Liberals are Now Claiming Dolly Parton is “Racist”

The main objective for liberals right now is eliminating anything and everything surrounding the Civil War.
They’ve also lashed out at George Washington, Thomas Jefferson, and Christopher Colombus….but hey…they’re on a rampage, history and facts really don’t matter at this point.
In all this madness, they’ve somehow lumped Dolly Parton in as Slate Magazine just wrote an article demanding her Civil War-themed dinner theater be shut down.
Or torn down, or torched…regardless, they want the restaurant GONE because it’s RACIST!
Anyway, this is SOME of what she wrote:
It’s a lily-white kitsch extravaganza that play-acts the Civil War but never once mentions slavery. Instead, it romanticizes the old South, with generous portions of both corn on the cob and Southern belles festooned in Christmas lights. At its sister staging in Branson, Missouri (the original is up the road from Dollywood in Pigeon Forge, Tennessee), it’s put on at a venue that can only be described as resembling a plantation mansion. Also, everyone in the audience must pick a side.
She then goes on to talk about how her family escaped the outright racism of the South and how much she hates, but that she has to watch the show twice (once from each side) for JOURNALISM. Wow… so brave
While the show makes zero mention of slavery, that’s not to say there were no references to the Civil War. The war was alluded to both in the overarching North-versus-South conceit and through details both subtle (the gray and blue color schemes on each side) and blatant: The racing piglets were named after Abraham Lincoln, Ulysses S. Grant, Robert E. Lee, and Scarlett O’Hara. Dolly says that the show is about bringing back “those good old times,” referring to her childhood, but of course she wasn’t around during the days of Grant and Lee.
A piglet named Robert E. Lee. Can you even imagine? HOW HORRIBLE. OMG TRIGGERED.
Then she talks about how much she hates the South again, and how she was so brave for playing the games, or something:
If I was hesitant to cheer and otherwise engage in audience participation when sitting in the North section, I absolutely refused to do so when sitting in the South. I even contemplated hijacking the flag relay so that our side couldn’t win, but then I remembered I was one black person among hundreds of white people in a place called “Dixie Stampede” in 2017, and I emotionlessly passed the flag without a fuss.
Then she talked to people, just to prove how racist they all were:
As the crowd began to disperse, I chatted up the white couple next to me. They happened to be from Staten Island, in my hometown New York City, and looked to be in their late 20s or early 30s. They were there as fans of Dolly. I asked, “What do you think of the fact that in the show they claim ‘we’re all winners’ and ‘there’s no North and South,’ considering everything that’s happening in the news lately?” The guy leaned in slightly with a gleam in his eye: “Look, it’s all bullshit,” he said. “But that’s the way it is down here.” If this show were being performed in New York, he said, he’d think it was weird. He then proceeded to tell me that he didn’t vote in the last election (“Trump sucks, Hillary sucks, and I knew Hillary was going to win my state, so it didn’t matter”) and bemoaned how we’re all ignoring the “real problem”—religion—and are too afraid to call other cultures out for the terrorist attacks happening around the world.
The way he dismissed the homegrown terrorism that had occurred within our country just days before crystallized something for me. Dolly’s Dixie Stampede has been a success not just because people love Dolly Parton, but because the South has always been afforded the chance to rewrite its own history—not just through its own efforts, but through the rest of the country turning a blind eye. Even though the South is built upon the foundation of slavery, a campy show produced by a well-meaning country superstar can make-believe it’s not. We’d prefer to pretend, to let our deepest sins be transmuted into gauzy kitsch—and no one blinks an eye because that’s what they truly want.
So while it may be a surprise to the fictional producers of Springtime for Hitler when it becomes a hit, it’s no surprise to me that Dolly Parton’s very real Dixie Stampede is a hit, too, and has been for almost 30 years. This is the same country where The Birth of a Nation was once the biggest box-office hit of all time and where Gone With the Wind still is. Dolly Parton is right about one thing: Dixie Stampede is as American as America gets.
GOOD GRIEF. Get over yourself. These people are legitimately HOPING to be offended at this point. This chick tried so hard to be outraged, and barely just squeaked by with “sort of miffed.”
Good for you, Aisha. Fighting the good fight.

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