Whit(h)er Country Music?

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.

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.

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.

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.

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.

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 21^st-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.

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.