Podcasts about funk up

Posi Award winner Freebo is a genuine folk, rock and blues icon.  With over 40 years of recording and touring with many of the great artists of our time (Bonnie Raitt for 10 years, CSN, Maria Muldaur, John Mayall, Ringo Starr, Dr. John, Neil Young) Freebo is regarded as one of today's most gifted singer-songwriters.https://freebomusic.comSongs featured in this episode: The Beauty of Life To the Light She Loves my Dog More Than Me That's What Love Is Standing Ovation If Not Now, When? Funk Up the Folk Everything to Do with Love When There's No Place Like Home ★ Support this podcast on Patreon ★

Sometimes you get cash up front and other times you get the Funk !

Sintonía: "Kenyatta" - Orquesta Joe Cain "You´ve Been Talking ´Bout Me Baby" - Ray Terrace; "The Soul Drummers" - Ray Barreto; "(I´ll Be A) Happy Man" - Latin Blues Band; "Funk Up" - Mongo Santamaría; "Big T" - Tito Ramos; "Taking Over" - Ralph Robles; "Soneros en una cesta" - The Cesta All Stars; "Busamba" - La Lupe; "Monkey See, Monkey Do" - The New Swing Sextet; "It´s Not What You Say" - Louie Ramírez Bonus: "Aquí se puede" - Airto Moreira Todos los cortes (menos el bonus) extraídos de la recopilación "Brown Sugar: Latin Breakbeats, Basslines & Boogaloo" (Harmless Records, 2002) Escuchar audio

Is The West a Threat to Anime?I'd say this episode is rated PG-13.  Beyond this warning, you do you.  So, we're kinda worried that the "modern sensibilities" of the Western World is going to f*ck up our anime!  As anime creators seek to further cash in on the west; will they start making anime like the boring garbage we get from Hollywood ?  Or can we count on them to keep the ideal, the Free Expression of Ideas?  These hot & messy questions are what we talk about in this episode of Anime Shoshin!If you want to find where we are anywhere, just go to AnimeShoshin.comThanks so much!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5601654/advertisement

While Andrew Streeter took this episode off, Yeti enjoyed talking all about vinyl records with new friend of the show, Alex Benson! Alex is an all out vinyl junkie and is the host of the music heavy podcast "Shut the Funk Up" so this topic plays very well with our guest. Alex and Yeti talk about why they love records, how they got in to vinyl, and their various philosophies for collecting. Also: Deez nuts jokes and vandalism. Is vinyl the best? Yes! Maybe? No. Listen to Shut the Funk Up! Follow Alex on IG: @thewellfedboy Follow Shut the Funk Up on IG: @shutthefunkuppodcast

"Do you need a non-stop music mix to get you through your day/week/workout/commute? Do you appreciate House Music from Around the World? Do you enjoy a variety of styles, flavors, and one-of-a-kind edits/remixes? Subscribe, hit play, and enjoy! - DJ MIDIMACK MIDI's FUNKY FAVs Pt. 2 (Ep 215): Unavailable by James Meid (Ep 155) Funk Up by Frank-Lo (Ep 148) Single Malt Scotch by Two Lee (Ep 171) Come Together by Crazibiza/DCP/Fellous (Ep 147) Everybody by Mr. Oz/Redux Saints (Ep 170) Naxos by PAGANO (Ep 146) Get Busy by ATFC (Ep 169) Dirty Bird by Robbie Dox feat. T Boost (Ep 170) I've Been So Lonely Without You by DJ MIDIMACK (Ep 171) The One by Illyus & Barrientos (Ep 155) I Got by Alexander Som/Alonso (Ep 147) By My Side by Joshwa (UK)/Martin Badder (Ep 170) Free 2 Be Me by Alaia & Gallo/Michelle Weeks (Ep 155) Let It Go by Louie Vega/The Martinez Bros./Marc E. Bassy (Ep 171) VIBRATION by DONT BLINK (Ep 166) Blah by Iglesias (Ep 148) www.themixbagpodcast.com www.patreon.com/djmidimack Thank you for listening!

Move over Circadian Rhythms - I'm dancing to a new beat.  The beat of my Ultradian Rhythms.  Yes folks - turns out those mid-morning snack attacks, the mid-afternoon face plants on my desk, and those times when my brain just disconnected itself from reality were not just a result of big nights, no sleep and hangovers - nossssirrrreeeee.  That sexy beast science has delivered yet again with the revelatory research that I have a rhythm - yes I have a rhythm, you have a rhythm, we ALL have an Ultradian Rhythm, that determines how we rise and fall throughout the day! Ignore your Ultradian rhythm (and this episode!) at your peril.   PS:  Yes - before you comment - I know Luke is the oldest Hemsworth Brother!!

Rumble referral link https://referral.rumble.com/7UrY My rumble channel https://rumble.com/user/highfrequencytribe PURCHASE merchandise and ART https://www.etsy.com/shop/malibuillusion Financially support this channel https://www.paypal.me/malibuillusion To join me on Rumble https://rumble.com/register/highfrequencytribe/ The podcast high frequency tribe This is the link to anchor, but this podcast is available in all major platforms https://anchor.fm/malibuillusion Bitcoin send to this address 35uDZx9QNZiCbcrtxRMxo97E2Xvpecv9T7 Etherium 0xBB5190B3735F23329d7E7594C35c2AB9067eB7F2 Links to social media https://www.instagram.com/spoon_bender_academy/?hl=en https://www.youtube.com/user/hamishpatterson TO SEND US STUFF, ie correspondence, products you want hyped, skateboards, and of course envelopes full of cash! Hamish and Owl Patterson 30765 pacific coast hwy #523 Malibu ca 90265 Bit chute channel https://www.bitchute.com/profile/CWxMDL2DOlCZ NEW CHANNELS LEGO owl & illusion channel https://www.youtube.com/c/LEGOwithOwlIllusion LEGO Instagram https://www.instagram.com/brickshipearth/ Head in a Bag https://www.youtube.com/channel/ TO SEND US STUFF, ie correspondence, products you want hyped, skateboards, and of course envelopes full of cash! Hamish and Owl Patterson 30765 pacific coast hwy #523 Malibu ca 90265 Contact me via email hamishpatterson69@yahoo.com https://www.patreon.com/bePatron?u=2791065 ____________________________________ PURCHASE merchandise and ART https://www.etsy.com/shop/malibuillusion?ele=shop_open ____________________________________

