Glenn Beck on the Surprising History of 'Lift Every Voice and Sing' at the Super Bowl

Glenn Beck on the Surprising History of 'Lift Every Voice and Sing' at the Super Bowl

Squires: Black Christians must answer a simple question: Is my Bible more important than my 'black card'?



Christians in the United States are being tested on a daily basis by a culture that is openly hostile to our faith. From the shutdown of churches to the promotion of drag queens in schools, true believers are being separated from the Christians in name only (ChrINOs) who think Jesus was simply a good teacher with important moral truths.

The forces trying to attack the Christian faith are innumerable, but there is one group of Christians dealing with a different type of fight.

Black Christians are at a crossroads, because our faith is increasingly being challenged by old notions of racial solidarity, and given the current state of race in America, “black” and “Christian” identities cannot coexist. One has to reign supreme over the other.

This does not mean that a person of African descent cannot be a Christian. On the contrary, biblical anthropology is quite clear: all of mankind is descended from Adam, and every person from every ethnicity, nation, tribe, and people group is a sinner in desperate need of a savior.

Those who turn from their sin and believe that Jesus died for their salvation are saved by God’s grace. Since salvation comes from God, no person can take credit for his or her own righteousness. The Bible says that the people of God are drawn from different tribes and nations, speaking different languages and possessing different cultures. These various people groups are united in Christ, not by skin color or other superficial characteristics.

There is nothing contradictory about being a Christian who also acknowledges national or ethnic identity. We need not be ashamed of anything God created to display His glory. The trouble for believers starts when any other aspect of our identity is elevated above our identity in Christ. Doing so leads directly to the sin of idolatry.

Many black Christians in America are grappling with this tension as we speak, because blackness – to paraphrase Nikole Hannah-Jones – has largely become a political identity. This is why Joe Biden felt comfortable declaring that black voters who didn’t support him “ain’t black.”

What makes this even worse is that black political identity largely overlaps with one party and is defined in opposition to whatever is deemed “white” by that party. The National Museum of African American History and Culture published a list of beliefs, values, and behaviors it claimed represented “white culture” a few years ago. It included the nuclear family, rational thinking, hard work, and punctuality.

The people behind this project, like many progressives, have come to believe that “blackness” is a challenge to “white” social and cultural norms. This is why racial activists frame abortion, “body positivity,” prison abolition, homosexuality, transgenderism, and feminism as necessary tools in the fight against “white supremacy.”

This is one reason many black Christians, including several prominent black evangelical pastors, attempt to thread the needle of promoting Black Lives Matter as a slogan while rejecting the organization. That is extremely difficult given that the organization’s co-founders popularized both the phrase and the movement.

Trying to “redeem” BLM is also unnecessary. Christians, regardless of color, do not need a Marxist organization to affirm the value of black image-bearers. God already did that in Genesis 1:27 and does not need assistance from people who claim to value all black lives except ones developing in the womb.

In fact, 18 civil rights organizations released a statement today requesting a meeting with President Biden to discuss abortion in the wake of the Supreme Court decision to overturn Roe v Wade. The announcement on the National Urban League’s website included this passage:

This letter explicitly highlights the disproportionate impact this decision will have on Black women, other women of color, and vulnerable women, and the undeniable connection between abortion access and other social justice issues, including voter disenfranchisement, policing abuse, criminal injustice, poverty, economic inequity, housing inequity, LGBTQ+ rights, the immigration crisis, food insecurity, medical bias, and environmental injustice.

It’s clear that authentic blackness, as defined by the left, requires complete support of abortion as well as every other policy priority of the Democratic National Committee. The NAACP should be renamed the “National Association for the Abortion of Colored People,” because it is as committed to reducing the black population as Margaret Sanger, the founder of Planned Parenthood. The nation’s largest abortion provider also receives support from the Congressional Black Caucus and BET.

Black Christians are at a crossroads. Some of the most prominent institutions that purport to advocate for black people are committed to our destruction, and “Christian nationalist” is used as a pejorative to describe believers who want biblical definitions of biological sex, marriage, and family reflected in law.

Black believers are going to have to choose. We can believe that man’s greatest source of bondage is sin, or we can argue that Jesus came to the earth to ensure equity in every area of life for “marginalized people of color.”

