but back then, they didn¹t appreciate when a black guy just played white ball. They just said, "Hey, man, ain't you got no flash in your game?"
Black people know this to be true and find the individualist aspect of basketball to be liberating, considering most of the Black mentality centers around group cohesion and collectivism. Strangely, white people perform with unity on the basketball court, executing complex plays and distributing the ball equitably in an attempt to produce the highest percent scoring opportunity. Dawkins again makes a valid point on the difference between the Black and white styles of play in basketball:
"Black basketball is much more individualistic," he told Charlie Rosen of FoxSports. "With so many other opportunities closed to young black kids, … if somebody makes you look bad with a shake-and-bake move, then you've got to come right back at him with something better, something more stylish… It's all about honor, pride, and establishing yourself as a man."
Dawkins, whose showboating Philadelphia 76ers lost to Bill Walton's Portland Trailblazers in an epic 1977 NBA Finals confrontation between the black and white games, now says, "The black game by itself is too chaotic and much too selfish… White culture places more of a premium on winning, and less on self-indulgent preening and chest-beating."
ESPN and its parent company ABC are the main purveyors of basketball on television (outside of the CBS when they broadcast the NCAA Tournament in March), and this method of distribution supplies the nation with one of the few positive images of Black people in America.
The sights of Black people gracefully jumping to execute a towering jump shot over outstretched Black defenders hands is a route visual on ESPN’s Sportscenter. Without the numerous images of Black people dunking a basketball, where would positive images of Black people and their contributions to the world come from? Haiti? The Nightly news? Riotless high school basketball games? Gilbert Arenas?
One venue where Black people find themselves appreciated for their conformity to the notion of white basketball is also a safe-haven for white basketball players: Duke University.
Yes, Duke University, coached by the venerable Mike Krzyzewski, offers a sanctuary for the style of white basketball in the United States that Dawkins referred to above. And white players flock to this shelter in North Carolina to display their particularly skills, with the help of Black players (who have the academic ability to get in to the elite private school) who strive to replicate the white methodology of play on the hard court, acting white in theprocess.
Duke’s 2009-2010 is almost as lily-white as the one that appeared in the 1980s basketball film Hoosiers, and the past few years have seen teams that reflect Pre-Obama America demographically. Star white players leading those teams include J.J. Redick, Josh McRoberts and Mike Dunleavy, all whom currently play in the NBA.
The team is almost universally hated outside of their campus, as many basketball fans live by the acronym ABD - Anybody but Duke - when filling out their NCAA tournament brackets for March Madness. Strangely, opposing teams find their fans chanting homophobic chants -directed primarily at the white players - when Duke is in town for basketball game. Perhaps this is because the fans are less threatened by the white players, who see the Blackness of the Black players threatening?:
As to why Duke suffers so many such jests, Seyward speculates that it "has something to do with race and class."Explains Seyward, "Disparagers of Duke typically frame their opposition to the school, and its basketball team, in terms of anti-elitism," and continues on with, "Duke, according to this view, is a private school plopped in the Carolina Piedmont, where it caters to wealthy, mostly white elites who have zero regard for the local community--in Will Blythe’s words, ’those obnoxious students and that out-of-state arrogance.’"Seyward finds that to be "a defensible sentiment, as far as it goes, even a liberal one in many respects. "But, in the world of sports, being white as well as wealthy often translates into a perceived softness. (And Duke’s white players seem to attract the lion’s share of the homophobia directed at the team.) "For many Duke bashers, expressing anti-gay sentiment seems to be just one more way of delivering the message that Duke players are whiny, wimpy, pampered products of privilege.
“Duke Hating” is a popular pastime among basketball enthusiast, as they see in this asylum for white basketball an evil that must be stamped out completely. Is it a class issue (since Duke is an elite private institution) or is it primarily a racial issue (since the basketball team provides a glimpse into what an all-white professional league would look like)? Obviously, it is racially motivated:
But there’s another element we alluded to earlier, and there’s not too many ways around this: antipathy towards Duke often coalesces around the successful white players.
