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Who printed it?
I had it printed through Ken at Continental Colorcraft in Monterey Park, CA but it ended up being outsourced to another print shop because they no longer had the HP Indigo printer I’ve grown to love when I have to do digital offset.
Who designed it?
Yours truly. In this case there really isn’t much designing going on but as they say, “no design is good design.”
Who edited the images?
All of the editing was done by myself although there really isn’t much going on aside from a color shift. I wanted to keep this project more abstract and simply in an effort to make a different statement than my usual “car ad work” does.
How many did you make?
I made 500 sets of 4 8×13″ cards.
How many times a year do you send out promos?
It depends on the year but at least 3-6 times a year. I think in the coming years I’m going to start making more of an effort to get more creative with promos.
How did this images series develop?
The photo series was kind of a mistake in general. I had planned to shoot my friend’s incredible Alfa at El Mirage dry lake bed but as soon I finished paying for a day pass I realized that the lake was actually closed to vehicles. After a two-and-a-half-hour drive from LA and a non-refundable $20 pass ,I figured there was no sense in going home. We decided to cruise around in the Joshua Trees for a while to find something inspiring. It was hot, irritating but I had some prisms, a beautiful car and an open dirt road; I just decided to do some experiments. I tried to capture the feeling of the desert in a story of a mirage which never quite clears and the moment of disillusionment never arrives. When I showed the images to my rep Paige at Fox Creative she was immediately on-board to do something special and targeted with the series. The result was the lowest count, highest resolution I’ve ever done on a promo. Hopefully the people that receive them will feel the same sort of nervous excitement I had when I made them.
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"Rhiannon has made a rare contribution to American music,” said Steve Martin. “She - along with the Carolina Chocolate Drops - has resurrected and revitalized an important part of banjo history."
Giddens began gaining recognition as a solo artist when she stole the show at the T Bone Burnett–produced Another Day, Another Time concert at New York City’s Town Hall in 2013. The elegant bearing, prodigious voice, and fierce spirit that brought the audience to its feet that night is also abundantly evident on Giddens’ critically acclaimed solo debut album, Tomorrow Is My Turn, which masterfully blends American musical genres like gospel, jazz, blues, and country, showcasing her extraordinary emotional range and dazzling vocal prowess. Giddens is currently working on her follow up album and will have a recurring role in the fifth season of the hit TV show Nashville.
The Steve Martin Prize for Excellence in Banjo and Bluegrass provides the winner with an unrestricted cash prize of fifty-thousand dollars, as well as a bronze sculpture created specifically for the prize by noted artist Eric Fischl. Created to bring recognition to an individual or group for outstanding accomplishment in the field of five-string banjo or bluegrass music, the prize highlights the extraordinary musicianship of these artists and bluegrass music worldwide. The winner is determined by a board consisting of J.D Crowe, Pete Wernick, Tony Trischka, Anne Stringfield, Alison Brown, Neil V. Rosenberg, Béla Fleck, and Steve Martin.
The award is given to a person or group who has given the board a fresh appreciation of this music, either through artistry, composition, innovation or preservation, and is deserving of a wider audience. Recipients must be a professional or semi-professional and should currently be active in their careers.
The award is funded personally by the Steve Martin Charitable Foundation. Its first winner was Giddens’ Nonesuch Records labelmate, Noam Pikelny of Punch Brothers.
Rhiannon Giddens occupies a unique position in the world of banjo music, bridging contemporary and traditional forms and the cultures of three continents. Few musicians have done more to revitalize old-time sounds in the last decade. Drawing from blues, jazz, folk, hip-hop, traditional African, Celtic, and jug band music, she has brought tremendous vitality and artistry to her live and recorded performances. Her work as a solo artist and with the Carolina Chocolate Drops has highlighted the banjo’s history as an African and an African-American instrument, and resurrected black string band music for a new generation.
Her musical career began with opera training at Oberlin College, then segued into Scottish and Celtic music, with a sideline in calling contra dances. In 2005, Giddens attended the Black Banjo Gathering at Appalachian State University in Boone, NC, a conference dedicated to exploring the roots of banjo music. There, she met Dom Flemons and Justin Robinson, with whom she founded the Carolina Chocolate Drops. The three started making weekly trips to play and study with veteran fiddler Joe Thompson. Albums, touring, and widespread acclaim ensued, including a Grammy for Best Traditional Folk Album for Genuine Negro Jig in 2011. In recent years, she’s branched out into solo recording projects, including Tomorrow is My Turn, which was nominated for a Grammy for Best Folk Album in 2016. In addition to the contemporary five-string banjo, she has performed on gourd banjo, nineteenth-century minstrel banjo, and the three-stringed African akonting. She has emerged as a multi-instrumentalist who is passionate about bringing the sound and feel of old-time black string bands into the twenty-first century. Along the way, she has become a historian as well as a musician.
In an interview in the February 2016 issue of Banjo Newsletter, Giddens said “I was attracted to the banjo before I knew the history of it. I just loved it. In the beginning I felt like I was kind of an interloper, and then I realized actually it’s everybody’s music. When you look at the history of it, it’s everybody’s music. It doesn’t belong to anybody. And then getting into the African roots of it I was just flabbergasted. . . . It’s a huge history that nobody talks about. And that really drew me.” Giddens’s work recognizes how big and versatile and multicultural the banjo can be, and how deep its roots go. Her electrifying performances have made the banjo exciting to new audiences, while simultaneously reaching back to the instrument’s earliest origins.