Wigger Please! Frivolous Lawsuits in the land of BRA

Wigger-Mania!

Traveling all day and doing a lot of reading. I've been thinking more and more about the concept of Black-Run America (BRA) and how it needs to be defined in two parts (your suggestions are appreciated).

1. Everything possible must be done to uplift Black people from their current station in life and the increasing of Black participation in every facet of American life is the number objective - almost an organized religion - of every institution in the US; even at the expense of the overall health of the nation, this objective must always be first and foremost the goal of every public agency, private business, academic institution, military branch, etc.

2. Continued Black failures in every facet of American life - despite nearly every conceivable asset available to aid their advancement - can only be blamed by persistent white racism and white privilege. The negation of these impediments can only be achieved by a greater allocation and concentration of resources for the advancement of Black people, no matter the cost. If standards must be universally lowered to achieve the goals outlined in step 1, so be it.

I need to get some sleep (been a busy past few days of traveling through the world's most important Civil Rights sites, researching for some big upcoming pieces on College Football, the Tuskegee Airmen, Southern Armageddon, and working on Human Shield), but this story cracked me up.

Wiggers have always fascinated me, as Acting Black doesn't have the same social benefits for a white person that Acting White has for a Black person. Doors close for wiggers; doors open for the Black person who eschews the predominate Black culture (Florida, Arkansas and city and counties across the country wouldn't be banning baggy pants if Black criminals didn't find this form of dressing so fly for a Black guy) and acts white.

It seems one high school is in a whole heap of trouble for having a "Wigger Day" and is being sued. Funny, when Atlanta Public Schools, Washington D.C and Philadelphia's school system tried to Act White by cheating and falsifying Black students feckless academic work, the entire country cheered... until it become obvious they were all cheating.

Some Black parents in Atlanta tried to defend the cheating, acts that should cost APS its accreditation.

I've never understood why anyone would desire replicating the behavior of Black people (whether in personal hygiene, dress, vocalization, mannerisms, proclivity to garner an STD, failure to obey laws, etc.), and Wiggers have always provided a hilarious facsimile of the ebony individuals they are attempting to impersonate. To me, it also comes across as a crushing indictment of Black culture.

Seeing a Wigger is hilarious and I'm sorry I wasn't able to see an entire school dress up for Wigger Day:

      MINNEAPOLIS (CN) - Red Wing High School let students hold "Wigger Days" for homecoming - the word stands for "white nigger" - during which white students wore clothes and acted in what "from their perspective, mimicked black culture," a black student says in a federal class action.

     Quera Pruitt claims the school district's deliberate indifference to the harm she and others suffered from the Wigger Days "was not only immoral ... it was illegal."

     Pruitt says that Red Wing School ISD No. 256 customarily held "Dress Up Days" for homecoming weeks.
     She says upperclass students at predominantly white Red Wing High School called them Wigger Days when Pruitt was enrolled, in 2008 and 2009, and that defendant Principal Beth Borgen, "was aware that the Wednesday of Homecoming Week had historically been referred to among the students as 'Wednesday Wigger Day.'"

     "Wigger is a pejorative slang term for a white person who emulates the mannerisms, language and fashions associated with African-American culture," the complaint states.

     "Wigger is a combination of the words White and Nigger. Wigger, within the Red Wing community, may also mean 'Winger Nigger.'

     "Wangsta is also a pejorative slang term for a white person who emulates the mannerisms, language and fashions associated with African-American culture.

     "Wangsta is a combination of the words White and gangsta.

     "Wangsta, within the Red Wing community, also means 'Winger Gangsta.'

     "The students who participated in Wigger or Wangsta day wore clothes that, from their perspective, mimicked Black culture. These costumes included oversized sports jerseys, low-slung pants, baseball hats cocked to the side and 'doo rags' on their heads. Some of the students displayed gang signs.
     "Principal Borgen was aware that the Wednesday of Homecoming Week had historically been referred to among the students as 'Wednesday Wigger Day.'

     "Indeed, September 30, 2009, was not the first time the students at Red Wing High School held Wigger or Wangsta Day. School officials acknowledge that 'Wednesday Wigger Day' had occurred in at least the 'last couple of years' prior to September 30, 2009."

     Pruitt adds: "The defendants' deliberate indifference to the harm plaintiff experienced as a result of 'Wigger Days' was not only immoral, but as the Tenth Circuit made plain, it was illegal: 'It does not take an educational psychologist to conclude that being referred to by one's peers by the most noxious racial epithet in the contemporary American lexicon, being shamed and humiliated on the basis of one's race, and having school authorities ignore or reject one's complaints would adversely affect a Black child's ability to obtain the same benefit from schooling as her white counterparts.' Bryant v. Indep. Sch. Dist. No. I-38 of Garvin Cnty, Okla., 334 F.3d 928, 932 (10th Cir. 2003).

     Pruitt says she and her mother complained to school officials, including principal Borgen, about "the racist nature of Wigger Day," but that "Prior to intervention by state and federal government officials, including the Minnesota Department of Human Rights and the United States Department of Education, the defendants did not take school-wide action to address Wigger Day."
     She points out that the school receives federal funding.

     Pruitt says the school's deliberate indifference to organized racism caused her to suffer "extreme emotional distress including depression, loss of sleep, stress, crying, humiliation, anxiety, and shame."
     She adds: "Ms. Pruitt's depression forced her to discontinue her participation in school activities such as track, cheerleading, and student council.

     "Ms. Pruitt chose to not participate in her school's Dr. Martin Luther King, Jr. Day celebration because she felt the celebration was a farce in light of the school district's failure to prevent or adequately remediate the conduct that took place on Wigger Day.

     "Ms. Pruitt's depression caused her to consider dropping out of school, and caused her to miss out on her own senior prom."

     She seeks declaratory judgment and punitive damages for constitutional violations, hostile environment, abetting, racial discrimination and negligence. Red Wing School Superintendent Karsten Anderson is also a defendant.

Perhaps Rule 3 of BRA should read: No matter how ridiculous or embarrassing overall Black character becomes (or how harmful overall elements of Black culture are to all citizens), it can never be judged harshly for one Black persons character judged poorly is an indictment of all Black peoples character, and by extension, a judgment of the color of their skin.

It's wrong to desire living in simpler times, like the 1950s, because inevitably, those halcyon days still gave birth to this era.

