Cracker Barrel CEO Julie Felss Masino attempted, and failed, to erase Highway America’s beloved country store. Masino’s doomed endeavor is just the latest example of refinement culture’s steamrolling homogeneity, but this felt different, somehow much worse, than previous flattenings of consumer couture. Cracker Barrel’s eccentricities and nostalgia kitsch turned a remodel into a reckoning.
Of course, the woke Millennialification is cringe-inducing. However, this is not the first overhaul of an established chain with pop culture power. Previous iterations of Taco Bell, McDonald’s, and Pizza Hut also invoke nostalgia, with images from the 1990s and early aughts making the rounds online once a season or so. Cracker Barrel, clearly, had a different pull. In practical terms, it has always been a sit-down-first experience, but the backlash runs deeper than that.
The logo may have been salvaged, but if interior remodels continue apace, your roadside retreat will become a hospice grab-and-go.
Founded in 1969 as a purposefully nostalgic endeavor, the Cracker Barrel project set out from the get-go to tug on your heartstrings. It evoked a bucolic America already gone by, the decor a launching point for older relatives to spin yarns about the good old days. Pizza Hut nostalgia is down simply to a decade of construction and the passage of time.
Cracker Barrel’s true uniqueness is its emphasis on an ambience that says "stay," inviting customers to settle in and reminisce. Whether you were playing the peg game over butter and biscuits or rifling through the wooden toy and Weasel Ball aisle, Cracker Barrel never motioned toward the door. Cozy and familiar, Cracker Barrel invited you into the tangible world of things: clutter, knickknacks, antiques, wood, gas lamps, and farm equipment. The walls were heavy. Stone hearths anchored every dining room. The Barrel presented itself as a destination, as the American grandparent par excellence, a barn-den of earthly delights.
Contrast this with the new interior. The tyranny of gray, of symmetry and 90-degree angles, becomes omnipresent. It is profoundly soulless: rolling pins arranged in perfect squares and sequence, kettles in fluorescent color affixed exactly upright in rows on bland canvas displays. In essence, Cracker Barrel’s simulacrum of a country home is abstracted even farther into its most literal parts and parcels, calling to mind cooking blog thumbnails and pallid pop art. It points toward the digital, to the representative over the real, and even worse, it pushes the consumer toward the exit. It seems to say “get in and get out.”
RELATED: Why Cracker Barrel’s disastrous rebrand was inevitable
The digital is fundamentally temporary, the way in which we interact with essays, short-form video content, tweets, and the rest. The sign of this is the gray, the sleek, nostalgic props rendered in perfect lines like typeface, all blaring with the same refrain: EXIT. They’re razing the physical and replacing it with a digital reconstruction.
Everything is an airport. Everyone, everywhere, wants you out as soon as you walk in. The restful, the physical are stripped away in order to sap the hearth of its heat so you never get comfortable enough to stay. There is nowhere to stop and wait for a while. You have to keep moving, racing through a world of commodities blurring together into one long strand of gruel.
The last redoubt of color and clutter, Cracker Barrel is now just another franchise, flattened and homogenized. The logo may have been salvaged, but if interior remodels continue apace, your roadside retreat will become a hospice grab-and-go.
We still crave slivers of the real, of invitation and warmth, of the physical world. We desire escape from our escapes, entry into the real and exit from the digital. Cracker Barrel’s rebrand discarded the pleasant lie of highway stopover as home away from home. Venues will increasingly resemble the virtual as comfort food becomes uncomfortable.
As news of the beloved old country store Cracker Barrel’s “woke” makeover went viral, Americans across the country voiced their disappointment — and even President Donald Trump weighed in.
“Cracker Barrel should go back to the old logo, admit a mistake based on customer response (the ultimate Poll), and manage the company better than ever before. They got a Billion Dollars worth of free publicity if they play their cards right,” the president wrote in a post on Truth Social.
