An essay from the Place Issue My dad wanted his death, like his life, to be a work of art—a tomb he designed and filled with ceramics—and one that would allow him to define death on his own terms. My… by Alice Driver | Aug, 2020

An essay from the Place Issue The quest was half-ironic, but I was hoping at the same time to feel something I couldn’t make fun of. If a revelation from the Earth manifested inside my body, well, that would mean… by Liam Baranauskas | Aug, 2020

An essay from the Place Issue This congregation is the only one in eastern Alabama and was born out of a potluck dinner for Rosh Hashanah in the early ’80s when a local couple invited four friends over, telling them… by Carly Berlin | Aug, 2020

A feature essay from the Summer/Fall 2020 issue. This is how so many black families lose their land. One person wants to sell and starts an action that can force a sale. And if a developer wants the land, he… by Rosalind Bentley | Aug, 2020

A featured conversation from the Summer/Fall 2020 issue. “The pandemic in the United States opened up the truth of what that nation is about. Like a volcano, truth just came pouring out. Just layers and layers and layers. I keep… by Minnijean Brown Trickey and Crystal C. Mercer, moderated by Danielle A. Jackson; photographs by Ebony Blevins | Aug, 2020

A Points South essay from the Place Issue As of today’s journey, our family has been in quarantine for more than a hundred days. Summer camp plans have fallen by the wayside, much like those color-coded home-school schedules parents passed… by Karen Good Marable | Aug, 2020

An Omnivore essay from the Summer/Fall 2020 issue. Johns has said that, even as a child, he wanted to be an artist—only he didn’t know what an artist was. “In the place where I was a child, there were no… by Baynard Woods | Aug, 2020

 A Letter from the Editor, Place Issue. A tiresome stereotype about the American South is that this place is a monolith. Growing up in Arkansas, with the two sides of my family living in different regions of the state, I… by Eliza Borné | Jul, 2020

Jonathan Bernstein

Jonathan Bernstein is a research editor at Rolling Stone. His writing has appeared in the Guardian, GQ, Pitchfork, and the Village Voice. He lives in Brooklyn.

March 19, 2019

A Points South essay from the Spring 2019 issue

Listen to the first two notes Raphael plays on his solo on Nelson’s “Georgia on My Mind” and it’s impossible not to hear Mickey singing the word “Georgia” through the instrument, the second syllable bending upward, just the way Willie sings it. Raphael’s harmonica grounds the song in its call-and-response gospel impulse: one voice means little without the other’s ghostly affirmation.

September 05, 2017

“They were brothers in music,” Ursula Covay said. “They wrote together, hung out together, traveled together, fought together, loved together, and made deals together.” That’s the word most of the children of the Soul Clan use today to describe their fathers’ bond. Brothers.

October 18, 2016

A conversation with Guy Clark biographer Tamara Saviano.

“Guy was telling me for at least a year and a half before he died that he would not be here when the book came out.”

February 02, 2016

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.

February 02, 2016

From the beginning of Sam & Dave’s career, Sam’s otherworldly high tenor overshadowed Dave’s low harmony, and for a variety of reasons—some personal, some practical, some musical—the history of the duo has been rewritten in the nearly thirty years since Prater’s death so as to diminish Dave’s contributions.

November 16, 2015

Peter Guralnick on his new book, the nature of biography, and the endless complexities of Sam Phillips.

June 04, 2012
Whether it was with The Band or, in the last decade of his life, the Levon Helm Band, Helm was always happy out of the spotlight, off to the side and out of the way, grinning, laughing, dancing, and drumming away behind his kit. American Son shows off a different Levon: Levon as front man, star, singer.
July 07, 2012
The Bravest Man In The Universe, Bobby Womack’s first album of original material since 1994, is already being heralded as a late-career triumph, a classic comeback tale of aging soul singer being rejuvenated by a younger producer.
August 20, 2012
Like many of Foster’s compositions, “Oh! Susanna” was a black-face minstrel song. It was his breakthrough hit as a songwriter, a song that surely would have been a number one single if such a measurement had existed in the mid-nineteenth-century. The song quickly spread all over the country through its many publications and permutations on sheet music and as traveling minstrel troupes all over the country thrilled crowds with the tale of long-distance, lost, confused love, others began adapting Foster’s irresistible melody for their own purposes.
September 25, 2012
So it was a summer night in Manhattan, and the City Winery, an upscale sit-down club that seats no more than three hundred, was hardly full. Moore sang the first verse from backstage, as if his tenor, now fragile and weathered but still unmistakably, shockingly powerful, was the legend, not Moore himself. When he finally did take the stage, the seventy-six-year-old took his time snatching the show back from his voice, from the idea of another era, a time long past.
Page 1 of 2