1. Front Porch
  2. Marcie Cohen Ferris
  3. pp. 1-5
  4. DOI: 10.1353/scu.2018.0028
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  1. What I Learned from Gay Country, Communist Disco, and a Choctaw Poet’s Sermon on Immigration
  2. Brendan Greaves
  3. pp. 6-29
  4. DOI: 10.1353/scu.2018.0029
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  1. Jackie ShaneIt’s Just, “Yes Ma’am, No Ma’am”
  2. Douglas Mcgowan
  3. pp. 30-44
  4. DOI: 10.1353/scu.2018.0030
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  1. Nostalgic for UtopiaAnne Romaine’s Folk Music Protest in the New Left South
  2. Joseph M. Thompson
  3. pp. 45-61
  4. DOI: 10.1353/scu.2018.0031
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  1. “Sing It So Loudly”The Long History of “Birmingham Sunday”
  2. Julia Cox
  3. pp. 62-75
  4. DOI: 10.1353/scu.2018.0032
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  1. Soliloquy of ChaosOrnette Coleman in Copenhagen, 1965
  2. William Pym
  3. pp. 76-82
  4. DOI: 10.1353/scu.2018.0033
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  1. Down in the HoleOutlaw Country and Outlaw Culture
  2. Max Fraser
  3. pp. 83-100
  4. DOI: 10.1353/scu.2018.0034
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  1. “What Music Does”Si Kahn, In His Own Words
  2. pp. 101-106
  3. DOI: 10.1353/scu.2018.0035
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  1. Sound PoliticsThe Air Horn Orchestra Blasts HB2
  2. Tina Haver Currin
  3. pp. 107-124
  4. DOI: 10.1353/scu.2018.0036
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  1. Beyond Latin NightLatinx Musicians and the Politics of Music in Charlotte
  2. Samuel K. Byrd
  3. pp. 125-143
  4. DOI: 10.1353/scu.2018.0037
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  1. Soul ClapRhythm and Resilience in Afro-Carolina Landscapes
  2. Michelle Lanier
  3. pp. 144-159
  4. DOI: 10.1353/scu.2018.0038
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  1. The Rime of Nina Simone
  2. Tiana Clark
  3. pp. 160-164
  4. DOI: 10.1353/scu.2018.0039
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  1. They’ll Never Keep Us DownSongs of Protest, 1913–2018
  2. Aaron Smithers
  3. pp. 165-167
  4. DOI: 10.1353/scu.2018.0040
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  1. Contributors
  2. p. 168
  3. DOI: 10.1353/scu.2018.0041
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