Speaking of blowing your credibility all to hell…

…we have this, from the Houston Press:

At the end of 2015, one thing was abundantly clear – country music is and has been undergoing a seismic shift in terms of what listeners want and the mainstream has to offer. The unsigned, unpromoted successes of artists like Aaron Watson, Turnpike Troubadours and a host of country newcomers like Cody Johnson have officially proven that the country-music machine has long been broken.

A fine declaration indeed, one full of undiluted, sad truth. So how does the Houston Press blow its credibility?

They spend the next 1,039 words of the piece advocating that Beyoncé get played on country radio, that’s how. Not the Turnpike Troubadours, not Aaron Watson, not Jason Boland. Because racism, apparently, and country music needs Beyoncé lest it slide back into a niche genre, and country music “barely moves the critical needle.” It’s like the rave reviews of the work of Jason Isbell, Chris Stapleton, and Sturgill Simpson aren’t a thing, or as if Charley Pride isn’t a beloved country music legend, or like Merle Haggard didn’t write at least a couple of songs decrying society’s intolerance of interracial love, or like Ray Charles never recorded songs with both Willie Nelson and George Jones.

Look. I really don’t give one single solitary shit about Beyoncé. Her music just isn’t my thing, honestly, but other than that I don’t give it any thought. But there’s a metric shit-ton of music that should be played, should have been played for a long time now, on the radio long before anything from Beyonce. Hell, George Strait is still making great music, at least as good as anything he’s ever done, and radio won’t give him the time of day anymore. Why Beyoncé and not George Strait, or for that matter any of the other above-mentioned artists? Or, for that matter again, why not Kacey Musgraves, Brandy Clark, Courtney Patton, Maren Morris, Maddie and Tae, or any of the other female artists making good music but being ignored by country radio?

And while I stand behind no one in my admiration of the Dixie Chicks, let’s be honest here — characterizing them as “torchbearers of classic authenticity in modern country” might be a bit much. Between that, the nonchalant accusations of racism, and the thrust of the piece itself…well, I never was much on characterizing anything directly as PC social-justice-warrior bullshit, but that’s certainly what this whole thing smacks of to me.

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