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Should Native American Youth Learn Traditional Skills?Community programs from the Lakota Nation are helping young people...
04/26/2026

Should Native American Youth Learn Traditional Skills?
Community programs from the Lakota Nation are helping young people learn traditional outdoor skills on tribal lands near the Black Hills.
Elders say these activities teach respect for nature and connect youth with their cultural roots.
Programs often include:
• Learning traditional crafts
• Understanding nature and wildlife
• Listening to elders’ stories and teachings
Many believe these skills help keep Native traditions strong.

They'll tell you Custer died at the hands of Lakota and Cheyenne warriors.They won't tell you the name of the woman who ...
04/25/2026

They'll tell you Custer died at the hands of Lakota and Cheyenne warriors.
They won't tell you the name of the woman who knocked him from his horse.
Her name was Buffalo Calf Road Woman. Northern Cheyenne warrior. Mother. Sister. Legend.
June 17, 1876. The Battle of the Rosebud. Montana Territory.
The Cheyenne and Lakota were retreating from General George Crook's forces when Buffalo Calf Road Woman saw her brother, Comes in Sight, fall—his horse shot from under him, surrounded by soldiers. She didn’t hesitate. She rode straight into gunfire, bullets tearing past her, and pulled him onto her horse. She galloped him to safety. Her bravery rallied the warriors. They turned back. They fought. And they won.
Nine days later, Custer led the 7th Cavalry to Little Bighorn. Expecting a small fight, he faced over a thousand prepared warriors. Buffalo Calf Road Woman rode again—not for glory, but for survival, for her husband, her brother, and her people. Eyewitnesses said she fought in the open, never taking cover, firing her six-shooter while others ducked.
Then she saw Custer. She raised a club. She struck. Oral history passed down through generations confirms it: she knocked him from his horse. Whether she delivered the fatal blow or not, she ended his fight.
For 129 years, her people kept her story secret. The U.S. government had destroyed villages, killed their people, and banned their traditions. A Cheyenne woman defeating a famous general? Dangerous knowledge.
After the battles, Buffalo Calf Road Woman and her family fled. They endured freezing nights, starvation, and relentless attacks. Villages were destroyed. Children were taken. And in May 1879, she succumbed to diphtheria, around thirty-five years old. Her husband, Black Coyote, later committed su***de. She was buried in the hills near present-day Miles City, Montana, unmarked, unrecognized—but never forgotten by her people.
The Cheyenne passed down her story from mother to daughter, elder to child, warrior to warrior. They remembered the day she rode into gunfire to save her brother. They remembered how she struck Custer. They remembered that she fought not for glory, but because her family and people were under attack.
In 2005, tribal elders finally spoke publicly. Buffalo Calf Road Woman’s name and deeds were reclaimed.
She wasn’t an exception. Other Native women fought too—Moving Robe, Pretty Nose, Kate Bighead, Minne Hollow Wood. But history erased them. Acknowledging them meant admitting Native women weren’t helpless, that they fought, and that they won.
Buffalo Calf Road Woman lived in a world determined to erase her people. She fought twice, openly, with courage unmatched. She saved lives, turned the tide of battle, and endured as long as she could. She died young, forgotten by the country that tried to destroy her, remembered only by the people who loved her.
Her story survived. And now, more than 140 years later, we know the truth:
The woman who knocked Custer from his horse wasn’t a footnote. She wasn’t a myth. She was real. Her name was Buffalo Calf Road Woman. And she fought like hell.

In the winter of 1847, long before the borders of Montana were drawn, Salish families camped along the foothills of the ...
04/24/2026

