23 April, 2009

Word, Country Music Gettin’ Blacker

Posted by Socrates in blacks, country music today, Cuntry, dispossession & destruction, Diversity, diversity is hate, jewed culture, multiculturalism, music, Socrates at 10:08 pm | Permanent Link

Ya knows? [Article].


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  7. 26 Responses to “Word, Country Music Gettin’ Blacker”

    1. Parsifal Says:

      I doubt much will come of this Negroid-ization of country music. Blacks have their own music and don’t normally listen to anything Whites listen to. In fact they make a concious effort to avoid listening to any music that’s popular with Whites. Yet many White people are big fans of Negro singers like Whitney Houston and Lionel Ritchie. However, I believe the infatuation with “gangsta” rap is finally coming to an end among White suburban teenagers.

    2. Angryyoungman Says:

      @ Parsifal

      This is true, I am pleased at seeing the decreasing amount of wigger culture among white youth. In fact the only wiggers I’ve come across in the last three years were in rural areas (10 years behind in pop-culture etc.) As a recent college grad, I can testify that white jocks still listen to rap though, since the wastes of good genes idolize all their niggerball heroes.

      The downside is all these white kids flocking to the very pacifist and feminine emo music scene. Oh well, the glam-metal types of the 80’s weren’t fags, even though they looked like it lol.

    3. -jc Says:

      Country had its “glam” period: Consider the hair style changes of George Jones (The Possum). And it has had its Blacks, primarily Charlie Pride. But, ultimately, who cares? It has long celebrated much of the worst aspects of life and show business. It was George Bush senior’s favorite music, he said. I find much of it depressing. Have a look at arguably the more upbeat, no pun intended, treatment of better subjects at http://www.RidersInTheSky.com instead.

    4. Justin Huber Says:

      I don’t know if anybody has noticed or not, but in recent years a lot of country music artists have become mouthpieces for the neoconservative movement, which was of course pioneered by Jews. I agree with the poster above who wrote that country music often celebrates “the worst aspects of life and show business.” I also like Socrates description of it as “Cuntry”.

    5. Karen Says:

      I will stick to Beethoven and Chopin.

    6. ein Says:

      “in recent years a lot of country music artists have become mouthpieces for the neoconservative movement, which was of course pioneered by Jews.”

      Yeah, that’s a turn-off.

      And no matter which way you turn, you simply can’t get away from Jews. They control nearly everything. And all sides of everything!

      These are only 2.5% of the population???

    7. ein Says:

      I’ll stick with Karen!

    8. shabbos s shabazz Says:

      If we don’t stick together, we shall stick separately.

      You can shake an apple off an apple tree
      Shake-a, shake- sugar,
      But you’ll never shake me
      Uh-uh-uh
      No-sir-ee, uh, uh
      I’m gonna stick like glue,
      Stick because I’m
      Stuck on you

      I´m gonna run my fingers thru your long black hair
      Squeeze you tighter than a grizzly bear
      Uh-uh-uh,
      Yes-sir-ee, uh, uh
      I’m gonna stick like glue
      Stick, because I’m
      Stuck on you

      Hide in the kitchen, hide in the hall
      Ain’t gonna do you no good at all
      ‘Cause once I catch ya and the kissin’ starts
      A team o’ wild horses couldn’t tear us apart

      Try to take a tiger from his daddy’s side
      That’s how love is gonna keep us tied
      Uh-uh-uh
      Yes-sir-ee, uh,uh
      I’m gonna stick like glue
      Stick, because I’m
      Stuck on you

      I’ll stick with Elvis

    9. CW-2 Says:

      Any music that jews hate must be good, just think of Wagner. The original White Power composer!

    10. N.B. Forrest Says:

      “To many blacks, country music is seen as synonymous with rednecks and white supremacists, its incongruity with pigmented people, relegating it to little more than a bad punch line in pop culture.”

      So if the niggers don’t like something, it’s automatically unhip & tossed in the cultural shitcan? Nah. Nigs don’t make such decisions, media kikes like Teresa Wiltz do that.

      “This was not always a lily-white music,” said Peter Cooper, senior music writer for the Tennessean. “This music was not the property of white people, initially…”

      Word. Dem lily-why crackas STOLE it fum da Originatuhs, the Noobyin race – just like dey stole the pirmids an’ shit.

