The New York Review: On Congolese Rumba and Gospel Music

The New York Review recently featured the work of our comrades:

David Beal explores the Congolese rumba pioneer Docteur Nico, who helped define the sound of African decolonization—and became one of the great visionaries of the electric guitar in “The Docteur Is In.”

Sophie Abramowitz writes about how the gospel singer Mavis Staples has troubled the opposition between chorus and soloist, background and lead over the last seven decades in “She Knows a Place.”