Squires: Only Trump can stop 'Pound Town' from turning black culture into Clown Town

“I alone can fix it.”

Donald Trump said these words in 2016 during his presidential run, but black America has a very different assignment that only he can execute.

The ethnic group that produced Mahalia Jackson, Aretha Franklin, Anita Baker, and Queen Latifah now churns out one no-talent degenerate after another who can only rap about one thing: sex. The latest is a woman named Sexyy Red, whose song “Pound Town” sounds like a comedy skit of what a rapper with a learning disability would sound like.

I'm out of town, thuggin' with my rounds
My coochie pink, my booty-hole brown
Where the n****s? I'm lookin' for the h**s
Quit playin', n***a, come suck a b***h toe”

A healthy culture would use its collective social capital and moral authority to shame someone like this into oblivion. In a perfect world, her embarrassment would be so intense that she would abandon this type of work and pursue something more productive.

Unfortunately, the progressives who patrol the borders of black culture welcome people like Sexyy Red with open arms. That is why black America needs Donald Trump to build a border wall that keeps the most vulgar and violent hip-hop artists from continuing their assault on black culture. This would be Trump’s easiest job yet, largely because he doesn’t actually have to do anything. His role is simply to be the object of affection for hip-hop artists.

Put another way, the key to stopping Sexyy Red is to slap a MAGA hat on her head. Why? Because support for Trump – and conservatism more generally – is the quickest way to get yourself charged with racial treason in the black community.

Everyone remembers how black journalists and political pundits reacted when Kanye West went to the White House in 2018 and lavished praise on President Trump. West said his MAGA hat made him feel like “superman” and that liberals use the concept of racism to control black people.

One writer from the Root said the appearance felt like part of the ongoing “public castration” of the enigmatic icon. Don Lemon claimed Kanye was being “used” by Trump and that his visit was a “minstrel show” that “embarrassed” black America. What far fewer people remember is how the decision to even perform at an event for Trump was enough for black gatekeepers of “the culture” to destroy one of their own.

Chrisette Michele is an R&B singer who decided to perform at President Trump’s 2017 inauguration with hopes of uniting the country. That ended up being one of the worst decisions of her career. To say she was canceled was an understatement. Spike Lee decided not to use her music for his Netflix series. Her record label dropped her. She was excoriated on black Twitter. She went on "The Breakfast Club" later that year, said she regretted her decision, and apologized for the people she “hurt.” Close to 75% of respondents to a November 2017 poll from the Grio said they weren’t ready to forgive her. The hate Michele received was real. Her reputation was destroyed. She battled with depression and had a miscarriage.

But her ordeal did prove a very important point: The black community still has high standards for its members. The problem is that those standards are based on the elevation of politics over culture. The past 30 years show the consequences of policing political opinions with more passion than moral degeneracy. People feel more ashamed to say they vote Republican than they do to twerk on little boys or rap about the color of their private parts.

This downward descent into dysfunction is unsustainable. Women who see themselves as “whores” and “bad b*****s” cannot build homes and legacies that will stand the test of time. They attract men who see women as potential baby mamas but never wives.

In the 1990s, concerned elders like C. Delores Tucker and Reverend Calvin Butts warned about the impact of glorifying violence and degrading women through music. Their concerns were dismissed by people who prioritized making a few black artists very wealthy. Tupac, Jay-Z, and Lil Wayne mentioned her by name in their songs. Eminem once rapped, “Tell that C. Delores Tucker slut to suck a d**k.”

The message from the men who pioneered gangster rap in the 1990s and the women who dominate “whore hop” today is the same: Being degraded by people higher up on the social hierarchy is oppressive, but demeaning yourself and destroying your community for money and fame are empowering.

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.”

Today, rappers like Nicki Minaj – a 40-year-old married mother – validate the filth. It’s a two-way street of cultural self-destruction: the up-and-coming rapper gets the stamp of approval from an established veteran and the aging star gets to ride the coattails of a viral (literally) newbie.

This strategy of “quid pro hoe” is one way that the degeneracy spreads. The VH1 show "Love & Hip Hop" introduced the world to Cardi B. She teamed with Megan Thee Stallion to release the song “WAP,” which won awards for song of the year from both BET and NPR. Cardi introduced many people to Sukihana, who appeared in the WAP music video and talked about being a “h*e” in a "WAP" roundtable on Apple Music. Sukihana is the person who helped platform Sexyy Red. The two released a video of themselves twerking in front of a Waffle House and rapping about their active sex lives.

The glorification of violence in rap music has been discussed at length in the 1990s. The effects of "whore hop" on black culture do not receive nearly as much scrutiny. Part of the reason is because a lot of people make money from it. The other is because black men in media and entertainment are terrified of being called sexist or misogynist for speaking out on the issue.

It seems like black America’s only hope is to give the Chrisette Michele treatment to the vilest artists pushing SMOG (sex, murder, “opps,” and guns) music. The quickest way for that to happen is for rappers like Sexyy Redd and Sukihana to publicly embrace Donald Trump. Maybe they will hear about the endorsements he received from other rappers like Lil Wayne and Kodak Black and be tempted to do the same.

No civilization, country, or culture can survive when dysfunction is rewarded and political differences are punished. It’s clear the black community needs a former president of color to help right the ship. Too bad the only man for this job is not the black man liberals love but the orange man they all hate.