In what universe does drag queen, Flamy Grant think that an album packed to the brim with explicit content and a blatant disregard for Christian values belongs in the Contemporary Christian Music category? It’s almost comical—scratch that, it is comical—that Grant is now playing the shocked and appalled card in an interview with Paste when the Grammy Awards decided to give his album “Bible Belt Baby” the boot and place it in the Best Pop Album category instead.
Here we have an album that takes a sledgehammer to the very foundation of Christian values, and Grant expected what, a standing ovation from the Christian community? Besides just being an absolute pervert—a man dressed in women’s clothing caricaturing women in the most distasteful of ways—his song, “Esther, Ruth, and Rahab” is practically a masterclass in how to alienate an entire demographic, with lyrics that make even the most liberal among us instantly recognize the sacrilege.
The theme of the song: Every Sunday, the song’s narrator claims to have discovered stories of women who “made some patriarch meet his match,” painting these biblical figures as conniving and portraying men as fearful of women’s power. Of course, this is unbiblical and has absolutely zero to do with what’s actually said in the Bible. But it is primarily meant to stoke the flames of division between men and women while undermining the God-ordained roles and responsibilities that Scripture teaches. And the use of vulgar language to describe men’s fear is not only inappropriate but reflects a deep-seated disdain for the biblical portrayal of masculinity.
And on top of all that, the song celebrates characters such as Jezebel, a woman whose wickedness and idolatry led Israel astray, and The Witch of Endor, who practiced divination—an abomination according to the Bible. By placing these characters on a pedestal, this pervert’s song not only misrepresents Scripture but also encourages listeners to find inspiration in rebellion against God. Yet, the proverbial surprise on Grant’s make-up-plastered face when the Grammy’s decided to uphold a shred of integrity—possibly even more than the “Christian” Dove Awards—is perplexing.
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Christian music, for those who might be a tad confused, is intended to glorify God, lift spirits, and present a message consistent with biblical teachings. It’s not a playground for sex clowns looking to push their sexualized tripe, stir the pot, or mock the very essence of what Christian music should stand for. The Grammy’s decision to re-categorize Grant’s album isn’t just a win for common sense, it’s a smackdown on the absurdity that was the original categorization.
The uproarious reaction from Grant—feigning surprise and playing the victim—would be hilarious if it wasn’t so blatantly disingenuous. This clown’s music isn’t Christian. It’s not even pretend Christian. It’s not even masquerading as Christian. It’s sacrilege at its most brazen. The audacity to think that an album rife with explicit content and anti-Christian messaging should find a home in the Christian music category is a level of delusion that’s beyond grandeur—it’s almost impressive.
The Recording Academy’s move to uphold the sanctity of the Christian music genre—not that the majority of contemporary Christian music isn’t compromised— might just be the most sensible thing they’ve done in years. It seems to send a clear message that there are lines you don’t cross, standards you must uphold, and a level of respect you must have for a genre that, in a perfect world, wouldn’t even be part of these shows, to begin with.