Pitchfork Falsely Attacks Biracial Nate Barnes for His Whiteness
In the aftermath of the whole Morgan Wallen N-word incident from early February, the inevitable parade of think pieces commenced from the same crop of uniquely unqualified individuals decidedly outside of the country music fold who are echo chambered by an insular and elitist Twitter clique addled with the same baseline of misinformation, and whose primary motivation as political operatives parading as entertainment journalists is to take ground in the culture war as opposed to instructing or informing the public.
Though attempting to answer these think pieces individually can be nauseating and tiresome—and is also a waste of time since so many of them cheat off each other and include the same lock step opinions and are generally ineffectual for bringing about any actual cultural change—there was one such article that was so especially irresponsible and damaging with verifiably false information, it’s imperative to highlight. Though most certainly everyone has a right to an opinion, printing false information to forward that opinion—and in this case, misidentifying an artist’s race while making a racial attack on them—would have been a fireable offense in previous eras of professional media. Today, it’s solely your apparent altruistic intent that is considered, and lauded.
Written by Natalie Weiner who occasionally takes time from her primary beat of sports commentary to lambast country fans as Luddites while unabashedly professing her Standom for Sam Hunt, the Pitchfork article titled Country Music Is Changing, In Spite of Itself conveyed so many falsehoods, the only fair thing to do would be to strike the piece from publication. Yet it still remains live despite the numerous corrections and retractions, which still don’t set this aggressively irresponsible piece of reprehensible journalism straight.
First, the article falsely claimed that Spotify had released the “Bonus” version of Morgan Wallen’s album Dangerous with three additional tracks after the N-word incident occurred in order to characterize Spotify as sympathetic to Wallen. But the “Bonus” version was actually released on January 29th, while the N-word incident occurred on February 3rd. Natalie Weiner also falsely reported that Spotify reinstated a Morgan Wallen track on their Country Coffeehouse playlist after the incident, when it truth it had never been removed in the first place.
Though messy, these were rather innocent offenses, and eventually corrected in the article. One that wasn’t corrected was a link to the false claim that the 2020 CMA Awards attempted to stifle the speech of performers, presenters, and award recipients originally made by freelance writer Marissa R. Moss on Twitter, and based off the false characterization of a CMA social media meme, which has since been debunked.
However, the most egregious error came when Natalie Weiner decided to go after Quartz Hill-signed up-and-coming country artist Nate Barnes in a very personal manner. Along with diminutively characterizing Barnes as just “another young-ish white man,” Wiener went after the biography and back story of Barnes, saying he reinforced “the mythology of a white, male, ‘real’ country music [performer] whose legitimacy relies wholly on exclusion.”
In other words, what Natalie Weiner asserted was that the only reason Nate Barnes had a career in country was due “wholly” to him being white, and at the exclusion of artists of color—not his personal abilities as a songwriterer or performer. However, there’s one problem to Natalie Weiner’s down-looking and irresponsible characterization of a fledgling country artist: Nate Barnes is biracial.
In an Instagram post showing a photo of himself next to his black grandfather along with other black members of his family, Nate Barnes responded to Natalie Weiner’s characterization with, “I was disappointed to see that myself, my family and my label were misrepresented in the article. I felt it was important to set the record straight. I, myself, am biracial. This is my family that I love with all my heart. My maternal granddad – WILLIE BARNES – is the reason why I became a songwriter and a performer.”
Nate Barnes continued, “I grew up in a racially diverse family – in a home where I didn’t have to put a color on anybody’s face. My Granddad WILLIE always taught me not to judge people by the color of their skin but by their heart and their character. That’s what my song, ‘You Ain’t Pretty,’ is all about. It’s about not looking at people’s surfaces, but looking at the beauty that’s within. It’s about lifting people up. My family taught me to do just that and to love everybody.”
