SOUTHERN ACCENT
MUSIC LIBRARYCurated by Brendan Greaves, Harrison Haynes, and Trevor Schoonmaker
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Welcome to the Southern Accent Music Library, an extensive listening library of songs of and about the American South.
âNo region in the United States has contributed more to American music than the South, and its music has played an essential role in defining and exporting âsouthernnessâ to the rest of the world.â
â Trevor Schoonmaker, co-curator of Southern Accent and Chief Curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art at the Nasher Museum of Art at Duke University
As part of Southern Accent and as a counterpoint to the art on view, this extensive listening library consists of songs of and about the American South. Like the visual works in the exhibition, the recordings in the music library span the 1950s to the present.
Organized both chronologically and thematically, the Southern Accent Music Library functions as a brief, subjective musical history. Selected songs address questions of southern culture, identity, history, folk life and lifestyle, featuring lyrics and compositional and performance styles that have helped define what it means to be southern. Perspectives come from both inside and outside the South, with a strong bent toward artists and traditions from the region. To help demonstrate the diversity and enormity of the Southâs musical output and influence, no more than one song has been included by any one artist. While curating this collection is an inherently subjective endeavor, effort has been made to balance greatest hits and southern heroes with unexpected artists and more obscure and provocative tracks. By its very nature, the Southern Accent Music Library is not comprehensive, but the attempt is for the collection to be inclusive when it comes to musical genres, eras and cultural perspectives.
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SOUTHERN MOON: HOME & HORIZONWhether itâs displacement, migration, or wanderlust, the cycle of coming and going, leaving home and returning home, has been intrinsic to so many aspects of southern life. But this tradition of movement has always been offset by an indelible connection to place that is often expressed through an abiding love of family and community.
LEFT: Douglas Bourgeois, American Address, (detail), 2006. Oil on panel; 20 x 16.75 inches (50.8 x 42.55 cm). Private collection. Image courtesy of the artist and Arthur Roger Gallery, New Orleans, Louisiana. © Douglas Bourgeois.
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Joe Liggins and His Honeydrippers, âGoing Back Home to New Orleans (or Going Back to New Orleans)â 1952, b/w âCryinâ Over You,â Specialty - SP 441-45, Ellis Walsh, Preview Music Company, BMI
Howlinâ Wolf, âSmokestack Lightninââ 1956, b/w âYou Canât Be BeatChess,â Howlinâ Wolf, Arc Music
Mose Allison, âOne Room Country Shackâ 1957, Back Country Suite For Piano, Bass And Drums, Prestige - PRLP 7091, Mercy Walton, Sony/ATV Songs LLC
Everly Brothers, âKentuckyâ 1958, Songs Our Daddy Taught Us, Cadence - CLP-3016, Henry Prichard, New Leaf Music
The Louvin Brothers, âSouthern Moonâ 1960, A Tribute to the Delmore Brothers Capitol Records, Rabon Delmore and Alton Delmore, Unichappell Music, Inc., Vidor Publications Inc.
Fats Domino, âWalking To New Orleansâ 1960, b/w âDonât Come Knockinâ,â Imperial - 5675, Bobby Charles, Domino Fats, Dave Bartholomew, EMI Unart Catalog Inc.
Ray Charles, âGeorgia On My Mindâ 1960, b/w âCarry Me Back to Old Virginny,â ABC Paramount - 45-10135, Hoagie Carmichael, Stuart Gorrell, Peer Music III Ltd.
Mississippi John Hurt, âAvalon Bluesâ 1963 (original recording, 1928), Avalon Blues 1963 (1991), Rounder Records - CD 1081, John Hurt, Mississippi John Hurt Music Inc.
SOUTHERN MOON: HOME & HORIZON
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Muddy Waters, âMy Home Is In The Deltaâ 1964, Folk Singer, Chess - LP 1483, Muddy Waters
The Byrds (with Gram Parsons), âHickory Windâ 1968, Sweetheart of the Rodeo, Columbia - CK-9670, Bob Buchanan And Gram Parsons, BMG Platinum Songs, GPJ Music, Hot Burrito Music, Reservoir One America
James Taylor, âCarolina in My Mindâ 1968, Apple Records - SKAO-3352, James Taylor, Country Music Inc.
The Osborne Brothers, âRocky Topâ 1968, b/w âMy Favorite Memory,â Decca - 32242, Felice And Boudleaux Bryant, House Of Bryant Publications LLC.
Joe South, âDonât It Make You Want to Go Homeâ 1969, Donât It Make You Want to Go Home, Capitol Records - ST-392, Joe South
Link Wray, âTake Me Home Jesusâ 1971, Polydor - 24-4064, Steve Verroca, Voila Music Inc.
Bobby Charles, âTennessee Bluesâ 1972 , Bearsville - BR-2104, Bobby Charles, Alpha Music
Gladys Knight and The Pips, âMidnight Train To Georgiaâ 1973, b/w âIâve Got to Use My Imagination,â Eric Records - 215, James D Weatherly, Universal Polygram International Publishing Inc.
Ike & Tina Turner, âNutbush City Limitsâ 1973, Nutbush City Limits, United Artists Records - UAS 29 557, Tina Turner, EMI Blackwood Music Inc, EMI Unart Catalog Inc.
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The Allman Brothers, âRamblinâ Manâ 1973, Brothers and Sisters, Capricorn Records - CP 0111, Forrest Richard Betts, Forrest Richard Betts Music, Unichappell Music Inc.
Allen Toussaint, âSouthern Nightsâ 1975, Southern Nights, Reprise - MS 2186, Allen Toussaint, Screen Gems-Emi Music Inc., Warner-Tamerlane Publishing Corp.
Larry Jon Wilson, âOhoopee River Bottomlandâ 1975, b/w âMelt Not My Igloo,â Monument - ZS8 8663, Larry John Wilson, Combine Music Corp.
Arrested Development, âTennesseeâ 1992, Chrysalis â V 23787, Taree Aerle Jones, Todd A. Thomas, Arrested Development Music, EMI Blackwood Music Inc.
Iris Dement, âOur Townâ 1993, Warner Bros. Records â W0194CD, Warner Bros. Records â WO194CD, Warner Bros. Records â 9362-41030-2, Iris Dement, Songs Of Iris
Assfactor 4, âI Reckonâ 1995, Assfactor 4, Old Glory Records â NGR-18, Assfactor 4
Alison Krauss, âOh Atlantaâ 1995, b/w âTeardrops Will Kiss The Morning Dew,â Continental Record Services - CRS â CRCDS 9, Michael Geoffrey Ralphs, W.B. Music Corp.
