Entertainment

Country Music Acts Quietly Abandon Confederate Flag

Published

9 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.

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

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Oakland Post: Week of December 18 – 24, 2024

The printed Weekly Edition of the Oakland Post: Week of December 18 – 24, 2024

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2 days ago

December 20, 2024

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Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

Published

5 days ago

December 18, 2024

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Photo Courtesy Of Promise Marks.

Special to the Post

It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks

Marks, who wrote and directed the musical, also owns PM Productions.

Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.

Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.

Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.

“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.

Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.

Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.

Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.

Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.

Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.

“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”

Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.

“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”

The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.

Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”

Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”

Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”

“I’m so proud of my daughter,” said Smith.

Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.

“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.

The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com