Class pressures are exerting themselves, class fault-lines are emerging, and ancient demons are being released as a result. The post Book Commentary: "Dying of Whiteness" " What Rough Beast …
A new biography of the oft-forgotten 'filibuster' provides ample facts and little thesis. Is that enough, or just what we need? The post Book Review: "William Walker's Wars" " Revisiting US …
This Nashvillian has a simple message for America: "You best pull yourself together, or you might never be the same." The post Country Music Review: Gabe Lee's "farmland" " The Whiskey-Tango…
Dueto Dos Rosas's tunes can be classified as rancheras or corridos, but their style has a very particular historical resonance. The post Folk Music Review: Dueto Dos Rosas, Five Songs appear…
Rather than focusing on Mexicans in the United States, historian Carrie Gibson posits an expansive transnational history. The post Book Review: "El Norte" " Recovering a Greater America at t…
In this valuable study, Caitlin Rosenthal isolates an assortment of business practices and technologies that reflect the sophistication of New World plantation economies -- dispelling myths …
Delia Owens suggests that the only forward movement for her outsider-protagonist and "swamp trash" in general is to become curators of ecological/cultural museums in the very places where th…
Anders Walker's The Burning House sheds fascinating light on a forgotten piece of intellectual history in the Jim Crow South. The post Book Review: “The Burning House” — Di…
The unmistakable flavor of R&B can be found throughout Charley Crockett's work
Rev William Barber II has effectively demonstrated again and again what he often calls "fusion politics" across lines of race, age, and religion.
When Vermont's Mountain Man brings us its Appalachian vocal stylings the trio is venturing into the hollers of both the Green and the Blue Ridge Mountains.
How will others in the Southern hip-hop scene react to this embrace of tradition by a Southern rapper with his feet firmly in the Gangsta Rap arena?
Lonnie Holley's music on MITHÂ is the sound of a choir of better angels whose multi-layered voice is hard on the outside and soft on the inside, like so much Alabama clay.