A Southern Journey from the Summer 2019 issue. In the Tampa exurbs, splashed across the side of a half-occupied strip mall, is a vast mural depicting the Victorian art critic-cum-philosopher-cum-political economist-cum-painter-cum-social reformer John Ruskin. He gazes out at an expanse of… | Jun, 2019
Augusta, I discovered, has shades of what cultural critic Greil Marcus calls the Old, Weird America. Sure, the city is ringed with mansions and country-club culture, but when you’re downtown, you can’t go a block without running into a character who looks as though he might be a hustler, a folk artist, a street preacher, or all three.
Beverly “Guitar” Watkins is seventy-six years old. She is wearing house slippers, a hair net, and an Atlanta Hawks t-shirt on backwards. She is probably the greatest living blues guitarist that no one has ever heard of.
Even as we approach deadline for our Spring 2016 issue, we feel we still have one foot back in Georgia, where we spent so much time and energy producing our music issue last year.
Dave Prater played a quietly essential role in Sam & Dave, and it takes only a slightly closer listen to their discography to hear the vital contributions of the duo’s soft-spoken half.
A conversation with Cynthia Shearer. I got trained as a fiction writer to shamble in like Moms Mabley asking that the house lights be turned back on because we are not done talking about this or that particular thing. In Fletcher Henderson’s case, we need to pull the camera back a little on that stock scene of the little boy locked in with the piano and get more in the frame.
MC Shy D brought hip-hop to Atlanta. Or anyway, he brought Atlanta to hip-hop—in the mid-eighties, he was the first rapper from the city to break out of it, to tour the country and make a name for himself. He became an object of adulation to the whole region.
The Rock*A*Teens came along in the early nineties, after a string of tragedies rocked the Cabbagetown community. As Atlanta-based journalist Doug Deloach told me: “To tell the story of the Rock*A*Teens is to also tell the story of Cabbagetown and all the bands that came before them.”
Johnny Mercer drew from the same black musical traditions as Elvis would a generation later and made, if not quite a billion dollars, certainly an inexhaustible fortune, and left behind a half-dozen of America’s most indelible melodies besides.
Johnathon Kelso’s series I Want to Die A-Shouting documents the shape-note singing tradition throughout the South. Work from this series was featured in our Georgia Music issue.
The 1960s were coming to a close when rising country rock musician Gram Parsons posed next to Nudie Cohn, the celebrated Western-wear designer more than three times his senior, for a photoshoot. Neither of them would have predicted that Parsons’s “Nudie suit”—embroidered with rhinestone-studded marijuana leaves, sequin-dotted poppies, and sugar cubes laced with LSD—also foretold of his death.
