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| Country Music remains Mighty White, despite vigorous Jewish efforts. |
by Edward Waverley
Alienists ruin everything they touch. Their fundamental desire
is to sow discord and doubt in the body of Christ by asking Christians the same
primeval question that the serpent asked Eve: “Hath God said, ye shall
not eat of every tree of the garden?” In other words, has He
really said that you ought not to marry your sons and daughters unto
foreigners? Has He really commanded you to honor your father and mother,
heeding more to their words and ways than you do to the Progressive Enlightened
World around you? Thus Burke was correct to observe that Satan was the first
liberal. All of his disciples have imitated his subversive strategy ever since.
But the alienist anti-Christs who
oppose the Kingdom of Light and who promote a kingdom of darkness have no intrinsic
right or power to touch or influence God’s property or God’s people. The only
way that an anti-Christ can work his evil upon Christian territory is by the
permission of one of God’s assigned stewards. As Christians our task is to
resist and attack evil everywhere it appears. Our task then is twofold: we
defend the Kingdom territory that we’ve already claimed for Christ, and we grow
the kingdom by exercising dominion in every area of life, fully obeying God’s
law-word as declared in the Bible. Therefore any evil that exists in a given
area of life is only permitted to exist, first of all, under God’s sovereign
decree, and secondarily because Christians are either presently neglecting
their duty, or else they have yet to fulfill everything that God has commanded
them to do in that area. As an example of this phenomenon we will examine the
impact of anti-Christ alienism upon the formerly Christian industry of country
music.
We must
begin by noting the origin of the “country” label, and recognize it as an imposed
misnomer. What we are talking about is a Southern art form, all of whose
progenitors were Southern, and most of whose artists and fans remain Southern
today. Note that the historic South has always been basically Christian, and
even in its present woeful condition, its people are benefitting from the
lingering effects of a Christian hangover passed on from its long history of
faith. The desire by outside moneychangers to exploit the popularity and beauty
of Southern music while discarding its underlying faith is simply a development
of Lincoln’s War on the Christian South. In both cases, inferior
and envious opportunists recognized Christ in the object of their coveting and
hatred, and in both cases it was only the failure of Christians that allowed evil
to triumph. Lincoln’s triumph was not accomplished,
by the way, at Appomattox Court House. At that time, and for a long while
afterwards, Southerners stuck together to protect themselves and their
Christian heritage from the Babelization of their people and civilization. The
Satanic program inaugurated in Lincoln’s War didn’t
succeed in overthrowing the South for another hundred years or so, but his
progeny stayed busy that whole time, and remain busy today defending Satan’s
inroads in the South, and nationwide. The Satanic capture of Country music is
one lamentable symptom of Alienism’s larger predominance.
Historian
Clyde Wilson has pointed out how the neologism of “Country music” is an anti-Southern distortion of the genre’s
true origins. “Let me point out the nationalist
trick of adopting from the South as ‘American’
anything that is favorably regarded, while only disfavored things are described
as ‘Southern.’…We have ‘country’
music rather than Southern music.” The switch from Southern
or hillbilly music, which it was often called in the early part of the
twentieth century, to first Country and Western, then eventually the more
generic Country as the preferred label, is thus an indication of an influence
in the industry that is alien, and which is also anti-Southern. As Wilson
indicates, only such unfashionable Southern phenomena as Jim Crow and gun
enthusiasm are characterized as Southern nationally. Since even Yankees love
the music of Hank Williams, they literally try to nationalize it by way of the
absurd ‘country’ label.
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| Hank Williams in dazzling white |
As we shall see, the alienist
conquest of Southern music is a fait accompli. Formerly Southern music is now a
fully nationalized, which is to say a fully deracinated, genre. The music,
lyrics, artwork, and presentation are all basically the product of
anti-Christs. The masters of the industry will grant occasional grudging inclusion
of Southern White Christians. But no aspect of the Christian faith, nor the
historic Southern culture it developed, are allowed to influence today’s
product. Instead we are given negro culture with a twang, debauched pop tarts
in cowboy boots, and Jewish One-Worldism delivered in the abiding Southern
vernacular. As in other streams of popular culture from Hollywood and Madison
Avenue, only the least offensive (to Alienists) externals of Southern culture
are permitted to surface in Approved Country Music. All aspects of Antebellum,
Confederate, Dixiecrat, or Christian normalcy are thoroughly expunged. The
result is what could be called Hick Humanism, music so slick and catchy, and so
mercifully free of any trace of European racial consciousness, that even Egyptian Mohammedans are comfortable singing along!
