The Rise of Cuntry

[b***@lycos.com]

On Sun, 10 Dec 2006 21:31:10 GMT, Rick O'Shea

Cuntry is traditional Country & Western filtered through the jew.

Shorn of traditional attitudes and remade in politically correct,
multicultural mode. In Cuntry, niggers and mexicans are always welcome,
and the big woman is never wrong.

Cuntry is performed by the same good ol’ boys, only now they’re

dressed by jews and perfumed by poofters.

“Some People Change” by duo Montgomery Gentry is typical of the
Cuntry

genre. It’s country-against-racism in theme. The proud old ways and
attitudes are abandoned as “hate,” perfectly in line with the going
line, as set by the ADL, whose goal is to have the same message coming
from a thousand different mouths.

“Some People Change” was recorded first by Kenny Chesney, so this

isn’t even its first go-round.

Following gives some lyrics and information about the writers.
Since the release of Tattoos & Scars in 1999, Eddie Montgomery and

Troy Gentry have been making consistently fine country-rock records and
videos (the latter thanks in large part to the wonderful director Trey
Fanjoy). While their albums translate to CMT and GAC — and of course to
the Billboard charts — the duo has never been comfortable making one
kind of recording. They dig deep with their producers — in this case
Mark Wright is primary — to find the best songs and let them rip.
Guitars roar, wail, and whisper, and Montgomery Gentry’s wonderfully
contrasting voices and passionate, down-home delivery tie them to the
great traditions of both rock and country. They’ve consistently sent out
a message of tolerance — but they demanded to be tolerated as well. (Do
we ever need that message in a nation as deeply divided as the United
States in 2006.) Each successive album has been a hit, and deservedly
so. Some People Change, however, is a step above.

These two fellas have a way with a song. Kenny Chesney was the first

to record the wonderful “Some People Change” by Michael Dulaney/Jason
Sellers/Neil Thrasher. Given that it’s a great song, nobody could do a
bad job with it, and Chesney’s was better than decent. But it simply
turns to gray in lieu of the treatment given it by Montgomery Gentry,
with a blend of acoustic and electric guitars that wind together before
Montgomery’s deep baritone lays out the contrast in the lyric: “His ole
man was a rebel yeller/Bad boy to the bone, he’d say/Can’t trust that
feller/He’d judge ‘em by the tone/Of their skin….” A wah-wah peddle
floats atmospherically and a synth slips in gently and Montgomery
continues: “He was raised to think like his dad/Narrow mind, fulla
hate/On the road to nowhere fast/Until the grace of God got in the
way/And he saw the light and hit his knees and cried and said a
prayer/Rose up a brand new man and left the old one right there….” The
guitars build to an almost unbearable tension and finally break with a
“Here’s to the strong/Thanks to the brave/Don’t give up hope/Some people
change/Against all odds/Against the grain/Love finds a way/Some people
change….” Simply put, the song addresses race, class, religion, and
(later) addiction, as well as hope, tolerance, and the willingness to
believe redemption is possible in any situation. When was the last time
a country recording addressed topics like this in a single tune that
opened an album? When a gospel choir enters near the end to join the
pair on the refrain with soloing guitars and tight, clipped drums, it
becomes transcendent. It’s one of those tunes that defines something
that lies at the heart of what is good about Americans. True to form,
however, Montgomery Gentry aren’t about to have their music co-opted by
anybody — left or right — and the very next cut, “Hey Country,” quotes
from Lynyrd Skynyrd, Hank Jr., Marshall Tucker, funk, and hip-hop, and
is a true redneck rabble-rouser. Killer metal guitars, banjos, funky
basslines, and chanted choruses all war with each other and finally come
to an equal level to make this the best tune that’s never been on rock &
roll radio. “Lucky Man” is a pure country song, and it updates “I Ain’t
Got It All That Bad” from You Do Your Thing. Its protagonist —
Montgomery in this case — is older, wiser, and even more grateful. Here
again, it’s a message tune, but one that is poignant no matter what
color collar you wear, whether or not you support the President of the
United States, and whatever religion you choose — including none at all.

In other words, it’s everything to everybody, and nothing specific,

nothing demarcated. Just pablum put out by people afraid to take a position.

When was the last time a country recording addressed topics like this

in a single tune that opened an album?

Better ask, which Cuntry singer hasn’t rocked against racism? Hasn’t

celebrated “tolerance”? Hasn’t incorporated niggers into its videos?
Doesn’t pretend we can all just get along?

Chesney cut Michael Dulaney-Jason Sellers-Neil Thrasher penned Some

People Change - a new south reflection.

…
Not dramatic as Mark David Manders Klan parody Three Sheets To The

Wind but likely to be heard by millions more.

Gentry and bud claim they don’t try to candy-coat anything.
“Redder Than That” cranks the volume a notch or two. It’s a high

school reunion song. The song’s message is simple: people don’t really
change much, despite the years. They really are who they really were.
Marital merriment comes with “A Man’s Job”. Watching a romantic
dalliance from the losing husband’s perspective, the tune is comical;
but you can’t help grasp the truth of familiar suburban secrets of older
women and keen, younger men.

In their world rednecks exist, but niggers don’t. Just how the jews

see it. You might think that rednecks and jews would see things
differently, but that’s just your prejudice doing your thinking for you.

I remain unaware of any true country music in which the experience
of,

say, the White humans forcibly integrated with niggers is reflected. Or
the White man who’s had his kids stolen from him by an evil woman
working with a corrupt jewish family court judge.

Some people change, and some people don’t.
The sellout be with us always.

http://www.vanguardnewsnetwork.com/?p=1309#more-1309

The media has been successful in promoting the concept among less
educated folks that a state of political correctness will somehow
elevate their status. Not a bit of truth there. Be assured that the
uppers classes do not welcome negroes or hispanics into their social
circle.

Max

[Bob LeChevalier]

Post by b***@lycos.com
The media has been successful in promoting the concept among less
educated folks that a state of political correctness will somehow
elevate their status. Not a bit of truth there. Be assured that the
uppers classes do not welcome negroes or hispanics into their social
circle.

The US is a classless society. There are human beings (and there are
subhuman racist slime, but they don't count).

But there are indeed snobs who practice exclusionism. They just don't
seem to match your prejudices, slime:

http://en.wikipedia.org/wiki/Social_Register
<In addition to winter and summer addresses (termed "Dilatory
< Domiciles"), the Social Register lists the educational backgrounds,
< maiden names, and club affiliations of listed persons. Juniors can be
< listed with their parents beginning at birth (a recent change from
< the age of 13). It is sometimes called, humorously, a "stud book".
<
<Members of so-called Café Society were not necessarily listed in the
< Social Register, but that has changed. Bobby Short, the "king" of
< café society, (and also a prominent African American) was listed for
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
< many years until his death.
<
<...
<
<The Los Angeles Blue Book (also known as the Society Register of
< Southern California), which has published since 1917 and the District
< of Columbia Green Book. While the LA book naturally included a
< substantial number of Roman Catholics from onset, given that Spanish
< land-grant families created the city's elite society, it also
< continues to almost totally avoid persons in the entertainment field.
< Both of these editions are published annually.

Hispanics are thus the core of the Los Angeles social elite. But they
apparently looked down at the likes of Bob Hope and Frank Sinatra.

But everyone looks down on subhuman racist slime.

lojbab

[Jean Smith]

...

plonk

[Bob LeChevalier]

...

plonk

I'll take that as a compliment from a subhuman racist slime.

lojbab