Jonah Goldberg Interview



Liberal Fascism by Jonah Goldberg


Also see: Glenn's Recommended Reading List

GLENN: Putting the radio back into Radio City, from Midtown Manhattan in Rockefeller Plaza, this is the third most listened to show in all of America. I'm glad you're here. Jonah Goldberg, who has been a frequent guest on the program, especially the last couple of weeks, friend of the program, he's the author of the number one New York Times Best Seller, Liberal Fascism, is on the phone with us. Jonah, I called you when I found out you were number one -- I think it was on Wednesday. You were hard at work. You were out in California -- to congratulate you on being a number one New York Times Best Seller. I couldn't be happier if it were happening to me. You so deserve a number one best seller on this particular book. Congratulations.

GOLDBERG: Glenn, I cannot begin to tell you how happy I am to you and your listeners. I was very happy with where I was on the list. But it was after the yeoman work that you did on your radio show and, of course, on the TV show that catapulted me to number one. So, you know, let me promise right here and now that I'm going to mow your lawn and wash your car for the foreseeable future. I am incredibly indebted to you and eternally grateful.

GLENN: Please, please, please. Jonah, let me ask you this.

GOLDBERG: Yes.

GLENN: Because you debuted at number 3, did you not?

GOLDBERG: I debuted at 10 and then the following week went up to 3 and then ran out of books.

GLENN: These publishers, they honestly do not believe that conservatives can read.

GOLDBERG: No, that's right. They were -- Random House was, in effect, getting out of this business, of conservative book publishing when this book skyrocketed up and I think it's sort of shaking up a lot of the assumptions of the publishing establishment that, you know, conservative books still sell, that people want to read this stuff and that it's not all sort of, you know, it's not all the Charlie Rose that read books.

GLENN: It just, isn't it amazing, Jonah. Do you live in Washington?

GOLDBERG: Yeah.

GLENN: Yeah. Isn't it amazing when you come up to New York and you deal with the New York elite how they just, they just, it's almost like they talk to you as if you're, you know, autistic. You know, it's like, "Okay, Jonah, okay, well, we'll do that, we'll see. Can you make the words a little smaller? Because I don't know if people like you are going to read this. That's an awfully big word."

GOLDBERG: Well, I grew up on the upper west side of Manhattan and we were basically -- the Goldbergs, we were one of the very few politically conservative families around and we were sort of like Christians in ancient Rome. You know, you have to sort of, you hide in Riverside Park and you draw a little C in the dirt to see if the other guy's a conservative, too, and then you meet and try to talk about how you actually like Ronald Reagan.

GLENN: Right, right. Keep it down.

GOLDBERG: I grew up with all of that. I'm very used to it and it's never -- it never ceases to be frustrating.

GLENN: Yeah, and it never ceases to amaze me how -- let me rephrase this. Let me ask you this: I believe that -- I'm beginning to believe that these people in Washington, these Progressives are not this stupid when it comes to the economy. When people are celebrating and saying, oh, my gosh. You know, when Fannie Mae yesterday announces, what was it, a $3.65 billion loss in the fourth quarter alone, then says they have more losses on the way, they've got $700 billion in loans and they say 20% of them are already in default. So you know what's coming. How the liberals and the Progressives in Washington celebrate and say, oh, my gosh, you guys need to take on more debt. Jonah, talk me down from the tree where these guys -- tell me that they're this stupid. Tell me that they're not intentionally trying to take down our economy to be able to implement all of the things that they want to implement and make us into one giant socialist state.

GOLDBERG: Well, you know, I don't think that in their heart of hearts they think that's what they're doing but that doesn't mean that's not what they're doing.

GLENN: So then your case would be that they're that stupid.

GOLDBERG: Yeah, cognitive dissidence. It's not quite Leninist but, you know, Lenin has this phrase, the worse, the better. The worse things got, the more support they would get. And I think that sort of thought runs through a lot of the Democratic party these days, particularly because they want to make this a change election, they know if the economy gets worse, they'll do better and so they see nothing wrong with talking down the economy when a bad economy will hurt the Republicans, not them. And I think we see that in things that, you know, Harry Reid says all the time, we see that in the sort of glee with which the mainstream press is reporting that we're going to go into a recession, you know, which they know becomes in effect a self-fulfilling prophecy.

GLENN: Well, you know what, Jonah, do you watch or listen to my program very often? Because I am leading the charge on I think we are in deep, deep trouble economically.

