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transfemmbeatrice · 4 days ago

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Interview with Terese Marie Mailhot about her book Heart Berries conducted by Joan Naviyuk Kane

I couldn't find a text version of this interview so I transcribed it from the audiobook. Apologies for any errors.

Question. What has been your experience as a writer and reader within the general field of Native memoir? Most specifically, can you delineate your choices to write intimately, honestly, lyrically, compellingly?

Answer. Joy Harjo and Elissa Washuta's memoirs were in my periphery as I was considering writing one myself and I considered the memoirs of Leslie Marmon Silko and N. Scott Momaday and Linda Hogan when I thought about my aesthetic. When I look at these books, the distinctions are clear. The voices are present and impactful.

Different, obviously. And then I saw the literary criticism or lack of and these books were being mishandled to essentialize Indigenous people's art. Not so much Elissa's book and people could stand to write about it more because her work is fascinating and cerebral and new. But the genre marketing of Native memoir into this thing where readers come away believing Native Americans are connected to the earth and read into an artist's spirituality to make generalizations about our natures as Indigenous people.

The romantic language they quoted or poetic language they liked, it seemed misused to form bad opinions about good work. It might have been two in the morning when I emailed you one night. I was in Vermont lying on this dingy residency bed and I had [Harjo’s book] Crazy Brave open on my chest. I thought, I need to tell people that my story was maltreated and I need to make an assertion that I am nobody's relic. I won't be an Indian relic for any readership. So I decided this book would stand apart from some of the identified themes within our genre.

full interview under the cut

Question. Native literary writers are often compelled to or must take on a great deal of social context. How did you contend with that in this book?

Answer. I hope that people can contextualize the state of our world in my work. The writers before me seem to do the work of looking at being Indigenous so we could look through it. In many ways the experimental form, language, everything, I feel freer to do that because so much was done before.

Question. Can you talk about how the book began as fiction? How did you make the decision not to hide behind characters?

Answer. The original drafts of the chapters “Heart Berries” and “Indian Sick” were written and published as fiction. It was my intention to write with a polemic voice and have a First Nations woman character be overtly sexual, ruined and ruining people's lives, respectively. It was an audacious feeling to write a Native woman as gratuitous even if it was ruining her. It empowered me. And then I was in Starbucks holding a cup of coffee and I had the memory of my father in the shower with me. And I believe I was five or six at the time.

It was shaky and I had to write that down. And it was my final semester studying fiction at the Institute of American Indian Arts. Instead of using that semester to finish my book of fiction, I started writing essay. I realized that I had been using the guise of fiction to show myself the truth. And the process of turning fiction into nonfiction was essentially stripping away everything that didn't actually happen to me and filling those holes left behind with memory. It made sense that the fiction and then what came after. It's so different, but it makes sense bound together and retold as truth because there really was a before and after that memory.

Question. Do you think Heart Berries approaches the politicization of grief? What power dynamics move to the fore in writing this book? I mean in terms of narratives that the book brings together.

Answer. I didn't think about the politicization of grief, but the worst part of me imagined I could be redeemed.

Question. Can you talk at the craft level about what it means to work with the risk of self-disclosure? Can you talk about what it means at the level of personal relationships, alliances, political relationships? When you were writing the book and now that it is moving into production, what are your observations about the extent to which your writing is politicized, removed from context, or made to be in the control somehow of, if not the writer, one's readers? What are your perspectives on the different relationships a Native woman has to her audience of readers and the relationships she might have with the individuals that comprise her communities?

Answer. I moved with the surety that the work could not be as contrived as I normally present myself. Disclosure, personally, cannot work if I'm thinking rhetorically about appeal or thinking about appealing to someone I love. If I am gluttonous, exploitative, or punched a man, or tried to stab someone or failed my children, then I wanted to write it without rhetorically positioning myself as just. Crafting truth to be as bare as it feels was important.

Memoir, for me, functions as something vulnerable in a sea of posturing. The danger politically or artistically is that people won't give me my craft. Because I'm an Indian woman, someone might call my work raw and disregard the craft of making something appear raw. Raw would be fighting for myself, defending myself, telling people how hard it is to write about molestation and repeatedly saying I was a child. Because I wanted to do that, constantly give refrain and remind myself it was not my fault, but I didn't want to engage in sentimentality, or the wrong type of sentimentality. I crafted the voice and, while it's earnest, it takes work to be earnest and cut my shit.

I wanted to give my life art because nobody had given my experience the framework it deserved, as complex, more than raw, or brutal, or familiar, or a stereotype. I don't know.

Question. Shame and forgiveness have very different functions and histories in my tribal communities and in the space that a Native woman is permitted to inhabit in dominant culture. So here's a question. What, if anything, do you anticipate about these perhaps competing responses from readers? And please tell me you were not preoccupied to the extent of self-censorship with the notion of competing responses while you wrote the book, or rather, please discuss.

Answer. I knew nothing I said would change the trajectory of my life. Not in any real way. The work would not make it easier for me to move bureaucratically as an Indian woman. It would not make people processing a Native girl’s casework any different, because I believe we all try to articulate our stories, our voices, to those people, and they do not see us differently. I don't feel burdened when I say that, but I feel chagrined. That's a big part of the book. Shame. Being chagrined by my transgressions and my family’s. And I didn't censor that exploration. I hate the word exploration. It feels funny to say it because those words don't do it justice. It feels colonized to say I explore or discover.

But what other word could I own? The terrain was there inside of me and I decided to meditate or examine it with brutal honesty because I knew if I wrote it, I could know it. I could know the depth of my pain if I wrote it, revised it, and it felt true or as true as words can be. I wrote explicitly in some ways to display shame. True shame is the ugliest thing, the most hurtfully honest thing I can say about myself or another person, and then I revised it to cut deeper. And then I cut the fat off it so that the truth felt expedient, but it wasn't for me. Maybe that was a type of censorship.

I didn't want readers to do the interior work I did to arrive at a specific point. The book is structured by pain. What I did with that shame arrives at something pure, I think, which is that my mother is a biblical character in my story. Her and her mother and her mother have become larger myths than I originally thought.

Question. You've said elsewhere, “Indigenous identity is fixed in grief.” Can you elaborate?

