Dearly Beloved, I hope you shall join us this week @ Yale University in New Haven for the Prince – David Bowie conference: BlackStar Rising & The Purple Reign
In the lead-in to the Solange (Knowles) keynote address, I shall be holding forth on Mystical Prince, the Afro-Native spirit of his jazz belle mother Mattie & his Muses including my key sonic foremother Stevie Nicks (of course, Stevie & Prince collaborated on “Stand Back” & among other thangs, Prince clearly derived some of his famous style from Stevie’s bespoke sartorial aesthetic). Rather than due to Prince’s most adored blackface-wearing, jazz fusioneer heroine Joni Mitchell (who transformed from Saskatoon prairie flower trilling songbird into a black pimp who punked the Asylum gang royalty of LA with her own alter-ego Art Nouveau), I am a latter-day Lady of the Canyon because of my heroine Stevie Nicks — & a select elite of cult favorite canyon muses including Wendy Waldman, Essra Mohawk, Claudia Lennear & Judee Sill; they are all collectively the Muses behind songs of mine such as “Quartz Hill,” “Cowgirls,””Songcatcher,” & “Rare Bird” (& yes, my sophomore album was titled Canyons). As a sonic & spiritual acolyte-turned-Adept of Queen California’s Electric Eden (who possesses the Source Family lineage name Songbird Aquarian), I am looking forward to being purified anew in the purple-hued waters of Lake Minnetonka.
Hope y’all enjoyed the Martin Luther King Jr. Holiday; I spent mine meditating on the post-60s emanations of The Dream — as well as its limits as manifest in the oeuvres of Black Atlantic & Heartland rockstars David Bowie & Prince. I am finally at liberty to invite y’all to join us in New Haven @ the end of the month for the “Blackstar Rising & The Purple Reign” rock conference. Courtesy of an invite from my longtime dear friend of the Black Rock scene, former Princeton professor turned Yale scholar Dr. Daphne Brooks, I shall be presenting on Prince & activism @ Yale University; my evening program on 25 January also features Solange (Knowles) as keynote speaker & former SPIN magazine editor Alan Light.
The program also includes Sheila E., Kimbra, Questlove & others + a closing concert by TV On The Radio. More info & registration instructions linked: KANDIA CRAZY HORSE presentation @ YALE UNIVERSITY for Blackstar Rising & The Purple Reign 1/25
Looking forward to my rebirth in the purifying waters of Lake Minnetonka: HARTFORD COURANT on BLACKSTAR RISING & THE PURPLE REIGN
Howdy y’all / Osiyo skidoi, all my relations! I have not been able to report back much nor update this site, due to all the many #StandingRock actions & Native American circle pre-thanksgiving ceremonies & events I had over this past weekend & some. Among other events, I sang some of my Native Americana music @ the opening of Urban Native exhibit Cave To The Stars – Urban Natives Unrecognized @ Bread & Roses Project Gallery in Midtown last Thursday; I did #HonoringOurAncestors with the central Harlem Native circle on Saturday, followed by the Thunderbird American Indian Benefit Auction that night on the Upper East Side. And still working on my #LeonRussell memorial article, even as I rehearse for this Friday’s Benefit For Water Protectors concert in Brooklyn @ Jalopy Theater. Ho wa, will share some pix of all this activity by-and-by, but now am learning new songs & also preparing for tomorrow’s Standing Rock action in Midtown – if you somehow missed the horrible news of the chemical weaponry, water cannons & rubber bullets unleashed on the Standing Rock water protectors Sunday night in sub-freezing temperatures & its fallout, now is the time to become aware & join us in these support actions & by donating to the camps. I am receiving many communications suddenly from friends who have been relatively apathetic pre-election & several fellow country / Americana artists now querying me about the Standing Rock resistance; so it will be interesting to see how this continues to unfold & whether President “Walking Eagle” Obama will finally do something definitive in response to these unconscionable attacks on my prayerful relations out West. Still enjoying #NativeAmericanHeritageMonth somewhat — despite the unceasing musical losses: sadly, #SharonJones has walked on, claimed by the same cancer that took my dear mother. This has cast a further pall on the holiday week. A’ho*
Art for tomorrow’s #StandingRock action, by my brotha-in-struggle Kyle Goen #kyledidthis
& a lil’ lighthearted #ThrowbackTuesday snap by #NedSublette of me & my brothas Teddy K aka DJ Soul Punk & Cap’n #KirkDouglas of #TheRoots (the last time I got to see Sharon Jones & the Dap-Kings live was @ The Roots Picnic in Philly) @ my live #BlackHillbilly #countryandwestern music series #TheHarlemHonkytonk #SaddleUp!