Ryan Adams, âOh My Sweet Carolinaâ 2000, Heartbreaker, Bloodshot Records â BS 071, Ryan Adams, Barland Music
SOUTHERN MOON: HOME & HORIZON
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Petey Pablo, âRaise Upâ 2001, Diary Of A Sinner : 1st Entry, Jive â 01241-44190-2, Moses Barrett, Timothy Z. Mosley, Kumbaya, Mezra, Universal Music-Z Tunes LLC.
David Banner, âMississippiâ 2003, Mississippi: The Album, Universal Records â B0000312-02, David Banner Universal Records
Crime Family, âCarolinaâs My Homeâ 2004, Carolinaâs My Home, Crime Family Records, Chad Dexter Burnette, Chad B Publishing
Rey Norteño, âRaleighâ 2006, Fred Huerta
The Soul Rebels with Trombone Shorty, âNo Place Like Homeâ 2010, No Place Like Home - Live in New Orleans, Independent/Self-Release, The Soul Rebels
Tift Merrit, âStill Not Homeâ 2012, Traveling Alone, Yep Roc Records â YEP-2291, Tift Merrit, Train Penny Publishing
Deerhunter, âPensacolaâ 2013, Monomania, 4AD â CAD 3307CD, Bradford Cox, Peermusic Publishing
Valerie June, âTennessee Timeâ 2013, Pushinâ Against A Stone, Concord Records â CRE 34525-01, Dan Auerbach / Valerie June Hockett, June And Stunson Publishing
Sturgill Simpson, âPanbowlâ 2014, Metamodern Sounds In Country Music, High Top Mountain Records â HTM002, Sturgill Simpson, Downtown Music Publishing
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A CHANGE IS GONNA COME: (IN)JUSTICE & STRUGGLEThe South claims its own separate, deeply troubled history of contention, unrest, and uprising, much of it rooted in racism and segregation. Southern music has often performed as a countermove to oppressionâwith its keening and rumination, its clarion calls.
RIGHT: Hank Willis Thomas, Ainât Gonna Let Nobody Turn Us Around (detail), 2015 â 2016. Glass, silver and digital prints; dimensions variable. Commissioned by the Nasher Museum of Art at Duke University. Courtesy of the artist and Jack Shainman Gallery, New York, New York. © Hank Willis Thomas. Photo by Jessica Lancaster.
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Lightninâ Hopkins, âTom Moore Blues (Tim Mooreâs Farm)â 1960, Lightning Strikes Again, Dart - D 8000, Hopkins Sam and McCormick Mack; Figs D Music, Sanga Music Inc., Tradition Music Company
Max Roach w/Abbey Lincoln, âFreedom Dayâ 1960, We Insist! Max Roachâs Freedom Now Suite, Candid - CJM 8002, Max Roach, Oscar Jr Brown, Milma Publishing Company, Songs Of Kobalt Music Publishing (BMI)
Bob Dylan, âThe Death of Emmett Tillâ 1962, The Freewheelinâ Outtakes: The Columbia Sessions, NYC, 1962 (1993), Vigotone, VIGO 115, Bob Dylan, M. Witmark & Sons
Robert Pete Williams, âPardon Denied Againâ 1963, Those Prison Blues, Folk-Lyric FL-109, Robert Pete Williams, Tradition Music Co.
Sam Cooke, âA Change Is Gonna Comeâ 1964, b/w âShake,â RCA Victor - 47-8486, Sam Cooke, ABKCO Music Inc.
Art Blakey, âThe Freedom Riderâ 1964, The Freedom Rider, Blue Note - BLP 4156, Art Blakey, Buhaina Music
Nina Simone, âMississippi Goddamâ 1964, b/w âSea Lion Woman,â Philips - 40216, Nina Simone, W B Music Corp.
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J.B. Smith, âI Got Too Much Time For the Crime I Doneâ 1965, Ever Since I Have Been A Man Full Grown, Takoma - B-1009, J.B. Smith
Phil Ochs, âHereâs to the State of Mississippiâ 1965, I Ainât Marching Any More, Elektra - EKS-7287, Phil Ochs
J.B. Lenoir, âAlabama Bluesâ 1965, Alabama Blues, CBS - 62593, J.B. Lenoir
Joe Tex, âThe Love You Save (May Be Your Own)â 1966, b/w âIf Sugar Was as Sweet as You,â Dial - 45-4026, Joe Tex
Dr. John, the Night Tripper, âAngola Anthemâ 1970, Remedies, ATCO Records - SD 33-316, Dr. John, Cauldron Music, Walden Music Inc.
Staple Singers, âRespect Yourselfâ 1971, b/w âYouâre Gonna Make Me Cry,â Stax - STA-0104, Luther Ingram Thomas, Bonny âMackâ Rice, Irving Music Inc.
Swamp Dogg, âGod Bless Americaâ 1971, Rat On!, Elektra - EKS-74089, Jerry Williams, Jr., Troy Davis, EMI Blackwood Music Inc, Jerry Williams Music
Vicki Lawrence, âThe Night the Lights Went Out in Georgiaâ 1973, b/w âDime a Dance,â Bell Records - Bell 45,303, Bobby Russell, Pix-Russ Music
A CHANGE IS GONNA COME: (IN)JUSTICE & STRUGGLE
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Bishop Manning and the Manning Family of Roanoke Rapids, NC, âBack in Slavery Daysâ 1974, 7â single b/w
Willie French Lowery, âProud to Be a Lumbeeâ 1976, Proud to Be a Lumbee, WFL Records, Willie French Lowery, Willie French Lowery Publishing Co.
Gil Scott-Heron & Brian Jackson, â95 Southâ 1977, Bridges, Arista â AB 4147, Gil Scott-Heron & Brian Jackson, Brouhaha Music
Stevie Wonder, âHappy Birthdayâ 1980, b/w âRev. Martin Luther King â Greatest Excerpts From His Speeches,â Motown â 4517 MG, Stevie Wonder, Black Bull Music Inc, Jobete Music Co. Inc.
Tav Falcoâs Panther Burns, âBourgeois Bluesâ 1981, Behind The Magnolia Curtain, Rough Trade â Rough US 16, Frenzi â FZ4000, Lead Belly, Frenzi
Corrosion of Conformity, âRednekkkâ 1984, Eye For An Eye, No Core Records (1984), Thomas Michael Dean, William Reed Mullin, Toney W. Weatherman, Corrosive Music
Follow For Now, âWhite Hoodâ 1991, Follow For Now, Chrysalis â F2 21820, Bernard Coley, William Dubois Fields, David Ryan Harris, Christopher L. Tinsley, Jamie D. Turner, Pulse Plus Music, Warner-Tamerlane Publishing Corp.
