Posts tagged “NeilYoung

Throwback Thursday: Kandia Crazy Horse & Black Banjo @ the Schomburg Center NYPL

Many moons ago, I worked at the Schomburg Center For Research In Black Culture of the New York Public Library system — in the last days of the tenure there of my hometown hero Ellis Haizlip, onetime host of the best television show ever: SOUL! I was seeing Mr. Haizlip’s ghost ’round every corner, strolling around in his typical dashiki & tailored slacks, last night @ the Schomburg even before his name was invoked by an elder audience member after the Black Banjo event we were in attendance at the Langston Hughes Auditorium: Banjo Stories & Songs From Haiti & New Orleans, featuring my acquaintance Laurent Dubois (a banjo-playing, Belgian-American scholar from Duke University; I did a talk with him @ CUNY Graduate Center in Midtown back in the spring for the release of his new Harvard tome: The Banjo – America’s African Instrument) & my new friend Leyla McCalla, the Haitian-American banjoist who resides in New Orleans singing songs in English, French, Kreyol & the lone member of my friends’ band the Carolina Chocolate Drops that I had yet to meet. The cited episode of SOUL! featured Taj Mahal (ex-Rising Sons) doing an entire suite of banjo & ole-timey music, talking about the instrument’s African origins and encouraging youngbloods to take up the instrument; this aired back when I was a babychile and obviously there remains a stark racial & generational divide regarding banjo players when the instrument is trendy primarily amongst white Millennials who adopted it after the release of the Coen Brothers’ pastoral pastiche film O! Brother Where Art Thou? with its peerless ole-timey/Americana soundtrack, and the rise of these bands in the Aughts: Mumford & Sons, The Avett Brothers (I was one of the first to cover them as a rock/country critic alongside the Carolina Chocolate Drops, as they were emerging from the North Carolina Piedmont), & Old Crow Medicine Show. Nothing against these bands & the untimely passing of Pete Seeger has also played a role – indeed, he looms large in Laurent’s book — but we still have high hopes that young black kids will get hip to the banjo & take up our decades of work in keeping the black twang musical traditions thriving. I was interviewed for Joaquin Cotler’s podcast on these issues after Leyla’s performance, at the Schomburg; I will share it when it airs.

My dear #BlackHillbilly / twang family of the Ebony Hillbillies were also special guests like myself & we were in high cotton, enjoying the themes and music of the program. The Ebony Hillbillies generously performed at the Standing Rock benefit I curated @ Decolonize This Place back at the dawn of October; I look forward to future collaborations with them — and now — also with Sistah Leyla.

The banjo was my favorite instrument even before I knew of its African roots & I still hope to take it up — possibly in 2017, since I have been invited to the Danny Barker banjo festival in New Orleans by the guitarist/banjoist Detroit Brooks Sr. of jazz titan Donald Harrison’s band who does a lot of outreach in his community and beyond to keep black banjo traditions alive. Black artists (& the Afropolitan ones trying to appropriate southern accents and songlines in the UK) in country music are not a novelty nor a trend; whatever the outcome for current youtube sensation Kane Brown, who’s an Afro-Native (Tsalagi)/biracial country singer from rural Georgia in the “bro” mold (Young Kane & I have several thangs in common), we are here to stay. So #SaddleUp!

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( Leyla McCalla of New Orleans & Kandia Crazy Horse of Hudson Canyon, Sistahs of Twang, @ Schomburg Center, Harlem NYC )

img_4439 ( Kandia Crazy Horse & Kimberly Robison, Virginia Native American songbirds/activists of Cactus Rose + Gloria Gassaway, Catawba lead vocalist/bones player/activist of the Ebony Hillbillies (from South Carolina) – We southern belles love to gather, do actions for #StandingRock & sing to honor our Ancestors. Miz Gloria almost went out to Standing Rock last week with our heroine Pure Fe of Ulali; we hope to combine our efforts & make a sojourn together soon come – A’ho* )

img_4268 (Throwback to last Thursday night in SoHo @ Morrison Hotel Gallery for private view of Neil Young: Long May You Run exhibit, featuring photographs by Henry Diltz, Joel Bernstein, Danny Clinch & others. Here I am “waging heavy peace” with Henry’s famed image of my hero Neil & his dog Harte in the barn door of his ranch in California, Broken Arrow (named after my favorite Buffalo Springfield native american-themed tune & a Delmer Daves western from the early 1950s), from the year I was born, NYC)
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Still Standing In Solidarity With Standing Rock #mniwiconi #NoDAPL

As I have been these many months, I continue to be engaged in the Dakota Access Pipeline resistance in solidarity with the Oceti Sakowin of North Dakota – & now, supporting Split Rock as well (sanctioned by Red Warrior Camp), in solidarity with my cousin’s wife’s people, the Ramapough Lunaape of New Jersey, in order to stop the construction of the Algonquin Pipeline. Due to the escalation of attacks on the water protectors @ Standing Rock last Sunday night, I am receiving many communications on the cause & have now been invited to perform at yet another benefit for the camps, which will take place in NYC before Christmas. Other things are afoot as well & will relate about them as they unfold. Glad to note my Virginia Native great aunt is taking up flooding the phones to the president & state representatives with her circle of elders on behalf of Standing Rock!

