Podcasts about in chapter four

This episode is an audiobook performance of the fourth chapter of Undine, by Friedrich de la Motte Fouqué. (If you are joining us for the first time, I strongly advise starting Season 4 at the beginning, with S4-E1.) In Chapter Four, readers learn much that lies behind the mystery of this strange Undine. After her marriage to Huldbrand, she explains who she is and what she is. Chapter Four also dives deeply into the Christian allegory of this tale, having much to do with the idea of Undine acquiring a soul.

In Chapter Four of Sierra’s Story we get a ring side seat to the turmoil eating at Lollie and we relive the tragedy of losing Brandon through Sierra’s eyes. I’m so enjoying your feedback on the Gray family! With permission, here’s a sample of such goodness that put a huge grin on my face.  Oh, Shellie! I was just, today, able to carve out enough […]

Hamilton held up a hand. “You mean to tell me, Edwards, you dreamed about the house where you live with your parents?” The boy shook his head. “No, sir, I’ve never seen this house before, but in my dream, I knew it was mine. And I’m not married, sir, and I don’t have any kids.”Back to School is a short story from the Tall And True writers’ website, written and narrated by Robert Fairhead. The podcast version of the story is presented in six instalments, one per chapter. At the end of each episode, Robert provides insight into the writing of the story and chapter.The show notes include links to Back to School on Tall And True and the podcast's theme music and sound effects.Support the podcast: supporter.acast.com/tall-and-true-short-readsWriter's Insight into Back to School and Chapter FourAs explained in earlier chapters, I wrote the first draft of Back to School in 1992. The story was initially titled A Second Chance but then became Another Chance. And when I shared the short story on Tall And True in 2017, I renamed it again to Back to School. In Chapter Four, Charlie explains to his headmaster, Heavy-Handed Hamilton, how the strange house in his dream belonged to the “adult him”. And how he recognised “his family” in it, his wife and daughters and two sons, the oldest of whom is the same age as Charlie, sixteen. Charlie then goes on to describe his birthday party in the dream. And his realisation of why his sixteen-year-old son glares at him with loathing, because Charlie won’t let him leave school. And the source of the dread Charlie feels: he’s lost his job and is unemployed again.At his daughter’s urging, Charlie makes a wish when he cuts his birthday cake, something perhaps we’ve all wished once or twice in our adult lives: “I wish I’d known what I know now, as an unemployed husband and father. Back when I was the same age as my son. When I was still at school, and life wasn’t a bad dream.”Charlie opens his eyes after making the wish and finds he’s sixteen again. Thanks for listening to this podcast. I hope you enjoyed Chapter Four of Back to School. You can read this and all my short stories, blog posts and other writing at TallAndTrue.com. Chapter Five, Sixteen Again, will be released shortly. In the meantime, check your podcast feed for earlier chapters and other self-contained short story episodes of Tall And True Short Reads. And follow or subscribe to the podcast and rate and review it via your favourite listening app.And please tell your family and friends about Tall And True Short Reads and the Tall And True writers’ website.Read Back to School at tallandtrue.com.au/young-adult/back-to-school. Podcast Theme and Podcast Sound EffectsRoyalty-free music from Pixabay.com: Beethoven Piano Sonata No. 15 in D major, Op. 28 'Pastorale' – IV. Rondo. Allegro ma non-Troppo, performed by Karine Gilanyan.Sound effects licensed under Creative Commons 0 from FreeSound.org:Creaky chair: https://freesound.org/people/gmarchisio/sounds/167878/TV sitcom laughter: https://freesound.org/people/Kinoton/sounds/383207/Girls babble: https://freesound.org/people/senshi.sun/sounds/428072/Plates stacking: https://freesound.org/people/MilanKovanda/sounds/377044/Giggles: https://freesound.org/people/Reitanna/sounds/343984/Production NotesTall And True Short Reads produced using Audacity. Thanks to Josh (VoiceOverMaster) Meyer for Audacity recording tips and tricks.Acast Podcast Supporter Page See acast.com/privacy for privacy and opt-out information.