Answer. I don't feel liberated from the governing presence of tragedy. The way in which people frame our work, and the way our work exists or is canonized. We are not liberated from injustice. We are anchored to it. It feels inescapable and part of the zeitgeist of Indian in the 21st century, or every century since they came, which doesn't limit me, or us, but limits the way we are seen and spoken about. It's unfortunate, and real to me.

Question. I asked about why you wrote the book and you said, “One reason I wrote the book is there is so much criticism about the sentimentality of writing about trauma. Writing about it is irrefutably art, but also does the work of saying something. Women should be able to say this and say it however we want. There's so much pushback about how a child abuse narrative can't be art.” Can you say more?

Answer. I know the book isn't simply an abuse narrative, but then it is. I was abused and brilliant women are abused often and we write about it. People seem so resistant to let women write about these experiences and they sometimes resent when the narrative sounds familiar. It's almost funny because yeah, there's nothing new about what they do to us. We can write about it in new ways, but what value are we placing on newness? Familiarity is boring, but these fucking people, they keep hurting us in the same ways. It's putting the onus on us to tell it differently. Spare people melodrama, explicative language, image, and make it new.

I think, well, fuck that. I'll say how it happened to me and by doing that, maybe it became new. I took the voice out of my head that said writing about abuse is too much, that people will think it's sentimental or pulling at someone's pathos, unwilling to be art. By resisting the pushback, I was able to write more fully and at times less artfully about what happened. I remember my first creative writing professor in nonfiction asked his class not to write about abortions or car wrecks. I thought, you're going to know about my abortion in detail. If only there had been a car crash that same day. I don't think there's anything wrong with exploring familiar themes in the human experience. When the individual gets up and tells her story, there's going to be a detail so real and vivid it places you there and you identify. I believe in the author's right to tell any story and the closer it comes to a singular truth, the more art they render in the telling.

Question. Can you speak to the competing impulses of memoir being therapeutic at the expense of being imaginative or provocative, hurtful, critical?

Answer. Cathartic or therapeutic. Those words are sometimes used to relate a feeling, like a sigh of relief or release. But therapy is fucking hard. My therapist didn't pity me, not the good ones. They made me strip myself of pandering, manipulation, presentation. They wanted the truth more desperately than I did. And then they wanted me to speak it. Live it every moment.

I feel like writing is that way. Writing can be hard therapy. You write and then you read it, revise your work to be cleaner, sharper, better, and then when you have the best version of yourself, not rhetorically, but you've come close to playing the music you hear in your head, you give it time and reread it. You go back to work. It seems endless. Nothing is ever communicated fully. The way being healed is never real unless every moment of every day you remind yourself of your progress and remind yourself not to go back or hurt someone or do the wrong thing. It's not healing unless you keep moving. You're never done. The work of never done, therapy and writing.

Question. Within the work, you most explicitly name one influence. “Her name was Adrienne, like a poet I loved. A woman of exclusion who loved women enough to give her work solely to them. Adrienne was part of a continuum working against erasure.”

Her friendship and support of Jean Valentine, one of my mentors and teachers, brings up another literary lineage. How does this assert, in some ways, that a woman's story is a story for every woman? And what, if any particular aspect of her work is this referencing?

Answer. Adrienne Rich, Diving into the Wreck. This book is sometimes for her. Everything she's done for me.

Question. Can you talk about the necessary contrivances Native writers often have to employ to make their work accessible, not just to dominant culture, but also to other Native writers? Overdetermination, surfaces, any evasions, elusiveness?

Answer. People want a Native identity crisis. The most digestible thing we can do is to note what it's like being an Indian somewhere Indians aren't supposed to be. Anywhere in North America, really. We want to see that, too. To some degree. I feel some type of affinity for the Indian in the sculpture [by James Earle Fraser,] End of the Trail. I want to be that Indian.

But no. The reckoning or feudal endeavor of being Indian. There's profundity there. But ultimately, it's false and contrived. Put upon us because they want us to stay relics. And romance is beautiful. Relics are beautiful. I feel pulled in and I resist.

Question. There are several images in the book that do the work of expressing without formulating, such as a spinning wheel, a white porcelain tooth, a snarling mouth, and lighting haunted me. How does this series of images foreshadow the consciousness at work in the book?

Answer. These images felt jarring to write as one sentence. I was torn, but there are all the indicators that my power was in something destabilizing. That was electric and white. That would not let me be. That was pressing and could not be contained. It was a matter of time. I was so terrified of myself and the things I saw. And my mother was right there the whole time, telling me to let it be. Let it exist within me and stir. And maybe women experience this. Thinking refrain is admirable, when cut loose is what it needs to be.

Question. As Native writers, and particularly as Native women writers, our lives are literally and mythically born through catastrophe, innocence, and destruction. You ask early in the book, “How could misfortune follow me so well and why did I choose it every time?” How does this inform your content and context?

Answer. When I read this, I feel the compulsion to literally look back because misfortune is always here behind me.

Question. You say too, “In white culture, forgiveness is synonymous with letting go. In my culture, I believe we carry pain until we can reconcile with it through ceremony. Pain is not framed like a problem with a solution. I don't even know that white people see transcendence the way we do. I'm not sure that their dichotomies apply to me.” How do you write pain into phenomenological circumstance?

Answer. I think pain is presented as good for us, that we can even identify it. Before, it was a secret. In my mother's time, it was a secret burden, and women were admired for their ability to ignore, to be silent, to be selfless. They were the backbone of every significant movement in our history because they were not cast to the front. Now we can speak it. And that's true healing, not a problem. To admit there is some constant pain.

Question. In the chapter, “Thunder Being Honey Bear,” you write, “I avoid the mysticism of my culture. My people know there is a true mechanism that runs through us. Stars were people in our continuum. Mountains were stories before they were mountains. Things were created by story. The words were conjurers, and ideas were our mothers.” In conversation about this work, you said, “Everyone in our lives exists right now.” I'm interested in the way the words true mechanism enmeshed themselves with the metaphor of language as an extension of the fabric of the lived world. How do you work within or without these figurative suggestions?

