
Shaboozey Defends Megan Moroney After AMAs Backlash
You know country singer Shaboozey.
On May 26, he presented the Favorite Country Duo or Group category at the AMAs in Las Vegas alongside fellow country artist Megan Moroney.
Reading from the teleprompter, they shared who won awards at the very first American Music Awards. "Country music has been an important part of AMA history. The very first year of this show, the award for favorite male country artist went to the great Charley Pride," Shaboozey said.
Megan added, "That same year, favorite female artist went to Lynn Anderson, and this award [favorite country duo or group] went to the Carter family, who basically invented country music."
The Carter Family is an American folk music group that profoundly influenced country, rock, and the 1960s American folk revival with songs like "Wildwood Flower" and "Wasbash Cannonball."
One person wrote, "The gag is she was being shady or whoever wrote that was. Because why mention this now out of all years? Just saying this crap because of Cowboy Carter's controversy and Beyoncé informing y'all about the influence blacks have had on country music."
When Megan started receiving hateful comments for that statement about The Carters, Shaboozey posted a comment in her defense on her May 27 Instagram post.
On Megan's post about attending the AMAs, the "A Bar Song (Tispy)" singer wrote, "Just want to clear something up: my reaction at the AMAs had nothing to do with Megan Moroney!"
"She's an incredibly talented, hard-working artist who's doing amazing things for country music and I've got nothing but respect for her," he continued. "I've seen some hateful comments directed at her today, and that's not what this moment was about."
"Let's not twist the message - she is amazing and someone who represents the country community in the highest light," Shaboozey finished.
Shaboozey also posted to his X account to discuss the history of country music, apparently as a response to the discourse surrounding The Carter Family and the viral AMAs moment. "When you uncover the true history of country music, you find a story so powerful that it cannot be erased...," he wrote.
In a second post, Shaboozey wrote, "The real history of country music is about people coming together despite their differences, and embracing and celebrating the things that make us alike."
Listen, regardless of Shaboozey's facial expressions and online debate, there's enough information out there to clear up any confusion on the history and origins of country music. I recommend checking out Ken Burns's 16-hour docuseries Country Music. If that's not your speed, I suggest reading Andrew Chow's 2019 Time article, "Black Artist Helped Build Country Music — And Then It Left Them Behind."
In Andrew's article, he referenced how the Black influence on country music began with the banjo, an instrument that is a descendant of West African lutes that were brought to America by slaves. When the instrument was popularized and appropriated through minstrel and blackface shows it "deeply informed the rise of hillbilly music, a term that would later be rebranded as 'country music.'"
The Black influence on country music is undeniable, and it doesn't matter if you listen to June Carter or Beyoncé Knowles-Carter.
Now, go add Shaboozey, Megan, Beyoncé, and The Carters to your country music playlist and have yourself a hootenanny!
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


San Francisco Chronicle
2 hours ago
- San Francisco Chronicle
Review: Hilary Hahn draws a packed house for Esa-Pekka Salonen and S.F. Symphony
Like a slow drumroll, four strikes of the timpani herald the beginning of Beethoven's Violin Concerto. This time, they also announced Hilary Hahn's triumphant return to San Francisco. The American violinist resumed performing earlier this spring after taking a monthslong hiatus due to injury. In past seasons, Hahn had come to the Bay Area most often as a recitalist, which made this San Francisco Symphony concert on Thursday, May 29 — one of Music Director Esa-Pekka Salonen's final programs before he departs the orchestra in mid-June — that much more special. More Information Esa-Pekka Salonen's final concerts Esa-Pekka Salonen & Hilary Hahn: San Francisco Symphony. 7:30 p.m. Friday, May 30; 2 p.m. Sunday, June 1. $49-$350. Salonen Conducts Sibelius 7: San Francisco Symphony. 7:30 p.m. June 6-7; 2 p.m. June 8. $49-$179. Salonen Conducts Mahler 2: San Francisco Symphony. 