Music superstar Beyoncé Knowles — who has sold over 200 million records, won more Grammy Awards than anyone in history, and recently became the first black woman to score a #1 single on Billboard’s Hot Country Songs chart, all while politicking for Black Lives Matter, the Black Panthers, and all things black — is actually a mixed-race mudpuppy descended from a white slaveowner.
It’s a well-kept secret that only a tiny minority of white Americans ever owned slaves, so if you believe in idiotic voodoo superstitions such as inherited generational guilt, it’s possible that Beyoncé has more blood on her hands for black slavery than I do.
Audio version: To listen in a player, use the one below or click here. To download the mp3, right-click here and choose “save link/target as.”
Released last Friday, Beyoncé’s new album Cowboy Carter — whose cover features the singer posed as a rodeo queen riding sidesaddle on a horse — is being feted as a long-overdue acknowledgment of black Americans’ seminal contributions to country music that have long been buried by a toxically racist culture that seeks to ignore black accomplishments at every turn rather than, oh, exaggerate them to spare black feelings and amplify white guilt.
Cowboy Carter is a concept album — concept albums were conceived by white Brits such as The Who, The Beatles, and Pretty Things in the late 1960s — meant to emulate a broadcast by an imaginary station called “KNTRY Radio Texas.” It features guest spots by well-known white country artists Willie Nelson and Dolly Parton, as well as the super-obscure 1960s black country singer Linda Martell, all posing as disc jockeys in between musical tracks. It spotlights a ghettoized, bitch-I’m-a-kill-you version of Dolly’s song “Jolene” and a culturally appropriated version of The Beatles’ song “Blackbird” featuring Paul McCartney on guitar. “Blackbird” was chosen, I’m assuming, because it has the word “black” in the title.
I was able to bring myself to listen to most of Cowboy Carter, and hardly any of it sounded like country music to me. But ever since its leadoff single “Texas Hold ’Em” was released during the Super Bowl on February 11, mainstream media outlets have been pummeling us with the concept that country music has always been black music, and it’s about fucking time we realized it.
In an article for TIME this past February called “Beyoncé Has Always Been Country,” a black woman named Taylor Crumpton writes:
The greatest lie country music ever told was convincing the world that it is white. . . . The truth is that country music has never been white. Country music is Black [sic]. Country music is Mexican. . . . One of the biggest lies this nation has ever told is that Black [sic] people are not country. That they do not live in “small towns,” despite what Jason Aldean says.
Actually, Crumpton told a huge and easily disproved lie right there. In the lyrics to his infamous 2023 song “Try That in a Small Town,” Jason Aldean never once mentions race. I’m depressingly unsurprised that TIME’s fact-checkers let that one slip past them.
In March, National Geographic — which I remember from my childhood as the only magazine you could find in a dentist’s office that showed tits, although those of African tribeswomen — published an article called “How Black [sic] artists helped make country music what it is today”:
Black folks have been writing, performing, and recording country music since it first became popular in the 1920s. In fact, country music wouldn’t exist as it does today without the contributions and innovations of Black [sic] musicians.
The article says that the Carter Family, the “First Family of Country Music,” had been heavily influenced in the 1920s by a black man named Lesley Riddle, but riddle me this: How black does he look to you? It also claims that a black man named Rufus “Tee Tot” Payne taught Hank Williams, who’s probably the most towering figure in country-music history, how to play guitar. But “Tee Tot” didn’t teach “The Hillbilly Shakespeare” how to sing, nor how to write country songs.
Speaking of hillbillies, the article also sidesteps the fact that when white Appalachians such as the Skillet Lickers stepped out of the foggy mountains in the 1920s long enough to record their unique strain of moonshine-addled and fiddle-driven folk music onto wax, it was marketed as “hillbilly music” rather than “country” or “western” music.
On Monday, Salon profiled Cowboy Carter guest star Linda Martell, hyperbolically calling her a “pioneering country artist” who had an “everlasting impact on country music” and “country’s first Black [sic] superstar” whose career was stymied by the toxic stench of white racism. The article implied that Martell’s record company, the inconveniently named Plantation Records, shoved Martell out of the way in favor of “a white artist, Jannie [sic] C. Riley.”
In the real world, the “superstar” Martell’s biggest-charting song was 1969’s “Color Him Father,” which peaked at #22 on the Billboard Country charts and never cracked the regular charts. Her 1970 Color Me Country album peaked at #40 on the Billboard Country charts. The only thing she “pioneered” in country music was being a Negress. There was nothing innovative or unique about her music.
On the other hand, Jeannie C. Riley, besides being possibly the most attractive female country singer of all time, scored six Country Top Ten singles as well as a #1 hit on the general Billboard charts with “Harper Valley PTA,” but perish the thought that she was simply more talented than Linda Martell. Shucks, let’s make everything about black power and white guilt.
Last Friday, Kamala Harris, the Jamaican/Indian hybrid who’s perched only a heartbeat away from the presidency, tweeted:
Beyoncé: Thank you for reminding us to never feel confined to other people’s perspective of what our lane is. You have redefined a genre and reclaimed country music’s Black [sic] roots.
