Podcasts about blues people

Join us for a real, Blues People conversation about the blues on Jack Dappa Blues Radio! In this live broadcast, I—Lamont Jack Pearley, a traditional blues artist and folklorist—will take you deep into the blues as an oral tradition in the American South.The blues ain't just music; it's a living, breathing record of our history. It carries the voices, struggles, and triumphs of Black American life, passed down through song, rhythm, and storytelling. The blues tells us where we've been, who we are, and how we make sense of the world around us.Throughout the show, we'll dig into the roots of blues as oral history. We'll break down songs like Son House's Am I Right or Wrong and American Defense, Howlin' Wolf's Smokestack Lightnin', Muddy Waters' Louisiana Blues, and more, getting into the messages woven into their lyrics and performances. We'll also talk about floating verses—how blues artists built on each other's words and passed them along like folklore—and the dialect and storytelling style that make the blues one-of-a-kind.This live broadcast is more than just a lecture—it's a conversation. We'll be playing classic blues recordings, talking through their meaning, and opening up the lines for you to join in. Share your thoughts, ask questions, and become part of the ongoing tradition of keeping the blues alive.So tune in, turn it up, and let's get into it—one story, one song, one truth at a time.

On Wednesday meet Blues People, from Orange New Jersey. Songs include Amnesia, I Was Always There and The Skin I'm In

On the December 21 WBGO Journal, Blues People music, remembering Olympian Peter Westbrook and reviews of The Brutalist and A Complete Unknown

On this episode, I'm encouraging all folks invested in the story of Black American tradition, folklore, folklife, material art, street art, religious belief, spiritual belief, Advocacy, Organization work, Public Programming, and everything that has to do with the "so-called" African American Narrative to submit work to the African American Folklorist Magazine and website. We no longer need to rely on any other platform to share, publish, or even interrogate our narratives. After a long-time supporter contacted me and shared how we are significant in disseminating and distributing the Blues People story, I felt it necessary to put the call out! Jack Dappa Blues Heritage Preservation Foundation is a focal point for researching, archiving, and raising awareness of African American Traditional Music, folklore, folklife, public programs, and the Black Experience!! The African American Folklorist Magazine gives a voice to those writing and working in and on Black American Folklore through the lens of Black Folk. From the nonprofit to the Magazine, this is the space for the story of everything African Americans. https://jackdappabluesradio.tv/ https://theafricanamericanfolklorist.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message

 #EnvisionRISE Podcast | We're joined by musician, educator, and SiriusXM Real Jazz Radio Host Andromeda Turre who describes her work in diversity, equity, and inclusion through the arts community and her program “Growing up Jazz,” which aims to teach jazz history, its influence, and its impact on culture. Andromeda and Staci discuss jazz music's relationship with systemic racism, the role of jazz in understanding the African experience in America, and the importance of embracing diversity in making the world a more interesting place. Andromeda shares her experiences and influences growing up in a family of musicians and activists who helped spark her drive. Resource: Andromeda recommends Leroy Jones' book "Blues People" for those interested in understanding the influence of the African experience in jazz.Learn more about Andromeda, her Growing Up Jazz Program, and hear her music: https://www.andromedaturre.com/Watch this episode on YouTube.Visit Envision RISE to learn how our evolutionary platform helps companies create a powerful integration and understanding of the relationship between the organization and the workforce. Envision RISE empowers your people to drive change and innovation through the methods of Organizational Change Management (OCM), Human Resource Management (HRM), and Diversity, Equity and Inclusion (DE&I).Envision a Better FutureFollow us on social: LinkedIn, Instagram, Twitter, FacebookContact us for info on RISE or interest in being a podcast guest: info@envisionrise.comAll podcasts produced by Elevate Media Group.

The Elvis Movie, My Reaction Podcast (Part 2 of 2) E7. In this episode, Chris Thomas King reacts to The  Elvis Movie. A review, critic, and what it means to Blues People.Blues guitar legend and author Chris Thomas King's new podcast series features in-depth criticism and conversation, restoring the authentic narrative of Black history and music culture. His podcast is based on his groundbreaking book "The Blues: The Authentic Narrative of My Music and Culture."

Elvis Movie and the Blues (Part 1 of 2) E6. In this episode, Chris Thomas King explains Elvis' rise in the 1950s and what it meant to Blues People. Blues guitar legend and author Chris Thomas King's new podcast series features in-depth criticism and conversation, restoring the authentic narrative of Black history and music culture. His podcast is based on his groundbreaking book "The Blues: The Authentic Narrative of My Music and Culture."