We are back with Juju Bae, host of A Little Juju podcast for a lesson on spiritual baths. Over the years we absorb energy from people, places, and things that build up can cause blocked blessings. A spiritual bath can not only remove the negative energy but also can attract positivity within your life. So don't funk up and do a little spiritual spring cleaning! Watch video version here: https://youtu.be/AXSj5M0fQFQ Make sure you subscribe to our YouTube so you don't miss new videos that will educate and provide the basics of Hoodoo. Juju Bae: YouTube - https://www.youtube.com/channel/UChdk...​ Instagram - www.instagram.com/itsjujubae/ Twitter - twitter.com/itsjujubae www.itsjujubae.com Real Talk Session Series: Listen to Juju Bae on The Miseducation of the People - https://pod.link/1522512323/episode/d...​ Facebook - www.facebook.com/RealTalkSessionSeries/ Instagram - www.instagram.com/realtalksessionseries LinkedIn - https://www.linkedin.com/company/real...​ Sign-Up For Our Email List: eepurl.com/gWnNSX Visit the Merch Shop: www.realtalksessionseries.org/shop www.realtalksessionseries.org #RealTalkSessionSeries​ #TheRevolutionWillBeDigitized​

We are back with Juju Bae, host of A Little Juju podcast for a lesson on spiritual baths. Over the years we absorb energy from people, places, and things that build up can cause blocked blessings. A spiritual bath can not only remove the negative energy but also can attract positivity within your life. So don't funk up and do a little spiritual spring cleaning! Watch video version here: https://youtu.be/AXSj5M0fQFQ Make sure you subscribe to our YouTube so you don't miss new videos that will educate and provide the basics of Hoodoo. Juju Bae: YouTube - https://www.youtube.com/channel/UChdk...​ Instagram - www.instagram.com/itsjujubae/ Twitter - twitter.com/itsjujubae www.itsjujubae.com Real Talk Session Series: Listen to Juju Bae on The Miseducation of the People - https://pod.link/1522512323/episode/d...​ Facebook - www.facebook.com/RealTalkSessionSeries/ Instagram - www.instagram.com/realtalksessionseries LinkedIn - https://www.linkedin.com/company/real...​ Sign-Up For Our Email List: eepurl.com/gWnNSX Visit the Merch Shop: www.realtalksessionseries.org/shop www.realtalksessionseries.org #RealTalkSessionSeries​ #TheRevolutionWillBeDigitized​

Groove Theory: The Blues Foundation of Funk (University Press of Mississippi, 2020) by Tony Bolden, an Associate Professor of African and African American Studies at the University of Kansas, and author of Afro-Blue: Improvisation in African American Poetry and Culture (University of Illinois Press, 2003), is a history of funk artists such as George Clinton who developed a new aesthetic style through the Black Arts Era of the 1960s and 1970s. Bolden defines these artists such as Clinton as Gil Scot Heron of the band The Last Poets as “organic intellectuals” who helped fashion a new Black aesthetic in their development of funk music and culture. The book has an “Introduction” section, six concise chapters, including an extensive notes section and selected bibliography. Bolden's main premise is that “blues and funk are not just musical forms; they are interrelated concepts. And blues is “like the nucleus” of rock as well as rhythm and blues, which includes soul and funk” (4). In many respects, the text is a history of the variant interrelated Black vernacular forms that flourished during the twentieth century that overlap and are intermingled within the funk aesthetic. Groove Theory is interdisciplinary in scope in that it engages a broad spectrum of academic disciplines including history, literary studies, and musicology to advance an argument about the meaning, style, and structure of funk as type of aesthetical practice in the history of African Americans. Bolden uses a myriad of sources such as poetry, literature, memoirs, interviews, and song lyrics to support his analysis. The first part of the book contains three chapters that discusses both the historical and theoretical foundations of funk as a genre of music and cultural style. Chapter One titled “Groove Theory: Liner Notes on Funk Aesthetics” discusses how the funk “operates as a distinct form of black vernacular epistemology” and the Chapter Two “Blue Funk: The Ugly Beauty of Stank” focuses on the development of funk as an idea in the blues era. The last chapter in this part of the text Chapter Three “Sly Stone and the Gospel of Funk” concerns the impact of Sly Stone on the development of the funk sound. Part two of Groove Theory contains three chapters that consider the relationship between blue funk and the black fantastic. This section also brings into the discussion the role of women in the development of the funk genre. In Chapter Four, Chaka Khan's impact on funk music and culture while the following Chapter Five “Funky Bluesology: Gil Scott Heron As Black Organic Intellectual” considers the role of Heron in the advancement of the funk aesthetic. The final chapter “The Kinkiness of Turquoise: Betty Davis's Liberated Funk-Rock” concerns the legacy of Betty Davis the famed Black woman rocker of the funk era. Bolden ends his text with an “Outro” that considers the lasting impact of funk music on American music culture. Hettie V. Williams Ph.D., is an Assistant Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. She has published book chapters, essays, and edited/authored five books. Her latest publications include Bury My Heart in a Free Land: Black Women Intellectuals in Modern U.S. History (Praeger, 2017) and, with Dr. G. Reginald Daniel, professor of historical sociology at the University of California, Santa Barbara, Race and the Obama Phenomenon: The Vision of a More Perfect Multiracial Union (University Press of Mississippi 2014). Follow me on twitter: @DrHettie2017 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Groove Theory: The Blues Foundation of Funk (University Press of Mississippi, 2020) by Tony Bolden, an Associate Professor of African and African American Studies at the University of Kansas, and author of Afro-Blue: Improvisation in African American Poetry and Culture (University of Illinois Press, 2003), is a history of funk artists such as George Clinton who developed a new aesthetic style through the Black Arts Era of the 1960s and 1970s. Bolden defines these artists such as Clinton as Gil Scot Heron of the band The Last Poets as “organic intellectuals” who helped fashion a new Black aesthetic in their development of funk music and culture. The book has an “Introduction” section, six concise chapters, including an extensive notes section and selected bibliography. Bolden’s main premise is that “blues and funk are not just musical forms; they are interrelated concepts. And blues is “like the nucleus” of rock as well as rhythm and blues, which includes soul and funk” (4). In many respects, the text is a history of the variant interrelated Black vernacular forms that flourished during the twentieth century that overlap and are intermingled within the funk aesthetic. Groove Theory is interdisciplinary in scope in that it engages a broad spectrum of academic disciplines including history, literary studies, and musicology to advance an argument about the meaning, style, and structure of funk as type of aesthetical practice in the history of African Americans. Bolden uses a myriad of sources such as poetry, literature, memoirs, interviews, and song lyrics to support his analysis. The first part of the book contains three chapters that discusses both the historical and theoretical foundations of funk as a genre of music and cultural style. Chapter One titled “Groove Theory: Liner Notes on Funk Aesthetics” discusses how the funk “operates as a distinct form of black vernacular epistemology” and the Chapter Two “Blue Funk: The Ugly Beauty of Stank” focuses on the development of funk as an idea in the blues era. The last chapter in this part of the text Chapter Three “Sly Stone and the Gospel of Funk” concerns the impact of Sly Stone on the development of the funk sound. Part two of Groove Theory contains three chapters that consider the relationship between blue funk and the black fantastic. This section also brings into the discussion the role of women in the development of the funk genre. In Chapter Four, Chaka Khan’s impact on funk music and culture while the following Chapter Five “Funky Bluesology: Gil Scott Heron As Black Organic Intellectual” considers the role of Heron in the advancement of the funk aesthetic. The final chapter “The Kinkiness of Turquoise: Betty Davis’s Liberated Funk-Rock” concerns the legacy of Betty Davis the famed Black woman rocker of the funk era. Bolden ends his text with an “Outro” that considers the lasting impact of funk music on American music culture. Hettie V. Williams Ph.D., is an Assistant Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. She has published book chapters, essays, and edited/authored five books. Her latest publications include Bury My Heart in a Free Land: Black Women Intellectuals in Modern U.S. History (Praeger, 2017) and, with Dr. G. Reginald Daniel, professor of historical sociology at the University of California, Santa Barbara, Race and the Obama Phenomenon: The Vision of a More Perfect Multiracial Union (University Press of Mississippi 2014). Follow me on twitter: @DrHettie2017 Learn more about your ad choices. Visit megaphone.fm/adchoices