Black culture and the manners and mores of most Black people are embarrassingly funny. It's why normal white people dress up as Wiggers; to make fun of both Black people, Black culture and the white people who seek to identify with possibly every harmful personality characteristic and trait in America.

One day, frivolous lawsuits like this will be laughed at and social ostracism will be enacted on the individual(s) who filed the lawsuit in the first place. Until that day, all I can say is "Wigger Please!"

Update: I forgot about this article from July 2010 on a Wigger in Florida being beat up by those he dared to impersonate. 

Congrats to Urban Prep in Chicago; now work on plugging that Minority Startup Gap!

An average ACT score of 16.5 means Urban Prep will have plenty of future Tech Startups

We at Stuff Black People Don't Like congratulate the students of Urban Prep in Chicago where, once again, the entire graduating class of Black students - 104 in all - have been accepted to college:

For the second year in a row, the entire graduating class -- 104 students -- at Urban Prep Charter School's Englewood campus has been accepted into a four-year college or university. 

Urban Prep Academy is the nation's first all boys public charter high school. It is comprised entirely of African American students. 

The students who recently received their college admittance letters were presented with the new stripped ties Wednesday. 

"I received a couple of scholarships...Now it just feels amazing. It is all around amazing," said Matthew Williams, student. 

Mason Fuller has received a full athletic scholarship to Northern Illinois University.
"I want to major in engineering, mechanical engineering in college, and then if possible go in the NFL," said Mason. 

Eighteen-year-old Alfonso Henderson was accepted by 21 universities. He will receive $719,000 in scholarships. Alfonso wants to be a lawyer and is considering Harvard, Yale and Wheaton College. 

"I have been praying each and every day and just asking God to show me the way," said Alfonso. 

"It's so amazing what he's been doing," said Nathaniel Jones, father.
Tim King, founder Of Urban Prep Academy, says students, parents and teachers all come together to ensure the success of the young men.

Urban Prep is like a Black Hogwarts, but instead of witches and wizards you have Black kids from underprivileged backgrounds who get sorted (sadly not by a talking sorting hat) into "Prides" where they work together as smaller units.

Small class, extra tutoring (think college athlete levels) and speeches from such luminaries as Spike Lee, Gary Sheffield and Henry Louis Gates are a hallmark of the non-profit institution (Newark anyone?).

It should be noted that the average ACT score of the Black students at Urban Prep is 16.5, hardly an overall score that screams "college prepared":

Robert Schaeffer, the public education director of the National Center for Fair and Open Testing, a Cambridge, Mass.-based testing watchdog group known as FairTest, said the “stagnant” ACT scores reflect a failure of the promise of the federal No Child Left Behind Act to boost achievement and improve college readiness.

“Politicians can make all the claims they want that it is raising achievement, but even when there are improvements in state test scores, they don’t show up in college-admissions test data, or on [the National Assessment of Educational Progress],” he said. “So where is the beef?”


Mr. Schaeffer also noted that a FairTest analysis of ACT score changes between 2008 and 2009 shows little narrowing in the gaps between racial and ethnic minority students and their white peers. The ACT scores show only 4 percent of black students and 10 percent of Hispanic students meeting college-readiness benchmarks in all four subject areas in 2009, compared with 28 percent of white students and 36 percent of Asian students.

Strangely, the average ACT for Black students at Urban Prep is below the average Black score nationwide:

Participation in the ACT has been rapidly increasing among African American and Hispanic graduates over the past five years, far outpacing overall growth. Since 2003, the number of African American test-takers has increased by 18 percentage points, while the number of Hispanic test-takers has increased by 23 percentage points. The overall number of ACT-tested graduates has increased by 11 percentage points during this same span. 

Asian American students again earned the highest average composite score at 22.6, followed by Caucasian students at 22.1, American Indian/Alaska Native students at 18.9, Hispanic students at 18.7 and African American students at 17.0.

How are these kids going to be ready for college when they have basically had their hands held during high school?

What is the culprit behind this racial gap that even the vaunted Urban Prep cannot undue? Poverty maybe? Racial Segregation? Can't be, because the students from Urban Prep all come from poverty-stricken families and at least - on paper - are accepted to college. The sons and daughters of the artificially created (thanks affirmative action) Black middle-class score just as poorly on standardized tests when they move to Whitopia's.

Charter Schools even have horrible scores for Black students that still best Urban Prep.

The United States already spends an ungodly amount of money on education (with white and Asian students providing an amazing return on investment) but it is Black kids in every school system in the country that continue to weigh down state averages on aptitude tests.

With Black students heavily populated in the southern United States, its no wonder that Alabama, Mississippi, Georgia, Arkansas and Louisiana appear near the bottom of overall US educational statistics. Weighted down by low Black scores, these states stand no chance against lily-white states from the Northeast.

We already know that in Black Run America (BRA) the goal of the education system is to provide Black people with the best opportunity for success at the expense of all other students. The only gap that matters in closing is the Black-white gap in achievement.

Waiting for "Superman" is the goal of all teachers, all schools and every educational institution in America. Meanwhile in China, the best and brightest are challenged daily knowing that the tomorrow belongs to them while Americans piddle away their nation with dreams of closing an impenetrable gap that nature never intended nurture to seal.

But hey, congrats to Urban Prep. Its success give Teach for America and Crusading White Pedagogues everywhere cause for celebration and hope. Meanwhile, school districts across the nation consider closing science labs in a bid to stop the racial gap from growing.

In a related story - to NASA's search for a Black scientist and Black History Month Hero August Gorman - a writer at The Huffington Post bemoans the lack of Black startup companies:

For the past two years I've been spreading the message that people of color are missing out on the technology startup revolution. In an era where companies can be founded and within a few years can surpass the market-caps of companies that have been in existence for decades, and companies that are created in a weekend can go on to raise millions in funding and create jobs and opportunities for success for others, we are notably absent. It's a topic that almost no one wants to touch. 

Technology conferences brush over the concept by focusing their "lack of diversity" panels on low numbers of women leading startups rather than tackle the almost complete absence of African Americans and Hispanics as founders in the space. Or they highlight minority celebrities that have taken an interest in the space to make a passive attempt to show, "Look, they are here. Our education system does not promote science and mathematicsin general and promotes them even less in minority and urban areas: if children have parents who promote the importance of these subjects at home they are truly fortunate because the focus has all but disappeared in many public schools. When science is taught from rolling carts and "discovery math" concepts are introduced instead of real problem-solving, those children are already at a disadvantage. 