Your music continues to inspire us all.
Beyoncé: Thank you for reminding us to never feel confined to other people’s perspective of what our lane is. You have redefined a genre and reclaimed country music’s Black roots.
Your music continues to inspire us all.
— Vice President Kamala Harris (@VP) March 29, 2024
When in the name of Mister Bojangles has anyone ever forbidden black people from playing country music?
Depending on which page you consult, Wikipedia says that Charley Pride — a black man from Sledge, Mississippi who played Negro League Baseball and worked at a smelting furnace in Helena, Montana before he started recording country songs in the mid-1960s — either had 29 or 30 songs that hit #1 on Billboard’s Hot Country Songs chart, which is more than either Willie Nelson or Dolly Parton ever had. The only solo country performers who notched more #1 singles than Charley Pride were George Strait (44), Conway Twitty (40), and Merle Haggard (38). Five freaking decades ago, country music fans were so vehemently and virulently racist that they bought 70 million Charley Pride albums and selected him 1971 Entertainer of the Year at the Country Music Association Awards. The last time I saw my paternal uncle, Carlton Goad — AKA Uncle Carty — up in Vermont’s Appalachian hills, he had a Charley Pride 8-track tape in his Winnebago camper.
Along with harmonica player DeFord Bailey and Darius Rucker (formerly “Hootie” of “Blowfish” infamy), Charley Pride was one of only three blacks out of 226 performers who became members of the Grande Ole Opry. Dare we ponder the terrifying possibility that there have never been many black people, who’ve always enjoyed tremendous success in the American music industry, who even wanted to play country music?
By the way, when are we going to see an onslaught of articles about how Wayne Cochran and Roy Head were written out of the soul-music history books?
The racial revisionists have even invaded Wikipedia’s page on country music, alleging that:
The history of country music is complex, and the genre draws from influences from both African and European musical traditions.
Notice how they put “African” before “European”?
In June of 2020, as the Summer of Floyd raged, two multimillion-selling white country groups — Lady Antebellum and the Dixie Chicks — changed their names to Lady A and The Chicks to disassociate themselves from the old white South that gave birth to country music.
Though it may be a bitter pill for many to swallow, black Americans have always appropriated the English language and technology invented by white people to make records.
No one has ever ignored blacks’ piddling influence on country music. But what’s happening now is that they’re killing whites’ ability to claim it as white music. They won’t stop until there is nothing — even something as innately white as country music — left that white people can claim exclusively for themselves.
Well, everything except “racism.”
Reclaiming%20Country%20Music%E2%80%99s%20Imaginary%20Black%20Roots
Share
Enjoyed this article?
Be the first to leave a tip in the jar!
* * *
Counter-Currents has extended special privileges to those who donate at least $10/month or $120/year.
- Donors will have immediate access to all Counter-Currents posts. Everyone else will find that one post a day, five posts a week will be behind a “paywall” and will be available to the general public after 30 days. Naturally, we do not grant permission to other websites to repost paywall content before 30 days have passed.
- Paywall member comments will appear immediately instead of waiting in a moderation queue. (People who abuse this privilege will lose it.)
- Paywall members have the option of editing their comments.
- Paywall members get an Badge badge on their comments.
- Paywall members can “like” comments.
- Paywall members can “commission” a yearly article from Counter-Currents. Just send a question that you’d like to have discussed to [email protected]. (Obviously, the topics must be suitable to Counter-Currents and its broader project, as well as the interests and expertise of our writers.)
To get full access to all content behind the paywall, please visit our redesigned Paywall page.
Related
-
The Worst Week Yet: April 21-27, 2024
-
The Nigga They Are, The Hard “R” They Fall
-
Counter-Currents Radio Podcast No. 582: When Did You First Notice the Problems of Multiculturalism?
-
The Worst Week Yet: April 7-13, 2024
-
The Woman-Punching MAGAts of Manhattan
-
The Holocaust Card Can No Longer Be Played
-
The Woman-Punching MAGAts of Manhattan
-
Comment Georges Floyd a détruit la ville de Minneapolis
57 comments
Back in the first decade of the 2000’s when I was still a conservative, I used to listen with great pleasure to country music. It was White. It was American. It soothed my soul. Some of it still does.
I can’t say exactly when, but eventually I began to hear the sub-human influence of hip hop infiltrate it and before too long, I left it in the dust. Plus, so many of the top musicians were Obama-worshippers.
The Negrification of America that Carl Jung had predicted was already well advanced by then and Nashville was just the fall of another White redoubt.
I wait expectantly to discover that the Afroids also invented NASCAR.
They will. Expect a remake of the Richard Pryor flick Greased Lightning. Only this time Wendall Scott invented NASCAR
https://www.theguardian.com/music/2024/mar/29/a-new-moment-to-arise-beyonce-cover-of-the-beatles-blackbird-is-a-timely-masterstroke-cowboy-carter
Blackbird and Civil Rights Movement
Classic Jim Goad. Thank you sir.
Mr Riddle looks even less black than Charles Drew.
In my humble opinion Charley Pride was only promoted back then because he was black. It certainly wasn’t his musical prowess. I can’t think of one good song he ever did. He was just a token.