Answer. This ties into the images I saw when I was a child, the spinning wheel. Beholding myself was facing the wheel, which literally appeared to me. It didn't feel mystical. It felt like an image that came to me, an abstract part of my identity's collage or composition.

And I believe that is also how I regard my culture. We spoke the world into being. Mountains were stories before they were mountains, especially where I'm from, especially when my name translates to little mountain woman. Having the name introduced the question of if I or the mountain came first. Which do I regard as origin or speaker? And I think those questions definitively answer the nature of the people I grew up with.

Question. Your book presents so many dimensions of motherhood, both from your perspective as a daughter and as a mother. “Even mom's cynicism was subversive. She often said nothing would work out.” You present pessimism differently than cynicism, as irony that has to be lived rather than merely understood, right? How does this reconcile with your mother's operating principles?

Answer. She was hilarious in that she dedicated herself to the betterment of Native people but never believed in it. She discouraged herself from believing things could be better while working toward it. I guess she didn't want to jinx healing. Being cynical when people were so desperate for altruistic, new age, good time healing, it was a funny thing to watch that still brings me joy.

Question. The way in which you interrogate the failures of conversation is grounded in imperative and observation. Like when you write, Mom, I won't speak to you the way we spoke before. We tried to be explicit with each other. Some knowledge can only be a song or a symbol. Language fails you and me. Some things are too large.” What can you say about the function of ritual language by contrast?

Answer. My mother needed the poetry of biblical work. She needed an epic when I tried so hard to show her the truth in explicit language. Instead of saying, Larry touched me, she needed to hear about the death in his presence, that he was a ghost. She would have heard that and known the depth of the pain her boyfriend caused me. And she wouldn't have been defensive about it. Somehow saying things explicitly was never enough.

We never found language. Had I told her that she was my Jesus and that now I need her to wash me from sin, that's something my mother would understand, poetry, because reality was not real to her. I had always thought she was evasive, but I believe now that the more I tried to create finite parameters, realities, truths, messages, the more I tried to do that, the more she misunderstood. We both wanted something abstract from each other, and those desires aren't fulfilled by plain language. Plain language does not serve love.

Question. Later, you say, “I preferred abandoned over forsaken, and estranged to abandoned. I loved with abandon. It's something I still take with me. Estranged is a word with a focus on absence. I can't afford to think of lack. I'd rather be liberated by it.” What are the ways in which you construct absence or departure as possibility?

Answer. In some ways, I acted with reckless abandon because I had been abandoned. There was no father to work against or for. There was nothing, and it didn't always feel like absence, but a white room to paint.

Question. In another moment you write, “In my kitchen, I turn the lights off again, like I used to. It allows me to feel as nothing as the dark. I know where everything is, like I did before. I become scared because it is this behavior that causes me to commit myself. I still take a knife and I press it against the fat of my palm—in the dark, hoping that I have the bravery to puncture myself, so that the next day I can be more fearless.” Is this less about a connection to an individual body and more about a mode of survival?

Answer. This is hard to admit, but I thought I could gradually build my tolerance to physical pain and die, and that never happened. I just couldn't move forward to my destruction, and I couldn't appreciate death, even though I tried. Death becoming less interesting artistically, physically, heart-wise, it was the best thing I came away with.

Question. What kinds of questions are you trying to answer with your work? What do you think the current questions are?

Answer. I wanted to articulate the truth, but was unsure if the truth could be singular. I had existed in a double consciousness to the point where I wondered if I were an object or paralyzed in fear, and the book is me moving forward and putting myself at the apex of my own story. It's not immediate, but gradual, because it was happening as I was writing it, or as I was trying to articulate the truth of what exactly happened. In the first chapters, I am asking if my father hurt me, then how, and then finally, I can behold myself. And that could be why it's roving temporally, or not really concerned with a linear structure, but with the story as it should be presented, rhetorically and truthfully. Questions exist in the last pages of the book. Is the uncovered truth and the knowledge of it wholly enough for me to move away from? Is admitting the nature of my father or my mother's transgressions and my own, or realizing I've entered my own renaissance enough to let the worst parts of my father, mother, and myself rest?

So where are we now? With Terese Mailhot’s Heart Berries we move well beyond the yesteryear's satisfactions of mere representation and oblique lyricism. The reader now anticipates that the forefront of contemporary indigenous literature will imbue terror with angst, of course, and that we are no longer tasked with the hauntings of various types of loss. That silence, too, is a construction. That we are no longer complicit in presenting Native experience as historical content rather than literary apotheosis.

I mean that silence is not representative of loss. I mean to call attention to the fact that, yes, through craft, we assemble what remains of ourselves through language. We imagine, create, tell, reprise, contradict, refuse, estrange, assimilate, and determine our language. What we do becomes part of our existing story. Even though at times our detractors, all of them, seem to argue that through language, we seem to exist in opposition to the very notion of story.

So, where are we? Who is telling whose story? Who is preventing misreading?

No one. Violence happens through our bodies. Isn't that how colonialism used to work? Their adversaries were simple. Our families, our genealogies, marriages, children, our sexual and domestic violence, and ourselves, our suicides, our recuperations, were simultaneously reduced and amplified as social facts rather than private matters. Our literature was not ours, it was theirs.

So, where are we? Where we have always been. Where are you?

#terese marie mailhot #heart berries #interview #joan naviyuk kane #indigenous women #indigenous authors

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altroottv · 17 days ago

Video

vimeo

'Have A Little Heart' - Leslie Mendelson from The Extended Play Sessions on Vimeo.

The Extended Play Sessions - October 5, 2024

Leslie Mendelson performs the song "Have A Little Heart" on The Extended Play Sessions. A Grammy Award-nominated artist, Mendelson returns this summer with her fourth studio album, After The Party. For this latest effort, she collaborates with not one, but three producers: the legendary Peter Asher (James Taylor, Linda Ronstadt, Bonnie Raitt), the young, in-demand Tyler Chester (Madison Cunningham, Sara Bareilles, Sara Watkins) and her longtime songwriting partner, three-time Grammy Award-winner, Steve McEwan. Recorded at Jackson Browne’s studio Grove Masters in Santa Monica, CA, she was joined by an ace band featuring guitarists Waddy Wachtel and John Jorgenson, bassists Leland Sklar and Derrick Anderson, and drummers Jim Keltner and Abe Rounds.

