Blacks have been wildly successful as musicians in America since the days of Louis Armstrong and jazz in the 1920s. It doesn’t matter though that countless blacks have become multimillionaires as rap, hip hop and soul artists or cultural icons whose content has been consumed for decades now by suburban White kids. Everything must be Africanized including country music which is too White. The existence of any kind of racial gap anywhere between Whites and blacks is proof of systematic racism.
“Today, there are lots of people who, when asked about the current state of country music, will say that the industry is making “progress.” They forget that the story has already been written, that the script has a predetermined victor in its white male hero, that the illusion of anything contrary is only meant to keep things interesting — and only temporarily. For these people, the current crop of up-and-coming Black country artists and the subsequent support from the press looks like the hopeful rise of an egalitarian sun, the dawn of a new day in which country music will finally break free from its shameful past.
Meanwhile, the backlash from Wallen’s supporters was swift and furious. Already at the top of Billboard’s 200 chart pre-N-word, Wallen’s Dangerous: The Double Album remained there for seven weeks after, buoyed by fans who streamed and purchased in record numbers. They called radio stations, asking that Wallen be reinstated while bemoaning “cancel culture.” …
The pat explanation for country music’s enduring racism is that, in the 1920s, the industry was designed that way, that Black people weren’t forced out as much as they were told we never belonged in the first place. The more truthful, more nuanced, answer is that the initial color line drawn by the industry has been repeatedly darkened over time, traced over and over by each new wave of industry executives. History may be written around the big events — the births and deaths, wars waged and won, the cases tried and laws passed — but it is made in the interim: the private conversations, the secret negotiations, the votes cast beyond the reach of photographers’ lenses and reporters’ pens. …
But if the mid-’70s and subsequent eras have shown us nothing else, opening up select spots for Black artists isn’t enough. Making room matters, but championing diversity without creating an environment in which it can actually flourish is an exercise in performative futility, a Juneteenth celebration without an honest assessment of the enduring effects of slavery — or earnest efforts to rectify them. Without structural change, those given “opportunity” are bound to fail, the “progress” destined to be short lived. And while no one in the modern industry can openly state that country music is still the exclusive domain of white folks, they can certainly create a safe space for racism and intolerance. In the case of the genre’s biggest artist — a man who became more successful after a drunken, hateful rage — they can also put on a good face and express their disgust. Then, just a few months later, they can act as if it never happened. …”
White people can’t be left alone anywhere:
Video games are too White.
Country music is too White.
Pilots who fly airlines are too White.
Doctors and their patients are too White.
The police, of course, are guilty of systematic racism. This is especially true of big city police departments which are often run by blacks.
Do you know what is perfectly fine though? There is no concern about “equity” in who plays professional football or basketball. There isn’t any alarm about the fact that blacks aren’t paying their fair share of taxes or that White men have done a disproportionate amount of the fighting and dying in America’s wars.
Note: Many of the blacks who are successful musicians also turn out to be among the most sullen and resentful people in the country.