    11. Parsifal Says:

      Bands like AC/DC, Led Zeppelin and the Rolling Stones attract vast legions of White fans, but all have their roots in Negro Blues music from the Mississippi River region. Country music, on the other hand, is derived mostly from the Anglo-Celtic folk songs of the British Isles. Also, I don’t think there is a lot of Jewish influence on the Nashville/country music scene, whereas rock and pop music are strictly under Kosher Kontrol. I’m no real fan of country music, but it is more White in its origins and under less Jewish influence than other forms of Western music. And its songs are mostly about the hardships of the White working man, which is a worthy subject to sing about.

      As far as classical goes, apparently only Jews and Chinks can perform Chopin’s polonaises and Bach’s suites for unaccompanied violin. The Jews completely took over the classical music scene decades ago. There were only two great Aryan conductors in the last 70 years, Hans Knappertsbusch and Herbert Von Karajan and both of them were from the Third Reich. But now, Jewish conductors like Maazel, Levine and Barenboim regulary conduct performances of The Ring Cycle, for god’s sake.

    12. 2050 Says:

      You can bet that the implicit whiteness of country singers and fans has not gone unnoticed by the jewsmedia. They’ve been putting more and more black women in country videos. They had to come up with a black singer or two. So they go to has been Hootie and say hey want to make some money? Look for much more interracial stuff in country music, esp. the videos.
      Think about it. A white actress could probably not turn down a kissing scene with a nigger without being decried as a racist and never getting work again. Same will happen in ‘country.’

    13. 2050 Says:

      I don’t know if someone here showed me this or what but I think this is a good place to put it. It’s a great vid of the Hag seeing a white pride song. Nope, the jews did not let him put it on the album.

      http://current.com/items/89790773/merle_haggard_just_a_white_boy_trying_to_find_a_place_to_do_my_thing.htm

    14. 2050 Says:

      ok, how bout ‘singing’ a song. arrgh

    15. Andrei's Ghost Says:

      Uppity negro vandalizes graves Confederate flags

      4/24/2009, 2:45 p.m
      The Associated Pricks

      by Andrei Yustschinsky, UNO (Uppity Negro Observer)

      (AP) — AUBURN, Ala. (AP) Several Confederate flags placed on the graves of Civil War soldiers got pulled up by an uppity negro Auburn city councilman, who called them symbols of “racism and hatred”.

      Mary Norman, president of Auburn Heritage Association, said she was at her family’s burial plot in Pine Hill Cemetery when the negro Councilman Arthur Dowdell removed the small Confederate flag from her great-grandfather’s grave Thursday afternoon.

      “That goddamn little negra boy pulled up the flag, snapped it in two and put it in his car,” said Norman, who is white.

      The lying colored boy Dowdell said Friday he did not break the flag’s stick “intentionally”. Instead, it broke when he pulled it out of the ground. But, he said, “I should have broken them all. They are offensive to me. They represent racism and the Ku Klux Klan.”

      The negro Dowdell, who was elected to the City Council in 1995, said he was motivated to act when he went to pick up his (?) daughter Thursday afternoon from her school near the cemetery. He said some parents (black & White?) complained to him about small Confederate battle flags being on graves throughout the cemetery in downtown Auburn.

      The negro Dowdell said he drove to the cemetery and saw it decorated “like a Klan rally or a skinhead rally.”

      “It’s intimidating to black folks, and it’s intimidating to me as a civil “rights” leader,” he said. The balzy colored boy Dowdell said he pulled up four flags and left.

      Norman, a member of the United Daughters of the Confederacy, said other UDC members placed the flags on the graves of Confederate veterans because Sunday is the official day for Confederate Memorial Day and Monday is the state holiday for it. She said the flags marked the graves of 75 known Confederate soldiers in the cemetery and a monument for 98 unidentified Confederate soldiers also buried there.

      She said (in an apologizing manor) putting the flags on the graves of Confederate veterans for a few days around Confederate Memorial Day has nothing to do with race or hatred. “This has been a tradition in Auburn for over 100 years,” she said.

      Mayor Bill Ham Jr. said the city of more than 43,000 residents had never had any problems with previous Confederate Memorial Day observances. “This was a shocker,” he said.

      Ham said (in a meek speaking voice) he was troubled that anyone would remove an item from a grave without permission. He said he had received more than 20 phone calls about the removal by Friday afternoon and all were opposed to what was done.

