The 15 Best Indigenous Music Videos of 2014

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Indigenous artists continued their takeover of popular culture in 2014. Here are the best Indigenous music videos of the year.

First things first, if you missed our epic selections of the Best Indigenous Music of 2014, you should go read and listen to what we picked. Also check out the Most Slept-On Indigenous Album of the year.

And as though our top albums, EPs, singles and our Best of 2014 Remixtape weren't enough to satiate your hunger for Native artistry, we've also compiled our favourite Indigenous music videos of 2014.

There were many amazing, cinema-sonic moments put on tape this year, but these were the videos that made the deepest, most engaging, and even funniest, impressions on us.

15. Jayli Wolf - "I Don't Remember"

Part of the fifth season of APTN's First Tracks, this is a sibylline dreamscape for a haunting and deceptively simple song by Jayli Wolf  (Métis). Directed by Michelle Latimer, we love getting lost in the video's black and white layering of starry, underwater, earthy and mesmerizing images.

14. Scatter Their Own- "Taste the Time"

"We are only as clean as our water" says Oglala Lakota duo Scatter Their Own. Want to know why Indigenous people are rising up against pipelines through our territories? This is why. An ominous and compelling...er...taste of things to come. That is, unless we change course.

13. Princess Nokia - "Nokia"

Cyber-supernatural 90s vibes abound in this neon and glittery ode to anime, BFFs, Nickelodeon, robotic dogs, and Nokia ringtones, among assorted other shimmering oddities. Flashbackward to bedazzled future beats in this trippy slice of this Taino Princess' world. You'll be hypnotized just like we were.

12. Mic Jordan - "Modern Day Warrior (ft. Real Truth)"

Youthful, exuberant, dedicated to the struggle and dropping hip-hop gems, up-and-comer Mic Jordan holds it down rapping directly about what it means to thrive and survive as a modern day warrior for his people, the Turtle Mountain Chippewa. Now that's what's up. This clip comes from Jordan's slept on album, Sometime After 83, which he dropped earlier this year (and which you should go download for free right now). The struggle lives and breathes in the artistry of talented Native MCs like Mic Jordan. "And damn right / I was built to fight". Tell it!

11. Kinnie Starr ft. Ja$E El Niño - "Save Our Waters"

Mohawk artist Kinnie Starr's not one to be shy in speaking her mind and this ode to protecting coastal waters from intrusive pipeline development finds a perfect counterpart in this collab with Haidawood—a stop motion animation video that works perfectly for the track that CBC called "part indictment, part wake-up call". We are in need of both at this point, and this is a creative and playful way to get the message out. Now let it compel action.

10. Drezus - "Warpath"

Although we're not exactly sold on Mic.com's framing of Indigenous hip-hop as "the most authentic rap we have today" (what is authentic? who is we?), we get what they were trying to say. No one else is bringing together raw talent, creativity and firepower like Native artists. Plains Cree/Saulteaux artist Drezus doesn't mix words or mess around and on this Stuey Kubrick-directed clip, he reps for the people—painted up, fire burning, singers around the drum, wild horses running slow mo, and surrounded by his fam and relations. That's power. Watch it all the way to the end for a special appearance by Beau Dick, master carver and hereditary chief of the Namgis First Nation, making that west coast warrior connect.

9. Angel Haze - "A Tribe Called Red"

Two of our favourite artists joined forces this year and the results exceeded our expectations. Although a lyric video for this tune was released a while back, this official video for Cherokee singer/MC Angel Haze's collab with A Tribe Called Red brings that ultra-crisp, black and white, leather-clad, dialed aesthetic we were hoping for. You want some more? Good luck competing with Angel Haze's "deity swag and omnipotent style".

8. Radical Son - "Human Behaviour"

When minimalism works, it really works. Keeping with that vibe, Kamilaroi artist Radical Son's video for his soulful tune "Human Behaviour" works with opaque spaces, blending deep, dark blacks and fading whites and greys, and using its stripped down visual spectrum to pull the gravity of the song's deep reggae groove out from the depths. Dope.

7. Sacramento Knoxx ft. DJ Dez - "The Trees Will Grow Again"

Community organizer, activist, MC, hip-hop producer and micro-documentary maker, Anishinaabe/Xicano artist Sacramento Knoxx is a man of many talents. This joint brings it all together with a dope visual delivery of rugged anti-imperialist politics, BDS empowerment, and raw hip-hop talent. That, plus the proceeds of the track go to benefiting youth and community. Knoxx is elevating the game and bringing power back to the people. The RaizUp is right. Represent.

