NY Mag: Country Music’s Race Reckoning

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.

New York Magazine:

“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.

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      • The Author of this screed is a Negress, Andrea Williams.

        The only “shameful past ” being exhibited here, is the ‘toot-toot, beep-beep’ of this ho, writing for her Jewish Masters…. [Yes, Massa. how long do I have to be on my knees…..?]

        Judy Garland put it simply. “After leaving MGM, I knew I was free of having to [s***] Jewish [d***], anymore.”

        Ms. Williams, repent and stop culturally appropriating being a White man, with a valid job.
        Go back to your home, and be the Jemima to your children… that is, if you can find their daddy.

        Utter disgust – like bile, fills my mouth, when I think that our ancestors were STUPID ENOUGH, to think ‘they’ were our equals…. or that ‘they’ were worthy recipients of the Covenant of Grace.

        They are nothing but the golem of the Jew.

  1. “Everything must be Africanized including country music which is too White.” My complaint is that it is too Jewish. I’m sure there are exceptions but what I hear on the radio reeks of gefilte fish.

    • “Blacks have been wildly successful as musicians in America since the days of Louis Armstrong and jazz in the 1920s.”

      KaTie- who do you think was behind the normalization of Jazz in the early 20th Century? Jews.
      Who owned and published all the Drecch of Tin Pan Alley? Jews
      Who were the invited ‘Maestri’ from Europe, to take over the American Classical Music Scene, at the turn of the century – JEWS. Men like:

      Vladimir Ashkenazy 1
      Daniel Barenboim
      Leonard Bernstein
      Antal Doráti 2
      Istvan Kertész
      Otto Klemperer
      Serge Koussevitzky
      James Levine
      Lorin Maazel
      Gustav Mahler
      Felix Mendelssohn
      Pierre Monteux
      Eugene Ormandy
      André Previn
      Fritz Reiner
      Leonard Slatkin
      Sir Georg Solti
      George Szell
      Bruno Walter – taken from xhttp://jinfo.org/Conductors.html

      (It’s probably why Dvorak, a Christian, went back to his homeland after a year or so in NYC- he was drowning in Yiddishkeit!)

      Of course, growing up, NO ONE EVER MENTIONED THESE KIKES…. WERE KIKES- until it became ‘chic’ to do so, @ 1965 with Bernstein, and his ‘Young People’s Concerts. Every LP I bought as a child, had JEWS in it. NO WONDER Wagner wrote ‘Judentum in Musik’- it was because it was ALL TRUE!

      Why do you think those shysters who did, ALL left Hitler’s Germany in the 1930’s?? Because they knew their ‘gig’ was up, and they needed to find a new host to suck dry. And they only hired their own- that’s why short, ugly jews like Pierce, Tucker, Merrill, Peters, AshkeNAZI, Perlman, Levine, etc. got where they did- The YIDS got it for them, WHOLESALE.

      When I read that the Gershwin brothers would ‘slum’ in Harlem (along with a certain Lutheran aristocrat, one Dietrich Bonhoeffer) to hear ‘nigger music’ (i.e., Jazz) it was not to legitimize it, but to STEAL even then, from what little culturally appropriated musical language the Xenos had invented in their fevered brains!

      Jews. Every Single Time.

      • “in America since the days of Louis Armstrong and jazz in the 1920s.”

        Jazz use to be a WHITE institution.
        Then Jews took over the the trade pub ‘downbeat’ and the booking agencies.

        Fr. John is absolutely right, on this issue.

        “Jews. Every Single Time.”

  2. “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.”

    Hypocrisy has a number six nose!

  3. Actually, they claim that basketball is still too White. They were just complaining that the Olympic team included a “token” White player.

  4. Well as long as we’re playing the hits, I kinda like The Skreets of Bodymore myself:

    • That was very good, Flaxen. Tells a believable story. Note that Charley Pride, who died of Covid last year, was a son of poor sharecroppers (I wonder what percent Caucasian?) and said to be a hard worker: “His job at the smelter (lead smelting factory) was dangerous and difficult; he once broke his ankle. He routinely unloaded coal from railroad cars, shoveling it into a 2,400 °F furnace while keeping clear of slag, a task which frequently gave him burns….”

    • Charlie should have included lyrics about buying his wife a flak jacket and an MP 40 sub-machine gun to carry on the beautiful streets of Baltimore. They could both say ‘hello’ with their MP 40s to their wonderful, new, mocha colored neighbors in the only way their numb skull neighbors understand.

      Charlie doesn’t need an MP 40 or anything else back in Tennessee as long as he stays out of Memphis. It’s nice to live in a White area free of diversity where you don’t need to be packing something to walk down the street.


    #1. “I have begun everything with the idea that I could succeed, and I never had much patience with the multitudes of people who are always ready to explain why one cannot succeed.”

    #2. “No race can prosper till it learns that there is as much dignity in tilling a field as in writing a poem.”

    #3. “There is another class of coloured people who make a business of keeping the troubles, the wrongs, and the hardships of the Negro race before the public.
    Having learned that they are able to make a living out of their troubles, they have grown into the settled habit of advertising their wrongs — partly because they want sympathy and partly because it pays. Some of these people do not want the Negro to lose his grievances, because they do not want to lose their jobs.”

      • @Anonymous…

        Wikipedia said this about Sankara…

        “His revolutionary programmes for African self-reliance made him an icon to many of Africa’s poor.[18] Sankara remained popular with most of his country’s citizens.[20][21] However, his policies alienated and antagonised several groups, which included the small but powerful Burkinabé middle class, the tribal leaders who were stripped of their long-held traditional privileges of forced labour and tribute payments, and the governments of France and its ally the Ivory Coast.”

