Released November 19, 2021, to much acclaim:
The Ballad of Kyle Rittenhouse
“What a great song for these times!”
A song about events of one summer night in 2020. By their publicity, by the trial in 2021 which was filled with villains on one side, and by their symbolism, they qualify as well for folk-tale status as any of the classics.
Here is a re-upload to Bitchute, in case Youtube blocks the original (which is now nearing 100,000 views, after three days, and many more views in other formats):
Youtube commenter TurtleMarcus says:
“Fantastic! I study folklore and folk music at an academic level. This is literally a folk song in the making. This process of telling a contemporary story in the form of a song, is how we got many of the Medieval ballads from Europe.”
THE BALLAD OF KYLE RITTENHOUSE
(by Clifton Hicks, 2021)
Come all you friends and neighbors,
a story I will tell! —
concerning Kyle Rittenhouse
and the criminals that he killed,
and the criminals that he killed.
While in Kenosha, Wisconsin
in sorrow and in strife!
A gang of thugs flew up on him
they tried to take his life,
they tried to take his life…
The raper, Joseph Rosenbaum
was first to strike a blow!
But Kyle turned and faced the foe,
with his rifle laid him low,
with his rifle laid him low…
Then little Tony Huber
[or “woman-beating Huber” — see note 1 below]
came skating to the fray…
But Kyle drew a bead on him
and he took his life away,
He took his life away.
The last to try young Rittenhouse
was pistol-packing Gaige!
But Kyle blew his arm in two
and Gaige did run away…
Gaige did run away.
Kyle Rittenhouse is innocent,
It’s only common sense.
For he did not do nothing wrong,
he fought in self defense.
He fought in self defense!
Some brief Youtube-comment reactions and then my notes and commentary below.
All credit to the composer of this ballad, Clifton Hicks, a banjo player from somewhere in Appalachia active late 2000s to present. You can buy this song (starting Dec. 1, 2021) to support his work.
Some Youtube comments.
Dan Cooper says:
“God bless The Kenosha Kid, and God bless the USA.”
AV1611 Jimmy says:
“That was a wonderful straight up Ballad. Really carries on the real spirit of american story songs.”
Jen Zen says:
“This is very powerful. Kyle’s story is legendary. And it deserves veneration like this. Our stories used to be told in song traditionally. This is so perfect. I hope people sing this for a long time to come. I played this multiple times today. It speaks to the soul.”
John McKenna says:
“Jimmie Driftwood could do no better….Kyle is a legend in his own time.”
“Not many these days would be brave enough to write a song like this, much less to release it under their real name.”
Notes on the “Ballad of Kyle Rittenhouse”:
Four notes on three people mentioned (the villains) and one unmentioned (the unseen villain).
(1) HUBER. The only mistake the balladist made is that one of the villains in the song, Anthony Huber, was NOT “little” — at 6’1″ (185cm) — except in a moral sense, in which he was a true midget. I think someone has pointed it out to him and the balladist has suggested an alternate lyric to “little Tony Huber” of “woman-beating Huber.”
Tony Huber was “a repeat arrestee for domestic abuse” and probation violations, rather a career loser, but excelled at riot and mayhem and it is said had attended multiple riots in summer 2020.
His criminal record was summarized by one reporter as:
“strangulation and suffocation, use of a dangerous weapon, false imprisonment, battery and disorderly conduct related to the domestic assault…[Anthony Huber was] designated a repeat abuser.”
(2) ROSENBAUM. The one among the three villains who was unusually short was also the worst of the three, the convicted multiple-child-rapist called Joseph Rosenbaum, who was only 5’3″ (160cm). Local press the day after described Rosenbaum as “a registered sex offender” with “class-three felony child sex abuse conviction[s]” and was identified by the day after as “the thrower of [a] molotov cocktail” at the cornered Rittenhouse.
So “the raper Joseph Rosenbaum” at 5’3″ was unusually short for a b.1984 White male in the USA. If you’re wondering, we know their exact heights because they were measured during their multiple arrests for their many crimes and in public record and these heights were recorded.
(3) GAIGE. The third villain in the “Ballad of Kyle Rittenhouse” folk-song is Gaige Grosskreutz, who also has a criminal record. Gaige is much like Anthony Huber in that while he is of normal height he also strikes the pose of the moral defective (moral midget), skinny-anarchist violence-prone sub-variety.
“Pistol-packing Gaige” is a longtime cadre member of the People’s Revolution Movement, a maoist outfit in Milwaukee — described in some media as a “social justice group.” (Yes, that’s “where we are.”) I assume he got involved in far-Left maoist politics in the late 2000s or early 2010s, in his teens, and has skated along that scene ever since. He told the court he had attended dozens of protests in summer 2020 to back up his crew (the People’s Revolution Movement) and their allies.
Gaige Grosskreutz still lives and will probably be back doing what he loves. But on the night memorialized in this ballad, after the protagonist “blew his arm in two,” Gaige was unable to continue supporting physical violence or mayhem, unable to continue raining blows on Kyle Rittenhouse, and finally “did run away,” as the balladist puts it.
From the hospital in coming days, Gaige Grosskreutz told several people he regretted “not being able to kill” Kyle Rittenhouse that night with the pistol he packed.
