This year we’re compiling our “greatest hits,” including selections of the most beloved music writing from our archive—guest edited by Brittany Howard, the Grammy Award-winning singer, songwriter, and frontwoman of the Alabama Shakes. This jam-packed issue also includes new essays on iconic Southern artists who have changed the trajectory of American music.
The issue will include a selection of playlists presented by guest contributors that limn the bounty of Southern music across genres.
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Benjamin Hedin is the producer and writer of the Grammy-nominated documentary Two Trains Runnin’ and the author of In Search of the Movement: The Struggle for Civil Rights Then and Now.
“I know a different echo to that,” she said, and proceeded to sing a version of “Hold On,” delivered without accompaniment, in hushed intonations, the refrain “keep your hand on the plow, hold on” replaced, after one verse, by words that are not found in any transcriptions of the song previously cataloged by folklorists: “keep your eyes on the prize, hold on.”
A Points South essay from the North Carolina Music Issue.
Shortly after publishing the biography John Coltrane: His Life and Music, Lewis Porter received a letter from a man who identified himself as a Coltrane. Only not, presumably, one related to the great jazz musician. His ancestors had been white farmers in North Carolina. “He said, ‘I’ve been looking into my family history,’” Porter recalled recently, “‘and I have here a bill of sale that could be interesting.’”
A Points South essay from the 100th issue.
In chronicling the civil rights movement, one inevitably develops an interest in how racial crimes are remembered in the community where they happened—in the way they gradually turn into folklore—and in Memphis, I have discovered, a sense of fatedness clings to the King assassination.
Black Keys frontman Dan Auerbach on Junior Kimbrough’s influence.
“It’s proven most of the time to be true: some of the music that I love the most, that I want to live with forever, are records I didn’t quite get at first, and that was definitely true for Junior. I didn’t understand it at first. It took a few listens. I had to come back to it a couple of times before I got it. And once I got it nothing was ever the same.”
Algia Mae Hinton, the great blues guitarist and banjo picker, lives in Johnston County, North Carolina. It’s a short drive from Raleigh and Durham but feels rather far from those cities, with their food trucks and breweries and warehouses refitted as condos—the latest iteration of the New South, one might say, except one finds the same pattern in Brooklyn or the Bay Area. In Johnston County you drift back to an earlier era.
Early in 2014, Lewis Hyde, the author of The Gift, came to Jackson, Mississippi, to visit with others who volunteered to spend a handful of months in 1964 teaching and canvassing in the most violent province of Dixie. This was not like most reunions, for people at such events don’t normally talk about the first time they suffered police harassment or were tailed by the Klan, and they don’t screen a movie that was recently made about their experience and then discuss the ways in which the film felt authentic or not.