DOCSLIB.ORG

Rhiannon Giddens | Greensboro, Nc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rhiannon Giddens | Greensboro, Nc RHIANNON GIDDENS | GREENSBORO, NC [SINGING] >> RHIANNON GIDDENS' ROOTS ARE GROUNDED IN NORTH CAROLINA. >> I GREW UP SINGING WITH MY -- WITH MY PARENTS, MY SISTER AND MY WHOLE SIDE OF THE FAMILY'S REALLY MUSICAL. AND, UM, SO IT WAS ALWAYS A PART OF THE FABRIC OF MY LIFE, BUT IT WASN'T EVER SOMETHING I THOUGHT TO DO UNTIL I WENT TO SCHOOL, YOU KNOW, FOR CLASSICAL MUSIC IN OPERA. AND THEN AFTER THAT, IT WAS KIND OF LIKE, YOU KNOW, I CAME BACK HOME TO NORTH CAROLINA AND DISCOVERED THE OLD-TIME COMMUNITY, YOU KNOW, BANJOS AND FIDDLES, AND JUST FELL IN LOVE WITH THAT AND HAVEN'T REALLY YOU KNOW, LOOKED BACK. >> THE MAJOR INFLUENCE OF GIDDENS WAS NORTH CAROLINA NATIVE, THE LATE JOE THOMPSON. HIS WORK INSPIRED THE CAROLINA CHOCOLATE DROPS TO FOUND THEIR BAND. >> IT WAS SUCH A CROSSROADS, YOU KNOW, WHERE YOU KIND OF -- YOU HIT SOMETHING, AND, YOU KNOW, YOUR LIFE COULD GO ONE WAY OR THE OTHER, AND MEETING JOE JUST TOTALLY TURNED MY LIFE, YOU KNOW, INTO THE -- ONTO THE DIRECTION THAT IT IS NOW. I THINK WHEN YOU -- I THINK IT'S REALLY IMPORTANT TO -- TO TALK TO ELDERS AND TO STUDY WITH ELDERS AND TO -- JUST TO GET A FIELD FOR WHAT THEIR LIFE WAS LIKE, BECAUSE IT KIND OF PUTS EVERYTHING INTO PERSPECTIVE, YOU KNOW. AND FOR ME, THE WAY THAT THE BAND STARTED, PLAYING WITH HIM, IT JUST PUT EVERYTHING INTO PERSPECTIVE. SO WE NEVER -- WE WEREN'T OUT THERE FOR, LIKE, MONEY AND GLORY AND ALL THIS KIND OF STUFF. WE WERE REALLY OUT THERE, YOU KNOW, TO PRESENT HIS MUSIC IN THE BEGINNING AND JUST KIND OF KNOWING WHERE HE CAME FROM AND HAVING THAT BE SORT OF THE CORE OF IT, I THINK, KEPT IT -- KEPT IT REAL. >> ♪ I WAS RAISED IN THE COUNTRY ♪ ♪ THAT'S A NATURAL FACT ♪ >> I MET DOM FLEMONS AND JUSTIN ROBINSON AT THE BLACK BANJO GATHERING IN BOONE, NORTH CAROLINA, AND THAT WAS SORT OF A FOUR-DAY LECTURES AND CONCERTS AND ALL SORTS OF THINGS TALKING ABOUT THE BLACK AND AFRICAN ROOTS OF THE BANJO. AND THE THREE OF US STARTED GOING DOWN TO PLAY WITH JOE THOMPSON. AND THAT'S KIND OF HOW WE GOT STARTED, YOU KNOW. IT WAS -- IT WAS REALLY, UH, YOU KNOW, OUR BAND SOUND FORMED AROUND PLAYING WITH HIM ON THURSDAY NIGHTS. >> NOT ONLY HAS GIDDENS BEEN A SUCCESS AS PART OF THE CAROLINA CHOCOLATE DROPS, BUT SHE RELEASED A SOLO ALBUM IN EARLY 2015 THAT SHE SAYS COMBINES MULTIPLE TYPES OF MUSIC AND FOCUSES ON FEMALE ARTISTS WHO HAVE PAVED THE WAY IN THE INDUSTRY. >> THE CORE OF AMERICAN MUSIC IS A VERY DEEP WELL. IT STARTS IN THE MINSTREL SCENE. IT GOES THROUGH TO, YOU KNOW, BLUES