In the winter of 1847, long before the borders of Montana were drawn, Salish families camped along the foothills of the Mission Mountains. Snow covered the valley in deep white layers. Smoke curled quietly from the tops of lodges. It was a peaceful season, until riders appeared on the horizon.
A raiding party from the east.
Fast. Armed. Closing in.
Children were gathering firewood when the first warning shout cut through the cold air. Warriors rushed to defend the camp. Women grabbed infants and fled toward the timberline.
Among the children was a young Salish boy remembered in oral accounts as Sx̣ʷlítm̓, “Little Buck.” He was no older than twelve, small for his age, quick on his feet, and always watching the horses more than anything else.
His father kept one horse set apart from the others: a paint mare with a torn hind leg from an old accident.
“Never ride her,” his father warned.
“She can walk, but she cannot run.”
But in the chaos of the raid, she was the only horse still tied near the lodge.
War cries echoed across the valley.
Arrows struck the snow.
Smoke drifted between the lodges.
The boy didn’t hesitate.
He cut the rope, leapt onto the injured mare’s back, and slapped her neck gently, whispering, “Help me, old one… just this once.”
The horse limped forward, then pushed harder, faster, until she broke into a painful but determined run. Raiders saw him and shouted, but snow and smoke hid his path as he veered toward the steep slopes of the Mission foothills.
The way up was brutal.
Ice cracked under her hooves.
Wind burned his face.
Twice the mare nearly fell.
But she kept climbing.
He remembered the mountain paths his grandfather had shown him: narrow shelves where goats walked, hidden gaps in the rock where a small body could slip through but a horseman could not follow.
Hours later, when the sun dipped low, he reached a sheltered ridge where a group of Salish families had gathered, survivors who had fled earlier. They stared in disbelief as the boy rode in on the injured mare.
“How did you escape?” an elder asked.
The boy slid off the horse, shivering, and said:
“I rode the one no one believed could run.”
The mare collapsed from exhaustion, but she lived. So did the boy.
In the years that followed, elders told the story not as a tale of luck, but as a lesson in Salish resilience: never dismiss the strength of what others see as broken. And never underestimate a child who listens to the mountains.
Sx̣ʷlítm̓ lived to old age. And long after the raid was forgotten by outsiders, the Salish remembered the boy and the horse who outran danger together.

“This is my great-grandma, Christina Levant Platt at age 100, weeding her garden. She was born into slavery. Her “owner”...
04/23/2026

“This is my great-grandma, Christina Levant Platt at age 100, weeding her garden. She was born into slavery. Her “owner” was a wife that taught my great grandma to read and write secretly, which was illegal and quite dangerous at that time for both of them. She learned to read the Bible.
She had 11 children, she lost two, one son was one of the first black attorneys in US. She sent the 4 boys to college in Boston. Exceptional in those days.
She passed 5yrs before I was born but I love her as if I knew her. Family tells me she would say “ I put prayers on my children’s children’s heads”.
Around April 12, 1861, Christina was at the 1st battle of the CIVIL WAR, in Fort Sumter at Charleston Bay, South Carolina, working in the cotton fields. She said “the sky was black as night” from cannonball fire. She saw a man decapitated by a cannonball.
She was the water girl for the other slaves as a young girl and “ the lookout” for the slaves in the fields for the approaching overseer on horseback as they secretly knelt and prayed for their freedom.
She would watch for the switching tail of the approaching horse and would alert the slaves to rise up and return to picking cotton before he saw them.
She eventually married a Native American from the Santee Tribe. John C, Platt.
After freedom, Christina insisted upon taking her children north as she knew they would not get a good education in the south, and that’s all she cared about. She died at age 101 in 1944, where she and her husband had built a home in Medfield, Massachusetts, the first black family to move there.
With great respect, I honor my great grandmother.
So much more I could say about this miraculous woman. She gave me much strength in my hard times.
Whenever I thought I was having a hard day, I would think of her and shrug it off.
Thank you for reading one story of millions.”
-Brenda Russell
While not much is known about her life and career, the image of her in the garden symbolizes the strength and patience of an elderly woman still tending to and nurturing the green environment. This action represents not only everyday beauty but also a symbol of her love and care for nature and family.
Christina Levant Platt may have experienced many ups and downs and challenges in her life, from joys to hardships, but her appearance in this photo reflects the strength and resilience of a mature woman in a family with strong cultural traditions. This photo is also a beautiful memory and encouragement of old age and resilient vitality .

Mel Brooks Says 'Blazing Saddles' Could Never Get Made TodayMel Brooks has made a host of classic cinematic comedies, bu...
04/22/2026

