Semitically Correct Country

by H. Croy

There seems to be no area of modern culture that isn't shot through, suffused and marinated in Political -- or as we properly call it at VNN -- Semitical Correctness. Country music is certainly not any different.

Two trends show country's attempts to get with the flow of "diversity" and "sensitivity" and "feminism." What they amount to is an attempt to coordinate polite Southern and Midwestern mores with radical Jewish ideologies. What you get are watered down songs and videos that are neither here nor there. They can be spiritually explained as the concerned giving-room of the decent White man exposed to strong emotion. The White Middle-American reacts to the daily Jewish enraged whine the way he acts in the rare instance he encounters strong emotion from his White relative. He gives way, tries to placate, assumes honorably that the cry is genuine. By smoothing and soothing, he thinks things will work back around in time. But he doesn't get that things never clear up for the Jew -- the more ground he's given, the more he demands. His sempiternal puling persists, and the only thing proven to stop it is instant, in-your-face counter-aggression, the one thing the normal White man in these days has been psychologically conditioned to be unprepared to offer.

Music in general has its own political spectrum. From far right to left, you have classical music, country, rock/alternative and rap. Essentially, on the left you have the crude thumping that appeals to the limbic nigger in all of us, while furthest right you have the exceedingly complex, intellectual counterpoint of Bach. Country occupies the center-right, appealing to tax-paying White adults much as the Republican party does. And country music, like the Republican party, has adapted itself in line with media-preached principles.

Country is not just White music, it is adult music. As it deals with pain and sorrow as much as anything, it is the antithesis of rock, which is about animal spirits -- wildness and rebellion. Traditional country is noted for dealing with everyday subjects. That doesn't mean trivial, but love, death, health, marriage, sorrow, pain, breaking up, getting drunk, working. The stuff of life. Rock deals with the same thing but from a young man's perspective, full of vague hopes and ideas but pounding with hormonal rhythms. Country has the same pulses, but they are softer, attenuated by experience and perspective. It's the old conservative/liberal dichotomy captured in that Churchill quotation about no heart/no brain.

In traditional country, men and women were eternally at war with and in love with each other. They were equally flawed and heroic, though in contrapuntal, complementary ways. Women might cheat, men might cheat, it depended on the writer and his experiences and imagination. Today this is no longer the case. Psychologically one-quarter of the human experience has been amputated. Women can no longer be at fault in a modern country song. Probably such songs are still written; practically they are never published or performed. What I say is not merely a generalization, it is true almost across the board, as anyone who pays the slightest attention to today's songs knows.

A good example is the Garth Brooks song in which he sings, of a broken up couple: "She's going to make it; he never will." It is inconceivable he would have written the song the other way around. And this dovetails perfectly with the social law that males are to blame, whether they are responsible or not. We hear talk of "deadbeat dads," a clever propaganda term that conflates a number of different situations into a single evil caricature. We seldom here the other side of the equation, that men are denied visitation, or the woman broke up with her husband to go off with her boyfriend -- plus half his assets and a monthly check to boot. These realities aren't written up in the papers, they don't make it into the country songs, they just exist. A second dovetailing comes with the double-standards in coverage/facts about the debate over mistreatment of boys or girls in schools. As Christina Hoff-Summers has shown, it is actually the boys who suffer more than the girls, for a variety of reasons. Yet official propaganda has it the other way.

The problem with country is part of a larger problem, that masculinity has been not only devalued but practically eliminated. TV, the great Jewish teacher whose lessons we all absorb, has no model for the masculine White male. TV teaches that fathers are there to provide money and home but more to be laughed at as clumsy and stupid by their bright kids and superior wives. Whenever hallowed women approach with opinion, men are to give way. That belief is ground into our ear with a spiked heel wherever tv penetrates; every ad, every sitcom, every drama, every country song reinforces it.