How many blacks do you think know that Whitney Houston’s “I will always love you “ is a Dolly Parton song?
I’ve heard you say that modern country music is just nails on a chalkboard to you regardless of the race of the artist. I couldn’t agree more. That’s all deliberate too. Country hasn’t been appealing since the 70’s. I haven’t been paying attention, but I’m sure the contemporary crop of country artists are applauding Beyoncé for her courage and talent. Take this crap and shove it!
Country music has zero black influence. Its origin is Celtic music out of the British Isles. Rock and roll came out of what at the time, was called ‘country and western’. All the idiots saying Elvis stole ‘black’ music are lying. It went Celtic to Country to Rock and Roll. This all started from Great White Fathers trying to make blacks feel better when they lied about GW Carver inventing peanut butter. They lie worse than any bolshevik nowadays.
Country has some Black influence, however it’s overwhelmingly based in folk music from British and Irish immigrants to Appalachia as you said. Even today, it’s easy to hear the similarities between Country and British-Irish folk.
You’re right. First time I heard Ed Sheeran’s Perfect I thought it was a country song.
In my humble opinion Charley Pride was only promoted back then because he was black. It certainly wasn’t his musical prowess. I can’t think of one good song he ever did.
I can think of at least three:
Just Between You and Me
Is Anybody Goin’ to San Antone
The Day the World Stood Still
To me, that steel guitar that kicks off “Just Between You and Me” is one of the best moments in country music.
The people who pushed him toward becoming a singer weren’t record execs but two great white country singers, Red Sovine and Red Foley. And his first single, “The Snakes Crawl at Night” from 1966, was deliberately mailed out to radio stations without a picture of him, which undermines the “marketed only because he was black” thesis. I think he became wildly successful in spite of being black and because he had a really good baritone voice. You have to keep in mind that white Southerners in the 1960s were a completely different bunch than they are now.
As far as I know, Charley never whined about discrimination, never raped anyone, and was entirely gracious. I also think it’s significant that he completely escaped mention in all those articles about the black influence in country music. I suspect that the essayists viewed him as an Uncle Tom.
But in the service of undermining the idea that country’s “roots” were black, here are two ditties from “hillbilly music” act The Skillet Lickers:
Run, Nigger, Run (1927)
Nigger in the Woodpile (1930)
Those are all great songs.
From all accounts I’ve ever read, the only time he would mention being black was early in his career, with a brief “suntan” joke or the like, a “let’s get past the novelty” acknowledgment of the elephant in the room (his being black) during a time when a black guy doing country was extremely rare.
As you said, Southerners were a different breed back then. Wanting to have a black singer on the record (or 8-track) rack, because he was black, was pretty much nil; he was liked because he was the real deal and sounded good.
Interesting point about that article’s author not mentioning him. How the hell do you talk about blacks in country music and not mention him?
Kiss an Angel Good Morning was also a big hit for Charley. Maybe my opinion is a little jaded. If it ain’t the Skillet Lickers then it ain’t country. Thanks for those two gems!
And he so graciously handled the tiresome predictable “blah blah black blah blah country music blah blah up with that?” for his entire career. He was a fine artist.
Jim, thank you for the music recommendations. I always like to hear your music segments on Hardballs and Beef Squad. Glad you posted a link to that Spotify playlist. I’ve been wanting to make a list of the artists and songs you’ve mentioned.
That TIME author is an ignorant revisionist idiot. The roots of American folk music, country, blues and gospel come from the folk music of the British Isles. That’s where the pentatonic major & minor scales, the twangy blue note, chord progressions, and usage of drone (imitating bagpipes) come from.
Riddle me this: If the Africans unloaded from the slave ships were “Singin’ the Blues” when they first stepped on American shores, then shouldn’t we be able to hear similar music in the other slave colonies of the New World?
The answer is: Nope! None of former Spanish or Portuguese colonies have music similar to American blues or country. That includes Haiti, the Dominican Republic, Cuba, the Gulf Coast of Mexico, Colombia, Venezuela and Brazil. Predictably, all the melodies in these colonies have Iberian / Southern European qualities: usage of 7-tone major, minor and harmonic minor scales (instead of pentatonic scales); classically influenced chord changes; and some gypsy influence (Phrygian minor and major scales).
Oh, wait, I forgot! There actually IS one black Caribbean country that does have bluesy music! It’s Jamaica—colonized by the same British Isles whites that populated the American South.
Any worthy musicologist will recognize that the Africans DID bring a polyrhythmic influence to American music. Traditional West African music is rhythmically complex, but was (and still is to this day!) very rudimentary in the way of melody—if any melody at all.
But let’s give credit where credit is due: all of the melodic building blocks of blues, country, gospel and jazz come from centuries of European study of music, beginning with the Ancient Greeks and continuing in Christian monasteries, churches and royal courts.
I’m talking about musical scales, tunings, minor/major, three-part harmony, chord progressions, song structures… everything! Without this hard-won knowledge, we do not have ANY folk or modern music as we know it. And most significantly, NONE of it originated in Africa.
