Then there were those highly mean-spirited and insulting remarks made regarding some of country music’s finest female singers- most of legendary status, in an attempt to justify the third rate pop acts that are being passed off as country music artists today, which elicited reactions ranging from howls of laughter at their absurdity, to outrage at the "holier-than- thou" attitude towards "hicker-than-thou" values. The offending remarks appeared in their weekly "gossip" column called Hot Talk, the 12/6/02 edition that is written by Edward Morris, and read as follows:

"Thanksgiving seems so long ago, but it’s never too late to applaud Faith Hill for her splendid Thanksgiving eve TV special. Like Shania Twain, she represents country music with such grace, strength and honesty it doesn’t really matter whether you love her songs or not. (I do.) Seventy-five years after the famed Bristol sessions the brought us the Carter Family and Jimmie Rodgers, country music is still viewed by many as a yokel art. Nobody reinforced that stereotype more than the country artists themselves. Even such career-savvy types as Loretta Lynn, Tammy Wynette and Dolly Parton tended to present themselves as hicker-than-thou in public.

Now Mr. Morris’ byline touts that he’s a former Billboard country music editor. Upon the first read through of his inflammatory remarks, one would come away thinking he was merely another clueless, "barely out of journalism school" hot shot, who are under the mistaken assumption that the "bashing" method of writing is "clever," "witty," and makes them appear "streetwise." However, subsequently Mr.Morris reveals that he was 13 when Hank Sr. put out his first record, which by my calculations, would put him in his 60s- more than a full generation older than myself, which puts a truly fascinating spin on his comments.

Of course, everyone is indeed entitled to his or her opinion, and he’s very welcome to his enjoyment of the Faiths, Shanias, Martinas, and Trishas of the world, though I don’t share his taste in music. However, he fails to offer an explanation of how and why they "represent country music." As pop artists, I suppose they’re fine, and though I don’t personally care for that particular type of music, I don’t begrudge them their spots- on the pop charts. A couple of them do indeed have extraordinary voices, (though neither Faith nor Shania would fall into that category). However, there’s nothing about them that could be even remotely linked to the country genre of music. The songs they sing surely aren’t- not in content, not in structure, not in arrangement, not in production, not in presentation, not by a long shot. So just what is it that justifies them to be classified as country artists and their music country music, and why should they be given time, and space that should be going to artists that truly are country artists, particularly given the massive roster cuts at record labels and the tight playlists on radio of the past several years? And why should their music be counted within the "country music" genre, when their music is not country? So called "music writers" are quick to lump them in, but not a single one has yet to explain exactly why they should belong in the genre.

I also sincerely fail to see their "grace, strength, or honesty." Is "strength" removing one’s clothes and posing in lingerie, and other assorted flesh revealing outfits, to advance one’s career (or in some cases, is the only foundation of it)? Or is it the hicker-than-thous" that struggled to "make it," at a time when women were regarded as third class citizens in the music world? Is it Shania Twain saying she doesn’t care if she ever performs again, or is it the late Tammy Wynette, who very often performed extremely ill and in great pain, because she never, ever wanted to let her fans down? Is it "strength" to stand up to society and address issues that are considered too controversial, as Loretta did with "The Pill," or is it the utterly shallow, self indulgence of "Man! I Feel Like A Woman!"?

Is "grace" straddling a "rocketship," in enough make-up to stock Rodeo Drive for a week, rolling around on a bed in nothing more than a flimsy bedsheet, or discussing one’s sex life on national TV? Or would it be Tammy Wynette going on with the show after another of George Jones’ "no shows," when she knew most of the audience was there to see George, and not herself? Dolly may have cornered the market on "flashy-trashy," but it’s still a far cry from today’s "tramp-chic." Yes, she was one of the pioneers of "sex sells," but her brand was done in fun, with a heavy dose of tongue-in-cheek humor. Neither she, nor anyone else took it seriously, and in the process, was one of the few country artists that became a part of "pop culture," keeping both of her 6 inch heels planted firmly in country music, even when she flirted with country-pop. Most people whether they listen to country music or not, knows who Dolly is, and at the same time, knows she’s as country as her coat of many colors.

