Social Justice

Lone Star City Ramps up Social Justice Junket During Annual Lefty-Fest

There is a massive cultural showdown on the horizon, and the batty progressive schtick of one popular music festival just may be the harbinger of that conflict.

This week, the enormously popular and long running South By Southwest, (SXSW), music festival invades Austin, Texas for the 31st consecutive year.  Having grown in scope and message over the course of the last three decades, the festival now spans the course of 10 entire days and 114 separate venues, hosting not only concerts by conferences, conventions, gaming exhibitions, musical performances, a film festival, a standup comedy festival, and interactive “lounges which are like nothing more than corporate stunts where otherwise geriatric companies get a chance to don their “hip” outfits and entertain a demographic that they paid beaucoup bucks in sponsorship money to get in front of.

For a festival that’s meant to be on the cutting edge of culture, SXSW sure has some fuddy-duddies in the ol’ lineup…take a look at their “super sponsor” list:

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SXSW

Let’s see, we have Capital One – A predatory corporation disguised as a legitimate credit agency who threw probably millions at Samuel Jackson to star in their ads and lend some credibility to the brand that was previously considered one of the sketchier lenders on the market.  While we don’t know what Sammy took home in dirty dollars exactly, we do know that Alec Baldwin pocketed nearly $15 million during his time with the company, leading many to believe that Jackson’s payday may be even larger.

Mercedes Benz – the official automobile of the 1% that the liberals are forever railing against.

On the other end of the spectrum we have Smart Car.  You know, those gumballs on wheels that trigger horrific thoughts of being crushed to death under a Silverado every time you’re forced to witness one of these eyesores whirring down the highway.

This is the car that makes 45 mph seem excessive.  This choice tell us a whole lot about the crowd that SXSW is trying to gather; namely that they’re looking to entice the “almost hipsters”, who moved past the mini-car craze nearly a decade ago and are now turning to vintage, small-engined motorcycles for their coffee-shop-hopping adventures in the new-Bohemian lifestyle.

 

Then, as if to say “WE DON’T GET IT!” as loudly and proudly as possible, the event organizers snagged an endorsement from Bud Light:  The official beer on giving up in life and acquiescing to the status quo.  Not only is Bud Light not actually beerbut its parent company, Budweiser, is one of the most shameful examples of corporate greed on the planet.  After becoming one of the most incredibly successful American companies ever to exist, (despite their ever-worsening product), Anheuser Busch took the low road to global dominance, actively shopping for a $52 billion buyout by Belgian company InBev.

 

Bud Light has become ubiquitous with bad beer, falling into a category once populated only by Keystone Light, Natural Ice, and maybe Genesee Light on the East Coast.  By allowing this Belgian-owned oat-water company to be a main sponsor of SXSW, event organizers have completely failed the approximately four dozen local breweries already located within the city.  Hell, even the relatively uncool Shiner Bock brand is at least from Texas.

If all of this isn’t enough to delegitimize the entire shindig already, then their ultraliberal political ramblings should be.

You see, like all massive corporate outings disguised as “cool” events aimed at millennials and the trendsetters among them, South By Southwest is nothing more than Silicon Valley’s liberal elites coming to Texas to strut around in their expensive boots and shame their rivals by displaying their intimate and unsurpassed knowledge of the counter-culture.  It’s a corporate mating dance for millennial money, nothing more, and a great many of the young, progressive pack are falling for it hook, line, and sinker.

Hating the President is cool, too, at least according to event organizers.

And, to put it bluntly, SXSW was already at this level of liberal vitriol before the Age of Trump began.  Nowadays, the narrative is a national nightmare.

“While past SXSWs have regularly focused on the ever-shifting nature of digital distribution, inside-baseball business chatter in 2018 was taking a backseat to social and cultural responsibility. Industry talks over the next three days will hit on subjects such as harassment, diversity and gender wage gaps throughout the music community.”