Mel Brooks Says 'Blazing Saddles' Could Never Get Made Today
Mel Brooks has made a host of classic cinematic comedies, but if he were tasked with making arguably his most famous — and beloved — film today, the writer-producer-director-star believes he’d be destined for failure.
In a new interview with Craig Modderno at The Daily Beast, the 90-year-old Hollywood icon was asked if he thought he could get Blazing Saddles — his 1974 Western comedy starring Cleavon Little and Gene Wilder as a railroad worker-turned-sheriff and a drunken gunslinger, respectively — made in today’s movie-industry climate. The answer? An emphatic “no!”
Brooks, who will speak after a special screening of Blazing Saddles at New York City’s Radio City Music Hall on Sept. 1, discusses how, even back in the ’70s, Warner Bros. studio executives were far from eager to see his version of the film released.
“They wanted to bury me and the film. The head of distribution told the owners not to release the picture, but they only did because it was already booked in theaters, and they didn’t have a picture they could replace it with… If I had made their changes the film would have been just 14 minutes long! I stupidly threw all their notes in the trash. Imagine the book I could have written on them today.” Among the choice suggestions Brooks remembers: “‘Lose the fart scene, cut out any racial and ethnic jokes, edit scenes where a horse and an old lady get punched,’ and my favorite note: ‘Can you reshoot Black Bart with a white actor?'”
History has proven that Brooks was right about his film, as it remains one of American cinema’s most well-loved (and oft-quoted) comedies. To read Brooks’ thoughts on his struggle to get both Blazing Saddles and Young Frankenstein produced — as well as the way Dustin Hoffman backed out of starring in 1968’s The Producers in order to work opposite Brooks’ wife Anne Bancroft in The Graduate — check out his entire interview with The Daily Beast here.

I am Lucy a young sculptor, this is my first work, please appreciate it ...
04/21/2026

I am Lucy a young sculptor, this is my first work, please appreciate it ...

She is Half Navajo from the Navajo Nation of the Hon´agha´ahnii Clan and half Sans Arch Lakota Sioux of the Cheyenne Riv...
04/19/2026

She is Half Navajo from the Navajo Nation of the Hon´agha´ahnii Clan and half Sans Arch Lakota Sioux of the Cheyenne River Tribe….made history as The First fulltime college student (Male or Female) to ever come out of the state of Kansas and win a National Intercollegiate Championship title and Belt!..Not Kansas University, not Kansas state university, or Wichita state university but from lil ol’ Haskell Indian Nations University!!!!!!…She fight out of the Haskell Boxing Club in Lawrence, KS

The winds rise again across the Navajo Nation as Dark Winds returns for its powerful fourth season. 🌬️🌄 Once more, we fo...
04/19/2026

The winds rise again across the Navajo Nation as Dark Winds returns for its powerful fourth season. 🌬️🌄 Once more, we follow Joe Leaphorn and Jim Chee—two men guided by duty, tradition, and inner resolve—as they step into investigations that test not only their skills as lawmen, but their hearts, beliefs, and courage.
This new season leans deep into what makes Dark Winds so compelling: suspense woven with soul. The mysteries are layered and dangerous, the adversaries relentless, and the personal struggles deeply human. Against the vast desert—beautiful, haunting, and alive—the stories unfold with a quiet intensity that stays with you long after each episode ends.
With breathtaking cinematography, thoughtful storytelling, and characters who carry the weight of their history, Season 4 honors both crime drama and Indigenous perspective. Whether you’ve followed the journey from the beginning or are stepping into this world for the first time, Dark Winds continues to stand as a rare and meaningful series—one that listens as much as it reveals. 🪶

Native American Indian teachings describe the relations all around—animals, fish, trees, and rocks—as our brothers, sist...
04/18/2026

Native American Indian teachings describe the relations all around—animals, fish, trees, and rocks—as our brothers, sisters, uncles, and grandpas. . . .
These relations are honored in ceremony, song, story, and life that keep relations close—to buffalo, sturgeon, salmon, turtles, bears, wolves, and panthers. These are our older relatives—the ones who came before and taught us how to live.
((Winona LaDuke))

An art installation that challenges perceptions and invites reflection, Indian Land Sign by Nicholas Galanin is turning ...
04/18/2026

An art installation that challenges perceptions and invites reflection, Indian Land Sign by Nicholas Galanin is turning heads in the California desert. 🌵
This powerful piece, part of the 2021 Desert X exhibition, uses the iconic style of the Hollywood sign to spell out “Indian Land,” sparking conversation about Native American history, land rights, and belonging.
Galanin’s work reminds us of the deep cultural significance of the land and the voices of Indigenous communities. It serves as a reminder to honor the past and acknowledge whose land we are on.
Through art, this installation invites everyone to connect with the rich heritage of Native peoples and engage in important discussions about land, justice, and respect. 🌍
A unique opportunity to learn and reflect, Indian Land Sign is more than just art—it’s a call to engage with and understand Native American culture.

These faces reflect resistance without weapons—identity protected through memory, voice, and community bonds that refuse...
04/17/2026

These faces reflect resistance without weapons—identity protected through memory, voice, and community bonds that refused erasure.
What was silenced became salvation. What endured became foundation. 📖🖤

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4923454 Stehr Ferry
Los Angeles, CA
90001

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