GOLDBERG: No, I think -- I'm not saying that they're wrong necessarily but I don't think you were happy about it.

GLENN: Okay. No, yes, yes, you're right about that. I'm terrified out of my mind about it, yes. Okay. First of all, because I want to talk to you about something entirely different.

GOLDBERG: Sure.

GLENN: Another article you wrote, but I've got to ask you this, or at least maybe congratulate you on this. You are the worst person in the world with Keith Olbermann.

GOLDBERG: Again, yes, I think two more and I'm in eighth.

GLENN: What were the worst person in the world for?

GOLDBERG: It was a clip from your show which they took off context.

GLENN: What a surprise.

GOLDBERG: And Olbermann basically says I called FDR and Obama Hitler. That's not what I said. I mean, you were there. You know we were constantly defining our terms and saying what we were talking about and all of that. And then, you know, Olbermann says, "Goldberg still doesn't understand what fascism is, he still thinks it's like socialism, he doesn't even know that fascists were beating up socialists in the streets in Italy." And, you know, the response to that is, okay well, you know, Stalin beat up and murdered several million socialists. Does that mean he was antisocialist? Does that mean he was a fascist? Hitler killed a bunch of Nazis. Does that mean he's not a Nazi? I mean, it's this no-nothing kind of sheep Sophomoric scoring that you come to expect from someone like Olbermann.

GLENN: It's really disheartening to see that this guy, especially on debate nights, does well in the ratings.

GOLDBERG: Yeah.

GLENN: He is a growing force and, you know, God bless him. I mean, freedom of speech. You have a right to do that. It's disheartening because he is so full of opinion and his -- I mean, a lot of his stuff comes from blogs. It's not even good sources. And then when you see something like that. Even me, man, I'm a rodeo clown. I'd never run with a story like that.

GOLDBERG: Yeah. Beck I'd never run -- you can't take things out of context but this guy's a growing force and truly a propaganda machine.

GOLDBERG: What drives me crazy, I'm a free speech guy. I don't mind having lots of different voices on television, the media.

GLENN: Me, neither.

GOLDBERG: It's great you want to have the O'Reillys, the Hannitys, all of that is great. Opinion is great. I have no problem with it. My problem with Olbermann is that MSNBC cast him as a straight newsman whenever they want to and his fans in the quote/unquote main street press are hailing him as the new Edward R. Murrow.

GLENN: I know.

GOLDBERG: Whatever he is, he is not that. Certainly not what they think he had war R. Murrow was. He's not a straight newsman and he gets to have it both ways and, you know, the conservative talkers, they have to be very up front. You know, they're conservative. They're giving their opinion and it would never occur to, you know, the news networks to run them as anchors as well.

GLENN: There's no way anyone would run me as an anchor. There's no way -- you know what's amazing, there's no way that they would put Sean Hannity or Bill O'Reilly at Fox over to ask questions during a debate.

GOLDBERG: Yeah, they know there's a difference between Brit Hume and O'Reilly and I think they have no clue that there's a difference between Keith Olbermann and Tom Brokaw.

GLENN: It's a frightening trend. I want to talk to you, this goes to the point of your book, Liberal Fascism. Your point, correct me if I'm wrong, is liberals need to know their history. You need to know where you came from. You need to be able to see that there were real nefarious people involved. Conservatives need to do it as well. You need to look at history to know where you're going.

GOLDBERG: That's right. And, you know, conservatives understand that, you know, they've got skeletons in their closet. Liberals just seem to always think that right now at this very moment, they are the good guys, that they are not responsible or they don't have to worry about the fact that their predecessors also thought they were the good guys and did some really terrible things.

GLENN: Now, you have a new article out, and tell me the connection to Obama, to Weather Underground because it's kind of shifting sand here on the connection. It's not a real strong connection, right?

GOLDBERG: Right. Basically Obama, when he was coming up in Chicago politics, one of the people that you sort of have to go and kiss the ring of is this guy, Bill Ayers, who is a professor at the University of Illinois and sort of a local powerhouse in Progressive politics in Chicago and he's a former member of the Weather Underground. He was a bomb maker for them. He claims responsibility for sending bombs, attacking all sorts of government institutions. The Weather Underground declared war openly on the United States of America, has blood on its hands and Ayers --

GLENN: They called for -- they actually said -- now, was it this guy who said it or just the Weather Underground that said, kill your parents -- what was the quote? I read it in --

GOLDBERG: I don't have it right in front of me but it's kill your parents, kill your family, you know, attack the government, something like that, that's where it's at. And that has been widely attributed to Bill Ayers himself. And when he was asked by the New York Times on total irony on September 11th, 2001 about his work making bombs for the Weather Underground, they asked him if he had any remorse and he said, no, I wish I had done more. And, you know, that was the same day a couple of hours later that the Pentagon actually gets blown up, all these attacks. And, you know, can't be held accountable for the bad timing. But he was unapologetic, as far as I know remains unapologetic and there seems to be no cost for these former radicals to sort of reenter polite liberal society and be treated with respect and deference and, you know, imagine -- I mean, imagine if some guy was even remotely connected to bombing a church during the civil rights, you know, era.

