Commentary

Opinion: Challenging a ‘Return to Normal’ After COVID-19 Pandemic Subsides

Published

6 years ago

June 4, 2020

Lately, I have been stunned by the social dialogue around higher rates of COVID-19 diagnoses and deaths among Black people as a “Black people’s problem.”

Old racist myths about Black inferiority and poor choices by Black people have been woven into the discussion.

Do some people actually believe that Black people are more genetically prone to catching COVID-19? Or that the cultural structures of Black communities discourage Black people from practicing physical distancing?

Well, yes, apparently some do. I have heard the most outrageous questions and comments, and I view these questions and comments as stemming from white supremacist indoctrination. This indoctrination presents a patronizing savior response to educate, guide and “help out” Black people.

These questions and comments are also a dangerous blaming technique: A way to excuse wide-scale systematic oppression. A way to insinuate that if only Black people made the easy choice to move out of food deserts and eat the right foods, took time off from work and stayed home, or became “good” citizens and followed the rules then health inequity wouldn’t exist.

These perspectives are indoctrinations that have become unquestioned habit and normalized. They are, in effect, the unconscious white supremacist paving stones for the road back to normal.

Why would I ever want society to return to “normal?”

Normal is a prevailing U.S. culture where health inequity is a Black problem. Where the need for accessible health care is still up for debate. Where health justice and equitable policies languish without action.

I disagree with “returning to normal.”

As long as health inequity and high mortality rates remain a Black people’s problem, then real-world policies and active procedures will be slow in coming.

Returning to normal means returning to a network of systems that are killing people of color. I have every right to be outraged. I have every right to demand something better. Something that goes far beyond “accessibility.” Something that equates with inclusions, usability, and effectiveness. I have every right to be part of creating something that resembles health justice. Every person of color does.

The systems of this country are flailing.

The economic system, justice system, education system, health system and on and on. They are disintegrating. Now is the best time to birth new systems. This is the moment to serve the final blow to systems that are killing people of color.

This is the ideal time to experiment with the policies and procedures of health justice that before now could not find room to grow. No, not homogenized approaches to the multifaceted needs and desires of Black people.

Instead, make room for the Black-prioritized actualizers who have been planning for this moment. Let’s invest our time, our energy, our resources, and our support to the development of many paths that prioritize progressive change over returning to normal.

Preston Vargas, PhD, leads the Black Brothers Esteem program at the San Francisco AIDS Foundation. Join us at sfaf.org/BBE.

Preston Vargas, PhD

Posts by Preston Vargas, PhD

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Arts and Culture

COMMENTARY: Black Music is the Sound of Black Freedom: Let Us Reclaim Both This Juneteenth

Black Music Month started when Black Music Association members Ed Wright, Kenny Gamble and his wife, journalist and radio host Dyanna Williams were able to persuade President Jimmy Carter to establish the observation on June 7, 1979.

Published

22 hours ago

June 9, 2026

Oakland Post

Robert Johnson (1911-1938) is thought of as the godfather of blues music, especially Delta blues. The 29 songs recorded by him during his short life have been of massive inspiration to guitarists and musicians over the last 80 years. Public domain photo.

By Wanda Ravernell

Black Music Month and Juneteenth are inextricably linked – Black music is the sound of our freedom.

From the plaintive moans of the enslaved Africans’ ‘sorrow songs,’ to the fields of Civil War battle where Black soldiers picked up abandoned bugles, to the upright piano played in juke joints on Saturday night and churches come Sunday morning, our ancestors’ innovation in the face of want, fear, degradation, and hopelessness has yielded genres of music imitated ’round the world.

In 2000, Congress made it official. In 2009, Pres. Barack Obama changed the name to African American Music Heritage Month and in 2023, Pres. Joe Biden changed it back to Black Music Month, two years after he declared Juneteenth a national holiday, the result of a movement led by Opal Lee.

Our ancestors battle for freedom over these last 400 years and the music that allowed them expression of their humanity deserved to be honored.

But we may be losing sight of the value of their sacrifices.

‘Sing a Song Full of the Faith That the Dark past Has Taught Us…’

Along with the long-known exploitation of Black musicians whose recordings were stolen by record companies, the commercialization of Juneteenth feels like another kind of theft.

I had never heard of Juneteenth until I moved to the Bay Area from my hometown of Philadelphia. I didn’t know it was one of many freedom festivals celebrated by descendants of enslaved people in the United States.

Emancipation Day was Jan. 1 in Pennsylvania, April 16 in Wash., D.C., May 20 in Florida, and Aug. 8 in Kentucky. But Juneteenth, June 19, has the most renown, known in Texas as the ‘colored peoples’ Fourth of July.’

It was marked by parades, beauty pageants, rodeos, backyard barbecues and church picnics.

Yes, church.

The formerly enslaved began the day praying in thanks for their freedom just as they had prayed for Jubilee – the day of freedom – when they had chains on their feet and hands. They ‘testified’ about their past suffering and how they had managed to overcome.

And they sang.

Although, we will not hold it this year, Omnira Institute’s Juneteenth Ritual of Remembrance recalled this part of Juneteenth with prayers in the languages of the African captives. In the middle of the ceremony, a soloist would lead us in singing “Many Thousand Gone” while we took turns reciting portions of the Emancipation Proclamation, the news of freedom that took more than two years to reach Texas – two months after the Civil War ended.

“Many Thousand Gone” was famously recorded by Black luminary Paul Robeson in 1947:

“No more auction block for me,

No more, no more

No more auction black for me

Many thousand gone.”

Other verses refer to the ‘pint of salt’ and the ‘driver’s lash,’ the realities of enslavement that they had survived.

‘Sing a Song Full of the Hope That the Present has Brought Us’

All of the genres of African American music have at their root songs like that, the essence being, as Stevie Wonder, wrote, “the joy inside our pain.” So Black music is not just music. It is our story, our history, our very strength.

During the Civil Rights Movement, which peaked 100 years after slavery ended, the people testified that it was the freedom songs – based on spirituals – that gave them the heart to march, face attack dogs, fire hoses, beatings, and shootouts with vigilantes.

The music reminded them that power was in the people. That music, our music, can do so again. We don’t have to accept the commodification of the products of our culture.

The power of those songs is showing a resurgence across the South as we battle again for the right to self-determination through the ballot box.

Those songs are the voices of our ancestors, voices forged in their blood, their sweat, their tears, joy and, above all, faith. Those songs, those prayers live in our blood and our very breath.

This Juneteenth, let us reclaim those holy voices expressed in Black music for ourselves. It is our birthright. It can neither be bought nor sold. No more. Never again.

Wanda Ravernell is the executive director of Omnira Institute, sponsor for 18 years of the Juneteenth Ritual of Remembrance and Oakland’s 11^th Annual Black-Eyed Pea Festival, which will take place on Sept. 12.