#AmiriBaraka #TomPorter #BlackArtsMovement(10:00) Show StartSHOW NOTES:Is Black Crypto Freedom? Or Fad?https://into-america.simplecast.com/episodes/is-black-crypto-freedom-or-a-fad-QVSsd4EwNEW BPM DISCORD!https://discord.gg/TDP9a4f5EzJared A. Ball is a Professor of Communication and Africana Studies at Morgan State University in Baltimore, MD. and author of The Myth and Propaganda of Black Buying Power (Palgrave, 2020). Ball is also host of the podcast “iMiXWHATiLiKE!”, co-founder of Black Power Media which can be found at BlackPowerMedia.org, and his decades of journalism, media, writing, and political work can be found at http://www.imixwhatilike.org____________________________________Follow BPM:JOIN - Click the "JOIN," Subscribe, and Like buttons!WEBSITE - http://www.blackpowermedia.orgTWITTER - https://twitter.com/BlackPowerMedi1INSTAGRAM - http://www.instagram.com/black.power.mediaFACEBOOK - https://www.facebook.com/Blackpowermedia ★ Support this podcast on Patreon ★

The “Blues Narrative: Blues People, Covid-19, and Civil Unrest” focuses on African Americans born between 1945 and 2004. The article delves into the establishment of homes, lifestyles, and traditions on a concrete terrain with Southern and country values, and shares how those values not only weathered the storm of many generations but how they armed interviewees to defend what some call an all-out attack on the Blues People in the present day. This is an ongoing project conducted from the perspective of a folklorist and ethnographer. This episode, i speak with Phoenix Moon, a Colonial America historian, Forensic genealogist, Civil Rights Activist. Grassroots Political Legist. --- Send in a voice message: https://anchor.fm/africanamericanfolklorist/message Support this podcast: https://anchor.fm/africanamericanfolklorist/support

In this episode, I speak with Louisiana Bluesman DK Harrell about the culture of Blues, the system that only allows one Black artist to be highlighted at a time, and the importance of reconnecting Blues People to Blues Music. Born in Ruston, Louisiana on April 24, 1998. Dkieran was given the nickname, D.k. By his grandfather C.H. Jackson who swore that his grandson would be a musician. Dkieran grew up listening to his grandparent’s records that varied between old gospel, r&b, and blues. His mother claims that his first words were BB King’s The thrill is Gone. Dkieran first started performing at 5 years old imitating Ray Charles and James Brown, it was until the age of 12 he took up blues harmonica after seeing the film “Cadillac Records”. At the age of 13, he went from harmonica to guitar and idolized Chuck Berry and John Lee Hooker but with many artists playing like them, he chose his roots to learn the ways of BB King. After years of watching various footage of King from 1968-2014, he has been claimed to play and sound like him. In 2019 he got a chance to show off his talent at the BB King symposium where he played one of BB’s custom Lucille’s. In 2020 he befriended many of BB’s former band members and great upcoming blues musicians like Jontavious Willis and Christone Ingram. Dkieran wants to bring back authentic blues, he feels music needs to continue to stay rich in soul and life. Remember to Donate to the African American Folklorist Newspaper Crowdfunding Campaign Here - https://www.indiegogo.com/projects/the-african-american-folklorist-newspaper/ Join our Patreon For our premier Documentary Here - https://www.patreon.com/jackdappabluesheritage For Products and Merch Here: https://jackdappabluesstore.online/ https://lamontjackpearley.itworks.com/ --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

In this episode, I speak with the Amazing Chase Jackson. She shares with us some of the amazing things she's done for the Blues and the Blues People. For our health and wellness collection https://lamontjackpearley.itworks.com/ https://denisepearley.itworks.com/ To Donate to The African American Folklorist Newspaper Campaign https://www.indiegogo.com/projects/the-african-american-folklorist-newspaper#/ To Register for our Black Folk Narrative Crowdfunding Concert https://www.eventbrite.com/e/the-african-american-folklorist-newspaper-fundraising-concert-tickets-141364217179 --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

On this episode of Jack Dappa Blues, I speak with Corey A Washington, author of the book "Jimi Hendrix Black Legacy (A Dream Deferred). Corey shares with us the importance of the book, as well as the importance and relevance Jimi has and is in the Black community, the history of black music & activism, along with the contributions to the Blues People! Jimi Hendrix - Black Legacy (A Dream Deferred) is the culmination of a two-decade journey of author Corey Washington's exploration of Jimi Hendrix's complex and misunderstood relationship and impact, on the Black Community. Jimi's life has been featured in numerous biographies over the years, but very little has been properly documented when it comes to his influence on people of color. Hendrix was often seen by many to have transcended race, which is a slap in the face to his deep cultural roots, concerning not only his Black musical traditions but simply growing up as a Black person in the '40s-'60s https://jimibl.com/index.html See the promo trailer here: JIMI HENDRIX - BLACK LEGACY (A Dream Deferred). --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

