Jeremy Ray Jewell
Projects such as Birthright: A Black Roots Music Compendium extricate the resilient voice of the people from the cacophony of current ideological intervention.
The banjo’s African relative makes its American debut via a new Smithsonian Folkways album.
The Field Recorders’ Collective is dedicated to preserving and distributing non-commercial recordings of traditional American music that are not available to the general public. In January, took three gems out of the archive and made them available to stream and download.
Ted Olson continues bringing important location recordings of early American music back to light.
A commentator on Macroblank’s Bandcamp page makes this telling assertion: “AI is Macroblank. Macroblank is AI.”
In its ninth album, YMCK shows that it is becoming self-aware. They are no longer just avatars we are to identify with, but also (satirically) the corporate entity behind them, a corporation preoccupied, like all others, with innovation.
The music of Cameron Lew, in the persona of Ginger Root, makes us confront a fundamental truth: the familiar, after the passage of time, becomes the exotic
We Carry Their Bones arrives at a time of increased interest in the history of racism and reform schools, particularly in Florida.
We need to realize how important class is in order to understand how inequality can rise as Confederate monuments fall.
For all of the book’s fascinating revelations, The Lost Southern Chefs leaves the reader with a number of unanswered questions.
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