AND JAZZ, COUNTRY. EVERYTHING IS RELATED. ALL THOSE GENRES ARE RELATED. YOU KNOW, THE COUNTRY MUSIC IS NOT THAT FAR REMOVED FROM THE APPALACHIAN MUSIC AND THE BLUES MUSIC THAT IT -- YOU KNOW, THAT COMBINED TO MAKE IT. SO, TO ME, THEY ALL KIND OF BELONG TOGETHER. SO I DIDN'T WANT TO MAKE ANY ARBITRARY, OH, WELL, THIS IS GOING TO BE THIS KIND OF RECORD. IT WAS REALLY, YOU KNOW, TRYING TO PAY HOMAGE TO SO MANY OF THE WOMEN WHO HAVE COME BEFORE ME IN AMERICANA MUSIC AND HAVE OPENED DOORS AND HAVE HAD TO SORT OF KICK DOWN BARRIERS. >> GIDDENS HAS ALSO USED HER MUSIC TO SPEAK ABOUT THE RECENT SHOOTINGS IN CHARLESTON, SOUTH CAROLINA. SHE WROTE A SONG AND FILMED A VIDEO IN A CHURCH IN GREENSBORO RELATING SPECIFICALLY TO THE INCIDENT. >> I FEEL LIKE AS A FOLK MUSICIAN, YOU KNOW, WE ARE HISTORICALLY, YOU KNOW, COMMENTERS ON SOCIAL LIFE, YOU KNOW. IT'S NOT POLITICS. YOU KNOW, PEOPLE SAY, WELL, JUST WRITE A POLITICAL -- IT'S NOT POLITICS AT ALL. IT'S ABOUT, LIKE, WHAT HAPPENED. NOT JUST WHAT HAPPENED 200 YEARS AGO, BUT WHAT'S HAPPENING NOW AND HOW'S THE CONNECTION BETWEEN THE TWO. I THINK THAT'S WHERE WE COME INTO PLAY, BECAUSE, YOU KNOW, THIS STUFF, IT DOESN'T HAPPEN OVERNIGHT. IT DOESN'T HAPPEN IN A VACUUM.THIS GUY JUST DIDN'T DECIDE TO DO THIS ON A WHIM. I MEAN, THIS IS ROOTED IN DEEP, DEEP ISSUES THAT HAVE GONE ON FOR YEARS AND YEARS AND YEARS. AND WHEN YOU SING THE SONGS THAT TALK ABOUT THESE ISSUES, YOU KNOW, FOR HUNDREDS OF YEARS, YOU KNOW, YOU CAN SEE THE OVERALL PICTURE. >> ♪ SWEET GEORGIA PEACHES AND DANDELION WINE ♪ ♪ BEST KIND OF FOOD IS MADE BY HAND ♪ >> GIDDENS SAYS SHE'S NOT ONLY LOOKING FORWARD TO GREENSBORO BEING HOME TO THE NATIONAL FOLK FESTIVAL BUT ALSO BEING A PERFORMER AT THE VENUE. SHE HOPES IT WILL BE A MOVING EXPERIENCE FOR VISITORS. >> I'M VERY EXCITED ABOUT THE FOLK FESTIVAL COMING HERE. I'M -- I WAS THRILLED WHEN I FOUND OUT WE WERE IN CONTENTION, AND I WAS THRILLED WHEN I FOUND OUT THAT WE GOT IT. I THINK GREENSBORO'S REALLY COME A LONG WAY IN THE LAST 15, 20 YEARS. I MEAN, WHEN I LEFT HIGH SCHOOL, YOU KNOW, WHEN I -- YOU KNOW, WHEN I WENT OFF TO COLLEGE, I WAS LIKE, I'M NEVER LEAVING IN GREENSBORO AGAIN. YOU KNOW, 5:00 HIT. DOWNTOWN WAS LIKE TUMBLEWEEDS, YOU KNOW? AND I'M JUST -- EVERY TIME I CAME BACK AND WHEN I CAME BACK TO LIVE, YOU KNOW, I JUST WAS SO IMPRESSED WITH ALL THE CHANGES THAT I SAW OVER THE YEARS, AND DOWNTOWN IS SO VIBRANT. A BEAUTIFUL THING ABOUT THE FOLK FESTIVAL IS HOW THEY BRING IN SO MANY DIFFERENT, YOU KNOW, UH, UH, PARTS OF THE FOLK WORLD, YOU KNOW. IT'S NOT JUST BANJO MUSIC, YOU KNOW. I MEAN, THERE'S ALL THE DIFFERENT