Whether it’s Danny Ferry, Christian Laettner, Bobby Hurley, Chris Collins, Wojo, Chris Burgess, Taymon Domzalski, Mike Dunleavy, J.J. Redick, or Greg Paulus, being a successful white player at Duke calls forth a peculiar racial response that didn’t happen at Stanford in their glory days under Mike Montgomery, nor at Notre Dame, Vanderbilt, or any other schools which tend to be perceived as elitist white-bread schools.
And Laettner isn’t the only one to have his sexuality impugned, although he managed it brilliantly and often turned it against his critics who were no doubt mortified to get their asses kicked repeatedly by a guy they thought was a bugger.
It’s long forgotten, but Tech’s Tom Hammonds regularly called Danny Ferry “fairy.” The standard taunt against Bobby Hurley “Hur-lee! Hur-lee! always struck us as being more than just his name. And J.J. Redick was taunted around the ACC for any number of things he supposedly was, but unique (thankfully) among Blue Devils, even his sisters were fair game.
Basketball inverts the American social structure which sees whites as the most powerful group and blacks as an oppressed minority. In the hoops world, whites are a distinct minority, and subject to racial taunts which are accepted, but which would be quickly shouted down if they were reversed.”
Consider the problems faced by Tyler Hansbrough – a star white player at the University of North Carolina – it is obvious that Black people find the style of play exhibited by the white minority on the hard court aggravating.
College basketball – as played by teams like Duke – is beginning to see a new crop of white players who are bringing a white style of play to a game dominated by Black people:
"African-Americans are still the dominant racial-cultural force at the high end of the college game, and (Adam) Morrison and Redick don't necessarily represent a new trend. But if nothing else, this season can serve as a reminder that basketball is an inclusive sport. It can be played on a virtuoso level by kids with braids and buzz cuts.”
What has happened to basketball fans that they feel compelled to taunt white players with chants of homosexual; denigrate their athleticism; and generally feel they are less talented and unable to compete (like the Vanderbilt team recently in the NCAA tournament)?
One reason: they fear Black people coming into the stands – like Ron Artest did – and beating the crap out of them.
Not every white player will be the next Larry Bird, but if they play for Duke they will be hated vehemently for their shocking display of whiteness on the court and flagrantly disavowing the Black style of individualistic play on the court.
Whiteness on the court means a complete lack of trust from the fans in athletic ability and any white player daring to play the Black man's game is practicing a heresy against the High Priests of the Court - Black people:
For some college basketball fans, players such as Redick represent what they believe Duke embodies: a rich private school with a privileged student body. From Danny Ferry to Laettner to Bobby Hurley to Wojciechowski, Duke's white players have often received the brunt of fans' bile. Many of Duke's great black players, such as Battier, Johnny Dawkins, Jason Williams and Hill, seemed to be respected by fans of opponents more than they were hated.
The white Duke players "seem to be so every-guy-like," said Peter Roby, director of Northeastern University's Center for Study of Sport in Society. "Guys sitting in the stands might say, 'What gives you the right to play like that when you look so much like us?' "
You want an all-white basketball league? Look no further then Duke, an institution where Black people have assimilated to the white basketball mindset and white players excel – to the dissatisfaction of opposing teams fans (current white stars at Duke include Kyle Singler, Brian Zoubek, Jon Scheyer and Ryan Kelly).
Stuff Black People Don’t Like will include Duke basketball, because this is one of the few instances where a bunch of white boys might actually rape a group of Black people, for the white style of play has chalked up plenty of titles of wins at the school.
You see, invoking the famous Martin Luther King “I have a Dream” speech and praising the eventuality of reaching the infamous “content of character instead of color of skin” racially blind society fails to consider the actuality that Black people are desirous of living in a society completely devoid of merit.
If the axiom Martin Luther King (MLK) uttered so long ago were to be fully integrated in 2010, Black people would find themselves in a perilous situation, much worse than what they faced in 1963. Recall, the primary reason Michael Oher was adopted – he was a large, homeless Black male who could play football – and the underlying justification for billions of dollars being sent to prop up the failed Black state of Haiti – so that a Black person-led nation won’t collapse – have absolutely nothing to do with character at all. Just color.
