2017 06 28 kentucy Lavalette
Photo by Shane Lavalette

19th Annual
Southern Music Issue & CD
featuring KENTUCKY

From 2009 until 2015, our music issue featured a different Southern state every year (raise your hand if you’ve got them all: Arkansas, Alabama, Mississippi, Louisiana, Tennessee, Texas, and Georgia).
Last year, we departed from the series to examine “Visions of the Blues.

In 2017, we are returning to the state series. And we are thrilled to announce that it’s your turn, Kentucky.

The Commonwealth gave us musicians like Loretta Lynn and Nappy Roots, Richard Hell and Bill Monroe—just to name a very few—and beloved writers like Crystal Wilkinson, Ronni Lundy, Silas House, and our own poetry editor, Rebecca Gayle Howell. This is just a taste of Kentucky and a taste of what’s to come.

We invite you to come back for more reading—and listening—in November.

In the meantime: What Kentucky song or story should we feature in the issue? Drop us a line with your ideas. 

As always, the issue will come packaged with a CD of songs, with liner notes in the magazine.

On newsstands November 21, 2017 — pre-order your copy here.

The issue will mail to subscribers on November 7, 2017 — subscribe today.

 

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.