CULTURES AND THE DIFFERENT, UM, YOU KNOW, DANCE AND MUSIC AND ART AND ALL THIS KIND OF STUFF. SO I THINK WHAT I REALLY HOPE IS THAT PEOPLE WILL COME AND, LIKE, BE EXPOSED TO STUFF THEY WOULD NEVER SEE USUALLY, YOU KNOW, LIKE THEY WOULD NEVER EVEN THINK ABOUT, DON'T EVEN KNOW ABOUT, AND LIKE WALK AWAY GOING, OH, THAT WAS AMAZING. ♪ >> ♪ GEORGE BUCK'S DEAD ♪ ♪ LAST WORD HE SAID ♪ ♪ DON'T YOU PUT NO SHORTENIN' IN MY BREAD ♪ ♪ GEORGE BUCK'S DEAD ♪ ♪ LAST WORD HE SAID ♪ ♪ DON'T YOU PUT NO SHORTENIN' IN MY BREAD ♪ ♪ ♪ GEORGE BUCK'S DEAD ♪ ♪ LAST WORD HE SAID ♪ ♪ DON'T LET YOUR WOMAN DABBLE AWAY ♪ ♪ IF SHE HAS HER WAY ♪ ♪ SHE WILL GO AND STAY ALL DAY ♪ ♪ DON'T LET YOUR WOMAN HAVE HER WAY ♪ I THINK WE KNOW WHY SHE'S LEAVING NOW. THAT WOULD BE A GOOD REASON. ♪ ♪ GEORGE BUCK'S DEAD ♪ ♪ LAST WORD HE SAID ♪ ♪ DON'T YOU PUT NO SHORTENIN' IN MY BREAD ♪ ♪ DON'T YOU PUT NO SHORTENIN' IN MY BREAD ♪ ♪ NOW, NOW ♪ ♪ DON'T PUT NO SHORTENIN' IN MY BREAD ♪ ♪.
Load more

Recommended publications
  • Extension Activity
    Extension Activity - How the Banjo Became White Rhiannon Giddens is a multi-instrumentalist, singer, and found- ing member of the old-time music group Carolina Chocolate Drops. In 2017 she was awarded the Macarthur “Genius” Grant. Below are excerpts from a keynote address she gave at the 2017 International Bluegrass Music Association Conference, where she discusses the erasure of African Americans in the history of bluegrass, a genre that predominantly features the banjo. So more and more of late, the question has been asked: how do we get more diversity in bluegrass? Which of course, behind the hand, is really, why is bluegrass so white??? But the answer doesn’t lie in right now. Before we can look to the future, we need to understand the past. To understand how the banjo, which was once the ultimate symbol of African American musical expression, has done a 180 in popular understanding and become the emblem of the mythical white mountaineer—even now, in the age of Mumford and Sons, and Béla Fleck in Africa, and Taj Mahal’s “Colored Aristocracy,” the average person on the street sees a banjo and still thinks Deliverance, or The Beverly Hillbillies. In order to understand the history of the banjo and the history of bluegrass music, we need to move beyond the narratives we’ve inherited, beyond generalizations that bluegrass is mostly derived from a Scots-Irish tradition, with “influences” from Africa. It is actually a complex creole music that comes from multiple cultures, African and European and Native; the full truth that is so much more interesting, and American.