Gene Clark, a Native son of Tipton, Missouri, was a brilliant singer/songwriter/folkie who attained global fame for a spell in the 1960s as a member of The Byrds. Then, after quitting the band at the height of their acclaim — leaving them with the amazing “Eight Miles High — Gene embarked on a long & often turbulent solo career until his untimely death right after I moved UpSouth. Thus I never got to see him live, much to my regret. Yet each & ev’ry day I flash on him & his Creation, usually keeping a lot of his collaboration with my favorite banjoist, Doug Dillard (also now gone to Glory), in heavy rotation. One of my most beloved of Gene’s songs he cut with The Gosdin Brothers backing him – “So You Say You Lost Your Baby;” I also spin his masterpiece No Other a great deal. “One In A Hundred” and “Life’s Greatest Fool” are other key tunes of his for me. Someday, I will feel brave enough to share my ode to him, which I composed out of my time dwelling in the Ozarks in Missouri, called “Tipton Bramble.”
Today’s Gene Clark’s bornday, so re-sharing the column I wrote on him a couple years back which foregrounded his Native American heritage (which many don’t know about) & also featured an interview with my Cosmic California musician/surfer friend Brent Rademaker of Beachwood Sparks & now GospelBeach: THIS BYRD DONE FLOWN AGAIN by KANDIA CRAZY HORSE
( GENE CLARK, POST-FLYTE )
Also found out last night that rare country-rock specialist label Sierra Records has issued Gene Clark – The Lost Studio Sessions 1964-1982 > So will get that in my #NativeAmericanHeritageMonth rotation fo’sho’! – A’ho*
(Dillard & Clark)
“We got to work for Peace / Peace ain’t gonna be free / Gotta go to war…” so often sang my late hero & artist-activist influence Gil Scott-Heron (but he was not a warhawk, he was singing of peace-waging), when I used to see him annually in NYC at venues such as S.O.B.’s downtown. And, while I listened to his tunes “B-Movie” (about Ray-Gun America in the 1980s), “Winter In America” (a reminder for #NativeAmericanHeritageMonth & due to escalated actions around the Dakota Access Pipeline resistance & halting other black snakes of Turtle Island) & “Gun” (for obvious reasons in trigger-happy America & upon Veterans Day), this week & then just spoke with my Pamunkey great aunt Ethel from Virginia, who is an activist/southern belle/church lady in the truest sense & at 91 would have been embedded all year @ Standing Rock were it not for ailments, I was reminded indelibly that we cannot despair at this hour of chaos after the presidential election. We must be strong, we must be prayerful if we follow Native tradition & other faiths, and we must seek to be united as possible in order to work for Peace in the coming days of a New Nation that does not honor nor respect the rights of all of its citizens.