Groove Theory: The Blues Foundation of Funk (University Press of Mississippi, 2020) by Tony Bolden, an Associate Professor of African and African American Studies at the University of Kansas, and author of Afro-Blue: Improvisation in African American Poetry and Culture (University of Illinois Press, 2003), is a history of funk artists such as George Clinton who developed a new aesthetic style through the Black Arts Era of the 1960s and 1970s. Bolden defines these artists such as Clinton as Gil Scot Heron of the band The Last Poets as “organic intellectuals” who helped fashion a new Black aesthetic in their development of funk music and culture. The book has an “Introduction” section, six concise chapters, including an extensive notes section and selected bibliography. Bolden’s main premise is that “blues and funk are not just musical forms; they are interrelated concepts. And blues is “like the nucleus” of rock as well as rhythm and blues, which includes soul and funk” (4). In many respects, the text is a history of the variant interrelated Black vernacular forms that flourished during the twentieth century that overlap and are intermingled within the funk aesthetic. Groove Theory is interdisciplinary in scope in that it engages a broad spectrum of academic disciplines including history, literary studies, and musicology to advance an argument about the meaning, style, and structure of funk as type of aesthetical practice in the history of African Americans. Bolden uses a myriad of sources such as poetry, literature, memoirs, interviews, and song lyrics to support his analysis. The first part of the book contains three chapters that discusses both the historical and theoretical foundations of funk as a genre of music and cultural style. Chapter One titled “Groove Theory: Liner Notes on Funk Aesthetics” discusses how the funk “operates as a distinct form of black vernacular epistemology” and the Chapter Two “Blue Funk: The Ugly Beauty of Stank” focuses on the development of funk as an idea in the blues era. The last chapter in this part of the text Chapter Three “Sly Stone and the Gospel of Funk” concerns the impact of Sly Stone on the development of the funk sound. Part two of Groove Theory contains three chapters that consider the relationship between blue funk and the black fantastic. This section also brings into the discussion the role of women in the development of the funk genre. In Chapter Four, Chaka Khan’s impact on funk music and culture while the following Chapter Five “Funky Bluesology: Gil Scott Heron As Black Organic Intellectual” considers the role of Heron in the advancement of the funk aesthetic. The final chapter “The Kinkiness of Turquoise: Betty Davis’s Liberated Funk-Rock” concerns the legacy of Betty Davis the famed Black woman rocker of the funk era. Bolden ends his text with an “Outro” that considers the lasting impact of funk music on American music culture. Hettie V. Williams Ph.D., is an Assistant Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. She has published book chapters, essays, and edited/authored five books. Her latest publications include Bury My Heart in a Free Land: Black Women Intellectuals in Modern U.S. History (Praeger, 2017) and, with Dr. G. Reginald Daniel, professor of historical sociology at the University of California, Santa Barbara, Race and the Obama Phenomenon: The Vision of a More Perfect Multiracial Union (University Press of Mississippi 2014). Follow me on twitter: @DrHettie2017 Learn more about your ad choices. Visit megaphone.fm/adchoices

