Help us make a great book even better! We need your support to insert a CD of music in every copy of a forthcoming book about Scots-Irish music in Appalachia. Listen to a sample to hear what’s in store.
I grew up watching OutKast videos on the now-defunct Video Jukebox Network, affectionately known as “The Box.” Although OutKast received some play on MTV and BET in the early 1990s, it was on The Box, which featured a range of underground southern hip-hop artists, where I could be sure to see André “André 3000” Benjamin, Antwan “Big Boi” Patton, and other southern rappers in regular rotation. Although initially record labels largely ignored southern artists, through homegrown ingenuity, southern rappers soon emerged as a formidable force in the global music industry. By 2005, top spots on music charts were regularly held by southern hip-hop artists, southern R&B singers, or hits produced by southern artists. As Memphis rapper Project Pat noted in 2006: “Now y’all was thinkin’ Dirty South was like, ‘hee-haw, hee-haw’/Is you worth over a hundred mil? We are, we are.” Indeed, the South had something to say.
UNC Press needs your help in a matching funds challenge to pay for inserting music CDs in a forthcoming book about the Scots-Irish music of Appalachia.
Civil War music is now a cottage industry.
Remembering Pete Seeger through interviews conducted by William Ferris in his book “The Storied South” and by Fiona Ritchie and Doug Orr for their book “Wayfaring Strangers.”
Eastern North Carolina has produced some of the most transformative figures in the history of jazz, gospel and popular music. Among them are internationally renowned jazz pianists and composers Thelonious Monk from Rocky Mount and Billy Taylor from Greenville. African American Music Trails of Eastern North Carolina celebrates people, places and events in Eastern North …
The National Endowment for the Arts (NEA) recently announced UNC Press author Sheila Kay Adams as a 2013 NEA National Heritage Fellow. Adams is a seventh generation-ballad singer and has been performing Appalachian ballads and telling stories for over thirty years.
The Jesus music had a visceral effect on my peers and me. Music was all around us and a constant emotional and intellectual force in the 1970s. It was very much the vehicle for communicating this faith. Music identified us. It captured the emotion that was largely absent in the churches that emerged from the 1950s. The music communicated both an identity and a mission. We all felt like we were going to somehow change the world. Music, however could be exploited.
This week we revive our NC Icons series with a look at Doc Watson, number 51 on Our State magazine’s 100 North Carolina Icons list. The Deep Gap, North Carolina native and Grammy award winning singer/songwriter left a lasting legacy on traditional American music, revered for his influence on bluegrass, folk, country, blues, and gospel music.
I had a new image of the Times Op-Ed department as a kind of graduate seminar on steroids, not just fact-checking and copy-editing but asking the rigorous questions.
It’s a Twitter event! This Wednesday, December 12, from 9-10 pm EST join @LoriRotskoff, @uncpressblog, and @MamaDramaNY for a Twitter celebration and discussion of the 40th anniversary of Free to Be…You and Me, the popular nonsexist children’s album/book/TV special that has helped shape the childhoods and parenting practices of generations.
Our Holiday Sale is now underway! If you need some gift ideas for the folks on your list, our Southern Gateways catalog is a great place to start. Southern Gateways is where we collect of all our general interest books about this region we call home.
Great video interview with William Ferris, including excerpts from video included in Give My Poor Heart Ease: Voices of the Mississippi Blues.
Glory is noteworthy as one of the few popular representations of the war to include African American music. The Civil War had a tremendous impact on black music but the songs created and sung by African Americans are rarely included in books and films. Although Burns makes use of black spirituals, even he does not incorporate those that were actually most popular among slaves, freedpeople, and USCTs.
Like the often-lamented vicious political rhetoric of modern politics, the phenomenon of using popular songs for political gain is nothing new. During the Civil War, politicians, military officials, and civilians frequently appropriated and revised popular songs for their own purposes. The primary difference is that today’s legal system is robust enough for songwriters and musicians to oppose such usage.