We have a value proposition problem: I wrote a blog post about this topic over a year ago. Minority children today are led to believe that it is easier to be an entertainer or a pro athlete than it is be a startup entrepreneur.

Look, white and Asian students do fine in science and math. Black students don't. Creativity, an entrepreneurial spirit and innovation aren't taught, but reflect an individuals intelligence, ability, drive and determination. Kind of a "get rich or die trying" spirit that Black people sometimes showcase in a criminal sense.

The Sorting Hat from Harry Potter couldn't find a Black scientist either

One Black blogger has said startup America needs to look like America. But that can never happen, for one unfortunate reason. The races weren't blessed with an equal distribution of talent (Black people seem to be better athletes at football and basketball, but that pesky Peyton Hillis came along exposing a caste system) and you can't force Black students in areas of studies they aren't equipped to excel at.

I'd simply say this: America needs to look more like America. Looking at patterns of residential living, most of America already does with third world enclaves spread throughout that most people - who can - assiduously avoid.

So congrats to Urban Prep. I'm drinking a glass of white wine and smoking a cigar in your honor. Though your average ACT scores indicate your woefully unprepared for college (that test is culturally bias anyways) I'm sure you'll do just fine outside your controlled, Black Hogwarts environment.

You at least give the Mainstream Media something to gloat about for a few days.

#421. The 'Noose' Halloween Decoration

Few things in life conjure images of dread more than the prospect of death. The macabre thought of how we will meet our end is a contemplation few dare entertain.

Halloween is a time of the year where the ghostly, ghoulish, ghastly, grisly, grotesque and terrifying are confronted, traditionally a day where our own mortality is in question.

People visit haunted houses in an attempt to have their senses overloaded with simulated frights, all the while looking at iconography glorifying instruments that have contributed to death. No Halloween decoration induces fear quite like the noose, the hangman’s knot that has horrified criminals for many a century.

Hanging wit silent horror, the noose is a fear-inducing device that spells doom for whoever has the ignominy of wearing it on their neck.

A most garish Halloween decoration, the noose has become a contentious source of angst for Black people who see this particular ornamentation in people’s yards. The noose is the device used in lynchings that history tells us are a prominent scar upon white America that will never fade.

Lynchings have been called the “Holocaust of Black people” though from a span of “1882 and 1951, 4,730 people were lynched in the United States: 3,437 Negro and 1,293 white.” Lynchings have long been looked upon as a form of racial oppression, though the primary reasoning behind using a noose on a criminal was to bring about swift justice and deter illegal behavior in “outlaw” territory.

Lynching was used a tool to discourage rape, effectively sending a message to would be sexual predators. According to FBI statistics, 37,000+ white women were raped or sexually assaulted in 2005 alone in the United States, so this message has long been forgotten.

The rate of lynching’s by race from 1882-1951 correlates interestingly to the disproportionate amount of crime committed by Black people in today’s America. Even in the days when lynching was “prominent”, the nation only averaged 68 a year. A cursory glance of Thugreport.com shows you more than 68 horrible stories of death transpiring daily across the nation.

Yet the pernicious myth of lynching continues unabated, leaving Halloween displays exploiting a noose as a scare prop quite vulnerable:

A Halloween display in Springfield, Ill., will be modified because of concerns that it is racist, the local NAACP said.

A compromise was reached Thursday in meeting of city officials, Springfield's National Association for the Advancement of Colored People and homeowner, Josh Witkowski, The Springfield State Journal-Register reported.

Springfield NAACP President Archie Lawrence had complained at Tuesday's city council meeting that the display was an effigy of a black man hanging from gallows. The hanging figure was dressed as a cowboy, its legs tied with rope, with a dark-colored skull.

Witkowski said he will change the color of the mask to silver with red and brown tones underneath. The cowboy hat will be removed to prevent casting a shadow on the mask. The rest of the display will remain the same, he said.

"After talking to Mr. Witkowski, one thing I am certain: It was never his intent to have a racist prop in his yard. I am absolutely certain of that," said Lawrence. "And to show the goodness of this man, what he did was he changed the prop to clearly reflect that it's just a Halloween image, nothing more and nothing less."

This happens all over the nation as those exterior decorators daring to employ nooses in their shrines of fright quickly cast themselves in league with mephistophelean white devils of the past:

In a dozen incidents during the weeks before Halloween this year, black and white Americans around the country faced a kind of Rorschach test of the national psyche: Is that a funny Halloween ghoul in a noose hanging from your neighbor’s tree? Or is that a racist symbol of lynching hiding in the Halloween tableau?...

The Rev. Johnny Gamble, pastor of the Friendship Baptist Church in Stratford, heard complaints from parishioners and went to see it for himself.

“At first, I couldn’t believe my eyes. But there it was. A mannequin of a black man, hanging from the neck,” said Mr. Gamble, who is black.

When he knocked at the door, Joyce Mounajed, Miss Cervero’s mother, told him the figure was not meant to be a black man, but was dark-hued to convey the idea of decaying flesh. It was “just a decoration,” he said she told him.

“I told her, ‘We don’t decorate like that. That is a symbol of lynching,’” Mr. Gamble said. “What if my great-grandfather was lynched? There are no two ways of looking at this; that thing is extremely offensive.”

The origins of Halloween are murky, with links to pagan traditions, All Saints Day (a Christian holiday celebrated the next day) and the great Hollywood tradition of Freddy Krueger’s undead tribe. But in all its versions, sociologists say, it has been a holiday that celebrates transgressions of one kind or another.

Richard Lachman, professor of sociology at the State University of New York at Albany, said the noose is a fairly new part of outdoor Halloween displays, hardly seen until the last few years.

“It cannot be taken as a joke,” he said, considering the history of lynching in the United States.

Jokes are no longer tolerated in America, especially on Halloween where a noose will always be construed as a device used for the impending lynching of a Black person. The connotations are just too obvious, even when turned around:

It's a still photo taken of a Halloween decoration in front of a house here in Houston. In that video you see two stuffed decorations.

One represents a Black man with a noose around a White man's neck. That White man appears to be picking cotton.

The family in Houston that posted that decoration on their lawn has since taken it down. But they described it as just a Halloween prank.
What do you think? Is this a joke in bad taste?