    [Show full text]
  • 2O21-22 Season
    CELEBRATING 2O21-22 SEASON EST. 1996 2021-22 contents 5 Welcome 6 Season Calendar 8 Subscribe 10 Series 22 Performances 86 Performances for Young People 88 How to Order 89 Discounts 91 Helpful Information 92 Beyond the Footlights 94 Support On the cover: Hodgson Concert Hall 2Camerata RCO Painting: J.N. Smith 3 Welcome Back What a time it has been! Our world has experienced unprecedented disruption since we last gathered in the spring of 2020 in our beautiful venues to witness exquisite music, dance, and theatre together. Throughout these many long and painful months of separation and isolation, I have been yearning for the time when we can be together once again. It appears that time is finally now upon us! I am absolutely thrilled to share our plans for celebrating the University of Georgia Performing Arts Center’s historic 25th anniversary season throughout the fall of 2021 and spring of 2022. Our silver anniversary season will feature a variety of acclaimed guest artists—some new to us and some returning favorites—with an equally wide variety of personal life experiences. They will come to us from across the United States and several different countries. Their experiences inform their work, and we will, for a brief moment in time, commune together as the universal languages of music, spoken word, and movement unite us in hope and healing. Not only has the world changed significantly since we first opened our doors 25 years ago, it has changed dramatically in the last year as we have endured the devastating impact of a global pandemic, social injustice, political uncertainty, and any number of other things.
    [Show full text]
  • The Place of Music, Race and Gender in Producing Appalachian Space
    University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
    [Show full text]
  • Dom Flemons Bio Dom Flemons Is a GRAMMY Award Winning Musician
    Dom Flemons Bio Dom Flemons is a GRAMMY Award winning musician, singer-songwriter, and slam poet. Carrying on the songster tradition, Flemons strives to mix traditional music forms with a contemporary approach, to create new sounds that will appeal to wider audiences. In his recent solo album Prospect Hill (2014), Flemons drew from a wide range of styles, including ragtime, Piedmont blues, spirituals, southern traditional music, string band music, fife and drum music, and jug-band music. He began his career as a performer in the Arizona music scene, where he produced 25 albums for singer-songwriters and slam poets in Pheonix. In 2005, Flemons co- found the Carolina Chocolate Drops, an African-American string band that won a Grammy for its 2010 album Genuine Negro Jig. Today, he tours throughout the United States and internationally as “The American Songster. In February 2016, Dom performed at Carnegie Hall for a Tribute to Lead Belly. In September 2016, Dom performed at the opening ceremonies for the National Musuem of African American History and Culture in Washington, DC. Dom has been touring internationally and has released his latest album called “Ever Popular Favourites” with British Guitar player, Martin Simpson. The album was released on Fledg’ling recordings in October 2016. Dom’s newest album to be released through Smithsonian Folkways will be celebrating the stories and songs of the black cowboys. Dom has released two instructional DVDs through Stefan Grossman’s Guitar Workshop. Dom has a new podcast called American Songster Radio and it is in conjunction with WUNC North Carolina Public Radio.
    [Show full text]
  • Carolina Chocolate Drops
    Carolina Chocolate Drops “An appealing grab-bag of antique country, blues, jug band hits and gospel hollers, all given an agreeably downhome production. The Carolina Chocolate Drops are still the most electrifying acoustic act around.” -The Guardian “The Carolina Chocolate Drops are...revisiting, with a joyful vengeance, black string-band and jug-band music of the Twenties and Thirties—the dirt-floor dance electricity of the Mississippi Sheiks and Cannon’s Jug Stompers.” —Rolling Stone In early 2012, Grammy award-winning Carolina Chocolate Drops released their studio album Leaving Eden (Nonesuch Records) produced by Buddy Miller. The traditional African-American string band's album was recorded in Nashville and featured founding members Rhiannon Giddens and Dom Flemons, along with multi-instrumentalist Hubby Jenkins and cellist Leyla McCalla, already a familiar presence at the group's live shows. With Flemons and McCalla now concentrating on solo work, the group's 2014 lineup will feature two more virtuosic players alongside Giddens and Jenkins - cellist Malcolm Parson and multi-instrumentalist Rowan Corbett -- illustrating the expansive, continually exploratory nature of the Chocolate Drops' music. Expect a new disc from this quartet in 2015. The Chocolate Drops got their start in 2005 with Giddens, Flemons and fiddle player Justin Robinson, who amicably left the group in 2011. The Durham, North Carolina-based trio would travel every Thursday night to the home of old-time fiddler and songster Joe Thompson to learn tunes, listen to stories and, most importantly, to jam. Joe was in his 80s, a black fiddler with a short bowing style that he inherited from generations of family musicians.
