Music

OP-ED: Gladys Knight Has the Right to Be Wrong

WASHINGTON INFORMER — Gladys Knight is poised to board that “Midnight Train to Georgia,” returning to her hometown of Atlanta.

Published

7 years ago

February 2, 2019

Oakland Post

By D. Kevin McNeir

Gladys Knight is poised to board that “Midnight Train to Georgia,” returning to her hometown of Atlanta where she’ll perform the national anthem prior to Super Bowl LIII on Feb. 3.

And despite the many Grammy and Soul Train Music Awards, the #1 or Top Ten hits, or decades of success first with the Pips and then as a solo artist that go back to the 1960s, many of her fans have expressed disappointment and anger because of the decision made by the “Empress of Soul” to participate at the event.

The NFL, more correctly its all-white “team” of owners, in response to the controversy over “kneeling players,” as represented by the since unemployed poster boy quarterback Colin Kaepernick, recently adopted a new policy, with the boisterous support of Donald Trump no less, which fines players who do not stand during America’s so-called song of freedom. Sure, players can remain in the locker room but kneeling silently on the sidelines, even if, as Kaepernick and others believed, it’s done as a means of expressing their right as American citizens to protest racial discrimination and police brutality, has no place in the multi-billion-dollar industry of professional football.

Maybe Colin should have cracked open his history books, looking back at 1968, when, just months after the assassination of Dr. Martin Luther King Jr., two African-American U.S. Olympic runners, Tommie Smith and John Carlos, raised their fists in a Black power salute during their medal ceremony – before being ostracized and repeatedly attacked with racist slurs upon their return home. [Incidentally, there was no such backlash during the 1936 Olympics in Berlin when white athletes gave the Nazi salute].

Forget the racist lyrics in the third verse of Francis Scott Key’s “The Star-Spangled Banner” which children never learn in elementary school, which performers never sing and which some interpreters of these lyrics contend that Key was taking pleasure in the deaths of freed black slaves who had fought with the British against the U.S. [Yes, Key owned slaves, was an anti-abolitionist and even referred to Blacks as “a distinct and inferior race of people.”]

Forget the complicated relationship Black athletes have expressed with the anthem and the flag for which the song is played, including baseball pioneer Jackie Robinson who said in his 1972 autobiography “I Never Had it Made:” “I cannot stand and sing the anthem, I cannot salute the flag, I know that I am a black man in a white world.’

Forget the potential upheaval that Black athletes could cause if every Black player (70.3 percent) in the NFL and every NCAA Division 1 Black college football player (46.9 percent) stood in solidarity with Kaepernick, along with hundreds of thousands of other Americans, Black and white, and boycotted the NFL, refusing to put on their uniforms and take to the field.

What if the millions of fans, just in the U.S. turned off their TVs on Sundays, withdrew their memberships from fantasy football betting pools, put their favorite team jerseys and caps in mothballs and cancelled plans to purchase season tickets?

There have been some unforgettable renderings of the national anthem during previous Super Bowls, from Whitney Houston, Neil Diamond, and Billy Joel, to Aretha Franklin, Jose Feliciano and Marvin Gaye – even Ray Charles whose recording of “America the Beautiful” has yet to be equaled by any singer of any race.

So why can’t Gladys get paid like everyone else?

How do folks feel justified in blasting her for performing at the Super Bowl while making side bets in the office, the barbershop or in Vegas hoping to choose correctly as to which team will win or lose in their efforts to secure a big pay day of their own?

Gladys Knight has said she’s been fighting for civil rights for the majority of her life. I have no doubt that she’s done her share for the cause. But that hasn’t stopped the Twitter feed from exploding with all kinds of accusations and criticism. Ah, the beauty of free speech!

Still, if you really don’t like Gladys singing this Sunday, then don’t watch the game. Don’t read the scores in the paper the next day. Don’t bother checking the highlights or conversations on social media. Just read a good book.

This article originally appeared in the Washington Informer.

Oakland Post

Posts by Oakland Post

Up Next

2019 French Quarter Festival Announces Music Lineup

Don't Miss

Black History Month: Black Women Remain the Backbone of the Struggle

Oakland Post

Click to comment

Arts and Culture

Bring on the Bands: The Roots of African American Music on Stage at Black-Eyed Pea Festival

Grammy-nominated Andre Thierry of Accordion Soul Music, second-line band MJ’s Brass Boppers, the Oakland School for the Arts jazz band, and vocalist Piwai will grace the stage MCed by Dance-A-Vision’s Carla Service, who will help keep you moving.

Published

7 months ago

August 26, 2025

Oakland Post

Early exposure to his French Creole heritage put Andre Thierry on the road to life as a musician at a young age. Courtesy photo.

Andre Thierry’s Accordion Magic, MJ’s Brass Boppers, Piwai and others provide free entertainment

By Post Staff

They’re gonna sing, they’re gonna dance, they’re gonna play accordions and saxophones, drums and trumpets, fifes, washboards, tambourines, and the mbira (also known as kalimba, the African thumb piano) on the stage at the 10^th Annual Oakland Black-Eyed Pea Festival (BEPF).