We can either argue for the inherent value of all life, or we can chant “black lives matter” in solidarity with people who think it is better for a child to be killed in the womb than be born to a poor black mother.

We can either affirm that sex is established at conception and remains unchanged throughout our lives, or we can join BET as it “stans” for Zaya Wade and agree with black professors who believe men can get pregnant.

We can accept God’s design for the family – one man and one woman dedicated to one another and any children who come from their union – or we can continue to go along with the black intellectuals who think marriage is obsolete and fathers are optional.

Enslaved Africans were deemed subhuman pieces of property by white slave owners who actually believed in the inherent supremacy of some “races.” The Civil Rights movement was characterized by the pursuit of equal citizenship, but it was driven by the recognition that every person – regardless of color – is created in the image of God.

The black leadership class of today has turned that imago Dei revolution on its head. The same people who think W.E.B DuBois was correct when he said that “the problem of the twentieth century is the problem of the color line” are now pushing the problem of the 21st century: the rejection of the sex binary.

The groups who claim to fight in the spirit of their ancestors now advocate for the destruction of their progeny and insist that “real” black people must agree with them. Some of the same black Christians who believe white evangelicals have made an idol out of national pride have made an idol out of racial identity.

This double-mindedness can’t continue. We can keep the Bible or our black cards. We can’t have both.

Whitlock: The reparations movement undermines black American progress



In less than a minute Monday night, Hilary Fordwich blew up CNN broadcaster Don Lemon’s simple-minded narrative on reparations.

In a discussion about the British monarchy, Lemon nonchalantly referenced the need for reparations because of England’s past colonialism. Fordwich pounced. The seasoned public speaker and expert on the royal family argued that Britain was the first nation to end slavery and that African slave traders owed reparations.

Her argument left Lemon speechless. He quickly moved on.

We shouldn’t. We need to discuss reparations in America. It’s a critical issue that impacts the mindset of many black Americans. Many black people believe America owes us for the oppression of our ancestors.

I take a completely different position. I believe I owe my ancestors for the oppression they endured and conquered. I owe reparations. To my mother and father. To my grandparents. To Martin Luther King Jr. and Booker T. Washington. To Frederick Douglass, Abraham Lincoln, Thomas Jefferson, Harriet Tubman, George Washington, and Crispus Attucks. To my high school football coaches. To my fourth-grade teacher. To all the people who invested their time, concern, prayers, and mentorship in my development.

I try to immerse myself in a spirit of gratitude because I believe Jesus Christ died on a cross for all of my sins. His grace and mercy overwhelm me and combat any sense of entitlement.

Reparations are an entitlement. They’re rooted in the desire to be compensated for the oppression suffered by others. Entitlement handicaps the mind and undermines productivity.

America does not owe me. I owe America. I owe my ancestors.

When President Kennedy told Americans in 1960 to ask not what your country can do for you, ask what you can do for your country, he spoke to a nation of Christian believers.

A hallmark of faith is gratitude. A hallmark or a lack of faith is entitlement.

My parents’ generation, despite facing in-your-face racism, felt grateful for their American citizenship. Their generation and previous generations fought for full American citizenship.

They earned it. And I owe them for their sacrifice. We all do.

Here’s the truth that Hilary Fordwich avoided unloading on Don Lemon: The modern descendants of African slaves brought to America (and England) are blessed and owe an enormous debt to our forefathers and mothers. They suffered so that we now live free. They turned lemons into lemonade.

I’m not owed reparations. I owe an endless debt to the people who sacrificed their lives so that I could live in the freest, safest, and most opportunity-filled country on the planet.

I wake up every day thinking about how I can pay back my mother, father, brother, sister, my high school, my college, and anyone else who helped me along the way.

I owe this country. It is not perfect. But there’s no place else on the planet I’d rather live.

I certainly do not have an interest in living in a land that Britain had to stop from capturing, enslaving, and selling people who looked like me. Americans stopped Americans from doing that. The Brits stopped Africans from doing it.

I’m an American. I’m not ashamed of that. God placed me in this country for a reason.



The American reparations movement sends the message that white people are responsible for the destiny of black people. The movement exonerates black people from our role in the slave trade.

We pretend that Europeans invented and initiated the African slave trade. It’s a revisionist history that defies logic. Africans established the African slave trade. It’s laughable to blame the customer for a product line he didn’t launch.