GLENN: But let's just say a bomb maker, a bomb maker.

GOLDBERG: Yeah. For the right there is never any forgiveness, and I'm not saying there should be any forgiveness for a guy who has anything to do with blowing up a church. But my point is that there is this assumption that anyone too far to the right is permanently illegitimate but anyone who's too far to the left, well, you know, they were young, they were passionate, they cared too much and that it's okay to sort of have this segue. And academia and the universities are full of these people, these former radicals, Weather Underground, FDS, Black Panthers, fan of the Black Panthers. And the Black Panthers who Hillary Clinton was a fan of, the liberal elites these days were probably fans of in their youth. They were an openly fascistic terrorist organization, declared terror on the United States in the name of racial superiority, who ambushed cops and shot them in cold blood in the back, who murdered, you know, people willy-nilly, and yet we have Hollywood making pro Black Panther movies, Tom Wolfe writes about the radical sheep of the Black Panthers who go to a cocktail party on the upper west side of Manhattan. I mean, imagine having a cocktail party for Klansmen. I mean, there is an enormous double standard in the culture that the further you move to the left, you may be misguided or wrong but you are never evil, you are never bad and the further you move to the right, the closer you get to pure evil.

GLENN: You know, you were talking about, imagine a cocktail party for Klansmen. I think they are fundraisers for Robert Byrd. I think that's what they're called now. Jonah, congratulations again on the book Liberal Fascism, number one New York Times Best Seller. Nobody deserves it more than you do. No book more importantly deserve it more than that and I encourage anybody who hasn't picked this book up yet to please pick it up. It is number one on the New York Times.

I know you're a conservative. So it's hard for you to read other than "Sam I Am."

GOLDBERG: Well, maybe we'll get some hand puppets and we'll --

GLENN: We'll act it out for them, that's great. Jonah, thank you very much. Congratulations.

GOLDBERG: You're the man.

GLENN: Jonah Goldberg, author of Liberal Fascism. I have to tell you, the best thing about this audience and thank you so much for being a member of it, is that you are curious, that you are -- you are looking for answers. You are not just looking for the typical answer, that you are engaged on trying to figure things out. You know, I'm so encouraged to hear from listeners from both sides of the aisle that listen to this program and say, "You know what, Glenn, I mean, I used to believe this; I don't think I believe this anymore. I think I'm -- I can't be a Republican. I don't know what conservatives even stand for anymore because they're so tied to the Republican party. I don't know, you know, about liberals, what do they stand for anymore. They've just become Democrats, they're just selling their soul to the devil." Find out the truth. Find out what's really going on. Find out what you really believe in. And I've got to tell you, that is this audience.

Former White House press secretary Sarah Huckabee Sanders joined Glenn Beck on this week's podcast to share her unique perspective as a trusted adviser and confidante to President Donald Trump for two and a half years, which she also details in her new book, "Speaking for Myself: Faith, Freedom, and the Fight of Our Lives Inside the Trump White House."

Sarah described the unprecedented levels of corruption she saw firsthand during the Russia probe and shocking lengths to which Democratic leaders and the mainstream media would go to "take the president down."

Sarah said she often saw sides of Donald Trump that the media never covered. Recently, she went on the record denying the Atlantic's claims that the president mocked our military during a 2018 trip to France. She was on that trip, she told Glenn, and her account of what really happened paints a very different picture.

"The people who are making this outrageous charge are such cowards for doing so in an anonymous way. If you really believed this, and believed it was wrong, one, why did it take you so long? And, two, put your name on it the way the rest of us have," Sarah said.

"He didn't say those things. Not only was I there that day, Glenn, I spent two and a half years traveling all over the world with the president, watching him interact with men and women of our armed forces almost every single day during that two-and-a-half year period," she added.

