Podcasts about liberation music

From a recent SAND Community Gathering (Feb 2025) hosted by SAND co-founders, Zaya and Maurizio Benazzo. Deep Medicine Circle (DMC), a collective of healers, farmers, artists, and storytellers, is challenging colonial structures by redefining health and wellbeing through practices that heal communities and restore connections to land. Led by Dr. Rupa Marya, Charlene Eigen-Vasquez, and Walter Riley, this visionary group is creating a holistic food and wellbeing model that nourishes both people and land, recognizing the profound interconnectedness of human health within social, environmental, and historical contexts. Dr. Rupa Marya  is a physician, activist, writer, mother, and a composer. She is a Professor of Medicine at the University of California, San Francisco and a co-founder of the Do No Harm Coalition. Her work sits at the nexus of climate, health and racial justice. She is the co-author with Raj Patel of the book Inflamed: Deep Medicine and the Anatomy of Injustice. She works to decolonize food and medicine in partnership with communities in Lakhota territory at the Mni Wiconi Health Circle and in Ohlone Territory through the Deep Medicine Circle. She has toured twenty-nine countries with her band, Rupa and the April Fishes, whose music was described by the legend Gil Scott-Heron as “Liberation Music.” Charlene Eigen-Vasquez, J.D. is of Ohlone descent, from the village of Chitactac. She is dedicated to land back initiatives, land preservation, land restoration, cultural revitalization and environmental justice because she feels that these initiatives have a direct impact on physical and mental health. As a mother and grandmother, she completed a law degree so that she might better serve Indigenous communities. Today her focus is on regenerative leadership strategies, leveraging her legal skills, and mediation skills to advocate for Indigenous interests, negotiate agreements and build relational bridges. She is an acknowledged peacemaker, trained by Tribal Supreme Court Justices. Charlene is the former CEO and Director of Self-Governance for the Healing and Reconciliation Institute. Charlene also serves as Chairwoman of the Confederation of Ohlone People, Co-Chair of the Pajaro Valley Ohlone Indian Council and Board Vice President for the Santa Clara Valley Indian Health Center. Charlene was recently brought into the Planet Women's 100 Women Pathway, a cohort designed to increase the number of diverse women leaders at the helm of the environmental movement. Walter Riley was born in 1944, number 9 of 11 children born to a farming family in Durham County, North Carolina. His family farmed until he was about 6 years old. He grew up in the Jim Crow south and in his early teens, Walter became active in the Civil Rights Movement organizing voter registration, sit-ins, jobs campaigns, and in his late teens became Field Secretary for CORE (Congress for Racial Equality), got married and became a father. He moved to the Bay Area in the 1960s where he became active in the political, social justice movements. Walter is a long-time community activist and civil rights attorney. Topics 00:00 Introduction and Greetings 00:47 Introducing Dr. Rupa Marya 01:46 Deep Medicine Circle and Board Members 02:36 Charlene's Introduction and Ancestral Tribute 07:33 Walter Riley's Introduction and Civil Rights Work 23:48 Connecting Food Systems and Colonial History 26:40 Healing Through Music and Cultural Awareness 27:43 Addressing Hunger and Malnutrition During COVID 28:06 Farming as a Path to Justice and Resilience 30:26 The Role of Historical Trauma in Land Restoration 30:51 Holistic Problem Solving and Cultural Stewardship 36:13 Youth and Community Engagement in Healing 41:28 The Importance of Ethnic Studies and Solidarity 43:08 Reflections on Historical Movements and Future Change 52:29 Concluding Thoughts on Healing and Unity Resources Farming is Medicine (film) Do No Harm Coalition Inflamed (Rupa Marya) Rupa and the April Fishes Boots Riley (Filmmaker and Musician) “I'm a Virgo” (TV Series by Boots Riley) “Sorry to Bother You” (Film by Boots Riley) The Coup (Boots Riley's Band) Support the mission of SAND and the production of this podcast by becoming a SAND Member