The Band Leslie Mendelson - guitar, vocals, harmonica, piano Steve McEwan - guitar, backing vocals

Production Staff Maribeth Arena - Camera 2 Bill Hurley - Boom Camera Joanne Craig - Camera 3 H Nat Stevens - Cam 1 Remote Connor Quigley - Sound Engineer, Livestream Producer Eric Nordstrom - Front Of House Photographer - Dan Busler Connor Quigley - Post Audio Mix Engineer

The Fallout Shelter is an all ages 100-seat performance venue and state-of-the-art broadcast and recording studio, offering one of the most unique live music experiences in New England. Located in Norwood, MA, just 15 miles from Boston, The Fallout Shelter is run under the auspices of the Grass Roots Cultural and Performing Arts Center, a non-profit organization dedicated to preserving, promoting and advocating for traditional American Roots music.

Youtube: youtube.com/@thefalloutshelternorwood Website: extendedplaysessions.com Facebook: facebook.com/epsfalloutshelter Instagram: instagram.com/thefalloutshelternorwood

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blackfemalecountryartistonradio · 1 month ago

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Country Music has been in black folks "LANE" FOR OVER 200 YEARS. LEARN HISTORY LUKE BRYAN: BEFORE PUTTING YOUR FOOT IN YOUR MOUTH. Black women musicians such as Elizabeth Cotten & Etta Baker developed major country music guitar & banjo-picking styles: that are still used in country music today.

Valerie June is a Grammy-nominated artist who has her own brand of country music. Yola is a four-time Grammy-nominated country music artist. Reyna Roberts is talented black, female country artist. Tiera Kennedy IS a wonderful black female country artist. Tanner Adell is a talented black, female country artist. Ashlie Amber is a black female country artist: who has received favorable nods from the CMA & CMT. Julie Williams received the honor of CMT Next Women of Country Class of 2023. She is very versatile & talented with a bright future in country music.

Chapel Hart received the blessing of Country Music Legend Loretta Lynn shortly before she passed away. Chapel Hart is a talented trio.

Ray Charles, Deford Bailey, Charley Pride are 3 black people in the country music Hall of Fame. Black people brought country music to the USA via slavery with: 1. African banjo, 2. African Drums, 3. African guitar. 3 instruments still used in country music CURRENTLY!

Black musicians incorporated African melodies & traditions into country music. Black slaves found new ways to use the bow on the fiddle: that are still used in country music today. The steel guitar was invented by: Native Hawaiian man of color named Joseph Kekuku. Black Slaves found ways to combine the fiddle, drums, guitar, & banjo into ensembles that influenced & make up the very back bone & back beat of modern country music, bluegrass, & folk music.

AS country music became popular with white audiences, African American recognition wasn't acknowledged at all. Country music remains predominantly white & RACISTS.

Other Black artists besides BEYONCE: who've recorded country albums include: Ray Charles, Solomon Burke, Bobby Womack, Esther Philips, Otis Williams, Millie Jackson, MICKEY GUYTON, RISSI PALMER, THE WAR & TREATY, BRITTNEY SPENCER, MIKO MARKS, KANE BROWN, Tina Turner & MANY OTHERS.

Black people brought country music to the USA via slavery: SO COUNTRY MUSIC IS In OUR "LANE." I consider myself a patriot as a disabled USA Navy Veteran: & I served in the military with honor. It is sad: that as a black woman I'm good enough to serve in the military & possibly get killed or become disabled: but BLACK WOMEN ARE DISCRIMINATED AGAINST IN COUNTRY MUSIC. IT IS EVEN WORSE: BECAUSE BLACK PEOPLE BROUGHT COUNTRY MUSIC TO THE USA VIA SLAVERY. YOU CAN NOT EVEN PLAY COUNTRY MUSIC WITHOUT THE 1. AFRICAN GUITAR, 2. AFRICAN DRUMS, 3. AFRICAN BANJO. BLACK PEOPLE LIKE 1. DEFORD BAILEY, 2. RUFUS TEETOT PAYNE, 3. LESLIE RIDDLE, 4. RAY CHARLES, 5. CHARLEY PRIDE, 6. LINDA MARTELL, 7. LAMELLE PRINCE ALL HELPED CONTRIBUTE TO COUNTRY MUSIC. THE TIME TO END RACISM AGAINST BLACK PEOPLE & ESPECIALLY BLACK WOMEN IN COUNTRY MUSIC. STOP THE HATE NOW!

Racists have a problem in country music not Beyoncé. Ignorant, uneducated people who think country music is ONLY old white guys, beer, & tractors.

The founders of country music were enslaved African Americans: who brought the 1. African Banjo, 2. African guitar, 3. African drums to the USA along with Native Hawaiian Joseph KeKUKu who invented the steel guitar another staple of country music.

Country music was founded & rooted in the Black community. Racist Minstrel shows renamed the country music black people created as “hillbilly music:" which whites appropiated the country music that black people created even though country music can't even be played without the African instruments of the guitar, banjo, & drums. Country music was brazenly & blatantly stolen from African American Culture, hymns, & African American Slave, field songs.

The term cowboy was a name originally given to black slaves: who herded cattle & would wear cowboy hats, jeans, boots, & attire as they herded cattle for slave masters. Black slaves invented country music: & BROUGHT COUNTRY MUSIC TO THE USA VIA SLAVERY. Black people invented country music, banjo, drums, & guitar. Lesley Riddle was a black man: that wrote & created many songs with the Carter Family. There is a statue of Deford Bailey a black man that contributed to country music immensely in front of the Grand Ole Opry. RAY CHARLES ALSO CONTRIBUTED TO COUNTRY MUSIC. Rufus Payne aka Teetot taught country music, country singing, & country guitar playing to Hank Williams, a part Native American & White country music artist: who was told not to acknowledge his Native American roots nor his lessons from Rufus Teetot Payne. Charley Pride is a country music legend. LaMelle Prince was the first black lady, country artist. Ignorant racists: who don't know country music was brought to USA by black slaves along with the: 1. African Banjo, 2. African guitar, & 3. African drums are the problem NOT BEYONCE!

