WASHINGTON - JANUARY 30: President of the United States Barack Obama and Vice President Joe Biden and Hunter Biden (son of Joe Biden) talk during a college basketball game between Georgetown Hoyas and the Duke Blue Devils on January 30, 2010 at the Verizon Center in Washington DC. (Photo by Mitchell Layton/Getty Images)

New York Times Journalistic Malpractice Reaches Dizzying New Heights with Fawning Hunter Biden ‘Painter’ Piece


The journalistic malpractice at the New York Times has reached dizzying new heights, with the paper publishing a groveling article about the notorious Hunter Biden and his new hobby: painting.

The move is far from the investigative reporting one might expect given recent developments surrounding Hunter, his board membership of one of the most corrupt institutions in Europe, and a new court ruling in Ukraine which opens another investigation into former Vice President Joe Biden’s role in the removal of one of the nation’s top prosecutors.

As a new case against Joe and Hunter Biden came together on Friday, the New York Times was putting the finishing touches to its big scoop, entitled: “There’s a New Artist in Town. The Name Is Biden.”

Adam Popescu’s hagiographic, Biden puff-piece would be unthinkable to most old-school reporters. But Popescu is no old school scribe.

He’s a climate change activist, naturally, who appears to dip his toe into other areas in order to keep a roof over his head.

Far more likely to be writing about Arctic Bowhead whales or farmed salmon than corrupt former Vice President’s sons, Popescu’s political naivety is on full display during his bootlicking two-thousands words about Hunter: a man who suckled at the teet of corrupt foreign businesses while his father pimped out the office of the Vice President.

That father now wants to be President, of course.

Painting “puts my energy toward something positive,” Popescu allowed Biden to wax lyrical about his new, Harvey Weinstein-walker attempt to distract from the real story about his corruption.

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The Times makes brief mention of his dealings in China, Ukraine, and with Romanian oligarch Gabriel Popoviciu. Then they let him get away with not answering questions on the matters.

“He declined to answer questions about them,” Popescu wrote. As if that somehow excused utilizing the rest of his 1800 words to help Hunter reform his image on the same weekend his father would wrap up the South Carolina nomination in the Democratic primary, alongside a handful of big-name endorsements from the party faithful.

Doubtlessly the strategy was an intentional one. No one could accidentally flex such shoddy journalistic morals. This should irk Bernie Sanders supporters desperately, but as with most strategic political calculations they probably won’t even notice until after the election is over.

“As an undiscovered artist, [Biden] is better situated than most: living in a rented, 2,000-square-foot house in the Hollywood Hills off Mulholland Drive, with a Porsche Panamera in the driveway, plenty of natural light and a pool house he has transformed into an art studio,” the Times “reports”.

That’s right.

Because Hunter Biden used his position as the Vice President’s son – with his father’s knowledge and approval – to leverage corrupt companies and oligarchs around the world to fill his pockets with cash, which he in turn blew on expensive cars, drugs, prostitutes, and strip clubs.

For the Times, all that matters is “

Raheem J. Kassam

Raheem Kassam is the Editor-in-Chief of the National Pulse, and former senior advisor to Brexit leader Nigel Farage. Kassam is the best-selling author of 'No Go Zones' and 'Enoch Was Right', as well as a co-founder of the War Room podcast, a Lincoln Fellow at the Claremont Institute, and a fellow at the Bow Group think tank in London. Kassam is an academic advisory board member at the Institut des Sciences Sociales, Economiques et Politiques in Lyon, France.

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