FUNK IS ITS OWN REWARD: FROM R AND B TO HIP HOP

Book ID/图书代码： 07980015B86076

English Summary/英文概要： 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&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 & 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.

Chinese Summary/中文概要： 从1968年到1978年；从《大声说——我是黑人我自豪》到《墙外》；从第三届哈莱姆文化节到P-Funk地球巡演：《放克本身就是奖赏》描绘了一个非裔美国文化运动的旅程，这场运动的意义从来都远不止于音乐。

放克植根于20世纪60年代著名的黑人艺术运动中的诗歌、艺术、戏剧、思想家和爵士乐，并因黑豹党带来的思想转变、黑人大学（HBCU）的兴起以及黑人政治参与而成为可能，它是第二次伟大的黑人文艺复兴。《放克本身就是奖赏》将文学、电影、电视、黑人艺术团体、戏剧团体和媒体之间的联系串联起来，并分析其如何汇入一股文化浪潮，这股浪潮让一种音乐自信到足以拥抱像巴里·怀特、比尔·威瑟斯、24克拉黑、布西、曼追尔、欧杰斯合唱团、胖背乐队、迈尔斯·戴维斯和芬肯斯坦新娘这样的艺术家，不仅成为可能，更成为必然。本书审视了非裔美国流行音乐在重新连接并充分表达了孕育其文化之后，如何获得了以任何合适的方式表达自己、同时仍然保持放克风格的自由。这种音乐让自己拥有了广阔的空间：可以是原声的，可以是人声和声的，可以是铜管乐的，可以是对社会发表评论的，可以是管弦乐的，可以是导向卧室的，可以是完全关于节奏的，可以是电子的，并且仍然不失放克本色。这从不关乎一首音乐希望最终去向何方，而是关乎，套用一句话，它来自哪里。

通过将音乐牢牢置于运动的语境中，《放克本身就是奖赏》将这种充满活力的艺术从“只为帮助白人跳舞而存在”的观念中拖拽出来，并聚焦于注入其中的技巧、实验、社区意识、幽默、正规训练、黑人自豪感、自我庆祝以及智识与音乐的自由。

在此过程中，其揭示了黑人广播的重要性，哇音踏板是如何偶然诞生的，摩城在放克黎明中的企业角色，为什么爵士乐而非节奏布鲁斯是放克现存最亲近的亲属，在嬉皮公社的生活如何改变了乔治·克林顿，为什么《芝麻街》是电视上最放克的节目，黑人剥削电影对其目标观众的实际意义，为什么库尔与帮派乐队能从众多乐手中脱颖而出，詹姆斯·布朗的唱片与他的听众之间那种即时的联系，巴里·怀特母亲的唱片收藏里有什么，自成体系的乐队如何改变了一切，以及莫里斯·怀特第一次接触宇宙金字塔是在何处。

加入作者劳埃德·布拉德利这场《放克本身就是奖赏》史诗之旅的，还有众多“我亲历其中”的贡献者，包括胖背乐队的比尔·柯蒂斯、布西·柯林斯、莫里斯·怀特、芬肯斯坦新娘的林恩·梅布里、拉里·米泽尔、艾萨克·海耶斯、拉里·格雷厄姆、梅尔文·范·皮布尔斯、奥弗顿·洛伊德、最后诗人乐队、沃乐队的哈罗德·布朗、乔治·克林顿、弗雷德·韦斯利、史蒂夫·阿林顿、凯莉·卢卡斯和德克斯特·万塞尔。(ZY)

Awards/获奖情况：

About the Author/作者介绍： 劳埃德·布拉德利是英国现代黑人音乐领域的顶尖专家之一。他从事音乐记者工作超过三十年，著有畅销书《低音文化：雷鬼为王之时》以及享誉国际的《听起来像伦敦：首都黑人音乐一百年》。他常往返于伦敦和佛罗里达两地。

Lloyd Bradley is one of the UK’s leading experts on modern black music. He has worked as a music journalist for over thirty years and is the author of the bestselling Bass Culture: When Reggae Was King and the internationally acclaimed Sounds Like London: 100 Years of Black Music in the Capital. He splits his time between London and Florida.

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Rights Status/版权销售情况：Simplified Chinese/简体中文：AVAILABLE

Complex/Traditional Chinese/繁体中文：AVAILABLE

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