( Caitlin Rose & Kandia Crazy Horse @ Mercury Lounge NYC (w/ photobomb by Roddy of Daniel Romano’s band – Follow @cactusroselovesyou on Instagram )
2016: A year of sonic loss, domestic terrorism against #NoDAPL water protectors & days of rage in newly-minted Trump America…I will not retire from my activism & I am feeling a renewed dedication to songwriting, illuminating the folkways of the postmodern New South, and collaborating with other (Native) artists that also follow the Way of the New World to work towards indigenous futures. So, instead of wallowing — although I was/am mighty weary — I went out into the fractious City, finding fellowship & even some laughs with other indigenous activists from near and far as well as musicians from Argentina (Nico), Canada (Daniel Romano & band), & my sistah-in-twang Caitlin Rose (Nashville via Texas). While we raised a toast of Tecate backstage @ Mercury Lounge in the East Village/Lower East Side to Canadian singer-songwriter icon #LeonardCohen & #MightyBaby’s Martin Stone who just passed & then I rotated sounds of my treasured record collection overnight in their memory + for Veterans Day (my step-great-grandfather Mr. Bridges of SW Georgia fought bravely in World War I & always remember him upon this day) — Elyse Weinberg, Stevie Nicks (who I mightily wish I could catch on her current tour!) & Fleetwood Mac, Jon Lucien, Rufus Wainwright — it was deeply impressed upon me that we must be thankful that #WeAreStillHere able to sing, play, laugh, dance & write songs, despite possible dark days ahead on Turtle Island and all of the many sad losses that have befallen the music world in 2016. As discussed with #CaitlinRose, I look forward to playing in Nashville, doing some festivals & sharing new songs in 2017, with my trusty band Cactus Rose holding me down. Some don’t like (colored) women who are brave & fly the freak flag high; there are concurrent wars against us of the #NoDAPL resistance and the collective body of black women in this society; and there are some entities that have tried/want to silence my Voice – but still I shine on. And I am going to stay #BlackHillbilly ’til I die. Here’s to #TGIF — as my great aunt would say — and looking forward to enjoying the remainder of #NativeAmericanHeritageMonth
( Nico Bereciartua of Magpie Salute (from Argentina) & Kandia Crazy Horse of Cactus Rose band (in hat Karen Dalton) @ Henry Diltz’ Morrison Hotel Gallery in SoHo for “Midnight Rider” photography exhibit on Gregg Allman of the Allman Brothers Band by Patricia O’Driscoll, NYC )
( Why I want to see Stevie Nicks (who I have never seen) live…She composed this song “Silver Springs” while on the Road in my homeplace of the #DMV. I used to spend special times with my late mother in Silver Spring in the brief period before she walked on & grew up going there often in my “Maryland is for crabs…Virginia is for lovers” shirt in the 1970s. Precious memories…& songwriting inspiration! )
( How I came to truly know/love Leonard Cohen’s “Hallelujah” – via my beloved & the best male Songbird of my generation #JeffBuckley (RIP) #ScorpioRising #ScorpioSeason – In Memoriam for all the Singers & Players & Freedom Fighters )
( & Leonard Cohen & Jeff Buckley’s acolyte who’s one of my most beloved contemporary artists: #RufusWainwright – This 11/11 tune comes from his double-LP masterpiece Want One / Want Two that was life-changing for me in the early Aughts. I still treasure getting to meet Rufus once backstage at a taping of the Jimmy Fallon Show in Manhattan, courtesy of my brotha Kirk Douglas of The Roots )
Kandia Crazy Horse x Kimberly Robison #KAR on the march of Manahata for Standing Rock #mniwiconi #NoDAPL
Some of the great photography that’s come in from Afro-Native artist & milliner from Texas, Kimberly Robison / KAR. I look forward to performing with her here in NYC next month, as well as being involved with various actions on behalf of Indian Country. When I did the same march up Wickquasgeck back in early August with Brooke & Luis of Eagle & Condor Community Center, there were only 10 of us. So it was heartfelt & illuminating that so many have come to stand in solidarity with Standing Rock in the time since – A’ho*
#mniwiconi #IStandWithStandingRock #NativeAmericanHeritageMonth
(With my fellow NYC artist Cheadah, upon our arrival @ 107th Street)
(In the sage smoke…)
(Kandia by Kimberly / KAR in my “Karen Dalton” hat)
Sho’nuff, I got post-Election 2016 Blues & been nursing ’em by spinning a lot of fitting tunes by my hero / influence as an artist-activist, Gil Scott-Heron — including “Winter In America” & “B-Movie.” Feeling even more wintry this grey November day in New York City for just found out that musician & bookseller #MartinStone has walked on. Regret that have not had the resources to cover a favorite song by one of his former bands, my beloved #MightyBaby, as long planned; but still hope to do so one day. Like the great Ian Matthews of Fairport Convention/Matthews Southern Comfort (who I briefly met once when he got me into his tour of Gene Clark’s No Other that came to the Music Hall of Williamsburg in Brooklyn) & my new friend/fellow sister country singer who used to dwell in the Ozarks, Jan Bell of the Maybelles / Brooklyn Americana Festival, who hails from Yorkshire, Stone was one of a select elite of master musicians that interpreted Anglo-Americana, perhaps the most interesting & exciting moment of the original British Invasion of the 1960s/early ’70s.
