We of Cactus Rose are big, lifelong fans of the father of Cosmic American Music Gram Parsons & honored to finally be paying him homage in sound. Come the end of September, we are heading down to Gram’s hometown of Waycross, Georgia, to perform in the 20th year of the Gram Parsons Guitar Pull & Tribute Festival, with headliners including the great Kentucky Headhunters (who I wrote a seminal Village Voice review about back in the day); & we are very pleased to have special guests joining us: Stanley Booth & Lauren Barth. Take a gander at the purty poster that’s circulating & prepare to come join us down Georgia way when we shall be singing a set that combines Cactus Rose originals & select Gram Parsons classics – A’ho!
Join us of Cactus Rose band for our first show of 2017 this Friday night! We are celebrating #BlackHistoryMonth with our own cosmic twang contribution to the #BlackHillbilly tradition & looking forward to reaching out farther with this advocacy into the national & international music scene during this year. Follow us on Instagram: @cactusroselovesyou
#CactusRose live @ Branded Saloon
603 Vanderbilt Avenue, Brooklyn NY
More info/directions: brandedsaloon.com
( Black stringband in 1900)
Happy New Year, y’all & best wishes as the seasons unfold. I hope you had a grand ole holiday time; for my part, I finally got some much needed rest & a spell to rotate some albums of 2016 — especially country releases — that I never got to hear during the course of last year. We of Cactus Rose are taking some time to conjure, connect culturally & write songs during January & then we will be doing two shows on the Brooklyn Country scene in February. I will be making my first live appearances of 2017 in upstate New York & in Connecticut — the latter being a major event I am not yet at liberty to share details about. Stay tuned to this page &
…In the meanwhile: hope can rope yer hearts to join Jonathan Demme & myself @ the Jacob Burns Film Center in Pleasantville, NY next Saturday for his western movies screening series / live event “Saddle Up Saturdays.” I will serve as the guest artist / interlocutor for the presentation of Dixie lore & Lakota-themed Run Of The Arrow starring Rod Steiger, Brian Keith & Charles Bronson — followed by a discussion + Q&A. The screening will be preceded by Jonathan’s Standing Rock documentary: Protection Not Protest: The People of Standing Rock
Neither I nor my fellow bandmates in Cactus Rose, Jeff & Kimberly/KAR, have forgotten about Standing Rock or Split Rock, despite the switch in focus to Aleppo or the trend hoppers moving on to the next new thing; and we remain committed to helping stop all the black snakes threatening Turtle Island. So this event will be a good opportunity to come and hear about the Split Rock actions & other causes of Indian Country as well as how it was for me to grow up Indian loving the western genre & cowboy music in the Vietnam Era when antiheroes dominated horse operas while there was a revival of Native American consciousness in the real world beyond celluloid. A’ho*
Tix & more information available here: RUN OF THE ARROW w/ KANDIA CRAZY HORSE 1/14 @ noon JACOB BURNS FILM CENTER
I have been mostly focused on the Red Road > powwow highway > doing activism on behalf of Indian Country especially for Standing Rock / #NoDAPL during 2016. Yet once I was a rock journalist & music editor in a previous life, and I perpetually remain a vinyl collector & music fanatic. Amongst the many losses to the music world this year was my dear folks’ seminal record store in the NoHo section of downtown NYC: Other Music. I bought my last hauls of records there back in the spring/summer & we feted their existence with a great parade down the Bowery, followed by a concert @ Bowery Ballroom starring Yoko Ono & many other artists. So it’s now bittersweet to be closing out the year by voting for my most memorable recordings of 2016 in company with the OM fam — here’s my list:
KANDIA CRAZY HORSE 2016 ALBUMS (I will shortly be submitting ballots for the Village Voice Pazz+Jop in Manhattan & the Nashville Scene country music critics poll for Nashville, TN as well…)
& the other Other Music staff + fellow update contributors’ choices can be read HEREIN
& some scenes from the closing of Other Music…A’ho*
( Kandia Crazy Horse & Other Music staffer / WFMU DJ / Bim Marx producer Duane Harriott inside Other Music’s East 4th St store on the final day of operations )
( The last 2 physical copies of my debut album Stampede for sale @ Other Music NYC )
