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Country Music Acts Quietly Abandon Confederate Flag

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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. Mainstream country music has been quietly distancing itself from the Confederate flag for years, but as the debate reignites following a massacre at a black church in South Carolina on June 17, country artists still struggle to articulate their feelings about the flag’s history and symbolism. Rich told Fox News’ Sean Hannity that he agreed with South Carolina Gov. Nikki Haley’s call to remove the Confederate flag from the state capitol. (AP Photo/Heather Ainsworth, File)

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.”

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Charlie Daniels’ website: www.charliedaniels.com.

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

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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.

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

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.

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

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Oakland Post: Week of December 24 – 30, 2025

The printed Weekly Edition of the Oakland Post: Week of – December 24 – 30, 2025

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