Any white offender who dares exploit the noose for frights will be dealt with quickly and swiftly. Just like offenders of the rule of law were dealt long ago:

Philip Dray's new book on lynching fits into that conventional wisdom.  Unless one is predisposed to question the Left's image of white Americans, a reader will be inclined to accept its narrative at face value.  Dray has written a readable chronology of lynching, with emphasis especially on the South, and shows the product of considerable research into the subjects he considers important. 

            This said, it remains important to note the ways his book lacks perspective.  (What follows is a discussion of just some of those ways, since a complete examination of them would go far beyond the scope of a book review):

            1.  His entire theme ("the lynching of black America") repeats the now-customary premise that lynching was primarily an expression of racism.  "Lynching," he says, "was a form of caste oppression... the white world's cruelty"; and, elsewhere, "victims were chosen for their race."

            What is odd is that he cites quite a lot of counter-evidence, but never reflects about it.  He tells about the San Francisco Vigilante Committees of 1851 and 1856; about the hanging of the white gamblers in Vicksburg; about the lynching of eleven whites in New Orleans in 1891 after the Police Superintendent was shot from ambush; that half the thirty lynch victims in Illinois after 1882 were white; that thirty-five whites were lynched in North Dakota in the mid-1880s for cattle rustling; and much more.  Lynching was not limited by race or by region of the country.

            Robert Zangrando's The NAACP Crusade Against Lynching, 1909-1950, cites the figures compiled by the Tuskegee Institute: that during the 87 year span between 1882 and 1968 a total of 1,297 whites and 3,445 blacks were lynched.  If racism were the prime mover, the almost 1,300 whites require some explanation.  The major explanation as an alternative to the racial one is the amount of crime to which local communities were reacting. 

            We know, of course, of the cattle-rustling and other crimes committed in the "wild west."  What most people today don't know about is the extent of black crime in the South.  In his book on lynching, James Elbert Cutler quotes with favor a statement that during those years "the worst instincts of the negro came to the front; the percentage of criminals among negroes increased to an alarming extent; many were guilty of crimes of violence of the most heinous and repulsive kind."  Another author tells that "in 1921-22, the homicide rates in Atlanta, Birmingham, Memphis, and New Orleans per 100,000 Negro population were 103.2, 97.2, 116.9, and 46.7 respectively, while the corresponding rates for the white population were 15.0, 28.0, 29.6, and 8.4."  W.E.B. DuBois, the black-activist leader whom today's conventional wisdom perhaps respects most from among the black leaders of that day, spoke candidly of "a class of black criminals, loafers, and ne'er-do-wells who are a menace to their fellows, both black and white."  That three-quarters of those lynched were black isn't surprising under those circumstances. 

            Dray makes the point that some of the lynchings were for trivial offenses, but fails to mention that there were whites as well as blacks who ran afoul of this.  In Pine Level, North Carolina, in 1908, blacks themselves lynched a black entertainer for "putting on a poor show."

No one wants to look upon a noose and have the chilling final thought that this rope will be their apparatus of doom. Chances are, though, if this was your final thought then you broke the law and the noose was warranted.

Stuff Black People Don’t Like includes the noose decoration, for Disingenuous White Liberals constantly bemoan the Holocaust against Black people that transpired from 1882-1951. Those who celebrate Halloween are warned not to use the noose in terrifying displays they create, for Black people who have been told of the past evils of white people by Crusading White Pedagogues will find nothing but racism in these hangman’s knots.

Sometimes that might be warranted, but most of the time it’s all done in good fun to elicit a fright.

There is nothing more frightening then the silhouette of a human swaying back and forth, with the sun departing in the background. The noose decoration is a reminder that law could once again be restored to the lawless; Black, Brown or white.

Most Dangerous Neighborhoods in America and the District B13 Solution

In the movie District B13 the ghettos of Paris, France have been walled off, sealed and quarantined. 24-hour patrols guard those left behind the wall from ever escaping, keeping the high-rates of crime and therapeutic car burning sessions contained and confined.

This is just a movie – though we have learned who the real Crazies are in America – but a new study showcasing the 25 most dangerous neighborhoods in America offer city planner’s prime candidates for areas in need of immediate walling-off:

For the second year in a row, using exclusive data developed by Dr. Andrew Schiller's team at NeighborhoodScout.com, and based on FBI data from all 17,000 local law enforcement agencies, WalletPop reveals the top 25 most dangerous neighborhoods with the highest predicted rates of violent crime in America.

This year, Chicago took the not-so coveted top spot from Cincinnati for the most dangerous neighborhood, while Atlanta has the highest number of neighborhoods making the list (four).

Atlanta, Kansas City, Memphis, Charleston, Orlando, Las Vegas, Chattanooga and Chicago offer neighborhoods that help bring the property value of adjoining “safe” neighborhoods down and drive Disingenuous White Liberals engaged in gentrification  to send their kids to private schools (lest they endure the travesty of having their children learn with those Waiting for “Superman”).

Whitopia’s exist for a reason and yet few dare point out the correlation to US News and World Reports best cities to live in and the demographic makeup found in them. The types of people who call Whitopia home aren’t featured often on Thug Report. 

Few people dare point out the obvious in regards to the inhabitants of these dangerous cities, and one writer questions the prejudicial reactions people might have when they read such statistics:

Cities with neighborhoods on the list include Atlanta, Chicago, Cleveland, Las Vegas, Philadelpiha, Charlotte and Memphis, among others.  It would be difficult not to note the obvious:  that the racial make up of many of the neighborhoods on  this list is predominantly Black and Hispanic.  It thus begs the question: what is the purpose behind this second annual survey in the first place?


What it seems to do more than anything else is rationalize preconceived misconceptions people already have about the race of people that make up high crime communities in America.   Perhaps,  the point was to warn anyone who may consider hosting a rally in any of these cities to be mindful not to use public transportation that pass through those neighborhoods, similar to what the organizers of Glenn Beck’s Rally to Restore America did when they warned out-of-state rally participants to avoid the Green Line on the DC area metro system – the one that passes through mostly all black neighborhoods.

Watch the local nightly news for any of these cities and the telecast will be littered with the bodies of Black people who family members will claim “was a really good boy” or “was just trying to make it so he could graduate”…

No more excuses. In Buffalo, a city replete with Black crime, a newspaper that dared point out this obvious fact was bombarded by 700 law abiding Black citizens who took umbrage with the printed assault on their community. 