Excellent comment: well-argued and well-written. Thanks
What Greg said
The future reggae stars were able to pick up New Orleans R&B radio stations which they claimed a huge influence. Who supported the early Wailers, who made it possible for them to even be heard, who bought their records? White people. Black people murdered two of them, horribly tortured Peter Tosh, and one of them was a friend of his, before killing him, and gunmen entered Marley’s home where their kids were, actually targeting his wife and kids, she was severely wounded as was Marley and his manager.
I once saw a Willie Nelson interview where he said that multiple reggae stars told him they listened to country music via shortwave radio. In the same interview it was alleged that reggae and country songs tend to have roughly as many beats per minute as the human heart.
Who supported the early Wailers, who made it possible for them to even be heard, who bought their records? White people.
I don’t know as much about reggae, since I’ve always hated it, but you can make this same argument about rap. I’m not saying it wouldn’t have existed without whites, but it certainly wouldn’t have gotten anywhere near as big if white suburban kids in the 80s and 90s (like, admittedly, myself) weren’t buying up all those albums. That plus the public blow-job every white lib journalist gave the genre pretty much guaranteed “iconic” status.
I guess you can say rap started in the mainstream with Rapper’s Delight on Sugar Hill Records, a black-owned company. So far, so good.
They would be one of the most ripped-off artists in history. Until the 90’s when TLC and Toni Braxton, both mega-sellers and both with the same black management/production crew etc. -big respected names like Babyface- would also be ripped off at historic proportions.
Afro-centric Sun Ra played to exclusively white audiences.
New Orleans bandleader Paul Gayten, active in the 40’s, 50’s and 60’s, said, “Nobody fucks the black man like the black man.”
https://www.youtube.com/watch?v=q18-HCqHFKY
Shift, thanks for the link to Nervous Boogie by Paul Gayten. A great song! I like the comments and music links that you leave on Jim’s articles.
Thank you, Sabaddius. Apparently Nervous Boogie was popular with radio DJs as theme music in the 50’s.
This is an excellent post. I am going to pile on. It isn’t just the melodic building blocks, which were effectively deconstructed or more likely barely understood into incredibly simplistic, kindergarten level melodic forms. It is also the harmonic elements. In fact, only Occidental Man has harmony. It is the sole property of our folk.
I am talking all of it. We consciously built a fully systemized system of harmony. It started with the science of Well Tempered tuning. Then Bach wrote two treatises to celebrate the genius of that system as well as the harmonic system that it enabled as well as the celebration of polyphony and the highest form of melodic invention and motivic development. (The Well Tempered Clavier I and II)
Back to the discussion of harmony we start with the cycle of fifths. From this we developed sublime and ingenious, consciously systematic means of modulation, exploring key relations and techniques to seamlessly modulate anywhere through chromaticism – all while preserving completely independent voicing. Then you have: quartal harmony; quintal harmony; polytonal and polychordal harmony and the tri-tone oriented augmented chord chromaticism of DeBussy and Ravel.
All of that was invented and formally understood by Occidental Man. Jazz wouldn’t exist without it. Of course, we know that aside from the elements of Jazz, Occidental Man built that music every bit as much or more than did the Negro.
We haven’t even discussed form both large scale and small scale. Fugue; Double Fugue; Theme and Variations; Sonata-Allegro; Leitmotif … … None of those have even been attempted by persons other than Occidental Man.
Back to jazz for a minute, what did Coltrane and other of the jazz musicians study endlessly in order to find melodic patterns and understand extended harmony that Occidental Man had long since invented and mastered? Why the “Thesaurus of Scales And Melodic Patterns”, by Nicolas Slonimsky. If you want to know the difference between a people look at Coltrane vs. J.S. Bach. Bach kept moving toward the transcendent and in his twilight wrote since unattained masterpieces like The Goldberg Variations and The Art of Fugue. Coltrane was striving and searching but have you heard recordings of his concerts in later years. It is basically a hysterical squawking and squealing that is totally incoherent even to a musician. Of course I leave out Beethoven and the late quartets.
Now we come back to the article. Again we see that difference. Beyonce is a triviality for the mass man. She is a Disney lot fabrication whose level of musicianship would not admit her to a Conservatory from the apex of our civilization. Most of all, we have her husband. A man with the dignified moniker of Jay-Z and the fashion sense of a manically depressed bi-polar circus clown.
What does he do? His wife gets close to the winners circle but consistently loses out, gets second place. He shows up and rants and raves and demands that she be made the winner. Of course it is all a part of the marketing campaign for the album under discussion. He demands that she win or it is proof that the society is evil and racist. It is moral blackmail delivered by a thug. Sadly, based on the whipped dogs at my job, they are donning they best eubonics and be askin’ “Why ya’ll not talkin’ ’bout dis?” on the slack channels to prove they are not racist musical colonizers.
All because of a sore loser and her thug husband perpetrated their thuggery on some cheap stage somewhere in a third-worldizing bugman colony called Los Angeles. In the end it looks like the thugs are winning – in a rout.
