A feature essay from the North Carolina Music issue. I don’t know if Kenny Mann has ever been in therapy, but I do know that he is exceedingly honest and possesses an uncommon sense of self-awareness. He willingly raises and… by Abigail Covington | Mar, 2019

 A Letter from the Editor, Spring 2019. Though I don’t believe new parents must be homebound, another truth of my current season is that my movements are mostly limited to house and office and places in between. So more than… by Eliza Borné | Mar, 2019

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… by John O'Connor | Nov, 2018

A poem from the North Carolina Music Issue. My burnt body hangs crisscross over Carolina beach dunes below where family gathers children’s ringing sand splash toys tangled in teenage lust the skin consciousness potential of everyone eyeing one another in sunbursted bottoms there… by Benjamín Naka-Hasebe Kingsley | 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 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 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

Track 20 – “Mill Mother’s Lament” by Ella May Wiggins; Performed by Shannon Whitworth Ella had grown up in the Smoky Mountains, first on farms and then in lumber camps, where she and her mother took in laundry while singing… by Wiley Cash | Nov, 2018

Mixing with an Obscure Soul Goddess

A Points South essay from the North Carolina Music Issue. 

Growing up, Taj encountered a music that sounded like it was “disappearing.” “It was black music, but it was also country music. It turned out to be this fingerpicking that gave me a feeling of being connected to an older style of music that I assumed was African, though I didn’t know.” I said that might be the truest definition of the Piedmont blues I’d ever heard. “It was that little . . . somethin’-somethin’,” Taj said. “I didn’t have no ‘ethnomusicological’ term for it. My name for it was stumblepicking.” Stumblepicking? “Meaning,” he said, “you’re kinda stumbling over the notes to make them. That chord of Etta Baker’s on ‘Railroad Bill,’ it was like an E7 going into an F but it doesn’t stay there. It moves. It jars you. I found something close to it by accident once, and I could probably spend my whole life trying to find it again.” 

Paying the Rent, One Guitar at a Time.

A message in a bottle: "Welcome and congratulations: Getting to the first day of college is a major achievement. You’re to be commended, and not just you, but the parents, grandparents, uncles, and aunts who helped get you here. It’s been said that raising a child effectively takes a village: Well, as you may have noticed, our American village is not in very good shape."