    [Show full text]
  • Gazette Volume 22, No
    GAZETTE Volume 22, No. 16 • April 22, 2011 • A weekly publication for Library staff Cuts Won’t Force Layoffs Or Furloughs By Mark Hartsell The spending bill signed last week by President Obama reduced appropriations for the Library of Congress by nearly $15 million from 2010 levels but will not force layoffs or furloughs during the remainder of the fiscal year. The Library received an appropria- Stephen Winick tion of $628.7 million for the 2011 fiscal Dom Flemons of the Grammy-winning Carolina Chocolate Drops, a frequent visitor to the Library, uses the card catalog in the Folklife Reading Room. year – a reduction of $14.7 million, or 2.3 percent, from the base appropriation for the previous fiscal year. In AFC Archive, Musicians Find However, the Library’s Executive Com- mittee, in meetings held after the measure Inspiration Worthy of a Grammy passed the House and Senate last week, determined that no reduction in staff or “The Library of Congress archives furloughs would be necessary to help By Erin Allen have always been there in our minds, in absorb the decrease in funding for the The Grammy Award goes to the an abstract way,” said Flemons. “It has fiscal year that ends Sept. 30. Library of Congress, in a manner of speak- such a diversity of American music.” “Our service-unit heads closely fol- ing. Materials in the Library’s American In particular, Flemons has conducted lowed the deliberations on the FY 2011 Folklife Center (AFC) repeatedly have research using the Lomax field recordings budget and were prepared for the various been the inspiration for Grammy Award and the Deep River Song Collection.
    [Show full text]
  • A CONVERSATION with AMYTHYST KIAH by Andrea Cuevas
    THE ARTIST SPEAKS A CONVERSATION WITH AMYTHYST KIAH By Andrea Cuevas AC: What are some things you are 5. Cooking–favorite things I’ve made so far enjoying (or learning to cope with) during are Coconut Chana Saag (made with kale quarantine? instead of spinach) and Ancho-Lentil Tacos! AMYTHYST KIAH AK: In no particular order: 6. Short hikes in the woods–due to where I Born in Chattanooga and based in Johnson 1. Gaming–Animal Crossing has been my live and the current socio-political climate, City, Amythyst Kiah’s commanding thing lately. I won’t say where. stage presence is matched by her raw 2. Reading nonfiction–Caffeine Blues and 7. Listening to music–re-listening to my and powerful vocals—a deeply moving, How Not to Die are current reads. favorite dance albums and digging into hypnotic sound that stirs echoes of a distant 3. Graphic novels–currently obsessed with new (and new to me) dance music, from and restless past. Saga. 90’s style house to Motown to industrial Accompanied interchangeably with banjo, acoustic guitar, or a full band, her eclectic 4. Training – building to up to running and nu metal, ie., Lady Gaga, the Marvelettes, Rhiannon Giddens, Amythyst Kiah, Allison Russell, and Leyla McCalla on the red carpet influences span decades, finding inspira- plan to start my first powerlifting program and Static-X are all in my music library. of the 2019 Americana Honors & Awards (photo by Erika Goldring) tion in old time music, alternative rock, soon. 8. Spending quality time with my partner folk, country, and blues.