Never mind the pervasiveness of Black-on-Black crime, that’s not the real problem. White people who dare point out the problems plaguing the Black community present the real, palpable threat. 

Volunteering is an obvious casualty in the 25 most dangerous neighborhoods, where kids who Act White find themselves facing the reaper. 

A modest proposal: District B13 offers a solution to containing criminality. Curfew’s don’t work, snitching is frowned upon and not every citizen of the Most Dangerous Neighborhoods is named Michael Oher, so the obvious conclusion is to wall of these cities from humanity. 

Imagine how many barbershops would open!

People at least know which neighborhoods they need to automatically lock their doors in now.

#19. Snitching

Cooperating with police has long been an act Black people find unnecessary and in some cases, reprehensible. Doing so creates a disconnect between the Black person who finds common ground with the officer of the law and thus, they turn their back completely on the Black community at large, long suspicious of cops ulterior motives.

Life in Black communities across the nation can be difficult, as the constant struggle "to get rich or die trying" plagues those who find the notion of Acting White a pathway to riches. These idea are constantly at war with one another and never the twain shall meet.

Cities with a preponderance of Black people provide one constant regardless of the latitude or longitude: crime.

Crime is a gateway to riches in the Black community, but also represents a door to either the penitentiary or the morgue. Drug sales represent a thriving Black Market - no pun intended - that help fund gang activity, but beset a community already ravaged with hardship and heartache further, creating a vicious cycle of death and governmental promise to help eradicate the problems of the economic depressed areas.

The United States Government has worked hard over the past 50 years to help Black people in their communities succeed by spending quadrillions of dollars (factor in opportunity costs) to uplift the Black race in America.

These efforts have largely failed, providing one of the worst Return on Investments (ROIs) in the history of investments, but have yielded a net growth of corruption in majority Black cities and a complete hollowing of the infrastructure that made these metropolises (Detroit, Baltimore, New Orleans) so attractive in the first place.

Black children fed a steady diet of ESPN believe that financial rewards await them in the NBA or NFL and if those hoop dreams fade, a career in rap will yield money, women and prestige that surpasses even those of sports stars.

And when they make it big, an entourage of childhood friends and family will be "made men" and living the life of luxury provided by the one kid from the 'hood staying true to his roots.

But few Black people taste the success that is surprisingly fleeting for many Black sports or rap stars, and having eschewed education as a form of Acting White, the only way to make a living revolves around a life of crime.

It would be misguided to quote crime statistics now, for a glance at the nightly news cast reminds even the most faithful Disingenuous White Liberal of why they send their children to private schools.

Yet one thing is certain in Black communities as many crimes go unpunished thanks to one of the unwritten rules that governs Black Run America (BRA): never, ever turn your back on a brother or sister.

Black people view anyone who fails the paper bag test or whose skin appears darker than a glass of 2 percent of milk as a member of their tribe, a permanently disadvantaged group that is discriminated against by outside agitators bent on destroying their communities through clever ruses and guile.

No matter how heinous or insidious a crime is done within the Black community by a Black person, none dare dissent from the rule of never turning your back on a brother. To do so would have you branded with a letter far worse than one Hester Prynne was force to wear in The Scarlett Letter.

Black people must never be branded with an "S", a dreaded word that is on-par with an Uncle Tom or a Clarence Thomas. Deviating from the script of perpetual victim-hood and admitting that Black-on-Black crime is a hindrance to community development and trust would jeopardize the whole enterprise of Black Run America.

One must always work for the betterment of Black people and if that means turning your back on wanton criminality and violence, then so be it. Better to allow the endurance of evil then to admit that white people aren't the cause of Black peoples lot in life.

The "S" word is the true "whose name must not be spoken" and the fear of being labeled one in the Black community is greater than that of Voldemort in the Harry Potter stories.

Black-on-Black crime doesn't happen. Rapes, murder, petty thievery, larceny, drug deals and violence are all creations of "The Man's" mind intent on keeping Black people in their rightful place.

Snitching is that "S" word that Black people fear to utter in any speech, for the repercussions of being branded one are rarely survived. You see, Black people don't like snitches and have placed an imaginary bounty on any head of the Black person who dares go against their one and sides with the police and the corrupt United States judicial system that dares go after Wal-Mart PA announcers who demand the involuntary expulsion of all Black people from the store.

Those who snitch are no better than the police who patrol the Black community hoping to engage in a Rodney King incident of their own.

In fact, a campaign was started to Stop Snitchin' and to protect Black criminals:

Stop Snitchin' refers to a controversial 2004 campaign launched in Baltimore, United States to persuade criminal informants to stop "snitching," or informing, to law enforcement. Some public officials and others^[who?] say that it is a campaign used by criminals to frighten people with information from reporting their activities to the police.^{[citation needed]} "Stop Snitchin" is the name of a specific Baltimore-based home-made DVD that threatened violence against would-be informants, and the name or theme of several hip hop recordings.

While the slogan "Stop Snitchin' had existed since at least 1999, when it was used by Boston-based rapper Tangg da Juice,^[1] the Stop Snitchin' campaign first gained national attention in late 2004 in Baltimore, Maryland, when a DVD released by Rodney Bethea ^[2] titled "Stop Snitching!" began to circulate. In some footage, a number of men claiming to be drug dealers address the camera, and threaten violence against anyone who reports what they know about their crimes to the authorities. This threat is directed especially towards those who inform on others to get a lighter sentence for their own crimes. Notably, NBA star Carmelo Anthony, a former Baltimore resident and now a part of the Denver Nuggets basketball team, appeared in the video.^[3] In subsequent interviews, Anthony claimed that his appearance in the video was a joke,^[4] the product of his neighborhood friends making a home movie. Anthony claims that the film's message should not be taken seriously.^[5] The publicity of Stop Snitchin' identified several drug informants and corrupt police officers in the Baltimore area such as former BPD officers William King and Antonio Murray who were sentenced to 315 and 139 years in prison, respectively, following an investigation caused by the DVD which identified the officers as drug dealers.

The important book Snitching: Criminal Informants and the Erosion of American Justice painstakingly documents the reality of the stigma that has been placed on Black people who dare snitch. The are pariahs, shunned by the Black community and in some cases end up beaten or worse, dead.