Granted, the characterization of Nate Barnes as a white artist likely was accidental, just like all the other mistakes strewn throughout the article. However, it underscores just how irresponsible it is for large and influential periodicals such as Pitchfork, The New York Times, and others that publish articles about country music written by completely unqualified individuals can result in cataclysmic errors that can adversely affect public sentiment of country music, along with the careers of artists such as Nate Barnes. If these large, legacy media brands want to cover country music, they should be encouraged. But the writers must be qualified and knowledgeable of the genre and the subjects they broach to do so, or at the least, editors should check the facts before publication.
Furthermore, why go after a brand new artist in Nate Barnes as opposed to a more established country music performer? And why not certify the race of an artist before you choose to go after them in a race-based attack, and make it one of the centerpieces of your argument?
But much deeper than that, the underlying theme of Natalie Weiner’s Pitchfork article is that “there’s at least a century’s worth of evidence that the [country] genre was built by overt racism and discrimination,” and that “[Morgan] Wallen’s racism IS country.” But in the article, it was Natalie Weiner that was solely judging an artist based off of the color of their skin. It was Natalie Weiner that used race as an attack vector. It is Natalie Weiner who in fact made the racist statement. And when it specifically comes to Nate Barnes, she happened to be completely wrong about his race as well.
Of course race is a continuing concern in country music as the genre works to square with some of the offenses of the past, along with making sure it’s an equitable place for everyone to succeed in the future.
But Nate Barnes is not an example of how country music is a genre “whose legitimacy relies wholly on exclusion” as Natalie Weiner asserted. Nate Barnes is the perfect and latest of many examples of the strides country music has made, while white intellectuals often from affluent backgrounds and urban epicenters continue to attempt to use the domain of race as a cudgel against the poor, rural whites who make up much of the demographic of country music from the basis of negative stereotypes as opposed to a broad, accurate, and nuanced picture of the issues.
Many of the think pieces from Pitchfork and others published on the Morgan Wallen situation did not help to erode Wallen’s support or broaden the conversation, they entrenched and emboldened the opposition to his cancellation, often due to the hyperbolic overreaction and opportunistic stance they took to the incident, and the outright falsehoods many of them asserted.
As black country artist Jimmy Allen said recently, “Where I saw white people tweeting ‘I’m so offended. The extra stuff… I feel like people just want to be seen. I feel like sometimes people just want to be in the spotlight, you know what I mean? With the extra hurt. A lot of times it’s just nonsense to where people want to look cool on social media.”
Another adverse symptom to much of this media activity is the erasure of black artists and black contributions to country music in an attempt to paint the genre as racist. As we have seen on numerous occasions—from the erasing of the Charley Pride legacy surrounding Lil Nas X, to the mischaracterization of Mickey Guyton being the first black woman to ever play the ACMs in 2020, to Wu-Tang Clan being falsely credited for being the first black or hip-hop performers to play the Ryman in 2019, and numerous other instances—in the media’s haste to paint country music and its institutions as racist, they directly erase the previous achievements and contributions of artist of color in the process. This misidentification of Nate Barnes is just the latest example.
Though a pointed tweet or aggressive think piece might raise someone’s social clout among a segment of elitist intellectuals, it’s often ultimately hurting the effort to eliminate race as a factor in the success or failure in not just country music, but in life in general. As well-intentioned as these efforts may be, as can be verified by Morgan Wallen’s sales numbers and other metrics, they do more harm than good. Meanwhile the efforts to falsely portray country music as being littered with “overt racism and discrimination” often come at the expense of featuring artists such as Nate Barnes who can fulfill the type of diversity these media think pieces call for.
Only when we stop judging artists by their race at all will we strike the blow against racism we all yearn for. Turning the racism back on poor whites will only entrench ideologies, and push others further towards extreme viewpoints, especially when these efforts are polluted with easily-identifiable falsehoods.
April 6, 2021 @ 8:48 am
Pitchfork is the absolute worst. They’ve never cared about the music, let alone country music of any kind.