"This is a person who loves America and loves the people who allow the rest of us to live in America, free, and have prosperity. And I got to see that a lot. I think it is shameful that people are trying to distort who he is and what he has done, particularly when it comes to the men and women in the military."

Watch a clip from the full interview with Sarah Huckabee Sanders below:

Find the full podcast below, on Glenn's YouTube channel or on Blaze Media's podcast network.


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The Daily Beast recently reported on a group of 50-plus leading progressive organizations that calls itself the Fight Back Table or FBT, who are planning for a "post-Election Day political apocalypse scenario."

The FBT held a meeting on Zoom to launch an initiative they dubbed the "Democracy Defense Nerve Center." Meeting participants prepared for expected threats to a fair election in November, such as "armed right-wing militia dudes show[ing] up in polling places," or poll locations that "mysteriously close" on Election Day. They also predicted that President Donald Trump would claim victory regardless of November's election results, which would lead to inevitable "mass public unrest."

"It is very obvious that Trump is laying the groundwork for claiming victory no matter what ... we will fight to protect [our democracy] from what we truly see as a president who has gone off the rails and taking this country down an authoritarian fascist path," said MoveOn Executive Director Rahna Epting.

On the "Glenn Beck Radio Program," Glenn argued that the left is using large-scale mail-in voting — which unlike absentee ballots does not require voters to submit an application ahead of the election — to set the stage for chaos, revolution, and ultimately cause civil war to destroy our nation.

"No one will believe the [election] outcome because they're changing the way we're electing a president this time. And people don't understand the difference ... this is Democratic states just printing ballots and mass mailing them," Glenn said.

"They've been war-gaming this forever," he continued. "And the media is trying to make it look as if the right is the one that is violent. We're not planning anything to happen on Election Day, except to go and vote. The chaos that's coming, I think is remarkable. And if the DOJ doesn't get involved and find out who these groups are and what they have planned, you are going to have intimidation and chaos the week of the voting, and for weeks [afterward] until we go into civil war. This is not hyperbole. This is what the left is now saying."

Watch the video below to hear more from Glenn:

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Netflix film 'Cuties' is darker than you thought

'Cuties'/Netflix

Plague. Recession. Riots. Looting. Fires. Murder Hornets. And now, as we round the third base toward the home stretch, 2020 gives us Cuties, a delightful French coming-of-age film by Maïmouna Doucouré that's half Stand by Me and half Coyote Ugly – if you were to combine both films into an anthropomorphic entity and then forcefully dip its toe into the perilous waters of pedophilia.

Cuties begins by showing us an 11-year-old Senegalese girl named Amy, whose fundamentalist Muslim family has recently moved to France. We learn that Amy's father has gone back to Senegal to bring home the woman who is to become his second wife. The mother's struggle is very clear to Amy, who begins right then and there to develop a hatred for her father. She starts looking for ways to rebel, and soon lands in the company of a group of ne'er-do-well girls, who fancy themselves dancers and have adopted the group name "Cuties". Their primary goal in life at the moment – and the thing that drives the film's narrative – is to participate in and win the big dance competition coming up soon. The ring-leader – a dark-haired bespectacled girl who resembles Alexandria Ocasio-Cortez to such an eerie extent that it can't have been on accident – lives in Amy's building, and the two form a kind of delicate friendship throughout the film.

Here is where the movie most resembles a female version of Stand by Me, and it's also where I began to understand that this is a remarkably beautiful film at times. It's well-shot, well-scored, and well-acted. In fact, Fathia Youssouf Abdillahi (the actress who portrays Amy) is quite possibly the most talented child actor I've ever seen.

I began to understand that this is a remarkably beautiful film at times.

The portrayal of this group of girls wending their way through the thick tangles of childhood and constantly grasping at what they perceive to be higher concepts of adulthood is somehow both charming and bothersome at the same time. Knowing virtually nothing of the real world of sexuality, they engage in a kind of whimsical speculation as to how sex works that almost comically mirrors the aforementioned Oscar-winning film (and a ton of other coming-of-age movies as well). Some of this is fine. There's a particularly funny-turns-emotional moment when one of the girls, upon finding a used condom lying around in the woods, blows it up like a balloon and begins playing around with it. The other girls – who at least know enough to know that one doesn't touch such things for fear of disease – immediately recoil from her, tell her that she's going to catch AIDS, and so embarrass and frighten her that she begins to cry. The scene is, again, beautifully shot, and I found myself sympathizing with the character as she feels an overwhelming moment of ostracization-through-misadventure. In the following scene, we are treated to a montage of the girls washing her mouth out with soap, and it breaks the tension.

