There are no great books about the Everly Brothers. No classic documentary films. Despite their influence on American pop music, which would be difficult to overstate, or the great, gaping beauty and sadness of their music, we are left with… by Will Stephenson | Nov, 2017

A Points South essay from the Kentucky Music Issue.  The last time I heard Jimmy Raney play was at Bellarmine College in Louisville. To know that a master like Raney had gone deaf was to know that a Rembrandt was… by J.D. Daniels | Nov, 2017

I used to imagine the Holy Ghost as a fog that slept in the rafters of our church. I thought our music, singing, and shouting woke the Spirit. When It looked down and saw us, It was reminded of how lonely… by Ashley Blooms | Nov, 2017

Track 5 – “Rainbows” by James Lindsey FEAT. Cicily Bullard When Lindsey raps “I’m talking rainbows,” I think he must be talking black joy. I think he must be talking the kind of rainbow you see in the shimmer-swirl of… by Minda Honey | Nov, 2017

Track 11 – “I’m Going to Organize, Baby Mine” by Sarah Ogan Gunning In the Eastern Kentucky coalfields, unionism—or its lack—was a creed people held and defended as fiercely as those of the region’s charismatic religions. And the music Sarah… by Elyssa East | Nov, 2017

A Freakwater song works something like this. Irwin starts singing over a bass and guitar. Bean comes in after a few bars, accompanied by violin or pedal steel. They trade lines back and forth, then converge into stacked harmonies in… by Erik Reece | Nov, 2017

Track 10 – “Camp Nelson Blues” by Booker Orchestra The music made by the Booker Orchestra of Camp Nelson, Kentucky, has been almost completely obscured by time. In that distinction, it’s representative of many of the contributions made, to the… by Nathan Salsburg | Nov, 2017

Everybody wants to be Southern but don’t nobody want to be Southern, too. To enjoy the culture, to have gentrified ham hocks, but not to deal with ham hocks’ relationship to slavery or slavery’s relationship to the present and future.… by Zandria F. Robinson | 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

June 28, 2017

A new song and a short essay by Nashville guitarist William Tyler. 

Confronted with the hideous, we must commit to rebuilding, resetting, listening, doing good, fighting injustice, and trying to keep an eye on maintaining beauty. It’s on all of us. My music is instrumental but it’s political. It’s protest music in its own way.

December 09, 2016

The exhibition is a sort of Faulknerian stream-of-consciousness narrative, moving seamlessly from subject to subject. Tattered orange and red dishtowels on a clothesline, each piece of cloth shot through with holes; a line of railway freight cars shrouded in the evening light of the Mississippi Delta; thin shadows cast on brown cinderblocks below a periwinkle-blue sky. The bohemian and gothic Souths collide in Eggleston’s photographs—his bright colors and distinct perspectives imbue rusting signs and aging buildings with a spiritual, emotional darkness that speaks to a decaying world of an older South fading into suburbia and industrial development.

September 16, 2013

Kevin Curtis lowers his sunglasses and scans the crowd. He’s just finished performing “Folsom Prison Blues” at the Lamar Lounge in Oxford, Mississippi. The audience applauds, but the mood is strange—genuine enthusiasm, curiosity, an undercurrent of discomfort. During one of the choruses, he swayed with a very supportive, very drunk woman from the front row. For the solo, he strummed a tiny guitar pin stuck on his dress coat lapel. I lift my beer toward him from the second row. He notices, raises an eyebrow, nods. “This is the first show since my”—he pauses, presses the sunglasses back up to his eyes—“incarceration.”

May 19, 2016

Cooking with Chris.

Though not inclined to the supernatural, I am willing to recognize the effects of luck on my life, both good and bad. As a result I have many talismans of good fortune: a rabbit’s foot, a horseshoe, an oak leaf from a 150-year-old tree, and hundreds of lucky rocks. I don’t know if they work, and I don’t really care.

January 13, 2016

Cooking with Chris. Before we begin preparing the possum for baking, I’d like to relate two highly personal stories about possums. One is quite sentimental and the second has a squeamish element, so I will lead with the sweet and kind.

April 02, 2015

A recording of a 1989 Barry Hannah lecture belongs among the most revealing documents we have about the author. “Listening to the record is like being in a room with Barry Hannah,” David Swider said. “I think people will be blown away when they hear Barry’s voice. It’s unlike any other.”

November 12, 2014

Cooking with Chris. The author lays out his imaginary career as a spy in another hilarious essay, comparing the "Stories and Recipes From CIA Families All Over the World" and the "Cherokee Club Cookbook." As he says, these texts were literally meant for him to find.

November 21, 2011

Paying the Rent, One Guitar at a Time.

June 16, 2013

Cooking with Chris. My approach to cooking is one of passionate intensity that traditionally involves a great deal of what used to be called “blue” language, or plain old-fashioned cussing. My current kitchen project will be a trial, since I intend to follow a recipe for “Bible Cake.”

 

 

June 16, 2014
Instead of putting herself in a pill coma as she usually would have, she’d stayed awake and used her captivity in the hurtling Delta tin can constructively. On her barf bag she’d jotted down a short will, which gave her a sense of control, though of course if she went down the will would go with her.
Page 1 of 2