Witness a rape? Better not snitch, or else your family will pay! A drug deal gone wrong that takes a turn toward violence and ultimately homicide? Best be keeping those lips sealed, boy!

At a subsidiary of The Black Planet Universe (Blackplanet.com), a writer questions the validity of snitching:

The main misperception about the controversially popular “Stop Snitching” ideology that is now considered a staple of the Black community is that it’s ubiquitous. Black people are, in no way and under no circumstances, ever supposed to volunteer, aid, assist or even acknowledge law enforcement efforts in our communities.

Of course, the origin of the “Stop Snitching” ethos made a lot more sense. The term was originally coined to govern the conduct of coexisting criminals, sort of a Black take on the Mafia’s omertá-or code of silence.

In other words, if you and I were together in a criminal enterprise and I got busted, I was not supposed to snitch on you. I was supposed to do my time like a man or a “standup guy” and trust that you’d be on the outside handling my affairs in return for my silence.

Michael Vick could have used such friends. So could TI.

Eventually however, both the expression “Stop Snitching” and the mentality behind it extended to the point where it more or less suggested that if something, even something criminal, didn’t have a directly adverse affect on you then you should mind your business and stay out of it.

Now “Stop Snitching” has ballooned to the point where we’ve had to cringingly watch our dear friend, rapper Cam’ron, explain to Anderson Cooper on 60 minutes that even if he lived next door to a serial killer, he’d move away before he’d tell the police.

Needless to say, “Stop Snitching” has gone way too far.

We no longer live in Africa, folks, where our elders police our communities. If a gang of us were to get together now to beat up or kill some pedophile or serial killer, we’d all go to jail!

SBPDL lives by one motto: Those who do evil to others must be punished. Black people live by an entirely different ethos: those who do evil to others within their community must be protected from snitching.

Stuff Black People Don't Like includes snitching, one of the highest offenses against Black solidarity that can be occur (up there with Acting White), as the Black people must maintain strength through the unity of their community.

It is said snitches get stitches. In the Black community, snitches get worse judgment handed down whose verdict they can't supplicate: they are a traitor and performing an act of treason to their Blackness.

Black life expectancy is low and Black levels of incarceration are high. Black people commit more crime, thus the reason for the high level of incarceration and low levels of life expectancy. There is a correlation between the two.

What do you think would happen if snitching was tolerated? A lot more Black people in jail and a life expectancy rate much, much lower.

#28. St. Patrick's Day

Murphy: Yeah, it's St. Patty's Day, everyone's Irish tonight. Why don't you just pull up a stool and have a drink with us?

So says one of the brothers from The Boondock Saints, a cult favorite that presupposes vigilantes would be greeted with fanfare and adulation in crime-ridden America.

Nothing is more fear inducing to Black people than a congregation of white people gathered in Bacchanalian revelry, partaking in a copious amount of inebriants and indulging in alcoholic induced straight talk.

And no day invites more white people to indulge their inhibitions than St. Patrick’s Day, a celebration universally recognized for its incomparable debauchery.

White people gather to celebrate the exploits of some long dead Catholic saint, who is of little consequence save for the annual festivities of the drink in his long dead honor. Though it is still a holy day of celebration, St. Patty’s Day is a theological only in the sense that being worshipped is booze, not some Saint.

What exactly is St. Patrick’s Day, and whose name graces this date reserved for insane amounts of alcohol consumption? :

Saint Patrick's Day (Irish: Lá Fhéile Pádraig) is a yearly holiday celebrated on 17 March. It is named after Saint Patrick (circa AD 387–461), the most commonly recognized of the patron saints of Ireland. It began as a purely Catholic holiday and became an official feast day in the early 1600s. However, it has gradually become more of a secular celebration of Ireland's culture.

It is a public holiday on the island of Ireland (both Northern Ireland and the Republic of Ireland) and widely celebrated by the Irish diaspora in places such as Great Britain, Canada, the United States, Argentina, Australia, New Zealand, and Montserrat.

A holiday in honor of a dead white male isn’t worthy of admiration or celebration. Blasphemy, as even in the waning days of Pre-Obama America every effort to curtail any implicit celebration of whiteness was near complete with the swift removal of Washington’s Day with the generic replacement of President’s Day.

Only Martin Luther King (a saint in every sense of the word to Black Run America) is worthy of celebration, however the types of drunken merriment in his honor might include a Compton Cookout or a Ghetto Party, unsavory propositions for the ruling elite.

St. Patrick’s Day is thus a cause for great alarm for Black people; the prospect of large groups of white people associating in pub crawls in formerly derelict neighborhoods where gentrification has decreased the acreage of what constitutes “the hood” posing unbelievable danger to Black political power.

Though they may be Disingenuous White Liberals, the scarcity of Token Blacks in the groups of green-clad white revelers is cause for deep dismay among Black people. Is it because Black people instinctively find anything with the color green (whether it is greenbacks for the future or for making it rain) nauseating and offensive?

No. Black people find St. Patrick’s Day a parade of whiteness, a date that greatly perturbs them for the joy white people derive out of an authentic celebration of cultural (or dare we mention it?), racial pride in being Irish.

Name another day that white people can enjoy their roots and celebrate them with parades, beer, shots and pinches (for those who dare defy the color-code of the holiday)? You can’t, and Black people are generally aware of this:

A green-clad man said: “Happy Saint Patrick’s Day” to which the brother responded “Yeah, you know, just trying to not get beat up.”

It’s kind of like that for black people on St. Patrick’s Day.

364 days of the year, I’ve got no problem with the Irish. But I don’t mess around and leave my house on St. Patrick’s Day. I’m too old, I’m too black, and no longer willing to risk bar brawls on a holiday. Don’t worry about me, I’ve still got Cinqo de Mayo and Purim and a host of other holidays that I can use to hide my alcoholism.

I don’t want to rain on anybody’s good time. If you love St. Patrick’s Day, keep right on loving it. No worries. Just don’t expect many of your black friends to join in the fun. As a “friend” told me on SPD-1996: “Everybody’s Irish on St. Patrick’s Day. Except you, Elie, ’cause you’re black.”

Celebrating St. Patrick’s Day would be the finest admission of a desire to Act White, forcing Black people to boycott the holiday for fear of expulsion or punishment.

Worse, St. Patrick’s Day is a time to enjoy the Lord of the Dance, an Irish inspired dancing routine that always out-steps the best choreographed routine from a Black fraternity or sorority.

