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

Sam Stephenson

Sam Stephenson is a writer and documentarian who grew up in Washington, North Carolina. In addition to his books, Sam has written for the New York Times, the Paris Review, Tin House, among others, and is the founder of Rock Fish Stew. He was 2010 and 2015 ASCAP Deems Taylor / Virgil Thomson Prize winner.

November 10, 2007

Celebrating the idiosyncratic genius of Thelonious Monk, born in Rocky Mount, North Carolina, on October 10, 1917.

In a remarkable 1963 appearance with Juilliard professor and friend, Hall Overton, at the New School in New York, Monk demonstrated his technique of “bending” or “curving” notes on the piano, the most rigidly tempered of instruments. He drawled notes like a human voice and blended them (playing notes C and C-sharp at the same time, for example) to create his own dialect. Overton told the audience, “That can’t be done on piano, but you just heard it.” He then explained that Monk achieved it by adjusting his finger pressure on the keys, the way baseball pitchers do to make a ball’s path bend, curve, or dip in flight.