Black people know this monument in Washington DC is not the crowning achievement of some superficial “I have a Dream” movement or the culmination of a century’s old struggle to “overcome” racism in all its insidious forms. All the monument represents is a perverse “wet dream” by disingenuous white liberals (DWLs) who see MLK as an embodiment of the Token Black whose elocution was coherent enough and scholarship ever so close to being original, that he could pass as the righteous leader whom all who come after would find no fault in.
Indeed, hagiographers of King’s life we all are now. Just like those who will stand in awe of the 30-foot statue of his likeness that will soon grace the nation mall in Washington DC, the giant shadow he casts over history acts as a get-out-of-jail card for all Black people and any porous behavior on their part.
“Judge by the content of character,” is the reply levied by any Black person, DWL or other person confronted with Hate Facts.
However, the ingratiating and sycophantic manner in which DWLs heap love and admiration toward MLK doesn’t persuade Black people that his mission has been accomplished, nor that it should be finalized.
Black people instinctively understand racism will never be overcome in the United States, regardless of the concessions made by a placid white population bent on appeasing their Black overseers in any way, shape or form.
Even with the election of Mein Obama, Black people realize that calling a cease-fire in the Civil Rights struggle would amount to capitulation in the war to “shakedown” America and keep a true meritocracy – what MLK envisioned in his famous “I have a Dream” speech – from ever being implemented in this nation.
“Atlanta resident Lea Winfrey Young says the "outsourcing" by U.S. companies and organizations to China has gone too far this time. She and her husband, Gilbert Young, a painter, are leading a group of critics who argue that an African American -- or any American -- should have been picked for such an important project.
"Dr. King's statue is to be shipped here in a crate that supposedly says 'Made in China.' That's just obscene," Winfrey Young says…
The statue Lei is creating -- which at 28 feet will be a full nine feet taller than the statue in the Jefferson Memorial -- will be the centerpiece of the tribute to King. The memorial will span four acres near the Tidal Basin between the Jefferson and Lincoln memorials, facing Jefferson.
Visitors will first walk through a grove of spruce and magnolia trees by a waterfall and read a selection of the civil rights leader's famous words carved on walls. At the end of their walk, they will see King's likeness emerging from a chunk of granite.
Lei said there was much internal debate at the foundation about how King should look. Some thought the statue should reflect King as an ambassador of peace. Some wanted to present his urbane, intellectual side. Still others wanted to make him into a towering heroic figure. "If there are 1,000 readers of 'Hamlet,' " Lei said, "you will have 1,000 interpretations."
The cost of the MLK statue is a paltry $120 million, thankfully paid for by gracious individuals and corporations bent on paying homage to the Patron Saint of Diversity, MLK, so that these “sacrifices” will bold well for their futures, much like sacrifices to the Gods of old. Sadly, of those who have paid monetary tribute to the MLK statue, a shocking percentage have gone bankrupt, including General Motors, Lehman Brothers and the Circuit City Foundation, not to mention Fannie May.
The checks cleared thankfully from those ill-fated company’s and the MLK statue will be chiseled into reality by a Chinaman, whose final vision of the 20th century’s most towering individual is one criticized for its artistically bellicose nature:
“A powerful federal arts commission is urging that the sculpture of Martin Luther King Jr. proposed for a memorial on the Tidal Basin be reworked because it is too "confrontational" and reminiscent of political art in totalitarian states.
The U.S. Commission of Fine Arts thinks "the colossal scale and Social Realist style of the proposed statue recalls a genre of political sculpture that has recently been pulled down in other countries," commission secretary Thomas Luebke said in a letter in April.”
This is precisely how Black people want MLK to be recalled, as an “angry Black man” defiant to the end and even in death, continuing the war upon white people and America, for no amount of mea culpa’s from white people can absolve them of their collective racist past.
Black people will not rest though, until those iconic monuments to white people are removed from Washington DC, for these statues represent a true totalitarian past and a vivid, constant reminder of the historic stain that haunts the soul of Black folks’.
