Playlists curated by your favorite musicians and writers. by Brittany Howard, Kiese Laymon, Rosanne Cash, Kelsey Waldon, & others | Nov, 2020

An introduction to the Music Issue’s Icons Section Beyond my eye, beyond the death and decay of matters left behind and unsettled, the music ringing up above my head told a thousand stories of bounty and belonging, and it glimmered… by Danielle A. Jackson | Nov, 2020

An essay from the Greatest Hits Music Issue She traveled the world and left it scorched with her fearlessness and musical originality, inspired fierce devotion from an audience who thrilled to her enormous gifts and her personal excesses, and shook… by Rosanne Cash | Nov, 2020

Originally published in our 2001 Music Issue  “One night we were at the house getting ready to go to a concert later that evening, and it was just pouring down with rain, and thunder was cracking,” Peebles told the Memphis… by Andria Lisle | Nov, 2020

An essay from the Greatest Hits Music Issue Great Black music is that which isn’t trying to impress or entreat or even necessarily communicate with a white audience—or any audience. Instead, great Black music works to retrieve what Rahsaan Roland… by Harmony Holiday | Nov, 2020

Poachers are among a small group that have actually seen the flytrap in the wild, and Officer Gorchess thinks they know what they’re talking about. “The guys who actually take them probably know more about flytraps than ninety-nine percent of… by Joe Purtell. Photographs by Nina Riggio | Nov, 2020

An essay from the Greatest Hits Music Issue There was a moment in 1958 when the future of jazz took an extraordinary turn that would be imperceptible to the world for another quarter century. That’s when Ellis Marsalis Jr., freshly… by Gwen Thompkins | Nov, 2020

An introduction to the Greatest Hits Music Issue How does the South inform my music? How do I describe the sound that your bare feet make when they pat the cool, packed red dust under them? How do I describe… by Brittany Howard | Oct, 2020

John O'Connor

John O'Connor is from Kalamazoo, Michigan, the original home of Gibson guitars. His writing has appeared in Open City, Post Road, Quarterly West, the New York Times, GQ, Saveur, Men’s Journal, and the Financial Times. For two years he was a foreign correspondent for Japan’s largest daily newspaper, the Yomiuri Shimbun. He teaches journalism at Boston College.
November 20, 2018

A feature story from the North Carolina Music Issue. 

The Wrays had an old-world, Keatsian melancholy. It bloomed in the kitchen of their 6th Street home in Portsmouth, Virginia, where, from about 1951 to ’55, they recorded songs on a one-track, mostly originals written by Vernon. This was back when the music was fun, before it became a business. It’s the sort of thing that’s dashed off and then mislaid and vanishes somewhere. Sherry found the masters in a box of her dad’s stuff that, horrifyingly, was bound for the dump. She rescued them, and named the disc 6th Street Kitchen. The vibe is Elvis doing Dylan’s Great White Wonder: gushy, drunken ballads, some barely a minute long, and rapturous in the way that the smallest beginnings can express enormous feeling.