A Points South essay from the South Carolina Music Issue. Myrtle Beach has always capitalized on tourists’ desire to put a soundtrack to their vacations. Long before the days of the megachurch-style country music theaters, like the Carolina Opry and… by Sarah Bryan | Nov, 2019

A Points South essay from the South Carolina Music Issue. All of Bill’s anecdotes about Diz played to this theme: here was a man, a titan of American music, whose genius helped revolutionize jazz in the forties, opening the door… by Maxwell George | Nov, 2019

A feature essay from the South Carolina Music Issue.  The thing that they do, I hesitate to say that you have to be there, but—there is an intimacy and devilment to their live performance, a lift and crash, that has… by David Ramsey | Nov, 2019

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 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

Track 23 – “Resurrection” (Live) by Benny Starr feat. the FOUR20s   “Resurrection,” the first song on A Water Album, facilitates a kind of reconciliation between the Fitzgerald Wiggins of my youth and the man I aim to be. Seeing others… by Benny Starr | Nov, 2019

Track 5 – “Bad Case of the Blues” by Linda Martell  “Bad Case of the Blues” shouldn’t be compelling, but it is—because of Martell, the way she guides, colors, and shades the song. She infuses it with the dissonance of… by Katie Moulton | 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

February 22, 2018

An installment in our weekly series, The By and By. 

Songs: Ohia is the name under which musician Jason Molina—Ohio-born and bred, with deep West Virginia roots—performed and released his first records. Didn’t It Rain was his sixth studio album but my first exposure to him. It’s an album that I folded into immediately, that buckled my blood. I’d never heard something that sounded exactly like how I felt.

May 31, 2018

An installment in our weekly series, The By and By. 

For me, toothpicks—like Zippo lighters and typewriters and vinyl records—have always signified classic coolness. My grandfather, a Brooklyn car mechanic and TV fix-it guy, chewed them compulsively and I fell in love with toothpicks because of him.

July 19, 2018

An installment in our weekly series, The By and By. 

Even when Ridley pans a movie, he does it with heart. His takedown of Luc Besson’s The Messenger is written as “a short story that imagines a film executive in purgatory summoning Carl Theodore Dreyer [director of the ethereal and perfect The Passion of Joan of Arc] to his office.” Haruch says this is “a doff of the cap, of sorts, to Godard’s notion that one should make a movie to criticize a movie.”

April 12, 2018

An installment in our weekly series, The By and By. 

For me, obsession with art is also about survival. I’m after the next thing, the next moment that will give shape or purpose to existence. It’s always been important for me to fill my days like this, to give definition to who I am and who I will be by engulfing myself in what I’m watching and listening to and reading. Getting lost in art that moves me just makes things make sense.

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.