Groove Theory: The Blues Foundation of Funk (University Press of Mississippi, 2020) by Tony Bolden, an Associate Professor of African and African American Studies at the University of Kansas, and author of Afro-Blue: Improvisation in African American Poetry and Culture (University of Illinois Press, 2003), is a history of funk artists such as George Clinton who developed a new aesthetic style through the Black Arts Era of the 1960s and 1970s. Bolden defines these artists such as Clinton as Gil Scot Heron of the band The Last Poets as “organic intellectuals” who helped fashion a new Black aesthetic in their development of funk music and culture. The book has an “Introduction” section, six concise chapters, including an extensive notes section and selected bibliography. Bolden’s main premise is that “blues and funk are not just musical forms; they are interrelated concepts. And blues is “like the nucleus” of rock as well as rhythm and blues, which includes soul and funk” (4). In many respects, the text is a history of the variant interrelated Black vernacular forms that flourished during the twentieth century that overlap and are intermingled within the funk aesthetic. Groove Theory is interdisciplinary in scope in that it engages a broad spectrum of academic disciplines including history, literary studies, and musicology to advance an argument about the meaning, style, and structure of funk as type of aesthetical practice in the history of African Americans. Bolden uses a myriad of sources such as poetry, literature, memoirs, interviews, and song lyrics to support his analysis. The first part of the book contains three chapters that discusses both the historical and theoretical foundations of funk as a genre of music and cultural style. Chapter One titled “Groove Theory: Liner Notes on Funk Aesthetics” discusses how the funk “operates as a distinct form of black vernacular epistemology” and the Chapter Two “Blue Funk: The Ugly Beauty of Stank” focuses on the development of funk as an idea in the blues era. The last chapter in this part of the text Chapter Three “Sly Stone and the Gospel of Funk” concerns the impact of Sly Stone on the development of the funk sound. Part two of Groove Theory contains three chapters that consider the relationship between blue funk and the black fantastic. This section also brings into the discussion the role of women in the development of the funk genre. In Chapter Four, Chaka Khan’s impact on funk music and culture while the following Chapter Five “Funky Bluesology: Gil Scott Heron As Black Organic Intellectual” considers the role of Heron in the advancement of the funk aesthetic. The final chapter “The Kinkiness of Turquoise: Betty Davis’s Liberated Funk-Rock” concerns the legacy of Betty Davis the famed Black woman rocker of the funk era. Bolden ends his text with an “Outro” that considers the lasting impact of funk music on American music culture. Hettie V. Williams Ph.D., is an Assistant Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. She has published book chapters, essays, and edited/authored five books. Her latest publications include Bury My Heart in a Free Land: Black Women Intellectuals in Modern U.S. History (Praeger, 2017) and, with Dr. G. Reginald Daniel, professor of historical sociology at the University of California, Santa Barbara, Race and the Obama Phenomenon: The Vision of a More Perfect Multiracial Union (University Press of Mississippi 2014). Follow me on twitter: @DrHettie2017 Learn more about your ad choices. Visit megaphone.fm/adchoices

Groove Theory: The Blues Foundation of Funk (University Press of Mississippi, 2020) by Tony Bolden, an Associate Professor of African and African American Studies at the University of Kansas, and author of Afro-Blue: Improvisation in African American Poetry and Culture (University of Illinois Press, 2003), is a history of funk artists such as George Clinton who developed a new aesthetic style through the Black Arts Era of the 1960s and 1970s. Bolden defines these artists such as Clinton as Gil Scot Heron of the band The Last Poets as “organic intellectuals” who helped fashion a new Black aesthetic in their development of funk music and culture. The book has an “Introduction” section, six concise chapters, including an extensive notes section and selected bibliography. Bolden’s main premise is that “blues and funk are not just musical forms; they are interrelated concepts. And blues is “like the nucleus” of rock as well as rhythm and blues, which includes soul and funk” (4). In many respects, the text is a history of the variant interrelated Black vernacular forms that flourished during the twentieth century that overlap and are intermingled within the funk aesthetic. Groove Theory is interdisciplinary in scope in that it engages a broad spectrum of academic disciplines including history, literary studies, and musicology to advance an argument about the meaning, style, and structure of funk as type of aesthetical practice in the history of African Americans. Bolden uses a myriad of sources such as poetry, literature, memoirs, interviews, and song lyrics to support his analysis. The first part of the book contains three chapters that discusses both the historical and theoretical foundations of funk as a genre of music and cultural style. Chapter One titled “Groove Theory: Liner Notes on Funk Aesthetics” discusses how the funk “operates as a distinct form of black vernacular epistemology” and the Chapter Two “Blue Funk: The Ugly Beauty of Stank” focuses on the development of funk as an idea in the blues era. The last chapter in this part of the text Chapter Three “Sly Stone and the Gospel of Funk” concerns the impact of Sly Stone on the development of the funk sound. Part two of Groove Theory contains three chapters that consider the relationship between blue funk and the black fantastic. This section also brings into the discussion the role of women in the development of the funk genre. In Chapter Four, Chaka Khan’s impact on funk music and culture while the following Chapter Five “Funky Bluesology: Gil Scott Heron As Black Organic Intellectual” considers the role of Heron in the advancement of the funk aesthetic. The final chapter “The Kinkiness of Turquoise: Betty Davis’s Liberated Funk-Rock” concerns the legacy of Betty Davis the famed Black woman rocker of the funk era. Bolden ends his text with an “Outro” that considers the lasting impact of funk music on American music culture. Hettie V. Williams Ph.D., is an Assistant Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. She has published book chapters, essays, and edited/authored five books. Her latest publications include Bury My Heart in a Free Land: Black Women Intellectuals in Modern U.S. History (Praeger, 2017) and, with Dr. G. Reginald Daniel, professor of historical sociology at the University of California, Santa Barbara, Race and the Obama Phenomenon: The Vision of a More Perfect Multiracial Union (University Press of Mississippi 2014). Follow me on twitter: @DrHettie2017 Learn more about your ad choices. Visit megaphone.fm/adchoices

