WHEN A CATHOLIC BISHOP, Roger Joseph Foys, saw a Catholic boy with a beatific smile, standing athwart an agitated, Amerindian elder and smiling in that pacifist, sweetly Christian way—he and the Diocese of Covington simply had to condemn the kid. Who else? What choice did a man of the cloth have?
The same absurdity typified the reaction of the lickspittle liberal mayor of Covington, Joe Meyer. “Appalling,” he called Covington Catholic High School student Nick Sandmann, the boy implicated in that “daring” standoff, on the National Mall, in D.C.
Had not philosophical giants like Cardi B (once a stripper, now a rapper) and Alyssa Milano shown us the way?
Indeed. "The red MAGA hat is the new white hood" was Milano’s catechism. She went on to implicate “white boys’ lack of empathy [toward] the peoples of the world [in] the destruction of humanity.” (Only 12 years to go, predicts Comrade Ocasio-Cortez.)
The camera pans out to reveal Milano’s empathy oozing non-white men, also on the scene. These big and burly bullies are the Black Hebrew Israelites. Imagine what they’d have done to young boys like Nick Sandmann and his friends, if the steps of the Lincoln Memorial were not teaming with spectators and stakeholders.
But since the Memorial was swarming with demonstrators—some for the life of the unborn and others for the rights of the indigenous—the Black Hebrew Israelites stuck to hate-filled speech: “Child-molesting incest babies, future school-shooters, dirty, racist crackers,” hollered Alyssa Milano’s home-team.
“The biggest terrorist on the face of the earth is the pale-faced man, woman and child.” The “Black Hebrew” hate group was speaking to the young, fragile-looking, pale patriarchy.
Hard on the heels of the “Black Hebrews” came actress Cher: “No one is safe in Trump’s America unless’ they’re white or wearing a MAGA hat.”
Another classy creature—she poses as a comedic writer for “Saturday Night Live”—promised sexual favors to “anyone who manages to punch that MAGA kid in the face.”
CNN’s resident philosopher, Reza Aslan, wanted to know if anyone had “ever seen a more punchable face than this kid’s [sic].” (His own, perhaps?)
Never original, South African expat Trevor Noah, a privileged celebrity who took “The Daily Show” from funny to facile, riffed on the same theme: “Everyone ‘wants to punch that kid.”
Some regret for joining a mob that went after minors was expressed by the producer of “The Ellen DeGeneres Show.” “Let’s focus on sh*tty adults turning out sh*tty kids,” was his sage suggestion.
National Review checked Ana Navarro’s Twitter feed and hastened to match her gratuitous hatred for the Covington kids. The gaseous Navarro is a CNN Republican identity-politics activist, a hand-me-down from one of John McCain’s failed campaigns.
On the “Today” show, inquisitor Savannah Guthrie peered down at Nick Sandmann, a mere slip of a boy, with studied contempt. In her grave, vocal-fry tones she inquired: “Do you feel like [cringe phrase] you owe anybody an apology? Do you see your own faults?”
Does this lily-white lady not know any young boys like Nick?
Poor child, so full of hope and faith. With his big blue eyes and rosy cheeks, Nick Sandmann imagined he was safe, so long as he did the right thing. But then Sandmann discovered he was hated for something he couldn’t right: the color of his skin. And while formative figures around him will hide this fact—for his sake, let us hope young Mr. Sandmann remains hip to it.
And it’s not that Sandmann was guilty of the Orwellian “facecrime”—“wearing an improper expression on your face” in the Planned Society. Toxic liberalism, socialism, cultural Marxism, Trump Derangement Syndrome: None of these provides a complete explanation for the venom unleashed on the Covington kid.
Reducing what these lads endured to “the culture wars” talking points is criminal when the pathology, racism, is plain to see and so very dangerous, if denied.
Failing to pinpoint the white-hot hatred of whites percolating throughout America is to endanger these children, to leave them helpless in the face of unadulterated, dangerous, near-institutionalized hatred.
Beautifully spoken and highly intelligent, the Nick Sandmanns of America are of a culture and color that dare not speak its name.
Their culture, when practiced, is polite to a fault and passive. They exude Christian piety, which had been willfully mischaracterized as smugness by the aggressive, well-oiled, “multicultural noise machine” that monopolizes discourse.
An Indian elder encroached on Sandmann’s personal space and got in his face. But religious piety and a good upbringing prevailed, resulting in that impossible-to-mistake, passive visual that stuck in the craw of bad people.
Anglo-American manly culture is waning fast. But its quiet, steely dignity still lives in this boy’s countenance, so passive and pure in the face of so much hysteria and malice.
Whether you watched the first 3:45 seconds of the film, or sat through two hours of it—there was never any hidden evidence of wrongdoing to excavate.
The Covington conflagration was never about “due process” denied or about a virulent and viral social- and news media that fakes the news, and rushes to judgement without the facts.
After all, the segment being discussed has a static quality to it. It depicts a noble, not ignoble, reality; one that should be impossible to misconstrue—unless you are part of the corrupt, morally inverse and perverse universe inhabited by America’s cultural cognoscenti.
Pretend those Covington boys were black—conservative, Catholic, pro-life, pro-Trump, black young men, who welcomed with beatific smiles the in-your-face, agitated drumming of an elder Indian. You just know that, were this the case, these black youths would have been praised to the skies.
As they should.