No, not all at once, but that’s what you’ll see and hear over the course of the day at the festival celebrating traditional African and African American music, food, and art on Sept. 13 at Marston Campbell Park at 17^th and West streets in West Oakland.

Piwai brings many talents to her music with conga drums as well as the mbira, the African thumb piano. Courtesy photo.

Below is a schedule of the day’s musical line-up:

11 a.m.: The festival opens for shopping, massage, and activities for children.

12-1 p.m.: Led by Zamora, the Wakan Wiya Two-Spirit Drum honors the land and our native forebears. They are followed by a libation and offering to the ancestors through Bata drums and chant in ancient Yoruba by Awon Ohun Omnira.

1:20-2 p.m.: Under the direction of Daniel Parenti, the students in the jazz program at Oakland School for the Arts will bring us jazz from different eras, from classic to smooth.

2:20-3:20 p.m.: Piwai wows audiences across the globe with her soulful voice and genre-fusing melodies. Fondly known as the girl with the African thumb piano, the mbira, Piwai was born and raised in Zimbabwe. As a gwenyambira, Piwai adds authentic cultural elements to her music, making her performances truly unique. Her collaboration on the Grammy-winning album “Last Days of Oakland” showcases her versatility.

3:40-4:40 p.m. Andre Thierry’s accordion soul music fills up the festival’s midafternoon schedule. The Richmond native and Grammy-nominee received high praise from The Washington Post, calling him “A master at pumping out fast, funky rhythms on an instrument not usually associated with earthy syncopation. A versatile student of the music, Thierry can’t be lumped into Zydeco’s old-school R&B-influenced camp or its nouveau, rap-inspired one: He and his band lay down both soulful, traditional slow-dances and bottom-end-booming kinetic groovers.”

5-6 p.m.: MJ’s Brass Boppers’ singing and swinging brass line brings an authentic second-line experience with true New Orleans flair to San Francisco. Founded in 2008 by Michael “MJ” Jones and other NOLA transplants who were trained by family and community, the band rehearses constantly and lives the music, with the second-line beat pulsing through their veins. Seen at private events and street festivals, they’ve opened for a variety of acts, including George Clinton & Funkadelic, The O’Jays, Trombone Shorty & Orleans Ave, Funky Meters, George Porter Jr. and more.

Online sources from the musicians’ web sites were quoted in this report.

The 10^th Annual Black-Eyed Pea Festival, a free celebration of traditional African American music, food, and art will be held on Sat. Sept. 13, from 11 a.m. to 6 p.m. at Marston Campbell Park, 17^th and West streets in West Oakland. For more info, go to Oakbepf.com or call 510-332-5851. Bring a chair or blanket for the lawn or reserve a table for six for $150 at https://www.tickettailor.com/events/omnirainstitute/1799229

Oakland Post

Posts by Oakland Post

Arts and Culture

Cal Performances Presents Angélique Kidjo & Yo-Yo Ma in Sarabande Africaine at UC Berkeley Greek Theatre on Aug. 30

On Saturday, Aug. 30, the pair will debut the Bay Area premiere of Sarabande Africaine, joined by pianist Thierry Vaton, percussionist David Donatien, and special guest Sinkane. The program illuminates centuries of musical interplay between African traditions and Western classical forms, using the Baroque sarabande dance, and its African ancestor, the Congolese spirit dance Zarabanda, as a gateway to exploring the deep, interconnected roots of global music.

Published

7 months ago

August 25, 2025

Oakland Post

Angelique Kidjo and Yo-Yo Ma. Wikimedia photos.

By Carla Thomas

On Labor Day weekend two of the world’s most celebrated musicians and cultural ambassadors, Grammy Award–winning vocalist Angélique Kidjo and legendary cellist Yo-Yo Ma join forces for an evening of music, history, and cultural dialogue at UC Berkeley’s historic Hearst Greek Theatre.

Both Kidjo and Ma have built careers not only as great performers but as passionate advocates for cultural understanding. Sarabande Africaine is as much a conversation about shared heritage as it is a musical performance, blending genres, geographies, and histories.

“Every day there are moments when all of us can feel we are on the inside of something and also when we feel we are on the outside of something,” said Yo-Yo Ma. “To be able to understand both at the same time and oscillate between the two gives us a larger perspective on the world.”

“If your mind is open, and there is no fear, it’s easier to listen, and to question yourself,” said Kidjo.

The upcoming performance is presented within Cal Performances’ Illuminations: “Exile & Sanctuary” series for the 2025–26 season. The production explores exile as more than just physical displacement, but a disruption in identity and belonging, while sanctuary represents both refuge and the creative space where new connections and communities can take shape.

Cal Performances’ Illuminations bridges performances with UC Berkeley’s academic research, pairing the arts with conversations about urgent global issues.

Kidjo’s continued partnership with Cal Performances includes her 2021–22 artist-in-residence, premiering her music-theater work Yemandja, set in 19th-century West Africa during the transatlantic slave trade.

She also participated in the Bias in Our Algorithms and Society panel alongside campus leaders like Jennifer Chayes, and joined the Black Studies Collaboratory for a dialogue on music, diaspora, and the world.