Groove Theory: The Blues Foundation of Funk (University Press of Mississippi, 2020) by Tony Bolden, an Associate Professor of African and African American Studies at the University of Kansas, and author of Afro-Blue: Improvisation in African American Poetry and Culture (University of Illinois Press, 2003), is a history of funk artists such as George Clinton who developed a new aesthetic style through the Black Arts Era of the 1960s and 1970s. Bolden defines these artists such as Clinton as Gil Scot Heron of the band The Last Poets as “organic intellectuals” who helped fashion a new Black aesthetic in their development of funk music and culture. The book has an “Introduction” section, six concise chapters, including an extensive notes section and selected bibliography. Bolden’s main premise is that “blues and funk are not just musical forms; they are interrelated concepts. And blues is “like the nucleus” of rock as well as rhythm and blues, which includes soul and funk” (4). In many respects, the text is a history of the variant interrelated Black vernacular forms that flourished during the twentieth century that overlap and are intermingled within the funk aesthetic. Groove Theory is interdisciplinary in scope in that it engages a broad spectrum of academic disciplines including history, literary studies, and musicology to advance an argument about the meaning, style, and structure of funk as type of aesthetical practice in the history of African Americans. Bolden uses a myriad of sources such as poetry, literature, memoirs, interviews, and song lyrics to support his analysis. The first part of the book contains three chapters that discusses both the historical and theoretical foundations of funk as a genre of music and cultural style. Chapter One titled “Groove Theory: Liner Notes on Funk Aesthetics” discusses how the funk “operates as a distinct form of black vernacular epistemology” and the Chapter Two “Blue Funk: The Ugly Beauty of Stank” focuses on the development of funk as an idea in the blues era. The last chapter in this part of the text Chapter Three “Sly Stone and the Gospel of Funk” concerns the impact of Sly Stone on the development of the funk sound. Part two of Groove Theory contains three chapters that consider the relationship between blue funk and the black fantastic. This section also brings into the discussion the role of women in the development of the funk genre. In Chapter Four, Chaka Khan’s impact on funk music and culture while the following Chapter Five “Funky Bluesology: Gil Scott Heron As Black Organic Intellectual” considers the role of Heron in the advancement of the funk aesthetic. The final chapter “The Kinkiness of Turquoise: Betty Davis’s Liberated Funk-Rock” concerns the legacy of Betty Davis the famed Black woman rocker of the funk era. Bolden ends his text with an “Outro” that considers the lasting impact of funk music on American music culture. Hettie V. Williams Ph.D., is an Assistant Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. She has published book chapters, essays, and edited/authored five books. Her latest publications include Bury My Heart in a Free Land: Black Women Intellectuals in Modern U.S. History (Praeger, 2017) and, with Dr. G. Reginald Daniel, professor of historical sociology at the University of California, Santa Barbara, Race and the Obama Phenomenon: The Vision of a More Perfect Multiracial Union (University Press of Mississippi 2014). Follow me on twitter: @DrHettie2017 Learn more about your ad choices. Visit megaphone.fm/adchoices

Groove Theory: The Blues Foundation of Funk (University Press of Mississippi, 2020) by Tony Bolden, an Associate Professor of African and African American Studies at the University of Kansas, and author of Afro-Blue: Improvisation in African American Poetry and Culture (University of Illinois Press, 2003), is a history of funk artists such as George Clinton who developed a new aesthetic style through the Black Arts Era of the 1960s and 1970s. Bolden defines these artists such as Clinton as Gil Scot Heron of the band The Last Poets as “organic intellectuals” who helped fashion a new Black aesthetic in their development of funk music and culture. The book has an “Introduction” section, six concise chapters, including an extensive notes section and selected bibliography. Bolden’s main premise is that “blues and funk are not just musical forms; they are interrelated concepts. And blues is “like the nucleus” of rock as well as rhythm and blues, which includes soul and funk” (4). In many respects, the text is a history of the variant interrelated Black vernacular forms that flourished during the twentieth century that overlap and are intermingled within the funk aesthetic. Groove Theory is interdisciplinary in scope in that it engages a broad spectrum of academic disciplines including history, literary studies, and musicology to advance an argument about the meaning, style, and structure of funk as type of aesthetical practice in the history of African Americans. Bolden uses a myriad of sources such as poetry, literature, memoirs, interviews, and song lyrics to support his analysis. The first part of the book contains three chapters that discusses both the historical and theoretical foundations of funk as a genre of music and cultural style. Chapter One titled “Groove Theory: Liner Notes on Funk Aesthetics” discusses how the funk “operates as a distinct form of black vernacular epistemology” and the Chapter Two “Blue Funk: The Ugly Beauty of Stank” focuses on the development of funk as an idea in the blues era. The last chapter in this part of the text Chapter Three “Sly Stone and the Gospel of Funk” concerns the impact of Sly Stone on the development of the funk sound. Part two of Groove Theory contains three chapters that consider the relationship between blue funk and the black fantastic. This section also brings into the discussion the role of women in the development of the funk genre. In Chapter Four, Chaka Khan’s impact on funk music and culture while the following Chapter Five “Funky Bluesology: Gil Scott Heron As Black Organic Intellectual” considers the role of Heron in the advancement of the funk aesthetic. The final chapter “The Kinkiness of Turquoise: Betty Davis’s Liberated Funk-Rock” concerns the legacy of Betty Davis the famed Black woman rocker of the funk era. Bolden ends his text with an “Outro” that considers the lasting impact of funk music on American music culture. Hettie V. Williams Ph.D., is an Assistant Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. She has published book chapters, essays, and edited/authored five books. Her latest publications include Bury My Heart in a Free Land: Black Women Intellectuals in Modern U.S. History (Praeger, 2017) and, with Dr. G. Reginald Daniel, professor of historical sociology at the University of California, Santa Barbara, Race and the Obama Phenomenon: The Vision of a More Perfect Multiracial Union (University Press of Mississippi 2014). Follow me on twitter: @DrHettie2017 Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Barber, Jimmy Greene, Jen Allen, Wayne Escoffery, Jeremy Pelt, Black Art Jazz CollectivePlaylist: Jonathan Barber - Son of HartfordJimmy Greene - OverreactionJen Allen, featuring Kris Allen, Marty Jaffe & Kush Abadey - Begin AgainWayne Escoffery - Quarter MoonJeremy Pelt, featuring George Cables & Peter Washington - Then I'll Be Tired of YouBlack Art Jazz Collective - Mr. WillisLarry Willis, featuring Jeremy Pelt, Joe Ford, Blake Meister & Victor Lewis - Heavy BlueHarold Mabern, featuring Vincent Herring, Eric Alexander, Steve Davis, John Webber & Joe Farnsworth - It's MagicChristian Sands - SonarConnie Han - Hello to the WindSasha Berliner - The Spotless MindMulatu Astatke & Black Jesus Experience - Blue LightPulsart Trio - Blue MonkSargeant x Comrade - BeautifulBusty and the Bass, featuring Macy Gray - Out of LoveFive Alarm Funk, featuring Leo P. - Wake the Funk Up