The Blues Narrative – “Blues People, COVID19 & Civil Unrest” is a first-person account of the life and experiences of African Americans, Black Indians, Pan-Africanists (individuals and families), aka The Blues People, during this moment in history where there’s a global pandemic, quarantines, protests, and riots happening ALL AT THE SAME TIME and in real-time. In this episode, I speak to Mr. Waltho Wallace Wesley, a descendant from the Muskogee Creek and Seminole Nations. A Life long resident of Indian territory in present-day Oklahoma, and 'Black' Indian historian. --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

This episode of Jack Dappa Blues Radio is part two of my discussion with scholar Tyler D. Parry, Assistant Professor of African American and African Diaspora Studies Program and Book Review Editor: Black Perspectives, about his co-authored journal and the upcoming book titled ' Slavehounds and Abolition". Dr. Parry gives great detail of the role of the bloodhound before, during, and after slavery. He delves into the origins of the purpose this hybrid animal was created, where they were trained and how it's been utilized for centuries as a weapon against the freedoms and lives of the "Blues People" on America. Follow Dr. Parry @ProfTDParry Support our platform by purchasing our Merch Join our Facebook Group, Page, Nonprofit Page and subscribe to our newsletter. noncommercial use of Robert Johnson's 'Hellhounds on My Trail" "I’ve got to keep moving, I’ve got to keep moving, blues falling down like hail, blues falling down like hail . . . And the days keeps on ’minding me, there’s a hellhound on my trail" Artist Robert Johnson Album Robert Johnson: Cross Road Blues Writers Robert Johnson Licensed to YouTube by Kontor New Media Music, SME (on behalf of 24 Blue Music); AMRA, LatinAutor, LatinAutor - PeerMusic, CMRRA, Concord Music Publishing, and 7 Music Rights Societies --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

This week, Leah (http://leahmarche.com/) and I (https://twitter.com/imogenarate) discuss our respective poems, "blues people" and "Maturation," and the role of pain in the artistic process. Other ways to contact Leah: https://twitter.com/leahmarche https://www.instagram.com/msleahmarche/ Take a listen to also find out about poetry events taking place in the valley during the week of November 25th. Photo of Leah Marché (https://www.facebook.com) by Jenny Gerena (https://www.jennygerena.com/) Additional links to topics we touched on in our discussion: 1. Poetry book by Ed Pavlić inspired by Donny Hathaway’s Life: https://www.goodreads.com/en/book/show/2291758.Winners_Have_Yet_to_Be_Announced 2. The death of Donny Hathaway: https://www.nytimes.com/1979/01/15/archives/donny-hathaway-33-pop-and-blues-singer-dead-in-hotel-plunge-hit.html 3. Blues People by LeRoi Jones: https://www.harpercollins.com/9780688184742/blues-people/ 4. About Robert Leroy Johnson: https://www.robertjohnsonbluesfoundation.org/biography/ #Poetrypodcasts #PoetsandMuses #ImogenArate #LeahMarche #bluespeople #Maturation #MartinLutherKingJuniorSchool #PercyLJulianSchool #MajerlesSportsGrill #LiveattheStudio #poetWisdomSoul #WalterCronkiteSchoolofJournalism #CarlHaydenHighSchool #computerscience #computerprogramming #printjournalism #broadcasting #publicrelations #marketing #RadioPhoenix #TheNash #JazzMeetsPoetry #MichaelPfister #TheAwesomeFoundationPhoenix #BlackPoetVentures #poeticductions #EchoVersesBlackPoetsYesterdayToday #DonnyHathaway #AtlanticRecords #ArethaFranklin #RobertaFlack #WheresTheLove #StevieWonder #LeRoiJones #AmiriBaraka #BluesBlack #TheBlackArtsMovement #grandfatherofpoetry #musicastoolforsurvival #mentalillness #TVOne #Unsung #EdPavlić #AtlasStCloud #RobertLeroyJohnson #GrandfatherofRocknRoll #Crossroads #RalphMacchio #JamesBrown #MichaelJackson #Prince #WhitneyHouston

on this episode of Jack Dappa Blues Heritage Podcast, I speak with Elizabeth Lynn Kilrain about her journey with Blues Dancing and her organization Blue Note SD who's mantra is: "Dancing the Blues in San Diego!" The mission of her organization is exploring, celebrating, and growing the blues dance community through musical immersion, classes, social dancing, and competition. We discuss how the music, culture, lifestyle and vernacular of the Blues People resonate with the feel of the Blues Dance. https://bluenotesd.com https://www.youtube.com/channel/UC_VS8hyyZK1V9xWjiC2hGnQ --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