( Other Music co-owner Josh Madell & I outside the Bowery Ballroom on Delancey Street, after the parade / before the farewell concert started )
( Other Music staffer / bandleader of Chouette Amanda Colbenson & I outside the Bowery Ballroom after the OM parade down the Bowery, NYC )
( The banner that used to hang above the entrance @ Other Music on East 4th Street, NYC )
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)
As a fan/supporter of the Americana & Alt-Country scenes for decades, as well as a longtime rock journalist/music editor covering the country genre, I became aware of Brooklyn’s Jalopy Theater at its inception & used to frequent it a lot in the earlier days of its existence when I socialized with a lot of rural transplants to the City from elsewhere in Mainland America. Since I started writing songs & then playing out, have long wished to play there for Jalopy is the main equivalent in NYC to what the Nashville country Mother Church, the Ryman, provided for generations of hillbilly singers & players during the 20th century. So I am pleased that I am finally making my debut appearance @ Jalopy Theater on 25 November, with my new Native Americana / Cosmic Country band Cactus Rose: Jeff McLaughlin (guitar, vocals), Evan Taylor (drums), Hilary Hawke (banjo, vocals) & our frequent guest star, Seminole elder/artist/activist Lonnie Harrington (guitar, vocals). Thanks to the organizer of this benefit for the water protectors of Standing Rock that we are performing in support of: Jan Bell of the Maybelles & #BrooklynAmericanaFestival
( My picker, Jeff McLaughlin, with his signature Heritage guitar, during our Cactus Rose band rehearsal this afternoon, High Harlem NYC – We are pleased to continue our activism & being of service via our art on behalf of Standing Rock — as well as the Split Rock — water protectors in North Dakota & New Jersey #mniwiconi #NoDAPL #NoAIM #StandingInSolidarityWithStandingRock #LoveWillWin )
It will be fun to again share a bill with the husband of my dear sistahfriend & fellow Georgia Peach, Amanda Jo Williams, that I have sung with for years: Matthew O’Neill – Matthew’s also a big Neil Young fancier & we commune often about Neil’s sounds & Native lore; so great timing to do a show with him during Native American Heritage Month & right after Thanksgiving. Looking forward! Nee Ah Nee – A’ho*
( Ramapough Lunaape president/chief Dwaine Perry & Kandia Crazy Horse, Native Americana singer-songwriter/activist, of Cactus Rose band @ Central Park, after the Ramapough Lunaape clan mothers’ march in Manhattan )
We of the Eastern Nations in NYC / the Tri-State area are standing in solidarity with Standing Rock today for the National Day of Action. Check your local groups for opportunities to participate. I did prayerful advance marching with the Ramapough Lunaape Nation clan mothers & their Chief Dwaine Perry who came into Manahata from New Jersey on Sunday. We proceeded from Columbus Circle up through Central Park where we held the circle & performed water ceremonies prior to the Supermoon rise. I have been invited to sing in support & be of service at the Ramapough Lunaape water protector camp @ Split Rock in future & look forward to it. Many of us indigenous activists of the NY / NJ / CT area are committed to stopping Spectra, the Algonquin Pipeline, & halting any other pipeline projects that arise in the Northeast. As Sister Davidica Little Spotted Horse of the Oglala Lakota told us last week, the goal is for folks to attend to the black snakes in their own backyard rather than everyone converging on Standing Rock – still we have much to learn from the Oceti Sakowin & remain strong in solidarity with them as they defend The Mother – A’ho* #IStandWithStandingRock & #SplitRock #StandingRockNationalDayOfAction #NativeAmericanHeritageMonth #mniwiconi #NoDAPL #NoAIM #LoveWaterNotOil
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
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)
Between rehearsals for #ProjectAmericana & getting to assorted meetings around NYC, this has been a busy, heady week. Amongst the events I am glad I was able to make time for: Indigenous Forum @ Columbia University. The best part of this was hearing from some of the Oceti Sakowin youth who ran from Cannonball, North Dakota to Washington DC to raise awareness about the Dakota Access Pipeline & related resistance, which I have been engaged in since the dawn of August. Their emotional pleas underscored why we need to keep up our prayers and support for the water protectors at Standing Rock.
