Originally published in our Tennessee Music Issue  There is a remarkable story tucked halfway through Bessie, Chris Albertson’s biography of the blues singer Bessie Smith, in which Smith approaches a circle of robed North Carolina Klansmen, places one hand on her hip,… by Amanda Petrusich | Nov, 2020

Playlists curated by your favorite musicians and writers. by Brittany Howard, Kiese Laymon, Rosanne Cash, Kelsey Waldon, & others | Nov, 2020

An introduction to the Music Issue’s Icons Section Beyond my eye, beyond the death and decay of matters left behind and unsettled, the music ringing up above my head told a thousand stories of bounty and belonging, and it glimmered… by Danielle A. Jackson | Nov, 2020

Originally published in our 2007 Music Issue  In a remarkable 1963 appearance with Juilliard professor and friend, Hall Overton, at the New School in New York, Monk demonstrated his technique of “bending” or “curving” notes on the piano, the most… by Sam Stephenson | Nov, 2020

Originally published in our North Carolina Music Issue.  I wanted to start with the wild weeds and the creaking wood on the front porch, walking up to Nina Simone’s childhood home in Tryon, North Carolina. I wanted to start where… by Tiana Clark | Nov, 2020

An essay from the Greatest Hits Music Issue The first songs that I listened to by Talibah Safiya had this soft, sweet, plaintive quality. There is something else underneath if you listen a bit closer: a little loneliness. The knowledge… by Jamey Hatley | Nov, 2020

An introduction to the Greatest Hits Music Issue How does the South inform my music? How do I describe the sound that your bare feet make when they pat the cool, packed red dust under them? How do I describe… by Brittany Howard | Oct, 2020

 A Letter from the Editor, Food Issue. Quiet as it is kept, and widely as it has become forgotten, those who do the cooking and the farming know that those who only eat what is cooked for them and served… by Alice Randall | Mar, 2021

Maxwell George

Maxwell George is the Oxford American’s deputy editor. He is from Charlotte, North Carolina, and lives in New York City.

November 19, 2019

A Points South essay from the South Carolina Music Issue.

All of Bill’s anecdotes about Diz played to this theme: here was a man, a titan of American music, whose genius helped revolutionize jazz in the forties, opening the door for its great modern period—the pre-birth of cool!—and yet who carried a “personality of warmth and openness and friendliness everywhere, with whoever he was dealing with,” Bill said. “That side of him was something that I remember as strongly as I remember his musical force and power and creativity.”

February 20, 2019

Following up on Ryan Adams.

Last week’s news is a colossal disappointment for Adams’s fans—many of whom, like myself, had remained loyal to his music despite his career of public tantrums and well-documented selfishness. And it is an embarrassment for many writers and critics who gave him our words, thereby ensuring his celebrity and thus his power, so often situating his assholery as an excusable byproduct of tortured genius.

November 20, 2018

A Points South essay from the North Carolina Music Issue.

In Ryan Adams, the mythic memory of Thomas Wolfe is reincarnate in a contemporary host: an emotional kid from a marginal city in North Carolina with a precocious—underlined—and prolific—triple underlined—talent for transmuting the cramped circumstances of his childhood into dramatic, heartbreaking art of a rarefied sort. Hailing from opposite ends of the state, they each ended up in New York City as young men by way of a crucial teenage education in the Triangle—Wolfe at Chapel Hill during World War I and Adams in the bars of nineties Raleigh. As creators, the unfathomable volume of each man’s output clouds the artistic legacy.

May 29, 2018

In Lament from Epirus, Christopher C. King finds his musical and spiritual Elysium. 

I call two places my home: I call my record room my home and I call Epirus my home. Where I was born and bred and raised up, and scarcely have left from, really bears little resemblance to what it was when I was growing up, so it’s hard to call it home anymore.

February 14, 2017

To Adia Victoria, Donald Trump is just the latest thing in the history of American oppression.

“The blues to me is personal music. The blues to me is political. And what’s happening politically right now requires artists to get up, pay attention, report about what’s going on.”

June 24, 2016

Irrespective of the national debate over gun control, for many Americans, the heart and the soul is located near the trigger finger. Inevitably, firearms have figured into the Oxford American time and again.

January 19, 2015

Everybody I met in Augusta had a James Brown story: the Godfather of Soul roaming around town in his baby-blue Rolls-Royce, showing up unbidden at parties and concerts, hanging around like he was anyone while making sure everyone remembered exactly who he was. Many people also had a Sharon Jones story.

November 18, 2015

“Midnight,” as performed by Futurebirds—track 24 on the Oxford American’s Georgia Music Issue CD—is not just a melding of eras and genres. It also displays an intersection of geography, as Georgia’s southwest region meets the Futurebirds’ base of Athens in the northeast.

July 09, 2015

I think the best that we can do as songwriters is try to document and try to record something about the time that we’re living in. If you want to connect with people who are alive now—unless you’re singing to ghosts—you better talk about things that are happening in the present.

April 29, 2015

Talking tornadoes with Justin Nobel.

I can imagine a world where tornado and typhoon have become forgotten and laughable words, and we no longer remember what it’s like to feel rain fall randomly from a cloud onto our faces or to be buffeted by a cold wind. That world frightens me.

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