Some might say it was the handiwork of low-info entertainers. Others could wonder if there’s any other kind. Beyoncé Knowles-Carter, the singer and songwriter who professionally goes by only her first name, scored a Super Bowl first on Sunday: She put on a racially charged halftime performance paying homage to the Black Panthers, Malcolm X, and the divisive Black Lives Matter (BLM) movement.
The performance was untoward but not unexpected, being a follow-up to a BLM-themed video she released Saturday that included a graffiti-scarred wall bearing the message “Stop shooting us.” Like so many others, Beyoncé is apparently unaware of studies showing that police are more likely to kill white suspects than black ones, with police shootings of the latter having declined 75 percent during the last few decades.
Thus did the singer create a spectacle about which her “friend” Barack Obama could say, “If I had a halftime show, it would look like Beyoncé’s.” Reports the Guardian:
Beyoncé’s half-time show at the Super Bowl on Sunday might be the most radical political statement from the superstar in her 20-year career [video below]
Backing dancers wearing Black Panther-style berets and clad in black leather were photographed after the performance posing with raised fists evocative of the black power salute….
Founded by Huey P Newton and Bobby Seale, the [Black Panther] movement was a revolutionary black nationalist organisation and one of the most influential civil rights group[s] of the late 60s, but its connections to illegal activities led then-FBI director J Edgar Hoover to call it “the greatest threat to the internal security of the country”.
Beyoncé was widely tipped to be preparing to make a deeply political statement with her Super Bowl show after releasing a surprise single and video, Formation, on Saturday, which referenced both Hurricane Katrina and the recent mass protests across the US over police killings of unarmed young black men.
The video … includes scenes showing a young black boy dancing in front of lines of riot police, who put their hands up….
On Friday, Beyonce’s husband Jay-Z announced that he would donate $1.5million (£1m) raised at a charity concert run by his streaming service Tidal last year to the Black Lives Matter movement and other social justice organisations.
Of course, sympathy for terrorist-minded left-wing groups isn’t unusual in today’s “establishment culture.” Consider the two New Black Panthers caught on video engaging in voter intimidation at a Philadelphia polling station in 2008. Former Department of Justice attorney J. Christian Adams called it “the simplest and most obvious violation of federal law I saw in my Justice Department career”; nonetheless and despite the airtight case against the defendants, Adams’ superiors handed down an order to dismiss the case in 2009, an outrage inspiring him to ultimately resign from the DOJ. But the order was no surprise: Adams also reported that Eric Holder, then attorney general, actually carried a “race card” in his wallet on which was printed a sentiment Holder explained thus, “There’s a common cause that bonds the black United States attorney with the black criminal.”
And Beyoncé apparently shares that cause. A backstage photograph shows one of her dancers holding a sign reading “Justice 4 Mario Woods,” referencing a black criminal gang member killed December 2 by San Francisco police after menacing a cop with a knife he’d been ordered to drop. Also note that the “black power” clenched-fist salute — exhibited by Beyoncé’s crew, and BLM and other leftist movements — is a symbol of Marxist pedigree, as explained by The New American last year.
Thus, it’s not surprising that Beyoncé’s performance drew criticism. Fox & Friends host Brian Kilmeade noted (video below) that while the lyrics of her halftime song “Formation” were quite unintelligible (thankfully), they “were basically telling cops to stop shooting blacks!” Later on Kilmeade’s show, former NYC mayor Rudolph Giuliani called the singer’s performance “outrageous,” “ridiculous,” and “terrible,” saying, “I don’t know what the heck it was. A bunch of people bouncing around.” But if the performance’s physicality warranted an “illegal motion” penalty, the message was a complete fumble.
BLM’s main problem is simple: The movement was founded on a lie, the notion there’s an epidemic of white cops killing blacks. The reality? As black pundit Larry Elder reported in 2014, “[I]n the last several decades the numbers of blacks killed by cops are down nearly 75 percent.” Moreover, in 2012, “according to the CDC, 140 blacks were killed by police. That same year 386 whites were killed by police. Over the 13-year period from 1999 to 2011, the CDC reports that 2,151 whites were killed by cops — and 1,130 blacks were killed by cops,” Elder also tells us. Yet there’s more to the story. As this writer reported last year:
• Of course, blacks are only 13 percent of the population. So far more significantly and as [a] recent Washington State University study shows, police are actually more willing to shoot white than black suspects. Why? Because police know that, as Ferguson officer Darren Wilson’s experience illustrates, shooting a black criminal can mean media crucifixion, career destruction, death threats, and, basically, the end of your life as you know it.
• Black suspects are as likely to shoot at police as to be shot at.
• Relative to whites, black are shot by police at a lower rate than their involvement in crime would suggest. As sociologist and ex-cop Professor Peter Moskos writes, “[a]djusted for the homicide rate, whites are 1.7 times more likely than blacks [to] die at the hands of police. Adjusted for the racial disparity at which police are feloniously killed, whites are 1.3 times more likely than blacks to die at the hands of police.”
• According to FBI statistics, 46 percent of those who’ve murdered police officers during the last decade have been black.
• Blacks commit approximately more than half of all murders nationwide. And 93 percent of all black homicide victims are murdered by other blacks.
• Stories of generally “unarmed” white suspects being shot by minority police abound but are never reported nationally. There was 20-year old white man Dillon Taylor, who was shot by a Hispanic cop last year; Iraq military veteran James Whitehead, shot by off-duty black police officer Robert Arnold in Texas in 2011 after a verbal altercation; white teen Gil Collar, shot by a black officer at the University of Alabama in 2012; and 46-year-old white man John Geer, shot with his hands up (according to four police officers on the scene) by a Hispanic cop with “anger issues.”
The lies propagated by BLM and other racial demagogues matter because, absent the above perspective, blacks can believe whites are waging a war against them — and, of course, some will then “strike back.” This is already evident in BLM-inspired looting, rioting, and destruction of property; the “revenge” murders of, and plots against, police officers in New York City, Texas, Missouri, and elsewhere; and “polar-bear hunting,” the “knockout game,” and other racially motivated attacks on whites. This innocent blood is on the hands of all those peddling BLM propaganda. And Beyoncé — and the National Football League — can now be counted among their number.
Beyoncé’s video for “Formation” concludes with the entertainer going underwater as a police car, atop which she’s lying, sinks. And in a saner time her career would be sunk; now she’s just helping sink justice, domestic harmony, and our culture as we wallow in an ocean of deceit. Because what really counts is the message: BLM, BLM, BLM — Beyoncé’s Lies Matter.
Photo: AP Images