“Very tricky to do, but a great opportunity. Have a major News Conference today. Make Cracker Barrel a WINNER again. Remember, in just a short period of time I made the United States of America the ‘HOTTEST’ Country anywhere in the World. One year ago, it was ‘DEAD.’ Good luck!”
Despite the obvious backlash, Cracker Barrel’s new CEO doesn’t seem to notice.
“Honestly, the feedback’s been overwhelmingly positive, that people like what we’re doing,” the CEO said on ABC News.
“I’m sorry,” BlazeTV host Jill Savage tells BlazeTV host Steve Deace on the “Steve Deace Show.” “You don’t have to be, like, a genius. You had to be online for about three minutes and you would know that people were making fun of this rollout on both sides of the aisle.”
Savage believes the new design choice reflects a larger agenda for a “soulless America.”
“They want, like, fashion trends that absolutely everybody follows and doing things that everybody else does. And that, to me, is the Soviet trend,” she explains.
“They’re trying to put this into a box that’s just like everything else. Don’t be exceptional. Don’t be yourselves. Don’t be unique. Just be like everything else,” she adds.
“So conformity over ingenuity is what you see,” Deace comments.
“Yep, absolutely,” Savage adds.
To enjoy more of Steve's take on national politics, Christian worldview, and principled conservatism with a snarky twist, subscribe to BlazeTV — the largest multi-platform network of voices who love America, defend the Constitution, and live the American dream.
The floundering of the Democratic Party is becoming impossible to ignore while Republicans continue to make positive gains in swing states. At least one mainstream media outlet is now admitting that Democrats are in trouble ahead of the 2026 midterms, and the numbers appear to prove it.
CNN data analyst Harry Enten broke down the major gains in voter registration in key swing states for Republicans.
'The Democratic brand is in about as good a position as the Cracker Barrel rebrand.'
Looking at the data from Arizona, Nevada, North Carolina, and Pennsylvania, Enten said, "The Republican Party is in their best position at this point in the cycle since at least 2005, in all four of these key battleground states."
Enten showed that Arizona had a three-point gain in Republican voter registration; Nevada had a six-point gain. Strikingly, North Carolina and Pennsylvania both had an eight-point gain in Republican voter registration.
RELATED: Trump DOJ targets North Carolina for shaky voter registration
"Are there any bright spots for Democrats? Have they picked up any ground since January 1 in terms of party registration? I'm not seeing it in these key swing states, these four key swing states. That's what we're talking about: party registration margin gain since January 1, 2025."
"The Democratic brand is in about as good a position as the Cracker Barrel rebrand," he added.
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American business has lost the last shred of the plot.
Cracker Barrel’s bone-headed “rebranding” — more on this below — is only the ne plus ultra of a long, stupid march through formerly beloved brands toward a joyless, millennial-gray final destination.
These are choices we’re making. Bad choices. Anti-beauty choices. Anti-human choices.
Look around you. What do you see? Alleged restaurants that look like industrial warehouses. Businesses that we used to call bakeries — everything is just a “store” now in modern corporate-speak — now decorate their interiors according to surgical sterile-field protocols.
Everything is hard, not soft. Everything is gray, not green. Everything is fluorescent, not incandescent. Everything is aluminum, not velvet.
You know what I mean because you see it everywhere. The built world has been drained of color, curve, ornamentation, and whimsy. The desiccated architectural corpses of abandoned Pizza Huts with their distinctive step-peaked roofs litter the suburbs. I found these sad to look at until I realized that Pizza Hut is in a better place now, where there’s no more pain.
It’s McDonald’s we need to worry about. Cast your mind back to your childhood when you first met Ronald, Grimace, and Mayor McCheese. Most McDonald's restaurants had a playground for kids with colorful characters. The buildings themselves promised fun and piqued your imagination. Like Pizza Hut, McDonald's roofs had angles and character. They were painted bright red with French-fry-yellow accents.