The fight for reparations is reinforcement of a slave mindset. It screams that black people are not responsible for themselves or their actions. It screams that black people are whores to the highest white bidder.

Are we? We celebrate rappers who profit from denigrating the image of black people. Jay Z, Snoop, Dr. Dre, Meek Mill, and all the rest are no different from African slave traders. They sell out black people for record deals and fame.

They have an entitled mindset. They owe the world and their ancestors nothing. They’ve enriched themselves at the expense of other black people. Anyone who complains is vilified as a traitor.

Black Americans will not progress until we rid ourselves of the entitled reparations mindset, until we embrace the fact that we owe our ancestors – black and white – an enormous debt.

Jason Whitlock calls for EXORCISM after female rapper's SHOCKING lyrics  glorify abortion



Jason Whitlock found himself momentarily speechless after hearing lyrics from female rapper TNFW Nique's song – “BDF (FNF REMIX).” PDF, an acronym for Baby Daddy Free, is a song about abortion or, as the rapper honestly described it, "murder."

In the video, TNFW Nique appears in front of a Planned Parenthood and showers a paper currency over a dancer who is twerking her little heart out. The song spells out the word ABORT in the chorus.

Jason Whitlock told his audience that the devil has a hold on us, and that the abortion song featured in the video below proves that America desperately needs salvation.

The female rapper's lyrics paint a dark portrait of a 25-year-old woman, saying she has murder on her mind and that she is glad she is "baby daddy-free." Jason asserted that "we need an exorcism" and described rap culture as being in the clutches of satan

Listen to the podcast here.




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Squires: The FAMU 'junkiepox' outbreak was caused by a cultural immune system that allowed dysfunction to spread for decades



A young woman who goes by TericaStar on Instagram recently went viral for posing naked in front of Florida A&M University’s famed rattler statue. The aspiring rapper and “body positivity” advocate posted the image of her bare back — and bottom — facing the camera in a Medusa-inspired snake wig to celebrate completing her master’s degree in education.

Her post prompted a spirited debate online about personal decorum and respect for historically black colleges and universities (HBCUs). One thing the internet discourse has not done is explain what would motivate a young woman finishing graduate school to perform such a degrading act of public spectacle.

The answer is simple: TericaStar suffers from a full-blown case of “junkiepox,” the cultural disease that makes people engage in public displays of destructive behavior in pursuit of attention, fame, and influence. The people who suffer from this sickness are as addicted to affirmation and notoriety as some people are to drugs and alcohol. They wake up every morning looking for a hit and need to push the boundaries of societal norms farther and farther to achieve the same type of euphoric high.

Junkiepox is caused by the long-term failure of any group, institution, or organization to enforce standards of personal conduct and censure self-destructive behavior. This cultural disorder is not confined to one specific demographic, but that doesn’t mean it isn’t more prevalent among some groups over a period of time.

TericaStar caught a case of full-blown junkiepox because of two interrelated comorbidities. One is the prevalence of black female artists and entertainers like Lil’ Kim, Nicki Minaj, Cardi B, and Lizzo who strategically used sex and sexuality to promote their music and sell their images. The other is a weakened cultural immune system within black America that fights off right-of-center political thought but has allowed destruction, dysfunction, and degradation to run rampant for decades.

In the 1990s, concerned elders like C. Delores Tucker and Reverend Calvin Butts warned about the impact of glorifying violence among black men and referring to black women as “b***hes” and “h**s” in songs and videos. Tucker once stated that “You can't listen to all that language and filth without it affecting you.”

Their concerns were dismissed in the name of making a handful of black artists very wealthy. Several artists, including Tupac, Jay-Z, and Lil’ Wayne mentioned her by name in their songs. No one put a finer point on the disease she was trying to fight than Eminem, who once rapped “Tell that C. Delores Tucker slut to suck a d**k.”

The message from the young men who pioneered gangster rap in the 1990s is the same as the one from the women who dominate the “whore hop” genre today: Being degraded by people higher up on the social hierarchy is oppressive, but demeaning yourself is empowering.