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( Kandia Crazy Horse, water protector, in Midtown NYC #mniwiconi #NoDAPL #NoAIM #defendthesacred #blacksnakekillers of Turtle Island )

For now, reflecting on having participated in the rally > march for Standing Rock last Wednesday @ Trump Tower in Midtown Manhattan & then performing at the Benefit For Water Protectors of #StandingRock on Friday night — making our debut as Cactus Rose at Brooklyn’s famed Jalopy Theater for ole-timey/hillbilly/folk/mountain music. It was an honor to serve as the headliner for this benefit, with our special guest: Seminole/Shawnee/Mikisúkî singer/songwriter/activist Lonnie Moon Fire Harrington. I have been told by the organizer that the event raised almost $2,000 in donations, so – Wopila tanka to all who came through!

Enjoying these last days of #NativeAmericanHeritageMonth — before band rehearsals resume for our full slate of December performances & attending two events this week for artists I greatly admire: tomorrow’s BET screening of the Sharon Jones documentary (in memoriam) & the private viewing of Morrison Hotel Gallery’s traveling Neil Young exhibit in SoHo on Thursday evening. Looking forward to seeing y’all out-n-about, as well as at the Standing Rock teach-in later this week @ Decolonize This Place – A’ho!

img_0252 ( Cactus Rose, Native Americana/cosmic country band, debut @ Jalopy Theater – pix by Jan Bell of The Maybelles )

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Kandia Crazy Horse on The Red Road East (the sequel) #NoDAPL #NoAIM

Last night, I received Supermoon Medicine & then journeyed to the television station of Bronxnet to serve as a guest artist-activist on Fierce-Truthseeker’s (Tsalagi) show The Red Road East, which covers art, entertainment & political issues of Indian Country. As you may recall, I was the guest on the first-ever episode of the program & was happy to be asked back again — specifically for Native American Heritage Month — to speak on the Standing Rock & Split Rock resistance movement in the NYC / Northeast area, what actions we have done & plan for the future & promote the upcoming Standing Rock benefits I will be doing here: on 25 November @ Jalopy Theater in Brooklyn & the weekend of 16 December on Manhattan’s Upper East Side @ Ibex Puppetry. Additionally, I will be doing an artists & activism program on the current state of protest music, back at Decolonize This Place in TriBeCa on 12 December, with my Native Americana / Cosmic Country band Cactus Rose & special guest Abiodun Oyewole of The Last Poets. Stay tuned / follow me on Instagram for posters, ticket links & updates on these events.

When The Red Road East airs, will share the footage here for y’all outside the local NYC network. The Standing Rock benefits of Neil Young, Jackson Browne & Dave Matthews have gotten a lot more notice than the efforts of our grassroots collective of activists & generally, it’s difficult to get the media to pay attention to the creation of independent musicians without multi-million dollar teams behind them. Yet we are trying hard with very few resources to contribute to the cause with an all-female artists lineup Standing Rock benefit – the one slated for mid-December — to remind people that, despite the election outcome, #TheFutureIsFemale …So we thank you heartily for your support & for coming through to the concerts. I am a mite weary, but enjoying #NativeAmericanHeritageMonth to the fullest! A’ho*

img_1952 ( Kandia Crazy Horse @ Bronxnet studios, before the live taping on “The Red Road East” )

img_3640 ( Kandia Crazy Horse of Cactus Rose & Abiodun Oyewole of the Last Poets @ Bronxnet, after the taping of “The Red Road East” #NativeAmericanHeritageMonth x #BlackPower50 #indigenousfutures #IStandWithStandingRock )

img_3625 (The set / studio of “The Red Road East” hosted by Fierce-Truthseeker #Tsalagi #Cherokee)

“Those who damage Mother Earth, damage us all / Forgive them / They don’t yet see”

– Neil Young


Marching Manahata in solidarity with Standing Rock

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!

 


Throwback Thursday: Of race, Country music & the 2016 CMAs

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.

14925357_541294672731117_8531302700367219900_n (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

A’ho*