No matter what genre you make music in, you can easily funk up your bass lines, which will get people moving to your music. So in this video, you’ll learn how to apply four essential funk elements to your bass lines. But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in... THEORYLocal Vancouver band FIVE ALARM FUNK just dropped their new single “Wake the Funk Up” feat. Leo P (Too Many Zooz), and it’s one helluva funky tune! All the funk essentials are here: Every beat 1 has a funk flashlight shining on it, there’s enough syncopation to make any dancefloor get on up, the ♭7 is tearing the roof off the sucker, and the song takes you on a chromatic rollercoaster. By the way, chromatic (AKA non-diatonic) refers to notes that are not in the scale. Now, always remember that funk is an attitude, not a genre, so any time you wanna get the party started with a bass line, use these four funk essentials: Accent beat 1 in every bar Syncopate almost everything else Use the ♭7 everywhere you can Seal the deal with chromatic notes SETUPAlright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 116 BPM. “Wake the Funk Up” is in E♭ Dorian with a bunch of chromatic notes, but we’ll be using E (instead of E♭), as it has a smaller key signature so it’s easier for learning.  STEP 1. THE ONEAs James Brown famously requested from Bootsy Collins back in the day: If you gimme the one, son, then you can play whatever you want for the rest of the bar. So, make sure you play beat 1 of every bar. We alternated between playing the low root on beat 1, then switching it up with a higher note on beat 1 of every other bar. STEP 2. THE SCALEThe funkiest bass lines often use the blues scale, which is simply the pentatonic minor scale with the ♭5 added in. So, while the horns will be playing in E Dorian, the bass will be playing in E Blues. This scale combo is a funk favourite! And yes, these two scales work perfectly together as their notes overlap (other than the ♭5, but, we’ll throw the ♭5 in the Dorian horns as well). Right, so E Blues contains the notes: E G A B♭ B♮ D, so you can use any of those notes in your bass line. And by the way, if you want our blues scale hack for funky bass lines, along with a MIDI file example, then that’s all included in our Songwriting & Producing PDF (click & scroll down). STEP 3. SYNCOPATED MOTIFNow, as you’ve given Mr Brown all the ones, you’re free to do whatever you want everywhere else. So, you’re gonna create a syncopated motif, which you can then repeat (and vary) to make your bass line. And if you’re new to those terms. Syncopation is when you accent an off-beat, and that injects energy into your groove. And a motif is a short musical idea, which you repeat to give your bass line structure and make it memorable. Our motif consists of a three-note descending line, where the last note is a syncopated 1/16 note. We then repeat our motif, starting on the note we ended on, to form a larger six-note motif. Right, now it’s time to create a motif in your second bar. And yes, you’re leaving the rest of your first bar open, cos space is essential in a funky bass line. And once you’ve created your motif, repeat it in your fourth bar with a variation. We varied our motif by playing it ascending. Next, repeat the original motif in your sixth bar, but add a couple notes. Also, throw in some extra notes at the end of your fourth bar and in your fifth bar. These extra notes start building the energy towards your big ending, which is coming up next. STEP 4. CHROMATIC ENDINGMany great funk bass lines have a wild sound to them, which is often a result of venturing out of the scale. And the classic place to do this, is at the end of your line. This not only builds tension, it also prevents your bass line from becoming boring and predictable. So, in your eighth bar, you’re gonna write a melodic run that uses our old friend Syncopation, as well as our new friend Chromaticism. In Dorian, some funky favourites when it comes to chromatic notes are the 7 (especially when played between the ♭7 and the root), and the ♭2 (especially when played between the root and the 2 leading to the ♭3). Also, remember the funky ♭5, which you should use liberally throughout your bass line. NEXTOkay, so now that you’ve got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you! Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada   LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyThumbnail photograph by Brendan Meadows     Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again.   “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. 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No matter what genre you make music in, you can easily funk up your bass lines, which will get people moving to your music. So in this video, you’ll learn how to apply four essential funk elements to your bass lines. But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in... THEORYLocal Vancouver band FIVE ALARM FUNK just dropped their new single “Wake the Funk Up” feat. Leo P (Too Many Zooz), and it’s one helluva funky tune! All the funk essentials are here: Every beat 1 has a funk flashlight shining on it, there’s enough syncopation to make any dancefloor get on up, the ♭7 is tearing the roof off the sucker, and the song takes you on a chromatic rollercoaster. By the way, chromatic (AKA non-diatonic) refers to notes that are not in the scale. Now, always remember that funk is an attitude, not a genre, so any time you wanna get the party started with a bass line, use these four funk essentials: Accent beat 1 in every bar Syncopate almost everything else Use the ♭7 everywhere you can Seal the deal with chromatic notes SETUPAlright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 116 BPM. “Wake the Funk Up” is in E♭ Dorian with a bunch of chromatic notes, but we’ll be using E (instead of E♭), as it has a smaller key signature so it’s easier for learning.  STEP 1. THE ONEAs James Brown famously requested from Bootsy Collins back in the day: If you gimme the one, son, then you can play whatever you want for the rest of the bar. So, make sure you play beat 1 of every bar. We alternated between playing the low root on beat 1, then switching it up with a higher note on beat 1 of every other bar. STEP 2. THE SCALEThe funkiest bass lines often use the blues scale, which is simply the pentatonic minor scale with the ♭5 added in. So, while the horns will be playing in E Dorian, the bass will be playing in E Blues. This scale combo is a funk favourite! And yes, these two scales work perfectly together as their notes overlap (other than the ♭5, but, we’ll throw the ♭5 in the Dorian horns as well). Right, so E Blues contains the notes: E G A B♭ B♮ D, so you can use any of those notes in your bass line. And by the way, if you want our blues scale hack for funky bass lines, along with a MIDI file example, then that’s all included in our Songwriting & Producing PDF (click & scroll down). STEP 3. SYNCOPATED MOTIFNow, as you’ve given Mr Brown all the ones, you’re free to do whatever you want everywhere else. So, you’re gonna create a syncopated motif, which you can then repeat (and vary) to make your bass line. And if you’re new to those terms. Syncopation is when you accent an off-beat, and that injects energy into your groove. And a motif is a short musical idea, which you repeat to give your bass line structure and make it memorable. Our motif consists of a three-note descending line, where the last note is a syncopated 1/16 note. We then repeat our motif, starting on the note we ended on, to form a larger six-note motif. Right, now it’s time to create a motif in your second bar. And yes, you’re leaving the rest of your first bar open, cos space is essential in a funky bass line. And once you’ve created your motif, repeat it in your fourth bar with a variation. We varied our motif by playing it ascending. Next, repeat the original motif in your sixth bar, but add a couple notes. Also, throw in some extra notes at the end of your fourth bar and in your fifth bar. These extra notes start building the energy towards your big ending, which is coming up next. STEP 4. CHROMATIC ENDINGMany great funk bass lines have a wild sound to them, which is often a result of venturing out of the scale. And the classic place to do this, is at the end of your line. This not only builds tension, it also prevents your bass line from becoming boring and predictable. So, in your eighth bar, you’re gonna write a melodic run that uses our old friend Syncopation, as well as our new friend Chromaticism. In Dorian, some funky favourites when it comes to chromatic notes are the 7 (especially when played between the ♭7 and the root), and the ♭2 (especially when played between the root and the 2 leading to the ♭3). Also, remember the funky ♭5, which you should use liberally throughout your bass line. NEXTOkay, so now that you’ve got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you! Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada   LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyThumbnail photograph by Brendan Meadows     Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again.   “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. 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No matter what genre you make music in, you can easily funk up your bass lines, which will get people moving to your music. So in this video, you'll learn how to apply four essential funk elements to your bass lines. But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let's jump in... THEORYLocal Vancouver band FIVE ALARM FUNK just dropped their new single “Wake the Funk Up” feat. Leo P (Too Many Zooz), and it's one helluva funky tune! All the funk essentials are here: Every beat 1 has a funk flashlight shining on it, there's enough syncopation to make any dancefloor get on up, the ♭7 is tearing the roof off the sucker, and the song takes you on a chromatic rollercoaster. By the way, chromatic (AKA non-diatonic) refers to notes that are not in the scale. Now, always remember that funk is an attitude, not a genre, so any time you wanna get the party started with a bass line, use these four funk essentials: Accent beat 1 in every bar Syncopate almost everything else Use the ♭7 everywhere you can Seal the deal with chromatic notes SETUPAlright, now you're gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 116 BPM. “Wake the Funk Up” is in E♭ Dorian with a bunch of chromatic notes, but we'll be using E (instead of E♭), as it has a smaller key signature so it's easier for learning.  STEP 1. THE ONEAs James Brown famously requested from Bootsy Collins back in the day: If you gimme the one, son, then you can play whatever you want for the rest of the bar. So, make sure you play beat 1 of every bar. We alternated between playing the low root on beat 1, then switching it up with a higher note on beat 1 of every other bar. STEP 2. THE SCALEThe funkiest bass lines often use the blues scale, which is simply the pentatonic minor scale with the ♭5 added in. So, while the horns will be playing in E Dorian, the bass will be playing in E Blues. This scale combo is a funk favourite! And yes, these two scales work perfectly together as their notes overlap (other than the ♭5, but, we'll throw the ♭5 in the Dorian horns as well). Right, so E Blues contains the notes: E G A B♭ B♮ D, so you can use any of those notes in your bass line. And by the way, if you want our blues scale hack for funky bass lines, along with a MIDI file example, then that's all included in our Songwriting & Producing PDF (click & scroll down). STEP 3. SYNCOPATED MOTIFNow, as you've given Mr Brown all the ones, you're free to do whatever you want everywhere else. So, you're gonna create a syncopated motif, which you can then repeat (and vary) to make your bass line. And if you're new to those terms. Syncopation is when you accent an off-beat, and that injects energy into your groove. And a motif is a short musical idea, which you repeat to give your bass line structure and make it memorable. Our motif consists of a three-note descending line, where the last note is a syncopated 1/16 note. We then repeat our motif, starting on the note we ended on, to form a larger six-note motif. Right, now it's time to create a motif in your second bar. And yes, you're leaving the rest of your first bar open, cos space is essential in a funky bass line. And once you've created your motif, repeat it in your fourth bar with a variation. We varied our motif by playing it ascending. Next, repeat the original motif in your sixth bar, but add a couple notes. Also, throw in some extra notes at the end of your fourth bar and in your fifth bar. These extra notes start building the energy towards your big ending, which is coming up next. STEP 4. CHROMATIC ENDINGMany great funk bass lines have a wild sound to them, which is often a result of venturing out of the scale. And the classic place to do this, is at the end of your line. This not only builds tension, it also prevents your bass line from becoming boring and predictable. So, in your eighth bar, you're gonna write a melodic run that uses our old friend Syncopation, as well as our new friend Chromaticism. In Dorian, some funky favourites when it comes to chromatic notes are the 7 (especially when played between the ♭7 and the root), and the ♭2 (especially when played between the root and the 2 leading to the ♭3). Also, remember the funky ♭5, which you should use liberally throughout your bass line. NEXTOkay, so now that you've got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they're in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that's exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you! Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada   LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyThumbnail photograph by Brendan Meadows     Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again.   “The most brilliant, fast, easy & fun music theory book I've ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. 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Join me on a new adventure full of fun stories, silly skits, depressing realities, soul searching, technology gripes and discoveries. My friend Zeeche joins me, as well as my daughter Mary, and Marvin suicide even makes an appearance. The tunes this week were:Robots Play Chub Creek by Zeeche. The Chub Creek Theme by Mary. Brandmauer by H.ADAMFunk Up (Original Mix) by アルファードFlight by Aritus