Still, the MLK monument is included in the register of Stuff Black People Don’t Like, for at only 30-feet the statue will hardly compare to the Washington or Lincoln Memorials. Overshadowed by white people is one thing, but overshadowed by slave-holding and racist white people is a sin heads must roll over.
The 26th of December has a special place in the hearts and minds of disingenuous white liberals everywhere: it is the start of a week-long celebration of innate Blackness and the glory of Black people, Kwanaa!:
Kwanzaa is a weeklong celebration held in the United States honoring universal African heritage and culture, marked by participants lighting a kinara (candle holder).[1] It is observed from December 26 to January 1 each year, primarily in the United States.
Kwanzaa consists of seven days of celebration, featuring activities such as candle-lighting and libations, and culminating in a feast and gift giving. It was created by Ron Karenga and was first celebrated from December 26, 1966 to January 1, 1967.
Kwanzaa... the event that Black people eagerly await for year-round, where disingenuous white liberals heap praise and joy upon them for the creativity in concocting such an ethnocentric holiday, devoid of white peoples help. Much like when a crusading white pedagogue teaches a Black person the quadratic equation, white people garner a deep sense of pride when Black people celebrate Kwanzaa - all by themselves!
As an African American and Pan-African holiday celebrated by millions throughout the world African community, Kwanzaa brings a cultural message which speaks to the best of what it means to be African and human in the fullest sense. Given the profound significance Kwanzaa has for African Americans and indeed, the world African community, it is imperative that an authoritative source and site be made available to give an accurate and expansive account of its origins, concepts, values, symbols and practice.
Moreover, given the continued rapid growth of Kwanzaa and the parallel expanded discussion of it and related issues, an authoritative source which aids in both framing and informing the discussion is likewise of the greatest importance. Therefore, the central interest of this website is to provide information which reveals and reaffirms the integrity, beauty and expansive meaning of the holiday and thus aids in our approaching it with the depth of thought, dignity, and sense of specialness it deserves.
The holiday, then will of necessity, be engaged as an ancient and living cultural tradition which reflects the best of African thought and practice in its reaffirmation of the dignity of the human person in community and culture, the well-being of family and community, the integrity of the environment and our kinship with it, and the rich resource and meaning of a people's culture.
Umoja (Unity): To strive for and to maintain unity in the family, community, nation, and race.
Kujichagulia (Self-Determination): To define ourselves, name ourselves, create for ourselves, and speak for ourselves.
Ujima (Collective Work and Responsibility): To build and maintain our community together and make our brothers' and sisters' problems our problems, and to solve them together.
Ujamaa (Cooperative Economics): To build and maintain our own stores, shops, and other businesses and to profit from them together.
Nia (Purpose): To make our collective vocation the building and developing of our community in order to restore our people to their traditional greatness.
Kuumba (Creativity): To do always as much as we can, in the way we can, in order to leave our community more beautiful and beneficial than we inherited it.
Imani (Faith): To believe with all our heart in our people, our parents, our teachers, our leaders, and the righteousness and victory of our struggle.
These are admirable principles and worthy of adulation from all people. Black people should feel pride in these ideals and strive to maintain them. However, a cursory glance at this website would show you that these seven principles of Kwanzaa are forgotten throughout most of the year.
However, an interesting historian - one Ann Coulter - has found some unappealing truths about Kwanzaa that paint a darker picture than the already Black hue of Kwanzaa would care for, as the holiday is nothing but a sham:
President Bush's 2005 Kwanzaa message began with the patently absurd statement: "African-Americans and people around the world reflect on African heritage during Kwanzaa." I believe more African-Americans spent this season reflecting on the birth of Christ than some phony non-Christian holiday invented a few decades ago by an FBI stooge. Kwanzaa is a holiday for white liberals, not blacks.
It is a fact that Kwanzaa was invented in 1966 by a black radical FBI stooge, Ron Karenga, aka Dr. Maulana Karenga. Karenga was a founder of United Slaves, a violent nationalist rival to the Black Panthers and a dupe of the FBI.