All of that to say that not only does this movie have plenty of redeemable moments that are on the beat film-wise, but also that it will pull you in headlong whether you want it to or not – which is what a good film is supposed to do.

But, alas, there's more. And I'm not so much talking about the risqué dancing that's done throughout the film. Here's why: as if the plot structure of every coming-of-age story didn't lay it out clearly enough for us, kids strive to be adults. The results are often hilarious, sometimes disturbing, but it's their nature. Kids want to be more like adults. And in a world – such as the one depicted in this movie – where children either can't or won't seize on the example of adulthood provided by their own parents, a vacuum is created. And nothing fills the vacuum of responsible parenting better than social media.

For the girls, it is the well from which they draw their inspiration, acceptance and love. "Likes" are the currency of the realm, and if you don't think this is true in your own kids' world today, you need to wake up and smell the Zuckerberg.

Thus, it is no surprise that these young dancing girls are modeling their very existence after what they see in online videos, and regurgitating the same back at the soulless machine. That they would be twerking and gyrating in a manner that falsely suggests they do know a thing or two about sex is normal when you consider that they're dining daily on visual and musical junk food – art perhaps not entirely without merit, but certainly without taste. And if there's one thing about the movie that phone-it-in parents might do well to see, it is perhaps the juxtaposition of budding childhood and the laissez faire morality adhered to by the demigods of popular culture. In short: these girls are just trying to be like the only set of role models afforded to them.

Here's what should (in my opinion, anyway) not be okay, though.

Aside from the moments of dancing, this film is filled with the cinematography of sexuality. When you watch any film in which there is a femme fatale character (or in some cases several of them), the way in which they are shot by the camera is extremely suggestive of overt sexuality. To quote one of my favorite online film critics: "You may not have noticed, but your brain did." Tracking shots over women's bodies, particularly up their backside or across a heaving bosom all decorated in cleavage, are a stock in trade for many filmmakers (and the only one for some of them). It's so common in the making of movies that it's often lampooned as a trope.

I'm reticent to accuse the woman who made this film of directly catering to the desires of pedophiles – but... I can't completely dismiss the idea, either.

We'll save the discussion about whether or not this is offensive when actresses in their twenties and thirties do it for another time. What I would hope we could all agree on is that you don't – in good conscience – use those same tracking shots over the bodies of a group of 11-year-old girls, even to make a point. And you certainly don't do it over and over and over throughout the course of a movie. The unstated purpose of such shots in a regular film is to give the viewer a taste of the voyeur. You wouldn't be allowed, in polite society, to walk up to a woman and stare at her from inches away, scanning down her body as if you were about to fax her someplace. But with the movie camera, you get a little taste of that. Dopamine rushes to your brain, and you're instantly glad you shelled out the twenty bucks to see the movie.

And while it's theoretically possible that the unstated purpose on behalf of the filmmaker changes when the subject is a little girl, it can't be denied or even overlooked that, for a certain subset of the viewing population, the effect does not. I'm reticent to accuse the woman who made this film of directly catering to the desires of pedophiles – but after having sat through an hour and a half of shot after shot of this very overt technique, I can't completely dismiss the idea, either.

As Amy progresses down the path that her (barely) world-wise friends have chosen, she becomes far more steeped in it, because she has no sense of the unseen boundaries which exist even in a hedonistic postmodern society such as present-day France. She spirals out of control very quickly, trying to outdo her friends in overt displays of sexuality and even violent aggressiveness. If there is a redeeming quality to the message of the movie, it is that we are fairly explicitly told through what we see her go through that this is not the best life for her. That escaping from the oppressive Muslim traditions of her family is a thing she should seek, but that this is not the way to go about it. All throughout her journey, we are subjected to close-up images of her body (and the bodies of the other girls). At one point, Amy's mother and aunt seem to be performing a kind of exorcism on her to drive out the evil rebellious spirits they believe have taken over, and Amy vibrates in the middle of the room on her knees in a paroxysm of movement which is half-dance, half-apparent-demonic possession, and all sex. I don't mean to be graphic here, but she may as well have been doing a full-on sex scene, for all the heavy breathing and gyration and rank passion that's going on. As an adult – and particularly as a parent – it made me literally feel ill to watch.

It's a beautiful final scene... but it fails to pull the film from the mire into which it's dipped.