A revolution without dancing is not a revolution worth having. PLAYLIST 01. Isaac Hayes - Theme from Shaft (DJ S Remix) 02. Everyman, Qdup - Joyride (Wes Smith Remix Instrumental) 03. Everyman, Qdup - Joyride (Wes Smith Remix) 04. Fort Knox Five, Joe Quarterman - Don't Go (Trotter Remix Instrumental) 05. Fort Knox Five, Joe Quarterman - Don't Go (Trotter Remix) 06. Morlack - Touched It 07. Prosper, Stabfinger - You're Wonderful 08. Flow Dynamics - Superjam (Flow Dynamics Remix) 09. Flow Dynamics - Live in the Mix 10. D-Funk - Dope Jam 11. Ministry of Funk - Gonna Get Up 12. Pecoe - Dance Sucka 13. Morlack - Who's the Hoe 14. Ministry of Funk - Dancin 15. Funky Brothers - Poom Poom (Imark C & Massimo Gulinati Frankielovers Remix) == Please support these artists == Music copyright the respective artists. All other material c2006, 2017 by Steve Boyett. For personal use only. All rights reserved. Any unauthorized copying editing, exhibition, sale, rental, exchange, public performance, or broadcast of this audio is strictly prohibited. Newsletter, donations, and merchandise: http://www.groovelectric.com