This is the mindset that motivates older women likeMaxine WatersandPatti LaBelle to complement artists like Megan Thee Stallion and City Girls. They affirm behavior that they should lovingly correct because all that matters is girl power and getting paid. The girls and young women who emulate these artists — from getting Brazilian butt lifts to making raunchy social media posts — have gotten the message. They falsely believe their primary contribution to the world is their ability to shake their butts and show their breasts.

Matriarchs of a previous generation, largely shaped by the black church, would have nipped that lie in the bud. They would have given the young women coming after them the wisdom embodied in the first verse of Proverbs 14: “Every wise woman builds her house, but a foolish one tears it down with her own hands.”

Women who see themselves as “bad b***hes'' cannot build homes and legacies that will stand the test of time. They attract men who see women the same way, fit for baby-mommadom but not marriage.



The one factor that might prevent TericaStar’s strain of junkiepox from spreading too far is the fact that her outbreak occurred at one of the most prestigious HBCUs in the country. There is a level of personal investment that black college graduates have in their institutions that rises above general racial allegiance. The same goes for members of black fraternities and sororities.

It is the one instance in which dysfunctional and degrading personal behavior can lead to swift and severe public censure. The "Afristocracy" knows how to police its own.

The quick rise and sudden fall of the VH-1 show "Sorority Sisters" is a perfect example of this phenomenon in action. The same network that gave us "Basketball Wives," "Flavor of Love," and the "Love & Hip Hop" franchise tried to apply the same formula (e.g., drama, catfights, and fighting) to black sororities such Alpha Kappa Alpha and Zeta Phi Beta.

K Michelle, one of the stars of "Love & Hip Hop: Atlanta," admitted that while “she acted a fool” on her television show, she felt the reputations ofblack sororities should be treated as “sacred” and not exploited for personal gain.

She was not the only one. Prominent black members of Greek letter organizations used their platforms to criticize the show, organize boycotts, and put pressure on sponsors. The organizations themselves also acted swiftly to protect their images. Delta Sigma Theta expelled five of the cast members who appeared on the show, one of whom later appeared on Steve Harvey’s show to apologize to a fellow sorority sister.

The show was pulled off the air after one month.

If the black leadership class had applied even a fraction of that decisiveness to protecting high standards of conduct for the larger community, the state of black culture would look very different today. If Snoop Dogg and Cardi B swapped cultural capital and influence with Clarence Thomas and Condoleezza Rice, generations of black children would be exposed to more political thought and less social rot.

We missed an opportunity for self-correction in the 1990s, but it’s never too late to do the right thing. One of the first steps to move in a better direction is the type of brutally honest self-examination needed to explain why we demand and defend music that promotes the murder of black men and the degradation of black women.

Understanding that will help us turn from following people motivated by personal gain back to the faith of our forefathers who trusted God in times of racial oppression and understood that public morality is a necessary component of community uplift. This type of spiritual transformation will not be easy because every part of the black body politic — from political campaigns to pulpits — has been impacted by the decline in behavioral standards.

Twerking in a thong for attention is no longer exclusive to strippers and aspiring Instagram models. Now, it is how state representatives drum up support for their re-election campaigns and how graduate students celebrate completing their degree program.

TericaStar behaves like a young woman who grew up without a loving engaged father in her life. The absence of black men from their households and the silence of black men in the public square are both a cause and symptom of the feminization of black pop culture. This has made junkiepox even more viral in the social media age.

Nothing displays the impact of gelded black males more clearly than the long line of black preachers, artists, politicians, pundits, and influencers who reacted with sadness and anger to the prospect of more black babies being born in post-Roe America. They parroted the liberal talking points about not telling a woman what to do with her body as if men have no part to play in human reproduction.

These same men are vocal supporters of K-12 public education, which is heavily influenced by single women and self-identified members of the LGBTQIA+ community at every level from the leadership of teachers unions to school principals and educators in the classroom.

There is a reason queer cat ladies can tell parents how to raise their children, but men can’t find the courage to stand up for their own offspring. If the spirit of feminism is ever to be exorcised from the body politic, the cultural clerics performing the cleansing ritual will find much more resistance from male allies — including black men — than members of the sisterhood.

This is why fathers, families, and faith leaders must take back their responsibility to train up future generations, which includes correcting behaviors they know are self-destructive. We can no longer afford to bring what happens in the brothels and back alleys into the mainstream. Our girls need to know that they were created in the image of God and can contribute more to this world than a big butt and a smile.