We need to arrest this somehow. I think the best thing is for more of our people to rediscover our High Art Music traditions and give them a contemporary form and facade. This facade must return to the beautiful aesthetics of our higher functioning past, and reject the 20th century. We have some of that already, but it is ignored by our own people who are too busy to listen or too degraded by the Sub-Plebian consumer goop of the negrified mass man culture.
Jay-Z and Beyonce have made their demands and their marketing machine is steam rolling country music. The Congressional Black Caucus is even writing legislation to inculcate HipHop music. It is a billion dollar industry they bark. This probably amounts to shoveling billions of dollars into more ghetto music and marketing budgets so they will end up taking over the Country Music industry too. How ironic is that? A hood rat from New York re-writes our culture’s past and becomes The Kang of Country. If you think his thuggery at the Grammy’s is despicable when he is losing, wait until he and his wife sweep the Grammy’s and declare the genre theirs. What will the country boys do? How pathetically will Adele publicly cry tears of joy and clap and grovel as she seethes beneath her smile?
This is why I argue for a return to our High Art traditions and to create new aesthetics and forms upon them. If our folk won’t protect themselves and our culture, we are going to have to prove we are who we say we are, and invent something new.
This is one of my favorite bits of copypasta based on a take from the deceased French Nationalist artist and musician Jack Marchal with an expansion from Anonymous at 4chan:
Show me in traditional African music anything resembling Jazz, Ragtime or Blues: it does not exist. The rhythms of early Jazz can already be heard in Anglo-Saxon operettas of the 19th Century. It is true to say that there have been some magnificent and even revolutionary black performers of Jazz, though more rarely in Rock’n’Roll with the possible exception of Chuck Berry. What is undeniable is that whites have promoted all phases of its evolution.
Rock’n’Roll is rhythmically-augmented Scotch Irish folk. Rock was blacks doing an impression of hillbilly music rather than hillbillies doing an impression of “black music”. Even the supposed “blues notes” and tonalities come straight out of Scotch Irish music.(there is no blue note in West African music, meanwhile it has been a norm in the folk music of Great Britain for centuries)
Musicologists tend to ascribe some unique quality to African rhythm when it isn’t there. The difference between African and Western music isn’t in the rhythm, but in the focus on percussion. African music is tribal and meant to be accompanied by dance. Primitive music in all areas of the world started as highly percussive because that’s what comes readily to us as human beings. Western music had centuries of development and went astray from those percussive roots long ago.
While Western music was exploring dissonance after entering the modern period, blacks in America started using Western theory and instruments to return to basic human impulse: the rhythm. Turning the focus towards percussion exploded in black music’s popularity because Western art music became inaccessibly experimental and dissonant to general audiences. Jazz and Blues’s percussive focus caught on hard because rhythm comes to us instinctively. The “We Waz Rawkers and shieet” myth is as solid as a bowel after eating too much Taco Bell.
Thank you for adding that. I have one more example to add. I was fortunate to study with top notch pedagogues and musicians at two major Conservatories. At one, a required course was taught by one of the foremost early music experts and harsichordists. In the French style it was always implied to “swing”, the eighth note by turning it into a dotted sixteenth. This was an entrenched part of French baroque style.
She suggested that the French influence on New Orleans is something that early jazz musicians picked up on and it became a part of jazz where they, “swing” the eight note. Just like your point, there is not swing in African music but there is in French music. So … …
One interesting thing about polyrhythm is that Europe and Africa seemed to have developed it in parallel but in very different ways. Africa developed it in the drum where you effectively have two notes – high and low. Europeans developed it in the context of the polyphonic music of the Middle Ages (Isorhythmic Motets), which are basically advanced mathematics applied to music as musical puzzles. They create long cycle displacements that are extremely cerebral. Then in the Renaissance they have 2:3 and 3:4 melodic and harmonic patterns all over the place. The Elizabethan lutenists like John Dowland have incredible and beautiful examples of this in their Fantasias. Then in Europe you also have odd-meter which is inherently polyrhythmic and fractal, that you do not see in Africa.
All of this isn’t to discount African music and beautiful expressions that blacks in the Americas created. I say all of this as a refutation of the absurd notion that blacks created all music and we just stole it from them. It is as stupid as their claims to having invented civilization, taught it to Europeans and then somehow they never had a trace of it in their native homelands and could never rebuild. Whereas, Europeans had clear apex moments had recession and decay but always came back and bested what they had done before.
They are making claims on our culture as a cope but also as a brute force means of conquest. Their claims don’t have to be true, they just have to be accepted. It is a shame that Occidental man will not defend his culture. At least on the pages here at CC we can refute these lies, defend what is ours, and keep that flame alive. This keeps open the possibility that someday we will rediscover our fire and undertake another upward thrust that honors our past and grants ourselves legitimacy in the eyes or our ancestors. It is much easier to surrender and give in than to hold your ground and try to live up to such an incredible legacy. Dismantling the aristocratic order was a horrible mistake. Turning the academy over to subversives and degenerates who happily fenced themselves of making ghastly music to prove their superiority over everyone, pissing on their shoes, was indeed a terrible aspect of the 20th century.