#black women country music

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usanavydisabledveteran · 1 month ago

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Chapel Hart received the blessing of Country Music Legend Loretta Lynn shortly before she passed away. Chapel Hart is a talented trio.

AS country music became popular with white audiences, African American recognition wasn't acknowledged at all. Country music remains predominantly white & RACISTS.

Racists have a problem in country music not Beyoncé. Ignorant, uneducated people who think country music is ONLY old white guys, beer, & tractors.

#black women country music

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lamelleprince · 1 month ago

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Chapel Hart received the blessing of Country Music Legend Loretta Lynn shortly before she passed away. Chapel Hart is a talented trio.

AS country music became popular with white audiences, African American recognition wasn't acknowledged at all. Country music remains predominantly white & RACISTS.

Racists have a problem in country music not Beyoncé. Ignorant, uneducated people who think country music is ONLY old white guys, beer, & tractors.

0 notes

beyhivecountrymusicradio · 1 month ago

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Chapel Hart received the blessing of Country Music Legend Loretta Lynn shortly before she passed away. Chapel Hart is a talented trio.

AS country music became popular with white audiences, African American recognition wasn't acknowledged at all. Country music remains predominantly white & RACISTS.

Racists have a problem in country music not Beyoncé. Ignorant, uneducated people who think country music is ONLY old white guys, beer, & tractors.

#black women country music

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randomlyrandoms · 1 month ago

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Celebrity Deaths 2023

JANUARY

Gangsta Boo - Jan. 1 (Rapper)

Fred White - Jan. 1 (Drummer)

Immy Nunn - Jan. 1 (TikTok Star)

Galee Galee - Jan. 1 (Rapper)

Ken Block - Jan. 2 (Race Car Driver)

Frank Galati - Jan. 2 (Director)

Suzy McKee Charnas - Jan. 2 (Novelist)

Alan Rankine - Jan. 3 (Singer)

Elena Huelva - Jan. 3 (TikTok Star)

James D. Brubaker - Jan. 3 (Producer)

Peter Rawley - Jan. 3 (Producer)

Asia LaFlora - Jan. 4 (TikTok Star)

Sim Wong Hoo - Jan. 4 (CEO Of Creative Technology)

Hans Rebele - Jan. 4 (Soccer Player)

Arthur Duncan - Jan. 4 (Dancer)

Richard Thornton - Jan. 4 (Swim Coach)

Taylor Lewis - Jan. 5 (Reality Star)

Earl Boen - Jan. 5 (Movie Actor)

Mike Hill - Jan. 5 (Film Editor)

Russell Pearce - Jan. 5 (Politician)

Quentin Williams - Jan. 5 (Politician)

Michael Snow - Jan. 5 (Multimedia Artist)

Gianluca Vialli - Jan. 6 (Soccer Player)

Owen Roizman - Jan. 6 (Cinematographer)

Adam Rich - Jan. 7 (TV Actor)

Noah Brady - Jan. 7 (TikTok Star)

Russell Banks - Jan. 7 (Poet)

Joseph A. Hardy III - Jan. 7 (Entrepreneur)

Lynette Hardaway - Jan. 8 (Activist)

Bernard Kalb - Jan. 8 (Journalist)

Melinda Dillon - Jan. 9 (Movie Actress)

Ahmaad Galloway - Jan. 9 (Football Player)

Charles Simic - Jan. 9 (Poet)

King Constantine II - Jan. 10 (King)

George Pell - Jan. 10 (Religious Leader)

Patriarch Irenaios - Jan. 10 (Religious Leader)

Jeff Beck - Jan. 10 (Guitarist)

Tatjana Patitz - Jan. 11 (Model)

Carole Cook - Jan. 11 (Stage Actress)

Taylor LeJeune aka Wafffler69 - Jan. 11 (TikTok Star)

Ben Masters - Jan. 11 (TV Actor)

Charles Kimbrough - Jan. 11 (Stage Actor)

*Lisa Marie Presley - Jan. 12 (Rock Singer)

Lee Tinsley - Jan. 12 (Baseball Player)

Robbie Bachman - Jan. 12 (Drummer)

Odele Cape - Jan. 12 (Family Member) *John Ventimiglia's Daughter*

Paul Johnson - Jan. 12 (Journalist)

Robbie Knievel - Jan. 13 (Daredevil)

Al Brown - Jan. 13 (Movie Actor)

Yoshio Yoda - Jan. 13 (Movie Actor)

Julian Sands - Jan. 13 (Movie Actor)

Wally Campo - Jan. 14 (Movie Actor)

C.J. Harris - Jan. 15 (Country Singer)

Yung Hashtag - Jan. 15 (Rapper)

Yoshimitsu Yamada - Jan. 15 (Martial Artist)

Lloyd Morrisett - Jan. 15 (Psychologist)

Gina Lollobrigida - Jan. 16 (Movie Actress)

Jay Briscoe - Jan. 17 (Wrestler)

Michael Lehrer - Jan. 17 (Comedian)

Lucile Randon - Jan. 17 (Supercentenarian) *She Was 118 Years Old*

Edward Pressman - Jan. 17 (Producer)

Sandra Seacat - Jan. 17 (Movie Actress)

Violet Flowergarden - Jan. 17 (YouTube Star)

Renee Geyer - Jan. 17 (Jazz Singer)

Chris Ford - Jan. 17 (Basketball Player)

Van Conner - Jan. 18 (Bassist)

Yun Jung-Hee - Jan. 19 (TV Actress)

David Crosby - Jan. 19 (Guitarist)

Anton Walkes - Jan. 19 (Soccer Player)

Sal Bando - Jan. 20 (Baseball Player)

Stella Chiweshe - Jan. 20 (World Music Singer)

Ava Wood - Jan. 20 (TikTok Star)

Deborah Barak - Jan. 21 (Business Executive)

Slick Goku - Jan. 21 (YouTube Star)

Linda Kasabian - Jan. 21 (Family Member) *Robert Kasabian's Wife*

Sal Piro - Jan. 22 (Movie Actor)

Nikos Xanthopoulos - Jan. 22 (Movie Actor)

Leopoldo Roberto Garcia Pelaez Benitez - Jan. 23 (Comedian)

Lance Kerwin - Jan. 24 (Movie Actor)