In Chapter Four of The Chronicles of Belteshazzar, the story switches to 600 B.C. and the life of the prophet Daniel. Nebuchadnezzar, the King of Babylon, had defeated the Egyptians at the Battle of Carchemish. He has now come to the gates of Jerusalem and demands that Jehoiakim, King of Judah, surrender. He demands that King Jehoiakim prepare a list of people to send into exile to Babylon. For more information, please see this webpage and sign up for further information and notifications! https://mailchi.mp/6d2ba697aae9/chroniclesbelteshazzar

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 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

In Chapter Four of my book, Everything is Messy, I write about how we can embrace the change. The mindset we need to have, the work we need to put in and the outcomes we need to be visualizing. Boy, has there been some changes this year… Today I am so excited to share my new business with you. One that YOU can become a part of today. I cannot wait for you to hear this episode! I have been sitting on this for quite some time and today is the day. It is a week where we all need some extra positivity and so I wanted to just spread a little hope for those of you who may need it right now... There were many reasons for me to jump at this opportunity before the end of 2020 and I am pretty sure you would do the same. It is just something where all the formulas made sense. Especially now! You will get the “formulas” pun when listening. I also share some incredible book news as well. Tune in for all the updates I have been dying to share with you… Message me on FB and IG to join my team today! Instagram: https://www.instagram.com/thehappyworkaholic/ Facebook: https://www.facebook.com/thehappyworkaholic Take your Skincare Quiz here: https://kellyanngorman.myrandf.com/solution-tool Join Team A Million Dreams here: https://kellyanngorman.myrandf.com/ Did you love today's episode? Let me know on Apple Podcasts! You can leave your review here: http://bit.ly/thwpodcast CONNECT WITH KELLY Order your copy of Everything is Messy here: https://kellyanngorman.com/everything-is-messy/ The Happy Workaholic Storefront: https://www.amazon.com/shop/thehappyworkaholic Read chapter excerpts on Medium: https://medium.com/@kellyanngorman Business TikTok: www.tiktok.com/@thehappyworkaholic Instagram: https://www.instagram.com/thehappyworkaholic/ Facebook: https://www.facebook.com/thehappyworkaholic YouTube Channel: https://youtube.com/kellyanngorman Website: https://kellyanngorman.com/ Newsletter: https://kellyanngorman.com/business-mindset-organizational-tools/

In Chapter Four, Kate's gift from the coven wreaks havoc and opens the door to the old "friend" who haunted her at the convent orphanage where she grow up. Stewart, making good on their bargain, continues her training and provides her with the words she must say at her initiation. They strike a new bargain that may release her from her oath About Acheron's Gate When a Cambridge archaeologist works miracles for Kate Shepherd's husband and friends, then invites her to join his coven which has some of the most powerful men in the world as members, she can't help but agree. But will making good on a devil's bargain cost her everything?

In Chapter Four of Bump and Grind Karen’s amazing opportunity isn’t as cut and dry as she’s led to believe, and now she has to pull of an impromptu audition for some of the most intimidating collaborators she’s ever encountered. Will her post-accident anxiety destroy her last chance at the career of her dreams? The post Chapter Four: Just a Small Thing appeared first on Cat Skinner Club.