On this episode, Marquise Knox and I discuss the issues that prompted Chris Thomas King to write his open letter addressing the gentrification of the Blues based on him being removed from the Grammy nomination list for best Blues Album. As we address this issue, we refer and share quotes from other Black Blues Musicians, (Chick Willis and Corey Harris) that have addressed similar, if not the same concerns in the past. Links to articles http://www.offbeat.com/news/bluesman-chris-thomas-king-says-hes-banned-grammys/?fbclid=IwAR1Nj3Pb_BfUJJh4FT5oCnLEkk9ofxQ0FXYt0id4tR8Hx50QL_JWmALhiXc#.W9si2bA6YVZ.facebook http://www.soul-patrol.com/soul/chickwillis.htm?fbclid=IwAR1uxt-i50dmDHVurIG6NdjxWeW_5plJ2NddpIePqXfdzACDYhUCQOlB5w0 https://bluesisblackmusic.blogspot.com/2015/05/can-white-people-play-blues.html?fbclid=IwAR3h-pm-8vyaubssPVzgr1PBdtiL-OFSeG8kWETcwCzipTcv83Jm4PKvHSs We The Blues People with Hosts Lamont Jack Dappa Blues Pearley Marquise Knox Remember to enjoy, share, leave a comment and click the sponsor button! And Like our Facebook Page https://www.facebook.com/wethebluespeople/ --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

On this episode, I speak to Actor, Historian and Blues Dance NY Instructor/Dj Odysseus Bailer on the importance of Blues Dance to the tradition of the Blues People, and the great program and community of Blues Dance NY, which is dedicated to fostering community and encouraging life-long learning through a shared passion for blues dancing. Odysseus also shares his journey with Blues dancing and music, as it pertains to the African American experience. --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

“We The Blues People” is a biweekly broadcast produced and hosted by Jack Dappa Blues Public Media, in partnership with Knox Entertainment located in St. Louis, which is a live feed broadcast that discusses events and laws from the past which results continue to leave a strains on African American politics, economy and family of today. The program is hosted by Lamont Jack Pearley and Marquis Knox. "The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music -- through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music." -- Amiri Baraka in the Introduction to Blues People --- Send in a voice message: https://anchor.fm/jackdappabluespodcast/message Support this podcast: https://anchor.fm/jackdappabluespodcast/support

Ce soir jazz and co explore sinon le côté obscur du jazz, au moins son aspect expérimental avec en invité Quentin Rollet. Musicien mais aussi animateur du label Bisou records; il vient nous parler de son dernier disque en trio avec Jean Marc Foussat et Christian Rollet à l’ambiance électro-acoustique aux contours parfois rugueux, parfois plus aériens. Mais nous évoquerons aussi avec lui les autres titres de son label avec notamment un lp d’Eugène Chadbourne et le coffret du 50ème anniversaire du Workshop de Lyon. La musique sera donc trans-générationnelle. En deuxième heure Mylène et Philippe font une escale en Afrique du sud à moins que ce ne soit l’Afrique du sud qui s’invite à Paris depuis quelques temps. Après la venue d’Abdullah Ibrahim au festival Banlieues Bleues en mars dernier, voici que débarque le festival Métis qui invite notamment Marcus Wyatt et de nombreux autres artistes sud africains. Hélène s’attarde sur le dernier cd de Logan Richardson et Olivier ferme le bal avec un focus sur le nouveau disque du batteur Dan Weiss aux accents très « prog ». Liste des titres en première heure : -Quentin Rollet/Jean Marc Foussat/ Christian Rollet Roulement de grêle extrait de l’album « Entrée des puys de grêle » -Workshop de Lyon Marche noire extrait du coffret 50ème anniversaire -Colin Potter / Quentin Rollet the closer you are to the centre, the further you are from the edge extrait du split lp -Quentin Rollet/Jean Marc Foussat/Christian Rollet entrée par la fenêtre extrait de l’album « Entrée des puys de grêle » -Eugene Chadbourne party house part 3 in 3D extrait de l’album « Pleasure of the horror » Tous ces titres sont des parutions du label bisou recordshttp : //www.bisou-records.com Liste des titres en deuxième heure : -Abdullah Ibrahim African market place de l’album « African Market Place » : https://www.discogs.com/fr/master/view/301766 -Gato Barbieri et Dollar Brand Hamba Khale de l’album « Hamba Khale » : https://www.discogs.com/fr/Gato-Barbieri-Dollar-Brand-Hamba-Khale/master/298007 -Marcus Wyatt black genesis de l’album « African In Space » https://www.allaboutjazz.com/africans-in-space-marcus-wyatt-sheer-sound-review-by-aajstaff.php -Zimology Quartet Qula Kwedini de l’album « Live at Bird’s Eye » : http://www.birdseye.ch/index_e.php#!/pages_e/cd-fremd -Logan Richardson anthem de l’album « Blues People » : https://loganrichardsonmusic.bandcamp.com/album/blues-people -Dan Weiss « the memory of my memory de l’album « Starebaby » : https://pirecordings.com/albums/starebaby/

The twelfth episode of the Burning Ambulance podcast features Logan Richardson, an alto saxophonist from Kansas City, Missouri who's played with Ambrose Akinmusire, Walter Smith III, Jason Moran, Pat Metheny, and has recorded four albums as a leader. His newest, Blues People, will be out in April on Ropeadope. In this conversation, we discuss his career to date, the story behind his 2016 album Shift, the state of jazz at the moment, why he chooses to live in Paris, and much more.

