Notes on the songs from our 21st Southern Music Issue Sampler featuring South Carolina. It is fitting that this Southern Music Issue (the Oxford American’s twenty-first) devoted to South Carolina should come in 2019, as the nation moves to better… by Oxford American | Nov, 2019

A Points South essay from the South Carolina Music Issue. A problem solver, Jones would ultimately get his drums from his mother’s record collection, as her Charles Wright and Isaac Hayes albums began migrating into his room. “There wasn’t enough… by Dave Tompkins | Nov, 2019

A feature essay from the South Carolina Music Issue.  Outside of his studies, Ron joined, and eventually presided over, the A&T karate club, and still made time to stay sharp on his saxophone. “People talk about born geniuses, but I… by Jon Kirby | Nov, 2019

A liner note essay from our South Carolina Music Issue We all know that Southern music needs to be heard and celebrated. However, visibility (exposure) cannot be pitted against our chance at a healthy life. The Oxford American’s ask of… by Anjali of Diaspoura | Nov, 2019

A graphic story from the Fall 2019 issue.  Like many cities, Little Rock is a place of ghosts. The dead hover and haunt, though their stories often go untold. This story is a work of fiction inspired by some of… by Van Jensen & Nate Powell | Sep, 2019

A feature short story from the Fall 2019 issue. The godmother is like an ancestor who never really left. Someone who’s here even when they’re not. The godmother is what happens when somebody asks your name and you suddenly can’t… by Selena Anderson | Sep, 2019

A new episode of Points South is now playing!Subscribe today and never miss an episode. Episode Four features the OA editors discussing the upcoming South Carolina Music Issue and sharing their favorite stories and behind-the-scenes moments. Plus: A preview of the issue’s… by Sara A. Lewis | Nov, 2019

We would like to hear from you.  The magazine will begin publishing letters to the editor in the fall issue and going forward. If you would like to respond to a story published in the magazine, we welcome your letter. by Oxford American | Jun, 2019

November 09, 2017

A Kentucky Music Issue web-exclusive liner note. 

Raised in Sandy Hook, Kentucky, Whitley grew up admiring country greats Lefty Frizzell and George Jones, whose vocal styles he imitated as a young musician. Whitley’s uncanny talent for mimicry is something of a legend around Nashville—he could, upon request, conjure with eerie precision the voices of Lester Flatt, Carter Stanley, and numerous others. He was, apparently, a man inhabited by an indwelling of spirits.

November 15, 2017

A Kentucky Music Issue web-exclusive liner note. 

Jim Ford’s lone album is a twenty-eight minute, mystical celebration of the kid that got away—a hazy, bourbon-and-cocaine-fueled-funk-&-soul-honky-tonk cousin to Bruce Springsteen’s Born to Run.

December 27, 2013

Country music in the 1970s of my adolescence was music for the hopelessly uncool. It was Saturday afternoon television with Porter Wagoner and Dolly Parton, outlandish in their rhinestones, extolling the virtues of their sponsor, Breeze detergent. It was “Okie from Muskogee,” Merle Haggard’s 1969 hit denouncing drugs, war protesters, and long hair. Country was Hee Haw, and what the football coach who taught Driver’s Ed—he of the short haircut, white polyester shirts, and fierce Texas twang—made us listen to when we drove with him, because it soothed his nerves. 

The Nitty Gritty Dirt Band, on the other hand, was a country-rock group from Southern California, “a bunch of long-haired West Coast boys,” as country patriarch Roy Acuff called them. But in August 1971 they made their way to Nashville, a little tentatively, to record the album Will the Circle Be Unbroken, a collaboration with an unlikely gathering of old-time country stars that instantly achieved classic status and has never gone out of print.

December 06, 2013
The Outlaws were evidence that the counterculture had finally breached the South and had begun influencing even its most native forms, a rare period of overlap, it seemed, between popular and redneck tastes (between the rest of the country and “country”).
March 30, 2016

That would be Connie Smith, who has what sounds like a classically trained voice with uncanny properties of projection, clarity, and harmonic precision. 

March 09, 2017

We should probably start with the Cowboy. He’s the one you should have met. We all called him a genius. He neither confirmed nor denied. “I ain’t saying I’m a genius,” he’d parry. “But you’ve got to be pretty smart to get all them people saying that on cue.”

November 12, 2018

An essay supplement to our North Carolina Music Issue.

It’s easy to become bored with common things—a four-lane highway, or a daily schedule at the nursing home, or a type of bird or music. But maybe these days we make too much of what awes us or infuriates us, and too little of the regular life in the middle. What’s common only became common, after all, because it adapted and learned to fit in. A cliché was once original. Country music was once meaningful. Walking was once easy. A common robin once saved Jesus.