Whitlock: Beyoncé is a poor replacement for Aretha Franklin



The first words spoken on Beyoncé's new album are “please, motherf***ers.” She repeats the phrase over and over again, adding “ain’t stopping me.”

Please, motherf***ers ain’t stopping me.

"Renaissance," her seventh studio album, is explicitly crude and profane. A New York Times reviewer described the 40-year-old singer’s 16-song collection as “steeped in black queer bravado.” Wesley Morris, the Pulitzer-winning reviewer, never defined black queer bravado. The reader is left to assume that queer bravado is as endemic to black people as full lips, wide noses, nappy hair, and obscene music.

Beyoncé, the so-called heir to Aretha Franklin’s title as the “Queen of Soul,” has more in common with Cardi B and Megan Thee Stallion than the icon who demanded "Respect."

Beyoncé symbolizes the catastrophic descent of black culture and America’s indifference to its fall.

"Renaissance" is controversial for its use of the word “spaz,” not the filth spewed by a middle-aged married mother of three. Expectations have fallen so low for American black people that no one expects Beyoncé to mature or make music that uplifts black folks.

No. Our only expectation is that she contains her penchant for degeneracy and denigration to black people only.

That explains why Beyoncé will eliminate the word spaz from her latest album. Disability rights advocates complained that the singer’s use of the word "spaz" in the song "Heated" is a slur against people with cerebral palsy. Spastic diplegia causes motor impairment in the arms and legs. The phrase “spazzing out” is mocking what happens to people with spastic diplegia.

I learned all that this morning when I heard the pop singer was editing the song. I did not know the etymology of "spaz." Now I do. I’m not sure I care.

What I find fascinating about all of this is that people with cerebral palsy care more about policing the way they’re portrayed in the entertainment and media world than black people do.

We’re the only group with absolutely no standards. The entire rap music industry is built on the N-word. It is used repeatedly in nearly every successful commercial rap song. Rappers brag about killing n*****, raping n*****, robbing n*****, dissing n*****. No one cares. Beyoncé uses the N-word in "Heated." No one cares.

Every minority group aggressively polices how they’re characterized in music, television, and movies except black people.

In 1995, Michael Jackson, the greatest force in the history of music, released the song "They Don’t Care About Us" on the album "HIStory." It was a protest song. It decried racism. It argued that the government and the powerful elite only pretend to care about the great mass of humanity.

The song included the lyrics “Jew me, sue me, everybody do me/ Kick me, kike me, don’t you black or white me.”

On June 15, 1995, Bernard Weinraub wrote a piece in the New York Times suggesting that Jackson’s use of the words "Jew me" and "kike me" were anti-Semitic. Eight days later, after issuing two apologies, Jackson agreed to rewrite the song, eliminating the offending words.

On the same song, the rapper Notorious B.I.G. used the N-word twice. Bernard Weinraub did not care about that. Neither did anyone else. We don’t care about us. No one does. I don’t blame non-blacks. If we don’t care, why should they?

Jewish people care how they’re represented. Would they canonize a rap group "Kikes With Attitude"? Would the LGBTQ+ Alphabet Mafia canonize a rap group "Dykes With Attitude"? Does the Alphabet Mafia let anyone drop f****t in casual conversation?



Jewish people have self-respect. The LGBTQ crowd has more respect for itself than black people do for themselves.

We have allowed popular music to define black men as criminals and black women as hoes. Our men sell drugs and our women twerk to the sound of music the way dogs howl when they hear a siren.

Maybe that’s what black queer bravado is? Or maybe it’s not caring how you’re represented in popular culture. Maybe it’s not having a standard of conduct and behavior.

Beyoncé has black queer bravado. She instantly bowed to disability rights advocates while promoting degeneracy for black people.

She doesn’t really care about us.

Whitlock: Showtime bamboozled Desus and Mero and black America



Twenty years ago, back when Spike Lee attempted to disrupt Hollywood’s bigoted culture rather than profit from it, the famous director produced the movie "Bamboozled."

The comedic satire depicted a struggling television network’s rise thanks to the surprising success of a black minstrel show that featured two lead black characters – Mantan and Sleep ’n Eat – wearing blackface, dancing, and talkin' jive.