Btw, if you ever get a chance to hear Bach’s B Minor Mass played by a top or the top Baroque orchestra in the world, it is an absolute marvel. First, on the original instruments the textures and transparency of all of the voices is incredible. Secondly, the choir changes configuration depending on a given movement. This creates beautiful textures and cross rhythms and steroephonic effects that will leave you in a state of awe. It is hard enough to write a decent fugue much less master-fugue after master fugue as Bach did. However, this intentionality and the deliberate effects of this kind of arrangement is exquisite, dazzling and astounding. It is a level of mastery and sophistication that is unprecedented.
When Occidental Man is unimpeded and led by the best of its men he creates absolute monuments that do tower over the achievements of all mankind.
It’s disappointing to see that country music is embracing diversity. They are loosing sight of who their primary audience is. It’s whites, especially rural whites. It’s also disappointing to see how white singers and musicians fawn over black performers. There is definitely a trend in elevating black female singers. Lizzo will probably be the next black female singer to put out a country album. If she does, you better say that you like at and you better say that she is attractive as well. If you don’t do that, you are obviously racist.
Black people are just pissed that Eminem owned them at their own music, and now they want revenge on Whitey for Marshall Mathers’ “White Supremacy.” Whenever blacks are outdone by Whites at something either “they created” or “they excel in” this is what they do.
Heck, Chuck Norris was 53 years old when Walker Texas Ranger first aired, and he fought like he was 19 throughout the entire series. Christian McCaffrey can outrun all other black running backs like Sonic the Hedgehog. Even two of the top NBA Players right now are Eastern European Whites.
This whole notion that blacks are better than Whites at athletics is also such nonsense. Yes, blacks are fast in their 20s and 30s, but then they’re usually a tired, worn-out Charles Barkley by their 40s — with a beer gut to show for it. They over exert their strength and energy far too quickly. Whites know how to budget our athleticism to last a lifetime, as in the case with Chuck Norris kicking butt with ease into his late-50s and early-60s.
We are simply the best. And that’s ok. We should be proud of our people, and what we have, and continue to bring, the universe.
Regarding the NBA, three players this year have recorded 20 or more triple-doubles in a season—the first time this has ever happened. All three are white.
But the ones who claim to be the real Israelites don’t get so much attention.
I’d half expect that group to claim that the Canaanites were white colonizers who were then oppressing the ancestors of modern day Palestinians.
We live in a post-quality, post-innovation fully centralized world now and Beyoncé is the flagship icon of this massive centralized neoliberal globoshit machine. As power has got increasingly centralized the results have got more and more obvious.
I can only speculate these publicity stunts are made by these corporations long ahead of time. And media outlets are all ready to prop this up, give glowing reviews, and in particular feed the controversy both ways, ‘Beyonce shouldn’t be doing this white music’, ’No! There’s always been black country musicians’
It’s a sham.
The only thing you can say is is true is it’s too big to fail, and it can only be sold and validated with controversy and 6 million affirmative action music awards.
I haven’t listened to this yet, but my first thought when I heard about this was I wondered if this theme was taken from Madonna’s phase with this stuff. And let’s never forget, Madonna was also pushing a good amount of anti-white stuff in her own way.
They take credit for everything and responsibility for nothing.
The same people who are ecstatic for Beyoncé supposedly “reclaiming” country music are mad that a white girl from Iowa is currently the hottest thing in basketball right now. But can’t we argue that Caitlin Clark is just reclaiming basketballs white roots? It’s all so tiring.
Regarding the cover of Jolene, not only is her warbling annoying as hell, but by reimagining it in her girl boss slay kween way it completely erases the entire meaning behind the song. Dolly is vulnerable and scared that she is about to lose her man to a much more beautiful woman who can have any man she so desires while Beyoncé is just the best thing in the world who has nothing to worry about. So what is the point of the song then? It would be like if someone were to do a new version of Cats In The Cradle but this time the singer explains how awesome of a father he is who is always involved in his child’s life.
Blacks can’t even appropriate our creations well when we spoon feed them to them. Case in point: watch the first two Rocky movies and then watch the first two Creed movies, and tell me there isn’t a vast difference in writing, characterization, and storytelling. The only thing superior about the Creed movies is the production values, which of course makes them look more slick, which makes them look more fake, which makes them shittier films.
Fire Walk With Lee: They take credit for everything and responsibility for nothing.
The same people who are ecstatic for Beyoncé supposedly “reclaiming” country music are mad that a white girl from Iowa is currently the hottest thing in basketball right now.
I haven’t watched bastardball in years for obvious reasons but have interest now in the remarkable Miss Caitlin and hope her team wins the championship. That will make the nignogs angry.
A reason I have any interest in her may be that the record she recently eclipsed as the all-time NCAA leader for total points scored had previously been held for fifty years by “Pistol Pete” Maravich who averaged 45 point per game through his college career at LSU, and that prior to the three-point rule that would have made his total points total considerably higher. I went to high school with Pete and even then he was a ball-handling magician, for a White boy.
Even if it were true that rock, country, blues, folk and all that good stuff has a basis in African-American musicians, who do you think invented the instruments? I guarantee you no African had ever laid eyes on brass – or any alloy for that matter – before they were plucked from their huts and thrust into white civilization.