The loss of the negative half of the female experience also betokens a loss of subtlety in country that is of a piece with what the movies have undergone. We seem to be retrogressing as a society. No one who reads 19th century books, watches movies from the forties or speaks to college-educated people in their seventies can doubt that something has been lost among us. It's not just that we're dressing down, we're living down. We have more gadgets, but we conduct ourselves more like animals. Think of Patsy Cline's song Crazy. The subject, the pace, the subtlety of the thing are unthinkable today. Anyone who covered it would simply gloss it over like Whitney Houston doing Dolly Parton's I will always love you. Perfect pitch, no soul. We are simply living on a lower level than earlier generations. We have lost the capacity for calm seriousness. We are all upbeat wiggers now, properly trained mulitculturalist consumers by the Jewish media. Even more important than what we have lost is that so few are even conscious of what's missing. With the fading of civilization has faded the very idea of civilization.

Yet -- and this is the second fallacy -- we think we are an improvement on the traditionals, the originals, because we are racially "inclusive." We can't think, nor understand those who do, but we surround ourselves with coloreds, making us morally superior and in other ineffable ways better. It can't be any accident that liberalism can only make its way by destroying discrimination -- that essence of thought.

Larded videos now are with adventitious coloreds. Whether it's Trisha Yearwood allowing herself to be petted by a jet-setter, or the inevitable coloreds in any sizeable video crowd -- just like a Coors Lite commercial -- blacks are made to appear an inevitable and natural part of the country setting. The achingly beautiful, absurdly named "Chely Wright" (pronounced "Shelly") offers the perfect video counterpart to the standard spoken disclaimer "I'm not a racist, but..." when she kicks off her Single White Female video, shot on a Nashville city bus, with a gratuitous shot of a Black woman.

Not all country is bad. Most of it is non-political, and involves personal or family issues that have nothing to do with race. Social disintegration even provides new subjects for the traditional approach. Brad Paisley's song He didn't have to be tells a helpful story of a man who married a single mother with children, from the child's perspective:

    When a single mom goes out on a date with somebody new,
    It always ends up being more like a job interview.

We see two or three rough characters come by the door, until finally the prince arrives, and takes the boy to the movie along with them. Later, from his bed,

    I heard him pop the question, and I prayed that she'd say yes...

That's a good country song, dealing with not-so-old issues in a traditional and realistic way. I would even vouchsafe a guess that men have been led to act more honorably and even marry similarly situated females because of it. But there aren't many songs like that. Most songs that attempt to deal with broader issues inevitably end up where denatured Christianity encamps: Love is the solution to everything, and judgment or discrimination is wrong. I've always thought that "Judge not lest ye be judged" is one of the more dangerous statement in the Bible, and truly we are reaping some nasty rewards from observing it. Judge and be judged is a better standard than the Bible offers. Whenver crime or poverty or some other social ill is broached, the solution is always a diffuse liberal "compassion." In Martina McBride's odd words/video,

     Love's the only house big enough to handle the pain...

The city streets are gonna burn if we don't do something soon...A lady goes down to the corner store -- without any money -- to buy some milk. Don't worry, "I'll cover you, honey." "The pain's got to go somewhere," we are lectured between lines. The pert singer contrasts her clean White suburb with the urban squalor, just like we've seen a thousand times before. And suggests the same solution. This is pure posing, compassionate posing we've all seen blind. Another example is the piker singer Billy Gilman. He sings to God, We need some help...Down here on Earth... God has a gradeschooler throw a pistol in the river below. Thanks, God. You're all right. The kid wishes we could go back to when we all obeyed the Golden Rule, but, lamentably, things just aren't that simple. Liberals don't believe in simplistic solutions, they believe that "compassion" conquer all. Reba McEntire is a third whose work turns sappy and saccharine when social.

Country has gone the way of all regionalism in our mass-produced times. It has abandoned its folk origins, its original instruments (violin and slide guitar) and moved toward the middle. Its not fair to say it's as bland as mass-produced beer or mass-produced anything, but there has unmistakably been a blurring of edges, even as the blurring we see physically in the rounded "edges" of cars and sports shoes. Nothing cuts sharp and hard anymore; all diffuse impressionism; we are all Monet now in our myopic refusal to make (visual) distinctions. Country hasn't been killed by the Semitic revolution, but its scope has been limited and its instruments and styles have been tuned to suit the mainstream ear. Country Music Television makes careers, and it is owned by one of the Big Three, and hence as subject to Jewish taste control as anything else on the airwaves. Original country must make its way beneath the surface, just like the rest of us.

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