Rhiannon Giddens wins Best Folk Album GRAMMY

Posted in Articles, Arts, Media Archive, United States on 2022-05-05 16:00Z by Steven

Rhiannon Giddens wins Best Folk Album GRAMMY

Guitar Girl Magazine
2022-04-06

GGM Staff

Photo Credit: Ebru Yildiz

Congratulations to Rhiannon Giddens on her Grammy Award win for Best Folk Album for They’re Calling Me Home. Giddens was also nominated for Best American Roots Song for ​​”Avalon” from They’re Calling Me Home, which she made with multi-instrumentalist Francesco Turrisi. Giddens is now a 2-time winner and an 8-time nominee. On Wednesday, Giddens will also perform at Paul Simon’s tribute concert “Homeward Bound: A Grammy Salute to the Songs of Paul Simon,” alongside Brandi Carlile, Brad Paisley, Billy Porter, Dave Matthews, and Paul Simon himself.

The Grammy award-winning album, released by Nonesuch last April, has been widely celebrated by the NY Times, NPR Music, NPR, Rolling Stone, People, Associated Press and far beyond, with No Depression deeming it “a near perfect album…her finest work to date.” Recorded over six days in the early phase of the pandemic in a small studio outside of Dublin, Ireland – where both Giddens and Turrisi live – They’re Calling Me Home manages to effortlessly blend the music of their native and adoptive countries: America, Italy, and Ireland. The album speaks of the longing for the comfort of home as well as the metaphorical “call home” of death…

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Rhiannon Giddens and What Folk Music Means

Posted in Articles, Arts, Biography, Media Archive, United States, Women on 2019-05-18 23:29Z by Steven

Rhiannon Giddens and What Folk Music Means

The New Yorker
2019-05-13

John Jeremiah Sullivan


Giddens plays and records what she describes as “black non-black music,” reviving a forgotten history. Photograph by Paola Kudacki for The New Yorker

The roots musician is inspired by the evolving legacy of the black string band.

To grasp the significance of what the twenty-first-century folksinger Rhiannon Giddens has been attempting, it is necessary to know about another North Carolina musician, Frank Johnson, who was born almost two hundred years before she was. He was the most important African-American musician of the nineteenth century, but he has been almost entirely forgotten. Never mind a Wikipedia page—he does not even earn a footnote in sourcebooks on early black music. And yet, after excavating the records of his career—from old newspapers, diaries, travelogues, memoirs, letters—and after reckoning with the scope of his influence, one struggles to come up with a plausible rival.

There are several possible reasons for Johnson’s astonishing obscurity. One may be that, on the few occasions when late-twentieth-century scholars mentioned him, he was almost always misidentified as a white man, despite the fact that he had dark-brown skin and was born enslaved. It may have been impossible, and forgivably so, for academics to believe that a black man could have achieved the level of fame and success in the antebellum slave-holding South that Johnson had. There was also a doppelgänger for scholars to contend with: in the North, there lived, around the same time, a musician named Francis Johnson, often called Frank, who is remembered as the first black musician to have his original compositions published. Some historians, encountering mentions of the Southern Frank, undoubtedly assumed that they were merely catching the Northern one on some unrecorded tour and turned away.

There is also the racial history of the port city of Wilmington, North Carolina, where Johnson enjoyed his greatest fame. In 1898, a racial massacre in Wilmington, and a subsequent exodus of its black citizens, not only knocked loose the foundations of a rising black middle class but also came close to obliterating the deep cultural memory of what had been among the most important black towns in the country for more than a century. The people who might have remembered Johnson best, not just as a musician but as a man, were themselves violently unremembered.

A final explanation for Johnson’s absence from the historical record may be the most significant. It involves not his reputation but that of the music he played, with which he became literally synonymous—more than one generation of Southerners would refer to popular dance music simply as “old Frank Johnson music.” And yet, in the course of the twentieth century, the cluster of styles in which Johnson specialized––namely, string band, square dance, hoedown––came to be associated with the folk music of the white South and even, by a bizarre warping of American cultural memory, with white racial purity. In the nineteen-twenties, the auto magnate Henry Ford started proselytizing (successfully) for a square-dancing revival precisely because the music that accompanied it was not black. Had he known the deeper history of square dancing, he might have fainted…

…Giddens’s father, David, who is white, taught music and then worked in computer software for most of his career. “As a teacher, he got all of the hardened kids,” she said, meaning behaviorally challenged students. He met Rhiannon’s mother, Deborah Jamieson, when they were both students at the University of North Carolina at Greensboro. Theirs was a rare interracial marriage in a city where, cultural diversity aside, the Klan murdered five civil-rights activists in 1979. Rhiannon’s parents divorced when she was a baby, around the time that her mother came out as a lesbian…