    [Show full text]
  • Bio the Acclaimed Musician Rhiannon Giddens Uses Her Art to Excavate the Past and Reveal Bold Truths About Our Present. a Macart
    Bio The acclaimed musician Rhiannon Giddens uses her art to excavate the past and reveal bold truths about our present. A MacArthur “Genius Grant” recipient, Giddens co-founded the Grammy Award-winning Carolina Chocolate Drops, and she has been nominated for six additional Grammys for her work as a soloist and collaborator. She was most recently nominated for her collaboration with multi-instrumentalist Francesco Turrisi, there is no Other (2019). Giddens’s latest album, They’re Calling Me Home, is a twelve-track album, recorded with Turrisi in Ireland during the recent lockdown; it speaks of the longing for the comfort of home as well as the metaphorical “call home” of death, which has been a tragic reality for so many during the COVID-19 crisis. Giddens’s lifelong mission is to lift up people whose contributions to American musical history have previously been erased, and to work toward a more accurate understanding of the country’s musical origins. Pitchfork has said of her work, “few artists are so fearless and so ravenous in their exploration,” and Smithsonian Magazine calls her “an electrifying artist who brings alive the memories of forgotten predecessors, white and black.” Among her many diverse career highlights, Giddens has performed for the Obamas at the White House, served as a Carnegie Hall Perspectives curator, and received an inaugural Legacy of Americana Award from Nashville’s National Museum of African American History in partnership with the Americana Music Association. Her critical acclaim includes in-depth profiles by CBS Sunday Morning, the New York Times, the New Yorker, and NPR’s Fresh Air, among many others.
    [Show full text]
  • The Legacy of Jazz Composer James Reese Europe, Rhiannon Giddens
    2020 JANUARY–FEBRUARY INSIDE The legacy of jazz composer ARTS PERFORMING James Reese Europe, Rhiannon Giddens on the roots of Americana MAGAZINE music, dance legend Yang Liping, and more 1 M2_StanfordLive_Magazine_Season8_Jan-Feb_Cover_121819-fixed.indd 1 12/18/19 2:11 PM CONTENTS Stanford Live Staff p—5 & Sponsors Welcome p—6 Upcoming Events p—8–14 Campus Partners p—15 Scene & Heard p—16–17 Behind the Scenes p—33 The Radical Inclusiveness of Membership p—34–35 Stanford Live & Bing p—36–37 Rhiannon Giddens Concert Hall Donors By Randy Lewis, Calendar p—38 Copyright 2019. Los Angeles Times. Used with Permission. Plan Your Visit p—39 Rhiannon Giddens and Francesco Turrisi change the conversation around the origins of folk and Americana. p —18 Featurette Infographic Featurette Get to Know Iconic Dancer and How Manual Cinema Creates At Stanford’s New Hospital, Art and Choreographer Yang Liping Live Shadow Puppet Shows Nature Aim to Benefit Healing Liping’s Rite of Spring will be A look behind the scenes of Stanford Health Care, Stanford Live’s presented at Stanford Live in February. Manual Cinema’s multimedia theater season sponsor, discusses the link performance No Blue Memories - between art and wellness. p—23 The Life of Gwendolyn Brooks. p—26 p—24 Infographic Featurette The History of Back to Back Theater The Legacy of James Reese Europe For the past 30 years, the innovative and the Harlem Hellfighters Australian theater company has An interview with Jason Moran on his continued to address politics and performance honoring the World War I disability in performance.
