Take Sturgill Simpson. Sturgill (can I call you Sturgill?) is a Kentucky rascal, born in the heart of the Appalachian mountains. Jackson—population around twenty-one hundred. He comes from a family of coal miners. He was in the Navy. He worked… by Leesa Cross-Smith | Nov, 2017

An interview with Les McCann from the Kentucky Music Issue.  All through high school the band teacher and I were very good friends. He received tickets to all the bands and brought me to concerts. I was in perfect heaven. I never… by Harmony Holiday | Nov, 2017

In 1966, Loretta Lynn was anything but little. She had already released eight solo studio albums. Just one year later she would be the first woman in country music to achieve a certified gold album for Don’t Come Home a Drinkin’… by Marianne Worthington | Nov, 2017

Bounding from one circle of attendees to another, dispensing heartfelt hugs and introducing himself and his Danish boyfriend to newcomers with the comportment of a Southern gentleman, was my friend Brandon Godman, a bearded, bearish hipster type whose jolly, grandfatherly… by Jewly Hight | Nov, 2017

Three poems from our Kentucky Music Issue.  Until the nameless traveler learns in terror His lidless eyes are open targets— Where sudden night flings in her quiet spear.    by Thomas Merton | Nov, 2017

A few seconds in, there came this sound. It filled the song and then it filled the room I was listening in. What was that? Like a fiercely shaken box of tacks. Like wind rattling dry leaves on a tree.… by John Jeremiah Sullivan | Nov, 2017

We celebrated our twenty-fifth anniversary year by doing what we’ve always done: publish the groundbreaking fiction—three excerpts from Jesmyn Ward’s National Book Award–winning novel, Sing, Unburied, Sing—essays, nonfiction, and poetry our readers have come to expect. Revisit or catch up on… by Oxford American | Dec, 2017

It was 1995, the year Joan Osborne’s “One of Us” was released, the end of my eighth-grade year, in rural Kentucky where homophobia was—and continues to be—rampant. My secret boyfriend and I—the one I had kissed in darkened classrooms after… by Jason Howard | Nov, 2017

The Old Regular Baptists and the joyful sound. The Old Regulars sing loud. “You can’t whisper it, it needs to have zip,” one told me. Another: “If you can’t shout down here, what are you gonna do when you get to… by David Ramsey | Nov, 2017

Notes on the songs from our 19th Southern Music Issue CD featuring Kentucky. This faculty, to be attuned to one’s surroundings and the ways in which they’re unique, to be rooted in the local, to be of a certain place—no matter if… by Oxford American | Nov, 2017

The films and young filmmakers of the Summer Documentary Institute at Appalshop’s Appalachian Media Institute.

Introducing the film “Justice for All” and its creators, Oliver Baker and Aaron Combs.

The films and young filmmakers of the Summer Documentary Institute at Appalshop’s Appalachian Media Institute.

Introducing the film “Go Your Own Way” and its creators, Jaydon Tolliver, Elyssia Lowe, and Joshua Collier.

The films and young filmmakers of the Summer Documentary Institute at Appalshop’s Appalachian Media Institute.

Generations of eastern Kentucky youth have had to contend with the question of whether to leave, alongside the demeaning narrative of the rural “brain drain.” This reductive theory posits that the best and brightest minds leave rural communities for urban communities. This simplification of data ignores the stories of those who choose to stay or are not able to leave. For many young people here, it is an act of resistance to stay in the community they love.

’Til the Day I Die is a visual exploration of gospel and blues, shot on Super 8mm film.

A video supplement to “The Harris Hegemony” by John T. Edge, published in the Fall 2016 issue.

“I wish I could tell you that I saw a burning bush or God spoke to me. But the truth is I became increasingly aware of the negative unintended consequences that came from the industrialization, commoditization, and centralization of agriculture.”

"Some country songs sound like they have simply always existed," Rick Clark wrote of Hayes Carll's "Chances Are" in the liner notes of our Texas Music Issue CD. Lee Ann Womack's version of the song, from last year's The Way I'm Livin' (her first release in six years), is track 18 on the disc. Today we are happy to premiere the video of the in-studio live recording, courtesy of our friends at Sugar Hill Records.

Christopher King has been digging through old barns and cellars looking for 78-rpm records for his entire adult life. An obsessives' obsessive, he has accumulated one of the most fascinating collections of once-overlooked music anywhere. Join us on a visit to his home studio in rural Virginia.

Texas inmate Michael Lee Ford's spectacular and heartbreaking autobiographical drawing, "Ten Minutes of Stupidity," tells the story of a haunted puppy, a dead chicken, and the painful repercussions of a single choice.

The crumbling Centennial Baptist Church in Helena, Arkansas, has deep roots in the African-American community. But poverty and other concerns in this Delta town have made raising restoration funds difficult—and the effort to keep the church in black hands has sparked tensions with local preservationists.

Dom Flemons performing "Can You Blame the Colored Man" by Memphis string band leader Gus Cannon.