6. Cree Nation Artists (Chisasibi Community) - "I Believe"

Ok, this one is pretty amazing. Hip-hop artist/producer and educator David Hodges has been working with the Cree Nation Government on a community-based music project called "N'we Jinan". Travelling throughout Cree communities in Quebec, Hodges set up a mobile studio, created music with youth and, in the process, produced a 19-song album that just went to Number 1 on iTunes in Canada. "I Believe" is the first single from the album—and it's an inspiring showcase of rising youth talent and empowerment. Raise it up for the next generation celebrating "culture, language and love". These are the voices we'll be listening for.

5. Greg Grey Cloud Storms the U.S. Senate with Honor Song After Keystone XL Vote

When the U.S. Senate votes to reject the Keystone XL pipeline by one vote, ONE VOTE, what else are you going to do but sing an honour song until they kick you out of there? Well, that's exactly what Crow Creek Sioux member Greg Grey Cloud did. You want to restore order Elizabeth Warren? Join Greg in "honouring the leaders who stood up for the people". Respect!

4. A Tribe Called Red - "Sisters (ft. Northern Voice)"

It's hard not to get behind a video that features a song we love, made by a crew the entire Native community loves, featuring Natives we recognize, and basically depicting exactly how it feels to get down to Mohawk/Cayuga/Anishinaabe crew A Tribe Called Red's music. Of course it's a party. Of course we're dancing in our bedrooms, in the convenience store, at the club, and in the car. Oh and course we have fireworks, colour smoke bomb things, and a Mohawk Warrior flag flying as we roll down a winter highway with the sunroof rolled back, the windows rolled down, and ATCR on blast in the system. You know we're all headed to the same Electric Powwow night anyways. See you on the dancefloor, relations.

3. Supaman - "Prayer Loop Song" 

Just another day in the life of your average beatboxing, freestyling, regalia wearing, powwow and b-boy fancy dancing, flute playing, drum beating, record scratching, loop-making, Crow Nation hip-hop SUPAMAN. They don't call him that for nothing, you know. Mad mad skills. Watch and learn.

2. Rebel Music - "Native America"

When we found out Rebel Music were debuting their Season 2 premiere, "Native America", as a Facebook-only video stream, we were all "Really guys? Facebook only?". But then we remembered how much NDNs lovvvvvvve Facebook—and how amazing the "Native America" episode is—and we realized this was actually a pretty brilliant strategy. The episode became a rallying cry for Native people across Turtle Island: it was viewed more than 2 million times in its first week (at last count it was approaching 4.5 Million views and still climbing). Needless to say, many tears of joy and shouts of Native Pride were shared (check the FB comments) as we watched ourselves and our community being represented for how we really are: vibrant, creative, alive and thriving in the midst of all the insanity! So special shout outs to Frank Waln, Inez Jasper, Nataanii Means and Mike Cliff for representing their nations—and all of our people—in a good way. Rebel Music: Native America reminded us that everyday is a great day to be Indigenous.

1. 1491s - "Cherokee"

There's no way this wasn't making the cut. Let's face it. With what we're up against, collectively, we all need more humour in our lives. And, according to the Dine/Dakota/Osage/Seminole/Creek comedy crew the 1491s, we all need more Europe in our lives too. The band, that is, not the continent. The 1491s have made a lot of amazing videos over the years, but this one is such an incredible parody of the 1986 hit, there's just no way the original can compete anymore. And that's saying something, because have you seen the original?? All we can say is MOAR. More of this please. More Turdle Island, more NAMMY GOLD, more HBC blanket antics, more decolonizing Europe, and more of whatever the hell Ryan Red Corn is doing. A newly indigenized modern hair metal classic. Aho!

VIDEO: Quese IMC - "I Resist"

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New video I Resist from Quese IMC (Pawnee and Seminole) features Casper and the beautiful brown faces of Indigenous youth from communities across Turtle Island.

I Resist is a song off Quese IMC's latest album Handdrums for Whiskey Bottles. The video follows Quese on a two and a half week trip through many communities working with youth, reservations and schools. Check out the video for I Resist here, and hey why not sing along:

HOOK: we're young warriors, path we roamed, this ain't hollywood yo, this is our home, were light, were different, we fight and resistant, walk the red road thats why we stay gifted, young warriors happy and alive, we made it this far cause our grandmas survived, indigenous pride as we ball up our fists, 500 years cause we say "i resist"

verse 1: easy hell naw, its been a long road but its quite alright cause we been foretold that were modern day warriors in modern day time where people have aligned and were seeing all the signs see it in the sun and we see it in the skies here it in the people and we see it in their eyes the people are fed up cause they haven't been fed and were hungry for the knowledge cause we've been misled misled by the media, misled by the news update, update they want you to stay tuned propaganda on the screens but the mental breakthroughs will curb the mind control that keeps you satisfied and glued to your couch and the screen that keeps you fat and amused my people wake up, wake up we can't lose we've paid mad dues so now we must gather young warriors and what we do matters.... HOOK

verse 2: yo the world is changing and the stars are bending shifting, and the mayan calendar is ending not the end of time but the end of a cycle so the cleansing of mother earth can take her rightful place and position, and positions that we play and listen to creation, to mobilize a nation overthrow the system, organize and take them to a place where they can believe and envision we are the movement, ones and focus even though sometimes it feels hopeless we will stand with our drums at the protest and watch the whole world take notice even though there are people who would sling dirt and not see the heart of how we work we will do our best even if we hurt and wear the revolution like a t-shirt, come on.... HOOK

