These two stories are not directly connected, but they both highlight individuals in the country music scene whose careers within that genre seem underwhelming. Beyoncé's whole Cowboy Carter schtick is ludicrous.  It reveals the enormity of her ego, as well as her susceptibility to the hype and fawning of her delusional, rabid fans and the Grammy voters who live up her ass once a year. But even the Beyhive struggles with country B. Those bitches know deep down they don't like no country music. They know they are disappointed and would rather have songs about faux black woman empowerment (even as she acts like a controlled zombie under the thrall of Svengali J) and tepid over-produced dance songs. They should know the million-dollar wind machine will be at work; they should see that the show will be vast and overblown. They should know she will elevate the boot scootin' boogie to some laughable two-step hip-hop mess that she will perform like she's inventing the wheel. D...