The OA is thrilled to pair our South Carolina Music Issue announcement with an exclusive premiere of a new song from Ranky Tanky, the acclaimed Charleston band reviving the Gullah musical tradition of South Carolina’s Lowcountry. “Beat Em Down” is the title track from the band’s new EP, due out on Friday, and will be included on their upcoming album, Good Time (out July 12, 2019), the band’s first to include original compositions written in the Gullah tradition.
Check out the exclusive premiere of “Beat Em Down” from Charleston’s Ranky Tanky:
The Oxford American’s South Carolina Music Issue will celebrate the unforgettable stories, songs, and artists that convey the deep history and continuing vitality of South Carolina’s music—including icons like Dizzy Gillespie, Eartha Kitt, and the Marshall Tucker Band, as well as contemporary voices, such as Iron & Wine, Shovels and Rope, and, of course, Ranky Tanky.
As always, the music issue will come with a sampler compilation of songs spanning the 78-rpm era to the present (in CD and digital download formats), with accompanying liner notes included within the magazine.
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From the dressing room to the stage, Josseline Martinez’s images capture the scenes of intimacy and joy involved in the performances of Savannah-based drag troupe House of Gunt, documenting a night in the life of queens like Carmen iCandy, Xandra Ray, Treyla Trash, LaZanya Ontre, Vegina George, Edna Allan Hoe, and Influenza Mueller.
Tianran Qin’s Billboards transforms “billboards into bodies of light to enhance their existence and critique their significance in consumer culture.” By utilizing long-term exposure, Qin floods the billboards in his images with light, essentially erasing the individual advertisements they contain and instead rendering them shining icons of consumerism.
Known as the most haunted city on the east coast, Savannah, Georgia, is a place where people come and go, where, for many, it is easier to leave and forget than it is to stay and thrive. Carson Sanders moved to the Ghost Coast in the fall of 2009 and began to photograph those who make their home here.
Johnny Mercer drew from the same black musical traditions as Elvis would a generation later and made, if not quite a billion dollars, certainly an inexhaustible fortune, and left behind a half-dozen of America’s most indelible melodies besides.