Joe Biden’s Cancel Culture Makeover Of The Oval Office–The Hilarious Joke Of ‘Unity’

One of the first things Joe Biden did after his election victory was to sit with Kamala Harris to decide how to make over the Oval Office.  It should reflect the diversity of America, he said. And so they sat to discuss what changes should be made.

Getting rid of the bust of Winston Churchill was easy, for Kamala reminded Biden of Churchill’s support for Empire and the oppression and exploitation of Africans that resulted under British rule.  He was a despot, said Kamala, an arrogant, out-of-touch reminder of disgraced royalist empires of the past, and a symbol of white supremacy if there ever was one.

Biden thought for a minute – Churchill had after all been a brilliant statesmen and the very spirit, spine, and soul of Britain during the blitz.  He had been among the very first to understand Hitler’s military ambitions and the regional hegemony that was implied by his Thousand Year Reich.  Churchill had anticipated the geopolitical ambitions of Stalin and rejected any compromise with the Soviet dictator.  Churchill was a historian, an author, and an orator.  He embodied the greatness of Britain and Empire and was its symbol.  “What I wouldn’t give to be a leader like him”, Biden thought to himself.

He was shaken out of his reverie, and knew from the stern, implacable look on Kamala’s face, that Churchill was gone.

The removal of the former British hero from the Oval Office was meant to be a show of respect for the poor, the oppressed, and the hopeless who had lived under white rule for centuries.  What better statement to black Africans than the unmistakable rejection of colonial rule and its most loud and insistent exponent?

Of course ridding the White House of Winston Churchill also sent a strong message to those who admired his heroism, his unbending, militant stance against Hitler and Nazism, his historical reading of both empire and autocracy, and his principled writing about the inevitable supremacy of democracy.  

His supporters admired his absolute conviction of the right of English law and justice, the concept of fairness, and the duty and responsibility of the powerful and rich be bring the ideas, science, and religion of Western civilization to those who had for too long lived in tribalism and totemism.

Churchill’s followers were not shy about their admiration for the greatness of both British Empire and Western civilization.  The kings, queens, and princes of Europe had enabled a flourishing of art, culture, architecture, and ideas.  Yes, the riches that made this possible were realized from the spoils of war and the mining of colonial resources; but when have nations not acted in their own self-interest? 

The extraordinary growth of power and influence during the European Renaissance was unmatched, paralleled perhaps by the the same cultural brilliance of mandarin China, shogun Japan, and Imperial Iran in their day, and no less significant.  Churchill’s colonial advocacy was based on this understanding of European greatness, the firmness of the colonial rule which, if given time, would provide the same enlightenment Europe found emerging from the Middle Ages.

It is not enough to remove, but to replace, admonished Kamala; and the Oval Office should not only be expunged of offensive symbols of white elitism, but be furnished with examples of American multi-cultural greatness.  “What about a Remington?”, suggested Biden, the American artist whose tableaux of American Indians were well-known depictions of the strength, character, and heroism of America’s First Nations?

No, said Kamala resolutely.  Remington was a privileged white man who painted through a white supremacist's eyes.  Only a Native American artist could paint his people.  Yet Remington was known for his characterizations.  Leaving the monumentalism of Church, Bierstadt, and others behind – artists who focused on the land and landscape of the West, Remington sought to capture the pride, dignity, and strength of both frontier Americans and the Indians they encountered.  

If Remington was not a realist, depicting Native American daily life – the nomadic settlements, teepees, hunting and gathering displayed in the modern Museum of the American Indian – his idealized portraits and sculptures perhaps did more to reflect the dignity of the Indian more than any artist or ethnographer before or after him.  Why not Remington in the Oval Office?  “Absolutely not”, said Kamala. “And while we’re at it, Andrew Jackson must go”.

Andrew Jackson, the victor of the Battle of New Orleans, the decisive military action against the British in the War of 1812, was a Jeffersonian democrat, and before being elected President served not only as a general in the United States Army but  in both houses of the U.S. Congress. An expansionist president, Jackson sought to advance the rights of the "common man" against a "corrupt aristocracy" and to preserve the Union. He was an early populist who challenged Eastern Establishment political elitism, took Jeffersonian majority rule philosophy to a new, more dynamic level, and changed American politics forever.

“He killed Indians”, said Kamala.  