Just how rough has the rhetoric become?

“‘All these old men,’ snarled Mac McCaughan of Superchunk at one of the first major concerts of the South by Southwest Music Festival, ‘won’t die too soon.’

“That vicious line hails from the longstanding indie rock band’s new song ‘I Got Cut,’ aimed at politicians who have worked to limit women’s reproductive rights. It also reflected the mood in the early going of this year’s event. With well over 2,000 bands expected to descend here this week for one of the industry’s most visible conferences and festivals, a sense of unrest hung in the air.”

The anger and violence of the radical left has been exemplified hundreds of times over the course of the last year, thanks to the dehumanization and delegitimization of President Donald Trump.  This is the problem in America today, as the left continues to rage unwittingly in the direction of the President, with no concern for the consequences of their blind hatred.  There are no solutions being offered.  No deal to be proctored.  Just anger and violence.

“One artist who doesn’t care: Alice Bag. Once a fixture on the Los Angeles punk scene of the 1970s, Bag’s career has been revitalized as she nears 60, and she’s as angry and outspoken as ever.

“Tuesday night she and her band raged through songs from her upcoming album, ‘Blueprint,’ including the ferocious ’77,’ which tackles gender pay inequality with a can’t-take-it-anymore exasperation.

“Furious? You bet, but Bag also made clear that these songs are about building a community. As she said when she introduced ‘Reign of Fear,’ written immediately after the 2016 election, ‘Even if you don’t know it, that’s OK. It’s about feeling it.'”

This is yet another example of festival organizers jumping the shark on their own credibility.  By seeking out an obscure punk rocker from the 1970’s, the organizers have attempted to knowledge-shame their own audience.

“We got Alice Bag this year.  Oh, you don’t know who that is?  Well let me explain it to you…”

Cue the most painfully obvious eye roll that we could possibly muster.

It’s this fake it ’til you make it nonsense that has the left living in this false sense of superiority over the rest of the nation.  They believe that their early adoption of certain cultural niches gives them some form of authority over the rest of the nation, even if, in many cases, their appropriation of cool-guy culture is no different than the racial ambiguity that they are currently accusing Bruno Mars of.

Bruno Mars, who many of you may remember from his Super Bowl halftime show at SB48, (and his brief cameo at SB 50 with Blank Panther Beyoncé), has recently been accused of appropriating black culture in his music.

Yes, this man:

Bruno Mars

Here’s the gist of the issue, as explained by one of the left’s Social Justice Gestapo:

“The ‘Finesse’ star came under fire as part of a online roundtable discussion, which saw writer Seren Sensei hit out at Mars for appropriating black music. The video quickly ent viral, racking up over 3 million views.

“’Bruno Mars 100% is a cultural appropriator,’ Sensei says in the video. ‘He is not black, at all, and he plays up his racial ambiguity to cross genres… because people have realised that they prefer their black music and their black culture from a non-black face… we have artists now that are much more willing to step into black genres.'”

That’s right.  If you need to see this absurdity to believe it, here you go.

According to Sensei, the crux of the issue is that Bruno Mars’ skin color is wrong for the type of music he is playing.

“Despite collaborating with a number of African-American artists, Mars himself was born in Honolulu to a half-Puerto Rican and half-Ashkenazi Jewish father and a Filipino mother.”

If this isn’t racism, we really don’t know what is.

Furthermore, if the left wants us to live in a post-racial society, why can’t they understand that Bruno Mars’ celebration of culturally diverse music is that celebration?  Mars ins’t appropriating, he’s appreciating the music he grew up listening to.  Imitation is the highest form of flattery, after all.

And, just to completely ruin Sensei’s pedantic and inexcusable attempt at drawing attention to herself with an invented conflict, Mars is emulating American music, first and foremost.  You Social Justice Jackasses can put whatever racist spin on it that you’d like, but don’t expect patriotic Americans to bow down to your opinion.

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