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Misty Copeland’s New Memoir “The Wind at My Back” Pays Homage to Another Black Ballerina

Misty Copeland, somewhat of a pathfinder herself, weaves the story of her career in with Raven Wilkinson’s, whose work had been hidden in plain sight for decades. In telling Wilkinson’s story, loudly and publicly, Copeland also writes of the friendship the two women had, and how Wilkinson pushed Copeland to soar to greater heights, career-wise and in Copeland’s personal life. This gives the book an intimate feel, sometimes uncomfortably so, but the sense of gratitude and absolute love for a woman who didn’t hear the word “no” when society repeated it overpowers any squirm you might feel.

Published

3 years ago

December 26, 2022

Oakland Post

Cover of “The Wind at My Back” pictures Raven Wilkinson, left, and Misty Copeland, right.

You don’t belong here.

It’s a declaration that seems confusing, at first. Who says? Who’s in charge here? You don’t belong because…why? The answer is almost always as rude and hurtful as the statement itself, almost as unthinkable now as it was 70 years ago. But in “The Wind at My Back: Resilience, Grace, and Other Gifts from My Mentor, Raven Wilkinson” by Misty Copeland with Susan Fales-Hill, those are four words that strengthen resolve.

Copeland’s first memoir, “Life in Motion: An Unlikely Ballerina,” was published in 2014, before her unprecedented 2015 promotion making her the first African American Principal Female Dancer in the American Ballet Theater’s 75-year history.

Her career at ABT started in the ballet corps in 2001, later becoming a soloist in 2007 when she was quite often the only Black dancer on the stage. She got used to it, but never got comfortable with it. Racism is common in dance and most Black dancers in American history were encouraged to stick with “modern” performances.

That wasn’t the kind of dance Copeland had always dreamed of.

Still, she persevered. Just being with the ABT kept her in place for what the future might bring and besides, she felt like she was representing. Her presence there was encouraging to Black girls who were told they’d never be ballerinas.

And then Copeland met Raven Wilkinson, one of several women of color who paved the way in dance.

Wilkinson (1935-2018) was born to educated, upper-crust Black parents and had set her sights on ballet when she was 5 years old, having experienced the Ballet Russe de Monte Carlo. She cried then at the emotion in the ballet, and she knew that she wanted to dance. Her parents enrolled her in the School of American Ballet and later, she was trained by Madame Swoboda, one of the Bolshoi Theatre’s premiere ballerinas.

On the cusp of realizing her dream, however, Wilkinson was told that it was “never going to happen” because she was “colored.”

And yet, she, too, persevered and she began touring with a professional troupe which took her to the American South where she fought for her dignity, and she endured threats on her life. Still, she danced, a pioneer, a professional, and a “first.” And when she met Copeland, she became a supportive, loving, wise, thoughtful, powerful mentor.

While it sure looks like a book and it feels like a book, “The Wind at My Back” isn’t really a book. No, it’s a love letter to an elder trailblazer with grace, both inside and out.

Copeland, somewhat of a pathfinder herself, weaves the story of her career in with Wilkinson’s, whose work had been hidden in plain sight for decades. In telling Wilkinson’s story, loudly and publicly, Copeland also writes of the friendship the two women had, and how Wilkinson pushed Copeland to soar to greater heights, career-wise and in Copeland’s personal life. This gives the book an intimate feel, sometimes uncomfortably so, but the sense of gratitude and absolute love for a woman who didn’t hear the word “no” when society repeated it overpowers any squirm you might feel.

A working knowledge of ballet will enhance your enjoyment of this book, but it’s not an absolute necessity. If you (or your teen!) merely love a good double-biography, “The Wind at My Back” belongs on your bookshelf.

“The Wind at My Back” by Misty Copeland with Susan Fales-Hill, c.2022, Grand Central Publishing, $29.00, 240 pages

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Activism

OP-ED: AB 1349 Puts Corporate Power Over Community

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

Published

5 days ago

January 9, 2026

Oakland Post

Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.

These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.

Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.

That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.

California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.

Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.

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Oakland Post: Week of December 31, 2025 – January 6, 2026

The printed Weekly Edition of the Oakland Post: Week of – December 31, 2025 – January 6, 2026

Published

2 weeks ago

January 2, 2026

Oakland Post

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Big God Ministry Gives Away Toys in Marin City

Pastor Hall also gave a message of encouragement to the crowd, thanking Jesus for the “best year of their lives.” He asked each of the children what they wanted to be when they grow up.

Published

2 weeks ago

December 29, 2025

Oakland Post

From top left: Pastor David Hall asking the children what they want to be when they grow up. Worship team Jake Monaghan, Ruby Friedman, and Keri Carpenter. Children lining up to receive their presents. Photos by Godfrey Lee.

By Godfrey Lee

Big God Ministries, pastored by David Hall, gave toys to the children in Marin City on Monday, Dec. 15, on the lawn near the corner of Drake Avenue and Donahue Street.

Pastor Hall also gave a message of encouragement to the crowd, thanking Jesus for the “best year of their lives.” He asked each of the children what they wanted to be when they grew up.

Around 75 parents and children were there to receive the presents, which consisted mainly of Gideon Bibles, Cat in the Hat pillows, Barbie dolls, Tonka trucks, and Lego building sets.

A half dozen volunteers from the Big God Ministry, including Donnie Roary, helped to set up the tables for the toy giveaway. The worship music was sung by Ruby Friedman, Keri Carpenter, and Jake Monaghan, who also played the accordion.

Big God Ministries meets on Sundays at 10 a.m. at the Mill Valley Community Center, 180 Camino Alto, Mill Valley, CA Their phone number is (415) 797-2567.