Daddy’s truck was one of those places—like a grandmother’s house, a real and actual soul food restaurant, or a barbershop owned by an older black man who guards the radio by silent threat of the revolver in his drawer next… by Zandria F. Robinson | Dec, 2016

I’ve spent a lot of time recently listening to Bob Dylan’s second album. Not Freewheelin’, the LP with him and Suze Rotolo on the cover and “Blowin’ in the Wind” in the grooves. That’s the one we know, because a… by Elijah Wald | Dec, 2016

A short story from the 2016 Southern Music Issue. Tonight, my cousin Looney celebrated his twenty-first birthday and invited everybody he knew via mass text to come celebrate with him. “Kick it wit ya boy,” the text read. by Regina N. Bradley | Jan, 2017

Atget, Modotti, Weston, Stieglitz, Avedon, Karsh, Brassaï, Bresson, Ulmann. Jim would hand the books to me with no explanation, no bias of who was who and why and what the world already thought of the work. He told me only… by Rebecca Gayle Howell | Jan, 2017

One of my tasks as curator of the Alan Lomax Archive is to manage its YouTube channel. Several years ago, I noticed a particular strain of commentary recurring on the five clips that compose the recorded output of an utterly… by Nathan Salsburg | Jan, 2017

Black Keys frontman Dan Auerbach on Junior Kimbrough’s influence. “It’s proven most of the time to be true: some of the music that I love the most, that I want to live with forever, are records I didn’t quite get… by Benjamin Hedin | Jan, 2017

I couldn’t quite figure out why Japanese listeners had come to appreciate and savor the blues in the way that they seemed to—lavishly, devotedly. Blues is still an outlier genre in Japan, but it’s revered, topical, present. by Amanda Petrusich | Jan, 2017

New Orleans Second Lines Culture presents traditions of New Orleans’s African American community seen in second line parades organized by social aid and pleasure clubs. by Charles Muir Lovell | Jan, 2017

January 23, 2017

For Zachary McCauley, making a home in the South is a matter of welcoming the often overlooked, banal moments of the land and people.

January 17, 2017

The 2016 news cycle published many articles and images of Eastern Kentucky as both white and poor. However, the town of Lynch, an historically African American community in Harlan County that was established in 1917 by the U.S. Coal and Coke Company, stands strong.

January 11, 2017

Atget, Modotti, Weston, Stieglitz, Avedon, Karsh, Brassaï, Bresson, Ulmann. Jim would hand the books to me with no explanation, no bias of who was who and why and what the world already thought of the work. He told me only to put paper clips on the pages holding photographs that “found something in me.”

January 09, 2017

New Orleans Second Lines Culture presents traditions of New Orleans’s African American community seen in second line parades organized by social aid and pleasure clubs.

December 19, 2016

Known as the most haunted city on the east coast, Savannah, Georgia, is a place where people come and go, where, for many, it is easier to leave and forget than it is to stay and thrive. Carson Sanders moved to the Ghost Coast in the fall of 2009 and began to photograph those who make their home here.

December 12, 2016

Davie exploits Melanie Metz’s relationship with her hometown, Davie, Florida. By studying the unmediated movements of her childhood neighbors, Metz considers the impulse people share to join and build community.

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.

December 15, 2016

5 A.M. I wake up at home in Hampshire County and start driving in the still, quiet morning. I’m heading toward Fayette County in my faded red pickup with a loud, broken exhaust pipe. To the Hawk’s Nest Tunnel, it’s a four-hour drive, a pile of cassette tapes in my passenger seat, and a lot of coffee and cigarettes. My first day is scouting, finding the points on the map, seeking out the light.

January 11, 2017

A profile from the Oxford American’s 25th issue, 1999.

Christenberry is not simply a visual artist who reveres writers, especially Southern ones, his artistic vocabulary is directly shaped by them. His largest theme, like that of many novelists, is time, and he has a poet’s sureness of imagery and tone. He is perhaps the South’s most literary artist.

December 06, 2016

I live five miles from where the Hawk’s Nest Tunnel tragedy unfolded, along the New River Gorge in Fayette County. Hawk’s Nest is an extreme in a class of extremes—the disaster where truly nothing seemed to survive, even in memory—and I have made a home in its catacombs. The historical record is disgracefully neglectful of the event, and only a handful of the workers’ names were ever made known. What’s more, any understanding of Hawk’s Nest involves the discomfort of the acute race divide in West Virginia, seldom acknowledged or discussed. Indeed, race is still downplayed in official accounts. Disaster binds our people, maybe. But what if you’re one of those deemed unworthy of memory?

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