I have fortunately been invited by Jan to perform at the Jalopy Theater benefit concert for Standing Rock that she has organized, on 25 November @ 9pm in Brooklyn. Tix available here: KANDIA CRAZY HORSE x CACTUS ROSE singing in support of the STANDING ROCK water protectors camps
Here’s my beloved “Virgin Spring,” lachrymose, gossamer beauty befitting the vibes today in America. Mighty Baby was the UK’s answer to the Grateful Dead — a band I followed for aeons — & it’s interesting that they made their transition to this sound roughly around the same time that Jerry & ‘nem were trying to remold themselves in the manner of then-emerging Crosby Stills & Nash (& sometimes Young), as you hear on my favorite Dead LP, Workingman’s Dead >>>>>>>—–))—>
Sending you love o’er the Big Water in Fair Albion (despite #Brexit & #BritsSoWhite), to my brotha Mark Pringle, co-head of London’s Rocksbackpages.com which archives my early music journalism – Thankye, Mark, kindly for what correspondence did get to have with Martin Stone – A’ho*
I am an independent, stubborn southern belle & outlaw queen — Always been, always will be. Still, I believe #TheFutureIsFemale & I am also, of course, here for #IndigenousFutures – so I voted today in remembrance of my heroines: my Pamunkey mother Anne Marie from the Shenandoah Valley & Miz Fannie Lou Hamer, The Black Panther of Lowndes County. Sho’nuff, neither party gave us much of a decent choice & Kaine has only paid lip service to #NoDAPL on the eve of the election, smacking of desperation. Yet I have got to take the long view for the Turtle Island Liberation Movement I am a part of & with deep south kin still alive who were persecuted and firebombed by the Ku Klux Klan for daring to vote & mobilize their African-descent community to do so, I will never take my right to vote for granted. And a #NastyGal does step into the breach & flex her power, too – Love, that’s America! A’ho*
#KandiaCrazyHorse #NativeAmericana #singersongwriter #CosmicAmericanMusic #NativeAmerican #artist #activist #indigenousrevolutionary #AfroHippie #IStandWithStandingRock #NativeAmericanHeritageMonth #LoveWillWin #Merica
Sidenote: as a Black Bullette/Taurus Woman & Wonderlove(r), this was great to read today: http://www.huffingtonpost.com/entry/stevie-wonder-driving-equals-trump-presidency_us_5820c1a0e4b0aac62485fa21 KANDIA CRAZY HORSE loves STEVIE WONDER (a key influence)
( Kandia Crazy Horse #IdleNoMore in the voter queue today in Hamilton Heights / Harlem-on-the-Range, Uptown NYC – @cactusroselovesyou Instagram )
( Coming out of my polling place, a school named for Adam Clayton Powell Jr. – IG: @cactusroselovesyou )
( Some local Latina sisters were gifting us #StarsAndStripes Hershey kisses while we waited to vote #VoteNYC – IG: @cactusroselovesyou )
It’s a great day to be indigenous, Sisters & Brothers! Leaving out anon to march Manahata along the Lenape trail Wickquasgeck, with my friends & fellow activists of the Eagle & Condor Community Center — we all stand with Standing Rock. This is my fight song…well, theme music for the Trail, anyroad; was singing this, “Broken Arrow” by my favorite band Buffalo Springfield, last Friday night acapella with filmmaker Jonathan Demme who’s a fellow Neil Young stan, after our #ProjectAmericana performance @ Symphony Space.
Thinking of the Missouri River (with “O Shenandoah” also echoing in my Soul) via these lyrics:
Did you see them in the river?
They were there to wave to you
Could you tell that the empty quivered
Brown skinned Indian on the banks
That were crowded and narrow
Held a broken arrow?
Today, I shall be singing freedom songs all the way from Columbus Circle to Shorakapok. We will be holding a water ceremony, after a stop at the Indian Caves of Inwood Hill. Stay tuned for my report. Rocking my mocs on out the door…! >>>>>>>—–))—>
Hope y’all are enjoying #NativeAmericanHeritageMonth & have a grand ole weekend – A’ho*
#KandiaCrazyHorse #NativeAmericana #artist #activist #CactusRose #band #IStandWithStandingRock #MniWiconi #ProtectTheSacred #NoDAPL #BlackSnakeKillas #HonorTheTreaties #StopSpectra NO #AlgonquinPipeline #rockyourmocs #VOTE!
