Fire charred Altadena. DEI is under attack. Can these music activists help save both?

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Willie “Prophet” Stiggers started the Black Music Action Coalition in 2020, a time when many people were focused on racial justice. But five years later, the situation has changed significantly. Support for these efforts has waned, from the government to everyday citizens who are now feeling tired and frustrated.

It’s been really challenging for our DEI group lately. We’re trying to keep things moving forward despite some serious pushback – things like unsupportive policies, investigations, and a feeling that the company is backing away from its commitments. And on top of all that, the recent fire in Altadena, a historically important neighborhood for Black artists in L.A., has created an urgent need for support. It feels like we need to do even more now, and quickly, to help rebuild and ensure this community doesn’t disappear.

The Times interviewed Stiggers about tonight’s gala at the Beverly Hilton, which is raising money for Altadena relief and honoring Irving Azoff, John Legend, and Kai Cenat. They also discussed how Altadena can maintain its unique character and whether Black artists will ever receive equal protection of free speech in the legal system.

Tonight’s gala aims to raise money for Altadena, a neighborhood with a rich history as a home for Black musicians. While the immediate effects of the fires are fading, the community is still deeply affected. The event will focus on how these funds will help with recovery and support.

As the news moved on, so did the public’s focus and support. This fund is specifically for people who lost their homes and didn’t have insurance. Immediately after the fires, we provided $400,000 in financial assistance and connected people with helpful resources.

There’s a lot of red tape involved, and people have been forced to fill out tons of forms just to receive a small amount of money. We anticipated this issue from the beginning, as we heard stories about people struggling to find housing, losing their cars, covering deposits for temporary shelter, and even replacing Christmas gifts that were destroyed in fires.

What have you learned about what works most effectively in helping these families?

Giving people direct cash assistance is the most effective way to help in these situations. These weren’t people struggling to get on their feet – they were established homeowners, often with family wealth, whose lives were suddenly turned upside down. They didn’t need lessons on budgeting or starting over; they simply needed help providing for their families, as many found themselves without homes and living in their cars. The disaster was incredibly damaging, and the fastest path to recovery was getting money directly to those who needed it most.

Music

A longtime collaborator of Ornette Coleman and a key figure in free jazz lost nearly everything in the Eaton fire, but thankfully his music and drive to create were spared. He remarked that surviving in Los Angeles requires that kind of resilient spirit.

Many residents are worried about the future of Altadena as it rebuilds, specifically who will gain from the changes and what impact those changes will have on the town’s unique character. They’re concerned about protecting Altadena’s identity while facing increased interest from developers and the challenges faced by those struggling with housing.

As a critic, I’m always looking for stories beyond the surface, and Altadena really delivers. It’s not just a place with a vibrant music and arts scene – it’s a testament to the power of community born from necessity. What struck me most was learning how Altadena came to be. Faced with housing discrimination, Black families built a home here, and in doing so, gifted the town with an incredible cultural richness. It’s a powerful reminder of the enduring resilience and creativity Black Americans have consistently brought to this country.

What’s been most inspiring is how people have kept their spirits up despite losing everything, maintaining a remarkable level of optimism even in this difficult time. I really want to remember that resilience. As Altadena recovers, I hope it doesn’t become a place where investors take advantage of the situation and buy up properties cheaply from people who can’t afford to rebuild. Rebuilding, even a simple home, is incredibly expensive, and many residents lack the funds to do so. We’re working to connect people with resources so they don’t have to make the heartbreaking decision to sell their properties just to survive.

This highlights that the demand for help will continue for a long time, and many people are currently facing difficult and desperate situations.

It’s incredibly rewarding to talk with the people we’ve helped. We’ve already made a difference in the lives of over a hundred families, and we want them to understand that our support isn’t just a one-time thing – we’re dedicated to being there for them long-term.

Music

It was a heartbreaking coincidence that the Palisades and Eaton fires destroyed two neighborhoods known for their important role in Los Angeles’s music scene.

You started working with BMAC in 2020, a time when discussions about racial justice were really gaining traction. Things feel quite different now. Could you describe how the landscape for your work has evolved?

As a lifelong movie lover, I’ve been really struck by this new federal push against DEI initiatives. Honestly, if the goal is to dismantle DEI, then let’s *actually* address the real issues: unequal pay, the barriers women still face in climbing the ladder, and all the other systemic problems. What’s so frustrating is how openly this mandate targets efforts to correct past injustices. It’s just… blatant, and really disheartening to watch.

It’s not unexpected coming from a far-right government, but it’s striking to see corporations dropping their support after being so vocal in 2020.

We anticipated this outcome and formed our organization specifically to ensure these companies follow through on their public commitments. We are closely watching corporations that have reduced their diversity, equity, and inclusion efforts, and we plan to highlight those actions. We believe it’s important for consumers to be aware of where their money is going and to support companies that truly value DEI.