(David Archambault II & Kandia Crazy Horse @ Columbia University, NYC)
It was also an honor to hear Standing Rock Sioux Tribe chairman Dave Archambault II speak, including about the long history of predations by the U.S. government & settlers on his Oyate’s sovereign territory and subsequent environmental threats to their lands; and then to get to speak to him briefly about my musical endeavors in Indian Country, as well as specifically on behalf of the water protectors of Standing Rock. Right now, we are watching the live feeds of leaders like LaDonna Allard & others, waiting to see what sadly is happening of the moment in North Dakota. Yet, I still have another musical benefit for Standing Rock in development (in NYC) & am committed to sing in support wherever, whenever may be called. A’ho*
#mniwiconi #NoDAPL #ProtectTheSacred #LoveWaterNotOil #RezpectOurWater #StandingInSolidarityWithStandingRock
A portrait of We Three – Bold Soul Sisters @ #ProjectAmericana rehearsal last night in Gramercy (Photo by Ned Sublette). We look forward to seeing you out at our performance — The American Slave Coast: Live – at Symphony Space in Manhattan this Friday night!
Thanks to my dear friends Ned Sublette & Constance Sublette, I will be performing later this month at an event related to their weighty tome about the domestic, Southeastern slave trade in America during the antebellum era: THE AMERICAN SLAVE COAST
Their book has won the 2016 American Book Award, and we are delighted to help illuminate the dark history about the networks of trading Virginia Africans into the Deep South, the roles of American Presidents Thomas Jefferson & Andrew Jackson aka “Sharp Knife” (known by we of Indian Country as a bane to Native Americans yet most are hardly aware of his ownership of enslaved Africans) in slave trading, and also bringing forth the narratives of the Africans brought to U.S. shores themselves — amongst my portion of performance, I shall be reading a “Letter From Virginia,” to represent ye olde home state.
This event of Project Americana will be at the Peter Jay Sharp Theatre of Symphony Space in Manhattan, 28 October @ 8pm. Right now, a limited amount of $10 tickets are available online: PROJECT AMERICANA – THE AMERICAN SLAVE COAST: LIVE
Hope to see y’all out! Here’s the gallery of outlaw artists who I will be performing with:
(Kandia Crazy Horse by Camara Dia Holloway)
(Nona Hendryx (of Labelle))
As filmed by Camara Dia Holloway, some footage from my Standing Rock water protectors benefit concert, the Sacred Water Medicine Show, is now viewable on this site; click the tab for MUSIC.
This song, “Cabin In The Pines,” which is based on a once-real jookhouse in Southwest Georgia but is my sonic & lyrical paean to Appalachia / Affrilachia, remains one of my most favorite songs I have written to date. If you have not gotten the Native Americana / Country / Americana album that features it yet, Stampede, it is still at my CD Baby store: STAMPEDE available here!
Playing herein @ Decolonize This Place / Artists Space in TriBeCa with my new band, Cactus Rose (minus Brother Evan on drums!) #mniwiconi #NoDAPL #ProtectTheSacred
So, I am off for a meeting with fellow Dakota Access Pipeline Resistance & Algonquin Pipeline folks of NYC to plan for our future actions, including more benefits for the water protectors of the Oceti Sakowin & many other nations. We just sent another bus off full of volunteers and many supplied donations to Standing Rock this past Sunday, so celebrating their road sojourn with them!