Eric Bibb’s father is 60’s folksinger and activist Leon Bibb, his uncle is the world-famous jazz pianist and composer of the Modern Jazz Quartet, John Lewis and his godfather is the legendary African-American icon Paul Robeson. He was mentored from his living room by family friends Bob Dylan and Pete Seegar. While his bloodline is rich in folk tradition his prolific songwriting and tremendous body of work that includes 40 years of performing and nearly 30 albums is what defines him as a great blues troubadour. In 2014 he released a critically acclaimed album for the Stony Plain label titled ‘Blues People’ that earned awards and the top position on several blues/roots charts and featured Taj Mahal, Ruthie Foster and the Blind Boys of Alabama. His latest album, ‘Happiest Man in the World’ is an upbeat collaboration with the North Country Far band and Danny Thompson.

show#645 05.28.16 ...The Rest Is The Fruits !!! Bloomfield-Hammond-Dr. John - Sho 'Bout to Drive Me Wild from Triumvirate 1973 (3:31) Steve Dawson - Driver's Wheel from Solid States & Loose Ends 2016 (3:54) KALO - Treat Me Bad from Dear John (4:56) Bridget Kelly Band - Someone's Hoodooin' Me from Outta The Blues 2016 (4:43) Alabama Mike - Restraining Order from Upset The Status Quo 2016 (4:58) Paul Reddick - It Goes With You from Ride The One 2016 (4:20) Allen-Lamun Band - Still Too Soon from Maybe It's a Good Thing 2016 (4:14) Aki Kumar - The Mumbia Express from Don't Hold Back 2014 (2:59) Eric Bibb (ft. Popa Chubby) - Silver Spoon from Blues People 2014 (4:21) Carlos del Junco - Lil' Laptop from Mongrel Mash 2011 (6:59) Prado Blues Band - Goodbye Goodbye Blues from Blues and Swing 2005 (6:41) Guy King - If The Washing Don't Get You (The Rinsing Will) from Truth 2016 (4:07) Mark May Band with The Soul Satyr Horns - I'm Her Fool from Blues Heaven 2016 (7:31) Markey Blue - That Ain't Good Enough from The Blues Are Knockin' (4:05) Sonny Boy Williamson II - Cool Cool Blues [1951] from Harmonica Wizard 2007 (2:55) Jimmie Vaughan - Astral Projection Blues from Out There 1998 (5:38) Jean Jacques Milteau - Chicken from Bastille Blues 1999 (4:51) Bluesbones - I'm still your man fron Double Live 2016 (6:58) Albert Castiglia - What The Hell Was I Thinking from Big Dog 2016 (3:24) Mark Cameron - Hammered By The Blues from Playing Rough (5:05) Crooked Eye Tommy - Mad And Disgusted from Butterflies And Snakes 2016 (3:41) The Mighty Mojo Prophets - All Thumbs from Record Store 2016 (3:59) Nick Moss Band - Cold Sore from From the Root to the Fruit (CD1 - Roots) 2016 (1:58) Nick Moss Band - Catch Me I'm Falling from From the Root to the Fruit (CD 2 - Fruits) 2016 (4:51)

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! We rebroadcast Friday, October 23, show featuring cast and co-director of African American Shakespeare Company's Romeo and Juliet in San Francisco. Also on that show was Kim Nalley speaking about her latest project, Blues People.  

PODCAST: 23 Nov 2014 01 - Blue Devil Blues - Old Southern Jug Blowers - The Jug Band Special 02 - Lovely Nancy - The Alt - The Alt 03 - Silver Spoon - Eric Bibb - Blues People 04 - Seventeen Come Sunday - Si Barron - Sweet Billy Caution 05 - Springhill Mining Disaster - Luke Kelly - Working Class Hero 06 - The Harry Lime Theme - Laif Moller Lauridsen & Lise Bro - Guitars In Colour 07 - Down Under - Bill Lloyd - Willy Ruby 08 - Eagle Bairn - Frances Wilkins And Claire White - Blyde Lasses 09 - The Verdant Braes Of Screen - Terence O'Flaherty - Crosscurrents 10 - The January Man - The Albion Christmas Band - One For The Road 11 - The Donkey - An Emigrant's Tale 12 - Shoe The Donkey - The Sean O'Brien Band - 50 Irish Accordion - Favourites 13 - Throwing Stones At The Sun - Tony Trundle - Winter Swimming 13  - The Land Was Stolen - The Machine Breakers - The Land Was Stolen  14 - Coopers Reels - Hom Bru - No Afore Time 15 - Cold Old Fire - Lynched - Cold Old Fire 16 - African Cargoes - The Details - The Details 17 - Hedy Lamarr - Findlay Napier - VIP: Very Interesting People 18 - The Maiden’s Prayer - Will Duke and Dan Quinn - Wild Boys 19 - Black Waters - John McCutcheon / Tim O'Brien / Suzie Bogguss / Kathy Mattea - Dear Jean 20 - Donal Og - Maggie Boyle - Won’t You Come Away 21 - Gweebara - Maggie Boyle - Gweebara