In what was probably ultimately a foolish gamble, during the madness of the '60s the FBI encouraged the most extreme black nationalist organizations in order to discredit and split the left. The more preposterous the organization, the better. Karenga's United Slaves was perfect. In the annals of the American '60s, Karenga was the Father Gapon, stooge of the czarist police...
Kwanzaa itself is a lunatic blend of schmaltzy '60s rhetoric, black racism and Marxism. Indeed, the seven "principles" of Kwanzaa praise collectivism in every possible arena of life — economics, work, personality, even litter removal. ("Kuumba: Everyone should strive to improve the community and make it more beautiful.") It takes a village to raise a police snitch...
Now the "holiday" concocted by an FBI dupe is honored in a presidential proclamation and public schools across the nation. Bush called Kwanzaa a holiday that promotes "unity" and "faith." Faith in what? Liberals' unbounded capacity to respect any faith but Christianity?
The conservative vixen wrote another column on Kwanzaa here.
The Washington Post saw fit to publish one Michael Eric Dyson, an individual we have yet to chronicle here at SBPDL - but will soon - as he exalted the virtues of Kwanzaa and how it relates to one Mein Obama, Barack Obama:
The political climate affects black rituals too. A lot has been made of the number of posts that black life confronts: post-soul, post-black, post-racial, and post-civil rights. In this era of black posts, pillars fall, whether civil rights leaders whose approach is viewed as passé, or as rituals of black cohesion are viewed by many blacks as quaint and largely irrelevant. A lot of that talk picked up pace with the election of Barack Obama as president, a monumental event that eclipsed black fears in some quarters (racism could no longer keep black folk from the big prizes of American life), exacerbated them in others (because of his success the bulk of blacks who continue to struggle might be forgotten). What's a people - and how is "people" exactly defined in such conditions - to do?
But the holiday's most faithful practitioners proclaim its original intent: bridging black folk across the chasms of land, language, water and religion as they forge solidarity in resisting obstacles and embracing opportunities to their common destiny. As the devotees of Kwanzaa understand, those aspirations have never been of much interest to the mainstream during any period of the nation's history. And the increased fortunes of black folk cause many of them to focus their energy and attention elsewhere. But for its true believers, Kwanzaa is as relevant and necessary now as it's ever been.
Consequently, Kwanzaa is treated - by many Black people - as an absolute joke, unless you are an disingenuous white liberal or an adherent of a religious movement that makes the Hale-Bopp Heaven's Gate cult look sane in comparison.
"The holiday was a way for African Americans to honor their culture, but it was also part of the black power movement of the era. The big boom in Kwanzaa came during its first two decades, according to Keith Mayes, author of "Kwanzaa: Black Power and the Making of the African-American Holiday Tradition."
But he said participation has leveled off. Based on his research, he estimates a half-million to 2 million people in the U.S. celebrate Kwanzaa, out of about 40 million Americans identified by the U.S. Census as black, including those who are multiracial.
Although Kwanzaa started here, it has become a Pan-African holiday. The African American Cultural Center places the number of those who observe Kwanzaa worldwide at 30 million, but even that is a small fraction of the hundreds of millions of people of African descent all over the world."
Some might even argue the kinara is going dim on the glory that was Kwanzaa, and once its magnificent light dims the magic of the holiday will be lost forever.
Let's be honest. Black people already a holiday that unites them forever, for it is the date that officially but to rest Pre-Obama America: January 20, 2008.
Stuff Black People Don't Like includes Kwanzaa, for this pathetic attempt at showing disingenuous white liberals the creative mind of Black people was really a blatant job at coloring outside the lines.
Black people find this celebration disconcerting and feckless, for if they wanted anything to do with Africa in 2009, then they would gladly return to whence they came.
Christmas is the time of year where family gather together to remember the past, celebrate cherished memories and reminisce upon kin long since gone, but not forgotten.
Black people, though more than 70 percent are born out of wedlock, love Christmas. As we learned in our article on gay marriage, Black people are deeply religious and find the celebration of the birth of Jesus Christ one of the most important days in the year.