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Sonic Youth, âChapel Hillâ 1992, Dirty, DGC â DGCD-24493, Kim Althea Gordon, Thurston Joseph Moore, Lee M. Ranaldo, Steven Jay Shelley, Sonik Tooth Music
Kendrick Lamar, âKing Kuntaâ 2015, To Pimp A Butterfly, Top Dawg Entertainment â AFTMB002295802CD, Aftermath Entertainment â AFTMB002295802CD, Interscope Records â AFTMB002295802CD, Stephen Bruner, Johnny Burns, Kendrick Lamar, Stefan Gordy, Michael Jackson, Ahmad Lewis, Mark Spears, Mijac Music
Steve Earle and The Dukes, âMississippi Itâs Timeâ 2015, Steve Earle, Exile on Jones Street Music (ASCAP)
Janelle Monae (feat. Roman GianArthur & Jidenna), âHell You Talmboutâ 2015, Hell You Talmbout, Wondaland Records
Algiers, âBloodâ 2015, Algiers, Matador â OLE 1067-2, Fisher Franklin James, Mahan John Ryan, Tesche Allen Lee II, Algiers International Music, Songs of Kobalt Music Publishing
A CHANGE IS GONNA COME: (IN)JUSTICE & STRUGGLE
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O DEATH: VIOLENCE, VENDETTA, & DESTRUCTION From Appalachian ballads to Piedmont and Delta blues, to soul and rock and roll, southern music has forever been obsessed with death and the precariousness of life. Whether presented as reportage, fiction, or anguished personal anecdote, violence and vengeance occupy a vexed position in southern musicâdespite finding poetic expression in song.
LEFT: Sanford Biggers, Quilt #15, Harmonics 2 (detail), 2012. Fabric-treated acrylic, spray paint, and cotton on repurposed quilt; 79 1â2 x 80 3â4 inches (201.9 x 205.1 cm). Nasher Museum of Art at Duke University, Durham, NC. Gift of Paula Cooper in honor of Patsy R. and Raymond D. Nasher, 2015.1.1. Image courtesy of the artist and David Castillo Gallery, Miami Beach, Florida. © Sanford Biggers. Photo by Peter Paul Geoffrion.
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Big Bill Broonzy, âFrankie and Johnnyâ 1957, Big Bill Broonzy Sings Country Blues, Folkways Records - FA 2326, Hughie Cannon, Regent Music Corporation
Elizabeth Cotten, âFreight Trainâ 1958, Folksongs and Instrumentals with Guitar, Folkways Records - FG 3526, Elizabeth Cotten, Piccadilly Music Corporation
Lloyd Price with Don Costa Orchestra, âStagger Leeâ 1958, b/w âYou Need Love,â ABC Paramount - 45-9972, Irving Music
Bessie Jones and the Georgia Sea Island Singers, âO Deathâ 1960, Get in Union (2014), Tompkins Square - TSQ5074, Black Skillet Music, Global Jukebox Publishing, Happy Valley Music, Sonic Research Publishing, Swinging Door Music (BMI)
Frank Proffitt, âTom Dooleyâ 1962 (original recording, 1938), Frank Proffitt, Folk-Legacy Records - FSA-1
Jean Ritchie, âPretty Pollyâ 1963, Jean Ritchie And Doc Watson At Folk City, Folkways Records - FA 2426
Bobbie Gentry, âOde to Billie Joeâ 1967, Ode to Billie Joe, Capitol Records - ST-2830, Bobbie Gentry, Northridge Music Company
Dwight Yoakam, âI Sang Dixieâ 1988, Buenas Noches From A Lonely Room, Reprise Records â 925 749-1, Dwight David Yoakam, Figs D Music - BMI
O DEATH: VIOLENCE, VENDETTA, & DESTRUCTION
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Kacey Musgraves, âBiscuitsâ 2015, Pageant Material, Mercury Records â 602547499929, Kacey Musgraves, Shane Mcanally, Brandy Clark Universal Music Publishing Group
Morbid Angel, âChapel of Ghoulsâ 1989, Altars Of Madness, Combat â 88561-2022-2, Earache â 88561-2022-2, George Michel Emmanuel, Earache Songs (Uk)
Lucinda Williams, âPineolaâ 1992, Sweet Old World, Chameleon Records (2) â 61351-2, Elektra â 61351-2, Lucinda Williams, Warner-Tamerlane Publishing Corp.
Nirvana, âWhere Did You Sleep Last Night?â 1994, Nirvana - MTV Unplugged In New York, DGC â DGCD-24727, Composed/ Reinterpreted by Nirvana
Elliott Smith, âSouthern Belleâ 1995, Elliott Smith, Kill Rock Stars â KRS 246, Elliott Smith Spent Bullets Music, Universal Music Careers
Nick Cave & the Bad Seeds, âStagger Leeâ 1995, Murder Ballads, Mute â CD STUMM 138, Nick Cave & The Bad Seeds, Embassy Music Corp.
White Stripes, âSouthern Can is Mineâ 2000, De Stijl, Sympathy For The Record Industry â SFTRI609, Originally Written And Recorded By Blind Willie Mctell, Arranged By Jack And Meg White
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WADE IN THE WATER: PRAYER & FAITH & THE WORLD TO COMEAmerican vernacular sacred music has been largely defined by the diversity of artists and styles emerging from the South. However, the Spirit and the practice of prayer suffuse much of southern music, whether explicitly praise-based or nominally secular, and its absence is often pointed; the musicians playing on Saturday nights and Sunday mornings are often the same people.
RIGHT: Tom Rankin, Baptism of Cheronda Brown by Reverend Crabtree, Stamps Lake, Perthshire, Mississippi (detail), 1990. Gelatin silver print, edition 1/5; 15 x 15 inches (38.1 x 38.1 cm). Courtesy of the artist. © Tom Rankin.