show#56310.26.14    8 Ball Aitken - I'm Going To Jail from Southern Hemishere 2013 (3:16)    Eric Bibb featuring J.J. Milteau & The Blind Boys of Alabama - I Heard The Angels Singin' from Blues People 2014 (3:45)    The Satisfactors - Girl Just Wants To Dance from The Satisfactors 2014 (3:29)    Jean Jacques Milteau - The Turtle Walk from Blue 3rd 2004 (5:15)    Dirty Blues Band - hound dog from Dirty Blues Band 1967 (2:54)    George Smith - if you were a rabbit from ...Of The Blues 1969 (7:16)    Charles Musselwhite - blue feeling today from Tennessee Woman 1969 (4:57)    Bacon Fat - she's a wrong woman from Grease One For Me 1970 (5:19)    Rod Piazza - my kind of baby from Bluesman 1973 (2:57)    Mighty Flyers - just a feeling from Radioactive Material 1981 (3:10)    Shakey Jake - do the boogie with you from The Key Won't Fit 1983 (3:39)    Pee Wee Crayton - when I'm wrong I'm wrong from Make Way For Pee Wee 1983 (7:42)    Johnny Dyer - hoochie koochie man from Johnny Dyer & the LA Jukes 1983 (2:42)    Michelle Shocked - Graffiti Limbo from Short Sharp Shocked 1988 (3:39)    Anders Osborne - When I'm Back On My Feet from Coming Down 2007 (7:49)    Mark Dufresne - Out the Door from There's a Song in There 1999 (5:55)    Darrell Nulisch - It's A Shame from Just For You 2009 (4:07)    Neil Young & the Bluenotes - Soul Of A Woman from The World 4/18/1988 Late Show 1988 (5:56)    Juicy Lucy - Thinking Of My Life from Lie Back And Enjoy It 2010 (4:29)    John Hiatt - Icy Blue Heart from Slow Turning 1988 (4:35)    Mannish Boys - Way Down South from Shake for Me 2010 (5:04)    The Amazing Rhythm Aces - Typical American Boy from Stacked Deck/Too Stuffed to Jump 2000 (3:30)    Savoy Brown - Is That So from Raw Sienna 1970 (7:44)