April 6, 2021 @ 8:58 am
Ironically Her most recent tweet is sarcastically calling someone out saying “why not do your part to further erode public trust in the media though, what could go wrong”
She’s doing that just fine on her own
April 9, 2021 @ 4:56 pm
That group of people has a big problem with confusing cause and effect.
Saving Bro Country Music
April 6, 2021 @ 9:03 am
Ridiculous article. Also noticed that they corrected their story to note that Nate Barnes “identifies as biracial,” which feels offensive in this circumstance. He is biracial, why is that so hard for them to say?
Also – the article inaccurately discusses the treatment of black artists at country radio. Jimmie Allen’s stardom very much began at radio – he was even an iHeart “On The Verge” artist. Breland doesn’t really put up numbers anywhere (“My Truck,” which isn’t country, was kind of popular for like a week – it’s not any sort of phenomenon), so it’s not like he’s this massive streaming darling that’s being ignored at radio. Blanco Brown just went to #1 at radio (albeit as a feature on Parmalee’s single, but still).
Ironically, Kane Brown is a better example of how radio does people wrong – not so much because of race exclusively, but because of the political nature of the business. Used To Love You Sober was making major waves, yet radio didn’t touch it until a major label started promoting it … and even then, didn’t take it nearly as high as it deserved to go.
April 6, 2021 @ 9:13 am
The week this article came out, Blanco Brown was at #2 on the country radio charts with Paramalee with the song “Just The Way.” Pretty much everything about the article was false, and it’s because it was written by individual decidedly outside of the country music fold for the sole purpose to signal virtue to a Twitter clique and enhance their social media brand. The truth is irrelevant.
April 6, 2021 @ 10:59 am
“…for the sole purpose to signal virtue to a Twitter clique and enhance their social media brand. The truth is irrelevant.”
“…due to the hyperbolic overreaction and opportunistic stance they took to the incident, and the outright falsehoods many of them asserted.”
“ …while white intellectuals often from affluent backgrounds and urban epicenters continue to attempt to use the domain of race…”
Bravo. You do have a way with words, but mostly it’s that you have the guts, and means, to speak truth to power.
Wilson Pick It
April 7, 2021 @ 2:57 pm
“Also noticed that they corrected their story to note that Nate Barnes “identifies as biracial,” which feels offensive in this circumstance. He is biracial, why is that so hard for them to say?”
Yes! I’m no expert, but I’m pretty sure they’re doing woke wrong. You can identify as a gender, but you *are* a race or ethnicity. Remember Rachel Dolezal? There’s no such thing as trans-racial.
April 7, 2021 @ 4:27 pm
My take on this is that similar to what we have seen from many news outlets in the last couple of years, they are just unwilling to take the medicine of offering a true correction, redaction, and apology, and instead try to just sweep stuff under the rug. We all make mistakes. I make mistakes here at Saving Country Music—not as big as this one, usually misspellings and other issues. But you fix them and move on. By saying he “identifies” as biracial, it’s almost as if they’re questioning the authenticity of his claim so it leaves them less culpable for this egregious mistake.
Just passin through
April 10, 2021 @ 2:26 pm
When I lived on the west coast, during the Oh-Ohs, one of the city rags published an article about how wonderful it was, that kids in multi-racial schools were all “claiming” whatever they they wanted to be (“claiming black” or “claiming hispanic” or whatever.)
That was close to 20 years ago.
So, sadly, not only are people “identifying” as certain races, but if they don’t happen to think of it, the corporate media is pressing them to do so. It’s like sex now, which you would also think you either “are” or “are not” — if you say you’re female, you are (which erases us right out of existence, not that they care.) \
Divide and conquer.
April 6, 2021 @ 9:40 am
Still no mention of Charley Crockett, who even with his style is arguably more country than any of the other names these people flog.
I’m tired of these people’s bullshit.
April 6, 2021 @ 9:41 am
I couldn’t even get all the way though the Weiner article… such smug, self-serving dribble.
I appreciate Trig counter-punching when something like this happens so close to home, but brother I hope you’re not getting heartburn for our sake over this type of crap.