The
marriage of Country Music superstars Blake Shelton and Miranda Lambert is a
case in point. The children of the South used to be predictably Christian,
which meant that they had no time for niggers, feminism, race-mixing, or any
other destructive nonsense. Not so the children of Southern baby boomers. Young
adults in the Brave New South are pretty much indistinguishable from their counterparts
in other American regions in terms of religious and political outlook. Shelton
and Lambert do not buck that trend. He is from Oklahoma, and she is from Texas,
but each artist fits in well with the prevailing alienism of wider American
culture. Both appear to be fully obedient to the rules of Political Correctness,
to subscribe to the politics of guilt and pity, and to be blissfully (or at
least publicly) ignorant of racial realities. (Blake once declared to an audience, "Is there anyone cooler than Usher?") Yes Blake, there is. His name is Johnny Cash.
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| The Man |
Miranda is refreshingly vocal about
the importance of gun rights, an absolute no-no to the Cultural Marxists. Yet
even this decent stance is drenched far more in feminism than it is rooted in
Christian patriotism. Her very catchy “Gunpowder and Lead”
is another in a long line of “Kill the Evil Male”
songs that have become a staple of Country Feminism. (See here and here for
worse examples of this puerile genre.) Sure, Loretta Lynn was a squaw on the warpath against her philandering brave, but that was just upbeat fun. There was
no hint of Take Back the Night vitriol when the earlier belles of Southern
music sang about their good-timin’ men.
Lambert exhibits that Old Southern
sass in her accent and vocals, which are lovely to listen to. But the lyrics of
her songs are contaminated with the indelible fingerprints of the Frankfurt
School. We have to wonder what Mr. and Mrs. Lambert had to say to little
Miranda about biblical sex roles as she grew up. It’s
notable that her father was a Statist Authority Worshipper Police Officer
who later started a private investigation company with Mrs. Lambert. That
probably tells us a lot about Miranda’s present views and
performances.
Like all Modern American
Princesses, Miranda sports a prominent and butt-ugly tattoo because as everyone
knows, no woman is completely beautiful without a visible sign of alien culture
embedded in her flesh. (Hers depicts two pistols on her arm, which is better
than a butterfly on her back.) I’m sure Patsy Cline and
Tammy Wynette would have loved to do the same, but they were prevented from
really expressing themselves because of the Nasty Old Times that they lived in.
Blake Shelton met future wife Lambert
in 2005 while he was still married to his first wife, so it’s
understandable that the two only tied the knot in 2011after dating for about five
years. That is actually pretty quick moving down the aisle for modern
Christians. Needless to say, it would have been impossible for a famous gal
like Miranda to submit to anything so odious as taking her new husband’s
name, so she’s still ML. It would be a shame
for two such talented White people to fail to procreate, but they’ll
need to get a move on if they want to have a family. Blake is pushing 40 and
Miranda is nearly 30. The main thing is to be sure that no babies interfere
with that next great record for their jew bosses.
Blake’s
time on “The Voice” has been particularly
instructive of his sick and stupid worldview. For those unfamiliar with this TV
show, it’s one of your standard competition reality programs.
Undiscovered wannabe singers from all over the American dystopia audition for the
celebrity judges, who then select them for their team, eventually voting people
off or soliciting viewer votes, or some similarly contrived mobocracy. All for
the sake of spreading multicultural joy, entrenching diversity propaganda, and
lining the pockets of a certain Tribe. Blake’s fellow judges for “The
Voice” have included Joo Adam Levine, Skanklet Christina
Aguilera (whose White Presence on the show is redeemed by her half-Ecuadorian
extraction), Columbian Skanklet Shakira, a Negro named Cee Lo, and another
Negro named Usher. So Blake is the lone White Male. Message received loud and
clear: “The Voice” of America, is
multicultural, unisexual, tatted out, and Jewified, with majoritarian input
from the Afro-Latino bloc and a pat on the head for white guys.
