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
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