Well, since my sentiments about the state of Nashville’s country music establishment on and beyond Music Row tend to be unwelcome even amongst my former circle of rock critic colleagues, I wasn’t going to weigh in on this year’s CMA Awards, the 50th edition, which I did happen to watch. However, in my absence offline, an apparent controversy has been brewing on the subject of race and country music, due to the much ballyhooed performance of “Daddy Lessons” by Texan artists Beyonce (pop, urban) & the Dixie Chicks (once modern country royalty). Although I don’t wish to gas up TMZ, the site is one of the prominent places that has cited the CMA site & social media having scrubbed their entire online platform of images/references to said Beyonce-Dixie Chicks summit in response to copious racist reactions to the awards show appearance on Twitter & elsewhere: VIEW HERE
Now, I am no Beyonce fan nor “stan;” and I have no fear of the BeyHive in stating this — my backpages as a longtime music critic & editor for over 20 years clearly delineates where I stand on her & chronicles many of my thoughts on the history and contemporary scene of black artists who create in the overlapping country & western, bluegrass, hillbilly, Cajun, prewar stringband, mountain music, Americana, and roots genres. I also happen to have served on a panel @ CUNY Graduate Center in NYC earlier this year, holding forth on Black Banjo, my role in the country & western genre as an artist and touring fan, the Affrilachia movement, and the recent publication of scholar/banjoist Laurent Dubois’ book THE BANJO – America’s African Instrument. Talked about the fictional Darlings of The Andy Griffith Show a.k.a. The Dillards, and how Doug Dillard became my favorite banjo player and influence via Dillard & Clark. And I am a veteran of my friend Greg Mays’ annual Harlem Hoedown, where I always square dance as I learned as a babychile in rural Virginia to the sounds of my dear friends the Ebony Hillbillies. I was a “primordial” adopter, supporter, and then critic of the Americana scene in general, way back into the 1980s, and have watched successive waves of cowpunk, neo-southern rock, alt-country, y’allternative, insurgent country, progressive country, Ameripolitan, indie folk, etc etc come to consciousness and come to market; and always pondered about the African presence in all of these scenes and on the record business side up to this day where Americana is now on the Billboard chart — the year’s big news in music. The pop/urban mix with country as a featured event of the CMA Awards has obvious precedent; many of my former colleagues are still talking about Justin Timberlake (who’s in the process of going Country & recording a country album) performing with Chris Stapleton last year. Yet this year’s turn, especially at the 50 marker, is notable less due to Beyonce but rather down to the fact that at a time when Bro-Country is waning, Taylor Swift has defected for pop, and nigh every classic arena rocker has cut a country record/moved to Nashville to revive flagging careers, country (&western) still has a glaring race problem and its related business wing cannot develop or sustain virtually any artists of color not named Darius Rucker. Opening the show with a too-brief turn by black country icon Charley Pride underscored this issue; the fact that the CMAs chose to have Stapleton and Dwight Yoakam — great & skilled though they are — pay homage to Georgia R&B hero & country maverick Ray Charles, to illustrate the S-O-U-L of country music instead of even summoning their own recent hitmaker Mickey Guyton or Americana star Rhiannon Giddens who was present at the awards (backing up Eric Church) showed exactly where they stand. The citing of SOUL, as it always has been, is code for the blackness in twang; the modern country (&western) scene and business has never quite progressed beyond the early 20th century moment of Race Records and segregating sounds by racial and regional provenance. And all hell broke loose on social media yesterday and today, as country music fans of the dominant culture rushed to show their displeasure with the inclusion of a black (pop) artist on the CMAs, accusing her of trying to take away country music from whites who supposedly have eternal ownership of the genre — despite the patent & well-documented African and Native American origins of country besides the Scotch-Irish contribution. I myself am a Native Americana / cosmic country & western artist in no small part because I am of Native American, African, and Scottish descent, a rich hybrid made in America’s Southeast from which the Source of the music eternally springs. I am also just a fanatic of bluegrass, mountain music, and cowboy tunes — and I claim as much ownership of that Creation as anybody. Keen observers have known for a spell that one of the most vibrant bluegrass scenes in the world is in Japan, and that events and festivals like the Black Banjo Gathering in Boone, North Carolina, have been yielding a younger, new wave of twang talent of African descent.
