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The author of The Holy or the Broken and former editor-in-chief of Vibe reexamines Fleetwood Mac’s iconic album Rumours—its story, its mythology, and its enduring impact.

Alan Light: Don't Stop

Don't Stop

Why We (Still) Love Fleetwood Mac's Rumours

Black Music, Racism and Criminal Injustice

Policing the Beats

California Studies in Music, Sound, and Media

Negotiating Musical Creativity in a Technological Age

Automatic Artistry

Walking In The Footsteps Of David

BOWIELAND

A prevailing narrative goes: Bob Dylan, the voice of Sixties counterculture, disappeared in the 1970s, then released arguably the worst music of his career in the 1980s-only to be resurrected in 2016, when he was awarded the Nobel Prize in Literature. Dylan's concerts once began with an announcer intoning a deadpan version of just such a narrative. That is not this story. 
 
Drawing on thousands of pages of archival materials, After the Flood reveals Dylan's output during the last three decades as his most ambitious yet. Across an abecedarium of chapters surveying his albums, performances, films, and books since the early 1990s, celebrated poet and biographer Robert Polito shows how Dylan evolved a late musical style that has embodied and resisted its era-interweaving Ovid and Americana, film noir and the Civil War. Imaginatively researched, After the Flood is both an essential revision and continuation of the Dylan saga.

Inside Bob Dylan's Memory Palace

After the Flood

A Theoretical and Practical Guide

The Classical and Early Romantic Flute

Popular Musics Matter: Social, Political and Cultural Interventions

Subjectivity, Emotions, and Authenticity in Bhawaiya Folk Songs of North Bengal

Songs of Desire and Defiance

How We Can Harness Its Therapeutic Power

Music as Medicine

A History of Black People and Alternative Music

We Were Here

The 1960s marked the dawning of a new era - and nowhere was this more manifest than in black America. Social shifts and artistic attitudes fuelled by flower power, as well as opportunities afforded by the economic boom, saw black Americans make astonishing gains, paving the way for a reimagining of modern culture. By the 1970s, new wealth, higher aspirations and a visible black middle class had begun to reshape the arts, most noticeably the music scene. The seeds of a new music were sown, and Funk flourished in the new, fertile cultural climate. A vocal celebration and embracing of blackness, it became the soundtrack that drove and illuminated the social and artistic revolution. As its audience moved on up Funk relocated mainstream black music from the ghetto to suburbia. But its roots were never forgotten. Nobody ever doubted that this was a self-sustaining and self-defining black music - an awareness that enabled Funk to keep on developing its own rhythms. Soul's passion, jazz's adventure and the discipline of R&amp;B came together with a confidence, financial basis and sense of purpose to produce some of the best and biggest black music, from James Brown to Curtis Mayfield. An intimate portrait of a defining sound, Funk Is Its Own Reward draws on contributions from a cast of musicians and producers, writers and directors, designers and executives, including George Clinton, Bootsy and Stevie Wonder, to weave together a rich social and cultural history. Astute and thoughtful, Lloyd Bradley examines Funk's significant contribution to and influence on modern culture - and the America that helped it thrive.

From 1968 to 1978; from 'Say It Loud - I'm Black and I'm Proud' to Off The Wall; from the Third Harlem Cultural Festival to the P-Funk Earth Tour: Funk Is Its Own Reward plots the journey of an African American cultural movement that was always about far more than simply music. With roots in the poetry, art, theatre, intellectualism and jazz of the celebrated 1960s Black Arts Movement, and made possible by the shifts in thinking brought about by the Black Panthers, the rise of HBSUs and black political involvement, funk was the Second Great Black Renaissance. Funk Is Its Own Reward makes the connections between the literature, films, television, black arts collectives, theatre groups and media and analyses how they fed into a cultural wave that made a music confident enough to embrace the likes of Barry White, Bill Withers, 24 Carat Black, Bootsy, Mandrill, the O'Jays, the Fatback Band, Miles Davis, and the Brides of Funkenstein not just possible but inevitable. It looks at how, once African American popular music reconnected with and fully expressed the culture that created it, it had to freedom to express itself in any way it saw fit and still be funky. The music gave itself to the scope to be acoustic, to be vocal harmony, to be brassy, to make social comment, to be orchestral, to be headed for the bedroom, to be all about the rhythm, to be electronic . . . and still be funky. It was never about where a piece of music hoped to end up, but where, to coin a phrase, it be coming from. By putting the music firmly in the context of the movement, Funk Is Its Own Reward drags a vibrant art from out from under the notion it only existed to help white people dance, and shines a light on the skill, experimentation, sense of community, humour, formal training, black pride, self-celebration and intellectual and musical freedoms that went into it. In doing so, it uncovers the importance of black radio, how the wah-wah pedal was a happy accident, Motown's corporate role in the Dawn of Funk, why jazz not R&amp;B is funk's nearest living relative, how life in a hippie commune changed George Clinton, why Sesame Street was the funkiest programme on television, what blaxploitation actually meant to its intended audience, why Kool &amp; the Gang stand apart from the pack, the immediate connection of James brown's record to his audience, what was in Barry White's mother's record collection, how the self-contained band changed everything and where Maurice White first brushed up against the cosmic pyramid. Joining author Lloyd Bradley on Funk Is Its Own Reward's epic journey are a host of I-was-there contributors including Fatback Band's Bill Curtis, Bootsy Collins, Maurice White, Lynn Mabry of the Brides of Funkenstein, Larry Mizell, Isaac Hayes, Larry Graham, Melvin Van Peebles, Overton Loyd, the Last Poets, War's Harold Brown, George Clinton, Fred Wesley, Steve Arrington, Carrie Lucas and Dexter Wansell.

Funk is its Own Reward

The ultimate guide to the history modern worship music, providing the soundtrack to what the Spirit is doing through his people throughout the last century.

The History of Contemporary Worship in 100 Songs

Hallelujah!

Don't Stop

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