Observe a McDonald's today. The buildings are the best representation of the Brutalist revival taking over modern architecture.
At best, they’re abstract, cubist boxes that offer the eye no rest. Hard edge overlaps hard edge. All ornamentation is stripped. Color is canceled. You get gray and brushed aluminum, and you better damned well like it.
The worst part is how the company has kept one bit of color — the famed golden arches. Stuck on these industrial boxes as an afterthought, you’d be forgiven for thinking McDonald's is making a joke at our expense: “Look what we took away from you. Lol. Lmao.”
These buildings aren’t restaurants; they’re wholesale crematories at the back of an industrial park.
Automobiles are the same.
No, dear reader. Let me stop you before you start typing that comment. All cars don’t look exactly the same “because aerodynamics, and this is the optimal shape, and they have to do it to meet emissions standards.” That’s the “well, it’s not really as bad as you say” excuse.
It’s just not true (and it is as bad as I say). If it were true, then every single car would be exactly the same as every single other car. But they’re not. There are SUVs, for example. If “they have to do it for aerodynamics” were true, this size and shape of vehicle would not exist. Oversized, elevated rectangular boxes, by their nature, are un-aerodynamic. A Chrysler Airflow from 1934 has a much higher aerodynamic rating than any modern “luxury truck” and still manages to be pleasing to the eye.
It’s not “because they have to because government.” It’s because there’s something wrong with us. We’re sick at heart and sick in the soul, and our emptiness finds three-dimensional expression in the sea of white, black, gray, and silver cars that all look precisely the same as every other maker’s car in that vehicle class.
These are choices we’re making. Bad choices. Anti-beauty choices. Anti-human choices.
You’ve likely heard of the recent kerfuffle over the “rebranding” of the Cracker Barrel restaurant chain. Cracker Barrel is a chain of down-home restaurants that serve unfussy American food like your grandmother used to make. Created in 1969, the founders wanted to offer a restaurant that would remind people of the comfortable general stores and wayside diners that once dotted the American rural landscape. Nothing fancy, just plain food cooked well and served in an atmosphere that invited you to sit down, take a load off, and have supper with other good people.
Staff would travel to flea markets and estate sales to pick up real Americana to stick up on the walls. There were framed pictures of famous boxers and lacrosse sticks, big kerosene lamps that used to light and heat the general stores. The effect was a combination of grandma’s attic and grandpa’s work shed, with a little bit of Christmas thrown in.
Take a look at how Cracker Barrel used to look.
Now, take a look at the “refreshed” Cracker Barrel.
From your grandparents’ house to the prison commissary.
RELATED: Bud Light insider reveals what led to Dylan Mulvaney controversy
Who makes these decisions? What kind of person takes a beloved restaurant brand and sticks up her middle finger to the customers? A middle-aged, corporate, almost certainly liberal-woke-Karen type. And here she is, Cracker Barrel CEO Julie Felss Masino, cackling on breakfast television behind oversized look-at-me glasses, telling the audience how much everyone just SUPER LOVES what we’ve done, and we’re doing it all out of LOVE 4 U!!!!!
American business apparently learned nothing from the Bud Light fiasco. In that case, a younger Karen named Alissa Heinerscheid sent the company’s profits into the toilet by making fun of her own brand’s “frat boy” image and slapping the face of a demented drag queen on the cans.
America, we have to come back to our senses. The world doesn’t have to conform to Karen’s diktats. Karen hates us and hates the things we like, which is why she punishes us. But we’re not her children (do say a prayer for them), and we don’t have to listen to her.
God gave us a world of curve, color, romance, and beauty. For thousands of years, men have tried to follow this example by piling up stones and locking logs together in pleasing shapes that ennoble us and make our souls sing. The deracination of the beautiful and the divine started long ago with churches. We don’t build anything worthy of the name “cathedral” any longer; instead, we put up Brutalist boxes and stick a Mary-on-the-halfshell on the lawn.