I do a lot of English country dancing and contra dancing, or did before covid…now most dances forbid you to enter unless you are vaxxed and wear a mask. When you get out to the country, these rules don’t exist.
It seems this is most prevalent in the east coast. The South has dropped all that. In St. Louis, where I live, they go with the east rules. “We’re a blue dot in a red state,” one of the branch leaders bragged.
In 2020, all agog over the “racism” of George Floyd, the Country Dance and Song Society came out with a directive to encourage ethnic participation in folk music (folk and dance is really white participation), and included a zoom conference by a black female professor on “The African origins of Applachian Music.” The CDSS also insisted all participating branches fill out surveys on “ethnic awareness,” and notifying those dance leaders who fail to measure up to such awareness.
Also, when so many white folk artists barely make it, they stridently announced “Buy more black music!”
This is pretty annoying as this music is WHITE. Fellow dancers complained about the CDSS guidelines, were really bothered by the attempt to deny our white roots, and more than a few wrote letters to the CDSS. The problem, as a fellow dancer from Colorado said to me, is that most of the people running the CDSS are liberal women, and they’re all wusses.
It’s always a shame our folk music gets such shabby treatment. Most Americans barely know about their own culture. Probably the last historical moment our pop culture noted anything American was the song Davy Crockett or Jimmy Dwiftwood’s The Battle of New Orleans…which is actually an old dance tune called The Fifth of January…the date of the battle. I’ve danced to it many times.
I think black music has borrowed heavily from white music. Even rap music can be seen to have some origins in mouth music, choral singing in Scotland and Ireland where people had no instruments. To switch the tune form Scottish snap to R&B isn’t that complicated.
Blondie invented rap. So there. Come to think of it, I wish she hadn’t.
But Beau, “Blondie is a group.”
Maybe it was Irish Catholic comedian Art Carney in 1954. Twas the Night Before Christmas…. Crazy! Happy belated holidays.
Other than Opry star “Stringbean” being murdered, I can’t think of another example of black influence on country music.
A few days after Stringbean and his wife’s murder by a couple of white Deliverance types, another Opry performer who played guitar for Hank Snow and his girlfriend were horribly beaten and murdered by three black dudes.
You really gotta dig for that tid-bit.
Curious to know the critical consensus on Ray Charles’ country album. I think it was 1962. I have it on vinyl that I bought in the 80s but haven’t heard since, but I don’t have a turntable now. Don’t paste a youtube url here, I know I can hear it there.
It has its detractors especially among “critics” (white guys claiming it’s not black enough) but I love it.
I listened to some of it during the research for this article. He covers country songs, but not in a country style.
No Charley Pride in white cultural genocide….
……did quite enjoy Muddy Waters “Heavy Rock” album , the hilariously named “Electric Mud”….
Music superstar Beyoncé,,, recently became the first black woman to score a #1 single on Billboard’s Hot Country Songs chart
—
What serious, self-respecting White separatist really gives a shit? I don’t know when Billboard and the American music industry was taken over by Jews. I’ll leave that to someone else to determine. But surely they are controlled by Jews now. I found this:
“Billboard is now read in more than 100 countries around the world. Billboard.com attracts more than 2.5 million unique visitors each month. The Billboard Music Awards is one of television’s most popular annual entertainment events. Billboard’s stories and charts are licensed for use in every possible media, including mobile phones…”
—
The racial revisionists have even invaded Wikipedia’s page on country music…
—
Imagine that? WikiJews have a country music page. Who cares what they or “racial revisionists” have to say? Here in Johnson County, Tennessee, our annual fiddlers’ gatherings are lily White – no “modern” songs or electrified instruments allowed — no Billboard Jews in attendance. Call us “square,” but we like it that way.
Jazz is a genre where the contributions of white people get short shrift. Kind of Blue, the most famous of all jazz albums, would have sounded very different with a black pianist like McCoy Tyner instead of the classically trained Bill Evans. Modal ideas of Bartok, Ravel and Evans, among others, influenced Miles Davis and John Coltrane.
At a presidential dinner Nancy Reagan asked Miles Davis what he did of importance to be there. He was taken aback and told her “I changed music five or six times…what have you done other than being white”… though the story is sometimes told as “what have you done other than fuck the president”. To be fair it is rumored she excelled at playing the skin flute. Davis notoriously disliked white people, but I don’t make an issue of it in the way that many Jews can admire Wagner’s music.
Jelly Roll Morton, Cab Calloway, and other early jazz contributors look like they have a bit of cream in their coffee. Unsurprising as the Creole community of New Orleans was a mix of French and Black. Kid Ory was a mentor to Louis Armstrong and its striking to see photos of him standing next to Louis Armstrong and white folks.
https://www.fellers.se/Kid/1948_1_Dixieland_Jubilee_1.html
There’s also a frenzy to elevate a black woman, Florence Price, to the classical composer canon (she’s also creamy), but her work sounds like 3rd rate Gershwin to me… Jews must be kvetching.
Not to mention western instruments appropriated by blacks. I like African kora music, but it is not the same as the guitar, western folk or blues.