…Giddens talks about her “black granny” and her “white granny.” At one point, her black grandfather and her white grandmother were both working at the Lorillard Tobacco factory in Greensboro. Once, when her white granny needed help with her taxes, she went to Giddens’s black grandfather to get it. But Giddens dismissed the idea that her life was defined by a two-sidedness. “It’s the South, isn’t it?” she said. “The point is that they are different—but the same.”…

…The prospect of gaining a wider, and blacker, audience is, one imagines, always an option for Giddens, who could, if she really wanted to, cut a pop record and presumably ascend to a higher sales bracket. But she has been unwilling to compromise her quest, which is, in part, to remind people that the music she plays is black music. In 2017, she received a MacArthur “genius” grant, a validation that has reinforced her tendency to stick to her instincts. “You do what you’re given,” she told me on the phone recently. “I’m not gonna force something or fake something to try to get more black people at my shows. I’m not gonna do some big hip-hop crossover.” She paused, and remembered that she is about to do a hip-hop crossover, with her nephew Justin, a.k.a. Demeanor, a rapper who also plays the banjo. “Well,” she said, laughing, “not unless I can find a way to make it authentic.” She told me that she does not really like hip-hop. This threw me into the comical position of trying to sell her on the genre. “The stuff I like is the protest music,” she said. “I like Queen Latifah. But the over-all doesn’t speak to me. I’m not an urban black person. I’m a country black person.”…

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Rhiannon Giddens Is Reclaiming the Black Heritage of American Folk Music

Posted in Articles, Literary/Artistic Criticism, Media Archive, United States, Women on 2019-02-26 02:34Z by Steven

Rhiannon Giddens Is Reclaiming the Black Heritage of American Folk Music

TIME
2019-02-21

John Lingan


Shahar Azran—WireImage/Getty Images

In early 2018, folk-music torchbearer Rhiannon Giddens decamped to Breaux Bridge, La., with minstrelsy on her mind. In her early work with the Grammy-winning bluegrass band the Carolina Chocolate Drops and across two solo albums and a role in the TV series Nashville, Giddens has been as much a historian as a singer and banjoist. She’s won acclaim, including a MacArthur Foundation “genius” grant, for her attention to America’s folk traditions, but she felt that minstrelsy, with its troubled history, remained relatively unexplored…

..For the Louisiana trip, she enlisted three of her favorite contemporary musicians: Leyla McCalla, Allison Russell and Amythyst Kiah, all, like Giddens, black women with a focus on the banjo and early American string-music traditions. All four brought original songs to the sessions, and their collaboration quickly expanded beyond its initial historical focus. The resulting album, Songs of Our Native Daughters, which comes out on Feb. 22, has one foot in acoustic minstrel sounds but is also a tribute to the strength and resilience of black women in the antebellum era

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Interview: ‘White people are so fragile, bless ’em’ … meet Rhiannon Giddens, banjo warrior

Posted in Articles, Arts, History, Interviews, Media Archive, Slavery, United States on 2018-07-29 01:04Z by Steven

Interview: ‘White people are so fragile, bless ’em’ … meet Rhiannon Giddens, banjo warrior

The Guardian
2018-07-23

Emma John

‘I’m not here to be famous’ … Rhiannon Giddens, who is curating the Cambridge folk festival.
‘I’m not here to be famous’ … Rhiannon Giddens, who is curating the Cambridge folk festival. Photograph: Tanya Rosen-Jones

She pours fire and fury into powerful songs that target everything from police shootings to slavery. The musician reveals all about her mission to put the black back into bluegrass – and Shakespeare

‘We’re all racist to some degree,” says Rhiannon Giddens. “Just like we’re all privileged to some degree. I have privilege in my system because I’m light-skinned. I hear people say, ‘I didn’t have it easy growing up either.’ But when did it become a competition?”

As someone on a mission to bridge such divides, Giddens thinks about this stuff a lot. The Grammy-winning singer and songwriter was born to a white father and a black mother in Greensboro, North Carolina, in the late 1970s. Her parents married only three years after the landmark Loving v Virginia decision, which reversed the anti-miscegenation laws that had made interracial marriage illegal. Their union was still shocking enough that her father was disinherited.

While much has changed in the 40 years that Giddens has been alive, her latest album, Freedom Highway, is a powerful testament to the inequality and injustice that remain. It opens with At the Purchaser’s Option, a devastating track inspired by an 1830s advert for a female slave whose nine-month-old baby could also be included in the sale. “It was kind of a statement to put that one first,” says Giddens. “If you can get past that, you’ll probably survive the rest.”…

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