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cover of episode Emily Nussbaum on the Culture Wars in Country Music

Emily Nussbaum on the Culture Wars in Country Music

2023/8/4
logo of podcast The New Yorker Radio Hour

The New Yorker Radio Hour

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A
Adeem the Artist
D
David Remnick
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Emily Nussbaum
Topics
David Remnick: 本期节目讨论了杰森·阿尔迪恩的歌曲《Try That in a Small Town》及其MV引发的争议。该歌曲的歌词和MV画面似乎在歌颂暴力和自警行为,引发了关于乡村音乐中政治和文化冲突的讨论。 Emily Nussbaum: 纳什维尔的乡村音乐界正经历着剧烈的变化。一方面,围绕阿尔迪恩歌曲的争议体现了文化战争的激烈程度;另一方面,乡村音乐也正在多元化,越来越多的女性、黑人以及LGBTQ艺术家加入其中,创作出风格各异的音乐作品。这种多元化趋势与主流乡村电台的保守倾向形成了鲜明对比。 此外,纳什维尔这座城市本身也面临着政治和社会变革,例如,右翼势力的涌入以及州政府对城市进步力量的压制。这些变化都与乡村音乐场景密切相关,并深刻影响着艺术家的创作和发展。 乡村电台对女性艺术家的歧视性政策,以及达克西·奇克斯事件的影响,都造成了女性艺术家在乡村音乐界发展道路上的重重阻碍。许多有才华的女性艺术家不得不转向流行音乐领域寻求发展空间。 主流乡村音乐被白人男性歌手主导的特定类型的流行乡村音乐所垄断,排斥了其他类型的音乐家。 Adeem the Artist: 作为一名非二元性别乡村音乐人,Adeem the Artist 认为艺术家有责任挑战听众的偏见,即使这会让他们感到不舒服。他们认为,在音乐体验中,听众应该被挑战,并被引导去想象一个不同的人共同存在的世界。他们也谈到了在主流乡村音乐中,对贫穷和弱势群体的刻板印象和偏见。他们还分享了自己在创作中融入个人经历和社会评论的理念,以及他们对社会政治议题的看法。 Emily Nussbaum: 乡村音乐的商业化运作模式对女性和少数族裔艺术家存在系统性歧视。主流乡村电台的播放规则限制了女性艺术家的曝光率,导致她们的发展机会减少。许多女性艺术家为了获得更大的发展空间,不得不转向流行音乐领域。 同时,乡村音乐界也存在着对政治观点的压制。那些表达进步或批判性观点的艺术家,可能会面临来自保守势力的抵制和排斥。 Adeem the Artist: 在主流乡村音乐中,对贫穷和弱势群体的刻板印象和偏见是普遍存在的。许多艺术家虚构蓝领形象,而实际上他们并不属于这个阶层。这种现象反映了乡村音乐中存在的阶级政治问题。 此外,Adeem the Artist 还分享了自己在创作中融入个人经历和社会评论的理念,以及他们对社会政治议题的看法。他们认为艺术家有责任挑战听众的偏见,即使这会让他们感到不舒服。

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Jason Aldean's song 'Try That in a Small Town' sparked controversy due to its music video, which featured footage of protests against police brutality and was filmed at a location where a lynching had occurred.

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Last month, the country singer Jason Aldean released a music video for “Try That in a Small Town,” a song that initially received little attention. But the video cast the song’s lyrics in a new light. While Aldean sings, “Try that in a small town / See how far ya make it down the road / ’Round here, we take care of our own,” images of protests against police brutality are interspersed with Aldean singing outside a county courthouse where a lynching once took place. Aldean’s defenders—and there are many—say the song praises small-town values and respect for the law, rather than promoting violence and vigilantism. The controversy eventually pushed the song to No. 1 on the Billboard Hot 100 chart. The staff writer Emily Nussbaum) has been reporting from Nashville throughout the past few months on the very complicated politics of country music. On the one hand, she found a self-perpetuating culture war, fuelled by outrage; on the other, there’s a music scene that’s diversifying, with increasing numbers of women, Black artists, and L.G.B.T.Q. performers claiming country music as their own. “I set out to talk about music, but politics are inseparable from it,” Nussbaum tells David Remnick. “The narrowing of commercial country music to a form of pop country dominated by white guys singing a certain kind of cliché-ridden bro country song—it’s not like I don’t like every song like that, but the absolute domination of that keeps out all sorts of other musicians.” Nussbaum also speaks with Adeem the Artist, a nonbinary country singer and songwriter based in East Tennessee, who has found success with audiences but has not broken through on mainstream country radio. “I think that it’s important that people walk into a music experience where they expect to feel comforted in their bigotry and they are instead challenged on it and made to imagine a world where different people exist,” Adeem says. “But, as a general rule, I try really hard to connect with people even if I’m making them uncomfortable.”