In Chapter Four, Thyra and Clystra go on a long journey and pay a visit to a faraway town. It is Thyra's first time visiting during this special season, where she gets to meet many different people, including someone special. The Circe Podcast is written and produced by Alex C. Telander.The role of Thyra is performed by Arden Rachel.The role of Clystra is performed by Emma Sherr-Ziarko.This episode was sound engineered by the talented blokes at Hail and Well Met podcasts. If you're looking for some other shows once you've finished Circe, be sure to check out their work at hailandwellmetpodcast.com.The music featured in this episode is “Sunrise” by Kickhat, as well as “Ossuary 5: Rest,” "Fiddles McGinty" and “Morgana Rides” by Kevin MacLeod under the Creative Commons License.A transcript of this episode is available here: https://ostiumpodcast.com/05-book-one-toll-chapter-four-kalokairiThe Circe Podcast is a podcast of the Ostium Network. You can support Circe, as well as all other Ostium Network shows by supporting us on Patreon at patreon.com/ostiumpodcast, where you can get access to a whole variety of bonus material including mini episodes for Ostium, Circe, and Manifestations, as well as the Ostium Files, and the Behind the Ostium series. You will also get access to a new Circe mini series all about her lost love, Pragma, and behind the scenes episodes about Circe called Circe Confidential. Once again, that’s patreon.com/ostiumpodcast.Thank you so much for listening to the Circe Podcast. This story came out of the character of Thyra as she took me along on her journey which is very far from over, and I’m delighted to have you all with me for the ride.

In Chapter Four, Lord Henry Norfolk finally finds the avenue by which he can destroy Lord Black and have Lady Corwyn Chase as his own. Corwyn discovers that, whereas she had believed nothing could compell her to surrender to Norfolk's debauched desires, she does indeed have a price. Pirate's Desire, being the tale of a Lady's adventure at sea, is a dark historical romance written by Andreya Stuart. Music for this episode was created by the brilliant composer Aleksander Shvarev and licensed from Pond5. Remember you can always find more dark romance novels to listen to on Dark-Romance.com.

In Chapter Four, Eleanor finds many ways to turn the keep upside down as she struggles with the grief and despair of living as the Duke's prisoner, his wife in name only. When she realizes the danger the people of both estates are in she faces off with the Duke to protect them.

The Book of James has been called the Proverbs of the New Testament, and it shows us how the “perfect” or “mature” man or woman can respond in various circumstances. In Chapter Four, we see particular instruction on submitting our desires to the will of God and understanding the role of judgment in the life of the believer.

In Chapter Four, a visitor arrives who helps unravel the mystery of the house, and we come up with an idea. This short story has five chapters. Background music by King Crockpot --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We all seek things we’d like to change in our current life, and all solutions are hiding beyond the obstacles that we currently have.  There’s a distinct pattern of mental breakthrough that I call “The Freedom Question”.  This question allows you to shoot out of the present and into the future. In Chapter Four of Time Collapsing: The New Art of Speed, Money, Power, and Meaning, I discuss the Freedom Question and: What the freedom question is and why it works The success stories of Warby Parker, Amazon, PayPal, and others Exercises to practice the freedom question Tools to see ‘beyond the obstacle’ The ‘Interview Process’ Grab your free copy of the book, and don’t forget to share this podcast on Facebookand Twitter so that others, like you, can learn about Time Collapsing and the Freedom Question.   “It’s very easy to get stuck on what is and fail to transition into what is possible.” – Ed… CLICK TO TWEET

Chapter Five of Extraordinary Terrestrials, a serial fiction podcast about a supernatural wetland. In Chapter Four, Trip and Mattie took a closer look at the body. They then decided to report it to the police, only to discover minutes later that the body had vanished. This led to an altercation about trespassing with the property owner, Karen Laurent. Tune in every Thursday for a new chapter. Written, read, and recorded by Miriam Rimkunas. All piano music was composed and performed by Jonas Rimkunas. All other music was composed and performed by Miriam Rimkunas. All rights reserved. Follow Extraordinary Terrestrials on Facebook at https://www.facebook.com/ExtraordinaryTerrestrials/ and on Twitter @BloodsworthBog. Freesound recording of spring peepers: https://www.freesound.org/people/BudJillett/sounds/184950/ Special thanks this week to David Lynch and Mark Frost.

