Podcast appearances and mentions of gil scot heron

Efram “LoveLogiq” Bryant is an R&B singer, songwriter, poet, MC, & social activist. His love of music extends to all genres, particularly Soul/Neo-Soul, R&B, Hip-Hop, and jazz. LovelLogiq has performed with world-renowned musicians recreating songs from legends such as Gil Scot Heron, Earth Wind & Fire, and Al Green. He has written for major R&B artists such as Noel Gourdin and has been featured as a vocalist in the hit FOX TV series “Empire.”

On 24 March, a collaboration between Acid Jazz Records and the Flying Dutchman label sees the release of veteran soul singer Billy Valentine's new album. The first album of new music on the iconic jazz label since 1976. Billy Valentine & The Universal Truth features testifying renditions of eight message songs, with Valentine's emphatic, lissome voice drawing upon the soul-jazz legacy of such Flying Dutchman singer and songwriters as Gil Scot-Heron and Leon Thomas. In addition to songs by these two extraordinary talents, the album also features songs originally written and recorded by Curtis Mayfield, Stevie Wonder, Eddie Kendricks, War, and Prince. Billy Valentine may not be a household name but should be familiar to most from Simply Red's 1983 Rendition of the Valentine Brothers' ‘Money's Too Tight (To Mention)'. Originally written and recorded by Billy and his brother John, the song was a protest against President Ronald Reagan's economic policies. Around the time of performing with the Valentine Brothers, Billy's recognition as a songwriter emerged after penning songs for other artists such as Will Jennings, Ray Charles, and the Neville Brothers. After the demise of the Valentine Brothers, Billy struck up a songwriting partnership with Bob Thiele, Jr. (son of Flying Dutchman Records' founder, Bob Thiele), which led to him singing demos for Warner Chappell songwriters, such as Gerry Goffin, Mark Isham, Burt Bacharach, and Hal David. Singing demos opened doors for Valentine to work in television and movies. His vocals can be heard in such works as: the 1991 classic movie, The Five Heartbeats, and songs produced for TV series including Boston Legal and, with Thiele, Jr., on music composed for the television show, Sons of Anarchy. Now, after several decades spent working together, Valentine and long-time collaborator Thiele Jr. present Billy Valentine & The Universal Truth. Produced by Thiele Jr., the album recording began at Hollywood's legendary East-West Studios (Beach Boys' Pet Sounds, Elvis Presley's ‘68 Comeback Special, Marvin Gaye's Let's Get It On and Michael Jackson's Thriller) right before the coronavirus pandemic. As the album session proceeded, the world erupted in protest after the May 2020 murder of George Floyd, adding to the poignancy of the recordings with the songs taking on a new urgency. Having always been drawn to message songs – Valentine remembers witnessing the civil rights protests through the Deep South in the United States, the Kent State University shootings in 1970, and the Vietnam War and its devastating aftermath on many military veterans returning to civilian life – the album's selection of songs' specific topics and themes speak to modern times. In particular, the rise of the Black Lives Matter after the acquittal of George Zimmerman, who murdered Trayvon Martin; the polarizing presidency of Donald Trump, which ended with the violent uprising at the Capitol Building; and the rise in gun violence amidst economic and social disparities, all made more apparent during the height of the pandemic. Opening with a plaintive makeover of Curtis Mayfield's 1970s ‘We The People Who Are Darker Than Blue', a sobering ballad about projecting racial pride and Black humanity in the face of insurmountable odds, the theme continues on Valentine's righteous rendition of Eddie Kendricks' 1972 Black Power anthem, ‘My People Hold On'. Hosted on Acast. See acast.com/privacy for more information.

Brian Jackson joins Classic Album Sundays founder Colleen ‘Cosmo' Murphy for a deep dive into his 1977 collaboration with Gil Scott-Heron Bridges. Brian will share stories of recording the album and his personal memories of working with Gil Scot-Heron. Read more about your favourite albums here: classicalbumsundays.com

