Country Music:
The Truthful & Untruthful

1,998 words

The sound of much country music these days is bland and monotonous. The lyrics often seem to be written with commercial use in mind as they concern products, such as “my beer,” “my truck,” and so on. I especially dislike the song “I Can Fix a Drink.” Here is a sample of the lyrics:

I turn on FOX News and then CNN
But it’s the same dang thing all over again
The world’s in the toilet and the market’s in the tank
Well, I can’t fix that, no
But I can fix a drink, pour it on ice
Mix it on up and get’cha feeling right

Since Jews ran the tavern system in the Pale of the Settlement in old Poland, they’ve herded the goy peasantry into their taverns and pushed alcohol on them. Drunken goyim not only enrich Jews by buying alcohol but are also less likely to complain about Jewish cartels in business. This is not to say all consumption of alcohol empowers Jews and disempowers whites, as many red-pilled people enjoy a drink or two, but promoting consumption of alcohol as an escape from politics is not a good message.

I’ve always felt like I was being managed in giant commercial bars, like they were spying on me with security cameras and seeing how to manipulate me into buying more alcohol. They’ve certainly accomplished that with the music they play. It’s so loud that talking to people in any sane way is impossible, and the only thing to do is drink. Unsurprisingly, bars that play loud music make more money.

One song I always hear in bars is “Sweet Home Alabama.” I hate that song. I have nothing against Alabama or those who are nostalgic for it, and the lyrics aren’t bad, but just because Lynyrd Skynyrd puts a Confederate flag on their CD covers doesn’t mean they can make a good tune. It has a 1970s rock sound, which I don’t care for in general.

I also don’t like the garbled Creed style of singing popular among aughts-era country musicians. When somebody sings like that, it sounds like they have a giant canker sore in their mouth preventing them from annunciating properly. The thing is that women are attracted to men who mumble, so maybe that’s why it is so popular.

Even worse than aughts-era country musicians are the current ones who imitate narcissistic Negro rappers as they boast of their sex appeal and dwell on the shape of their woman’s rear end. These silly sexual displays may work for black men, but it is just weird when white guys do it.

At least some country songs still have normal lyrics. Take Blake Shelton’s recent hit “Minimum Wage”:

Girl, your love is money, your love is money
Yeah, your love can make a man feel rich on minimum wage

An endearing sentiment, but while she may make him feel rich on minimum wage, he probably doesn’t make her feel rich. Maybe Shelton, who is worth $100 million, wanted to give poor single guys hope —  albeit false hope.

Granted, sometimes being the center of attention can make a poor man attractive to women. For this reason, musicians, actors, and comedians can attract women despite not having riches. Shelton sings of this:

Yeah, I met you ‘fore anybody knew my name
Playing for pennies on a dive-bar stage
Split an All-Star Special on our first date
In a Waffle House booth

Your daddy was crying when he gave you away
‘Cause all those country songs I played
They didn’t come with a 401(K)
But hey, I had you

Shelton is on his third wife, and he met his past two wives after becoming famous. What happens with a lot of musicians, I’ve noticed, is that they’re good at attracting women with their music, but then lose them to manlier and/or richer guys. Attracting a crowd can attract a woman, but it doesn’t always keep them around.

The lyrics of country singer Johnny Paycheck’s 1977 classic “Take This Job and Shove It” are more relatable for rural white men these days:

Take this job and shove it
I ain’t workin’ here no more
My woman done left and took all the reasons
I was working for . . .

Paycheck’s song about quitting is also a good anthem for the millennial men perpetrating the Great Resignation. Many of these men work in low-paying retail jobs and lost their girlfriends because she was unhappy with his status in the world — but of course they’ll never hear a song like “Take this Job and Shove It” piped into the ceiling speakers in the retail establishments where they work.

George Strait’s “I Hate Everything” attracts one’s attention as he echoes the words of a divorcée he met at a bar:

I hate my job, I hate my life, and if it weren’t for my two kids I’d hate my ex-wife
I know I should move on and try to start again
But I just can’t get over her leaving me for him
Then he shook his head and looked down at his ring and said I hate everything

This song isn’t just about crying in one’s beer because there’s a moral to the story, however. After hearing the man complain about how his life has unraveled since his divorce, Strait decides to resolve the conflict he’d been having with his wife:

So I pulled out my phone and I called my house
I said babe I’m comin’ home, we’re gonna work this out
I paid for his drinks and I told him thanks, thanks for everything

Strait shows gratitude to the divorced man for showing him how bad things can be for divorcées and resolves not to become one. This is a good message for most couples. Unless either party is a psycho, then it’s best to stay together and work things out, especially if they have kids. Men who avoid divorce, custody battles, and financial hardship are less likely to end up as malcontents who hate everything.