The sickness that compromised matters spiritual is now devouring things temporal.
Beauty is our patrimony and our birthright. Let's take it back.
The Cracker Barrel company appeared to completely concede the battle over its rebranding effort on Thursday when it deleted a statement of support for the LGBTQ agenda on its website.
Some critics had noted that the company's decision to change back to the original logo was somewhat meaningless because it had not revoked its LGBTQ statement. Two days later, it appears to have acquiesced.
'Huge. Our movement has achieved total victory once again.'
The company issued a statement to Fox News Digital after the LGBTQ erasure.
"In connection with the company’s brand work, we have recently made updates to the Cracker Barrel website, including adding new content and removing ... out-of-date content," read the statement. "Several months ago, the company also made changes to our Business Resource Groups that now focus all sponsorships or events on our corporate giving initiatives: addressing food insecurity, supporting community needs through food, and reducing food waste.”
The deletion of the Pride page at the company website also erased a statement of support for the Nashville Pride Parade.
On Tuesday, the company announced that it would return to its "Old Timer" logo after having offered a new, modernist design with updated font and no image.
"Our new logo is going away and our ‘Old Timer’ will remain," said the company. "At Cracker Barrel, it’s always been — and always will be — about serving up delicious food, warm welcomes, and the kind of country hospitality that feels like family."
RELATED: 'Make Cracker Barrel a WINNER Again': Trump says restaurant chain can take advantage of controversy
Activist Robby Starbuck was among those who led the opposition and declared victory after the newest concession.
"Huge. Our movement has achieved total victory once again," he wrote on social media. "Our movement is so powerful that even I can’t believe it sometimes. While the media credits me with these wins, we all know the truth. ... These companies don’t fear me, they fear US. I’m just blessed to be your megaphone (and a pretty damn relentless researcher)."
The company's stock price plummeted the day after the rebranding announcement, but it has slowly recovered and is slightly above its price level before the rebranding.
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An eight-woman marketing team concocted a rebrand of the legendary breakfast spot Cracker Barrel — and it could not have gone worse.
The rebrand oversaw the removal of the old country white man and vintage type from the logo and replaced it with sterile, soulless lettering. This got the attention of Americans across the country, who then took a deeper look into the company's policies.
“Look at all these DEI policies they have. Look at all the LGBTQ stuff they had,” BlazeTV host Jason Whitlock says on “Fearless.” “And the next thing you know, Cracker Barrel, its stock is plummeting. People are starting to boycott the way people boycotted Target.”
“This was a disaster put on by this eight-woman marketing team,” he adds.
Whitlock believes what’s happened to the once-beloved company is part of a bigger cultural issue and can be blamed on feminism.
“They’ve made diversity the ultimate goal rather than excellence. That’s what this is all about. And so they look at everything. They look at the logo and the branding and everything from the past when it was a competition among men. … They look at anything like that from the past as, ‘That’s bad, that’s evil, that must be eradicated, that must be erased,’” Whitlock explains.
“And so they get triggered,” he continues. “They see, ‘Why is an old white man the logo for Cracker Barrel? Let’s remove him.’ And they’re doing this throughout all of American society. Eliminating male leadership because they have convinced everybody that diversity is the goal.”
To enjoy more fearless conversations at the crossroads of culture, faith, sports, and comedy with Jason Whitlock, subscribe to BlazeTV — the largest multi-platform network of voices who love America, defend the Constitution, and live the American dream.
What’s going on with Cracker Barrel?
The restaurant chain just rolled out a full rebrand, courtesy of CEO and president Julie Felss Masino. It’s so ambitious that the rebrand itself even has a name: “All the More,” a perfectly vague and nauseating brand for a perfectly vague and nauseating rebrand.
Every decision must be backed up by consultants, data firms, and PR agencies so that when things flop, no one at the top can be blamed.