Well what can we say about this episode other than it contains one of the finest musicians we have ever heard. Brian Jackson has over 50 years experience in the industry and has co-written some of the greatest songs of all time including 'The Bottle' and 'Winter in America' with Gil Scot-Heron. Its a dangerous game meeting your heroes but we are delighted to say that Brian is an absolute gentleman. Brian shares 3 Phonographic Memories with us along with so many fascinating asides. We also take the time to talk to legendary DJ The Mighty Zaf about the overlooked and underrated genre of Go-Go music. Wedged in between Hip-Hop and House Go-Go was once the hottest genre in the world but weirdly it seems to have been forgotten by the masses. Anne and Eamon meanwhile open the show by opening their hearts and discussing that most intimate of subjects, the lovers song. Eamon admits to a particularly awful selection whilst Anne realises she was the only one who even knew what her and her partners song even was. It's a great show so why not tell someone about it? And OMG with a couple of exceptions the play list is GO-GO-GOLD this week. https://open.spotify.com/playlist/3G1Vu3jh3ZvVdwWFeN3Gap?si=e769325f9f4844a4 Or there is the YouTube version https://www.youtube.com/playlist?list=PLPPl5xM2fbUr7Yy6sEUoQJ7JGWJoe2Fpj Also buy your records at Love Vinyl: https://m.facebook.com/lovevinyllondon/ P.S. Get well soon Zaf! CONTACT US: WHATGOESPOD@GMAIL.COM Twitter - @WHATGOESPOD Instagram - @WHATGOESPOD Facebook - https://www.facebook.com/WhatGoesPod/ *BIG UP THE LIKERS RETWEETERS & SHARERS*

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 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

joing us tonight for our neighborhood block party we've got some new music from Brian Culbertson, Keith McKelley, Darren Rahn, Childish Gambino, Tower of Power, Phillip Doc" Martin Mitchell Coleman Jr. and Peter Herold. We got some classic jams by Frankie Beverly and Maze, Earth, Wind & Fire and The Whispers. And we'll hear drom the poet lauret and father of rap Gil Scot-Heron all while we count down what's hot and poppin' on my playlist this week.

Click here to buy: https://adbl.co/3aLWdzu When I stopped wanting things for the wrong reasons, they became possible. For almost 30 years as label boss, producer, and talent conductor at XL Recordings, Richard Russell has discovered, shaped and nurtured the artists who have rewritten the musical dictionary of the 21st century, artists like The Prodigy, The White Stripes, Adele, M.I.A., Dizzee Rascal and Giggs. Growing up in north London in thrall to the raw energy of '80s US hip hop, Russell emerged as one part of rave outfit Kicks Like a Mule in 1991 at a moment when new technology enabled a truly punk aesthetic on the fledgling free party scene. For most of the 90s identified with breakbeat and hardcore, Russell's stewardship at the label was always uncompromising and open to radical influences rather than conventional business decisions. Liberation through Hearing tells the remarkable story of XL Recordings and their three decades on the frontline of innovation in music; the eclectic chorus of artists who came to define the label's unique aesthetic, and Russell's own story; his highs and lows steering the fortunes of an independent label in a rapidly changing industry, his celebrated work with Bobby Womack and Gil Scot Heron on their late-career masterpieces, and his own development as a musician in Everything is Recorded. Always searching for new sounds and new truths, Liberation through Hearing is a portrait of a man who believes in the spiritual power of music to change reality. It is also the story of a label that refused to be categorised by genre and in the process cut an idiosyncratic groove which was often underground in feel but mainstream in impact. This special audio edition features exclusive music from XL records and contributions from: CASisDEAD Esta Blechman Mark Whelan Mike D Rick Rubin Stanley Russell Hank Shocklee Gary Pini Judge Jules Charlie Grappone Dominic DeSiena Keith Flint Sam Spivack Liam Howlett Gil Scott-Heron Jo Bagenal Dizzee Rascal MIA Jonathan Dickins Leslie Granville Hardy Blechman Giggs Ed Morris Lee Scratch Perry Obongjayar

Au programme de ce numéro 24: les chansons parlées. Un morceau et une voix parlée par-dessus, c'est on ne peut plus simple comme principe. Petite incursion subjective dans l'univers du spoken word, en compagnie de Kate Tempest, Irène Drésel, Gil Scot-Heron ou encore le Velvet Underground.

Au programme de ce numéro 24: les chansons parlées. Un morceau et une voix parlée par-dessus, c'est on ne peut plus simple comme principe. Petite incursion subjective dans l'univers du spoken word, en compagnie de Kate Tempest, Irène Drésel, Gil Scot-Heron ou encore le Velvet Underground.