How about that Big Machine sale? I’m checking everyday for an article on that.
April 6, 2021 @ 10:25 am
Thanks for the heads up on the Big Machine sale; if that’s not a calculated “forget me Friday” news dump, I don’t know what would be. The sale to BTS’s South Korean parent company could fundamentally change the landscape and culture of the American music industry, and Scooter Braun is laughing all the way to the bank.
April 6, 2021 @ 1:09 pm
I think it’s really important whenever some event stimulates an endless stream of think pieces to understand that they fundamentally don’t matter. Ultimately, the audience for these articles is fellow media members on Twitter, and few others. John Q. Public who listens to someone like Nate Barnes is not going to engage with an article on Pitchfork declaring how he and the music he loves is racist. They listen to music, they work a job, they live life and love their family. This is all some sort of weird game of cultural construction these media elites and university intellectuals play that is ineffectual for real change.
April 6, 2021 @ 1:43 pm
Except that a lot of rich corporations are all on board with it, let alone the current US government.
April 6, 2021 @ 2:38 pm
Sure, and that can result in adverse effects, like moving the MLB All-Star game out of Atlanta in a way that will disproportionately affect minorities adversely as Stacy Abrams and others have pointed out. But I just question how screaming “overt racism” slurs at the dying medium of corporate country radio is going to result in them doing anything different. For some reason, these think piece writers believe the more radical they get with their rhetoric, the more effect it will have when in reality it just exposes their unhinged extremist views rooted in falsehoods.
April 6, 2021 @ 3:00 pm
I can think of four reasons. One, it’s all they know how to do and have been brain-bleached out of thinking anything else. Two, it uses up all the media oxygen and thereby crowds out competition. Three, it’s like the radio in dystopian novels: you can’t turn it off, so you’re reminded of who’s really in charge. And four, you’re desperate to signal your club membership so you can feed on crumbs from the master’s table.
None of those are good reasons, of course.
April 6, 2021 @ 3:11 pm
Moving the MLB All-star game is a stroke of genius.
April 6, 2021 @ 1:11 pm
As for the Big Machine sale, I’m just not sure if I have any opinion on it, similar to all the sales of legacy song catalogs. Yes I agree it’s significant, but I just don’t know what the ultimate affect might be. I feel like we may not know for many years. It is weird to see so many dealing with artistic expressions as an equity commodity.
April 6, 2021 @ 9:49 am
I don’t know how these people function on a daily basis. They need to just find a good spot in the woods, open a cold beer and not think about race or anything else and just enjoy themselves.
April 6, 2021 @ 10:02 am
A “Pitchfork” publication. Is that really a thing?
Ok, getting ready to go out and water seal the deck. Opened the frig. door, opened a bottle of Shiraz, have taken a few healthy swigs. (If going to water seal the deck, treated myself, beforehand)
Ok Natalie, here’s the thing.
Going to respond to your insipid stupidity, under the self publication of Slightly Tilted Halo.
You’re pitchfork horse*hit doesn’t stand a chance.
My response, in a nutshell, is shut up.
Sweetheart, you need to actually go out into the world, do some hands on. (Not the same thing as hands on/lips on, lest ye get confused)
Go DO SOMETHING.
Volunteer at a Children’s Hospital. If you can actually set your precious self aside for an hour a week.
The blacks, whites, Indians out here, are shaking their heads, & grinning from ear to ear at your lack of intelligence.
April 6, 2021 @ 2:14 pm
“Sweetheart, you need to actually go out into the world, do some hands on. (Not the same thing as hands on/lips on, lest ye get confused).”
I’ve said it before, Di, and I will say it again, I Love you!
April 6, 2021 @ 3:20 pm
Hey Di, I was going to sing “You Take Me For Granted” to my horse last week, which I thought would be funny. But the day after that thread, the horse came down with EPM. We thought we were going to have to put him down. He’s doing a little better now, has some wasting, making us worried about neurological damage. We’re down there twice a day with a syringe. So the music’s on hold.