And, if you believe the film's director, that's what you're supposed to feel. She claims that the whole intent of the movie is to get people to feel uncomfortable as they realize the hyper-sexualized nature of children in our modern world, and how it's driven by the nanny state that is social media in our modern era. Part of me wants to applaud the effort – it certainly worked on me. I walked away from my television with a feeling of nausea and a renewal of the commitment in my head toward doing anything and everything I can to make sure that my own children never watch this film. The fact that the movie ends with Amy making a choice to reclaim her childhood – that she walks away both from the more oppressive elements of her Muslim upbringing (insofar as she will be able – we are never told) and from trying to become an adult too soon (insofar as she will be able – we are also never told) and embraces just being an 11-year-old girl – that fact doesn't change what's transpired. It's a beautiful final scene – it really is – but it fails to pull the film from the mire into which it's dipped.

In summary, I can't really put any sort of seal of approval on this film, despite part of me wanting to. I generally subscribe to the idea that showing us a thing is far better than telling us a thing – but there are limits, and I think Cuties crosses them. As much as I want to believe that the director's motives are pure as the driven snow, it's not lost upon me that – as I mentioned before – one of the main characters (with whom we are meant to be sympathetic multiple times throughout the film) is very obviously meant to be the prototypical girl-who-wants-to-be-AOC. This film is at war with its own supposed message – it seeks to convey the horrors of oversexualized youth while laying out on for open display an entire smorgasbord of pedophilic fantasies. The game simply isn't worth the candle.

Osama bin Laden's niece, Noor bin Ladin (Noor's family has always spelled their name differently than her uncle) wrote an open letter to America, praising our country as "a beacon of democracy and hope for all subjugated peoples" across the world, and warning: "America, you are at the very edge of the precipice. Please wake up! Take hold! Fight for your country, and be proud of your roots! Uphold your values. Stand for your flag and your anthem. Defend your history. Don't relent in the face of those who seek to re-write it to serve their narrative and justify the destruction of your nation. You have much to cherish and protect for your sake, and ours."

Noor never stood with or supported her uncle. In fact, she grew up with an American flag proudly displayed in her childhood bedroom. Now a resident of Switzerland, she describes the chaos and destruction she's seen spread across America over the last several months.

"Watching the gratuitous violence, streets burn, buildings and statues being defaced in America over these past months, I am heartbroken to see how an entire generation was successfully brainwashed into hating the very nation that has yielded the most freedom, justice and equality anywhere in the world.

"I am also highly distressed by the blatant erosion at various levels of your most basic individual rights and freedoms as guaranteed by your Bill of Rights, from arbitrary censorship of speech to unlawful, politically motivated abuses of justice," she wrote.

Noor warned America that if we don't stand up, defend our history, and cherish the principles which make our country great, than those who have sought to undermine our country for decades will divide and destroy us from within.

"The truth is that the undoing of America has been decades in the making. The globalists, Deep State, swamp, whichever name you call them, have been hard at work to weaken America's sovereignty and standing as world leader. Intent on erecting a new system of world governance where they would be in total control, they are seeking to undermine the fundamental principle of your country, "a government for the people by the people", replacing it instead with a world order of international institutions ultimately puppeteered by a caste of technocrats, oligarchs and international bankers.

"Though your Constitution stands firmly in their way, it never deterred them. Like a trojan horse, they infiltrated governmental and intelligence agencies, and all realms of society - education, media, entertainment, culture. At their disposal, tools of mass population influence: propaganda, fake news and censorship. By pushing their marxist-socialist progressive agenda for years, they set out to destroy your fundamental values and divide you. They negated God, dissolved the family unit and dissevered us from moral objectivity, effectively leaving a vacuum of degeneracy, cognitive dissonance and absurdity in its wake," she added.

Read the full letter here.

On the radio program Friday, Glenn Beck shared several highlights from Noor's letter as well as her first-ever interview with the New York Post.

"A letter was written to America this week. I want you to listen to the words," said Glenn. "'America, you are at the very edge of the precipice. Please wake up! Take hold! Fight for your country, and be proud of your roots! Uphold your values. Stand for your flag and your anthem. Defend your history. Don't relent in the face of those who seek to re-write it to serve their narrative and justify the destruction of your nation. You have much to cherish and protect for your sake, and ours.' [...] The woman who wrote that, the woman who is an American at heart, who is warning us, is Osama bin Laden's [niece]."

Watch the video below to hear more from Glenn:

*Note: Glenn mistakenly referred to Noor Bin Ladin as Osama bin Laden's sister. She is his niece.


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