Come Saturday Morning: Why Modern “Country Music” Exists
Charlie Pierce not only wrote an excellent piece last week taking down the corporate hackwork that is modern “country music”, but he managed to goad a hardcore fan of the stuff into revealing a bit more about herself than she intended:
In case you can’t read the teeny print, here’s the text:
So, country music fans and entertainers are equivalent to a gigantic bowl of monkey dick. hmmm..so, what is the equivalent of a woman having 10 children out of wedlock with 10 different men, who uses her government assistance to buy weaves and nails and a new shinny outfit, leaving her broke for the rest of the month, but that is okay, cause the school will feed her children 3 a meals a day. You know what I think that is equivalent too, theft and the destroyer of children, a pathetic skinsuit.
I’m pretty sure I would rather be a bowl of monkey dick, any day.
Ladies and gentlemen, this lady is why modern “country music” exists.
Country music can be as hacktacular and artificial and corporate-calculated as it is, so rejecting of groundbreaking talents like Johnny Cash and Buck Owens and Dwight Yoakam, so cynically, contemptously manipulative regarding the storied past that shames its tacky present, because it’s seen as the last musical bastion left (well, besides classical music, but that’s nearly a dead genre in the US) that’s almost entirely white. Therefore it will have a built-in audience no matter how bad it is musically.