(My shot of superstar country artist #BradPaisley & #CharleyPride opening #CMAAwards50 – credit: @kandiacrazyhorse Instagram)
Here’s what I posted in response to the show on Wednesday night, while live-blogging portions of it on Facebook & Instagram: “I am watching #CMAAwards50 & pondering deeply about the African & Native American roots of the genre; plus how far Nashville & Music Row still have to go in honoring these legacies. Wonderful to see my hero #CharleyPride open the show with my fellow Virginian #BradPaisley (Yep, I’m a fan, despite the unwieldy “Accidental Racist;” I blame LL Cool J); but still tinged with some sadness and confusion. Someday, #NativeAmericana & #BlackHillbilly will take their proper place. For now, enjoying seeing all the 1960s & ’70s country women I grew up on that made me aspire to sing in twang, besides my Native American triumvirate (Buffy Sainte-Marie, Karen Dalton, Rita Coolidge): Loretta Lynn, Tanya Tucker, Barbara Mandrell (!!)…& Reba…Waiting for Dolly [Parton], of course…! #KandiaCrazyHorse #NativeAmericana #mountainmusic #AppalachiaSounds from #Virginia #countrysinger #southernbelle #countrygirlsdoitbetter #AffrilachianNation”
Quibbling about how pop or authentically country any given act is — that’s something I leave to the working music critics. Certainly, the Dixie Chicks’ reappearance on the CMAs was controversial due to their past & interesting to have that baggage reexamined so close to the presidential election. Some staunch country loyalists were always going to react negatively to that. Yet the main issue — just as a decade-plus battle for Country Music’s soul reaches its zenith (see the site Saving Country Music for consistent dispatches on this topic) — is that country (&western…& Americana) is the last frontier for artists of African descent — whether that be Virginia-bred me, Kandia Crazy Horse & my new band Cactus Rose, or Kenya’s leading country singer, Sir Elvis Otieno — and the country establishment and much of the genre’s audience still views it as their own private safe haven away from the predations of urban music/culture/style and technology-tied modernity. It is interesting that Bro-Country, which would often feature the likes of Florida-Georgia Line duetting with Nelly and Blake Shelton attempting to rap, is fading just as there is a rise and music industry push behind a range of country and Americana acts that claim rock and other musics as influences or stylistically and attitude-wise invoke 1970s Outlaw Country: Kacey Musgraves, Sturgill Simpson, Margo Price, Sam Outlaw, etc…and are hailed for restoring “true” country sonics and values […with nods to their precursors Shooter Jennings and Hank III (both of whom I often loved & covered as a critic in the past)]. Yet there’s still apparently little to no room under the twang tent for we country artists of color, cosmic or otherwise.
Hey, I love Tompall Glaser and Clarence White & Willie Nelson as much as any other ’70s babe of my generation; and as a singer-songwriter, I am clearly influenced by my most beloved Gene Clark and the Buffalo Springfield — hear my paeans “Quartz Hill” & “Americana” “Tula” (en espanol) & “Scene & Herd” etc — and the less-celebrated Ladies of the Canyon like Judee Sill, Claudia Lennear, and Essra Mohawk. Neil Young, I see you (& thanks for singing for Standing Rock). I spent the early 1970s toddling behind my dear lil’ Pamunkey mother from the Shenandoah Valley at the bluegrass tents of Folklife Festival, snuck viewings of my favorite show Hee-Haw (’twas grand to see Roy Clark pickin’ an’ grinnin’ on the CMA, yep?), dreaming of growing up to play the Grand Ole Opry (at the Mother Church Ryman, of course) just like Darius Rucker; he ain’t the only one! Sweetheart Of the Rodeo by The Byrds & The Notorious Byrd Brothers were always & still are major for me. I am talented, and I am well-versed in the breadth and depth of country; I am extremely proud of my southern roots. All we want, after so many moons of flying the freak-flag high for Black Hillbilly & Native Americana, is to have a permanent non-conditional seat at the (farm) table, per Mrs. Knowles-Carter’s great sister Solange.