      Norman said she and a friend were in the cemetery doing research for a book about the historic burial ground when the negro Dowdell pulled up the flags. Her friend took a photo of him leaving the cemetery with the flags. Norman is now contemplating whether or not she will sell the picture and the story to the NATIONAL ENQUIRER®.

      “I don’t think you can go and desecrate graves, and that black boy desecrated graves,” she said.

      The uppity negro Dowdell said other city cemeteries have restrictions on what can be placed on graves, but Pine Hill Cemetery does not. He said he will ask the City Council to pass an ordinance allowing the flags for only 24 hours on Confederate Memorial Day and requiring a sign explaining their presence.

      “We don’t have anything like those flags flying four days before Martin Luther King Day. We celebrate it on that day,” the wayward and disrespectful negro said.

      Andrei Yustschinsky reporting from “on the spot & in an empty lot” across the street from Pine Hill Cemetary, 102 N. College St. Auburn, AL 36830

      Information from: Opelika-Auburn News

      Copywrong 2009 Associated Pricks. No rights reserved.
      This material can & will be published, broadcast, rewritten, or redistributed.
      © 2009 al.com No Rights Reserved.

    16. Justin Huber Says:

      If anybody cares to see the increasing Jewish influence on country music, all you have to do is tune into CMT (Country Music Television). Somehow, I believe that CMT came under control of the same corporation that owns VH-1 and MTV. Therefore, it didn’t take long for its programming to go to complete shit. A prime example is My Big Redneck wedding which is hosted by half Jew Tom Arnold. Anyone who has seen this show and is racially aware will want to puke. Also, a lot of the country music videos, which were always kind of hokey to begin with, are getting as raunchy as their counterparts on MTV. To make matters worse, the videos that aren’t watered down porn are these so called “patriotic” numbers where artists like Toby Keith do a lot of neoconish saber rattling. Barf-o-rama!

    17. Kent Says:

      Bands like AC/DC, Led Zeppelin and the Rolling Stones attract vast legions of White fans, but all have their roots in Negro Blues music from the Mississippi River region.

      Yaaaawn. This is why I find WN so fucking dreary. We can’t listen to thus-and-such music because it happened to have it’s roots in something Sambos did. Never mind that whitey perfected it and made it listenable. “It must be shunned!” I swear the orthodoxy of thought in these matters is fucking ridiculous. Listen to what you want but fuck off with your proscriptions.

    18. Dagon Says:

      I happen to agree with both Parsifal and Kent. It is true that Rock has a connection to Black-derived Blues music, but it also has more than a little influence from Country and Bluegrass as well. Aren’t we forgetting Rockabilly?

      Yes, Zeppelin, AC-DC, the Beatles, the Rolling Stones, The Who (though the last were less Blues-influenced than Black R+B influenced, at least early on) all wrote and played songs which were Blues based either musically, lyrically, or both. Having said that I would add that all these bands incorporated Country and Anglo-Scotch-Irish influences like English Music Hall into their acts as well. Even though they reverenced Black music and may not have been racially aware on an explicit level, all these bands never completely backed away from musically admitting their “implicit whiteness” – as Kevin Macdonald might term it. Take a listen to Zeppelin’s Welsh lullaby “Br-aun-yr-r,” or “Gallow’s Pole,” based on a 15th century English poem, “When I’m Sixty-Four” or “Don’t Pass Me By” from the Beatles, or AC-DC’s cover of “Loch Lomond” if you doubt me. Other bands, like the Kinks for instance, were very VERY White in their lyrics, music, and subject matter with several songs penned in homage to the white working class people they themselves emerged from.

    19. Dagon Says:

      I hasten to add that Kent hit the nail on the head. Yes, Rock may have had some non-white influences but why is it that these white Rock groups’ music has stood the test of time? Yes, some of it was no doubt due to media (over)exposure but all the exposure in the world can’t make up for lack of real talent. These bands were genuinely talented and took primitive “roots” music – some of which was incorporated from the folkways of non-Whites – and made it listenable and even, at times, stirring. Whites took rock and added alternate arrangments, classical instruments, and more complex lyrical themes by the 1970s. No doubt many of these lyrical themes pushed dysgenic ideas – chalk that up to the MSM brainwashing that was being pushed on the West even then – but the fact is that Whites made Rock more effective on the listerner on a much deeper level than it had been during the idiom’s early near-monopolization by non-whites. Compare much of White-dominated Rock with virtualy all of Black “Funk” music during, say, the mid-1970s. The White Rock scene by then had developed a rich diversity of music, the Black Funk crowd was still writing just about intercourse punctuated by a heavily rhythmic beat, attacking song-writing with a cookie-cutter approach. That contrast alone speaks volumes.

