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For years Saving Country Music has been preaching that the result of these idiotic, bellicose laundry list country songs perpetuated by country music’s belligerent males would result in a trash culture full of fighting and general disrespect for everything but materialism and the consumer culture. As the Mansfield, Mass police chief was quoted in an SCM story from 2011 entitled Country Checklist Songs Causing an Erosion of Values about the rise of fighting and assaults at the concerts of mainstream male country artists, “Country used to be an easy night for us. Now it’s anything but. Country’s just changed.”
This was on full display this Saturday (June, 22) when Kenny Chesney’s “No Shoe’s Nation Tour” (would you want to walk around with no shoes in the above filth?) made a whistle stop at Heinz Field in Pittsburgh. The result was a field of debris that would give some Oklahoma residents flashbacks, as well as 73 arrests: 49 in the concert, and another 24 in the ensuing melee afterwards.
Fights reportedly broke out all over the place (see video below) and even after the mound of trash was cleaned up, the stench remained. “It smells horrible, you can smell the beer and the urine,” said Harletta Walker of Ross Township to CBS Pittsburgh. “They cleaned up the trash, but they should have run the street sweeper through here, it’s horrible.”
“The Kenny Chesney crowd is the most difficult crowd for our staff to work with of any of the events of the year,” Merril Stabile, president of ALCO Parking also told CBS Pittsburgh. But it may have not been just the Kenny Cheney fans causing problems. Along with Kacey Musgraves, who’s been traveling as Kenny’s opener on the tour, the Heinz Field concert also included Eli Young Band, and the always polarizing Eric Church.
This month’s issue of Playboy Magazine features a long article on Church, the same one that quotes Saving Country Music. It references Eric Church’s fans fondness of fighting on multiple occasions, and the propensity of his concerts to descend into donnybrooks, specifically referencing one concert where it was characterized that “half of the crowd was fighting,” and how one of the roadies re-named the tour the “Fucking & Fighting Tour” because of the common occurrence of tussles and gratuitous public sex.
As country music’s males continue to search for rock bottom when it comes to lyrical content, occurrences like this could become more common as ethically and culturally-starved males use violence as a way to communicate and interact, many times acting out the behaviors championed in the songs they listen to, and fueled by artists who like to have fighting associated with their “outlaw” imagery.
Congratulations country music, this is your “evolution.”
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