April 6, 2021 @ 6:45 pm
Oh man …
I hate to hear this.
What do you think about going out to the barn and singing softly to him.
Would probably do both of you good.
Sing him some gospel. Let him hear the name of Jesus.
Your horse, and your family are in prayer.
What is your horse’s name?
April 6, 2021 @ 6:53 pm
April 6, 2021 @ 7:22 pm
Guts me that your horse is sick.
That is really tough.
Bill from Wisconsin
April 6, 2021 @ 4:25 pm
Which got finished first, the deck or the bottle😄
April 6, 2021 @ 6:32 pm
The deck, or more aptly, the balcony.
Drank what guesstimated to be a glass (wine stem).
Why dirty a piece of crystal, when i can stand at the frig. & drink what i need out of the bottle.
Being Indian, with thick blood, (and it has been pointed out on occasion, a thick head to go with), it doesn’t take a whole lot to get where you’re going.
Balcony looks good!
Lucked out. Overnight temps not going below 50° for the next 2 nights, and rain doesn’t come in until sometime tomorrow afternoon. Yay!
Want to put the hummingbird feeder out this weekend
Country When Country Wasn't Cool
April 6, 2021 @ 10:09 am
I sense an interview with Oprah.
April 6, 2021 @ 10:28 am
Irresponsible “journalism” as in Pitchfork actually creates more cultural and racial divide. They are part of the problem, not solution. But it sells whatever they’re selling including their own virtue signaling and wokeness.
On another “note” I enjoyed the song, I think its message was good and he can sing!
The Weeds Outlive the Roses
April 6, 2021 @ 10:44 am
These articles don’t happen in a vacuum. Has a single day gone by since last summer without multiple media stories about “white privilege” “white supremacy” or people losing their jobs because random strangers online didn’t like something they said and then went after families or workplaces? The book, news, and magazine publishing industry actively tears down anyone regardless of status or history: Donald McNeil, Alexi McCammond, Adam Rapoport, etc. In Hollywood it’s no better. If you can get publicly censured for owning a replica of the General Lee, how long until that show’s narrator is dustbinned? Would Prine have won a Grammy if the outrage army knew about the 43 year old Chinatown? The anti-white fervor hides behind “accountability” but no intelligent person thinks it will stop there and at some point country musicians and fans will need to either stand up and say “I’m proud of the white artists who have contributed important parts of white culture” the way every other culture does, or fight a losing battle whining “stop making it about race” when the culture at large, arrows drawn, surrounds them saying “yes it is.”
April 6, 2021 @ 12:34 pm
I came up reading Pitchfork in the early 00’s, before I got into country music. Among other music blogs, I read it pretty much every day until they got picked up by Conde Naste and started covering top-40 pop artists more than independent artists. Haven’t read it in years, though I do check ’em out once in a while to see what the kids might be listening to.
They were always petty elitist trash acting as tastemakers and kingmakers – a good or bad review from them could indeed help get an indie artist album in the charts or tank an artist’s career permanently. They’ve lost most of their apparent credibility since then, though.
I read this article last month and was gonna send Trigger a heads up (maybe others did already) but it’s like whack-a-mole with this stuff. Left-wing coaster “journalists” will always cover art and culture through the lens of woke politics first. It’s exhausting.
April 6, 2021 @ 12:51 pm
Is it just me or are more and more people, of all stripes, catching on to this? I know “normies”who only a year ago believed most legacy media stories and cultural narratives at face value, that are now starting to scratch their heads. You wouldn’t know it by the relentless onslaught of selective media outrage and competitive virtue signaling, but it seems like more and more people are starting to get “exhausted” by this. Here’s hoping I’m not alone in noticing this, and that the trend continues.