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Dorothy Love Coates, âGet Away Jordan (I Want to Cross Over)â 1959, b/w âThese Are They,â Specialty - 816, Dorothy Love Coates, Warner Chappell Music
United Sacred Harp Musical Association, âThe Last Words of Copernicusâ 1959, The Alan Lomax Recordings, 1959 (2013), Mississippi/Change Records - MRP-02, Global Jukebox
The Swan Silvertones, âMary Donât You Weepâ 1959, The Swan Silvertones, Vee Jay Records - LP-5003
Mrs. Bertha Smith (lead) and The Moving Star Hall Singers of Johnâs Island, South Carolina, âLay Down Bodyâ 1960, Been in the Storm So Long (1967) , Folkways Records - FS 3842
Odetta, âAinât No Grave Can Hold My Body Downâ 1960, At Carnegie Hall, Vanguard - VRS 9076, Odetta
The Five Blind Boys of Mississippi, âLeaning on the Everlasting Armsâ 1960, Precious Memories, Peacock - PLP 102, Anthony J. Showalter and Elisha Hoffman; Composer Anthony J. Showalter
Mahalia Jackson, âTrouble of the Worldâ 1963, Gospels, Spirituals, and Hymns (1991), Columbia/Legacy - C2T 47083, Doris Akers
John Coltrane, âAlabamaâ 1964, Live at Birdland, Impulse! - AS-50 , John Coltrane, Jowcol Music
The Dixie Hummingbirds, âIâve Got So Much to Shout Aboutâ 1966, Gospel at Newport 1959/63-66 (1995), Vanguard - 77014, Walker, Universal /MCA Music Limited
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The Salem Travellers, âWade in the Waterâ 1966, b/w âYou Can Depend On Me,â Halo (6) â 17
Sister Gertrude Morgan, âLet Us Make a Recordâ 1970, Letâs Make a Record, True Believer â LB 1, Sister Gertrude Morgan, One K Music Co.
Dorothy Love Coates And The Original Gospel Harmonettes, âYou Better Runâ 1970, The Best Of Dorothy Love Coates And The Original Gospel Harmonettes Vol. 1, Specialty â SPS 2134, Dorothy Love Coates
Thomas A. Dorsey with R.H. Harris, âPeace in the Valleyâ 1973, Precious Lord: Recordings of the Great Gospel Songs of Thomas A. Dorsey, Columbia KG 32151, Thomas A Dorsey, Warner-Tamerlane Publishing Corp.
Rev. F.C. Barnes & Rev. Janice Brown, âRough Side of the Mountainâ 1984, Rough Side Of The Mountain, Gospel AIR Records & Tapes â AIR/CSR-10059, F. C. Barnes, Eternal Gold Music, MCA Music
Indian Bottom Association of Old Regular Baptists, âI Am Going to a Cityâ 1997, Songs Of The Old Regular Baptists: Lined-Out Hymnody From Southeastern Kentucky, Smithsonian Folkways Records - SF CD 40106, Jack And Elsie Osborn, and James C. Miller
Terry Allen, âSouthern Comfortâ 1999, Salivation, Sugar Hill Records (2) â SH-1061, Terry Allen, Green Shoes Publishing
Iron & Wine, âSodom, South Georgiaâ 2008, Our Endless Numbered Days, Sub Pop â SP 630, Iron & Wine, Sam Beam Music
Benjamin Booker, âHave You Seen My Son?â 2014, Benjamin Booker, ATO Records â ATO0246, Benjamin Roderick Evans, Benjamin Booker Music Publishing (SESAC)
WADE IN THE WATER: PRAYER & FAITH & THE WORLD TO COME
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THE LONG BLACK VEIL: GHOSTS & DEVILS As evidenced in the recently resurgent controversy over the Confederate battle flag, the South remains a region haunted by its history, a place slow to pull away from the clutches of the phantom past. The ways southerners encounter, embrace, and challenge historical facts and myths, as well as personal memories, are reflected both in topical songs and songs about literal ghosts and devils.
LEFT: Minnie Jones Evans, Untitled (Night with angel wings surrounded by eyes) (detail), 1963. Ink, wax crayon, oil pastel, and graphite on paper; 12 x 8.875 inches (30.48 x 22.54 cm). Collection of the Cameron Art Museum, Wilmington, North Carolina. Gift of William Banks Hinshaw, Jr.; 2013.14.3. © Estate of Minnie Jones Evans.
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Mickey Newbury, âAn American Trilogyâ 1971, Frisco Mabel Joy, Elektra - EKS-74107, Mickey Newbury, Sony/ATV Acuff Rose Music
The Charlie Daniels Band, âThe Devil Went Down to Georgiaâ 1979, b/w âRainbow Ride,â Epic - 8-50700, John Thomas Jr Crain, Charles Edward Daniels, William Joel Di Gregorio, Fred Laroy Edwards, Charles Fred Hayward, James W Marshall, Songs Of Universal Inc.
Don Grooms, âVitachucoâ 1981, Walk Proud My Son, YouâNi Records â YNI-001, Donald A. Grooms, Curly Maple America
Paul Simon, âGracelandâ 1986, Graceland, Warner Bros. Records â 1-25447, Paul Simon, Paul Simon Music
Marc Cohn, âWalking in Memphisâ 1991, b/w A2 - âDig Down Deep;â B1 - âWalking In Memphis;â B2 - âDig Down Deep,â Atlantic â 7 4-87747, Marc Cohn, Sony ATV Harmony
Palace Brothers, âLong Beforeâ 1993, There Is No-One What Will Take Care Of You, Drag City â DC34, Will J. Oldham, Royal Stable Music
THE LONG BLACK VEIL: GHOSTS & DEVILS
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Raury, âDevilâs Whisperâ 2015, All We Need, Columbia â 88875158691, Raury, Kobalt Music Publishing
Robbie Robertson & The Red Road Ensemble Featuring Ulali, âMahk Jchi (Heartbeat Drum Song)â 1994, â1. Mahk Jchi (Heartbeat Drum Song) Sweet Sioux Mix;â 2. âMahk Jchi (Heartbeat Drum Song) P.T.P. Mix;â 3. âIt Is A Good Day To Die;â 4. âDeneta,â Maxi-Single/Capitol RecordsâLC 0148, Carmen M. Caballero, Pura Fe Antonia Crescioni, Jennifer Elizabeth Kreisberg, Corn Beans & Squash
Caroline Herring, âMistressâ 2003, Wellspring, Blue Corn Music â BCM0302, Caroline Herring
Indigo Girls, âSalty Southâ 2009, Poseidon And The Bitter Bug, Vanguard â 79934-2, Emily Saliers, Amy Ray, Godhap Music
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TAKE THIS JOB & SHOVE IT: MORE THAN A PAYCHECK Like many Americans, southerners have often defined themselves in terms of their work, but in the South, labor conditions have sometimes been especially degrading and protections for workers notably lacking, particularly for the poor and people of color. In the New South, the way we work has changed (and generally improved) radically, but southerners continue to sing about how they earn a living and provide for their families. If the blues evolved from field hollers and bluegrass was fostered in textile mills, whatâs next?