Here’s the latest press, from the Indigenous Peoples Day action I did last Monday, which mentions the Standing Rock benefit (Sacred Water Medicine Show) briefly: THE NATION
Enjoy your mid-week!
Sacred Water Medicine Show: My Standing Rock water protectors benefit concert in NYC #mniwiconi #NoDAPL
Good Friday, y’all! I am now getting feedback & documentation from the Standing Rock water protector camps benefit I conceived, curated & performed at last Saturday in Manhattan @ Decolonize This Place (Artists Space) in TriBeCa. Such was the response, I have been asked to undertake some more & when things develop, I will be sharing the word here & on my Instagram. Regardless, my personal commitment to praying for & helping support the Oceti Sakowin & other united nations assembled @ Standing Rock Reservation in North Dakota remains unabated; the setbacks to the trips I was slated on since August were unavoidable, yet I still plan to be of service there. And we of the Eastern nations are paying attention to the similar projects here in our own “backyard,” such as the Algonquin Pipeline, & doing actions locally.
My #IndigenousWeek in NYC concludes tomorrow with the re-opening of the Caribbean Cultural Center (CCCADI) in Harlem on 125th Street. More to come! A’ho*
“Water Is Life – Solidarity Concert” on Saturday, October 8th, 2016 (All photographs by Camara Dia Holloway)
(Kandia Crazy Horse giving the Introduction to the benefit concert @ Decolonize This Place in TriBeCa, by Camara Dia Holloway)
(Kandia Crazy Horse & Morgan O’Kane, singers/songwriters/purveyors of twang & Appalachian-rooted mountain music, from Virginia)
(With my lead guitar player/singer Jeff McLaughlin – Cactus Rose by Theodore Kuhnapfel)
(Bejike Luis Sanakori Ramos doing water ceremony & closing dance)
(My Tsalagi aunty Eagle Woman (our hostess & emcee) & the gang getting the shoutout on the welcome wall @ Decolonize This Place)
(Rehearsing for the Standing Rock benefit earlier last week in Midtown, with Alex & Lonnie)
Black&White images from The Native & The Refugee’s album of #DecolonizeThisMuseum, Decolonize This Place’s Anti-Columbus Day Tour of American Museum of Natural History on Monday 10/10/2016 – Photographs by Vane Terán
(Kandia Crazy Horse dancing women’s traditional @ Indigenous Day of Remembrance NYC in Central Park, by Kerrie Sansky)
This photo collection & blog by Kerrie Sansky just in, from the Indigenous Day of Remembrance in Manhattan this past Sunday. Features several photos of me & my friends from the Movement:
Once again, we had a great day out at this event sponsored by the Eagle & Condor Community Center of Astoria, Queens, NY — despite the rains, which seemed to clear when the little Quechua girls of Ñukanchik Llakta Wawakuna started dancing. This year’s theme was focused on women & we Native women warriors; I sang one of my songs, about being a Virginia Native American sacred wild woman, “Bury My Heart In Rock Creek Park,” danced in the circle, and participated in ceremonies including the burning of the “Doctrine of the Discovery” as pictured below. Photos of me by my sisters-in-struggle Melissa Terra Makuriwa Ulto (Taina) & Alexis Stern.
(Sisters-in-Struggle @ Indigenous Day of Remembrance in Central Park / Columbus Circle NYC, by Melissa Terra Makuriwa Ulto)
(Prayers up! Kandia Crazy Horse @ Indigenous Day of Remembrance in Central Park NYC, by Melissa Terra Makuriwa Ulto)
(Listening to Brother Lance First Eagle, Oglala Lakota from Pine Ridge Reservation & nephew of Russell Means, speak while our Filipino #NoDAPL chronicler, Dan Vea, films)
(Group photo by Josefina Dilonez)
(My Brother Bejike Luis Sanakori Ramos of Eagle & Condor Community Center + Naguake Borinken & I by the altar)
(Performing the ceremonial burning, with Heather Henson looking on)