There are no great books about the Everly Brothers. No classic documentary films. Despite their influence on American pop music, which would be difficult to overstate, or the great, gaping beauty and sadness of their music, we are left with… by Will Stephenson | Nov, 2017

In 1892, Mildred wrote an article titled “Negro Music” for Music, a Chicago journal. She used the pseudonym Johann Tonsor because she was worried that her ideas wouldn’t be taken seriously if readers knew she was a woman. Two decades before the… by Michael L. Jones | Nov, 2017

A Points South story from the 100th issue. In public, she wore head wraps so tight they gave her headaches. Nevertheless, at some point, the hissing caused people to stop what they were doing and squint all around, in search… by Tania James | Mar, 2018

A Points South essay from the 100th issue.  “For more than three decades this maddening story of Evers’s murder and the question of Beckwith’s guilt or innocence has been told again and again, in conflicting voices and varying contexts, with… by Alan Huffman | Mar, 2018

A feature essay from the 100th issue. From across the broad and whitecapped Indian River, the Kennedy Space Center looks like two tiny Lego sets in the distant vegetation. The palms here are windswept, the oaks are scrubby. Pelicans bob… by Lauren Groff | Mar, 2018

A Freakwater song works something like this. Irwin starts singing over a bass and guitar. Bean comes in after a few bars, accompanied by violin or pedal steel. They trade lines back and forth, then converge into stacked harmonies in… by Erik Reece | Nov, 2017

That Hell was born and raised not in some dark and edgy urban enclave but in the rolling hills of Lexington, Kentucky, can feel incongruous. It’s too soft, where he comes from—too genteel. Yet having emerged from a region Hell… by Amanda Petrusich | Nov, 2017

 A Letter from the Editor, Spring 2018. This issue is packed with other luminaries: Nikki Giovanni, Lolis Eric Elie, and Wendell Berry express the tenderness of our closest relationships. Randall Kenan and Thomas Pierce, contemporary masters of Southern fiction, offer… by Eliza Borné | Mar, 2018

Everybody wants to be Southern but don’t nobody want to be Southern, too. To enjoy the culture, to have gentrified ham hocks, but not to deal with ham hocks’ relationship to slavery or slavery’s relationship to the present and future.… by Zandria F. Robinson | Nov, 2017

Nathan Salsburg

Nathan Salsburg is a guitarist, a producer, and the curator of the Alan Lomax Archive.

November 21, 2017

Track 22 – “Wondrous Love” by Pine Mountain Girls’ Octet &

Track 23 – “Pretty Polly” by Locust Grove Octet

The Louisville trio Maiden Radio—Cheyenne Marie Mize, Julia Purcell, and Joan Shelley—took the reins on gathering a contemporary octet of Kentucky women, inviting Linda Jean Stokley and Montana Hobbs of the Local Honeys, Heather Summers and Anna Krippenstapel of the Other Years, and Sarah Wood to join them. They recorded their version at Louisville’s Locust Grove in August 2017. The text—past the first two verses—is a composite of their own. 

November 21, 2017

Track 10 – “Camp Nelson Blues” by Booker Orchestra

The music made by the Booker Orchestra of Camp Nelson, Kentucky, has been almost completely obscured by time. In that distinction, it’s representative of many of the contributions made, to the Commonwealth and to the country alike, by rural black Kentuckians. Jessamine County’s Camp Nelson was a major site for recruitment and training of African-American soldiers in the Civil War, and more than ten thousand United States Colored Troops and their families cycled through during and after the war.

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.

February 11, 2016

Bessie Jones nurtured a prodigious repertoire of songs—hundreds of them, for work, play, worship, instruction—as both a rite and as a vocation. Her vision was one of radical egalitarianism, inspired by the enduring collective, expressive folk traditions—occupational, recreational, spiritual—of the black rural South and her ardent faith in a kind of ecstatic liberation theology, which found activist application in the civil rights movement.

September 17, 2013
Cajun records of this vintage are among the rarest and most sought after among collectors. Let Me Play This For You: Rare Cajun Music, 1929–1930, assembled by Ron Brown and Christopher King (two of the world’s foremost collectors of Cajun 78s) for the Tompkins Square label, is essential for anyone who appreciates French-speaking Louisiana’s old-time songs and tunes.
May 21, 2014
Rise and Fall of Paramount Records, Volume One (1917–1927) is a collaboration between the Revenant label and Third Man Records, and has been released roughly 80 years after Paramount, for all intents and purposes, collapsed. It’s been looming near me for some months now, demanding much of my attention, and getting it, with its opulent enormity.
January 27, 2015

On April 28, Dust-to-Digital released No More Good Time In The World For Me, a two-CD set of Bruce Jackson’s recordings of J.B. Smith. Revisit producer Nathan Salsburg’s article about Smith and his work songs, from our Texas music issue.

June 20, 2013

An installment of "Against Authenticity," an OA symposium: Nathan Salsburg talks Alan Lomax, MTV, Jelly Roll Morton, and the whatever hold "purity" has at all in our conversations about culture.

April 27, 2014

Texas Island isn’t an island, nor is it in Texas. It’s a vague peninsula around which wraps Moon Lake, an oxbow formed by an abandoned meander of the Mississippi River, twenty miles north of Clarksdale off Highway 61, near the hamlet of Lula.