"Mantan: The New Millennium Minstrel Show" was the brainchild of a frustrated Ivy League-educated black executive who created the show to embarrass his white boss. Instead, the show made Pierre Delacroix rich and famous and saved CNS, the fictional Continental Network System.

"Bamboozled," released in 2000, foreshadowed real-life network television in the aftermath of "The Cosby Show" and "The Fresh Prince of Bel-Air." Hollywood pivoted from showcasing black, traditional families living the American dream to leaning into black debauchery, ignorance, and anti-American sentiment. Hollywood followed hip-hop’s depiction of black America.

And that explains why Showtime invested four years and millions of dollars into Desus Nice and the Kid Mero, the Mantan and Sleep ‘n Eat of talk television.

Yesterday, Showtime announced it was not renewing "Desus & Mero" for a fifth season. Their late-night show flopped four years ago. It was stillborn, dead on arrival. With Alexandria Ocasio-Cortez as its first guest, it debuted in February of 2019 to 150,000 viewers and quickly descended into utter irrelevance, drawing as few as 30,000 viewers some weeks.

Given its access to guests – Barack Obama, Joe Biden, Kamala Harris, Denzel Washington, Chris Rock, Lil Nas X, John Legend, Samuel L. Jackson, Matt Damon, Idris Elba, Stacey Abrams, and Megan Rapinoe, among many others appeared on the show – the collapse and failure of "Desus & Mero" is rather stunning. Showtime tried everything. New time slots. More marketing. Additional programming. Fawning news stories. Appearances at celebrity events.

No one watched. "Desus & Mero" couldn’t build an audience because the alleged comedians weren’t funny, smart, profound or bold. They were a stereotype. They cursed, said the N-word, giggled like they were high, and spewed the left-wing and Alphabet Mafia talking points Showtime handed them.

“House negroes handcuffed by Hollywood handouts.”

That’s what should appear on the tombstone of "Desus & Mero."

It won’t. The Hollywood trade publications and social media apps portrayed the end of Desus and Mero as a duo like it was the breakup of Sonny and Cher, Ike and Tina, the Allman Brothers, or EPMD.

Variety Magazine claimed “Desus and Mero split up, ending Showtime series after four seasons.” People Magazine said the pair ended the show to pursue individual creative endeavors. The New York Times followed the agreed-upon narrative, reporting that the show “upended the traditional model for late-night talk shows.”

No outlet that I could find mentioned that the show was a complete ratings failure, unfunny, and never made news. "Desus & Mero" made Bill Simmons’ failed HBO show, "Any Given Wednesday," seem like the second coming of "The Sopranos." HBO canceled Simmons’ show 17 episodes into its first season. "Any Given Wednesday" averaged 203,000 viewers. "Desus & Mero" failed to reach that many viewers when Barack Obama granted them an interview.

Again, HBO dumped Simmons in season one. "Desus & Mero," despite dwindling bad ratings, got four seasons.

If we’re going to compare the end of Desus and Mero to a music breakup, let’s compare it to N.W.A.:

Negroes With (No) Aptitude.

That’s what Hollywood prefers. Negroes with no aptitude will say and think whatever they’re told. Handouts come with handcuffs.

Like Mantan and Sleep ‘n Eat in "Bamboozled," Desus and Mero did not earn their network TV shows. They had a very brief flirtation with relevance and success on Vice. Showtime plucked the pair because they would be easy to control during the election cycle. In 2019, all the corporate TV networks – from Fox News to CNN to Comedy Central all the way down to your local news station – doubled down on removing Donald Trump from the White House.

Showtime hired Desus and Mero to serve as black male operatives for the Democratic Party. Showtime and the DNC believe black people, particularly black men, are stupid. Showtime paid Desus and Mero to be stupid, to put on a weekly minstrel show that featured them engaging with AOC, Stacey Abrams, Joe Biden, Pete Buttigieg, Maxine Waters, Cory Booker, Bernie Sanders, Ta-Nehisi Coates, and Anthony Fauci.

Desus and Mero, mediocre comedians and less than mediocre thinkers, stood as reminders that cool and righteous young black men support Democrats, the LGBTQ+ movement, and Black Lives Matter.

They’re paid influencers. The problem is the show lacked the reach to influence people. So after four years, Showtime moved on and will seek out a new pair of house negroes to handcuff.