LEFT: Diego Camposeco, Tabaco (Tobacco) (detail), from the series Diego Saves the World, 2015 (printed 2016). Inkjet print; 24.25 x 24.25 inches (61.6 x 61.6 cm). Courtesy of the artist. © Diego Camposeco.
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Bill Monroe and His Blue Grass Boys, âNew Mule Skinner Bluesâ 1950, b/w âUncle Pen/Blue Moon Of Kentucky, Pike County Breakdown,â Decca - ED 2353, Jimmie Rodgers, Horton Vaughn, APRS
Tennessee âErnieâ Ford, â16 Tonsâ 1955, 16 Tons, Capitol Reocrds - EAP 1-693, Merle Travis, Merle S. Girls Music, Unichappell Music Inc.
Otis Redding and The Pinetoppers, âShout Bamalamaâ 1960, b/w âFat Gal,â Orbit - 135, Otis Redding, EMI Unart Catalog Inc., Fort Knox Music Inc, Trio Music Company (BMI)
Bernice Reagon, âCotton Need a Pickinââ 1965, Folksongs: The South, Folkways Records - FA 2457
Merle Haggard and the Strangers, âWorkinâ Man Bluesâ 1965, b/w âSilver Wings,â Capitol Records - 2503, Merle Haggard, Sony/ ATV Tree Publishing
Lee Dorsey, âWorking in the Coal Mineâ 1966, b/w âMexico,â Amy - AMY 958, Allen Toussaint, Screen Gems-EMI Music Inc.
Mississippi Fred McDowell, âJohn Henryâ 1966, Long Way From Home, Milestone Records - MSP 93003, Mississippi Fred Mcdowell
Jerry Reed, âGuitar Manâ 1967, The Unbelievable Guitar and Voice of, RCA Victor - LSP-3756, Jerry Reed, Sixteen Stars Music
Jim Ford, âHarlan Countyâ 1969, Harlan County, White Whale - JHS 1002, Jim Ford, Jim Ford Music
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Loretta Lynn, âCoal Minerâs Daughterâ 1970, Coal Minerâs Daughter, Decca - DL 75253, Loretta Lynn, Sure Fire Music Company
Hazel Dickens and Alice Gerrard, âWorking Girl Bluesâ 1975, Hazel Dickens and Alice Gerrard, Rounder Records - 0054, Hazel J Dickens, Happy Valley Music
Johnny Paycheck, âTake This Job and Shove Itâ 1977, Take This Job And Shove It, Epic â KE 35045, David Allan Coe, Warner-Tamerlane Publishing Corp.
R.E.M., âDriver 8â 1985, b/w âCrazy,â I.R.S. Records â IRS-52678, William Thomas Berry, Peter Lawrence Buck, Michael E. Mills, John Michael Stipe, Night Garden Music
Superchunk, âSlack Motherfuckerâ 1990, Superchunk, Matador â OLE 004-1, Superchunk, All the Songs Sound the Same Music
HOT BOY$, âNeighborhood Superstar (featuring Big Tymers)â 1997, Get It How U Live!!, Cash Money Records â CMR-9614, Mannie Fresh Yellow Tape Music â CMR-9614, Noel Dorsey, Terius Gray, Bryon O. Thomas, Tab Virgil, Chopper City Music Publishing, Fresh Is The Word, Money Mack Music
Juvenile, âHaâ 1998, A1 âHa (Jay-Z Remix) (Dirty);â A2 âHa (Jay-Z Remix) (Clean);â A3 âHa (Hot Boys Remix) (Dirty);â A4 âHa (Hot Boys Remix) (Clean);â B1 âHa (Dirty) ;â B2 âHa (Clean);â B3 âHa (Instrumental);â Cash Money Records â U12 56234, Teruis Gray, Bryon O. Thomas, Fresh Is The Word, Money Mack Music
Hoss Cartwright, âSheetrock Hall of Fameâ 2005
TAKE THIS JOB & SHOVE IT: MORE THAN A PAYCHECK
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HONKY TONK BLUES: WORK HARD, PLAY HARD When quitting time comes, the juke joint, honky-tonk, club, house party, or porch await. The celebratory and corporeal dimensions of music indigenous to the Southâthe ways it makes us moveâhave been integral to its international appeal and influence, from honky-tonk to swamp pop, soul, funk, hip-hop, and beyond.
RIGHT: Barkley L. Hendricks, Down Home Taste (detail), 1971. Oil and acrylic on linen; 48 x 48 inches (121.92 x 121.92 cm). Courtesy of the Office of the Dean of Students, Cornell University, Ithaca, New York. Gift of Michael Straight to the Willard Straight Hall Collection. Image courtesy of the artist and Jack Shainman Gallery, New York, New York. © Barkley Hendricks.
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The B-52âs, âLove Shackâ 1989, Cosmic Thing, Reprise, The B-52âs, Rondor Music (London)
Hank Williams, âHonky Tonk Bluesâ 1952, b/w âIâm Sorry for You, My Friend,â MGM - 11160, Hank Williams, Sony/ ATV Acuff Rose Music
Professor Longhair, âGo to The Mardi Grasâ 1959 (original recording, 1949), b/w âEveryday, Everynight,â Ron - 329 , R. Byrd And T. Terry, Professor Longhair Music
Bobby Lee Trammell, âArkansas Twistâ 1962, b/w âItâs All Your Fault,â Alley - 1001, Bobby Lee Trammell, Fear Publishing
Randy and the Rockets, âLetâs Do the Cajun Twistâ 1962, b/w âRocketsâ Twist,â Jin Records - 45-161, Dennis Norris, Lester Bourque, Rocrob Publishing Co., Su-Ma Publishing Co.
The Dixie Cups, âIko Ikoâ 1964, b/w âGee Baby Gee,â Red Bird - RB 10-024, James Crawford, Barbara Hawkins, Rosa Hawkins & Joan Johnson, ARC Music, EMI Longitude Music, Trio Music Company
Little Bob, âI Got Loadedâ 1965, b/w âNobody But You,â La Louisianne Records - LL-8067, Little Bob, La Lou Music
Robert Parker, âBarefootinââ 1966, b/w âLetâs Go Baby (Where The Action Is),â Nola Records - 721 Robert Parker, Bonatemp Music Publishing Co. Inc.
HONKY TONK BLUES: WORK HARD, PLAY HARD
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James Luther Dickinson, âDixie Friedâ 1972, Dixie Fried, Atlantic - SD 8299, Carl Perkins And Howard âCurleyâ Griffin, Carl Perkins Music Inc., Hi-Lo Music Inc., Wren Music Co.