She has since returned to Berkeley for multiple performances, most recently in 2024 at Zellerbach Hall.

Yo-Yo Ma’s history with Cal Performances spans decades, beginning in 1997. One notable project includes the 2018 performance of Bach’s complete cello suites at the Greek Theatre, a testament to his devotion to creating “transformative concert experiences in iconic spaces.”

For tickets and more information, visit calperformances.org.

Oakland Post

Posts by Oakland Post

Activism

The Past and Future of Hip Hop Blend in Festival at S.F.’s Midway

“The Music and AI: Ethics at the Crossroads” panel featured X.Eyee, CEO of Malo Santo and senior advisor for UC Berkeley’s AI Policy, Sean Kantrowitz, director of media and content @Will.I.A.’s FYI, Adisa Banjoko of 64 Blocks and Bishop Chronicles podcast, and Julie Wenah, chairwoman of the Digital Civil Rights Coalition.

Published

7 months ago

August 11, 2025

Oakland Post

At the inaugural SF Hip Hop festival at The Midway in San Francisco panelists X.Eyee, CEO of Malo Santo and senior advisor for UC Berkeley’s AI Policy, Sean Kantrowitz, director of media and content @Will.I.A.’s FYI, Julie Wenah, chairwoman of the Digital Civil Rights Coalition, and Adisa Banjoko, of 64 Blocks and Bishop Chronicles podcast pose together. Photo by Carla Thomas

By Carla Thomas

“Cultural Renaissance,” the first-ever SF Hip-Hop conference, occurred at The Midway at 900 Marin St. in San Francisco on July 18 and 19. Held across three stages, the event featured outdoor and indoor performance spaces, and a powerful lineup of hip-hop icons and rising artists.

Entertainment included Tha Dogg Pound, celebrating their 30th anniversary, Souls of Mischief, and Digable Planets. “Our organization was founded to preserve and celebrate the rich legacy of Hip-Hop culture while bringing the community together,” said SF Hip-Hop Founder Kamel Jacot-Bell.

“It’s important for us to bring together artists, innovators, and thought leaders to discuss how hip-hop culture can lead the next wave of technological and creative transformation,” said Good Trouble Ventures CEO Monica Pool-Knox with her co-founders, AJ Thomas and Kat Steinmetz.

From art activations to cultural conversations, the two-day event blended the intersections of AI and music. Panels included “Creative Alchemy – The Rise of the One-Day Record Label,” featuring producer OmMas Keith, composer-producer Rob Lewis, AI architect-comedian Willonious Hatcher, and moderator-event sponsor, AJ Thomas.

“The Legends of Hip-Hop and the New Tech Frontier” panel discussion featured hip-hop icon Rakim, radio personality Sway, chief revenue officer of @gamma, Reza Hariri, and music producer Divine. Rakim shared insights on culture, creativity, and his A.I. start-up NOTES.

“AI is only as good as the person using it,” said Rakim. “It cannot take the place of people.”

Rakim also shared how fellow artist Willonious helped him get comfortable with AI and its power. Rakim says he then shared his newfound tool of creativity with business partner Divine.

The panel, moderated by the Bay Area’s hip-hop expert Davey D, allowed Divine to speak about the music and the community built by hip-hop.

“Davey D mentored me at a time when I had no hope,” said Divine. “Without his support, I would not be here on a panel with Rakim and Willonious.”

Hatcher shared how his AI-produced BBL Drizzy video garnered millions of views and led to him becoming one of Time magazine’s 100 most influential AI creators.

“Diverse teams solve important questions such as: ‘How do we make sure we bring diverse people to the table, with diverse backgrounds and diverse lived experiences, and work together to create a more culturally sound product,’” said Wenah.

Self-taught developer, X.Eyee said, “You have to learn the way you learn so you can teach yourself anything. Future jobs will not be one roadmap to one individual skill; you will be the orchestrator of teams comprised of real and synthetic humans to execute a task.”

Activist Jamal Ibn Mumia, the son of political prisoner Mumia Abu Jamal, greeted Black Panther Party illustrator Emory Douglas, who was honored for his participation in the Black Power Movement. Douglas was presented with a statue of a black fist symbolizing the era.

“It’s an honor to be here and accept this high honor on behalf of the Black Panther Party,” said Douglas, holding the Black Power sculpture. “It’s an art (my illustrations) that’s been talked about. It’s not a ‘me’ art, but a ‘we’ art. It’s a reflection of the context of what was taking place at the time that inspired people.

“To be inspired by is to be in spirit with, to be in spirit with is to be inspired by, and to see young people continue on in the spirit of being inspired by is a very constructive and powerful statement in the way they communicate,” Douglas said.

His work embodied the soul of the Black Panther Party, and as its minister of culture and revolutionary artist, he definitely keeps the Panther Party soul alive, and his work is everywhere.

“Brother Emory Douglas is an icon in the community,” said JR Valrey of the Block Report.

“Fifty years later, he’s still standing,” said Ibn Mumia, raising his fist in the traditional Black Power salute.

“Emory is a living legend and so deserving of this award,” Valrey said. “We have to honor our elders.”