Show Notes Episode 219: “Whitey's On the Moon” (Part 1 of the Moon Shot Spectacular) This week Host Dave Bledsoe invites everyone to play the Moon Shot game with him, meaning the listener takes a shot whenever he uses profanity. (It's a game you play to lose.) On the show this week we take you through the history of the Space Program from Nazi's to Apollo 11, and ask if it was worth all the money we spent? Along the way we learn the secrets NASA (Never a straight answer) doesn't WANT you to know about why we had a space race. (Surprise, it was the Russians!) and why JFK wanted us to go to the Moon. (He heard there were hot Moon chicks!) We talk Wernher Von Braun and why we don't have Moon Bases after FIFTY FREAKING YEARS! (Turns out, no hot Moon Chicks!) Part One of the Moon Shot is all about how we went to the Moon, Part Two is all about us asking “But did we?” (Spoiler Alert: We Did) But that is NEXT WEEK! Our Sponsor this week is The Luna, Luxury Living on the Moon! We open the show with Dana Gould explaining why no one goes back to the Moon and close with Gil Scot Heron tallying the cost of the Space Race. Show Theme: https://www.jamendo.com/track/421668/prelude-to-common-sense The Show on Twitter: https://twitter.com/TheHell_Podcast The Show on Facebook: https://www.facebook.com/whatthehellpodcast/ The Show on Soundcloud https://soundcloud.com/david-bledsoe-4 www.whatthehellpodcast.com Give us your money on Patreon https://www.patreon.com/Whatthehellpodcast The Show Line: 347 687 9601 Closing Music: https://www.youtube.com/watch?v=goh2x_G0ct4 Learn more about your ad choices. Visit megaphone.fm/adchoices

June Edmonds is a painter and public artist, June has been a recipient of grants with the Department of Cultural Affairs in Los Angeles, most recently the COLA Master Artist Fellowship, and the California Arts Council.  June received an MFA from Tyler School of Art, Bachelors degree from San Diego State University and currently resides and works in Los Angeles, CA.    Yusef Lateef, Theme from Spartacus    James Brown, Papa Don’t Take No Mess   Gil Scot-Heron, Better Days Ahead   Ulali, Mahk Jchi   Habib Koite, Wassiye   Common, I Stand Alone ft. Dr Michael Eric Dyson    You can find June's work and the work of all the other artists involved in the project on What Artists Listen To. We're also on Instagram, Facebook and Twitter.

Today we speak to podcaster A.Ron Hubbard about the TV smash, the Walking Dead and why we are going off it. Multi-instrumentalist, producer and DJ, Adam Gibbons (aka Lack of Afro) is produced the 70’s sounding breakbeat monster The Outsider in 2007 for his debut album Press On. Featuring jazz-funk, and proto-rap Gil Scot Heron’s 1971 album Pieces of a Man album has had an outsided influence on subsequent dance and hip hop music. Here is Home Is Where the Hatred Is Xique Xique is a latin infused folk stomper from Tom Zé. Born Antônio José Santana Martins, who was influential in the Tropicália movement of 1960s Brazil. See acast.com/privacy for privacy and opt-out information.

News about Yuvette Henderson gunned down at Home Depot, the Tate-Brown killing by cops, Montana lawmaker wants to put the brakes on the police, the Memphis PD has threatened their black police officers who complain about racism, and more. A special thank you to Crystal Blanton for allowing the use of her poem "Blessing for Black Mothers Everywhere". Music by Curtis Mayfield, Ray Charles, Nina Simone, Sweet Honey in the Rock, Gil Scot Heron, and Stevie Wonder. (Special Episode runs approx 1:35)

q burns abstract - enter/ other (oeuvre)ulrich schnauss - her and sea (a long way to fall)subtractiv lad - of sand and stars (no man's land)q burns abstract - bug eyed sunglasses (oeuvre)mountains - sand/ identical ship (centralia)biosphere - fujiko (s/t)steve moore - tyken's rift (light echoes)loscil - endless halls (endless halls)Kate's mix - various (various)chip man and Buckwheat boys - peanut butter jelly time (peanut butter jelly time)barenakedladies - 7,8,9 (snacktime)barenakedladies - A,B,C (snacktime)gummibar - song and dance (bubble up)ray charles - it's not easy being green (it's not easy being green)mountains - circular (centraliia)young gods - attends/ F (second nature)loscil - estuarine (endless halls)steve moore - allebran exchange (light echoes)loscil - shafow's winter blackout (endless halls)young gods - riversky (heaven deconstruction)young gods - summer eyes (tv sky)Midnight Band - guerilla (s/t (Gil Scot Heron/ b jackson))

