BLAZE MEDIA – Buffy Sainte-Marie is an Academy Award-winning folk singer who has claimed Native-American heritage since the early 1960s.
In her art and activism, she has spoken from what Teen Vogue called an “Indigenous perspective,” repeatedly condemning colonization and referring to America’s founding and the supposed erasure of American Indians as “genocide.”
She also has touted herself as a “survivor” of an allegedly racist government welfare program that placed certain Native-American kids in foster homes.
Liberal media outfits devoured and trafficked in the singer’s claims for years, suggesting, for instance, that the singer had been forcibly taken away from her Native-American family; that she was “raised … in a small town where there was almost nobody that looked like her”; that she was Cree.
A birth certificate, testimony from family members, genealogical data, and an altogether damning report from the Canadian state media have knocked out the pillar upon which Sainte-Marie has long built her persona. She was not born in Canada. She was likely not adopted. She is most likely of Italian and English heritage.
“Whereas the singer claimed she was born on a Canadian reserve, documents including her birth certificate indicate she was born in Stoneham, Massachusetts.” [Stoneham is Boston suburb located nine miles north of the home of another notorious fake Indian, Sen. Elizabeth Warren.]
Sainte-Marie has for over 50 years claimed to have Native-American heritage.
At one stage, she said she was a “full-blooded Algonquin Indian.” Months later, in 1963, she said she was “half-Micmac by birth.” [Future fake Indian Elizabeth Warren was still just 14 years old at the time.]
Once she got her story straight, she told reporters she was Cree, born on the Piapot First Nation reserve in the Canadian province of Saskatchewan, then sent to live with a Massachusetts couple who would become her adoptive parents, Albert and Winifred Santamaria. PBS suggested last year she was taken from her family against their will, owing to a supposedly racist practice called the Sixties Scoop.
Much of her music, dance, and activism came to center on her supposed race.