The far-left blog Vox is taking aim at the American treasure that is Dolly Parton because “the idea of whiteness” underlies her image.
Dolly Parton is not only a treasure because of her attitude and music, but her charitable Dollywood Foundation has done amazing work — including running a free children’s book gifting program that sends children all across the nation a book a month for free.
In their hit piece on the musician, Vox writer Constance Grady (who also appears to be white) asserted that “America in the 21st century is no time for a secular pop saint. And there’s a dark side to Dolly’s ability to appeal, Christ-like, to all people at all times.”
“the idea of whiteness underlies Dolly’s image.” Jesus Christ, give it a rest.
— util forager (@util_forager) February 27, 2021
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The writer whined about an attraction at her Dollywood theme park that was previously called Dolly Parton’s Dixie Stampede and featured a pig race.
“In the Dixie Stampede, racing piglets named Robert E. Lee and Scarlett O’Hara faced off against piglets named Abraham Lincoln and Ulysses S. Grant, while the cheering audience was instructed to pick a side. The bathrooms featured a white sign on one door saying ‘Southerners Only’ and a black sign on the other saying ‘Northerners Only,’” the piece cries.
When the liberal media began crying about the attraction in 2017, Parton promptly changed the name and said, “I would never dream of hurting anybody on purpose.”
The name has since been changed and all references to the Civil War have been erased.
The mess of an article essentially says that while they like her, she does not do enough for their political goals so she does not deserve to have a large and adoring fan base. Parton has infamously always kept her political opinions private, instead focusing simply on entertainment and being a good human.
The incoherent piece cites a close reading of Parton’s career on Longreads in 2018, Jessica Wilkerson “grapples with her own lifelong Dolly fandom,” and “specifically with the way the idea of whiteness underlies Dolly’s image.”
“She’s embraced by feminists and queer folks at the same time she is declared a queen by Confederate apologists,” Wilkerson writes. “Dolly-as-mountain-girl anchors her to an ancestral white home in the imaginations of white people, while her class-conscious and gender-transgressive performance of whiteness becomes a signifier for white progressives who embrace gender fluidity and working-class iconolatry.”
In the left’s mind, no matter how much good someone does — if you aren’t a political activist — you are not worthy.
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