More than likely, Showtime will try to expand the "All the Smoke" podcast featuring Matt Barnes and Stephen Jackson into a late-night talk show. They’re tall, athletic, better-looking versions of Desus and Mero. They love drugs. They love money. They believe hip-hop is a religion and culture capable of saving black people. They know virtually nothing about politics.

They’ll happily do what they’re told and serve as black male stereotypes.

They can be easily bamboozled.

Squires: The president is right: I ain't 'Biden black'



Sunny Hostin had a Biden moment last week on "The View" when she said that she feels like the concept of a black Republican is an “oxymoron.” Her dismissal of black people who don’t vote Democrat is an even less sophisticated version of President Joe Biden’s infamous line: "If you have a problem figuring out whether you're for me or Trump, then you ain't black.”

Biden received immediate backlash for his comment during the 2020 campaign, but one tweet from Nikole Hannah-Jones brought his point into even clearer focus. According to the Pulitzer Prize-winning journalist from the New York Times, “There is a difference between being politically black and being racially black. I am not defending anyone but we all know this and should stop pretending that we don't."

Jones was right: Political blackness is itself an identity, and based on the frequency with which black women have been cited as the main victims in the event Roe is overturned, the president is also correct: I ain't black.

I reject the racial worldview shared by Biden and Jones because political blackness – what I’ll call “Biden blackness” – is marked by subconscious self-loathing, the inability to assess barriers to progress, an unwillingness to speak difficult truths, and an unhealthy preoccupation with the thoughts, words, and actions of white people.

Practitioners of Biden blackness blame white people for all their problems, yet deride black people who preach a message of self-sufficiency. Biden blacks believe white allies are more important than black fathers. They can’t agree on a coherent definition of “white supremacy,” but they're sure destroying it is more important than rebuilding the black family.

Biden blackness in 2022 often has nothing to do with improving social outcomes for black citizens. It is more frequently used as a thin veneer to cover the left’s actual priorities. The gay rights movement of the past 60 years largely revolved around the priorities of middle-class, educated white men who wanted to openly enjoy the same spoils of bourgeoisie normalcy as their heterosexual counterparts.

Now every statement President Biden makes about transgender issues includes a reference to “violence against black trans women and girls of color,” and the most prominent LGBTQIA+ activist organization of the past ten years is Black Lives Matter.

The same dynamic is at play with abortion. What used to be seen as a third-wave feminist priority of middle-class white women has now been framed as a top political priority for black women. Democrats argue that any restrictions on abortion in a post-Roe world are tantamount to attacks on the “reproductive rights” of low-income black women.

White liberals and their politically black co-conspirators have joined forces to convince the country that black lives matter – unless the life in question is growing in his mother’s womb.

The fatal flaw of Biden blackness is the same thing that plagues our broader culture – the complete abandonment of a biblical worldview as the primary foundation for public policy, social customs, and cultural norms.

The most obvious examples of this can be found in the words of “pro-life pastors” like Senator Raphael Warnock or the Black Lives Matter campaign declaring that “black women are divine.” The more dangerous manifestation of the secular nature of political blackness is the refusal to engage any discussion of morality in comprehensive assessments of black communities across the country.

Politicians, pundits, academics, and entertainers who adhere to Biden blackness all subscribe to the same materialist worldview that blames a lack of resources and the unequal distribution of wealth for all negative social outcomes among black people in America.

They see white people as possessing moral agency and decision-making ability, including the power to use their “privilege” on behalf of “people of color.” These same elites treat black people like melanated vessels of disorder driven by historical oppression and contemporary marginalization – unable to manage our behaviors, relationships, or homes without targeted interventions from the state.

I have even noticed this type of thinking among a certain subset of black Christians who are typically vocal about “social justice” issues but were conspicuously silent after a Supreme Court draft overturning Roe was made public.

Their responses ranged from arguments that conservative anti-abortion activism is rooted in the racism of the Religious Right movement of the 1970s to lectures about why true pro-life Christians must fight for more government spending on health care and child care, not just the end of legalized abortion. The latter argument ignores the extensive work pro-life believers, churches, and Christian ministries already do to support mothers and their children through crisis pregnancy centers, supply drives, and adoption services.