Here's the old logo:
All those little details — the barrel, the old white guy, the dark-yellow pinto-bean-shaped background, the phrase "Old Country Store" — have been thrown out in favor of something with all the charm of a fintech logo:
And it's not just the logo. The company has redesigned the inside of the restaurants, too, from their trademark cluttered, homey feel, with tchotchkes and old pictures and fishing reels ...
... to something "cleaner" with white walls and minimal decor. All the little quirks and nuances that endeared the brand to consumers in the first place — gone. What used to have an idiosyncratic, country-store feel now resembles a generic $14-per-taco shop in Austin.
There's nothing groundbreaking about this makeover, of course. It's a prime example of what wriiter Paul Skallas (better known online as LindyMan) calls “refinement culture:” the endless corporate drive to shave away quirks, details, and character until everything looks the same — flat, safe, and soulless.
There's also nothing surprising about the backlash. People don't like refinement culture. Burberry learned this back in 2018, when the company went from this ...
... to this:
Not only did it swap the pleasantly ornate logo for something in a blandly utilitarian, sans serif font, the company completely jettisoned the image of the knight — a reference to the brand's beginning as a purveyor of equestrian apparel.
This "new look" lasted all of five years before Burberry came to its senses and returned to what was already working.
Why didn't Felss Masino learn from Burberry? Or, for that matter, from Bud Light's more recent Dylan Mulvaney fiasco?
As for Bud Light, it's likely that Felss Masino didn't think she was making the same mistake as her counterpart at Anheuser-Busch; obviously she hasn't done anything as egregiously misguided as pushing "trans" on an audience with no interest whatsoever in seeing a narcissistic gay man pretend he's a girl.
But at bottom, Felss Masino exhibits the same tone-deafness — a clear inability or unwillingness to understand her customers and the direction of mainstream culture in general.
So what did Cracker Barrel think it was doing? To answer that, you need to understand the function of people like Felss Masino.
She doesn't create anything. Never hath she shifted a zero into a one. She is a managerial bureaucrat who just goes from one company to the next.
Not only is she a managerial bureaucrat, she's not a particularly good one. Cracker Barrel is not the kind of "sexy" brand that people like Felss Masino aspire to run. And you can see her disdain for Cracker Barrel and its customers in her indifference to what makes the brand work.
Obviously she didn't set out to tank the brand. Cracker Barrel hasn't been doing great financially, so most likely she brought in a consultant — consultants being the main drivers of refinement culture — who pointed out how inefficient it was to maintain this complicated logo and interior design.
I imagine the pitch was something like: "Here's your line-item budget. If you can cut down your design costs by 10%, you'll save the company $25 million a year."
That's what consultants do, while at the same time justifying their own existence. They want to get you to take money that could go to building your business and spend it on their endless little pare-downs. Until you’re left with no details. And culture is details.
Which is why leaders with an actual vision don't use consultants. Apple founder Steve Jobs famously disdained them.
RELATED: Cracker Barrel’s $700 million recipe for disaster
But very few leaders have vision. A while back I went to dinner with the CEO of a famous consumer packaged goods brand. She had all the right credentials: Ivy League education, high-profile experience in the industry.
It's what she didn't have that was notable: even the remotest interest in the product she oversaw. There was not one thing in her home — let alone in her conversation — to indicate her role.
And I realized it was because she is excelling at her job. Which is essentially to act as a bureaucrat maintaining the status quo. These aren't companies — they're bureaus. What's Cracker Barrel to them but the Bureau of Cheap White People Highway Rest-Stop Slop?
Look at Felss Masino's resume. She's been at Cracker Barrel for a little over two years. Before that, a five-year stint at Taco Bell, a couple of months at Mattel, three years at Sprinkles Cupcakes. Her longest job was one of her earliest: She spent 12 years rising in the ranks at Starbucks until she became a top marketing executive.