Once upon a time you could listen to an album like Anthology of American Folk Music and hear folk, blues and country, side by side. A mix of mostly obscure black and white musicians given a spotlight. Nowadays one group must consistently be elevated and given an outsized role. One of its eerie remnants is My Name is John Johanna, a tale of despair and hardship endured on a trip to Arkansas. Maybe it’s a sign of broader things to come.
I read a different version of Davis’ encounter with the Reagans at that dinner, in a Miles Davis autobio (maybe there are multiple Davis autobios). Davis said he got mad because Nancy said “Miles, your mammy must be so proud of you!” Meanwhile, Pres. Reagan was staring into space and seemed confused and out of it. Davis even said he felt sorry for him!
His mammy should’ve washed his mouth out with soap.
Some people are going to say something provocative no matter what but Davis was exceptionally non-racist in his real life. He used white players in his bands from the get-go and did get maligned by black players for it. His biggest records were in collaboration with not just a white guy but a Canadian. I saw him at a weird post-Bitches Brew time. He was a bore. Thelonious Monk, Dizzy Gillespie, Sonny Stitt, Art Blakey and a bass player and trombone player touring as “The Giants Of Jazz” closed that show and made everyone who came before them look ridiculous. He was once shot up while sitting in his car on a NYC street and only by a miracle was he not hit. Of course, he criticized the police sent to help him, no disparaging words for the black guys who opened fire on him at near point-blank range.
I will take nearly any album by Herbie Hancock over Miles any day. Of course, Miles has some amazing stuff as well.
There is that quote from Miles Davis:
If somebody told me I only had one hour to live, I’d spend it choking a White man. I’d do it nice and slow.
I grant that those were different times. But can you imagine if a white person, worldwide, were to say such a thing about some other race (cough, which technically doesn’t exist and is only a social construct). He did follow up the line with
The only White people I don’t like are the prejudiced White people. Those the shoe don’t fit, well, they don’t wear it.
But I respect his music whether or not he’d be sending me a Christmas card. The problem is this sort of thinking generally goes only in one direction. People play Miles Davis without a ‘disclaimer’ unlike what is frequently heard if you say something good about Walt Disney, Richard Wagner, Skillet Lickers, John Wayne, etc… Nor do I think Fela Kuti would have somehow been improved with some white people in the band (or not having had 27 wives… all of them presumably progressive feminist professors of semiotics). There are endless campaigns for more diversity in country, folk and classical music. But not for more white people playing Afrobeat, rap, jazz, etc.
And at the same time, countless lefties love Toto’s “Africa” and its tacky (and technically incorrect) lines like
I know that I must do what’s right
As sure as Kilimanjaro rises like Olympus above the Serengeti
It gets at the progressive mindset. Not knowing what they are talking about, but coming up with a good jingle to to preach “Do what’s right”.
My Miles Davis story. I worked as an usher at the Hollywood Bowl during the summer of freshman and sophomore year of college. There was a big concert with Miles scheduled and lots of Hollywood big shots in attendance as I worked down by the expensive pool seats. His rhythm section was jamming for a bit when the giant made his first appearance. He blew about 5 notes and disappeared backstage never to reappear. His embarrassed spouse came out to announce he’d not be returning to the stage and the lights started to come back up. There was a helluva lot of bitching and moaning as the well healed guests headed out with no jazz from a true anti-white artist. I never thought much of his music after that episode. Total opposite of the brilliant Elton John concert with Quarterflash as the warmup act. Or The Go Gos and their shear energy and cuteness.
A friend and I saw Miles Davis at Wolf Trap in the late 1980s. Not long before, he had done a rather nice soundtrack to a movie called Siesta with Marcus Miller. But his band merely played funk abominations while Miles shuffled around on stage, occasionally tooting his horn. The whole thing had the feel of senility, like his management was exploiting a mental retard. This was the man who gave us Kind of Blue and Birth of the Cool? He was a talented musician but a total piece of shit who obviously sold out at the end.
Someone just paid me to do a karaoke version of Charley Pride’s “Just Between You and Me.”
Here it is.
This is all true Jim, but if you can’t even convince the Boomers to not let their daughters and sons miscegenate, and there is no benefit to being “white” then your race is dead.
That’s just … Facts.
Hear hear
Facts? No, that’s a dumb myth that’s spread like wildfire. According to every public-opinion poll I’ve ever seen, the boomers are the most racist generational cohort by far. If you have any statistical surveys that state otherwise, I’d love to see your “facts.”
Saying the boomers “let” their descendants miscegenate is a very dishonest way of saying “younger generations didn’t listen to their racist parents and decided to miscegenate more than boomers ever did.” What were the boomer parents supposed to do? Beat their progeny into submission?
The fact that so many people have gullibly swallowed the multifarious and easily disproved lies of the boomer meme does not reflect well on the intelligence of younger “dissident” types.
Surely Beyonce needs to get around to covering Paint It Black, which after all the real modus operandi here rather than some sort of longstanding affection towards country.
If you have Paywall access,
simply login first to see your comment auto-approved.
Note on comments privacy & moderation
Your email is never published nor shared.
Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.