One of the best ways to foster conversation around the Christmas tree among family is to bring up the last cultural unifier in America: movies. Neither regionalism nor rural area can escape the all-mighty reach of Hollywood and the power of cinema to shape national attitudes and mores is unquestioned.
Christmas makes a perfect backdrop for Hollywood to create magic that the entire family can enjoy, year end and year out. Family films that depict the glories of Christmas in contemporary settings and of Christmas’ long, long ago have the edifying power of binding the generations present in ways that no amount of egg nog can.
Already, we have discussed one film – Holiday Inn – that Black people find despicable, due to one of the most offensive Black-face scenes in Hollywood history. That particular film introduced the world to the glorious song, “White Christmas”, and stars the incomparable Bing Crosby.
However, three Christmas films are constantly found viewed by families around the holiday, as they represent the Holy Triumvirate of Christmas films. And yet, these films – cherished by all who view them – leave Black people in a disquieting sense of alienation from the United States, for they were all made in Pre-Obama America and all have the common denominator of having absolutely no Black people of significance in them.
In fact, when watching these films, one gets the sense that the song White Christmas is redundant and the holiday is not only blanketed in a climate of continuous snow, but a blizzard of whiteness.
Those films that comprise the Holy Triumvirate are “It’s a Wonderful Life”, “A Christmas Story” and “Christmas Vacation”, and all have the similarity of being about white people (and families) celebrating Christmas in unique ways and all in different decades (1940, 1950 and the 1980s respectively) that has the calming effect of reassuring white America that a strong homogeneous nation once existed and its genesis was The Greatest Generation.
Black people view these films with a brooding sense of incredulity, for these films callously disregard Black people and their many contributions to American life.
Take “It’s a Wonderful Life” for example. The lone Black character in the film is a maid/cook of the Bailey’s, the films protagonists and the virtuous saviors of Bedford Falls. How can a family that helps the little people of Bedford Falls have the audacity to have a Black person – a virtual slave – and still be well liked by the town? What’s the film all about?:
The film takes place in the fictional town of Bedford Falls shortly after World War II and stars James Stewart as George Bailey, a man whose imminent suicide on Christmas Eve gains the attention of his guardian angel, Clarence Odbody (Henry Travers) who is sent to help him in his hour of need. Much of the film is told through flashbacks spanning George's entire life and narrated by Franklin and Joseph, unseen Angels who are preparing Clarence for his mission to save George.
Through these flashbacks we see all the people whose lives have been touched by George and the difference he has made to the community in which he lives.”
George Bailey is a fine example of the All-American white guy and to see a movie that is watched yearly by millions of people portray a pale-face in such a glowing manner is too much for Black people to take.
Watching the film is like looking at a portrait or photograph of a long-dead family member you never knew, for the movie shows a United States that no longer exists and yet, “It’s a Wonderful Life” has the eerie ability to pull you into this picturesque town and never let you go. Black people sense this as well, and realize they don’t quite belong in Bedford Falls.
In the second Christmas classic, “A Christmas Story”, the city of Cleveland plays host to the tale of boy in search of the ultimate toy: a Red-Ryder BB Gun and the anticipation of Christmas’ arrival:
“The film is set in the fictional city of Hohman (based on real-life city of Hammond, Indiana). 9-year-old Ralphie Parker wants only one thing for Christmas: "an official Red Ryder carbine-action 200-shot range model air rifle with a compass in the stock, and this thing which tells time." Between run-ins with his younger brother Randy and having to handle school bully Scut Farkus, and his sidekick Grover Dill, Ralphie does not know how he will ever survive long enough to get the BB gun for Christmas.
The plot revolves around Ralphie's overcoming a seemingly insurmountable obstacle to his owning the precious Red Ryder BB gun: the fear that he will shoot his eye out. In each of the film's three acts, Ralphie makes his case to another individual; each time he is met by the same retort. When Ralphie asks his mother for a Red Ryder BB gun for Christmas, she says, "No, you'll shoot your eye out." Next, when Ralphie writes a theme about wanting the BB gun for Miss Shields, his teacher at Warren G. Harding Elementary School, Ralphie gets a C+, and Miss Shields writes "P.S. You'll shoot your eye out" on it. Finally, Ralphie asks an obnoxious department store Santa Claus for a Red Ryder BB gun, and Santa responds, "You'll shoot your eye out, kid. Merry Christmas! Ho, ho, ho!", before pushing Ralphie down a long slide with his boot.”