We’ve observed the impact of boycotts on Target’s profits. We’re also noticing that some companies use diversity, equity, and inclusion (DEI) roles as a way to appear progressive without actually making meaningful changes to their systems. They might host symbolic events, like cultural celebrations, but avoid addressing deeper issues like biased hiring practices. Our aim is to highlight these discrepancies and identify who is truly responsible for creating lasting change.

How has that affected your own ability to fundraise?

We’ve faced a setback recently as several corporate sponsors have withdrawn their support, which has been difficult for us. However, we’re encouraged by the surge in individual support. Through our partnership with Live Nation, we’ve placed twenty students in internships and jobs within the live events industry. We’re also running an accelerator program at Tennessee State University and actively working to influence policy in this area.

There’s been strong opposition at the federal level, but those pushing these initiatives are continuing to do so. The fact that there’s such a heated debate proves these efforts were actually quite impactful.

And what about the music industry – considering how much it relies on the talent and skills of Black artists and professionals?

Looking at company leadership, things haven’t improved – actually, there are fewer Black executives in the music industry now compared to 2019. Many companies offered these roles with short, three-year contracts, and now those positions are reverting to how they used to be. Corporate support for Black Music Action Coalition (BMAC) has decreased, and we depend on the annual BMAC Gala to fund our work.

Live Nation and Primary Wave had the option to follow a different path, but instead, they chose to increase their support.

Music

The money raised by January’s benefit concert represents only a small portion of the billions of dollars in damage caused to Altadena and the Palisades. Six months after the fires, The Times checked in with FireAid organizers to learn how the funds have been used.

FireAid has faced some criticism regarding how they used the $100 million in donations they received. What are your thoughts on their efforts?

FireAid was a major effort, bringing together two large concert companies, Live Nation and AEG, to put on a big benefit concert after the devastating fires. Many artists participated and raised a substantial amount of money, which has been distributed to local community organizations providing direct relief. Any criticism comes from people unfamiliar with the impact the fires had on Altadena.

It’s fantastic that they made such a generous donation, and the money will be put to good use. Ironically, the very people complaining about access to help are the ones creating the complicated systems that make it hard to get. You can be sure they haven’t volunteered any time, money, or effort themselves.

You’ve been involved with a lot of new laws concerning AI, deepfakes, and using song lyrics in legal cases. Given the current political climate, do you think any of these proposals have a realistic chance of becoming law?

As a critic, I’ve been following the legislative side of things, and it’s encouraging to see real movement on protecting artists and individuals from harmful technology. The NO FAKES Act, a bipartisan effort, is designed to combat the rise of deepfakes, and it’s already having a ripple effect. We saw something similar with the RAP Act – the federal bill sparked action at the state level, and now we’re seeing states like California, Missouri, New York, Georgia, and Louisiana introduce their own versions of the legislation. It’s good to see federal efforts actually influencing positive change locally.

It feels like there’s a lot of pressure to avoid talking about sensitive or controversial issues right now. Are you concerned this could impact artists and their work?

More than a thousand young Black men are currently imprisoned, with their rap lyrics being used as evidence against them in court. This is a widespread issue happening across the country, and it’s a reality I’m focused on. The RAP Act is about protecting free speech, and everyone – regardless of their musical taste – should be able to get behind that principle.

Music

The investigation was launched following a performance where the rap-punk band Bob Vylan chanted “death, death to the IDF”.

As a huge movie buff, I’ve been thinking a lot about how impactful storytelling can be globally. BMAC is expanding its work internationally, particularly in Africa and the U.K., and it got me wondering: what kinds of activist approaches will *really* resonate and make a difference in those specific cultural contexts? It’s not just about translating what works here; we need to consider what’s most effective and appropriate for those communities.

We’re expanding into the U.K. and various African countries. The growing popularity of Afrobeats and Amapiano has brought significant attention to artists within the diaspora, and we want to share our expertise in protecting their intellectual property. We’re concerned that, without the right knowledge and skills to navigate record labels and publishers, artists in Africa could face the same kind of exploitation that has historically occurred. The challenges Black artists and executives encounter aren’t limited to the U.S.; these issues are global.

Whenever I hear discussions about Africa in business settings, it makes me cautious. It’s crucial that African leaders, managers, and creatives have the tools and understanding to succeed, or we risk repeating the past – like what happened with jazz and rap music, where the origins were exploited by others.

What are you hopeful about in Los Angeles as recovery work continues long-term?

I find inspiration in the people of Los Angeles. After Hurricane Katrina, I lived in Atlanta, where many displaced people felt lost and hopeless. But as soon as I arrived in L.A., I felt a completely different energy – a strong sense of determination and the ability to bounce back.

Many events were being canceled around the time of the Grammys, but we decided to move forward with our Jimmy Jam and Terry Lewis event. It was important to us that we support the local businesses who depend on events for income as they recover. The town has really shown its resilience and is bouncing back, and we believe this community’s spirit can be a model for others during rebuilding efforts.

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2025-09-18 23:02