I never intended to release this mix. I considered it to be unfinished, in need of a polishing. Today, I heard it and it allowed me the space to breathe, to remember, to let go, so in that sense, it is perfect and I’m offering it AS IS. AS US. For Trayvon. Two years ago when Gil Scot Heron died I compiled and mixed music that spoke to the depth of joy and despair that filled his life, and ours as we witnessed his decline. Halfway through the mix I was confronted by the truth of Gil’s life—it represented the collective experience of the people who brave “Winter in America.” For centuries we’ve layered our bodies to survive, to endure this cold. And through activism, scholarship, art, meditation, movement, faith, we stand, sometimes shattered, but always fierce in our ability to release the pain through Gospel, Bluesy Soul, Slum Beautiful Funk. And to Marvin Gaye, Phyllis Hyman, Brenda Fassie, Whitney Houston, Don Cornelius, Vesta, Michael Jackson, Tammi Terrell, Billie Holiday, Donnie Hathaway and all the others who died on the front lines of black music, I call on you and the legacy of your voices and your fingertips, to offer us a way to move through it, beyond addiction, beyond depression. Thank you for speaking truth to power, and for providing the rhythm to accompany the resistance, the healing. This mix allows Shirley Ceasar, The Clark Sisters, Marvin Gaye, Aretha Franklin, Tramaine Hawkins, Esther Phillips, Gil Scott Heron, Nina Simone and even Richard Pryor to help us better understand what it means to channel the anguish through art. Funk, Faith and Praise speaks to the historic tension between the secular and the spiritual realm in Black music, and the wear and tear on black bodies in a space that institutionalizes our dehumanization. And while sometimes our reactions are self-destructive, usually in an attempt to numb the pain, we stay singing and clapping, witnessing the lifeless bodies dance into the new world. Transcendence. I watched your face Sybrina Fulton. Black mama. Fierce. Angry and Graceful. I thank you for your demonstration of dignity. And for you Tracy Martin, Black Father, I felt the knowing in your weeping eyes. Because of your family and this experience my belief is that we will love each other through this, more fiercely than ever, more clearly. In the loving, gracious and tender words of Adrienne Maree Brown, “Keep going Trayvon, don't look back here, nothing here for you but our stranger's/familiar's love twisted tonight to a grief. Go on home, this place doesn't know how to love you. Axe.” Adrienne’s words held me close last night. Shortly after learning about the verdict, I was fortunate enough to see her message, right before I hit that point of feeling utterly powerless. Through her words I found a way to live between the space of history and the future. Listen to the mix, then see, feel more here: http://adriennemareebrown.net/blog/2013/07/14/keep-going-trayvon/ Dr. Horace Clarence Boyer (Gospel Historian, Musician) You Brought The Sunshine The Clark Sisters Stand On The Word (Larry Levan Mix) THE JOUBERT SINGERS　 Love Lifted Me Jessy Dixon Message to the People Shirley Caesar Dr. Horace Clarence Boyer (Aretha Interlude) I Get High Aretha Franklin Slipping Into Darkness Carl Bradney Take Me Just As I AM Lyn Collins Anger (Alternate Extended Mix) Marvin Gaye Whitey on the Moon Gil Scott-Heron Home Is Where The Hatred Is Esther Phillips I Can't Go Without You Dorothy Morrison Goin' Up Yonder Tramaine Hawkins Children Of The Ghetto/Stanhope Street The Real Thing The Pusher Nina Simone Black Messiah Richard Pryor

Politics in Music, where did it go ! Here's a reminder, it's important to speak out. The Clash, The Skids, Worldparty. The Waterboys, Manic Street Preachers, The Boomtown Rats, Elvis Costello, Marvin Gaye, Stevie Wonder, Gil Scot Heron, Specials AKA and Bob Dylan.