AMIRI BARAKACLICK HERE TO LISTEN TO SHOWPoet, writer, teacher, and political activist Amiri Baraka was born Everett LeRoi Jones in 1934 in Newark, New Jersey. He attended Rutgers University and Howard University, spent three years in the U.S. Air Force, and returned to New York City to attend Columbia University and the New School for Social Research. Baraka was well known for his strident social criticism, often writing in an incendiary style that made it difficult for some audiences and critics to respond with objectivity to his works. Throughout most of his career his method in poetry, drama, fiction, and essays was confrontational, calculated to shock and awaken audiences to the political concerns of black Americans. For decades, Baraka was one of the most prominent voices in the world of American literature.Baraka’s own political stance changed several times, thus dividing his oeuvre into periods: as a member of the avant-garde during the 1950s, Baraka—writing as Leroi Jones—was associated with Beat poets like Allen Ginsberg and Jack Kerouac; in the ‘60s, he moved to Harlem and became a Black Nationalist; in the ‘70s, he was involved in third-world liberation movements and identified as a Marxist. More recently, Baraka was accused of anti-Semitism for his poem “Somebody Blew up America,” written in response to the September 11 attacks.Baraka incited controversy throughout his career. He was praised for speaking out against oppression as well as accused of fostering hate. Critical opinion has been sharply divided between those who agree, with Dissent contributor Stanley Kaufman, that Baraka’s race and political moment have created his celebrity, and those who feel that Baraka stands among the most important writers of the twentieth century. In the American Book Review, Arnold Rampersad counted Baraka with Phyllis Wheatley, Frederick Douglass, Paul Laurence Dunbar, Langston Hughes, Zora Neale Hurston, Richard Wright, and Ralph Ellison “as one of the eight figures . . . who have significantly affected the course of African-American literary culture.”Baraka did not always identify with radical politics, nor did his writing always court controversy. During the 1950s Baraka lived in Greenwich Village, befriending Beat poets Allen Ginsberg, Frank O’Hara, and Gilbert Sorrentino. The white avant-garde—primarily Ginsberg, O’Hara, and leader of the Black Mountain poets Charles Olson—and Baraka believed in poetry as a process of discovery rather than an exercise in fulfilling traditional expectations. Baraka, like the projectivist poets, believed that a poem’s form should follow the shape determined by the poet’s own breath and intensity of feeling. In 1958 Baraka founded Yugen magazine and Totem Press, important forums for new verse. He was married to his co-editor, Hettie Cohen, from 1960 to 1965. His first play, A Good Girl Is Hard to Find, was produced at Sterington House in Montclair, New Jersey, that same year. Preface to a Twenty Volume Suicide Note, Baraka’s first published collection of poems appeared in 1961. M.L. Rosenthal wrote in The New Poets: American and British Poetry since World War II that these poems show Baraka’s “natural gift for quick, vivid imagery and spontaneous humor.” Rosenthal also praised the “sardonic or sensuous or slangily knowledgeable passages” that fill the early poems. While the cadence of blues and many allusions to black culture are found in the poems, the subject of blackness does not predominate. Throughout, rather, the poet shows his integrated, Bohemian social roots. The book’s last line is “You are / as any other sad man here / american.”With the rise of the civil rights movement Baraka’s works took on a more militant tone. His trip to Cuba in 1959 marked an important turning point in his life. His view of his role as a writer, the purpose of art, and the degree to which ethnic awareness deserved to be his subject changed dramatically. In Cuba he met writers and artists from third world countries whose political concerns included the fight against poverty, famine, and oppressive governments. In Home: Social Essays (1966), Baraka explains how he tried to defend himself against their accusations of self-indulgence, and was further challenged by Jaime Shelley, a Mexican poet, who said, “‘In that ugliness you live in, you want to cultivate your soul? Well, we’ve got millions of starving people to feed, and that moves me enough to make poems out of.’” Soon Baraka began to identify with third world writers and to write poems and plays with strong political messages.Dutchman, a play of entrapment in which a white woman and a middle-class black man both express their murderous hatred on a subway, was first performed Off-Broadway in 1964. While other dramatists of the time were wedded to naturalism, Baraka used symbolism and other experimental techniques to enhance the play’s emotional impact. The play established Baraka’s reputation as a playwright and has been often anthologized and performed. It won the Village Voice Obie Award in 1964 and was later made into a film. The plays and poems following Dutchman expressed Baraka’s increasing disappointment with white America and his growing need to separate from it. Critics observed that as Baraka’s poems became more politically intense, they left behind some of the flawless technique of the earlier poems. Richard Howard wrote of The Dead Lecturer (1964) in the Nation: “These are the agonized poems of a man writing to save his skin, or at least to settle in it, and so urgent is their purpose that not one of them can trouble to be perfect.”To make a clean break with the Beat influence, Baraka turned to writing fiction in the mid-1960s, penning The System of Dante’s Hell (1965), a novel, and Tales (1967), a collection of short stories. The stories are “‘fugitive narratives’ that describe the harried flight of an intensely self-conscious Afro-American artist/intellectual from neo-slavery of blinding, neutralizing whiteness, where the area of struggle is basically within the mind,” Robert Elliot Fox wrote in Conscientious Sorcerers: The Black Postmodernist Fiction of LeRoi Jones/Baraka, Ishmael Reed, and Samuel R. Delany.The role of violent action in achieving political change is more prominent in these stories, as is the role of music in black life.In addition to his poems, novels and politically-charged essays, Baraka is a noted writer of music criticism. His classic history Blues People: Negro Music in White America (1963) traces black music from slavery to contemporary jazz. Finding indigenous black art forms was important to Baraka in the ‘60s, as he was searching for a more authentic voice for his own poetry. Baraka became known as an articulate jazz critic