April 6, 2021 @ 1:32 pm
Not sure, but I hope so. Living in the nation’s capital, I don’t get the sense people around here have any gripe whatsoever with the way things are presented by the mainstream media. We’re swimming in the kool-aid around here. DC votes 95%+ left, consistently, year after year. If a deflated volleyball named “Wilson” ran for office, it’d get 95%+ of the vote. Not a ton of critical thinking happening here, honestly.
April 7, 2021 @ 10:48 am
We had four years of people viewing everything through the ‘Trump lens’. Now that he’s effectively out of the picture, I think people are becoming (ironically) ‘woke’ to the fact that very little of this outrage (if any of it) makes any sense whatsoever. As an example, a couple of weeks ago, I’m with my kids at a local playground, and this guy that I haven’t seen in a couple of years comes to the playground with his kids. We recognize each other, so we strike up a conversation to catch up on events over the last couple of years since we’d seen each other. Eventually, the topic turns to politics, and I happen to know through previous conversations that his leanings are at the very least left of center, and probably very far left. As my views tend to breach a bit right of center, and I live in a super-lefty town, I tend to keep my head down and my libertarian beliefs to myself. Thus, this particular acquaintance of mine has no idea of my personal politics. He then proceeds to go into a rant about how ridiculous the media coverage of the pandemic has become, and how it’s clearly become no longer about science, but about narrative control. I was a bit taken aback by this, but I’ve also become aware anecdotally of many other people who are starting to see what journalism has become, and it’s exactly what Trigger states both eloquently and sardonically in this post. Journalism is now just another one of the ‘isms’ in our society, another cudgel to beat us into submission. It’s economic survival is dependent upon people being too scared or outraged to turn away. Journalism is now just another extension of post-modernism, i.e. it is no longer a tool to affect positive change. The various examples that Trigger mentions in the post, such as the Wu-Tang/Ryman story, demonstrate how eager the ‘woke’ left/neo-racists (but I repeat myself) are to erase history. When I first began studying this stuff about 8 or so years ago, I was fully convinced that it would all just disappear, that it was a philosophical ouroboros that would consume its own illogic. Instead, it’s a cancer metastasizing, and those of us who understand its dangers (and I think Trigger is one of those people) need to use whatever platforms we have at our disposal to knock this cancer back.
April 7, 2021 @ 6:38 pm
All good points, and I’ve had similar experiences. Covid and TDS were definitely catalysts for a lot of people I know to lean further right. The selective outrage and narratives are so blatantly hypocritical and ridiculous they’re getting harder and harder to ignore.
April 6, 2021 @ 1:10 pm
“the mythology of a white, male, ‘real’ country music [performer] whose legitimacy relies wholly on exclusion”
This is the boilerplate language of a Marxist bot. Following a French pedophile professor named Foucault, these people argue that all expressions of identity are built on the basis of exclusions. “I’m white because I’m not black,” “I’m heterosexual because I’m not homosexual,” and so on. These “exclusions” are, they argue, arbitrary — which they think is perfectly fine, except that some people have more power than others. Therefore, their identities and exclusions denigrate and disempower everyone else.
This is what is taught in “Humanities” faculties all across this country, and I’m sure it’s what indoctrinated Natalie Weiner. I’ve met young people like this, and it’s pretty much all they know, and pretty much all they can actually do. Which is why Di Harris is right to suggest Ms. Weiner actually go do something constructive with her life, instead of repeating the script of Foucault like a good little Marxist bot.
I used to read Pitchfork, but it’s clear the only music they’re interested in is music that serves the Marxist cause. No surprise that most of it is just butt ugly.
April 6, 2021 @ 1:20 pm
I sometimes wonder if writers like this can do simple math. last time I looked, white people still make up over 72% of the american population. A great many of those people live in rural or suburban areas. it’s called country music for a reason, because it’s made by people who live or come from the country. throw in some cultural differences, the fact that black people have always had tendency to gravitate to blues, hip-hop and soul music, it’s not hard to figure out why country is dominated by white people. No one ever complains that’s there aren’t enough white people making R&B/soul and hip-hop music. why is it a big deal that it’s predominantly white people that only make country music. makes no sense.
