Who would’ve thought some white chick worth 500M dollars from the South born during segregation would have skeletons in her closet?
https://slate.com/culture/2017/08/visiting-dolly-partons-dinner-show-dixie-stampede.html

Advertised as an “extraordinary dinner show … pitting North against South in a friendly and fun rivalry,” Dolly Parton’s Dixie Stampede is the Lost Cause of the Confederacy meets Cirque du Soleil. It’s a lily-white kitsch extravaganza that play-acts the Civil War but never once mentions slavery.

There were smatterings of black people, though I didn’t spot any who appeared to be there by themselves. Some were one half of an interracial couple, while others appeared to be there with their white co-workers or friends. Such is the appeal of Dolly, it would seem, that it crosses all racial borders.

When the trio performed an up-tempo version of “Amazing Grace,” the audience decided to clap along. They were very off-beat.

Before we could get to the games, though, we had to get through a little “history” lesson about the early days of America, beginning with live buffalo and “Native Americans.” Were the dancers and acrobats actually of Native American descent? It was hard to tell, as their performance took place entirely under black light to the tune of Parton’s 2009 song “Sha-Kon-O-Hey!” (The title of the song is intended to be a phonetic spelling of the Cherokee word for the Smoky Mountains.) As one of them flew through the air on cables, a pre-recorded voice-over described the indigenous peoples as “steeped in legend … mystery … and magic!”

At the dance’s conclusion came a swift scene change: “The magic gave way to a harsh reality when settlers came in from the east.” In one of the more true-to-history moments in the show, these native peoples weren’t seen again for the rest of the performance.

Even with that gracious assistance, however, the South won at both my performances. (According to reports from other attendees, the South doesn’t always win, but it usually does.) All the while, Roger Ballard would alternate between extolling the virtues of both sides and encouraging them to stand up and boo one another. (At both shows I attended, the South was noticeably more boisterous in its heckling.)

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.

The bathroom stalls are also segregated between northerners and southerners and the northerner sign is black lmao