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Lawrence Gellert has long been a mysterious figure in American folk and blues studies, gaining prominence in the left-wing folk revival of the 1930s for his fieldwork in the U.S. South. A “lean, straggly-haired New Yorker,” as Time magazine called him, Gellert was an independent music collector, without formal training, credentials, or affiliation. At a time of institutionalized suppression, he worked to introduce white audiences to a tradition of black musical protest that had been denied and overlooked by prior white collectors.

By the folk and blues revival of the 1960s, however, when his work would again seem apt in the context of the civil rights movement, Gellert and his collection of Negro Songs of Protest were a conspicuous absence. A few leading figures in the revival defamed Gellert as a fraud, dismissing his archive of black vernacular protest as a fabrication—an example of left-wing propaganda and white interference. A Sound History is the story of an individual life, an excavation of African American musical resistance and dominant white historiography, and a cultural history of radical possibility and reversal in the defining middle decades of the U.S. twentieth century.

When capitalism is clearly catastrophically out of control and its excesses cannot be sustained socially or ecologically, the ideas of Herbert Marcuse become as relevant as they were in the 1960s. This is the first English introduction to Marcuse to be published for decades, and deals specifically with his aesthetic theories and their relation to a critical theory of society.

Although Marcuse is best known as a critic of consumer society, epitomised in the classic One-Dimensional Man, Malcolm Miles provides an insight into how Marcuse's aesthetic theories evolved within his broader attitudes, from his anxiety at the rise of fascism in the 1930s through heady optimism of the 1960s, to acceptance in the 1970s that radical art becomes an invaluable progressive force when political change has become deadlocked.

Marcuse's aesthetics of liberation, in which art assumes a primary role in interrupting the operation of capitalism, made him a key figure for the student movement in the 1960s. As diverse forms of resistance rise once more, a new generation of students, scholars and activists will find Marcuse’s radical theory essential to their struggle.