INTERVIEW: Sterlin Harjo Talks Oklahoma & Music

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Sterlin Harjo  (Seminole/Creek) who is well known for his feature film work also enjoys the poetry of making music videos.

RPM: Tell us about Holdenvillle, Oklahoma where you grew up.

Sterlin Harjo: It's a rural town. Farmers and oil fields... roughnecks. It’s on the border of the Muscogee (Creek) and Seminole Nations.  I'm both.  Most of the natives in the area are both. Oak forests.  It's pretty laid back.  It's a pretty magical place when I think back on it.  A lot of that magic I think had to do with the Native folklore and hanging out at my Grandma’s house.  She passed away last November so I feel like a lot of that stuff has been hiding lately.

The white people and black people in the community get along with the natives.  There's not a really closed reservation so I think there is more of an understanding of native culture. The natives either go to church or belong to ceremonial grounds... or both.

RPM: Were you a “both”-er?

SH: Yeah, I would say so.  I got more involved in ceremony when I was older.  At the same time my grandma and my mom would take us to ceremony.  But church was a big part of it.  The Indian church is very rural and took a lot of things from the ceremonial world.  Church songs are sung in the Muscogee language. Most people know what church they belong to and also what ceremonial grounds they belong to.

RPM: Does the church have a strong general presence in Oklahoma?

SH: Oh yeah. We are the buckle on the bible belt.

RPM: Who fostered the artist in you?

SH: I would say my whole family fostered it. I have a huge family. Uncles and aunts were like parents. Cousins were like siblings.  Great uncles and Aunts were like grandparents. My dad had a big part in it.  He is a really good artist, but he never did anything with it.  From a young age when he and my grandma knew that I could draw they would always tell me not to waste it.

I just remember always hearing older people tell stories.  It’s what you do in rural communities… sitting around and telling stories.  Not like story time, but real stories.  Everyday life.  And a lot of stories about superstitions and magic.

As a kid I was always the one that wanted to hang out for hours with the elder people in my family and listen to their stories.  Sometimes it was the same story over and over but I loved how they retold it.  I think I learned a lot about storytelling because of that. Two people can tell the same story with different delivery.  One person will tell it and it will be uneventful but the other will make it exciting and funny.

RPM: When did you first pick up a camera?

SH: I used to use my parents VHS camera.  It was as big as a TV. I used to make skits with my cousin. I had this one TV show that we did where I made him wear a coonskin cap. It was called Hero John. He would be held captive by bad guys.  Enslaved.  Working in mines.  Then he would fight his way out and kill them all with a whip. I sang the theme song while filming "Hero john, hero john, saves the day any day, fights off the evil.... blah blah."

RPM: At what point did you decide to pursue film more seriously?

SH: I went to college for painting.  At some point in college I started writing. I showed a script to a professor and he encouraged me to take an intro to film class. After that I fell in love with it.

RPM: What kept you going?

SH: Not sure, it just kept happening for me. I was naive enough that I thought I could make it happen. I kept plugging ahead. When I saw Smoke Signals I thought, "Wow, I could tell stories about where I'm from".

RPM: Did you ever doubt your path?

SH: No, not really.  I think coming from a small town made the world small for me.  In Holdenville I was always the kid that would draw things for people.  If someone needed something drawn they would come to me.  I kept that with me.  I felt like the world was small.  It felt like it would be no problem to make films. I look back on it and I'm surprised myself.  I was very fortunate.  A lot of people crossed my path at the right time.  I took advantage of it.

RPM: How would you describe your purpose in this life?

SH: Um... The more I go I think that my purpose in filmmaking and life is to help people deal with loss.  It's also to hold a mirror up to Indian people/Seminole and Creek people and show them that they are pretty amazing.  They don't need to mystify themselves to be interesting.  The way that they exist is beautiful.  I like finding beauty and complexity in things that seem like they are not that complicated. And that last part goes towards all people, not just native people.

RPM: What does working with musicians give you that your other projects don't?

SH: I'm telling a story based on someone else’s work.  I'm re-envisioning someone else’s vision. It also has a time limit... as in I only have so long to tell a story and it feels more like a poem than my feature films.