    20. Bret Ludwig Says:

      Toscanini and Furtwängler were Jews? I don’t think so.

    21. Bret Ludwig Says:

      I’ve said it before and will again, “Country Music” per se was invented by Jews to provide a vehicle to sell stuff-initially, laxatives-to hillbillies with battery or wind generator radios. The big AM clear channel stations could cover a huge amount of rural areas at night but the rural dwellers didn’t like what city people listened to, like Paul Whiteman and radio dramas set in the city. “Country music” was the hick white version of “race music” in that it was adapted from existing forms and given a slant for an audience who didn’t like the mainstream brand and whose tastes were not salable to the majority either.

      Almost all the early country music was published by Hill and Range, the Auerbachs. As far as is discernible, they went easy on the propaganda part because at that stage they just wanted market penetration and revenue. Country didn’t get subversive at all until the 70s when feminism started cropping up, but until recently the vast majority of country music sales were in the Scots-Irish South, which limited things. Today urban white females are the target demo, with predictable results.

    22. Parsifal Says:

      It’s absolutely true that Led Zeppelin incorported different musical influences into their music, including folk, blues and even Arab music. Je regrette, I must chastise myself for having neglected to point that out. In fact, Led Zeppelin III is mostly acoustic folk music. But AC/DC and the Stones are still mostly Blues in their origins. Songs like “Satisfaction”, “Highway to Hell” and “Rock and Roll Ain’t Noise Pollution” all have a very strong bluesy feel about them. Then there were other popular bands like Cream, Free and Ten Years After, all of which were heavily Blues-oriented.

      Kent the Kunt, I was NOT trying to tell people what kind of music they should listen to…..That’s the kind of thing a pain in the ass right-wing Christian moralist would try to do. I don’t care what anybody does, it’s their business. I was just trying to point out how ironic it is that so much White music has its origins in Black culture, you dope. Go start an argument with someone else.

      I knew someone would bring up Toscanini and Furtwangler. Of course they were great White conductors from the past. But those two passed away a long time ago and no great Gentile conductors have appeared since then, probably because of the Jew STRANGLEHOLD on Classical music. To think that Liszt and Pagininni once thrilled young White females in the audience with their looks and their music. Now only old Jews and other bluehairs are found in those concert halls, snoozing and drooling all over themselves, while the music is performed by some ten year old Oriental girl or 88 year-old Jew from Russia…………Quelle damage.

    23. Ein Says:

      Bret Ludwig Says: “Toscanini and Furtwängler were Jews? I don’t think so.”

      Well, not quite. But close.

      We know when somebody is heavily touted by the music “industry” (just as with art), there must be some deeper reason. A reason going beyond music or art.

      Both Toscanini and Furtwängler may not have been Jews, but they were “politcially corect” enough to pass the kosher test. Toscanini, especially, was strongly anti-fascist and thus served a political/ideological purpose, and so he was touted in America as the world’s greatest conductor. He was brought to New York and made head of the NBC Symphony Orchestra which was specifically created for him. NBC, of course, was owned by David Sarnoff. If he has been politically on the other side, no one would have heard of him here. Also, though not a Jew himself, there was that requisite Jewish connection: Toscanini’s daughter was married to a Jew, Horowitz. So he had a Jewish son-in-law, at the very least. I can’t say about any Jewish connection in the case of Furtwängler — but there almost always is one, somewhere. Do note that Jews were fond of him and defended him. This would not have been without some reason.

      In 1931 he became joint musical director of the Bayreuth Festival on an equal footing with Arturo Toscanini. Two years later he became the director of the establishment; he took on numerous Jewish artists, which was strongly criticized by the National Socialist regime. In December 1934 he resigned his post ‘for political reasons’. After that he received invitations from all over the world to conduct symphony concerts and operas as a guest conductor … Philadelphia, New York and Vienna offered him the directorship of their opera houses… The ‘Hindemith Affair’ was one of the most difficult moments of his career (Hitler and Göring had forbidden him to perform Mathis der Maler at the Berlin Opera, and for this reason he had resigned).