Strait also shows how positivity, agreeableness, the desire to cooperate, and the need to avoid divorce woes are adaptive in modern society, since the children of parents who stay together are less likely to have relationship troubles.

Country singers like George Strait and Johnny Paycheck are the bards of white America. Their lyrics reveal more truth than all the Ivy Tower’s sociological surveys.

You can buy Tito Perdue’s novel The New Austerities, here.

But to get good tunes you’ve got to go back further, way before the country music genre became a thing — specifically, to Harry Smith’s Anthology of American Folk Music from the late 1920s. It is more creative and has more dark humor than the modern stuff. Of course, intelligent people tend to be more creative and enjoy dark humor, so it suggests that there were more intelligent people living in country America prior to the brain-drains of the twentieth century to urban America.

In “Old Lady and the Devil,” the devil takes a man’s quarrelsome wife down into hell but returns her because she’s too difficult to deal with. “The old lady can outdo the devil and the old man too,” one lyric goes. The song makes heavy use of lilting, i.e. nonsense words thrown in for musical effect. For example, the chorus of Old Lady and the Devil goes “Faaa-dita-la-dita-la-Faaa-dita-la-dita-la-daaay.” Lilting is common in Irish music, but most of it in old American country comes from Scotch-Irish folk traditions. These date back to the eighteenth century and earlier, before the rise of modern cities and when minstrels still roamed about Europe originating new tunes and sculpting classic ones.

Another Scotch-Irish tradition is that of the tragic ballad. We see this in “The House Carpenter,” which is about a woman who leaves behind her newborn child to run off with her true love, only to die with him in a shipwreck. Similar songs could be written today, but they wouldn’t sell well in the drinking establishments where country musicians perform. They’ve got to stick to the basics of singing about being able to fix a drink and stuff like that. That way the song might end up in a beer commercial, and think of the royalties!

Some more recent country music isn’t bad, however. In general, it’s more anodyne as background music in retail establishments, in part because it’s rather bland. A popular modern country song which is not so bland, and as such the best suited to be an anthem not only for country Americans but white Americans, is “A Country Boy Can Survive” by Hank Williams, Jr. I recommend reading all of the lyrics, but here’s a sample which reads like a Richard Houck article:

I had a good friend in New York City
He never called me by my name, just hillbilly
My grandpa taught me how to live off the land
And his taught him to be a businessman
He used to send me pictures of the Broadway nights
And I’d send him some homemade wine
But he was killed by a man with a switchblade knife
For 43 dollars my friend lost his life
I’d love to spit some beech nut in that dude’s eyes
And shoot him with my old .45
‘Cause a country boy can survive

The singer wants to avenge his friend’s death by shooting his murderer with his “old .45.” Country Americans have guns, the thought of which Leftist Jews and their Leftist white minions dislike. They fear law-abiding whites in the country more than criminal urban blacks because, while the latter group poses no threat to their political and economic power, country whites do because they are not amenable to modern brainwashing tactics. They tend to be humbler and more honest than urban whites, too. A guy wearing a camo hat is basically impervious to “wokeism,” and while he may not be as smart as the average Left-wing urban white, he’s a lot smarter and more competent than the typical urban black.

It wasn’t all that long ago, either, when whites banished Jews from their polities for the crime of usury. While certainly not all retaliatory actions against Jewish parasitism were warranted or just, they were all effective, even if they were not all good.

The absurdity of Black Lives Matter portraying blacks as victims of white cops is the result of this Jewish plan to continually bring whites and country Americans in particular down a notch so that they never have the confidence to banish — even non-violently and civilly — invasive Jewish elites again.

Much of Williams’s anthem could be called a survivalist song, as it praises living off the land:

The preacher man says it’s the end of time
And the Mississippi River she’s a-goin’ dry
The interest is up and the Stock Market’s down
And you only get mugged if you go downtown

The biggest problem is not that it’s the end of time, nor that rivers are drying up. It doesn’t matter if the stock market tanks, because it is mostly owned by sexually sterile boomers and Gen Xers — and Jews own a good seventh of it or so.

The real problem is that if you go downtown, you get mugged, and, to paraphrase Donald Trump, “somebody’s doing the mugging.” In one fashion or another, non-whites of all varieties have been mugging white Americans. Jews, Middle Easterners, and Asians mug them out of high-status jobs, Hispanics mug working-class whites out of the ability to demand a living wage, and blacks mug them literally.

Williams’ song has prepper undertones because he sings of country folk being able to live off the land, unlike urbanites, and the implication is that because they can survive a collapse better, they are heartier.

Assuming music is a universal language of emotion, maybe whites should listen to old music from the Baroque and Medieval periods, when whites celebrated their socioeconomic immune-system reactions to Jewish usurers and invading Mongol and Turkish armies. But until that becomes a trend, country music isn’t that bad in the meantime. The truthful kind, that is.

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