In this film, unlike “It’s a Wonderful Life”, nary a Black person has a speaking part. There is a Black child in Ralphie’s class, but he fails to garner a speaking credit and instead looks on in horror at Flick’s taking up the dreaded Triple-Dog dare and getting his tongue stuck to a flag pole.
“A Christmas Story” is more bleached than even “It’s a Wonderful Life” and worse, TBS plays the film for 24-hours straight on Christmas Eve and Christmas Day, which has the undeniably crippling effect of harming young Black people’s self-esteem, for they are but an afterthought in a film that showcases the overwhelming whiteness of American history.
“Christmas Vacation” is a film produced by Black people’s least favorite director, John Hughes, and paints a rather boring picture of Mein Obama’s adopted hometown of Chicago for its unbearable and overpowering whiteness. Thankfully, a Black person is given a semi-power of authority, this time in the guise of a police chief at the end of film. Otherwise though, Black people are conspicuously absent from this hilarious Yule-tide comedy, that stars Chevy Chase in all his campy glory:
“The movie begins with Clark taking his family on the search for a perfect Christmas tree. After aggravating nearby motorists, getting stuck under a big rig, and walking in the woods for a long time, Clark finally finds said tree. (He digs the tree out himself because he forgot the saw.) Clark breaks several windows and gets covered in tree sap setting it up, as it barely fits in the yard, let alone the living room.
While shopping for gifts at a downtown Chicago department store, Clark meets a saleswoman named Mary (Nicolette Scorsese). He makes a series of Freudian slips to her on their first encounter, and later fantasizes about her skinny-dipping in his future pool (interrupted by his cousin in law's daughter).
Clark has been working on a project at his firm which he expects will bring in a good Christmas bonus. Clark plans to use the bonus to put in a swimming pool, which he has already laid down a $7,500 deposit on.
As Christmas approaches, the many members of Clark's extended family begin arriving to stay with him. Clark's and Ellen's parents are the first to arrive. This drives him to go set up the lighting on the house with his son Rusty. He covers nearly every inch of the home's exterior and yard with lights (according to Clark himself, a grand total of 25,000 Christmas lights). Clark becomes very frustrated after many attempts to get the lights working. Unknown to him, the electricity wasn't on to begin with. When Ellen heads to the back store room to get something, she clicks a light switch, lighting the house (and causing the power plant to switch to nuclear generators for backup power), and blinding their unfriendly yuppie neighbors. After the lights are up and running, Ellen's cousin-in-law and cousin, Eddie and Catherine, along with their children show up to stay with him for a month, with their dilapidated, rusty RV parked in the driveway the whole time.”
All three films are constantly shown on television around Christmas and all three films reinforce an ugly historical fact to Black people in the United States: like in the film “It’s a Wonderful Life”, Black people get to see a world in which they have no real power in the country and in some cases, how the country operated if they weren't even apart of it or born.
When young Black people watch these films, they are forced to ponder this unfortunate reality, for the Holy Triumvirate of Christmas movies chronicle celluloid worlds where Black people don’t exist in any significant roles.
Black people aren't even mentioned at all in these films, as the white people in all three movies seem blissfully ignorant of their even existence.
Stuff Black People Don't Like includes the Holy Triumvirate of Christmas movies, for all three films are awash in whiteness and lack any color or divine Black presence. These films are part of the imperialistic and racist white America of old, and every Christmas, Black people are forced to remember that nation and white people are once again reminded of the nation that is lost to them forever, yet immortalized in three grand old films.
The films take place a total of 90 years apart and showcase white people in the 20th century and yet, like an old family portrait of family members never met, these films have the unnerving power of acting as a fine eulogy for white America.