        No wonder the empire wanted him dead.

        That said, alienating the Middle class is never a good thing, either for them, for the ruler, or for the country.

        Also, attacking tribal leaders is a terrible thing – not much different than The U.S. Government relentlessly attacking The Sioux.

        Marxist Nationalists always have some good idea, but, their lack of grounding in basick human reality spoils it for them and for everyone else.

        I think a good ruler must endeavour to be a ruler for all – to keep a certain harmony between upper, middle, and lower classes, because, in the end, they are the entire country.

        Thank you for the tip.

  6. Contemporary Nashville “country” music mostly grates on my ears. Imagine having to work in a Tractor Supply or some “country-style” restaurant or store and hear it playing every day all day long!

    What COUNTRY does “country” music belong to?

    It is NOT real ethnic folk music that belongs to a real land and a real people. It is mostly “melting pot,” and much too electronic.

      • He was married to a jewess and then refused to support her and their children. I read that from his son Arlo Guthrie.

      • Guthrie must have been emulating his hero, Marx, by not supporting his family. Marx actually caused the death of two of his infant children because of his refusal to work. That according to Paul Johnson in his book ‘Intellectuals’. Another alleged lover of humanity that hated the individual humans in his life.

    • @Anonymous…

      Contemporary country musick is not that, but a kind of soulless prefab recycled 80s rock to a kind of rural singing that almost entirely keeps using the same small clique of songwriters and musicians, in the same studios.

      In fairness, however, what I have described, fits most of the musick industry that which, when I was a child was in the middle of an unrivaled golden age, but, which, now, is comatose and on life support.

      The only musick scenes I think are still relatively healthy are Bluegrass and Gospel Grass and the Early Musick (period instruments) Classical.

  7. The irony is that stars like Charlie Pride were beloved, and very successful among fans. Who were certainly not “woke” they were successful because Pride and others didn’t sing “black” country music, just country music. He was also apparently a fine human being that folks liked. He also made some smart investments with the money he earned. Made him wealthy. I didn’t even know he was black until I was close to 10 years old. He didn’t sing like it. He had some great music.

  8. Remember Yahweh’s commandment to His People, “All goyim are equal” … two legged animals to serve the divine chosen ones, you know the Jews. (Sorry, Christian Identity folks like Banned and Fryer Johnnie, you ain’t your jewish god’s number one favorite)

    Yahweh commanded “tikkun olam” … level the goyim … and since blacks can not be upgraded to the level of whites (jews are not white, just ask them), whites must be downgraded to the level of blacks.

  9. Yes because there just aren’t enough people of all races singing about trucks and beer. Surely we can also find an Asian or two and maybe a few Australian aboriginals to sing about tubing on an Alabama river or two stepping at a honkey tonk in Abilene. Lord knows there aren’t enough Turban wearing sheiks singing about picking muscadines or grandma’s famous buttermilk biscuits.


    • Country is too lyrics based. A good tune should stand alone with the vocals erased. Add Shlomos and it all sucks.

      • Great point. I never pay much attention to lyrics. It’s the musical content and construction that matters.

  10. Modern country pop music is awful. Same sing-songy lyrics. I don’t know how people can listen to it.

    • Yeah, like “Bangin’ Becky Sue On My Tailgate Smack Dab In The Middle of My Grumpy Neighbor’s Cornfield While My Super Extreme Turbo Diesel Exhaust System Vibrates Her Ass Off (Under The Bright Country Moonlight)”

    • They’re coming soon enough, along with the medical doctors Not that it will really much matter seeing how many blacks and stupid whites are already boarding commercial airliners

  11. Forty years ago there existed a country music culture among the blacks, Miskitos and sundry Zambos in Bluefields, Nicaragua. They played stuff like Hank Williams, Sr., Webb Pierce, Ernest Tubb etc. on local radio and in barroom jukeboxes. I don’t know about actual bands, but the blacks were into it. I long lost touch with my contacts there, but an online search about Bluefields indicates that it has now turned into one giant crack house.

  12. The vast majority of niggers have always loathed country music, of course because they see it as White, but also because they see it as hick-rural, the same with their attitude toward country blues: the old black bluesmen like Robert Johnson were kicked to the curb by urban nigs when the likes of Duke Ellington, Cab Calloway & the beboppers came along; it was only the interest of WHITE folkies & rockers that rescued them from abject poverty & oblivion in the ’60s.

    FUCK kike shoulder-chipped & trained niggers & their incessant demands from White people.

    • Unfortunately, the WHITE folkies and rockers couldn’t recue them from their Jew managers, producers and promoters because they (with some limited exceptions) didn’t have much business and legal acumen either.

      • Kikes parasitize the stupid, ignorant & trusting. Itz all they do.

        Chuck Berry was one nig who was no fool financially: he traveled from gig to gig with just his guitar & a briefcase; the venues had to supply backing bands and even amps for him. It enabled him to save his money.

        Of course, he was a pervert who installed cameras in the ladies’ room of his club.

  13. I don’t know where Country got this reputation for white racialism. It’s probably only a function of the fact that Southern and rural white people like it. But really, you can find anti-white anti-“racist” themes in country songs going back a long way. “Skip-a-Rope” by Henson Cargill, 1968. (“Hate your neighbor for the color of his skin”). “Reuben James” by Kenny Rogers, 1970 — The whole song.

  14. Now there’s this Anna Marie Martinez beantwat over at the LA Times stirring up the bean pot because there aren’t enough “Hispanics”/”Latinos”/”meztizos” making enough country music hits and money.

    She’s just so wrong:


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