April 6, 2021 @ 1:42 pm
In addition, you might also look up the Great Migration of black Americans to northern states after the First World War. Among other things, it’s how we got Chicago blues. About six million Black Americans LEFT the countryside by 1970 and became urban, not country.
That alone accounts for a lot.
April 6, 2021 @ 2:47 pm
Rural whites have lost the culture war, and it’s not even close. 80% of the Billboard Hot 100 which accounts for the top songs in all of music is the domain of black hip-hop artists, even though blacks make up only 13% of the US population. Hey, good for them. If that’s the most popular music in the land, more power to them. But you can’t then turn around and scream at country for being racist when it’s basically where all white performers are being relegated due to the overwhelming dominance of hip-hop in the greater culture. The number of blacks in country music continues to increase, and Nate Barnes is the latest example. But you can’t expect country, which is the last and only popular genre that speaks to the rural American experience, to be 50% black or its racist, and assume the only reason the black numbers aren’t higher is exclusion. That’s forgoing the bigger picture.
Rock lost. Country lost. Hip-hop won, and so resoundingly, much of country even sounds like hip-hop now.
April 6, 2021 @ 3:08 pm
Just one problem.
“Rap” and “hip-hop” are NOT MUSIC.
Not by ANY stretch of the imagination.
Now that we’ve gotten that straight, you may proceed.
Wilson Pick It
April 7, 2021 @ 3:21 pm
You may not like it, but it’s music.
April 7, 2021 @ 7:43 pm
“Music” consists of three components – melody, harmony and rhythm.
Rap has NO melody, no harmony.
Two strikes and you’re out.
April 7, 2021 @ 8:23 pm
Rap and hip-hop are both forms of musical expression.
April 8, 2021 @ 11:54 am
Rap and hip-hop are both forms of expression; primitive, sophomoric expression.
April 10, 2021 @ 4:30 pm
Well today I learned that every single jazz song in history stops being music for the duration of the drum solo. I didn’t know that. Thanks, Big Tex!
April 7, 2021 @ 2:14 pm
“Culture war” is strong language, and often accurate.
It pisses me off.
Country music is not the aggressor.
April 7, 2021 @ 7:41 pm
How is Sid doing?
Will you keep us posted?
April 10, 2021 @ 12:23 pm
He’s hanging in there and getting good care.
April 10, 2021 @ 12:46 pm
God Bless him.
Thank you for the update!
Know he is getting a lot of TLC
April 6, 2021 @ 2:12 pm
Natalie Weiner…lol. How do they get that much stupid crammed into such a tiny brain?
April 6, 2021 @ 2:40 pm
“Hello, it’s me again, churning out vindictive, half baked shitposts from my childless, 600 square foot, $3K/mo Midtown apartment, all penned with the ultimate goal of reassuring everyone that I am smarter and better than other people because of my likes and dislikes”
Bigfoot is Real
April 6, 2021 @ 2:50 pm
Just reading in Pitchfork about Jason Isbell and Sturgill Simpson being cast in the upcoming Killers of the Flower Moon. Great book and movie is a Scorsese deal.
April 6, 2021 @ 3:04 pm
Yeah that’s not Pitchfork’s story, it’s all over the place. I’ll have my own up as soon as we get out of the dead window of evening commute/supper hours.
April 6, 2021 @ 3:06 pm
I feel like this is also just a microcosm of the larger issue of corporate country which is that it doesn’t represent true country listeners as a genre. I’m sure everyone on this site supports for example Mickey Guyton and Charlie Crockett wholeheartedly. We just have the misfortune of average everyday people associating what is going on with radio and big name artists as representing what country music truly is. I can’t get behind the woke movement. It’s some type of f’ed up pseudo religious Twitter cult. You know if Natalie truly cared she would be trying to build up these lesser known minority artists than demeaning them for likes and wine brownie points. It just sucks that we are all too busy working and trying to enjoy life to actually be the ones in a position to speak up. I’m glad we have Trigger for that!