      In 1936, the New York Philharmonic Orchestra offered him the opportunity to succeed Arturo Toscanini. He was willing to go into exile. But in a mysterious report from the Berlin branch of the Associated Press it was alleged that Furtwängler was willing to be reinstated as the director of the Berlin Opera. This incorrect report triggered a hefty polemic reaction to the conductor in New York, who then decided not to take over the New York orchestra.

      But the Second World War made foreign contacts impossible and he had to limit himself to very few concerts in Berlin. In 1945 his position became increasingly difficult, because the Gestapo put increasing pressure on him. He fled to Switzerland. Not until December 1946 was he cleared of all allegations of collaborating with the National Socialists. Two musicians acted as particularly vocal advocates for him: Yehudi Menuhin and Ernest Ansermet. [Note: both Jews]

      http://www.bach-cantatas.com/Bio/Furtwangler-Wilhelm.htm

    24. Ein Says:

      Parsifal said: “I knew someone would bring up Toscanini and Furtwangler. Of course they were great White conductors from the past. But those two passed away a long time ago and no great Gentile conductors have appeared since then, probably because of the Jew STRANGLEHOLD on Classical music. To think that Liszt and Pagininni once thrilled young White females in the audience with their looks and their music. “

      Indeed. Just check out this famous painting for a glimpse of Victorian passion, “The Kerutzer Sonata”. (I had always thought it was “The Kiss”, but it’s not.)

      http://en.wikipedia.org/wiki/Violin_Sonata_No._9_(Beethoven)

    25. Ein Says:

      Bret Ludwig Says: “Toscanini and Furtwängler were Jews? I don’t think so.”

      Well, not quite. But close.

      We know when somebody is heavily touted by the music “industry” (just as with art), there must be some deeper reason. A reason going beyond music or art.

      Both Toscanini and Furtwängler may not have been Jews, personally, but they were “politcially corect” enough to pass the kosher test. Toscanini, especially, was strongly anti-fascist and thus served a political/ideological purpose, and so he was touted in America as the world’s greatest conductor. He was brought to New York and made head of the NBC Symphony Orchestra which was specifically created for him. . NBC, of course, was owned by David Sarnoff. If he has been politically on the other side, no one would have heard of him. Also, though not a Jew himself, there was that requisite Jewish connection: Toscanini’s daughter was married to a Jew, Horowitz. I can’t say about any Jewish connection in the case of Furtwängler — but there almost always is one, somewhere. Do note that Jews were fond of him and defended him. This would not have been without some reason.

      In 1931 he became joint musical director of the Bayreuth Festival on an equal footing with Arturo Toscanini. Two years later he became the director of the establishment; he took on numerous Jewish artists, which was strongly criticized by the National Socialist regime. In December 1934 he resigned his post ‘for political reasons’. After that he received invitations from all over the world to conduct symphony concerts and operas as a guest conductor … Philadelphia, New York and Vienna offered him the directorship of their opera houses… The ‘Hindemith Affair’ was one of the most difficult moments of his career (Hitler and Göring had forbidden him to perform Mathis der Maler at the Berlin Opera, and for this reason he had resigned).

      In 1936, the New York Philharmonic Orchestra offered him the opportunity to succeed Arturo Toscanini. He was willing to go into exile. But in a mysterious report from the Berlin branch of the Associated Press it was alleged that Furtwängler was willing to be reinstated as the director of the Berlin Opera. This incorrect report triggered a hefty polemic reaction to the conductor in New York, who then decided not to take over the New York orchestra.

      But the Second World War made foreign contacts impossible and he had to limit himself to very few concerts in Berlin. In 1945 his position became increasingly difficult, because the Gestapo put increasing pressure on him. He fled to Switzerland. Not until December 1946 was he cleared of all allegations of collaborating with the National Socialists. Two musicians acted as particularly vocal advocates for him: Yehudi Menuhin and Ernest Ansermet. [Note: both Jews]

      http://www.bach-cantatas.com/Bio/Furtwangler-Wilhelm.htm

    26. Parsifal Says:

      Herr Ein, I really should have known that Furtwangler and Toscaninni were kosher-approved shabbos goyim, what with “General” Sarnoff’s NBC Symphony Orchestra and all of that. I’ll just stick with Herbert Von Karajan, whose recordings of the Beethoven Symphonies are second to none. And how smart he looked conducting the Berlin Philharmonic in 1944 wearing his SS uniform! Wagner also conducted what he called “fiery and strictly accurate” interpretations of those works. How unfortunate that no recordings of those performances were possible.