(4) The VILLAINS IN SUIT-AND-TIE or the US Political-Commissars. There were other villains in this affair besides the three named in the ballad, but they are harder to fit into the folk-song format. The district attorneys who put Kyle Rittenhouse on trial for murder are villains, from the perspective of this ballad. The lead prosecutor Thomas Binger tried to argue that self-defense rights are suspended at social-justice protests (i.e., left-wing mobs).
The specifics of the case are so weak that it was obviously meant to be a symbolic political prosecution. They thought the political mood along was enough to crucify someone. Motivations can be hard to untangle, but they’re probably on autopilot to some extent.
The three thugs of whom the balladist sings (“the raper, Joseph Rosenbaum”; “woman-beating Huber”; and “pistol-packing Gaige,” the maoist cadre member) were key players. But they themselves are not the reason the case got national attention. The reason was malicious prosecution. The reason was an obvious attempted crucifixion of a symbol of White-Christian America. The ones demanding blood, as the Jerusalem mob demanded crucifixion ca.33 AD, was the agenda-setting media.
(See also the Hail to You post of June 2020 on my direct experience in some of the riots [“Is the US any longer a serious country?”].) (The riots’ immediate-trigger was the Corona-lockdowns and disruptions but clearly there were serious long-term structural problems. I would urge not losing sight of the Black Lives Matter and Corona Pro-Panic side’s close ties.)
This all gets too complicated to out into a three-minute song, but another tradition of these kinds of ballads is the insertion of new verses as they are resung and reinterpreted. A verse on Thomas Binger and the malicious prosecutors would be worth the time.
And that’s the footnoted version of THE BALLAD OF KYLE RITTENHOUSE for you. Thank you, Clifton Hicks.
I uploaded a Bitchute copy of “The Ballad of Kyle Rittenhouse“:
Was it just very fortuitous, or to be expected, that the guys that threatened Kyle Rittenhouse’s life were truly low-life scumbags, all three? It SHOULDN’T matter during a trial (one that shouldn’t have even occurred to begin with) of a self-defense case like this WHO the assailants were, but in this age of trial by Lyin’ Press and juries of low-intellect “peers”, it does.
I would hope that even if the next guy’s assailants have their live’s s__t together, it is still obvious to a jury that a man has a right to defend himself, as well as his family, and even his culture. I don’t bring up the latter 2 things in terms of legalities, but this is what the hatred of Kyle Rittenhouse we see after his acquittal is all about (from a comment of mine on The Unz Review):
No doubt some of these naysayers are low-information types who “somehow” got misinformed that Mr. Rittenhouse hurt in some way some black people. Some others really believe the stupidity they spout.
However, a big majority of them just don’t like the what this acquittal verdict means. The ctrl-left has run their Long March through the American Institutions already. They have been under the impression that they are at the stage at which their Establishment can prevent traditional Americans from defending their culture (see Charlottesville, Virginia), their property (see the Glynn County, Georgia case) and their very lives (Kyle Rittenhouse).
It was a lock, man! What happened was, someone dropped the ball, and these Commies forgot to complete the whole gun confiscation effort FIRST! Talk about an own goal – this was a doozy!
This ain’t no 1917 Russia, no 1949 China, and no 1990s Venezuela. This ain’t no party, this ain’t no disco, this ain’t no foolin’ around. Sorry American Commies. You showed your cards too soon. Americans are onto you. We will bury you, as the man said.
Back to my initial question, the answer is likely that the people who join these violent aggressive antifa Commie groups all have real problems. They are after all, the Los Resentidos, “The Resentful Ones”.
Thank you for putting up this ballad, Mr. Hail. It is indeed modern folk music. Your commentary was great to read, too.
The character of the three attackers (the depraved and apparently borderline mentally ill Rosenbaum, the lowlife Huber, and the mousy maoist mau-mauing professional-protestor Gaige Grosskreutz) fits perfectly for the genre of folk-song, though. They are so perfectly villainous.
The specifics to this whole phenomenon, as it evolved over 15 months, are a little heavy and the subject of mountains of commentary to which I don’t think I can add much or anything novel, except that these are the stories of which legends are made.
(The original of the second part of this comment at UNZ.com.)
Dang! I inserted a wrong link on Los Resentidos. The one here should be correct. The page linked-to above (2nd link) has ABSOLUTELY NOTHING to do with street Commies, but that’s the way Peak Stupidity rolls.
(Can’t test my links ahead of time. Crossing my fingers right now. Sorry, guys.)
Mr Newman: You mentioned at Peak Stupidity that you thought you’d seen/heard “The Ballad of Kyle Rittenhouse” before.
It’s come to my attention that there were several of these going back to Aug 2020, often set to a well-known tune and therefore obviously meant as parodies. I believe Clifton Hicks’ is the best and most authentic of them all.
Here are two others brought to my attention:
One is set to Battle Hymn of the Republic with lyrics well within the tradition of the parody song genre. Another is set to an Irish-type song “My Little Armalite.” Another is set to the music “Big Iron” by Marty Robbins”.
I find those three lacking in something. The one for which I made this post (including lyrics and supplemental commentary) is by Clifton Hicks, and it is now pushing towards 130,000 views at the main upload.
Time to wake up whitey.unite stand and fight