The 1980s is considered by many pundits to be the greatest decade in the history of the world. Great music, great fashion and the rise of the imaginary Black family- thanks to The Cosby Show – made the 80s a harmonious place for race relations. Michael Jackson was still Black, Mr. T was still relevant and white America and Black America were living in a peaceful detente after a turbulent 60s and 70s.
In the early 1990s however, that harmony was replaced by universal discord with the Los Angeles Riots, rise of the militia movement and OJ Simpson. A movie was made entitled Falling Down, which depicted a white male fighting back against the corruption and decadence of modern Los Angeles, a vain attempt at showing life in the dwindling majority of California. Of course this movie was pure fiction and never will we see white people show the slightest opposition to their displacement.
Few theoreticians have been able to identify why racial tensions were so great in the early 1990s after such a wonderful decade of integrated decadence in the 80s… until now.
Black people, as has been discerned, love movies. They truly enjoy going to the cinema and watching films for their enjoyment. However, one director’s films in the 1980s were subliminally racist and exuded an implicit whiteness that Black people picked up on and in turn, lead to the disastrous downturn in race relations in the 1990s: John Hughes films.
Hughes directed or wrote such classics as Sixteen Candles, The Breakfast Club, Pretty in Pink, Ferris Bueller’s Day Off, Weird Science, Home Alone and National Lampoon’s Vacation series. The problem with these movies, despite being hilarious and amusing, is that they have few if any Black people. Even the requisite “Token Black” is missing, and in the case of one movie, Sixteen Candles, replaced with an Asian exchange student named Long Duk Dong. In The Breakfast Club, five white students enjoy a Saturday in detention and learn that the social class system that rules the school, hierarchically putting labels on people, is wrong.
However, the world that John Hughes creates in his stories and movies is one devoid of Black people. It is as if non-whites don’t exist in this ficticious world of John Hughes and his America is occupied only by cool and hip white people, like Ferris Bueller, Clark Griswold and Cousin Eddie or Buzz McCallister.
Only Black people can be cool and hip, so depicting white people in such Black roles is a major blunder, and John Hughes – who turned out hit after hit in the theaters (the correlation being that the bigger the hit, the whiter the movie) – and his films directly led to the civil breakdown in race relations in the early 1990s.
His desire to make movies that starred the ultimate white guy everyman, John Candy, was more than Black people could take.
It would be incredibly difficult to even name one Black character in a John Hughes movie that even had a speaking part, let alone a minor role. For this reason only, Black people decided to make the early-90s a sea of racial disharmony and those troubled waters have been dicey every since.
Black people consider the John Hughes movies incredibly racist and yet another example of Pre-Obama America that they detest. Take for instance the Hughes film The Great Outdoors, which stars John Candy. There is not one Black face or Black person to be seen the film, as it is a glorification of white people, families and summer.
Most of John Hughes movies take place in Chicago, a city that has a sizable white population and, according to his movies, no Black people.
John Hughes and his movies depict an America without the glory of racial diversity and Black people, and for this reason his films merit yet another inclusion in Stuff Black People Don’t Like.