Garrett Cash on the blues piano player who put the brush arbor back into the Black church - and became the father of gospel music.

Barry Mazor on the record man who found the audience first and the music second - from "Crazy Blues" to Bristol to "Besame Mucho."

James Porter on what Ken Burns got right about Bristol, and the hillbilly stars he left on the cutting-room floor.

Ed Ward on the fortnight in Bristol that didn't invent country music - it invented the country music business.

Dave Thompson on what happened when 500-year-old British ballads met Ralph Peer's newspaper advert, a swing band, and the House Un-American Activities Committee.

Elijah Wald on why white America named Paul Whiteman “The King of Jazz” and considered him its most innovative artist, and on what happened to his reputation after.

Michael Corcoran went looking for the Texas musicians nobody had written about, and found three gospel pioneers who started things everyone else finished.

Author Ted Anthony on the story of one song: "House of the Rising Sun"

Robert W. Harwood dived deep and debunked the long-accepted provenance of “St. James Infirmary” and proved its sources came from some very unexpected quarters.

An interview with Bob Stanley author of “⁠Let’s Do It: The Birth of Pop Music, A History⁠”

Biographer James Kaplan on the man whose gift for song dominated 50 years of the 20th Century

The two people who essentially invented gospel composition as a published, professional craft

Buddy Bolden, Jellyroll Morton and others combined brass bands with ragtime, blues, the NOLA second line and more..

The Protobilly CD collection illustrates the direct lineage of 1890s Vaudeville and minstrelsy in 1920s American country music.

The moment when African-American music strove for maximum respectability and approval from White folk —- and they got it too. Nashville’s Fisk Jubilee Singers were a sensation in Europe and were summoned to meet Queen Victoria.