Native American/First Nations Woman Writer of the Week
WENDY ROSE
Hopi/Miwok writer Wendy Rose (1948-) was born in Oakland, California, and did not experience a reservation childhood. She had few connections to her Hopi and Miwok heritage save for stories from her father’s Hopi people. This childhood experience helped shape Rose’s poetry and her focus on reclaiming her cultural identity. Her work is influenced by ethnography, her personal experience of identity, and both her political and feminist stances. Besides poetry, Rose also writes nonfiction that addresses issues of appropriation of Native American culture.
As a young woman, Rose dropped out of high school, joined the American Indian Movement (AIM), and participated in the 1969-71 occupation of Alcatraz. Rose did return to school and earned a BA, MA, and a PhD in anthropology, all from the University of California, Berkeley. Her studies in anthropology helped bridge the gap between her early experiences and her indigenous identity, and she stated that during her time at Berkeley she often “felt like a spy in the field of anthropology.” This experience also led to a decades-long academic career.
UWM Special Collections preserves seven collections of Rose’s poetry: Hopi Roadrunner Dancing (Greenfield Review Press, 1973); Builder Kachina (Blue Cloud Quarterly, 1979); Long Division: A Tribal History (Strawberry Press, 1981); What Happened When the Hopi Hit New York (Contact II Publications, 1982); Going to War With All My Relations ( Northland Publishing, 1993); Bone Dance, (University of Arizona Press, 1994); Itch Like Crazy (University of Arizona Press, 2002).
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Learning to go out again: Jennifer Kelly’s 2022 in review
Meg Baird plays Chicago
Meg Baird calls it “people practice,” the ordinary skills that we require to interact successfully with other human beings. Small talk, the appropriate amount of eye contact, a certain minimal degree of comfort in crowds: these are all things that eroded in the pandemic. And going even further, I’d add we ran short of “leaving your living room practice,” the difficult process of readjusting to unpredictable environments again. I got really bad at that in 2020 and 2021.
So, while 2022 was, in many ways, a joyous return to the norm, it was also deeply uncomfortable. Again and again, I’d show up far too early to shows and avoid talking to strangers. I’d mistake soundchecks for music. I’d get bands mixed up and think the opener was the headliner or at least the second band. It was like I’d never been to a show in my life. But gradually, over a year that was really genuinely rich in opportunities to see live music, I started to remember why I loved it — and how to be marginally less annoying to everyone around me. And I got to see some wonderful performances.
There was James Xerxes Fussell’s intricately re-arranged Americana on the eve of a blizzard in January and Jaimie Branch’s mesmerizing Anteloper just a month or so before she died. Our local festival, Thing in the Spring, once again delivered incredible abundance with Lee Ranaldo, Myriam Gendron, Jeff Parker, Tashji Dorji and others all taking turns on the stage. I experienced the twilight magic of Bill MacKay and Nathan Bowles on a back porch in Northampton as the bats darted overhead, as well as the viscera-stirring low tones of Sarah Davachi at a three-story-tall pipe organ at Epsilon Spires in Brattleboro. I got to see one of my very favorite bands, Oneida, at a club in Greenfield, MA, late in the year. I saw my friend Eric Gagne’s band Footings expand Bonny Prince Billy’s songs into epic, twanging bravado. Yo La Tengo came to my tiny little town and tore the place down. In Chicago for my birthday weekend, I got a chance to hear Meg Baird and Chris Forsyth at a whiskey distillery on the Chicago River. It was a great year. I’m so glad I was there for it.
It was also an exceptional year for recorded music as, honestly, it always is. Here are the records I enjoyed the most in 2022, but don’t pay too much attention to the numbers. The order could change tomorrow, and I may very well discover more favorites in other people’s lists. (We’ll have a Slept On feature at some point early in 2023.) I’ve written a little bit about the top ten, but you can find longer reviews of most of them in the Dusted archives. I’ve linked these where available.
1. Winged Wheel—No Island (12XU): An underground-all-star remote collaboration melds the hard punk jangle of Rider/Horse’s Cory Plump, the unyielding percussion of Fred Thomas, the radiant guitar textures of Matthew J. Rolin and the ethereal vocal atmospheres of Matchess’ Whitney Johnson in a driving, enveloping otherworld. Just gorgeous.
