In the early 1970s photographer and documentary filmmaker Michael Ford left graduate school and a college teaching position in Boston, Massachusetts, packed his young family into a van, and headed to rural Mississippi, where he spent the next four years recording everyday life through interviews, still photographs, and film. The project took him to Oxford (in Lafayette County), as well as to Marshall, Panola, and Tate Counties, a remote area north of Sardis Lake. His efforts resulted in the award-winning documentary film Homeplace (1975), but none of the still photographs from this time were ever published. With this illustrated volume, those photographs are now available and offer a valuable window onto the rural, local culture of northern Mississippi at that time. These moving photographs illustrate Ford's experiences as an apprentice to blacksmith Marion Randolph Hall, his visits to Hal Waldrip's General Store in Chulahoma, a day spent with AG Newsom and his crew making molasses, and Othar Turner's barbecues accompanied by traditional African American fife-and-drum music. They also capture the evocative landscape of the Mississippi hill country and the everyday lives of its residents. In 2013 Ford returned to his adopted homeplace, camera in hand, only to find that most everything had changed--or was gone. This photo essay project juxtaposes the rural Mississippi of the 1970s and the mid-2010s with Ford's personal reflections drawn from his journals, interviews, and archival notes.

In the early 1970s photographer and documentary filmmaker Michael Ford left graduate school and a college teaching position in Boston, Massachusetts, packed his young family into a van, and headed to rural Mississippi, where he spent the next four years recording everyday life through interviews, still photographs, and film. The project took him to Oxford (in Lafayette County), as well as to Marshall, Panola, and Tate Counties, a remote area north of Sardis Lake. His efforts resulted in the award-winning documentary film Homeplace (1975), but none of the still photographs from this time were ever published. With this illustrated volume, those photographs are now available and offer a valuable window onto the rural, local culture of northern Mississippi at that time. These moving photographs illustrate Ford’s experiences as an apprentice to blacksmith Marion Randolph Hall, his visits to Hal Waldrip's General Store in Chulahoma, a day spent with AG Newsom and his crew making molasses, and Othar Turner's barbecues accompanied by traditional African American fife-and-drum music. They also capture the evocative landscape of the Mississippi hill country and the everyday lives of its residents. In 2013 Ford returned to his adopted homeplace, camera in hand, only to find that most everything had changed—or was gone. This photo essay project juxtaposes the rural Mississippi of the 1970s and the mid-2010s with Ford’s personal reflections drawn from his journals, interviews, and archival notes.

Foreword / by James C. Giesen -- Introduction : a more rural metropolitan history -- Clearing the backwoods -- Cultivating the fringe -- Damming the hinterlands -- Settling the forest -- Enshrining the countryside -- Conclusion : a tale of two villages.

Following the Drums: African American Fife and Drum Music in Tennessee is an epic history of a little-known African American instrumental music form. John M. Shaw follows the music from its roots in West Africa and early American militia drumming to its prominence in African American communities during the time of Reconstruction, both as a rallying tool for political militancy and a community music for funerals, picnics, parades, and dances. Carefully documenting the music's early uses for commercial advertising and sports promotion, Shaw follows the strands of the music through the nadir of African American history during post-Reconstruction up to the form's rediscovery by musicologists and music researchers during the blues and folk revival of the late 1960s and early 1970s. Although these researchers documented the music, and there were a handful of public performances of the music at festivals, the story has a sad conclusion. Fife and drum music ultimately died out in Tennessee during the early 1980s. Newspaper articles from the period and interviews with music researchers and participants reawaken this lost expression, and specific band leaders receive the spotlight they so long deserved. Following the Drums is a journey through African American history and Tennessee history, with a fascinating form of music powering the story.

At once upholding and refuting the South's conservative image, The Countercultural South explores the politically divergent cultures of resistance created by poor white and working-class black southern men. With humor and insight, Jack Temple Kirby traces these racially and politically opposed cultures back to the antebellum encounter between the anti-capitalistic South and the capitalist individualism identified with the North. In a wide-ranging discussion encompassing the blues, sharecropping, and contemporary black intellectuals, Kirby shows how the needful practice of black labor bargaining in the South resulted in a progressive black tradition of verbal negotiation. The conservative separatism and retro-resistance of rural whites, Kirby argues, is embedded in an inherited and adversarial frontier ethos valuing self-sufficiency and access to wilderness. With the southern landscape imaginatively as well as factually linked to social class, crime--particularly forest arson--becomes the most important form of southern white countercultural expression. Kirby continues his look at white resistance in a review of "redneck" discourse, examining the public reputation of southern whites through a range of cultural phenomena, from literature to country music to the computer network known as BUBBA-L. Original, personal, and artfully written, The Countercultural South offers fresh reflections on southern exceptionalism in American political life and culture.

Beyond the Mountains explores the ways in which Appalachia often served as a laboratory for the exploration and practice of American conceptions of nature. The region operated alternately as frontier, wilderness, rural hinterland, region of subsistence agriculture, bastion of yeoman farmers, and place to experiment with modernization. In these various takes on the southern mountains, scattered across time and space, both mountain residents and outsiders consistently believed that the region's environment made Appalachia distinctive, for better or worse. With chapters dedicated to microhistories focused on particular commodities, Drew A. Swanson builds upon recent Appalachian studies scholarship, emphasizing the diversity of a region so long considered a homogenous backwater. While Appalachia has a recognizable and real coherence rooted in folkways, agriculture, and politics (among other things), it is also a region of varied environments, people, and histories. These discrete stories are, however, linked through the power of conceptualizing nature and work together to reveal the ways in which ideas and uses of nature often created a sense of identity in Appalachia. Delving into the environmental history of the region reveals that Appalachian environments, rather than separating the mountains from the broader world, often served to connect the region to outside places.