More importantly, Black people have the misfortune of constantly searching for the elusive pot of gold that has yet to be located, despite the well-intentioned efforts of Black would-be alchemists and Leprechaun hunters.

The television show It’s Always Sunny in Philadelphia pointedly illustrates the absurdity of the day and the fear Black people have in anything green or visually identifiable as Irish. A bar consultant is helping the owners of Paddy’s Irish Pub generate a more diverse clientele, and he recommends removing everything Irish:

Terrell: Nothing scares gays and black folks like Irish crap.

To the point and succinct, so we include St. Patrick’s Day in Stuff Black People Don’t Like, for the audacity of white people to celebrate their heritage is a cardinal sin only reserved for every other ethnic group in America, save white people.

Pride in ones heritage is a healthy trait in all racial communities save white people, where this odd declaration of love for ones people is diagnosed as a gross pathology on par with cancer.

Plus, Boston is viewed as a city where Irish life flourishes, and the hatred of forced busing by whites there still lingers in Black minds.

St. Patrick’s Day offers the surreptitious celebration of ethnic pride for white people, albeit disguised as a mere festival of booze.

Black people pass on that “everyone’s Irish on St. Patty’s Day” line from white people, because they know the truth. Now, you do to.

And you thought white people loved Larry Bird because he was just good at basketball.

#45. Tyler Perry Haters

Actors in Hollywood sometime develop cult followings. The inimitable Bruce Campbell stands alone as the actor whose fans flock to his B-movies with a fanatical devotion usually reserved for the likes of stars, like Matt Damon (if that fan happens to be Ben Affleck).

No matter how lame, moronic or outright laughably absurd the plot and story may be, Campbell’s adoring fan base assures high DVD sales and repeat viewership (indeed, Campbell’s cameos in the Spiderman trilogy brought much needed moments of levity in otherwise boring films).

Black people love to watch fellow Black actors excel in lily-white Hollywood (although strangely, the multi-racial Dwayne Johnson – aka The Rock – has seen precipitous drops in his box office returns as of late, a syndrome we at SBPDL would like to dub the true Obama Effect) and love to support Don Cheadle (an excellent character actor), Michael Clarke Duncan, Samuel L. Jackson (the ornery, Black bad ass act is getting stale though), Denzel Washington (played the same character in every film since Philadelphia) and Will Smith.

Black people enjoy seeing Black actors immersed in white worlds, but still retaining enough authenticity to remain truly Black and never engage in the cardinal sin of Acting White (consider Undercover Brother, an interesting 21st century film that labels the ultimate sell-out of Black people their reneging on Blackness and absorbing white characteristics into their demeanor).

It is vital that Black characters never fully emerge into the world of Whitopia’s, for much like in real life, precious little fraternization between the races actually occurs. Unless you live in Los Angeles, Washington DC or New York, it is rare that racial co-mingling is a necessary staple of your life. Almost every major city is a test case in segregation, not by law but by conscious choice of home-purchasing rates and the desire to "find the best schools" (strange how those end up being all-white areas).

Black actors in Hollywood are careful about roles they chose, lest they be the insufferable Tracy Morgan who will take any pay check tossed his way since even he wonders why people consider him funny. The buddy cop paradigm is the ultimate white/Black guy alliance in film that transcends racial barriers (Die Hard, 48 Hours, Lethal Weapon, Rush Hour etc.) and allows the Black character to still maintain authenticity while working in a white world.

However, this has all changed with the work of one man who has single-handily shifted the balance of power in Hollywood from casting Token Black characters in a predominately white world to casting overtly white stereotypes in a micro look at the world Black people live in daily: Tyler Perry.

Most of America has yet to see a Tyler Perry film (or television show), for he successfully markets his films to 13 percent of population without the faintest hope of attracting any member of the majority or other racial segments.

That is known as working your natural market and utilizing sound market segmentation strategies (sadly Disney failed to do this with The Princess and the Frog) to garner the highest return on investment:

A lot of money. Jail has already earned more than $75 million, making it Perry's highest-grossing film to date. And his seven movies — starting with his 2005 big-screen drag debut as Madea in Diary of a Mad Black Woman — have grossed more than $350 million combined, putting him on track to join John Singleton and Keenen Ivory Wayans as one of the most successful black filmmakers ever. He may already be the most divisive. At a time when Barack Obama is presenting the world with a bold new image of black America, Perry is being slammed for filling his films with regressive, down-market archetypes.

In many of his films there's a junkie prostitute, a malaprop-dropping uncle, and Madea, a tough-talking grandma the size of a linebacker (''Jemima the Hutt,'' one character calls her). ''Tyler keeps saying that Madea is based on black women he's known, and maybe so,'' says Donald Bogle, acclaimed author of Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films. ''But Madea does have connections to the old mammy type. She's mammy-like. If a white director put out this product, the black audience would be appalled.''

The question has to asked though: do white people pay for a ticket to see Tyler Perry's film or is Mr. Perry the finest marketer to his target market since Woody Allen started making boring films every year that only individuals of the Jewish faith flock to see?

Time Magazine places the percentage of white people who see Tyler Perry's film at four percent, a shockingly high number that can only be justified for the simple that reason that white people thought Tyler Perry was a white name and thus, a white director.

Perry's seven films have averaged box office gate receipts of roughly $59 million (Highest being Madea Goes to Jail at $90 million), and the theaters are packed with Black families and Black people on dates laughing at Black actors.

White people - and critics - have found the humor that flows through Perry's scripts the same complex enigma that once kept explorers up at night trying to locate the source of the Nile River.

National Public Radio, the Pravda of Disingenuous White Liberals wonders if Perry is catering to a target rich environment that deprives him of extra ticket sales (i.e., the 87 percent of America that isn't Black):

The good news is that Perry can be consistently counted upon to deliver $20 million-plus openings. "Remarkably, he's done this playing to a predominantly African-American audience," Lionsgate distribution president Steve Rothenberg said.

Indeed, Perry clearly holds the distinction of being the best-drawing filmmaker targeting urban moviegoers.

The not-so-great news: Perry's movies just don't seem to be crossing over to mainstream audiences.

That latter observation is perhaps a bit unsurprising as Perry's comedies feature over-the-top caricatures of inner-city characters and his humor is consistently based on the modern black experience. Yet when that focused appeal produces a huge 63% second-session drop -- as with "Tyler Perry's Meet the Browns" this past weekend, an especially big slide for a comedy -- it could mean the time has come for the filmmaker to tweak his approach.