Jeremy Ruehlemann - Jan. 24 (Model)

*Enkyboy - Jan. 25 (TikTok Star)

**Cindy Williams - Jan. 25 (TV Actress)

Shantabai Krushnaji Kamble - Jan. 25 (Non-Fiction Author)

Jesse Nathaniel Lemonier - Jan. 26 (Football Player)

Billy Packer - Jan. 26 (Sportscaster)

Gregory Allen Howard - Jan. 27 (Screenwriter)

Sylvia Syms - Jan. 27 (Movie Actress)

Alfred Leslie - Jan. 27 (Painter)

Floyd Sneed - Jan. 27 (Drummer)

Lisa Loring - Jan. 28 (TV Actress)

Kevin O'Neal - Jan. 28 (Movie Actor)

Tom Verlaine - Jan. 28 (Guitarist)

Annie Wersching - Jan. 29 (TV Actress)

Brandon Smiley - Jan. 29 (Family Member) *Rickey Smiley's Son*

Kyle Smaine - Jan. 29 (Freestyle Skier)

Barrett Strong - Jan. 29 (Songwriter)

George R. Robertson - Jan. 29 (Movie Actor)

Hazel McCallion - Jan. 29 (Politician)

Gabriel Tacchino - Jan. 29 (Pianist)

Conner Flowers - Jan. 30 (Family Member) *Olivia Flowers's Brother*

Ann McLaughlin Korologo - Jan. 30 (Politician)

Bobby Hull - Jan. 30 (Hockey Player)

Charlie Thomas - Jan. 31 (Blues Singer)

Joe Moss - Jan. 31 (Football Coach)

Andrea Thompson - Jan. ?? (Family Member) *Tristan Thompson's Mother*

FEBRUARY

Stanley Tobias Wilson Jr. - Feb. 1 (Football Player)

Lanny Poffo - Feb. 2 (Wrestler)

Butch Miles - Feb. 2 (Drummer)

Yung Trappa - Feb. 2 (Rapper)

Gloria Maria - Feb. 2 (Journalist)

Gerardo Islas - Feb. 2 (Politician)

Paco Rabanne - Feb. 3 (Fashion Designer)

Paul Martha - Feb. 4 (Football Player)

Arnold Schulman - Feb. 4 (Playwright)

Pervez Musharraf - Feb. 5 (Politician)

Lilly Kimbell - Feb. 5 (Tennis Player)

Christian Atsu - Feb. 6 (Soccer Player)

Billy Thomson - Feb. 6 (Soccer Player)

Burt Bacharach - Feb. 8 (Composer)

Branka Veselinovic - Feb. 8 (Movie Actress)

Miroslav Blazevic - Feb. 8 (Soccer Coach)

Cody Longo - Feb. 8 (TV Actor)

Kaleb Boating - Feb. 9 (Football Player)

Marcos Alonso Pena - Feb. 9 (Soccer Player)

Kiernan aka Forbes - Feb. 10 (Rapper)

Larry Coyer - Feb. 10 (Football Coach)

Hugh Hudson - Feb. 10 (Director)

Carlos Saura - Feb. 10 (Director)

Dave Hollis - Feb. 11 (Entrepreneur)

Austin Major - Feb. 11 (TV Actor)

Howard Bragman - Feb. 11 (Publicist)

Tito Fernandez - Feb. 11 (World Music Singer)

Brianna Ghey - Feb. 11 (???)

David Jolicoeur - Feb. 12 (Rapper)

Diana Deets - Feb. 12 (Model)

Coconut Kitty - Feb. 12 (Instagram Star)

Conrad Dobler - Feb. 13 (Football Player)

Savannah Watts - Feb. 13 (Family Member) *Laura Lee Watts's Daughter*

Tony Schnur - Feb. 13 (Movie Actor)

Jerry Jarrett - Feb. 14 (Wrestler)

Tohru Okada - Feb. 14 (Music Producer)

Raquel Welch - Feb. 15 (Movie Actress)

Paul Berg - Feb. 15 (Biologist)

Paul Jerrard - Feb. 15 (Hockey Coach)

Buncha - Feb. 15 (Dog)

Simone Ann-Marie Edwards - Feb. 16 (Basketball Player)

Tim McCarver - Feb. 16 (Baseball Player)

Kyle Jacobs - Feb. 17 (Songwriter)

Stella Stevens - Feb. 17 (Movie Actress)

David O'Connell - Feb. 18 (Priest)

Barbara Bosson - Feb. 18 (TV Actress)

Jim Thomas Broyhill - Feb. 18 (Politician)

Richard Belzer - Feb. 19 (TV Actor)

Greg Foster - Feb. 19 (Olympic Athlete)

*Jansen Panettiere - Feb. 19 (Movie Actor)

Dickie Davies - Feb. 19 (TV Show Host)

Maliboo Ziegler - Feb. 19 (Dog)

Ryan Keeler - Feb. 20 (Football Player)

Alicia Allain - Feb. 22 (Family Member) *John Schneider's Wife*

Ahmed Qurei - Feb. 22 (Politician)

John Motson - Feb. 23 (Sportscaster)

Tony Earl - Feb. 23 (Politician)

Walter Mirisch - Feb. 24 (Film Producer)

Matt Pobereyko - Feb. 25 (Baseball Player)

Gordon Pinsent - Feb. 25 (Movie Actor)

Ali Yafie - Feb. 25 (Religious Leader)

Betty Boothroyd - Feb. 26 (Politician)

Ricou Browning - Feb. 27 (Movie Actor)

MARCH

Just Fontaine - March 1 (Soccer Player)

Jerry Richardson - March 1 (Football Player)

Irma Serrano - March 1 (Fold Singer)

Anise Koltz - March 1 (Poet)

Steve Mackey - March 2 (Musician)

Tom Sizemore - March 3 (TV Actor)

Sara Lane - March 3 (Movie Actress)

David Lindley - March 3 (Guitarist)

Phil Eugene Batt - March 4 (Politician)

Gary Rossington - March 5 (Guitarist)

Denise Russo - March 5 (Reality Star)

Bob Goody - March 5 (TV Actor)

Georgina Beyer - March 6 (Former Mayor Of Carterton)