Clifton Chenier, âBon Ton Rouletâ 1973, Bon Ton Roulet!, Arhoolie Records - F1031, Clifton Chenier, Flat Town Music Company, Tradition Music Co.
The Meters, âFire On The Bayouâ 1975, Fire On The Bayou, Reprise - MS 2228, Joseph Modeliste, Arthur L Jr Neville, Cyril Garrett Neville, Leo Nocentelli, George Joseph Jr Porter, BMG Bumblebee, Bugaloo Music
James Booker, âJunco Partnerâ 1976, Junco Partner, Island Records - Help 26, Robert A Shad, BMI, Molique Music, ASCAP, W. B. Music Corp.
Miami Sound Machine, âConga (Dance Mix)â 1985, b/w âCongaâ (Instrumental), Epic â 49-05253, Enrique Kiki Garcia, Foreign Imported Productions And Publishing Inc.
OutKast, âRosa Parksâ 1998, A1 âRosa Parks (Radio Version),â A2 âRosa Parks (Instrumental),â B1 âRosa Parks (Main Version),â B2 âRosa Parks (Acappella),â LaFace Records â LFDP-4349, Andre Benjamin, Antwan Patton, BMG Monarch, Gnat Booty Music
Big Freedia, âBooty-Whopâ 2012, Booty-Whop, Beat Exchange, Thomas Mcelroy, Adam Pigott, Freddie Ross, Girl Down, Songs of Kobalt Music Publishing
Missy Elliott, âGet Ur Freak Onâ 2001, Miss E⊠So Addictive, Elektra â 7559-62673-2, Melissa Elliott, Tim Mosley, Sony/ATV Songs LLC.
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SOUL FOOD: BACON FAT & BEAUTIFUL BISCUITS Southern culinary culture has transformed what were once simple staples of working-class tables into a global gourmet cuisine. Next to music, food is arguably the other most influential dimension of southern expressive culture, and when you mix the two, the result is irresistible.
LEFT: Jerstin Crosby and Bill Thelen, Biscuit King (detail), 2007. Mixed media; 13.75 x 34.25 x 36 inches (34.93 x 87 x 91.44 cm). Courtesy of the artists. Image courtesy of the Nasher Museum of Art at Duke University, Durham, North Carolina. © Jerstin Crosby and Bill Thelen. Photo by Peter Paul Geoffrion.
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Andre Williams (Mr. Rhythm) with His New Group, âBacon Fatâ 1956, b/w âJust Because of a Kiss,â Epic - 5-9196, Andre Williams, EMI Longitude Music, June Sixteen Music Company, Trianon Publications
George Jones, âWhite Lightningâ 1959, b/w âLong Time to Forget,â Mercury - 71406X45, J.P. Richardson, Fort Knox Music Inc., Glad Music Publishing & Recording LP, Pappy Daily Music LP, Trio Music, Company
Karen Dalton, âSkillet Good and Greasyâ 1962, Green and Rocky Road (2008), Megaphone Music - CDMEGA18, Traditional
Roger Miller, âChug-a-Lugâ 1964, b/w âReincarnation,â Smash Records - S-1926, Roger Miller, Sony/ATV Tree Publishing
Rufus Thomas, âGreasy Spoonâ 1967, b/w âSophisticated Sissy,â Stax - S-221, Rufus Thomas, Irving Music Inc.
Tony Joe White, âPolk Salad Annieâ 1968, Black and White, Monument - SLP 18114, Tony Joe White, Combine Music Corp.
James Brown, âMake it Funky,â parts 1 and 2 1971, Make it Funky, parts 1 and 2, Polydor - PD 2-14088, Charles A Bobbit, James Brown, Dynatone Publishing Co.
Guy Clark, âHome Grown Tomatoesâ 1983, Better Days, Warner Bros. Records â 9 23880-1, Guy Clark, EMI April Music Inc., Gsc Music
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Dan Penn, âMemphis Women and Chickenâ 1994, Do Right Man, Sire â 9455192, Donnie Fritts, Gary Nicholson, Dan Penn, Dan Penn Music, Sony/ ATV Tree Publishing
Cat Power, âMoonshinerâ 1999, Moon Pix, Matador â OLE 286-1, Cat Power, Doorman Music
Goodie Mob, âSoul Foodâ 2007, Soul Food (Album Version), âSoul Food (Crazyhouse Remix Radio Edit),â âSoul Food (Crazyhouse Remix),â âSoul Food (Live Remix),â âGoodie Bag (Album Version),â âSoul Food (Crazyhouse Remix Instrumental),â LaFace Records â 73008-24153-2, Robert Barnett, Brandon Bennett, Marc Benno, Bill Boatman, Thomas Burton, Cameron Gipp, Willie Knighton, Pigmeat Markham, Leon Russell, Organized Noize, Brown Branches and Green Bottles Music, God Given Music, Hitco Music, Mutant Mindframe Music, Organized Noize Music, T MO 2 Music, EMI April Music Inc.
Carolina Chocolate Drops, âCornbread & Butterbeansâ (Traditional) 2010, Genuine Negro Jig, Nonesuch, Traditional, arranged by Carolina Chocolate Drops
Hiss Golden Messenger, âCheerwine Easterâ 2013, Haw, Paradise Of Bachelors â PoB-06, M.C. Taylor, M.C. Taylor/Prophecy Connection
SOUL FOOD: BACON FAT & BEAUTIFUL BISCUITS
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THE DARK END OF THE STREET: LOVE & HEARTBREAKThe great subject of vernacular American music has always been, and likely always will be, love; given southern musicâs inestimable influence on American music, itâs only natural that love songs and local cultures collide in fascinating ways. Southern musicians who have grown up with the blues and country music have been particularly adept at portraying the painful contours of heartache and loss in every possible hue, but just as compelling are the lyrical reflections on enduring romance and familial affection, the ties that bind.
RIGHT: Kerry James Marshall, Black Goddess of the Silver Screen (detail), 1991. Acrylic and collage on canvas; 27 x 27 inches (68.58 x 68.58 cm). Collection of Alison and Alan Schwartz. Image courtesy of the artist and Jack Shainman Gallery, New York, New York. © Kerry James Marshall.
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Patti Page, âThe Tennessee Waltzâ 1950, b/w âLong, Long Ago,â Mercury - 5534, Redd Stewart, Sony/ ATV Acuff Rose Music
Bo Diddley, âPretty Thingâ 1955, b/w âBring It to Jerome,â Checker - 827, Willie Dixon, Hoochie Coochie Music
Jerry Lee Lewis and His Pumping Piano, âGreat Balls of Fireâ 1957, b/W âYou Win Again,â Sun Record Co. - 281, Otis Blackwell And Jack Hammer, Mijac Music, Unichappell Music Inc.