Where is a single shred of "honesty" in schmaltzy, overly redundant song lyrics about happily-ever-afters, in a country where 3 out of every 5 marriages ends in divorce, with a newly coined phrase: "starter marriages"? "Honesty" would be "D-I-V-O-R-C-E" or "I Don’t Want To Play House," or "Don’t Come Home A Drinkin’, With Lovin’ On Your Mind." Where might the "honesty" be, in the ever so "deep" lyrics of "I’m Gonna Getcha Good!"? Or to simplify, as Travis Tritt asks in the musical question, "Doesn’t Anyone Hurt Anymore?" The "Workin’ Man Blues" are a thing of the past? No one wonders "Are The Good Times Really Over"? There’s no one left in the world that doesn’t worry, "If We Make It Till December"? No one goes out on a Saturday night anymore, and says "Set ‘Em Up Joe"?

Picture if you will, the vision of Emmylou Harris, decked out in her fringe and cowboy boots, and tell me she isn’t the epitome of elegance, grace, strength and honesty, all the while staying true to country’s roots, many years before any of those Mr. Morris champions. And how about the beloved Miss Minnie? She too was the epitome of grace, strength and honesty. She was well bred, came from a well-to-do family, and was a highly educated woman. Yet she took the stage as a country yokel, she poked fun at herself, her country roots and the country bumpkin "stereotype," but then, that always was the punchline, wasn’t it? Despite her "upper crust" upbringing, she took fierce pride in her country roots, and made it her life’s work to preserve those roots. No indeed Mr. Morris, elegance need never apologize.

Which seems to be where the good Mr. Morris is a bit confused. The women he chastises as "hicker-than-thou" for carrying on the country "stereotype," all did/do indeed possess "grace, "strength, honesty" AND "elegance," and a great deal more of it than most of those he champions. They possess something these others do not- and that’s a great PRIDE in their country roots. "Cultural assimilation" need not apply, and why should it? By that reasoning, then we should all be in speech classes to lose our various American dialects, only one candidate ever need run for office, we should be issued "national uniforms"...and should we pave over all the grass, or seed all the pavement? Of course that still leaves the problem of race, religion, gender, and ethnic background to somehow overcome. The word "cultural assimilation" in a free society sounds very scary indeed, especially in the atmosphere that prevails today.

"Adaptability is evolution– is survival"? Yes indeed, Reba slowly and consciously moved away from her "rustic outcroppings." And with every step she took father away from them, her sales went down. How long ago was her last hit again? Miss Roseanne is indeed a class act, however, her country-pop had more country than it did pop, and she has a strong country pedigree to back it up. Taking nothing away from Mary Chapin, she has said many times herself, she never considered herself a "country" singer, it was all in the timing. There was no folk scene at the time, and the opportunities for singer/songwriters was extremely limited. She considers herself being included under the "country music" umbrella, a fluke. K.T. Oslin, indeed brought class and intelligence to country-pop. However, is Mr. Morris going to honestly say, with a straight face, that she could’ve done what she did back in the 80s, today? A middle aged, greying, non-buffed, woman just starting out...and finding success? Oh, puh-leeze! She put out a "comeback" album a year or two ago, and sadly, I don’t think more than 4 people even noticed. If adaptability is evolution, which is survival, where are all of those names today? Reba’s switched to acting, and now has a TV show, and the rest had a few hits and faded off, never to be heard from again. On the other hand, the "hicker-than-thou" Dolly has garnered widespread critical acclaim, (and very decent sales for small independent label projects), for her last two albums, and has made most "best of" year end lists with them, as did Loretta’s last one, "Country In My Genes." I saw neither Faith nor Shania make a single one- anywhere, which proves there’s much to be said about quality over quantity, (and perhaps, people that can properly identify their genres).

Country-pop has been a part of the country music family for decades, and there’s always been room for it all, with the exclusion of none of it’s parts in the past. At the same time, the music must and always has "evolved." There is a distinct difference though, between "evolution" and "mutation." As long as foolishness like this exists, where a completely different genre of music continues to be passed off as being something it’s not, and no one to date, seems capable of offering a rational explanation of why it is "country," we non-paid, non-beholden, non-gullible, "ankle biters" will proudly "drone" on, against attempts to turn us into the Stepford Nation. Imposters need not apply, and pride and individuality need never apologize.