As I go prepare to march for Standing Rock again this weekend through all of Manhattan, please note that the date for the Jalopy Theater water protectors benefit in Brooklyn has been changed to 25 November. Follow the new Cactus Rose band Instagram account at @cactusroselovesyou for more details as they are announced. I continue my personal commitment to ongoing activism on behalf of the Standing Rock water protectors, and the band & I are very much looking forward to playing with our friends from the Brooklyn Country scene! I expect this to be one of my treasured highlights of #NativeAmericanHeritageMonth 2016
Hope yer gettin’ over The Hump well this week, Sisters & Brothers! For those that don’t know: November is #NativeAmericanHeritageMonth
Here in New York City, I will be doing lots of actions & activities to honor that. Among them, I am doing a prayerful march through the entirety of Manhattan Island this Saturday with my friends of the Eagle & Condor Community Center (in Queens), from the National Museum of the American Indian @ Bowling Green (the southernmost tip of Manhattan) all the way to Shorakapok (the Indian Caves @ Inwood Hill on the Spuyten Duyvil). The march goes from 10 am until 6pm. I will also be rolling through the Black Farmers Conference in Harlem this weekend.
This month, I will be performing at another benefit for Standing Rock, on November 25 @ 9pm, this time at the City’s premiere venue for hillbilly/old-timey/bluegrass/roots music — the Jalopy Theater in Brooklyn. I have been trying to work it out to play at Jalopy for a long time, so happy to finally do so for a great, beautiful cause so near and dear to my Native heart. This will also be the proper debut of my new Native Americana / twang band Cactus Rose. More details TBA!
(Kandia Crazy Horse @ Electric Lady Studios in vintage fringed buckskin jacket, Greenwich Village NYC, by Camara Dia Holloway)
Made my #NativeAmericanHeritageMonth pilgrimage to #ElectricLadyStudios in the Village, honoring #JimiHendrix’ Native #Tsalagi roots. Received some purple & feathered energy from Jimi that I will be unleashing when I perform @ the Standing Rock benefit @ Jalopy – A’ho*
#Jimi Hendrix #AniYunwiya #KandiaCrazyHorse x #CactusRose #Pamunkey #Afrohippies #CherokeeMist #TaharqaAleem #Ibeji #TheAleems #TwinsSevenSeven #NativeAmericana #ICanHearAtlantisFullOfCheer #MniWiconi #ElectricLadies #CosmicAmericanMusic
We three Native American sisters & NYC artists, representing three Nations & both the Upper and Deep South, had a lovely, impromptu gathering down by the riverside of Hamilton Heights yesterday before the rains swept along the Hudson River. Surrounded by several circling & swooping hawks, we began a powerful conjure straight out of Hudson Canyon — look forward to us being involved with the recently-discovered Lenape burial mounds at 125th Street in Harlem, among other projects – A’ho* #KandiaCrazyHorse #TessReese #KimberlyRobison / #Karline #HawkMedicine
(Kandia Crazy Horse on the Hudson River, view of the Palisades, by Tess Reese, Choctaw)
(Karline x Kandia x Tess, by Kandia Crazy Horse)
(Stormy Sunday in Hudson Canyon by Kandia Crazy Horse)
Here’s a photo shot by one of the Jack Shainman Gallery’s gallerinas from yesterday: visual artist Carrie Mae Weems & (me) sonic artist Kandia Crazy Horse @ their space on W. 20th Street in Chelsea, for the opening of her new exhibits (see description below). Carrie & I used to share workspace way back many moons ago when I attended Hampshire College & she was teaching there. Nice to see how far our respective Creation has come & find now in her a fellow fan of my Afrohippie & bluegrass singer-songwriter heroine/inspiration Claudia Lennear — two vintage yet manipulated images, “Blue Notes,” of Claudia are featured in the show.
Via Jack Shainman Gallery PR: “Jack Shainman Gallery is pleased to announce Carrie Mae Weems’ first solo exhibition in New York City since the historic retrospective at the Guggenheim in 2014. Her influential career continues to address the rifts caused by race, class, and gender via imagery and text that is both sharply direct and beautifully poetic. This two-part exhibition highlights her recent investigations into performance, entertainment, and history.
