January 25, 2016

The Weeknd's Oscar nod brings out Canadian media's inner teeny-bopper -- while they ignore his "problematic" lyrics

Joshua LiebleinRebel Blogger

Conservatives spent the past few weeks complaining about double standards with respect to the Cologne rape attacks, while SJW's are complaining about double standards with respect to racism and Oscar nominations.

So naturally I found a way to combine these two extremely important priorities and take a shot at yet another Canadian white elephant -- our music industry -- for your entertainment and viewing pleasure.

Our subject today is Abel Makkonen Tesfaye, aka The Weeknd (and yes, both of his names are spelled that way), and the Oscar nomination he received for his contribution to the movie soundtrack for the Fifty Shades of Grey film, one of the worst movies of 2015, which was based on a five-year-old softcore porn book aimed at sexually frustrated housewives.

Now in any other country this happening would be treated with anything from a shrug to laughter, but this was an existence-justifying moment for the Canadian Music Industry, and so they reacted with a teeny-bopperish "Yaaaay! We matter!"

That’s because The Weeknd bears all the hallmarks of a Canadian Music Success Story. He floats comfortably in the orbit of, and sometimes eclipses, American superstar Chris Brown the way Drake does with Li'l Wayne and Nicki Minaj and Justin Bieber did with Usher, while also claiming credibility with Canada's immigrant population. Only in a tolerant country like ours, say the smug Canadian Music Industry execs and cultural elites, could The Weeknd achieve such superstardom.

And because The Weeknd is a Canadian Music Success Story, the Canadian Music Industry has been turning a blind eye to his super-dee-duper problematic song lyrics. The kind of lyrics that, if they were coming out of Robin Thicke or Miley Cyrus's mouths, would inspire waves upon waves of hashtag protests from the people currently tweeting about #OscarsSoWhite.

It is rather difficult to notice, given that most of his tracks are barely intelligible falsetto-ing buried under layers of electro-fuzz, but pretty much once per song – including the song he’s nominated for -- this guy lets us all know about his very exacting standards for his sex partners. Sometimes they’ve got to meet his boys before they get to him. Other times there are illicit substances involved, and the woman/women in question may not know about those substances.  

Of course, as anyone who’s read a Barbara Gowdy story or watched a David Cronenberg film knows, there’s always been a very interesting nexus between boundary-pushing sex and the Canadian cultural elite, so The Weeknd isn’t exactly treading new ground here.

The Ghomeshi scandal speaks volumes about just how long of a leash these guardians of the arts are willing to give to Canadian Success Stories while ordinary dudes like Gregory Alan Elliott can expect to get put through the legal wringer for making intemperate remarks on Twitter.

So to sum up: In 2015, a Chris Brown ripoff writes songs about drugging women and having sex with them and not only does he not get publicly shamed for doing this, but he is treated as an exemplar of the Canadian dream and receives an Oscar nomination for participating in the soundtrack to a terrible movie (that is also not very respectful towards women, by the way) which, despite his immigrant background, does nothing to quell the anger of those who feel the Oscars are not diverse enough.

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commented 2016-01-25 11:26:23 -0500
I absolutely love Bill Whittle, having been introduced to his Afterburner show a couple of years back. It is great to see The Rebel sharing Trifecta videos, so very appropriate and honest.