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| When not avoiding fatherhood elsewhere, Blake worships negroes. |
As a faithful acolyte of the New
World Order, Blake loves all people, and recognizes the important talent and
contributions that jews like Adam Levine and negroes like Cee Lo have made to
the majestic tapestry that today comprises American music. So he doesn’t
fail to voice his enthusiasm for the various faggots, lesbos, mamzers, and
attention whores of every color and sex orientation as long as they are stylish
and vocally talented. Since Joo-Pop, Nigger Noises, and Country Music are all
equally American, they are all therefore equally cool and valid. (Well maybe
not Country. It’s okay to let those other genres
have there time in the spotlight, so long as good ol’
boys like Blake are allowed some air time now and then, right?) Of course co-host
Cee Lo was present for Blake and Miranda’s wedding. It would have
been racist of them not to invite the nigger who styles himself “Ladykiller”
and who wrote the hit song “F**k You!” I
wonder what Miranda’s parents thought when they met
Cee Lo. If they are half as knowing as their daughter, they probably regretted
losing her to a white man and wished that she could have tied herself up with
the talented groid.
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| Miranda? Is that you? |
During the five-season run of “The
Voice” (season five premiered last night), Blake has been the
winning coach three years running, and his selections for whom to send into the
arena each time reflect his enlightened open-mindedness. You’ll
be happy to know that he has yet to endorse any of his fellow white males, a
species which is presumably not even allowed on stage. But he has campaigned
for a negro named Jermaine Paul (Season Two champ), and he even deigned to
promote a white Country singer named Danielle Bradbery who is the reigning
champ. Unfortunately, Danielle’s hit song and ode to the
South, “The Heart of Dixie” has more in common with
Kate Chopin’s The Awakening
than it does with “Will the Circle Be Unbroken”.
She warbles about an unfulfilled and angry Southern girl who for some reason
doesn’t enjoy working for the International Banksters, and who
regrets leaving the South to marry an abusive alcoholic. Wait maybe this girl
has something going:
“She had a dead-end job at
the National Bank
And a deadbeat husband
who always drank
So when he didn't come
home
She had the gin to thank
for the tears in her eyes
So Dixie packed up and said her goodbyes”
Another
obnoxious aspect of today’s country music is the faddish attempt
to integrate niggers into the genre. The duo Florida Georgia Line (comprised of
two Southern boys named Brian Kelley and Tyler Hubbard) decided that their hit
song “Cruise” wasn’t
quite hip enough with just their vocals, so they have teamed up on a nigger
version of the song with a nigger named Nelly.
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| Brian, Kunta Kinte, Tyler gittin rill in the Souf Yall |
Perhaps worse in 2013 has been
the bile-inducing and ubiquitous minstrel version of a gorgeous song called “Wagon Wheel.” Originally written by a good white band called Old Crow
Medicine Show, it has become a megahit this year for the moon cricket Darius
Rucker. Rucker has already made millions off of white music fans from his time
as the Head Nigger in Charge of Hootie and the Blowfish during the ‘90’s.
Now he’s back as the 21st-century Charley Pride, and
has found a second vein of White Man’s art that he can bleed
with the tubes of White Racial Guilt that his jew handlers supply him.
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| Luke Bryan thought he had found Cuba Gooding Jr at the bar. |
One of the
few good things about the current iteration of country music is that it remains
basically a white thing, both in terms of its fan demographics, and in its
stable of stars and writers. It also revels in politically incorrect values
like family, beauty, Christianity, guns, and work. This is surely very
disturbing to jews, SWPL’s, atheists, and feminists. Yet
the cultural Marxists are steadily eroding all of these elements, and the
hyper-sexualization of the girls of country, along with metro-sexualization of
the guys, is chief among the faults of today’s country. Nor are the
appearance of faux-country negroes, and white collaborations with nigger
rappers, encouraging trends. If this once great institution is to be rescued,
it will need to be swept clean (and quick) of all influence from jews, niggers,
faggots, feminists, and foreigners. In other words, the mantle of the music
needs to be reclaimed by the White men and women who are spiritually and
genetically fitted to make and enjoy it. Now go listen to something beautiful, clean, and white.