7:30 p.m. Thursday-Saturday, June 12-14. $145-$399. All shows are at Davies Symphony Hall, 201 Van Ness Ave., S.F. 415-864-6000. For more information and to purchase tickets, visit Beethoven's concerto, however, is as ubiquitous as classical music gets. How could it be otherwise, with such singable melodies? The embellishments throughout the solo part, pearly scales and arpeggios, resemble a violinist's warmup — simple in theory and yet almost impossibly difficult to hit in front of an audience. Hahn augmented the concerto's technical scope with her choice of cadenzas, the same substantial ones by turn-of-the-century violinist Fritz Kreisler that she's been playing since her days as a child prodigy. Indeed, this performance wasn't so very different from the recording she made at 18 or even from her earlier German debut with the piece in a now-famous televised concert. This isn't to slight the Hahn of 2025. She was simply that rare young artist who seemed to emerge fully formed — with tasteful interpretations, stellar bow technique and near-flawless intonation. After the orchestra's elegant introduction, Hahn's superpowers were on display from the first ascending octaves through the final chords. The bravura passages, in which she exerted extraordinary control over the dropping of her left-hand fingers, were brilliant and clear. The slow movement's variations were lacy fine, the wispy high notes resounding like tiny, perfect bells. And the musicality was a touch more expressive from the mature violinist. The streams of triplets in the opening Allegro, and the silvery slurs in a dolorous corner of the Rondo finale, seemed more considered. Here and there (and in the encore, Steven Banks' 'Through My Mother's Eyes,' a schmaltzy showpiece with a big heart), the phrases broadened more than they once did. Some three decades into her career and with a full house rooting for her, Hahn appeared to revel anew in this old music. Her fans made an impressive audience for Beethoven's Fourth Symphony in the first half of the program — a performance that, under Salonen's leadership, struggled both rhythmically and dramatically. If the Fourth — a refined work tucked between Beethoven's heroic 'Eroica' and fateful Fifth — is perhaps the least played of the composer's nine symphonies, it's not the piece's fault, only the programmers'. At any rate, the San Francisco Symphony has engaged Dutch conductor Jaap van Zweden for a Beethoven cycle covering three seasons, beginning in 2026. Let the Fourth soon sound again.


New York Post
3 hours ago
- New York Post
NBA's first openly gay player Jason Collins gets married to longtime partner
Former Nets player, and the first openly gay athlete in the NBA, Jason Collins married his longtime partner, Brunson Green, recently. The couple reportedly tied the knot over the Memorial Day weekend in a ceremony in Austin, Texas, after the two had been together for more than a decade. Collins and Green, a Hollywood producer best known for his work on the film 'The Help,' reportedly got engaged in 2023 during Pride Night at a Lakers game. Advertisement 4 Former Nets player, and the first openly gay athlete in the NBA, Jason Collins, married his longtime partner, Brunson Green. Octavia Spencer/Instagram Collins came out in a personal essay for Sports Illustrated in 2013, which made him the first openly gay athlete in a major American team sport. 'When I was younger, I dated women,' he wrote in the essay. 'I even got engaged. I thought I had to live a certain way. I thought I needed to marry a woman and raise kids with her. I kept telling myself the sky was red, but I always knew it was blue.' 4 Jason Collins is pictured during a 2014 game for the Nets. AP Advertisement He had started his NBA career in 2001 with the Nets, who were still in New Jersey at the time, where he spent parts of seven seasons with the organization before stints with the Grizzlies, Timberwolves, Hawks and Celtics. Collins returned to the Nets in 2014 for one final run in Brooklyn before retiring that same year. Collins started dating Green in 2014 and described how the two met in a Sports Illustrated interview in 2023, according to The Independent. Advertisement 4 Jason Collins participates in the New York City Pride Parade on June 30th, 2024 NBAE via Getty Images 'I was dating another guy at the time. I didn't see Brunson again until we ran into each other at a party three months later. By that point, I was single again,' he said back then. 'Brunson left for Europe the following day, and, while he was overseas, I asked everyone I knew in LA, 'Have you heard of this guy?'' The ceremony was attended by family and friends, including longtime teammate Richard Jefferson, according to Outsports. 4 Jason Collins and Brunson Green at Apple's 'Visible: Out on Television' screening at The West Hollywood EDITION. Getty Images Advertisement Actress Octavia Spencer also posted a picture on Instagram from the day, in which Viola Davis commented on the post. 'Aaaaahh!!!! Congratulations,' she wrote.