    [Show full text]
  • FSGW Concerts Rely on Volunteers: See the “Details” Page of a Concert on the Calendar at Fsgw.Org to Sign up to Volunteer at That Event
    Volume 54, Number 9 NEWSLETTERfsgw.org May 2018 East Rising Lion Dance Troupe FSGW’s Washington Folk Festival Glen Echo Park, MD Saturday, June 2 & Sunday, June 3 12–7 pm both days It’s nearly here! Returning for its 38th year, the festival brings a cornucopia of music, dancing, story- telling, artisans, and spontaneous jamming at the picnic tables. The free festival runs all weekend, rain or shine, at the historic and beautiful Glen Echo Park and hosts more than 100 performing groups on 7 stages, celebrating the diverse American and international music styles to be found throughout the Dawn Avery Washington area. New this year are Native American performers Dawn Avery, singing in her native Mohawk, and Uptown Boyz, an intertribal drum group; a workshop with Urban Artistry, dedicated to the performance and preservation of art forms inspired by the urban experience; bluegrass groups By & By, King Street Bluegrass, and Pictrola; Kino Musica, bringing music from Ethiopia and the pan-African diaspora; Trio Trela, exploring and expanding Mediterranean music; Ayreheart, offering Uptown Boyz ancient compositions; the swingy gypsy jazz of Djangolaya; and Kentucky Avenue, with Inside: 19th Street Band their contemporary and alt-country music. FSGW Board Members/Meetings, and Editorial Policy ................2 King Street Bluegrass Returning favorites include recent Charm Newsletter Submissions Policy ............................................2 Concerts: City Bluegrass competition winners 19th Sat., May 5: Tret Fure ...........................................................3
    [Show full text]
  • Chicagoland Music Festival but from a Black Perspec- Omnipresent Backdrop
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIV, Number 2 Spring 2015 Black and White, then “Red” All Over: Chicago’s American Negro Music Festival Mark Burford, Reed College The functions of public musical spectacle in 1940s Chicago were bound up with a polyphony of stark and sometimes contradic- tory changes. Chicago’s predominantly African American South Side had become more settled as participants in the first waves of the Great Migration established firm roots, even as the city’s “Black Belt” was newly transformed by fresh arrivals that bal- looned Chicago’s black population by 77% between 1940 and 1950. Meanwhile, over the course of the decade, African Ameri- cans remained attentive to a dramatic narrowing of the political spectrum, from accommodation of a populist, patriotic progres- sivism to one dominated by virulent Cold War anticommunism. Sponsored by the Chicago Defender, arguably the country’s flagship black newspaper, and for a brief time the premiere black-organized event in the country, the American Negro Music Festival (ANMF) was through its ten years of existence respon- sive to many of the communal, civic, and national developments during this transitional decade. In seeking to showcase both racial achievement and interracial harmony, festival organizers registered ambivalently embraced shifts in black cultural identity W.C. Handy at the during and in the years following World War II, as well as the American Negro Music Festival Courtesy of St. Louis Post-Dispatch possibilities and limits of coalition politics.
    [Show full text]
  • American Epic Sessions Song List
    Press Contacts: Brian Moriarty, DKC Communications, 212-981-5252; [email protected] Aliza Rabinoff, DKC Communications, 212-981-5157; [email protected] Natasha Padilla, WNET, 212-560-8824; [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://americanepic.com , http://pbs.org/americanepic , http://facebook.com/americanepic , @AmericanEpic , http://instagram.com/americanepic/ , http://google.com/+americanepic , http://youtube.com/americanepic , #AmericanEpic The American Epic Sessions Premieres Tuesday, June 6 at 8 p.m. on PBS (check local listings) Song List Performances “Matrimonial Intentions” Traditional Performed by Jack White Arranged by Jack White Jack White: Vocals and Guitar Dominic Davis: Upright Bass Fats Kaplin: Mandolin Lillie Mae Rische: Vocals and Fiddle Carla Azar: Percussion Produced by Jack White and T Bone Burnett Courtesy of Columbia Records, a Division of Sony Music Entertainment “If The River Was Whiskey” Composed by Charlie Poole and Norman Woodlieff Performed by Frank Fairfield Frank Fairfield: Vocals and Slide Guitar Zac Sokolow: Banjo Produced by T Bone Burnett Published by Charlie Poole Publishing, Inc. and Original Rambler Music Inc., admin. by Bluewater Music Services Corp. Courtesy of Columbia Records, a Division of Sony Music Entertainment “On The Road Again” Composed by J.B. Jones and Will Shade Performed by Nas Nas: Vocals Dominic Davis: Upright bass Jake Faulkner: Jug Fats Kaplin: Banjo Alfredo Ortiz: Drums Lillie Mae Rische: Fiddle
    [Show full text]