A Points South essay from the South Carolina Music Issue.
A problem solver, Jones would ultimately get his drums from his mother’s record collection, as her Charles Wright and Isaac Hayes albums began migrating into his room. “There wasn’t enough money for records,” he recalled. “Or I couldn’t find them. So I’d record songs on the radio off the reel-to-reel, and take the reel-to-reel to the party.” There’s a photograph of Jones deejaying the Charleston YMCA wearing pleated baggies and a fade, with a Michelob parked in front of his Akai séance machine.
Notes on the songs from our 21st Southern Music Issue Sampler featuring South Carolina.
It is fitting that this Southern Music Issue (the Oxford American’s twenty-first) devoted to South Carolina should come in 2019, as the nation moves to better recognize the tragic anniversary of the first sale of enslaved Africans on American soil, in August of 1619. About forty percent of the enslaved people brought to America came through Charleston; today most African Americans have roots in the city (some estimates go as high as eighty percent). Or to put a finer point on it, as Joshunda Sanders writes in this issue, “No Black person has a family tree that has not been pruned by slavery.” Acknowledging, parsing, and reckoning with this history is the prominent theme of this South Carolina music issue—as is celebrating the immense wealth of cultural heritage that has sprung from this small, proud place.