Or not. Lionsgate executives won't go on the record about Perry's crossover prospects, but there's been little for them to grouse about.

Getting into the Tyler Perry business has been like acquiring a license to print money for Lionsgate, whose execs seem content to let the filmmaker chart his own where-from-here strategy. "Browns" opened during the March 21 frame with $20.1 million and went on to gross $32.5 million through its first 10 days -- not bad for a film costing less than $20 million to make.

Tyler Perry films do not have longevity at the box office. Like a firecracker on the Fourth of July, they explode quickly emitting a few oohs and ahhs from Black people, but the experience is short lived and the repeat value fades dramatically upon second viewing.

White people find the firecracker loud, noisy and confusing and don't even bother looking, opting to rent American Pie VI over one of Perry's odd cinematic features.

Perry's films have been criticized by Spike Lee, a once famous authentically Black director whose films have fallen on hard times at the box office and routinely fail as often as Perry's ventures succeed.

The lily-white Turner Broadcasting Systems (TBS) is a huge fan of Tyler Perry and utilize his talents to fulfill the quota for Black shows on their network that covers the cable channels entire run (more than 30 years) and grants them immunity from being labeled the redneck network:

In a deal similar to the one TBS struck for Perry's sitcom House of Payne in 2006, when they ordered 100 episodes before a single one had even aired, they've just announced an 80-episode order for the very similar Perry family sitcom Meet the Browns, which premiered in January.

Problem though: 99 percent of white people and the other races that comprise the 87 percent of America not Black have never, ever seen one of Tyler Perry's sitcoms, save for the commercials advertising an seemingly obnoxious show that makes us all pine for the return of Steve Urkel and Family Matters. Worse, TBS has the moniker of "Very Funny", which a careful examination of a Tyler Perry sitcom proves highly erroneous (Cracked.com finds the Tyler Perry crazed world we live a worthy edition to The Twilight Zone).

Perry's shows offer some of the only diversity on television, a fact with the corollary that Black people are the only group who watch them, giving it the least diverse audience of any sitcom, save the Winter Olympic Games that Black people boycott entirely.

Black people want to watch other Black people portray sympathetic characters that they can relate, and Perry provides that opportunity on a nightly basis. But again, only Black people are flocking to TBS to tune into Perry's work:

Debmar-Mercury's rookie sitcom, Tyler Perry's House of Payne, is running in the middle of the pack when it comes to off-net sitcoms, but among the African-American audiences it targets, it tops anything else on television.

Among African-American adults age 18-34, 18-49 and 25-54, House of Payne is the No. 1 show in all of network prime, all of cable and all of syndication, according to its — take a breath here — live-plus-seven, season-to-date, gross-average-audience ratings average. That rating includes double-runs on stations and its cable run on TBS.

In primetime, House of Payne beats such ratings monsters as Grey's Anatomy, Dancing With the Stars, Desperate Housewives and CSI in all African-American adult demographics. Among African-Americans 18-34, the weekday airings of the show are scoring a 6.3 household average. That rating climbs as audiences age, scoring a 7.1 among adults 18-49 and a 7.6 among adults 25-54.

Among syndicated shows, Twentieth'sFamily Guy comes closest to House of Payne at a 4.9 among adults 18-34. Among adults 18-49, NBC Universal's Maury inches out Family Guy at a 4.2 to a 4.1. And among older African-American audiences Judge Judy and Oprah are in third and fourth at a 5.1 and 4.3, respectively.

In primetime, Fox's Family Guy is Payne's closest competition among African-Americans 18-34 at a 5.2. ABC's Grey's Anatomy wins third place among African-Americans 18-49 at a 5.2, followed by CBS' 60 Minutes at a 4.8. And among older audiences, CSI: Miami takes third at a 6.5, followed by CSI at a 6.1.

“If you want to reach 7.1% of the African American audience among adults 18-49, you can do that. And you can buy House of Payne for a lot less than CSI,” which ties for sixth in that demographic, says Bob Cesa, Twentieth's executive VP of ad sales. “There's no doubt that House of Payne is a screaming deal.

In his own way, Tyler Perry acts as a microcosm for the Black experience in America and proves that a post-racial America is but a pipe-dream. He is successful by catering his product specifically to his target audience, Black people. White people will never accept his narratives, nor does he really care. The shareholders of the production companies that bankroll his films see excellent profit margins and continue to green light more Perry works that appeal to only 13 percent of the population.

Perry will never be accepted by white people and Disingenuous White Liberals are saddened by this concept, but know deep down that little artist merit can be found in his works.

They make a profit because of the unique selling proposition they offer - a Black director making films that Black people can relate too that lack the Token Black character merely in the script to appease the gatekeepers of Hollywood.

A brand and image unto himself, Tyler Perry has made films that only 13 percent of the population of 300 million Americans will ever care about, but Black people could care less.

They'll read his books, laugh at his nonsensical sitcoms and flock to his movies (actually being quiet during these films) without a second thought.

The key success factor for Perry is to continue to make films that placate Black people and refrain from adding the Token White to the script, diluting his brand and running off his target audience.

Simply put, white people will never view the Tyler Perry brand as anything more than a Black entertainment for Black people. Black people view it the exact same way.

Stuff Black People Don't Like includes Tyler Perry haters, for his work in film, television, stage production and books show that gearing an entire to brand to only 13 percent of the population can create a financial windfall. Damn the critics and the absolute indifference to his work from white people, Tyler Perry will continue to make films that appeal to only his people.

The cult following behind Perry will never tolerate any snide review of his film on Rotten Tomatoes nor fail to attend the revivals masquerading as art when his movies debut (here is a scene from a Tyler Perry film). 87 percent of America falls into the category of Tyler Perry Hater, by the way, for they forgo the simple, divine pleasure his books, films and television shows produce with the exacting simplicity of complete ambivalence (The New York Times provides an interactive map that allows you to view various cities Netflix renting habits, by county... look at white areas vs. Black areas).

And only in Black Run America (BRA) could this be allowed, as the vitriol aimed toward a white director making films for only 68 percent of the population and daring not to include a diverse cast would be deafening.

At least they have Bruce Campbell to cheer for... give me some sugar baby.