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The boys explain some more things to their fathers, play some straight fire mashups, and discuss their week off the grid.

The Bar-Kays - She Talks To Me With Her Body (Petko Turner Edit) The Bar-Kays began in Memphis, Tennessee, as a studio session group, backing major artists at Stax Records. In 1967 they were chosen by Otis Redding to play as his backing band and were tutored for that role by Al Jackson, Jr., Booker T. Jones, and the other members of Booker T. & the M.G.'s.[1] Their first single, "Soul Finger", was issued on April 14, 1967, reaching number 3 on the US Billboard R&B Singles chart and number 17 on the Billboard Hot 100. On December 10, 1967, Redding and four members of the band—Jimmie King (born June 8, 1949; guitar), Ronnie Caldwell (born December 27, 1948; electric organ), Phalon Jones (born 1948; saxophone), and Carl Cunningham (born 1948; drums)—and their partner, Matthew Kelly, died when their airplane crashed into Lake Monona, near Madison, Wisconsin, while attempting to land at Truax Field. Redding and the band were scheduled to play their next concerts in Madison. Trumpeter Ben Cauley was the only survivor of the crash. Bassist James Alexander was on another plane, as the plane carrying Redding held only seven passengers. Cauley and Alexander rebuilt the group. The re-formed band consisted of Cauley; Alexander; Harvey Henderson, saxophone; Michael Toles, guitar; Ronnie Gorden, organ; Willie Hall, drums; and later Larry Dodson (formerly of fellow Stax act the Temprees), lead vocals. The group backed dozens of major Stax artists on recordings, including Isaac Hayes on his album Hot Buttered Soul. Cauley left the group in 1971, leaving Alexander, Dodson (vocals, vibes), Barry Wilkins (guitar), Winston Stewart (keyboards), Henderson (tenor sax, flute), Charles "Scoops" Allen (trumpet), and Alvin Hunter (drums) to create the album Black Rock.[2] Lloyd Smith joined in 1973, and the band changed musical direction during the 1970s, forging a successful career in funk music. With the Stax/Volt label folding in 1975, the group signed with Mercury Records.[3] In 1976, Dodson (vocals), Alexander (bass), Lloyd Smith (guitar), Allen (trumpet), Henderson (saxophone), Frank Thompson (trombone), Stewart (keyboards), and Mike Beard (drums) brought their "Shake Your Rump to the Funk" track into the R&B Top Five.[3] In autumn 1977, the group came out with Flying High on Your Love, an album that featured "Shut the Funk Up", a "near-perfect disco song punctuated by the funky horn triumvirate of Charles 'Scoop' Allen, Harvey 'Joe' Henderson, and Frank 'Captain Disaster' Thompson and dominated by vocalist Larry 'D' Dodson's call to 'get on up or just shut the funk up.'"[4] In 1983, Sherman Guy left the group, and Larry (LJ) Johnson took his place on vocals and percussion. Charles Allen left the group just before it took a more commercial direction.[5] The Bar-Kays continued to have hits on R&B charts well into the 1980s. Guitarist Marcus Price, a member of the band, was murdered after leaving a rehearsal in 1984; the crime has never been solved by the Memphis police. The band took an extended break in the late 1980s but regrouped in 1991, with Alexander once again being the only original member. Since 1991, Larry Dodson, Archie Love, Bryan Smith, and Tony Gentry have been added to the group. Alexander's son is the award-winning rapper and record producer Phalon "Jazze Pha" Alexander, named after Phalon Jones, who died in the 1967 plane crash. Jazze Pha produced the most recent effort by the group, "Grown Folks", released in 2012.[citation needed] In 2013, the group was inducted into the Memphis Music Hall of Fame.[6] On June 6, 2015, the Bar-Kays were inducted into the Official Rhythm & Blues Music Hall of Fame in Clarksdale, Mississippi. Trumpeter Ben Cauley died in Memphis on September 21, 2015, at the age of 67.[7] Download for free on The Artist Union