A Points South essay from the North Carolina Music Issue. Shortly after publishing the biography John Coltrane: His Life and Music, Lewis Porter received a letter from a man who identified himself as a Coltrane. Only not, presumably, one related… by Benjamin Hedin | Nov, 2018

A Points South essay from the North Carolina Music issue. My hometown is just over an hour from Myrtle Beach, and so it was not unusual for people to make the pilgrimage to the Pad or the Spanish Galleon or… by Jill McCorkle | Nov, 2018

A Points South essay from the North Carolina Music Issue.  Even with all the influences on his style and songs—Fred Miller, Blind Boy Fuller, Lightnin’ Hopkins, Blind Lemon Jefferson, Sonny Terry, and Brownie McGhee, to name some—Henry had a large… by Tom Rankin | Nov, 2018

A Points South essay from our North Carolina Music Issue.  After twenty-four years of educational experimentation and financial struggle, Black Mountain College closed in 1956. Today it is remembered primarily for its tremendous impact on the visual arts. Among the… by John Thomason | Nov, 2018

A feature essay from the North Carolina Music Issue.  I wanted to start with the wild weeds and the creaking wood on the front porch, walking up to Nina Simone’s childhood home in Tryon, North Carolina. I wanted to start… by Tiana Clark | Nov, 2018

A feature essay from the North Carolina Music Issue.  Rapsody now dons the mantle for a long tradition of black women, particularly those from the South, forcing Americans to look in the mirror of our professed ideals and to face… by L. Lamar Wilson | Nov, 2018

A poem from the North Carolina Music Issue. When it snows, the entire post shuts down like there is no war going on. Perhaps the higher-ups decide to let those left behind, for the moment, savor the chance to shape snowmen with their children or lie… by Zachary Lunn | Nov, 2018

Track 15 – “Holy Ghost, Unchain My Name” by Elizabeth Cotten Mentor to Alice Gerrard, beacon to all of us North Carolina folkie wannabes, revered by those of us with any musical knowledge, and—music’s highest compliment—sung by many of us who… by Tift Merritt | Nov, 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

February 02, 2017

When CeDell Davis was a boy, his mother told him he would go to hell if he kept on playing the guitar and messing around with the devil’s music. Davis was born in the Delta town of Helena in 1926, and there was no shortage of devilment. A bustling cotton port on the Arkansas side of the Mississippi River, Helena was like a Chicago or Memphis in miniature, home to scores of white saloons and black juke joints where bootleggers, gamblers, and hustlers gathered. It was violent and wild and music was everywhere, from the clubs downtown to the street corners by the docks. “Back then, Helena was wide open,” Davis told me. “If you had the money, you could get whatever you want.” 

January 30, 2017

We were in the garden of refugees, Eh Kaw explained: what was his, as well as Semoeneh’s, was also mine. Their Baptist faith compelled them to share whatever bounty God bestowed. Eh Kaw felt blessed that he and dozens of family members and countrymen were planting yards in rural Georgia. Nothing in his past had predicted such fortune.

January 25, 2017

Ethnomusicologists have continued to do necessary and significant research, both in the field and beyond, but it’s difficult to muster up a modern analogue for Lomax. No other single figure is as invested in the American musical canon, or as influential. In part that’s the result of a global shift towards self-mythologizing: we all maniacally catalogue and broadcast our lives now, ensuring our legacies to both transcendent and humiliating ends. Who needs Lomax when we have YouTube?

January 21, 2017

One of my tasks as curator of the Alan Lomax Archive is to manage its YouTube channel. Several years ago, I noticed a particular strain of commentary recurring on the five clips that compose the recorded output of an utterly obscure and equally affecting singer-guitarist named Belton Sutherland, whom Lomax met in rural Madison County, Mississippi, in 1978.

January 10, 2017

A short story from the 2016 Southern Music Issue.

Tonight, my cousin Looney celebrated his twenty-first birthday and invited everybody he knew via mass text to come celebrate with him.

“Kick it wit ya boy,” the text read.

December 02, 2016

Algia Mae Hinton, the great blues guitarist and banjo picker, lives in Johnston County, North Carolina. It’s a short drive from Raleigh and Durham but feels rather far from those cities, with their food trucks and breweries and warehouses refitted as condos—the latest iteration of the New South, one might say, except one finds the same pattern in Brooklyn or the Bay Area. In Johnston County you drift back to an earlier era.

November 30, 2016

A graphic essay from the Fall 2016 issue.

When European settlers bought Kentucky County, before Kentucky and Virginia split along the Appalachian mountain range, a Cherokee chief warned they were purchasing dark and bloody ground.

April 16, 2016

Thick with sludgy green water and mud, the pond was a rundown neighbor to the white bungalow next door. But Pastor Jerel Keene, whose Louisiana Church congregation uses the bungalow as an office, envisioned a mission for the land the pond occupied, so he hired someone to dump red clay into the water and waited four years for it to settle like cement. He planted grass to reclaim the earth it became.

March 16, 2017

A profile of Charlie Sexton, from the 2014 Texas Music Issue. 

The circus had left town. Rolling toward the end of the Seventies, all the high-dollar distressed denim, heavy turquoise bracelets, soft and scuffed Lucchese boots, and even the brain-blowing snow-white cocaine weren’t quite as ominous in Austin’s nightclubs. It was starting to feel a little more like home again, back before the so-called redneck rock invasion. When the cosmic cowboys first started raiding the city, hijacking all the musical attention in our little Austin oasis, it was the mid-Seventies and the Lone Star state was slightly sedate. But that’s how we liked it, actually, because it let the city’s hippies and beatniks create their own fantasies and live on inexpensive fumes. Before the onslaught, the dozen or so honkytonks and nightclubs took care of their own. There were no record business people to promise what rarely got delivered, and the long days and nights spread before central Texas like the promise of a pot hit and a hot kiss.

December 15, 2014
Joe Ely’s rowdy self-titled debut album from 1977 brought a rock & roll spirit to its mix of country, blues, and folk music. The record was largely ignored in America but found an audience overseas, and on one tour Ely struck up a relationship with the Clash and particularly Joe Strummer. A few months later, they were touring Texas together. “I don’t remember all the good nights,” Ely says, laughing, “but I remember the bad nights really well.”