RPM: How do you choose the musicians you work with?

SH: I don't know. It's just a feeling I get from their music.  It’s a selfish thing.  I hear someone’s music or a song that I like and I don't want anyone else to make the video for it.  That song becomes a part of me and my work. Music really inspires me and it makes me want to put images to it.

Right now Sterlin is making mini-docs for thislandpress.com based out of Tulsa, Oklahoma. He is also working on a new music video with Samantha Crain. Catch it here first.

Check out a playlist of Sterlin's current music video collection.

VIDEO: Doc feat. Spencer Battiest - "The Storm"

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Latest video from Unconquered Media for "The Storm", the debut single by Doc feat. Spencer Battiest, showcases great filmmaking that helps tell the story of the colonial history of the Seminole people.

Kiowa/Choctaw director Steven Judd of Unconquered Media brings us a stunning visual look into the history of the Seminole people of Florida with "The Storm", a debut video  by Doc feat. Spencer Battiest of the Seminole Tribe of Florida.

Mixing history with digital media, Rap and R&B, this video proves to be a great medium for the translation of their message of strength and solidarity for Indigenous people.

The director Steven Judd is a successful writer and director who brings much experience to this project, having worked with the likes of Disney & ABC in addition to film festivals such as Univeral/NBC's Comedy Shortcuts Diversity Film Festival & imagineNATIVE.

This song is also up for some NAMMY awards such as Best Rap Hip Hop Recording, Debut Artist of the Year, Song/Single of the Year.

For more information on Doc and Spencer Battiest check out thestormsong.com

Do you have a favorite Indigenous music video?  Or maybe you're releasing a video soon? Let us know by commenting below or drop us a line to: info@rpm.fm 

L.A. Skins Music Festival: July 15th, 2011

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The 2011 L.A. Skins Music Fest hits the City of Lost Angeles this weekend bringing Indigenous music talent to the world-renowned Autry Center, July 15th, 2011.

Los Angeles, California holds the largest urban population of Indigenous Native Americans in the United States. With over 250,000 Natives in the city, you can be sure the talent pool of musicians holds some true stage power within it.

On July 15th, the 2011 L.A. Skins Music Fest will bring to the Autry Center an amazing collective of Indigenous music talent. This is the fifth year that the L.A. Skins Fest has showcased Indigenous music to the people of Los Angeles.

The show includes acts such as Ainjel Emme, a pop, folk and soul singer, RedCloud a widely renowned Huichol rap artist known for his deadly freestyle skills and his Cree DJ Crystle Lightning, Dey & Nite the identical twin Spanish-Arapaho R&B duo from New Mexico, and Quese IMC the East L.A. underground legend from Pawnee/Seminole heritage out of Oklahoma.

The 2011 L.A. Skins Fest will be an amazing venue for Indigenous artists to showcase their talents and has also received recognition and support from large entities such as SONY and the American Composers Forum and is sponsored by CBS, NBC/Universal and Paramount Pictures.

The L.A. Skins Music Fest starts at 7pm on July 15th at the Autry Center in Los Angeles, California.

This will be a great show, so if you're in the Los Angeles area be sure to check it out!

For more information, check out the L.A. Skins Music Fest website.

Also check out this great promotional video for the festival.

 

Got an Indigenous music event you want to promote?

Send us some information to: info@rpm.fm

SPOTLIGHT: Jesse Ed Davis, Kiowa Guitar Legend

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Kiowa Guitarist Jesse Ed Davis Lives on as a Legend of Guitar Music. Here is a look at his life, music, and legacy.

Jesse Ed Davis was born September 21, 1944 in Norman, Oklahoma to a Muscogee Creek/Seminole Father and a Kiowa mother.  Beginning his career in Oklahoma city, he later moved on to be one of the most revered sessional guitarists in the history of Blues and Rock music.

After leaving the University of Oklahoma in 1960, Davis began touring with country legend Conway Twitty. He then moved to California where he connected with Taj Mahal to play guitar and piano on Taj's first 3 albums where his versatility allowed him to play many styles including blues, rock, country and jazz. After that he moved on to work with John Lennon and George Harrison for several of their solo album projects.

Other artists Davis played guitar for include Ringo Starr, Eric Clapton, Leonard Cohen, Keith Moon, Jackson Browne, Steve Miller, Harry Nilsson and Van Dyke Parks just to name a few. Also Jesse played with American Indian activist and poet John Trudell in the collective called the Graffiti Band.

Jesse Ed Davis passed away on June 22, 1988 after collapsing in a laundry room in Venice, California at the age of 43. His death was attributed to a heroin overdose.

His impact on music lives on through this style and influence he had on the sound of music in his time.

Here is one of his songs called "Keep Me Comin" released in 1973.