The reason for hiding these contributions is simple: Nothing makes practitioners of Biden blackness more nervous than being associated with conservatism, especially in the Trump era. The stench of MAGA politics is powerful enough to make Christians who have been vocal opponents of abortion for decades go silent or adopt liberal talking points about the structural forces that make women seek abortions.

Biden blackness is a cancer in the body politic. It is a destructive race card pulled from the bottom of the deck that works against the interests of the black masses who embrace it. It requires placing the responsibility for improving the condition of black people onto external third parties – generally benevolent whites, black elites advancing their own agendas, and paternalistic government bureaucrats.

Biden blackness is a contrived identity steeped in weakness, insecurity, and confusion. This is why the NAACP sees more value in partnering with white B-list who “take responsibility” for racism than in working with black A-list entertainers to encourage responsibility in the formation of our families.

Its flaws are also evident by listening to the people who yell “protect black women” but see black men who attempt to do so as exhibiting “toxic masculinity.”

The same goes for public intellectuals who argue that the only hope for black students to succeed academically is proximity to white classmates.

Any group that uses the terms “personal responsibility” and “respectability” as pejoratives while celebrating violence, debauchery, and drug abuse is headed for cultural extinction. Biden blackness sees invented race hatred as a worse problem than actual self-hatred.

One of the benefits of forsaking Biden blackness has been the discovery of fellow Christians from different ethnic backgrounds united in the knowledge that mankind’s main problem is not the color of our skin, but the nature of our sin.

In that sense, I have much more in common with a white Christian woman and Asian man who share my views on the importance of marriage, family, and faith than with the co-founders of BLM. All three of us know that a party that gets more energized about losing the “right” to kill the unborn than encouraging marriage and intact families is morally deficient and politically unsustainable.

The president was right about one thing: I ain’t Biden black.

Kanye West asked not to perform at the Grammys due to 'concerning online behavior'



Iconic rapper Kanye West has been barred from performing at the Grammy Awards.

The Recording Academy and CBS, the groups who present the Grammys, contacted Kanye's team and informed them that the rapped had been "unfortunately" removed from the lineup of performers for the 2022 Grammys due to his "concerning online behavior," Variety reported.

A report from The Blast, a celebrity gossip blog created by one of the co-founders of TMZ, claimed that the "Donda" rapper's team received a phone call informing them that Kanye had been axed from the show. And, Variety suggests, there may be good reason for booting Kanye's live performance.

In recent weeks, Kanye has been very publicly feuding with his ex-wife's, Kim Kardashian, new boyfriend, "Saturday Night Live" comedian Pete Davidson.

West, who mockingly refers to Davidson as "Skete," launched an intense intimidation campaign against the comedian in a series of now-deleted Instagram posts.

"Ran Skete off the gram," West boasted in late February, "Tell your mother I change your name for life."

In a recently released music video for the song "Eazy," in which Kanye collaborates with fellow rapper The Game, a claymation Kanye kidnaps, tortures, and murders a similarly animated avatar of Davidson.

The song also features the lyrics: "God saved me from that crash / Just so I can beat Pete Davidson's ass."

(Warning: video contains explicit language and graphic images)


The Game, Kanye West - Eazy (Official Music Video) www.youtube.com

Reportedly, it is a concern that Kanye might ruffle the feathers of the cultural elite in a live performance at the Grammys. The show's hosts are worried he might renew his anti-Davidson crusade, make a statement of support for his friends who have fallen out of public favor like controversial artist Marilyn Manson or fellow rapper DaBaby, or perhaps even make potentially right-wing political statements.

There is also concern stemming from past disagreements Kanye had with the host of this year's awards, "Daily Show" host Trevor Noah.

The Game, Kanye's collaborator on "Eazy," said that the removal of Kanye from the live show proves that the institution is biased against "the culture."

He said, "Time [and] time again they show us that they only want to STEAL the culture, not allow you to ever be their equals. In a more than obvious move for reasons of miniscule actions … The Grammys have at the last minute decided to pull [Kanye West] from performing on the show as if we dind't know it was coming. [It] could be because [Trevor Noah] is hosting and there was a conversation held amongst his team [and] the academy that led to the decision."

Despite not being invited to perform at the Grammy's live show, The Root reported that Kanye's most recent album "Donda" is nominated for five Grammy awards.

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