and a perceptive observer of social change. As Clyde Taylor stated in Amiri Baraka: The Kaleidoscopic Torch, “The connection he nailed down between the many faces of black music, the sociological sets that nurtured them, and their symbolic evolutions through socio-economic changes, in Blues People, is his most durable conception, as well as probably the one most indispensable thing said about black music.” Baraka also published the important studies Black Music (1968) and The Music: Reflections on Jazz and Blues (1987). Lloyd W. Brown commented in Amiri Baraka that Baraka’s essays on music are flawless: “As historian, musicological analyst, or as a journalist covering a particular performance Baraka always commands attention because of his obvious knowledge of the subject and because of a style that is engaging and persuasive even when the sentiments are questionable and controversial.”After Black Muslim leader Malcolm X was killed in 1965, Baraka moved to Harlem and founded the Black Arts Repertory Theatre/School. The Black Arts Movement helped develop a new aesthetic for black art and Baraka was its primary theorist. Black American artists should follow “black,” not “white” standards of beauty and value, he maintained, and should stop looking to white culture for validation. The black artist’s role, he wrote in Home: Social Essays (1966), is to “aid in the destruction of America as he knows it.” Foremost in this endeavor was the imperative to portray society and its ills faithfully so that the portrayal would move people to take necessary corrective action. He married his second wife, Amina, in 1967. In that same year, Baraka published the poetry collection Black Magic,which chronicles his separation from white culture and values while displaying his mastery of poetic technique. There was no doubt that Baraka’s political concerns superseded his just claims to literary excellence, and critics struggled to respond to the political content of the works. Some felt the best art must be apolitical and dismissed Baraka’s newer work as “a loss to literature.” Kenneth Rexroth wrote inWith Eye and Ear that Baraka “has succumbed to the temptation to become a professional Race Man of the most irresponsible sort. . . . His loss to literature is more serious than any literary casualty of the Second War.” In 1966 Bakara moved back to Newark, New Jersey, and a year later changed his name to the Bantuized Muslim appellation Imamu (“spiritual leader,” later dropped) Ameer (later Amiri, “prince”) Baraka (“blessing”).By the early 1970s Baraka was recognized as an influential African-American writer. Randall noted in Black World that younger black poets Nikki Giovanni and Don L. Lee (later Haki R. Madhubuti) were “learning from LeRoi Jones, a man versed in German philosophy, conscious of literary tradition . . . who uses the structure of Dante’s Divine Comedy in his System of Dante’s Hell and the punctuation, spelling and line divisions of sophisticated contemporary poets.” More importantly, Arnold Rampersad wrote in the American Book Review, “More than any other black poet . . . he taught younger black poets of the generation past how to respond poetically to their lived experience, rather than to depend as artists on embalmed reputations and outmoded rhetorical strategies derived from a culture often substantially different from their own.”After coming to see Black Nationalism as a destructive form of racism, Baraka denounced it in 1974 and became a third world socialist. He produced a number of Marxist poetry collections and plays in the 1970s that reflected his newly adopted political goals. Critics contended that works like the essays collected in Daggers and Javelins (1984) lack the emotional power of the works from his Black Nationalist period. However, Joe Weixlmann, in Amiri Baraka: The Kaleidoscopic Torch, argued against the tendency to categorize the radical Baraka instead of analyze him: “At the very least, dismissing someone with a label does not make for very satisfactory scholarship. Initially, Baraka’s reputation as a writer and thinker derived from a recognition of the talents with which he is so obviously endowed. The subsequent assaults on that reputation have, too frequently, derived from concerns which should be extrinsic to informed criticism.”In more recent years, recognition of Baraka’s impact on late 20th century American culture has resulted in the publication of several anthologies of his literary oeuvre.The LeRoi Jones/Amiri Baraka Reader (1999) presents a thorough overview of the writer’s development, covering the period from 1957 to 1983. The volume presents Baraka’s work from four different periods and emphasizes lesser-known works rather than the author’s most famous writings. Transbluency: The Selected Poems of Amiri Baraka/LeRoi Jones (1961-1995), published in 1995, was hailed by Daniel L. Guillory in Library Journal as “critically important.” And Donna Seaman, writing inBooklist, commended the “lyric boldness of this passionate collection.” Kamau Brathwaite described Baraka’s 2004 collection, Somebody Blew up America & Other Poems, as “one more mark in modern Black radical and revolutionary cultural reconstruction.” The book contains Baraka’s controversial poem of the same name, which he wrote as New Jersey’s poet laureate. After the poem’s publication, public outcry became so great that the governor of New Jersey took action to abolish the position. Baraka sued, though the United States Court of Appeals eventually ruled that state officials were immune from such charges.Baraka’s legacy as a major poet of the second half of the 20th century remains matched by his importance as a cultural and political leader. His influence on younger writers has been significant and widespread, and as a leader of the Black Arts movement of the 1960s Baraka did much to define and support black literature’s mission into the next century. His experimental fiction of the 1960s is considered some of the most significant African-American fiction since that of Jean Toomer. Writers from other ethnic groups have credited Baraka with opening “tightly guarded doors” in the white publishing establishment, noted Maurice Kenney in Amiri Baraka: The Kaleidoscopic Torch, who added: “We’d all still be waiting the invitation from the New Yorker without him. He taught us how to claim it and take it.”Baraka was recognized for his work through a PEN/Faulkner Award, a Rockefeller Foundation Award for Drama, and the Langston Hughes Award from City College of New York. He was awarded fellowships from the Guggenheim Foundation and the National Endowment for the Arts. Amiri Baraka crossed over on January 9,  2014To visit Amiri Baraka's website CLICK HERE