Entertainment

Country Music Acts Quietly Abandon Confederate Flag

Published

11 years ago

July 10, 2015

In this Nov. 2, 2009 file photo, John Rich of the musical group, Big & Rich, performs at a rally for 23rd Congressional District candidate, Doug Hoffman, in Watertown, N.Y. (AP Photo/Heather Ainsworth, File)

KRISTIN M. HALL, Associated Press

NASHVILLE, Tenn. (AP) — The Confederate flag was once a familiar symbol in country music, representing the rural South and the renegade spirit of artists such as David Allan Coe and Hank Williams Jr.

But the rebel banner that will be removed Friday from the grounds of the South Carolina Capitol has faded from stage and song, with many country artists quietly distancing themselves from the emblem that used to feature prominently in merchandise, lyrics and concerts.

“You won’t find it being used by young country acts today, partly because it doesn’t mean the same thing to them,” said Robert K. Oermann, author and columnist for MusicRow magazine. “Partly because some of them aren’t Southern and partly because if you want to appeal to a national audience, why would you do that?”

Many artists have adopted the American flag instead.

Only a small number of country artists have been willing to speak on the issue in the weeks since nine black churchgoers were fatally shot at a Bible study in Charleston, South Carolina.

Charlie Daniels wrote a long column on his website addressing the most recent controversy over the flag, which he called “a sign of defiance, a sign of pride, a declaration of a geographical area that you were proud to be from.”

“That’s all it is to me and all it ever has been to me,” Daniels wrote, explaining that he opposes racism and believes that every person deserves the same rights and advantages regardless of skin color.

“Unfortunately,” Daniels said on the site, “the Confederate battle flag has been adopted by hate groups — and individuals like Dylann Roof,” who is charged with murder in the church attack.

John Rich, of the duo Big and Rich, told Fox News’ Sean Hannity that he agreed with calls to remove the flag from its pole outside the Statehouse in Columbia. A protest song called “Take Down Your Flag,” written by singer songwriter Peter Mulvey, has been recorded and posted online by hundreds of artists, including Ani DiFranco, bluesman Keb’ Mo and actor Jeff Daniels.

The banner was not commonly used until the late 1960s, when it began to be adopted by some country and rock artists who identified as outlaw musicians appealing to blue-collar fans, Oermann said.

Coe and Williams, the country group Alabama and rockers like Lynyrd Skynyrd all used the flag on stage or in merchandise or referenced the flag or the Confederacy in their lyrics.

The flag continued to appear in some country acts through the 1970s and early 1980s, but it fell out of favor as the genre became more commercial and the industry sought to reach wider audiences in the suburbs and urban areas beyond the South.

Country artists take a big risk in addressing social and political issues. Just two years ago, Brad Paisley was criticized for recording a song called “Accidental Racist,” with rapper LL Cool J, that sought to explore racial tensions but came across as naive and ill-advised.

Diane Pecknold, an associate professor of women and gender studies at the University of Louisville who has written extensively about the history of country music, said country has a strong association with patriotism and with promoting inclusion of all races and cultures. She noted that Paisley, Tim McGraw and Garth Brooks all have songs that are explicitly anti-racist.

“You can criticize them for being naive or being post-racial in a way that ignores contemporary and institutionalized racism,” Pecknold said. “You can criticize them for failing to conceptualize it in a meaningful way, but you still have to say that they are talking about race and an ideal of America that is anti-racist.”

Darius Rucker, a black musician who hails from Charleston, chose to communicate directly to his fans on Twitter: “Incredibly proud of my city for handling this tragedy with love. Thankful to be a part of a community that can come together in a time of need.”

___

Charlie Daniels’ website: www.charliedaniels.com.

___

Follow Kristin M. Hall on Twitter at http:twitter.com/kmhall.

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Oakland Post: Week of February 11 = 17, 2026

The printed Weekly Edition of the Oakland Post: Week of – February 11 – 17, 2026

Published

1 day ago

February 16, 2026

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Arts and Culture

Book Review: Books on Black History and Black Life for Kids

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

Published

1 week ago

February 10, 2026

Oakland Post

Photo of Black History Month book covers by Terri Schlichenmeyer.

By Terri Schlichenmeyer

Authors: Various, Copyright: c. 2025, 2026, Publishers: Various, SRPs: $17.99-$18.99, Page Counts: Various,

Everybody in your family has stories to share.

Your parents have told you some, no doubt. Your grandparents have offered a few, too, and aunties and uncles have spun some good tales. But there’s so much more to know, so grab one of these great books and learn about Black History and Black life.

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

If someone said you couldn’t do something that you were clearly able to do, would you fight to do it anyhow? In the new book, “Remember Her Name! Debbie Allen’s Rise to Fame” by Tami Charles, illustrated by Meredith Lucius (Charlesbridge, $17.99), a young girl in the Jim Crow South is told that she can’t dance because of the color of her skin.

She didn’t listen, though, and neither did her mother, who took her daughter to Mexico, where the girl soared! This is an inspiration for any 5-to-7-year-old; be sure to check out the back-of-the-book information, if you’re an adult fan.

Do you often hear your elders say things that sound like lessons? They might be, so “Where There is Love: A Story of African Proverbs” by Shauntay Grant, illustrated by Leticia Moreno (Penguin Workshop, $18.99) is a book you’ll like. It’s a quick-to-read collection of short proverbs that you can say every day. Kids ages 4-to-6 will easily remember what they find in this book; again, look in the back for more information.

Surely, you love your neighborhood, which is why the tale inside “Main Street: A Community Story about Redlining” by Britt Hawthorne and Tiffany Jewell, illustrated by David Wilkerson (Penguin Kokila, $18.99) is a book for you.

Olivia’s neighborhood is having a block party, but she’s sad when no one shows up. That’s when she learns that “the government” is discriminating against the people and businesses near where she lives. So, what can she and her neighbors do? The answer might inspire 6-to-8-year-old kids to stand up to wrongs they see, and to help make their neighborhoods stronger and safer.

And finally, if a kid wants a book, where can they go to find it? In “I’m So Happy You’re Here: A Celebration of Library Joy” by Mychal Threets, illustrated by Lorraine Nam (Random House, $18.99) is a good introduction to the best of what a library has to offer. The freedom to walk into a library and borrow a book is the theme here, as is the sheer happiness of being welcomed, no matter who you are. This is an easy book for kids as young as two and as old as five to enjoy.

On that note, if you want more, head to that library, or a nearby bookstore. They’ll be glad to see you. They’ve got stories to share.

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Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Published

1 week ago

February 9, 2026

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‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.