Sonic Zora in Florida

sevaa

When Sunday Comes: Gospel Music in the Soul and Hip-Hop Eras

Allen Tullos

Joshua McCarter Simpson’s “To the White People of America” (1854)

Allen Tullos

An Unlikely Bohemia: Athens, Georgia, in Reagan’s America

Ayoung Kim

“Within Thy Circling Pow’r I Stand”: Immersive Video from Sacred Harp’s Hollow Square

Jesse P. Karlsberg

Mapping the “Big Minutes”: Visualizing Sacred Harp’s Geographic Coalescence and Expansion, 1995–2014

sevaa

Seeing Sound: Mapping Florentine Soundscapes

Bailey Betik

LiFT Art Salon: Gallery 72

Clint Fluker

Six Degrees of Alan Lomax: A Review and Multimedia Excerpts

Allen Tullos

Dancing Around the “Glaring Light of Television”: Black Teen Dance Shows in the South

Bailey Betik

“I Used That Katrina Water To Master My Flow”: Rap Performance, Disaster, and Recovery in New Orleans

sevaa

Music and Mobility on the Streets of New Orleans: A Review of Roll with It

Bailey Betik

Recording the Places of New Orleans Hip-hop through the NOLA Hip-hop and Bounce Archive

Bailey Betik

No Country for Old Hippies: Jason Mellard’s Progressive Country

Bailey Betik

From Arkansas with Love: Evangelical Crisis Management and Southern (White) Gospel Music

Bailey Betik

Music, Race, and Representation Post-Katrina: A Review of New Orleans Suite: Music and Culture in Transition

Bailey Betik

Putting the Vernacular in Modernism: A Review of Edward Comentale’s Sweet Air

Bailey Betik

Hillbilly Records, Zulu Yodels, and the Sounds of a Global South

Bailey Betik

New Website for Music Memory

Bailey Betik

Queering Southern Gospel: A Review of Douglas Harrison’s Then Sings My Soul

Bailey Betik

A Review of Matt Miller’s Bounce: Rap Music and Local Identity in New Orleans

Bailey Betik

Cultural Life in a “Chocolate City”: A Review of Natalie Hopkinson’s Go-Go Live

sevaa

Recording Musical History: An Interview with Lance Ledbetter of Dust-to-Digital Records

Jesse P. Karlsberg

Ireland’s First Sacred Harp Convention: “To Meet To Part No More”

Jesse P. Karlsberg

Creolization as Cultural Continuity and Creativity in Postdiluvian New Orleans and Beyond

Allen Tullos

The Complete Oh-OK: Music as Child’s Play in Athens, Georgia

Bailey Betik

Deep in the Cane: The Southern Soul of Gil Scott-Heron

Allen Tullos

The Makers of the Sacred Harp

Bailey Betik

“We’re Almost There”: The Drive-By Truckers’ Art of Place

Bailey Betik

Goin’ to Chicago and African American “Great Migrations”

Bailey Betik

Hoboken Style: Meaning and Change in Okefenokee Sacred Harp Singing

Mary Ann Robertson

Shaping a Southern Soundscape

Bailey Betik

Jake Adam York Interviews Natasha Trethewey

Bailey Betik

The Blue Room, Greenwood, Mississippi, 2007

Bailey Betik

Music in Cipriere, New Orleans, Louisiana, 2001

Bailey Betik

Let Me Do My Thang: Rebirth Brass Band

Bailey Betik

Deep Ellum Blues

Allen Tullos

Country Music Scholar

Ra'Niqua Lee

Crosses, Flowers, and Asphalt: Roadside Memorials in the US South

Bailey Betik

An Absence I Know I Won’t Reclaim

Ra'Niqua Lee

Gold Records in Deep Space

Robert Billups

Preserving the Memory of Ybor City, Florida

Allen Tullos

Blues in the Lower Chattahoochee Valley

sevaa

Dirty Decade: Rap Music and the US South, 1997–2007

Ra'Niqua Lee

The Tennessee Jamboree: Local Radio, the Barn Dance, and Cultural Life in Appalachian East Tennessee

Ra'Niqua Lee

Rebuilding the “Land of Dreams”: Expressive Culture and New Orleans’ Authentic Future

Bailey Betik

Family Forestry in Twiggs County, Georgia / Live in Macon at the Douglass Theatre

Mary Ann Robertson

Inside Poor Monkey’s

Allen Tullos

Stormy Banks and Sweet Rivers: A Sacred Harp Geography

Allen Tullos

Love and Death at Second-Line

Bailey Betik

John Cohen in Eastern Kentucky: Documentary Expression and the Image of Roscoe Halcomb During the Folk Revival

Ra'Niqua Lee