Freddy Fender, âWasted Days and Wasted Nightsâ 1959, b/w âSan Antonio Rock,â Duncan - 45-1001, Wayne Duncan, Freddy Fender And Huey Meaux, EMI Unart Catalog Inc.
Doc Watson, âTrain That Carried My Girl from Townâ 1963, Old Time Music At Newport (Recorded Live At The Newport Folk Festival 1963), Vanguard - VRS9147, Doc Watson, Hillgreen Music
Dock Boggs, âDanville Girlâ (original recording, 1927) 1964, His Folkways Years 1963-1968, Smithsonian Folkways - SF CD 40108, Dock Boggs
Boozoo Chavis, âL.A. Women Love Uncle Budâ 1965, b/w âDeacon Jones,â Kom-a-Day Records - 45-304, Boozoo Chavis, Flat Town Music Company
Thirteenth Floor Elevators, âYouâre Gonna Miss Meâ 1966, b/w âTried to Hide,â Contact Records - 5269, Roky Erickson
James Carr, âThe Dark End of the Streetâ 1967, b/w âLovable Girl,â Goldwax Records - 317, Chips Moman, Dan Penn, Screen Gems-EMI Music Inc.
Aretha Franklin, âDo Right Woman, Do Right Manâ 1967, I Never Loved a Man the Way I Love You, Atlantic - 8139, Chips Moman, Dan Penn, Screen Gems-EMI Music Inc.
THE DARK END OF THE STREET: LOVE & HEARTBREAK
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The Rolling Stones, âCountry Honkâ 1969, Let It Bleed, Decca - LK 5025, Michael Phillip Jagger, Keith Rochards, ABKCO Music Inc.
Crystal Gayle, âM.R.S. Degreeâ 1971, b/w âEverybody Oughta Cry,â Decca - 32925, Ann J. Morton, Lavon Lile, King Coal Music Inc., Universal Polygram International Publishing Inc.
Bill Withers, âGrandmaâs Handsâ 1971, b/w âSweet Wanomi,â Sussex - SUX 227, Bill Withers, Interior Music Corp.
New Riders of the Purple Sage, âLouisiana Ladyâ 1971, b/w âLast Lonely Eagle,â Columbia - 4-45469, John C Dawson, Fry King Publishing Company
Van Morrison, âTupelo Honeyâ 1971, Tupelo Honey, Warner Brothers Records - WS 1950, Van Morrison, Caledonia Productions Inc (Caledonia Soul Music Div.), W. B. Music Corp.
Big Star, âThirteenâ 1972, #1 Record, Ardent Records - ADS-2803, Christopher Bell, William Alexander Chilton, Almo Music Corporation, Koala Music
Townes Van Zandt, âGreensboro Womanâ 1972, High, Low and In Between, Poppy - PYS 5700, Townes Van Zandt, JTVZ Music, Katie Bell Music, Will Van Zandt Publishing
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Little Feat, âDixie Chickenâ 1973, Dixie Chicken, Warner Brothers Records - BS 2686, Lowell T. George, Martin Fyodor Kibbee, Naked Snake Music
David Allan Coe, âYou Never Even Called Me by My Nameâ 1975, b/w âWould You Lay With Me (In A Field Of Stone),â Columbia - 3-10159, Steve Goodman, John Prine, Jurisdad Music
Gary Stewart, âDragginâ Shacklesâ 1975, b/w âOut Of Hand,â RCA Victor - PB-10061, Gary Ronnie Stewart, Nat Stuckey, Monkhouse Music
Alex Chilton, âNo More the Moon Shines Down on Lorenaâ 1979, Like Flies On Sherbert, Peabody â P-104, A. P. Carter
Lonnie Holley, âMamaâs Little Babyâ 2013, Just Before Music, Dust-to-Digital â DTD-26, Lonnie Holley
Irma Thomas, âTime Is on My Sideâ 1964, b/w âAnyone Who Knows What Love Is (Will Understand),â Imperial - 66041, Norman Meade
Ted Hawkins, âThe Lost Onesâ 1982, Watch Your Step, Rounder Records â 2024, Theodore Hawkins, Jr., Ted Hawkins Music
THE DARK END OF THE STREET: LOVE & HEARTBREAK
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Roy C, âSaved by the Bell (Infidelity, Georgia)â 1989, Rock Me All Night, 3 Gems 000-107, Composed By Roy C., Johnson and Hammond Music
Lambchop, âNashville Parentâ 2000, Nixon, Merge Records â MRG175CD, Kurt F. Wagner, Pathetic Hindsight Music
Silver Jews, âTennesseeâ 2001, Drag City â DC216CD, David Berman, Civil Jar Music
Bonnie Prince Billy, âI Donât Belong to Anyoneâ 2009, Beware, Drag City - DC66, Will Oldham aka Bonnie Prince Billy, Royal Stable Music
Alabama Shakes, âHeartbreakerâ 2012, Boys & Girls, ATO Records â ATO0142, Brittany Howard, Universal Music Publishing Group
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WHEN THE LEVEE BREAKS: HEAT, HUMIDITY, & HUMANITYWe describe the South largely, though not entirely, in terms of geography (changes in latitude do seem to catalyze changes in attitude); the regionâs distinctive character encompasses a range of landscapes, topographies, ecologies, and climactic balms and threats. Southern music treats nature both metaphorically and literally to evoke the landscapeâs lushness and diversityâfrom piedmont hills to palmettos, mountains to cypress swampsâqualities that the historian W. J. Cash deemed a âsort of cosmic conspiracy against reality in favor of romance.â
RIGHT: Walter Inglis Anderson, Father Mississippi (detail), 1953. Watercolor on paper, 8.5 x 11 inches (21.59 x 27.94 cm). Courtesy of the Family of Walter Inglis Anderson. © Walter Inglis Anderson. Photo by Peter Paul Geoffrion.
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Elvis Presley, âBlue Moon of Kentuckyâ 1954, b/w âThatâs All Right,â Sun Record Co. - 209, Bill Monroe, APRS, Bill Monroe Music
Ella Fitzgerald & Louis Armstrong, âStars Fell on Alabamaâ 1956, Ella and Louis, Verve Records - MG V-4003, Mitchell Parish, EMI Mills Music Inc.