Of course he was not a genocidaire and fought with the Choctaws and Chickasaws against the British and the insurgent Creeks.  He followed the principle of Manifest Destiny, promoted after the war and especially during James Madison’s presidency and thus was instrumental in resettling Indians west of the Mississippi.  Yet Western expansion, made possible by the Louisiana Purchase, the mapping of Lewis and Clark, and the enthusiastic endorsement of Madison gave Americans the Atlantic-to-Pacific nation they wanted to build.  A heroic, victorious general, a representative in Congress, a President, and revolutionary political philosopher – how could his bust be removed from the Oval Office?  

“He killed Indians”, repeated Kamala.

With that, Joe let Kamala have her way, and the redesign of the new office contained busts and portraits of Native Americans, Latinos, transgender men and women, and especially blacks.  Black voters were key to Biden’s electoral victory, and he and Harris had championed Black Lives Matter, never criticized their excesses and violent demonstrations, and sent a loud and clear message to the black community and the nation at large that black lives not only mattered but were always to be considered first.  

Kamala pushed for an impressionist drawing of Malcolm X – one that softened his features and lent him a more sympathetic air – but Biden demurred.  It was one thing to have busts of MLK, Rosa Parks, and Frederick Douglass in the Oval Office, another to include a radical, anti-white, racist firebrand.  Might as well include Stokely Carmichael and H. Rap Brown as well.

Biden was a young man in Sixties and remembered the race riots of Detroit, Watts, Newark, and Harlem very well.  As a Martin Luther King admirer and a believer in non-violence, Biden was appalled by the wanton destruction of American cities, the wanton violence, and the racist hatred.  If he were to be completely honest, Biden hoped that ‘they’ would not come anywhere near Wilmington.  He prayed that the spirit of MLK would not be forgotten in this new wave of racial separatist aggression.  

Therefore he was concerned by BLM extremism, but by this time he had become so co-opted by radical progressivism, that he sat on his hands.  It was not surprising, therefore, that he hesitated over the drawing of Malcolm X and that because Carmichael and Brown were legitimate heroes of the black American revolution they should have their place beside the President. 

The compromise was yes to Malcolm; but instead of Black Panthers, there would be an abundance of notable black men and women.  If there could be no ‘iconic resonance’, then numbers would suffice.  Kamala and Joe visited the National Museum of African American History and Culture and were given a guided tour by the Director.  They easily convinced him to loan the White House some of the most important pieces of the museum, especially photographs and paintings.  He readily agreed, and the Oval Office became a privileged, by appointment only gallery of the museum.

Choice of sexually prominent figures was more problematic, but since Biden had championed the gender spectrum, transgender rights, and the full inclusion of gays and lesbians into American society, then it was right and fitting that he should display the most graphic depictions of alternate sexuality.  There was no point in photographs of young gay men in suits.  Only images from the Folsom Street Fair, Halloween in the Castro, or the Bay-to-Breakers parade would do.  

These images would show all visitors to the Oval Office that President Biden meant business.  No flimsy, say-nothing, do nothing campaign inanities about ‘sexual inclusion’ and ‘gender diversity’.  The time for that – with a Democratic White House, Senate, and House in place – was over.  The gloves would come off and the fight to raise sexual diversity to unheard of prominence was just beginning.

“Who did we leave out?”, asked Joe, anxious to please.  The list, it seemed, was complete – gays, transgender, Latinos, blacks, and women were all included.  Kamala was clear about one thing – no double- or triple-dipping.  There was no place for a gay, black, Latino woman, for example.  Each diversity had to be presented separately.  “But my office is beginning to look like a cargo boat”, said Biden.  “We need triage”.

Here the interior decorator chimed in.  Placement and spatial design was everything, he said, and he promised the President that he would have plenty of leeway to his desk and plenty of light coming in through the windows.  The office was big enough – if arrangement was carefully thought through – for everything.  “Bravo”, shouted Kamala.

So the Office ended up with no heroes.  Churchill was gone and so were Jefferson, Roosevelt, and Kennedy (their sexual, misogynist dalliances ruled them out).  The Office was cluttered with images of identity which for the champions of ‘diversity’ was enough.  Diversity has no heroes, only examples. 

The liberal press, already fawning over the new Administration, oohed and ahhed when given a tour of the redone Oval Office.  They all nodded respectfully and in total agreement.  At last, finally, and ultimately, here was an office that looked like America.