103 NCMusicAd Coltrane Stewart webJohn Coltrane, April 1966 © Chuck Stewart Photography, LLC

 

Coming November 2018 . . .

The Oxford American’s 20th Annual
Southern Music Issue & CD

Featuring
NORTH CAROLINA

 

Reserve your copy today.

 

Come on and raise up.

 


Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution

 

September 04, 2018

A short story from the Fall 2018 issue.

He saw no need to damn a place just on the face of it; he figured there must be a flower blooming somewhere in West Memphis, though he had seen no sign of one, and that maybe East St. Louis had a park where children played tag-you’re-it together while old men read newspapers from benches and spoke of last night’s ballgame.
May 22, 2018

Ben Depp’s Bayou’s End is the result of three years “flying above the bayous and wetlands of southern Louisiana in a powered paraglider,” taking aerial photographs from thousands of feet above the ground. Depp spends hours at a time in the air, waiting for just the right moment to capture the “spaces where the geometric patterns of human enterprise—canals, oil platforms, pipelines and roads—collide with nature’s organic forms.”

March 13, 2018

A Points South essay from the 100th issue.

He used “Niggertown” to make the hearer reconcile the word with the man using it: Lolis Edward Elie, this civil rights lawyer, this man of letters, this collector of fine art and old jazz records, this gourmand, this voracious reader of smart books and drinker of cold Champagne. He could easily have erased the old neighborhood from his biography. But what would be the fun in that? For my father, life began, and would always begin, in Niggertown.

March 13, 2018

A Points South essay from the 100th issue. 

New Orleans loves to celebrate and romanticize its French and Spanish influences. But so much of the city’s culture—the food, the music, the dance, Mardi Gras itself—is indebted to the Caribbean. New Orleans has reaped the benefits of an exported culture, while leaving Haiti behind.

February 01, 2018

The photographs in Meghan Kirkwood’s Four Blocks in Chalmette were taken at four intervals within a four-block area of Chalmette, Louisiana between 2008 and 2017. Located east of the lower Ninth Ward, Chalmette sustained heavy flood damage during Hurricane Katrina. The neighborhood Kirkwood photographed, dense with rental properties, has been particularly slow to recover.

November 15, 2017

A Kentucky Music Issue web-exclusive liner note. 

Jim Ford’s lone album is a twenty-eight minute, mystical celebration of the kid that got away—a hazy, bourbon-and-cocaine-fueled-funk-&-soul-honky-tonk cousin to Bruce Springsteen’s Born to Run.

September 05, 2017

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.

September 05, 2017

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. 

August 07, 2017

Richard Max Gavrich’s Across the Brown River explores “memories of past fictions” in towns along the Mississippi River. Inspired by Flannery O’Connor’s obsession with place, Gavrich follows the river in search of the “ordinary and extra-ordinary.”

June 08, 2017

An installment in our weekly series, The By and By. 

When Cash Money was started several years before by the brothers Baby and Slim Williams, Kilo G had been its flagship artist. He was only fourteen when he met Baby and Slim, too young to sign a contract; they’d had to take a ferry across the river to find his grandmother, so she could sign in his place. Before Mannie Fresh, before Lil Wayne—before the fleet of Bentleys and yellow Hummers that roamed the streets of New Orleans like an occupying army—there had been Kilo G.

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