It's at this point that the job changes become much more frequent, and that's no accident. Felss Masino no doubt had to live and breathe Starbucks during her long ascent there, but now that she's "made it," she can enjoy life as one of the many interchangeable female CEOs whose only job is take whatever brand she's in charge of, refine it down to its most efficient version, and maximize its value for the corporate regime.
Yes, sometimes that means pushing through "woke," LGBT nonsense, but ultimately that's just a means to an end. The most important qualification of kommissars like Felss Masino is their mastery of CYA.
CYA, short for cover your a**, is a time-honored philosophy of dysfunctional organizations, often associated with its corollary, s**t flows downhill. And marketing today is dominated by CYA culture. Every decision must be backed up by consultants, data firms, and PR agencies so that when things flop, no one at the top can be blamed. Or even in the middle, if you’re good enough at CYA.
That’s why Cracker Barrel didn’t hire one visionary agency. It hired three mediocre ones — Blue Engine, Prophet, and Viral Nation — each surely providing slides, jargon, and “proof” that the rebrand was genius. The result is exactly what you’d expect: a camel built by committee.
It doesn't have to be this way. Back in the 1990s, when I grew up, brands took big marketing risks. They were willing to commit to a strong point of view.
It didn't always work, but when it did, it made everyday life a little more pleasant. Unless you want to live somewhere completely off the grid, you will be regularly exposed to advertising; it's indispensable to the innovation and consumer choice we all enjoy. What people in the ad business used to understand is that advertising doesn't have to be ugly or lowest-common-denominator. Look at old ads by Nike, or Apple, or even McDonald's — ads that dared to strive for beauty and inspiration.
What changed is the kind of people who go into advertising. What used to be a scrappy, male-dominated field, as in "Mad Men," is now dominated by overeducated women.
Let me make the standard, tiresome disclaimer: I've worked with many talented and funny women marketers. The problem is how the inverted sex ratio changes the business as a whole. Women, generally speaking, just don't have the same competitive, ego-driven, risk-taking nature as men. And when you've spent $250,000 on your education, you're not about to jeopardize your investment by taking big swings.
This new ecosystem rewards traits that are more traditionally female: presentability, agreeableness, and keeping things tidy and organized. It requires leaders who are fluent in inoffensive, trying-to-please-everybody marketing gobbledygook. Like this quote from Cracker Barrel Chief Marketing Officer Sarah Moore:
We believe in the goodness of country hospitality, a spirit that has always defined us. Our story hasn't changed. Our values haven't changed. With "All the More," we're honoring our legacy while bringing fresh energy, thoughtful craftsmanship, and heartfelt hospitality to our guests this fall.
As someone with more than a decade of ad industry experience, I've been neck-deep in this kind of soul-killing gibberish for years. But there is a bright side.
If you have the drive and the ambition, the CYA-ification of marketing represents a huge opportunity. Small, upstart brands are better positioned than ever to cut through the noise — provided they're not afraid to defy business as usual.
That's exactly why I founded my agency, WILL.
I suppose this is the point at which I'm supposed to issue some faux-humble disclaimer like "shameless self-promotion!" But screw that. Why would I feel any shame? I believe in WILL, and that's why I work so relentlessly to build it. And I believe just as wholeheartedly in the brands we help.
This says less about my virtue than it does about my sheer pragmatism. For anyone wanting to escape the system-wide managed decline afflicting Cracker Barrel and countless other organizations, sincere, deeply held belief in your mission isn't optional — it's the only way out.
Here's our recent ad for Michigan Enjoyer, a newsletter with an unapologetic bias for the specific people, places, and history that make the state unique:
— (@)
Cracker Barrel has changed its diversity page at least three times this month as it deals with backlash from the redesign.
Love for the franchise tanked when customers saw the company had changed its recognizable logo into a shadow of its former self, removing the "old-timer" known as Uncle Herschel sitting on a chair next to a barrel.
'Discrimination, overt or through unconscious bias, has no place at Cracker Barrel Old Country Store.'
