A poem from the Fall 2018 issue. It is such a tragedy, all this Working. The vacation I need is on your mark, Get set, go. It’s been years Since I’ve seen the light by Alex Lemon | Oct, 2018

A poem from the Fall 2018 issue. The girl born at the edge                   of a copper-colored river returns, prefers her wrists                          … by Sandy Longhorn | Sep, 2018

Notes on the songs from our 20th Southern Music Issue Sampler featuring North Carolina. The profiles, eulogies, and essays herein boast of remarkable achievements of North Carolina’s musicians across eras and genres: from unassailable legends (High Point’s John Coltrane, Tryon’s… by Oxford American | Nov, 2018

Sarah Winchester and the legacy of living with guns  It’s difficult to understate how the repeating rifle revolutionized killing, of both animals and man, as it brought the world from the single-shot muzzle-loaded rifle to a gun that could hold multiple… by Sara A. Lewis | Sep, 2018

A feature essay from the Fall 2018 issue. One morning in the summer of 1996, Damian Hart was standing naked on a pier in the Aegean Sea. The sun was bearing down on Mount Athos, one of several craggy peninsulas… by Nick Tabor | Sep, 2018

A poem from the Fall 2018 issue. None of this surprises you now, does it? I’m not sure I can know that, I responded to myself. Or I think I did. I should have.  A friend told me to embrace my disorientation here, to attend to… by Curtis Bauer | Sep, 2018

A Points South essay from the Fall 2018 issue. The dock at Mountain Lake is everything a dock should be—whitewashed clapboard, punctuated by an airy pavilion with a red roof—but if you jumped off it, all you’d hit is earth.… by Nell Boeschenstein | Sep, 2018

A Points South story from the Fall 2018 issue  In the evenings, after the day’s rain, my grandfather drove through Starke counting cars in the lots of other motels, doing the math and feeling like a winner. For guests visiting… by Scott Korb | Sep, 2018

A feature essay from the Fall 2018 issue. Prine radiates a sense of well-being, along with a sort of amused nonchalance toward potential disaster. This is a good thing, because the Coupe, as it turns out, has no passenger-side safety… by Tom Piazza | Oct, 2018

January 05, 2016

Twelve years ago, the historical reissue label Dust-to-Digital released a six-disc masterpiece of early spiritual recordings called Goodbye, Babylon. Lance Ledbetter, who runs the Atlanta record company with his wife, April, is working on another project that will match Goodbye, Babylon in size and scope. That is, if they can finish it.

December 18, 2015

A heartbreaking deep soul classic by Atlanta’s Lee Moses almost became the third ’60s-era song called “Bad Girl” to grace an OA music issue CD.

December 17, 2015

At the age when most rappers have effectively retired, burned out, or become irrelevant altogether, Killer Mike is releasing some of the best music of his career to the widest audience he’s ever reached.

December 15, 2015

Jazz owes its origins to the bump and grind of turn-of-the-century brothels and the colored waif orphanages of the South’s great cities, but where is the wellspring of swing? Swing, children, begins with Fletcher Henderson, one of the great big band leaders for the ages.

December 22, 2015

While urban hip-hop ushered in an era of “bling” and hyper-materialism, the Albany-based duo Field Mob trademarked their country-ness.

 

December 24, 2015

I’ve often said that Vic Chesnutt was the best songwriter of my generation; someday there will be classes at fine colleges devoted to the study of his songs.

December 29, 2015

At forty-three, Rico Wade’s still got something to prove. Most people with music industry aspirations find a way to build a business. Rico built a family instead. Then he discovered why family and business rarely mix. But when your past is OutKast and your present is a rapper named Future, it ain’t over till the last ATLien sings.

January 14, 2016

I don’t know if the term “Cosmic Southerner” is something I came up with or if I read it somewhere or heard someone say it, but it’s an idea I’ve carried with me for a long time. Pharoah Sanders, André 3000, and Benjamin from the band Smoke are true Cosmic Southerners. Atlanta’s Col. Bruce Hampton is another.

January 12, 2016

I had this idea that I could arrive in Macon, Georgia, via rental sedan, nose around for a day or two, and figure something out about the South, and rock music in the South, and men in the South, and men, and death, and guitars, and the Allman Brothers Band, who, in the late 1960s, engineered a new style of rock music that was deeply and earnestly influenced by rhythm & blues but also by something else—some wildness I couldn’t isolate or define or deny.

February 23, 2016

Last winter, the metal band Black Tusk went on a six-week tour of Europe, where they’ve established a strong following over the past decade. As most any band would today, they shared a candid visual diary on social media. But the trio’s followers on Facebook and Instagram (there are more than 54,000 of them) weren’t just seeing the expected performance photos, landscape shots, party pics, and show promos. Black Tusk had a mission abroad, which they christened #ripathon.

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