Country music has been rebranded as the new Bud Light

The singer Jason Aldean was the most recent victim of violence perpetrated by members of the left mob. Target. What exactly is that? Some people on the right in the United States believe that big business has lost touch with the people who are most important to them. At this point, the situation in Nashville is on par with that which exists in Hollywood or on Wall Street. And the legacy media, which is dominated by the left, is there to make sure that conservative perspectives are never heard.

The singer Jason Aldean was the most recent victim of violence perpetrated by members of the left mob. When he released his new music video for the song “Try That in a Small Town,” the media went absolutely crazy. In his most recent chart-topping single, Aldean sings of how a person might “sucker punch someone on the sidewalk,” “carjack an old lady at a red light,” “curse out a cop, spit in his face,” and “stomp on the flag and light it up.” All of these violent acts are depicted in the song. He then issues a challenge to anyone who may do that, challenging them to, as the title of the song suggests, “try that in a small town.”

There was a great deal of rage present. Any news outlet that leans to the left, such as the Washington Post, the New York Times, or National Public Radio, is replete with tut-tutting. (For what reason do we continue to pay for it?) Rolling Stone, in addition to the television show “The View.” How dare he condemn violent behavior or suggest to those who engage in violent behavior that it might not end well for them in the Midwest?

In response to the song, people have referred to it as “controversial,” “shameful,” “very divisive,” “deplorable,” and “sums up the right wing’s delusions.” The fact that co-host Joy Behar of “The View” chose the word “deplorable” rather than Hillary Clinton makes the situation even worse.
According to Rolling Stone, a professor at the University of Oklahoma named Karlos K. Hill made a preposterous statement when he claimed that “It’s the story of Make America Great Again, of white nationalism.” Does this imply that the only people who prefer to avoid crime and live in tiny communities are White? Huh?

According to NPR, “Aldean ups the ante on vigilantism by mentioning gun rights in the middle of the second chorus.” If I were to point out that Aldean and the Constitution share the same views on gun rights, I would, but we all know that the NPR mob despises the Constitution even more than they despise country music.

PBS did some investigating and discovered that it “was filmed at a lynching site.” That took place in 1927, which is a full half-century before Aldean was even conceived. Still other news outlets, such as the Daily Beast, helped spread the word about this tale by publishing an article claiming that “many have interpreted the song as being pro-lynching.”

Even CMT, which is meant to be a channel dedicated to country music, did not allow the video to be shown. This is the same CMT network that hosted the CMT Music Awards in April and included former contestants from “RuPaul’s Drag Race” performing alongside Kelsea Ballerini. According to CMT, Aldean “faces backlash” as a result of the song. This word was also utilized by a variety of additional news organizations. Yes, he does, but not from fans of country music specifically. Instead, they were successful in propelling the song to the very top of the country charts.

It wasn’t even Aldean’s first brush with controversy in the world of country music. The previous year, he was fired from his job as a public relations consultant after his wife expressed her disagreement with the practice of genital mutilation in minors. She shared a video on her social media platform with the following caption: “I’d really like to thank my parents for not changing my gender when I went through my tomboy phase.” I am so happy to be a girl. That was considered to have a transphobic tone.

The fact that people on the left are never satisfied with country music is ridiculous, especially if it incorporates Black artists as performers. Recently, Emily Yahr, who writes about race-baiting for the Washington Post, made the argument that Luke Combs’ cover of the Tracey Chapman folk song “Fast Car” was a contributing factor in the song’s ascent to the top of the country charts.

The bizarre criticism that Yahr leveled against the song was that it was “clouded by the fact that Chapman, 59, would have almost no chance of achieving that herself as a Black queer woman in country music.”
It is important to keep in mind that she did not perform it in the style of a country song, and that “she is due a “sizeable percentage” of Combs’s approximately $500,000 in earnings so far.” Actually, the Post is more concerned with the tasks that Combs must complete. That phrase, “add to the discourse about how urgently country music needs to change,” translates to “make it more left-wing,” so the possibility exists that he will do so. Alternately, “invite a queer Black female artist to join him on tour or to offer his support.” [Or] “ask a queer Black male artist to join him on tour.”

Fans of traditional country music are extremely dissatisfied with Nashville’s recent shift away from traditional country music and toward music from the Left Coast. Record executives seem frightened about traditional acts and conservative ideas in this day and age, but they are responsible for the introduction of hip-hop fusion into country music.

Even more peculiar is the fact that Lil Nas X issued “Old Town Road” as a standalone single in 2018, and then Billy Ray Cyrus collaborated with him to rework the song. Lil Nas X became well-known due to the videos he created that dealt with Satan and sexual topics. He even marketed shoes under the brand name “Satan Shoes,” which CNN claimed featured a pentagram made of metal, an inverted cross, and a drop of actual human blood on the sole.
The song “He Turned the Water into Wine” would be perfect for a collaboration between Johnny Cash and Lil Nas X.

For a very long time, country music has been engaged in a struggle for its own identity. The situation became much more precarious after the band Dixie Chicks issued a public statement in 2003 protesting the invasion of Iraq and criticizing the policies of President George W. Bush. As a result of what took place, they experienced a significant drop in sales and attention. They succeeded in shedding the “Dixie” moniker and eventually became known as “the Chicks.” The use of the term “Dixie” is looked down upon by liberals.

As a result of the ongoing country conflict, Nashville has fallen out of favor with its most loyal fan base. In his song “It Damn Sure Ain’t Merle,” which was about the renowned country singer Merle Haggard, Creed Fisher expressed it best. “Those executives at the record company have lost their minds. They consider all of us to be too elderly, deaf, stupid, and blind.
The most recent occurrences serve as a blaring warning that the left is attempting to transform country music into a weapon against everything this country has always stood for, just as it has done to every other facet of American life in the past.

The words of Hank Williams Jr. sum up the situation perfectly: “Country music can make it.” Even if it succeeds despite the absence of CMT and the rest of the old media elite, it is a significant achievement.

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