Featuring unforgettable songs and stories from South Carolina, the issue includes voices ranging from the Upstate to the Lowcountry, highlighting icons like Dizzy Gillespie and Eartha Kitt, as well as contemporary artists such as Shovels & Rope and Ranky Tanky.
Our cover star is NASA astronaut Ronald McNair, who became a physics (and music) pioneer when he brought a soprano sax into orbit in 1984. A native of Lake City, South Carolina, McNair died tragically in the Space Shuttle Challenger disaster two years later. In a revelatory and thoughtful feature in the issue, Jon Kirby speaks with McNair’s family, friends, and colleagues, who remember him not only as a famous astronaut but also a devoted, one-of-a-kind musician.
Order the South Carolina Music Issue & Sampler today. The issue comes packaged with a CD compilation and digital download card.
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Amid the chorus of opinions and think pieces, the loudest, most eloquent voice was Mayor Landrieu’s, immortalized in a speech he delivered on May 19, 2017. The remarks were meant to unify the city after a divisive period, but they were also meant to explain, from start to finish, the position he had taken from the beginning. “There is a difference between remembrance of history and reverence of it,” he said.
“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.
She watched the Kitler closely, but it mostly slept, waking only when she played the Police’s “Message in a Bottle” while making her morning coffee. When Sting got to the part about sending out an SOS, it lifted its furry head, twitched its ears, and stared plaintively, ready to help.
I wake from a dream in which I am back at military training, among the classrooms and the clash of Claymores, the hot wake of wind from the report of rifles. Booted feet echo through the hallways, and forced voices call cadence while the light bends in the shockwave of bombs.
A kind of connective tissue linked my country’s most African city with an African moment that seemed stunningly American. The pallbearers danced, the band played, the mourners walked and swayed alongside while men and women pressed yet more naira bills on the sweat of our bodies—a symbol of respect and goodwill.
Sketches of Tennessee.
From the time I was about ten years old, my mother and I put in our time by visiting with Irma for an hour or two every day. We’d bring her the Enquirer and Star and try to cheer her up by pointing out the most salacious stories and the home remedies for arthritis. Sometimes she’d enlist me to rub her back, and I’d perch monkeylike on the back of the couch, kneading her knots as she growled, “I could hug yer neck fer that.”
The lounge’s changes reflect those of Trenton, which has been hit by deindustrialization, white flight, falling property values, a cratering tax base, budget cuts, and a drop in educational resources. There is probably a recovery formula for the rest of the city somewhere in the tiny fragment of an integrated, prospering populace that materializes for the Candlelight Saturday Sabbath with its transubstantiation of mouthpiece, breath, drum skin, string, and inner ear stereocilia into camaraderie.
Hunting season swept through my hometown with the crisp northern winds that sent leaves and trash dancing down King Street, near the Old Spanish Trail. In late fall, the town’s annual hunters’ gathering—Buck Fever—packed the county fairgrounds with guns and taxidermy and families wearing matching camouflage outfits, scents of damp hay and manure and hot funnel cakes swirling together in the cool dry air. It seemed like everyone in Seguin went to Buck Fever, and even though we weren’t real hunters, my family went, too.