Beyonce’s Racist Super Bowl Ass-Shaking Routine Pays Homage to Malcolm X, Black Panthers

Racism is fine so long as it’s black-on-white.

That’s the message from Super Bowl 50, where leftism dominated the proceedings. From the “gay car” commercial of Mini Cooper to Axe pushing transgender men wearing heels, from Cam Newton stating before the game that opposition to him had to be racism-based to Coldplay pushing same-sex marriage, far-left ideology was on full display during the most-watched event of the year.

But it was Beyonce who put that messaging over the top.

The worship of the wildly overrated singer/rump-shaker has reached cataclysmic proportions in the aftermath of her tribute to the Black Panthers at halftime. It all began with Beyonce, trotting out on stage flanked by an entirely black squad of backup dancers, all of whom were clad like members of the terrorist group. She then jiggled her stuff, as per her usual spastic ass routine, while warbling her latest racially-charged song, “Formation.” That song contains the following lyrics:

My daddy Alabama, Momma Louisiana /

You mix that negro with that Creole make a Texas bamma /

I like my baby hair, with baby hair and afros /

I like my negro nose with Jackson Five nostrils…

I did not come to play with you hoes, haha /

I came to slay, bitch /

I like cornbreads and collared greens, bitch…

El Camino with the seat low /

Sippin’ Cuervo with no chaser /

Sometimes I go off, I go off /

I go hard, I go hard…

When he f*** me good I take his ass to Red Lobster, cause I slay /

If he hit it right, I might take him on a flight on my chopper, cause I slay…

You just might be a black Bill Gates in the making, cause I slay…

Cosmopolitan called this masterpiece, “the most perfect song since the Paleozoic Era.” The Paleozoic Era, it should be noted, was not famous for its great tunes.

The lyrics, which revel in stereotypes of black Americans that would rightly be considered racist if anyone white expressed them, are bad enough. The music video is worse: set in post-flood New Orleans, the video contains a line of white cops standing by as a black teenager walks up to them – and then a wall with graffiti reading “STOP SHOOTING US.”

At the Super Bowl, Beyonce’s team posed in an X formation, apparently in honor of black racist Malcolm X, and then raised their fists in the black power salute. The women all posed afterward raising their fists in the black power salute, along with Beyonce’s mother.

Beyonce said she wanted “people to feel proud.”

Proud of what? Association with people who murdered in the name of racial pride? Slander against the police?

This sort of perspective has now been mainstreamed. Beyonce’s husband, Jay-Z, can wear a medallion from the Five Percent Nation, which believes “black people are the fathers and mothers of civilization, white men are the devil, the Christian god is nothing more than a ghost, and only a small percentage of people understand the world.”

And Beyonce can regale hundreds of millions of people with song lyrics glorifying “negro” stereotypes – all while prancing about in homage to a group formed by cop-murderer Huey Newton.

She can earn the literal worship of commentators for a music video that will result in more hatred between young black Americans and police officers who protect them. After all, Beyonce farts Social Justice rainbows.

If you object to any of this, by the way, you’re a racist.

It turns out that the left’s post-racial vision was never post-racial – it was merely post-decency. And Beyonce perfectly represents that vision. It’s just sad that our Beyonce-fart-sniffing media have dictated that we all live in her fantasy world, cheering her bravery as bodies stack up in the streets thanks to the ideology she promotes.