Los Angeles Times
6 hours ago
- Los Angeles Times
Broadway star Patti LuPone apologizes for ‘demeaning' and ‘disrespectful' comments
Twenty-five years ago, on a warm summer night in Los Angeles, Broadway stars Patti LuPone and Audra McDonald closed a show at the Hollywood Bowl with back-to-back encores of 'Get Happy'/'Happy Days Are Here Again.' Today, those happy days appear to be over for the two Tony Award winners. In a May 26 interview with the New Yorker, LuPone ignited a firestorm when she referred to McDonald as 'not a friend' and refused to comment on McDonald's celebrated performance in 'Gypsy.' (McDonald is nominated for a 2025 Tony Award in the category best actress in a leading role in a musical — its her 11th nomination.) LuPone also referred to Tony winner Kecia Lewis, who, like McDonald, is Black, as a 'bitch.' Speaking with Gayle King in a 'CBS Mornings' clip, McDonald sounded surprised by LuPone's comments. 'If there's a rift between us, I don't know what it is,' she said. 'That's something that you'd have to ask Patti about. I haven't seen her in about 11 years, just because I've been busy, just with life and stuff. I don't know what rift she's talking about. You'd have to ask her.' (A full interview is set to air this week, according to a 'CBS Mornings' Instagram post.) Following public backlash, however, LuPone did something she rarely does. The outspoken diva apologized. But that was not without some stage direction. In an open letter from her colleagues in the theater community dated May 30, more than 500 actors, including Tony-winning actors Wendell Pierce, James Monroe Iglehart and Maleah Joi Moon, called LuPone's language 'racialized disrespect,' 'bullying' and 'harassment.' They asked the American Theatre Wing and Broadway League to discourage those who disparage fellow artists, including LuPone, from attending industry events 'including the Tony Awards, fundraisers, and public programs.' (The 2025 Tony Awards are scheduled for June 8 in New York, and will air on CBS and stream on Paramount+.) On Saturday, LuPone responded to the criticism in a statement on her Instagram account: 'I am deeply sorry for the words I used during The New Yorker interview, particularly about Kecia Lewis, which were demeaning and disrespectful. I regret my flippant and emotional responses during this interview, which were inappropriate, and I am devastated that my behavior has offended others ...' She went on to write that she hopes to speak to McDonald and Lewis in person. LuPone is well-versed in calling people out herself, particularly audience members who text during her theater performances. Last year, she even complained about noise from the Alicia Keys musical 'Hell's Kitchen' when she was performing in 'The Roommate' with Mia Farrow next door. After LuPone asked the theater owner to fix the sound because she found it to be too loud, Lewis took offense and posted a video on Instagram, describing LuPone's actions as 'bullying,' 'racially microaggressive' and 'rude and rooted in privilege.' She also noted that 'calling a Black show loud dismisses it.' Last year, Lewis won a Grammy for best musical theater album and a Tony in the category best performance by an actress in a featured role in a musical for 'Hell's Kitchen.' Although flippant, LuPone's words only serve to hurt everyone during a turbulent time for the arts in America, the open letter said. 'Our industry is under threat. The arts are being defunded, theater programs are disappearing, and artists are being pushed to the margins. We need each other now more than ever. We need community. We need leadership. And we need accountability.' Humbled, LuPone agreed. 'I wholeheartedly agree with everything that was written in the open letter shared yesterday,' she wrote. 'From middle school drama clubs to professional stages, theatre has always been about lifting each other up and welcoming those who feel they don't belong anywhere else. I made a mistake, and I take full responsibility for it, and I am committed to making this right. Our entire theater community deserves better.'