Tom Love - March 7 (Executive Chairman Of Love's Travel Stops & Country Stores)

Peterson Zah - March 7 (Politician)

Matt Davies - March 7 (YouTube Star)

Jim Durkin - March 8 (Guitarist)

Jeff Thomas - March 8 (Model)

Chaim Topol - March 8 (Movie Actor)

Pearry Reginald Teo - March 9 (Director)

Satish Kaushik - March 9 (TV Actor)

Dick Haley - March 10 (Football Player)

Naonobu Fujii - March 10 (Volleyball Player)

Jesus Alou - March 10 (Baseball Player)

Robert Blake - March 11 (TV Actor)

Bud Grant - March 11 (Football Player)

Chen Kenichi - March 11 (Chef)

Ignacio Lopez Tarso - March 11 (Soap Opera Actor)

John Jakes - March 11 (Novelist)

Dick Fosbury - March 12 (Olympic)

Costa Titch - March 12 (Rapper)

Felton Lafrance Spencer - March 12 (Basketball Player)

Jim Gordon - March 13 (Drummer)

Patricia Schroeder - March 13 (Politician)

Joe Pepitone - March 13 (Baseball Player)

Bobby Caldwell - March 14 (Pop Singer)

Mimis Papaioannou - March 15 (Soccer Player)

Peter Hardy - March 16 (TV Actor)

Lance Reddick - March 17 (TV Actor)

Jehane Thomas - March 17 (TikTok Star)

Fito Oliveres - March 17 (World Music Singer)

Paul Grant - March 20 (Movie Actor)

Luri Lapicus - March 20 (MMA Fighter)

Gunter Nezhoda - March 21 (Movie Actor)

Jasmin Voutilainen - March 21 (TV Actress)

Peter Werner - March 21 (Director)

Willis Reed - March 21 (Basketball Player)

Rebecca Jones - March 22 (Soap Opera Actress)

Tad Devine - March 22 (TV Actor)

Tom Leadon - March 22 (Guitarist)

Wayne Swinny - March 22 (Guitarist)

Ben Shelly - March 22 (Politician)

Jerry Green - March 23 (Journalist)

Jeffrey "JV" Vandergrift - March 24 (Radio Host)

Nicholas Lloyd Webber - March 25 (Composer)

Chabelo - March 25 (TV Show Host)

Ron Faber - March 26 (Movie Actor)

Daniel Chorzempa - March 27 (Pianist)

Peggy Scott-Adams - March 27 (R&B Singer)

Paul O'Grady - March 28 (Comedian)

Bill Leavy - March 28 (Referee)

Ryuichi Sakamoto - March 28 (Composer)

Bill Saluga - March 28 (Comedian)

Myriam Ullens - March 29 (Entrepreneur)

Brian Gillis - March 29 (Pop Singer)

Harrison Gilks - March 30 (TikTok Star)

Mark Russell - March 30 (Comedian)

John Brockington - March 31 (Football Player)

Chelsea Lawrence - March 31 (TikTok Star)

Rabbie Namaliu - March 31 (Politician)

APRIL

Christo Jivkov - April 1 (Movie Actor)

Ken Buhanan - April 1 (Boxer)

Robert "Buchwhacker" Butch - April 2 (Wrestler)

Judy Farrell - April 2 (TV Actress)

Seymour Stein - April 2 (Entrepreneur)

Bob Lee - April 4 (Business Executive)

Andres Garcia - April 4 (TV Actor)

Craig Breedlove - April 4 (Race Car Driver)

Bella Echarri - April 5 (Instagram Star)

Sudhir Naik - April 5 (Cricketer)

Leon Levine - April 5 (Entrepreneur)

**Paul Cattermole - April 6 (Pop Singer)

Norman Reynolds - April 6 (British Production Designer)

Bruce Petty - April 6 (Cartoonist)

Ashley Morrison - April 6 (Instagram Star)

Ian Bairson - April 7 (Guitarist)

Lasse Wellander - April 7 (Guitarist)

*Michael Lerner - April 8 (Movie Actor)

Travis 'Honcho' Taylor - April 8 (TikTok Star)

Elizabeth Hubbard - April 8 (Soap Opera Actress)

Julian Figueroa - April 9 (Family Member) *Joan Sebastian's Son*

Richard Ng - April 9 (Movie Actor)

Anne Perry - April 10 (Novelist)

Raymond Sawada - April 10 (Hockey Player)

Lesley Swink-Van Ness - April 10 (News Anchor)

Al Jaffee - April 10 (Cartoonist)

Jung Chae-Yul - April 11 (TV Actress)

Miles Benner - April 11 (TikTok Star)

Blair Tindall - April 12 (Journalist)

Don Leppert - April 13 (Baseball Player)

Craig Breen - April 13 (Race Car Driver)

Mary Quant - April 13 (Fashion Designer)

Mark Sheehan - April 14 (Pop Singer)

Murray Melvin - April 14 (Movie Actor)

Ahmad Jamal - April 16 (Pianist)

April Stevens - April 17 (Pop Singer)

Charles Stanley - April 18 (Religious Leader)

Otis Redding III - April 18 (Guitarist)

Don Mcllhenny - April 18 (Football Player)

Keith Nale - April 18 (Firefighter / Reality Star)

Koko Da Doll - April 18 (Rapper)

Moonbin - April 19 (Pop Singer)

Dave Wilcox - April 19 (Football Player)

Carlo Saba - April 19 (World Music Singer)

Esther Jenner - April 20 (Family Member) *Caitlyn Jenner's Mother*

**Len Goodman - April 22 (TV Show Host)

Barry Humphries - April 22 (Voice Actor)

Dale Meeks - April 22 (Soap Opera Actor)

Keith Gattis - April 23 (Country Singer)

Ginny Newhart - April 23 (Family Member) *Bob Newhart's Wife*

Rachel Marshall - April 24 (Founder Of Rachel's Ginger Beer)

Harry Belafonte - April 25 (Pop Singer)

Parkash Singh Badal - April 25 (Politician)

Moneysign $uede - April 25 (Rapper)

Frank Agrama - April 25 (Director)

Violeta Marujoz - April 26 (YouTube Star)