Blue Notes (2014) and An Essay on Equivalents, See… (2011-2015) highlight figures on the periphery, bringing them front and center. The photographic series are paired with the enigmatic video installation Lincoln, Lonnie, and Me (2012), originally commissioned by the Mattress Factory, Pittsburgh, PA. The work rests on a 19th century optical trick, “Pepper’s ghost,” in which a strategically lit pane of glass reflects people and objects as dematerialized versions on stage. Weems employs this phantasmagoria to examine her own relationship to history and two individuals in particular: the 16th president of the United States and artist/activist Lonnie Graham, her sometime collaborator. Here history becomes theater, a succession of ghostly projections that draw us in to the strange ways in which representation seduces and manipulates, and how some are left out of history altogether, their apparitions left to haunt the expanses of Western culture.
The theme of performance continues with Scenes & Take (2016). Weems dons her black-robed muse persona—recognizable from the now iconic Roaming and Museums series—to stand before empty stage sets, documenting these encounters with vivid color photographs. The contemplative pose of the artist raises issues of who gets to be shown on screen; what do the fictional characters in television, theater, cinema, and visual art say about the cultural climate in which they are created, and how do these representations shift across time?
All the Boys (2016) responds to the recent killings of young African American men and suggests a darker reality of identity construction. Portraits of black men in hooded sweatshirts are matched with text panels. The written descriptions evoke police reports, underscoring how a demographic is all-too-often targeted and presumed guilty by a system plagued with prejudice. […]”
(Shot of “Blue Note – Claudia Lennear” by Kandia Crazy Horse – Originally from an early 1970s Playboy feature on the Laurel Canyon singer-songwriter)
Claudia Lennear had famous affairs with Mick Jagger of the Rolling Stones, when she toured with them in 1969 as an Ikette (part of the Ike & Tina Turner Revue), & later with David Bowie during his LA burnout/Sigma Sound Soul phase in Philly – the resulting songs “Brown Sugar,” Claudia’s response “Not At All,” & Bowie’s “Lady Grinning Soul.” I am personally far more interested in her singing with my most beloved Master of Space & Time Leon Russell (as part of the Shelter People) & Claudia Lennear’s attempt to have a bluegrass trio in the early ’70s with her fellow Mad Dogs & Englishmen Tour veteran singers Donna Washburn (once a member of my most beloved/influence Dillard & Clark) & Donna Weiss (later a songwriter of some note; she had songs covered by, among others, another Mad Dogs star & my heroine/influence as a Native Americana artist, Rita Coolidge – I just recently filed an essay about Ms. Coolidge & this lore, which will be published next year in a tome on Women Of Country). A friend & Southern sonic forebear of mine, the late Memphis pianist/producer icon Jim Dickinson (aka James Luther Dickinson of “Dixie-Fried” & “White Horses”+ producing Big Star’s Third fame) promised to give me a photo of their bluegrass trio, as he was tied to the project, but then he walked on. Still hope to see the images someday! Of course, Claudia is active again, post- Twenty Feet From Stardom rediscovery, and leading two bands — one bluegrass — today in Los Angeles & recording an album David Bowie had sought her out to collaborate on before his passing. Looking forward to catching ’em live whenever I next make it to the Coast. I always do enjoy spending time in LA, amongst the newer Laurel Canyon & Topanga Canyon rock ‘n roll hippie glitterati — although most of them are East Side gentrifiers, particularly in Echo Park & Downtown (with satellites in Eagle Rock & Mt. Washington & out in the environs of Joshua Tree & Bolinas & Nevada City); this is why I always keep dear Odetta (who my late Virginian Native American mother Anne Marie wished for me to model & pick guitar in her image) & Claudia Lennear as my history-making twang foremamas & legendary Ladies of the Canyon.
I still plan to do a major project around the sound+vision of Claudia Lennear, Leon Russell, Rita Coolidge & their mutual benefactors, Delaney and Bonnie (& their fabulous Friends) during 2017 – Stay tuned!
(Two #BlackRockCoalition & #AfroPunk veteran chroniclers & rock-n-rollers outside Jack Shainman Gallery, Chelsea: #KandiaCrazyHorse #NativeAmericana #CosmicCountry #singersongwriter & #RobFields #BoldAsLove #blogger & festival founder – #FollowMe on #Instagram: @kandiacrazyhorse)
(LADY OF (HUDSON) CANYON: After Carrie’s opening, upon The Highline in Chelsea, by a fan – More NYC shows upcoming! #LadiesOfTheCanyon)