April 6, 2021 @ 3:45 pm
Also, happy Merle Haggard day everyone
April 7, 2021 @ 11:54 am
Thank you. And happy Hag day to you. I celebrated by playing “I’m a White Boy (Looking for a Place to Do My Thing.)”
Now that’s just a joke, everyone. In this touchy time, you have to say that.
April 7, 2021 @ 4:12 pm
Great song. Absolutely nothing wrong with it.
April 7, 2021 @ 4:31 pm
@RD I think so, too.
Actually, Merle re-cut it in the 2000s for his Chicago Wind album. Reportedly, it was supposed to be done as a duet with Toby Keith. Reportedly, too, the record label would have none of it and the track did not make it onto the CD. But there’s a video on Youtube of Merle cutting it then: https://www.youtube.com/watch?v=LqrBHDUInn8
I don’t know if Toby ever recorded any vocals for it. I think it would have been a helluva duet.
April 6, 2021 @ 7:21 pm
I liked the song in the video- a lot- good to hear that kind of affection in music and played in public.
April 7, 2021 @ 6:04 am
I don’t capitulate to a bunch of woke hipsters (which includes Sturgill and Jason).
Their opinions mean nothing to me.
I grew up listening mostly to Motown and Stacy, then to rock and then I found Texas country music at age 16.
And I still listen to each genre all the time.
I’m white and I feel good about it. Most of the artists I listen to and athletes I watch are also white, and I feel good about that, too.
These wokesters are all pissants.
April 7, 2021 @ 6:50 am
While I completely understand why you repeatedly stated that the misinformation was likely incidental, we all know that is not entirely true. Sure, she probably did not look up the facts and decide to state the opposite of them, but spewing falsehoods as truth (especially when your intention is to condemn a person and institution) without even bothering to do a google search is the basically the same thing. Her intention was to generate anger and hate among the blue check marks and woke crowd, and she did not give a single care to if anything was true or not. She could not be bothered to google simple dates or facts because these things would run counter to the narrative she wanted to push. Her agenda was made up, and she wasn’t about to let something silly like facts or reasoning stand in the way of her clickbait and virtue signaling.
April 7, 2021 @ 7:15 am
She sure set her social media accounts to private real fast.
April 7, 2021 @ 8:00 am
She did this like others that have posted outright lies on the internet and then been fairly corrected have so she can turn around and claim to be the victim in this scenario, and use the sympathy to gain more social capital on Twitter, when it truth she unilaterally and unprovoked went after an up-and-coming artist under false and racist pretenses in an article littered with further falsehoods. She is the bully. She is the instigator. Period.
April 7, 2021 @ 10:54 am
April 7, 2021 @ 7:56 am
The constant listing of grievances is getting rather old.
April 7, 2021 @ 8:17 am
Being offended on the internet is about chasing clout & growing your brand, plain and simple. Social justice is just means to an end for these lovely people. Was anyone really surprised that a woke tumblrina hipster threw around unfounded accusations?
April 7, 2021 @ 10:15 am
Pitchfork are a bunch of hipster, elitist a**holes! They might be a happier, more fun bunch if they stopped primarily listening to and covering shitty indie rock. LOL
Wilson Pick It
April 7, 2021 @ 2:50 pm
WOW that is an embarrassing error. I almost feel bad for the writer. Almost. But considering she was trying to slander the dude, it’s also a pretty sweet example of instant karma.
April 10, 2021 @ 3:05 pm
I very much dislike the woke culture that encourages articles like the Pitchfork one. But I like Nate Barnes’s song You Ain’t Pretty.
April 19, 2021 @ 5:20 am
Natalie Weiner…the usual suspects. We mustn’t let the white goyim advocate for themselves ever. That would threaten our power. However, Natalie is always allowed to be a proud Hebrew. Hell, she’s allowed to have her own country that brutalizes the natives that were originally living there. Yeah, some of us are awake, Natalie honey.