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

October 30, 2017

In Nausea, Ron Jude uses banal scenes of public schools to raise larger questions about the medium of narrative photography. The effect is “a world both familiar and uncanny, and imbued with a pervasive sense of unease.”

July 27, 2017

An installment in our weekly series, The By and By. 

I am lying in bed on the Fourth of July. The apartment is empty. A box fan is propped on the dresser, blowing cool air, though I can’t hear it. I’m wearing headphones and listening to Bohannon: Speaks from the Beginning. This is the audiobook memoir of Hamilton Bohannon. Not the audiobook of the memoir, in other words, but the audiobook memoir—it only exists in an audio format. He didn’t find it necessary to write down the details of his life. Sound is his medium, always was. So he speaks.

April 20, 2017

An installment in our weekly series, The By and By. 

One of the paradoxes of George Ellis’s career, in hindsight, is that alongside his run of cheap exploitation films, he maintained a parallel career as Atlanta’s first great arthouse film exhibitor. It adds a layer of complexity to his work, to know that his own taste was impeccable—he understood the full range of cinematic possibilities and would have seen exactly where his films fit into that spectrum. Around the time Demented Death Farm Massacre was hitting theaters, Ellis was introducing Atlanta to the French New Wave and the New German Cinema, hosting retrospectives of Chaplin and Bergman.

March 28, 2017

I’ve glimpsed an urban gardening initiative that makes good on its promise of connecting real people with real food.

October 05, 2016

I kept returning to the subject of the Nuwaubians, unable to let it go. Even a cursory amount of research showed that the group was a strange phenomenon of the modern age—a true American religion, sworn to a proto-hip-hop preacher sworn to nonsense, that attempted a takeover of a small Georgia town in the late 1990s before a joint federal-local raid brought down its leader. Beneath that historical account was a tangle of details bizarre and bottomless.

August 25, 2016

From the liner notes to Light in the Attic’s reissue of the 1971 deep soul classic Time and Place.

Lee Moses possessed all the ingredients for a successful career, but after releasing just one album, Moses would vanish into obscurity in his hometown of Atlanta, where he died in 1997, remaining one of the most underrated but enigmatic figures of rhythm and blues.

July 05, 2016

Atlanta, a city that destroys to build anew, forces a continually reconsidered identity.

March 11, 2016

One evening in Nashville, a man walks down the railroad tracks, singing, and his voice rolls through the heavy air. In Meridian, Mississippi, a child runs barefoot in dry grass, chasing lightning bugs—yellow lights that disappear just as his hands reach toward them.

 

February 18, 2016

During Sweet Auburn’s heyday, a brotherhood of gifted guitar-playing soul singers, though largely unknown by a wide audience today, formed a loose collective. They wrote songs together, recorded them, encouraged one another, and competed fiercely, each believing in a coming personal glory that never came.

March 02, 2016

Deacon Lunchbox shared crass, nonsensical, and insightful truths, and believed artistic expression wasn’t just for the highbrow. He once told Creative Loafing that working-class Southern expression is unexpected: “I’ve lived in rural areas most of my life, and the idea that working-class people aren’t creative or imaginative is ridiculous.”

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