As a lyrically astute emcee, classically trained pianist, producer, songwriter, & composer, Tiye clearly employs "the phoenix principle" in her music by challenging the barriers placed upon female hip-hop artists. Tiye (renamed after the pharoahess in the 18th Dynasty in ancient Egypt, mother of King Tut) began playing the piano by ear as a child, and then studied classical piano between ages 7 and 13. Equally in love with poetry, Tiye evolved into a clever, skilled emcee through the years. In the late 90s, Tiye formed S.O.U.L. Food Symphony, a D.C.-based all female collective with an ethereal sound that consisted of emcees, singers, & musicians. SFS performed with artists such as Nas, Black Moon, & Gil Scot Heron. Tiye went on to write with legendary groups Public Enemy, and work with classic hip-hop producers Hank & Keith Shocklee. Tiye has toured and performed with soul songstress Tina Marie and the late Rick James, and recorded with the UK group, The Runaways. While signed to Rawkus Records, Tiye worked with various artists such as Mos Def & Last Emperor, and appeared with Talib Kweli & DJ Hi-Tek on their Reflection Eternal album. Tiye is also a member of The Polyrhythmaddicts, the hip-hop supergroup consisting of DJ Spinna, Shabaam Sahdeeq, and Mr. Complex. As a beat-maker/producer, Tiye won the 2006 MTP (Meet The Producers) All-Female Beat Battle Invitational, and went on to win the MTP Championship for 2006, where she competed as the only female alongside 8 other previous male champions.  If you can, catch a Tiye Phoenix performance where you'll undoubtedly see and feel raw hip-hop at its height; whether she's spewing an inferno of rhymes or playing keys, she's sure to give audiences more than just a "show"- she provides an artistic experience. Tiye is currently working with a variety of artists and producers on a myriad of upcoming projects.

J.D. HAZE Hailing from NAT TURNER DISTRICT (Petersburg VA) J.D.HAZE brings a brand of hip-hop that is not only funky but also informative with a groove to move conscious minds and bodies alike. Described as, ONE OF THE "SUNS OF THE PERFECT BLACK". He is an Elite Soldier of Truth, Love, & Positivity. His relationship with Hip Hop in three words: (CRG) Conscious, Revolutionary, and Gangster. J.D. HAZE has worked and performed with a who's who of artist domestically and abroad. some acts include VIC FLOWERS(House of Tre) LL COOL J,CHUCK BROWN,MOS DEF,RAKIM,GX, SOUL LOGISTICS,KLEPH DOLLAZ,JAH I WITNESS EMCEE,RHYMEFEST,RED AND METH and various others. Currently J.D. is on the “BLACK BLOODED AMERICAN” tour with the ALL and ANCESTORS, dropping the seeds of POSITIVITY, BLACK LOVE,&TRUTH where ever they are sent…SISTERS and BROTHERS….I present to you….”THE SUN OF THE PERFECT BLACK” J.D. HAZE and THE ANCESTORS… His mother put him on to Uncle George and them when he was about 4 0r 5 years of age. She introduced him to The FatBack Band (and countless other Funky Jewels, as well.) King Tim the 3rd “Personality Jock” was the first joint he ever heard and then he was instantly fused into the culture. He grew up listening to a wealth of artist. The love of the music started with his earliest introduction to Funk JB, Funkadelic, Earth Wind & Fire, Johnny Guitar Watson, Gil Scot Heron, Hendrix, KraftWerk, Cold Crush, Run DMC, PE, X-Clan, Go-Go, Reggae, Country (Charlie Daniels), and other Funky Vibrations. He gives thanks and praises to them all. When asked what keeps him motivated, he explains he is motivated by the love of the MOST HIGH. He gives praises and thanks to The ALL and the ancestors for the gifts he is given. Check out Facebook.com/JDHaze Or Email him at: truthhaze@gmail.com WebSite: https//:www.TribalMC.com

As the African Soul Rebels 2010 tour kicks off in the UK we join the rebellious spirit starting the broadcast with Gil Scot-Heron's The Revolution will not be televised from 1974 followed by the people's poet and veteran of the Soweto Uprising, Mzwakhe Mbule's Change is Pain from 1986. Two artists linked by their social commentary rooted in black freedom. Gil Scot Heron with the civil rights movement in the US and Mzwakhe Mbule with the struggle against apartheid in South Africa, two artists who would surely have influenced the first African Soul Rebels - Lesego Rampolokeng with the Kalahari Surfers Celebrating another rebel, Grammy Award winning Oumou Sangare calls for women to rise up and challenge the "big shot" men, her new approach to music and powerful lyrics Oumou joins TP Orchestre Polyrythmo to complete the line up for the African Soul Rebels tour. To fit in with mood of rebellion, our album of the week comes form Tamikrest a young Touareg band, hailed by Andy Morgan, ex manager of Tinariwen, "as the future of Touareg music". Finally we are pleased to broadcast the special feature package courtesy of Philip Jackson and Music Beyond Mainstream giving you background detail and more of a taster of this years African Soul Rebels Tour. Hope you hear something you enjoy and please accept my apologies for the ropey start and technical problems at the beginning of the broadcast. More details about the music http://www.gondwanasound.co.uk.