Johnny Cash, âFive Feet High and Risingâ 1960, b/w âDonât Take Your Guns To Town,â Columbia 3-33006, Johnny Cash, Song Of Cash Music, Anne Rachel Music, Corp.
Jimmy C. Newman, âAlligator Manâ 1961, b/w âGive Me Heaven,â Decca - 31324, Jimmy C. Newman, Floyd T. Chance, Southern Arts Music
Creedence Clearwater Revival, âBorn on the Bayouâ 1969, Bayou Country, Fantasy - 8387, John Cameron Fogerty, Jondora Music
Steve Young, âSeven Bridges Roadâ 1969, b/w âIâm a One Woman Man,â A&M Records - 1083, Steve Young, Irving Music
Brook Benton, âRainy Night In Georgiaâ 1969, b/w âWhere Do I Go from Here?,â Cotillion - 44057, Tony Joe White, Combine Music Corp.
Led Zeppelin, âWhen the Levee Breaksâ 1971, IV, Atlantic - 2401012, Kansas Joe Mccoy, Memphis Minnie Aka Minnie Lawlers, Superhype Publ. Inc.
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Ann Peebles, âI Canât Stand The Rainâ 1973, b/w âIâve Been There Before,â Hi Records - 45-2248, Donald Maurice Bryant, Bernard âBernieâ Miller, Ann Peebles Irving Music Inc.
Doobie Brothers, âBlack Waterâ 1974, b/w âSong To See You Through,â Warner Brothers Records - WBS 8062, Patrick Simmons, Lansdowne Music Publishers, W. B. Music Corp.
Emmylou Harris, âEvangelineâ 1981, Evangeline, Warner Bros. Records â WB 56 880, Robbie Robertson, Medicine Hat Music (ASCAP)
Ry Cooder, âTheme from the motion picture âSouthern Comfortââ 1981, Southern Comfort, âFilm production company: Cinema Group Ventures, Phoenix (II); distributed by 20th Century Fox. Music later released in 1995 on Ry Cooderâs âMusic by Ry Cooder,â released by Warner Bros. Records (9 45987-2), Composed By Ry Cooder
Jim Roche, âPower Polesâ 1982, Learning to Count, Hard Line Productions, Jim Roche
The Black Lips, âO Katrina!â 2007, Good Bad Not Evil, Vice Records â 80001, Cole Alexander, Jared Swilley, Ian Saint Pe, Joe Bradley
WHEN THE LEVEE BREAKS: HEAT, HUMIDITY, & HUMANITY
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SOUTHERN ACCENTS: FRAMES & MIRRORSDespite facile caricatures in popular culture, southern identity has never been a monolith. As the region continues to undergo demographic revolutions, âsouthernnessâ becomes increasingly complex and difficult to define. Southern musicians have long battled stereotypes, and there exists a loose lineage of songs that project, reflect, and reframe internal and external gazes as a way to define what it means to be southern, and how multiple identities and ways of being coexist in both harmony and dissonance.
LEFT: George Jenne, Spooky Understands, 2013. Video (color, sound); 21:27 minutes. Courtesy of the artist. © 2013 George Jenne.
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Randy Howard, âAll-American Redneckâ 1983, All-American Redneck, Warner Bros. Records â 1-23820, Randy Howard, Universal Music- MGB Songs
Tom Petty & The Heartbreakers, âSouthern Accentsâ 1985, Southern Accents, MCA Records â MCA 5486, Tom Petty, Gone Gator Music
Chief Jim Billie, âSawgrass Flowerâ 1989, Seminole Man, VIP (7) â VIP-89308C
Flat Duo Jets, âFrog Went A Courtinââ 1991, Go Go Harlem Baby, Sky Records (7) â 7-5031-1, Arranged By Flat Duo Jets
Archers of Loaf, âPlumblineâ 1993, Icky Mettle, Alias â A-049, Eric Emil Bachmann, Matthew Peter Gentling, William Eric Johnson, Mark Andrew Price, Arra Music
Southern Culture On The Skids, âWhite Trashâ 1995, b/w B1 - BSA441 B2- âTwo Pigs In A Blanket.â One Louder â LOUD14, Southern Culture On The Skids, Geffen Records, Inc.
Pavement, âUnseen Power Of The Picket Fenceâ 1997, b/w âShady Lane,â Domino UK - RUG 53, Pavement (Scott Kannberg And Stephen Joseph Malkmus), Treble Kicker Publishing
Roxy Gordon, âIndiansâ 1997, Smaller Circles, Roxy Gordon, Wes Mc Ghee, BMG Bumblebee
SOUTHERN ACCENTS: FRAMES & MIRRORS
We wish to thank our colleagues for their recommendations and guidance in building the Southern Accent Music Library. They include J Caldwell, Jenna Poczik, Jefferson Currie, Molly Yarbrough Davis, Alexa Dilworth, Jake Xerxes Fussell, David Haynes, Beth Hinton, Mac McCaughan, Jay Myers, Nathan Salsburg, Tom Shaw, Laura Dossinger Slawter, and Christopher Smith.
speedmuseum.org/exhibitions
nasher.duke.edu/southern
FRONT COVER: William Cordova, Silent Parade . . . or The Soul Rebels Band vs. Robert E. Lee, 2014. Video (color, sound); 9:54 minutes. Courtesy of the artist and Sikkema Jenkins & Co., New York, New York. © William Cordova. Photo by Michiko Kurisu.
BACK COVER: Skylar Fein, Black Flag (For Elizabethâs) (detail), 2008. Wood, plaster, and acrylic; 43.5 x 72 x 1.25 inches (110.5 x 183 x 3.2 cm). Collection of Dathel and Tommy Coleman. Image courtesy of the artist and Jonathan Ferrara Gallery, New Orleans, Louisiana. © Skylar Fein.
Southern Accent is on view April 30 âOctober 14, 2017.This exhibition is co-organized by Miranda Lash, Curator of Contemporary Art at the Speed Art Museum in Louisville, Kentucky and Trevor Schoonmaker, Chief Curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art at the Nasher Museum of Art at Duke University. The exhibition is accompanied by a full-color catalogue with scholarly essays. Southern Accent was on view at the Nasher Museum of Art at Duke University September 1, 2016âJanuary 8, 2017.
Southern Accent: Seeking the American South in Contemporary Art is supported by The Andy Warhol Foundation for the Visual Arts William R. Kenan, Jr. Charitable Trust A. Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Colin and Woo Speed McNaughton
Support for the Speed Art Museumâs exhibition season is provided by
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SOUTHERN ACCENTSeeking the American South in Contemporary Art