2. Oneida—Success (Joyful Noise): The best band of the aughts has dabbled in all manner of droning, experimental forms in recent years, but with Success, they return to basics. “Beat Me to the Punch” and “I Wanna Hold Your Electric Hand” are gleeful bangers. “Paralyzed” is a keyboard pulsing, beat-rattling psychedelic dreamworld. Success is Oneida’s best album since Secret Wars and maybe ever. (I wrote the one-sheet for Success, but I would feel this way regardless.)
3. Cate Le Bon—Pompeii (Drag City): Eerie, madcap Pompeii refracts pandemic alienation through the lens of ancient disaster, floating narcotic imagery atop herky-jerk rhythms. Abstract and experimental, but also sublimely pop, Pompeii haunts and charms in equal measure.
4. Destroyer—Labyrinthitis (Merge): Dan Bejar is always interesting, but the COVID lockdown seems to have shaken him loose a bit. Labyrinthitis is typically arch, elliptical and elegant, but also a bit unhinged. Hear it in the extended rap that closes “June” or in the manic disco beat of “Suffer” or oblique but perfect wordplay in “Tinoretto, It’s for You.”
5. Horsegirl—Versions of Modern Performance (Matador): Horsegirl elicits a lysergic roar that’s loud but somehow serene, urgent but chilled. The trio out of Chicago were everywhere suddenly and all at once, as sometimes happens to bands, but on the strength of “World of Pots and Pans” and “Billy” I suspect they’ll stick around.
6. Jake Xerxes Fussell—Good and Green Again (Paradise of Bachelors): An early favorite that refused to fade, Good and Green Again considers old-time music from a variety of angles, often incorporating more than one version of a traditional tune in a seamless way. The music is lovely, made more exquisite still by James Elkington’s arrangements, which are subtle, right and unexpected.
7. Lambchop—The Bible (Merge): Stark and lavish at the same time, The Bible catches Kurt Wagner at his morose and mesmerizing best. Surreal sonic textures—including orchestral flourishes and autotuned funk beats—wreathe his weathered baritone, as he traipses through ordinary landscapes turned strange and warped.
8. The Weather Station—How Is It That I Should Look at the Stars (Fat Possum): Tamara Lindeman drew on Toronto’s vibrant jazz community to form her band for this sixth album as the Weather Station. The band improvised alongside here as it learned the songs. As a result, these songs have the usual pristine folk purity, but also a haze of late night sophistication in elegant runs of piano and pensive plucks of bass.
9. The Reds, Pinks and Purples—Summer at Land’s End (Slumberland): Glenn Donaldson is pretty much the best at bittersweet jangle pop right now, and this wistful, graceful collection of songs about life’s dissatisfactions is every bit as good as last year’s Uncommon Weather. Plus it’s got a seven-plus minute improvised guitar piece right in the middle, what’s not to love?
10. Tha Retail Simps—Reverberant Scratch (Total Punk): Montreal’s Retail Simps make ferocious garage rock with a bit of soul in its tail feathers. “Hit and Run” sounds like a lost Sam and the Shams b-side and “End of Times – Hip Shaker” with having doing exactly that. If they ever remake Animal House, here’s the band.
25 more albums I loved:
Non Plus Temps—Desire Choir (Post-Present Medium)
Joan Shelley—The Spur (Important)
Mountain Goats—Bleed Out (Merge)
The Sadies—Colder Streams (Yep Roc)
Spiritualized—Everything Was Beautiful (Fat Possum)
Superchunk—Wild Loneliness (Merge)
Hammered Hulls—Careening (Dischord)
Kilynn Lunsford—Custodians of Human Succession (Ever/Never)
Oren Ambarchi/Johan Berthling/Andreas Werliin—Ghosted (Drag City)
Green/Blue—Paper Thin (Feel It)
E—Any Information (Silver Rocket)
Sick Thoughts—Heaven Is No Fun (Total Punk)
Pedro the Lion—Havasu (Polyvinyl)
Pan*American—The Patience Fader (Kranky)
Weak Signal—War & War (Colonel)
Frog Eyes—The Bees (Paper Bag)
Pinch Points—Process (Exploding in Sound)
LIFE—True North (The Liquid Label)
Mary Lattimore & Paul Sukeena—West Kensington (Three Lobed)
Wau Wau Collectif—Mariage (Sahel Sounds)
Vintage Crop—Kibitzer (Upset the Rhythm)
Anna Tivel—Outsiders (Mama Bird)
Chronophage—S-T (Post-Present Medium/Bruit Direct Disques)
Sélébéyone— Xaybu: The Unseen (Pi)
Zachary Cale—Skywriting (Org Music)
Jennifer Kelly
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