SHORTLISTED FOR THE PENDERYN MUSIC BOOK PRIZERoots, Radicals & Rockers: How Skiffle Changed the World is the first book to explore this phenomenon in depth - a meticulously researched and joyous account that explains how skiffle sparked a revolution that shaped pop music as we have come to know it. It's a story of jazz pilgrims and blues blowers, Teddy Boys and beatnik girls, coffee-bar bohemians and refugees from the McCarthyite witch-hunts. Billy traces how the guitar came to the forefront of music in the UK and led directly to the British Invasion of the US charts in the 1960s.Emerging from the trad-jazz clubs of the early '50s, skiffle was adopted by kids who growing up during the dreary, post-war rationing years. These were Britain's first teenagers, looking for a music of their own in a pop culture dominated by crooners and mediated by a stuffy BBC. Lonnie Donegan hit the charts in 1956 with a version of 'Rock Island Line' and soon sales of guitars rocketed from 5,000 to 250,000 a year. Like punk rock that would flourish two decades later, skiffle was a do-it-yourself music. All you needed were three guitar chords and you could form a group, with mates playing tea-chest bass and washboard as a rhythm section.

At a time when opinion trumps facts and truth is treated as nothing more than another perspective, free speech has become a battleground. While authoritarians and algorithms threaten democracy, we argue over who has the right to speak.To protect ourselves from encroaching tyranny, we must look beyond this one-dimensional notion of what it means to be free and, by reconnecting liberty to equality and accountability, restore the individual agency engendered by the three dimensions of freedom.

What does it mean to be English? What does it mean to be British? Is the cross of St George a proud symbol of a great tradition, or the badge of a neo-Nazi? In a world where British citizens can lay bombs to kill their countrymen, where religious fundamentalism is on the increase and where the BNP are somehow part of the democratic process, what does patriotism actually mean? Our identity can change depending on what company we are in. For example, someone could describe themselves British to one person, Scottish to another and, say, a Londoner to another, and be right every time. But problems arise when someone tries to tell you what you are, based on your skin tone, religion, accent, surname, or whatever. This book is Billy Bragg's urgent, eloquent and passionate response to the events of 7 July 2005, when four bombs tore through a busy morning in London, killing 52 innocent people and injuring many more. A firm believer in toleration and diversity, he felt himself hemmed in by fascists on one side and religious fanatics on the other. The suicide bombers were all British-born and well integrated into our multicultural society. Yet they felt no compunction in murdering and maiming their fellow citizens. Inclusivity is important, but without a sense of belonging to accompany it, what chance social cohesion... But where does a sense of belonging come from? Can it be conferred by a legal document? Is it a matter of blood and soil? Can it be taught? Is it nature or nurture? The Progressive Patriot is a book we all need to read. It pulls no punches in its insights and its radical vision offers a positive hope for a country teetering on the brink of catastrophe.

'Love me or hate me. It's a great read’ - Billy Bragg He was a punk. He was a soldier. He was a flag-waver for the Labour Party and the miners. He is Billy Bragg, passionate protest folk singer and tireless promoter of political and humanitarian causes around the world. His life encapsulates so much about his generation: born in the late ’50s, passions forged by punk, politics shaped by Thatcherism, career inspired by engagement, hope provided by the end of the Cold War and ideology galvanised by what he sees as a ‘post-ideological’ twenty-first century. He adapts to survive: serious about compassion and accountability, he likes a laugh too, and has never forgotten where he comes from. Still Suitable for Miners is the official Billy Bragg story, tracing his life, family and career at close range from Barking to the present day. This 20th anniversary edition has been updated to include the rise of Corbyn, the unfolding of Brexit, Billy’s reclamation of skiffle and his overtures into Americana.

Walls Come Tumbling Down charts the pivotal period between 1976 and 1992 that saw politics and pop music come together for the first time in Britain's musical history; musicians and their fans suddenly became instigators of social change, and 'the political persuasion of musicians was as important as the songs they sang'. Through the voices of campaigners, musicians, artists and politicians, Daniel Rachel follows the rise and fall of three key movements of the time: Rock Against Racism, 2 Tone, and Red Wedge, revealing how they all shaped, and were shaped by, the music of a generation. Composed of interviews with over a hundred and fifty of the key players at the time, Walls Come Tumbling Down is a fascinating, polyphonic and authoritative account of those crucial sixteen years in Britain's history.

Explains what happened to music—for both artists and fans—when music went online. Playing to the Crowd explores and explains how the rise of digital communication platforms has transformed artist-fan relationships into something closer to friendship or family. Through in-depth interviews with musicians such as Billy Bragg and Richie Hawtin, as well as members of the Cure, UB40, and Throwing Muses, Baym reveals how new media has facilitated these connections through the active, and often required, participation of the artists and their devoted, digital fan base. Before the rise of social sharing and user-generated content, fans were mostly seen as an undifferentiated and unidentifiable mass, often mediated through record labels and the press. However, in today’s networked era, musicians and fans have built more active relationships through social media, fan sites, and artist sites, giving fans a new sense of intimacy and offering artists unparalleled information about their audiences. However, this comes at a price. For audiences, meeting their heroes can kill the mystique. And for artists, maintaining active relationships with so many people can be both personally and financially draining, as well as extremely labor intensive. Drawing on her own rich history as an active and deeply connected music fan, Baym offers an entirely new approach to media culture, arguing that the work musicians put in to create and maintain these intimate relationships reflect the demands of the gig economy, one which requires resources and strategies that we must all come to recognize and appreciate.