This week we are doing something special. Right after the New Year holiday, all of the regulars from the Software Process and Measurement Cast gathered virtually to discuss the topics we felt would be important in 2016.  The panel for the discussion was comprised of Jeremy Berriault (The QA Corner), Steve Tendon (The TameFlow Approach), Kim Pries (The Software Sensei), Gene Hughson (Form Follows Function) and myself. We had a lively discussion that included the topics of women in tech, microservices, capabilities, business/IT integration and a lot more.  Help grow the podcast by reviewing the SPaMCAST on iTunes, Stitcher or your favorite podcatcher/player and then share the review! Help your friends find the Software Process and Measurement Cast. After all, friends help friends find great podcasts! Re-Read Saturday News We continue the re-read of How to Measure Anything, Finding the Value of “Intangibles in Business” Third Edition by Douglas W. Hubbard on the Software Process and Measurement Blog. In Chapter Four, we focused on two questions. The first is getting the reader to answer what is the decision that measurement is supposed to support. The second is, what is the definition of the thing being measured in terms of observable consequences? Upcoming Events I am facilitating the CMMI Capability Challenge.  This new competition showcases thought leaders who are building organizational capability and improving performance. Listeners will be asked to vote on the winning idea which will be presented at the CMMI Institute’s Capability Counts 2016 conference.  The next CMMI Capability Challenge session will be held on January 12 at 1 PM EST.  http://cmmiinstitute.com/conferences#thecapabilitychallenge The Challenge will continue on February 17th at 11 AM. In other events, I will give a webinar, titled: Discover The Quality of Your Testing Process on January 19, 2016, at  11:00 am EST Organizations that seek to understand and improve their current testing capabilities can use the Test Maturity Model integration (TMMi) as a guide for best practices. The TMMi is the industry standard model of testing capabilities. Comparing your testing organization's performance to the model provides a gap analysis and outlines a path towards greater capabilities and efficiency. This webinar will walk attendees through a testing assessment that delivers a baseline of performance and a set of prioritized process improvements. Next SPaMCAST The next Software Process and Measurement Cast will feature our essay on empathy. Coaching is a key tool to help individuals and teams reach peak performance. One of the key attributes of a good coach is empathy. Critical to the understanding the role that empathy plays in coaching is understanding the definition of empathy. As a coach, if you can’t connect with those you are coaching you will not succeed. We will also have new columns from Kim Pries, The Software Sensei,  and Gene Hughson Form Follows Function. Shameless Ad for my book! Mastering Software Project Management: Best Practices, Tools and Techniques co-authored by Murali Chematuri and myself and published by J. Ross Publishing. We have received unsolicited reviews like the following: “This book will prove that software projects should not be a tedious process, for you or your team.” Support SPaMCAST by buying the book here. Available in English and Chinese.

In Chapter Four, Alice adjusts her size to the point of being stuck in a house. The Rabbit sends in Bill to remove her. Lastly, she meets the Caterpillar. Musical Credits go to Dominik Senn, J.S. Manuel, Fabrizio Paterlini, and Francesco Stablum. This is an audiobook featuring music and sound effects and is read by […]

In Chapter Four, Autry and Oxana discover the serialized newspaper adventures of “The Rocky Mountain Santa,” which were written by the radio personality, Montana Mike, 60 years earlier.

In Chapter Four, the author discusses the famous experiment in quantum physics called the “Double Slit,” and its startling conclusions…  “How is it possible to send one tiny particle of 'matter' at a time through two slits and have it form a wave interference pattern? There was only one explanation that made any sense: An electron is a wave rather than a particle; it is not a solid piece of matter as we have always thought!”  In Chapter Five, the author continues looking at the Double Slit experiment and what happens when you add an “observer” into the equation…  “The ramifications are enormous. It means reality – the physical universe which we have always thought of to be 'solid and predictable' – is not 'real,' not 'solid and predictable' at all, because the basic building blocks of that universe are not particles of matter, but waves of possibilities – waves of potential locations where an electron might appear as a particle when it is observed.”  ... and what scientists have called The Field to explain this phenomenon.