Also gone was the barrel itself, along with the text "Old Country Store," leaving just black "Cracker Barrel" text on a yellow background. The new menus, website, and interior design of Cracker Barrel locations also angered consumers, leaving the company to apologize for the errors.
The company does not appear to be returning to the old logo and design, however, and is seemingly digging itself a deeper hole by trying to mask its progressive leanings.
In an attempt to invoke old Uncle Herschel without actually showing him, Cracker Barrel has featured "the Herschel Way" on its web page dedicated to "culture and belonging."
"Our culture of belonging extends to our guests. The Herschel Way is our standard for hospitality," the company wrote. However, the new text represents at least the third change to the page this month as the company deals with the blowback over the past week.
Thanks to internet archives, readers can see what Cracker Barrel's progressive page looked like on August 4, which at that time was labeled "culture and inclusion."
The page included mentions of being "inclusive," while stating, "Discrimination, overt or through unconscious bias, has no place at Cracker Barrel Old Country Store."
Also featured was a photo labeled "Moving Forward Together," showcasing a diverse cast of people, including a man in a wheelchair.
By August 21, the company had updated the page to reflect its new font and style, but it seemingly remained identical otherwise. That was, until the fury of American consumers hit.
RELATED: Cracker Barrel ditches Americana as customers call for boycott over iconic brand change
August 21 was the same day many outlets — including Blaze News — began covering the backlash from Cracker Barrel customers, and by the next day on August 22, the desperate diversity image was removed.
Fast-forward another few days, and Cracker Barrel has remodeled the page to change its wording away from "inclusion" and toward "belonging."
This is not the first time the company has eliminated certain words to cover its messaging, though. Back in July 2024, the same page used the heading "Diversity, Equity, Inclusion & Belonging" at Cracker Barrel. In fact, the previous link still redirects to the new text, further proving the adjustments were made to the same page.
The 2024 page showcased extreme dedication to diversity and race-based initiatives. It celebrated "Diversity in Our Decor," "Diversity in Our Leadership & Development," and even boasted about achievements on the Human Rights Campaign "equality index."
According to investigative reporter Robby Starbuck, the company "sponsored HRC events for 10 years" and even "brought an HRC representative to their Tennessee HQ to do a pronoun and transgenderism training."
Cracker Barrel told Fox News it "has not participated in the Human Rights Campaign Index or had any affiliation with HRC in several years."
RELATED: Cracker Barrel responds with sneaky message after backlash over rebrand
There are almost too many initiatives to name from the 2024 page, but the company bragged about "standing against racial injustice," having "zero tolerance" for gay discrimination, and offering a series of gay and race-driven events.
What has remained consistent throughout the years, though, has been Cracker Barrel's promotion of programs like "Be Bold," a mission to develop "black leaders," and the "LGBTQ+ Alliance," which has the purpose of "strengthening Cracker Barrel's relationship to the LGBTQ+ community."
In addition, HOLA's mission is to "promote Hispanic and Latino culture through hiring, developing, and retaining talent within Cracker Barrel."
The Cracker Barrel spokesperson insisted in comments to Fox News that the company's "values haven't changed, and the heart and soul of Cracker Barrel haven't changed."
"Cracker Barrel has been a destination for comfort and community for more than half a century, and this fifth evolution of the brand's logo, which works across digital platforms as well as billboards and roadside signs, is a callback to the original and rooted even more in the iconic barrel shape and word mark that started it all back in 1969," Cracker Barrel said.
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Conservatives hold more cultural power than they may realize. The question is: Will they continue to use it? Weeks after abandoning its plans to ax the infamous Uncle Herschel from its iconic logo, the southern restaurant chain Cracker Barrel announced Tuesday that it is not moving forward with the sterile redesign of its dining rooms […]
David French's schtick is too obvious now to pretend he’s doing anything but a 'real conservative' minstrel show for pay.
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