**jerry Springer - April 27 (TV Show Host)

Dick Groat - April 27 (Baseball Player)

Barbara Young - April 27 (TV Actress)

Robson Gracie - April 28 (Brazilian Martial Artist)

Tim Gregg - April 28 (Guitarist)

Mike Shannon - April 29 (Baseball Player)

Ralph Boston - April 30 (Long Jumper)

Jock Zonfrillo - April 30 (Chef)

MAY

Felipe Colares - May 1 (Brazilian Mixed Martial Artist)

Eileen Saki - May 1 (TV Actress)

Gordon Lightfoot - May 1 (Pop Singer)

Mostafa Darwish - May 1 (TV Actor)

Jordan Blake - May 1 (Rock Singer)

Valentin Yudashkin - May 2 (Fashion Designer)

Tory Bowie - May 2 (Long Jumper)

Linda Lewis - May 3 (Soul Singer)

Lance Blanks - May 3 (Basketball Player)

Sonia Pizarro - May 3 (Reality Star)

Sienna Weir - May 4 (Psychologist)

Rob Laakso - May 4 (Record Producer / Engineer)

Jack Wilkins - May 5 (Guitarist)

Nick Gilbert - May 6 (Family Member) *Dan Gilbert's Son*

Vida Blue - May 6 (Baseball Player)

Frank Kozik - May 6 (Graphic Artist)

Newton Minow - May 6 (Lawyer)

Carlos Parra - May 6 (World Music Singer)

Sam Gross - May 6 (Cartoonist)

Vic John Stasiuk - May 7 (Hockey Player)

Don January - May 7 (Golfer)

Peterson Zah - May 7 (Politician)

Grace Bumbry - May 7 (Opera Singer)

Joe Kapp - May 8 (Football Player)

Rita Lee - May 8 (Rock Singer)

Denny Crum - May 9 (Basketball Coach)

John Bland - May 9 (Golfer)

Heather Armstrong - May 9 (Blogger)

David Miranda - May 9 (Business Executive)

Ed Flanagan - May 10 (Football Player)

Jacklyn Zeman - May 10 (Soap Opera Actress)

Ana Paula Borgo - May 11 (Volleyball Player)

Barry Newman - May 11 (Movie Actor)

Kenneth Anger - May 11 (Director)

HAESOO - May 12 (Pop Singer)

Owen Davidson - May 12 (Tennis Player)

Bernard Membe - May 12 (Politician)

Gerry William Hart - May 12 (Hockey Player)

Samantha Weinstein - May 14 (Movie Actress)

Ingrid Haebler - May 14 (Pianist)

Marlene Hagge - May 16 (Golfer)

Superstar Billy Graham - May 17 (Wrestler)

Jim Brown - May 18 (Football Player)

Helmut Berger - May 18 (Movie Actor)

Andy Rourke - May 19 (Bassist)

Martin Amis - May 19 (Novelist)

Veno Taufer - May 20 (Poet)

Ray Stevenson - May 21 (Movie Actor)

Lew Palter - May 21 (Movie Actor)

Ed Ames - May 21 (Pop Singer)

Chas Newby - May 22 (Musician)

Rick Hoyt - May 22 (Runner)

Daniel Brooks - May 22 (Director)

Sheldon Reynolds - May 23 (Guitarist)

John Dunning - May 23 (Novelist)

George Maharis - May 24 (TV Actor)

**Tina Turner - May 24 (Rock Singer)

Micky Jagtiani - May 26 (Entrepreneur)

Milt Larsen - May 28 (Magician)

Antonio Gala - May 28 (Poet)

John Beasley - May 30 (TV Actor)

Sergio Calderon - May 31 (Movie Actor)

Ms Jacky Oh - May 31 (Instagram Star)

Ama Ata Aidoo - May 31 (Playwright)

JUNE

Mike Batayeh - June 1 (Movie Actor)

Anna Shay - June 1 (Reality Star)

Pacho Antifeka - June 1 (Rapper)

Jim Hines - June 3 (Runner)

George Winston - June 4 (Pianist)

Astrud Gilbarto - June 5 (World Music Singer)

Robert Hanssen - June 5 (Criminal)

Pat Cooper - June 6 (Comedian)

Paul Eckstein - June 6 (Movie Actor)

Matulu Shakur - June 6 (Activist)

Tony McPhee - June 6 (Guitarist)

Iron Sheik - June 7 (Wrestler)

Pat Robertson - June 8 (Entrepreneur)

Julee Cruise - June 9 (Pop Singer)

Don Hood - June 10 (Baseball Player)

Tony Lo Bianco - June 11 (Movie Actor)

*Treat Williams - June 12 (TV Actor)

John Romita Sr. - June 12 (Comic Book Artist)

Silvio Berlusconi - June 12 (Politician)

John Fru Ndi - June 12 (Politician)

Carl Eiswerth - June 13 (TikTok Star)

Cormac McCarthy - June 13 (Novelist)

Glenda Jackson - June 15 (Movie Actress)

Ray Lewis III - June 15 (Family Member) *Ray Lewis's Son*

Paxton Whitehead - June 16 (Movie Actor)

Angela Thorne - June 16 (TV Actress)

Michael Hopkins - June 17 (Architect)

Big Pokey - June 18 (Rapper)

Shahzada Dawood - June 18 (Business Executive)

Stockton Rush - June 18 (Business Executive)

Britney Joy - June 19 (TikTok Star)

Robert Elegant - June 20 (Non-Fiction Author)

Betta St. John - June 23 (Movie Actress)

Fredric Forrest - June 23 (Movie Actor)

Terry Price - June 23 (Coach)

Sheldon Harnick - June 23 (Composer)

Richard Ravitch - June 25 (Politician)

Nicolas Coster - June 26 (Soap Opera Actor)

Alfredo Victoria - June 26 (Instagram Star)

Ryan Mallett - June 27 (Football Player)

Maria Del Carmen Garcia - June 27 (TV Actress)

Sue Johanson - June 28 (TV Show Host)

**Alan Arkin - June 29 (Movie Actor)

Christine King Farris - June 30 (Family Member) *Martin Luther King Jr.'s Sister*

Darren Drozdov - June 30 (Wrestler)

#CelebrityDeaths2023

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