Music is the heartbeat of resistance—how Black artists shaped culture and the fight for liberation. --- Join and support the community: https://www.creationspaths.com/ In this episode of _Creation's Paths_, Charlie and Brian explore _music and culture as a weapon of the spirit_, focusing on the profound impact of _Black artistry_ in shaping American culture. Using the analogy of a goose at a duck's party, Charlie emphasizes the importance of recognizing one's place when engaging with cultures outside one's own. They discuss _African American contributions to music_, from _gospel and blues_ to _jazz, rock, hip-hop, and R&B_, highlighting the history of _cultural appropriation_ and how Black artists like _Big Mama Thornton, Kendrick Lamar, and Nina Simone_ have shaped entire genres. Addressing _music as a tool for liberation_, they reference _Dr. Martin Luther King Jr._, the _civil rights movement_, and _ongoing struggles against oppression_. They encourage listeners to seek out and support _Black creators_ like _Octavia Butler, N.K. Jemisin, and SZA_, discussing the _prophetic power of art_ and its role in resisting injustice. The episode concludes with a call to celebrate Black artistry, engage in creativity, and actively work toward justice. Thank you for Liking and Subscribing to this podcast Thank you for sharing this episode with your loved ones, friends and community --- Thank you for Tips or Donations: https://ko-fi.com/cedorsett https://patreon.com/cedorsett Substack: https://www.creationspaths.com/ For all of the things we are doing at The Seraphic Grove go to Creation's Paths https://www.creationspaths.com/ For Educational Resource: https://wisdomscry.com Guided Meditations Playlist: https://www.youtube.com/playlist?list=PLV0C8kiTKv0J2QAAlD1uaIJvQ3Sr9sIqO Christopagan Playlist: https://www.youtube.com/playlist?list=PLV0C8kiTKv0ISXDQkZBRB7EHrUUJgXlGN The Everything Playlist: https://www.youtube.com/playlist?list=PLV0C8kiTKv0Ln3eGW-tDk2R68PM6c182O Creation's Paths Podcast: http://www.creationspaths.com/podcast Church of the Oak Podcast: http://churchoftheoak.com/ Hallowstead Podcast: http://hallowstead.com/ Social Connections: BlueSky https://bsky.app/profile/creationspaths.com Threads https://www.threads.net/@creationspaths Instagram https://www.instagram.com/creationspaths/ ## Chapters: 00:00 A Goose at the Duck's Party 00:42 Introduction to Culture and Music 01:30 Meet the Hosts: Charlie and Brian 03:15 The Influence of African American Culture 05:46 The Power of Music in Social Movements 11:33 Cultural Appropriation and Its Impact 21:33 The Role of Prophets and Artists 25:18 Call to Action and Conclusion

Dr. Rupa Marya discusses her work at the intersection of medicine, health, land, and justice. She explains the concept of deep medicine, which looks at the health impacts of colonialism and colonial capitalism and emphasizes the need to address the root causes of illness.Dr. Rupa Marya is a physician, activist, writer, and composer at UC, San Francisco. Her work intersects climate, health, and racial justice. As founder of the Deep Medicine Circle and co-founder of the Do No Harm Coalition, she's committed to healing colonialism's wounds and addressing disease through structural change. Recognized with the Women Leaders in Medicine Award, Dr. Marya was a reviewer for the AMA's plan to embed racial justice. Governor Newsom appointed her to the Healthy California for All Commission to advance universal healthcare. Also a musician, she's toured 29 countries with her band, creating what Gil Scott-Heron called "Liberation Music”. Together with Raj Patel, she co-authored the international bestseller, Inflamed: Deep Medicine and the Anatomy of Injustice. Links and Resources: RupaMarya.org Deep Medicine Circle Inflamed: Deep Medicine and the Anatomy of Injustice by Raj Patel & Rupa Marya “Discourse on Colonialism” by Aimé Césaire “The Deep Medicine of Rehumanizing Palestinians” by Dr. Rupa Marya & Ghassan Abu-Sitta Where Olive Trees Weep (film) Where Olive Trees Weep - Conversations on Palestine “Work for Peace” by GIl Scott Heron Topics: 00:00 - Introduction 02:01 - Meeting Dr. Marya 06:31 - Shallow vs Deep Medicine 11:58 - Balancing Deep Medicine and Immediate Health Crises 15:28 - Essential & Integrative of Medicine 19:48 - Media Narratives Around Health 25:32 - Colonialism & Healthcare 30:51 - Dehumanization 36:16 - The Power Mind Virus 40:19 - Imagining What's Possible 44:16 - Narratives Supporting Genocide 50:46 - Heaviness, Hopefulness & Listening 53:37 - Protest Music in the Era of Big Media 56:01 - Closing Support the mission of SAND and the production of this podcast by becoming a SAND Member.

Respected as one of Australia's iconic musicians, Ian Moss (5x time Aria winner & original member / guitarist of Australian super group 'Cold Chisel' drops by to discuss his current live tour and Rivers Run Dry' Deluxe Album Release. Brad explores the history of the term ‘album' and have a good ol' ramble about the changing view of full length records in the modern music business. Watch video of this episodeFollow the RC Music PlaylistListen to RIVERS RUN DRY by IAN MOSSListen to Bradley McCaw's musicFollow Brad everywhere @bradleymccawofficialBrought to by True Arts Podcast NetworkCreated, produced, hosted & engineered by Bradley McCaw.Original sound design by Matt Erskine at Crosspoint SolutionsOriginal Video designed by Adam Shaw at Axis Productions Theme composed by James RyanAbout IAN MOSS:Respected as one of Australia's iconic musicians, Ian Moss delivers an unforgettable sound – not only as a telling soloist on guitar but especially with his silken voice, ringing with clarity and resonating with pure soul. While primarily recognised as an axeman of unusual tenacity and sweet melodic sensibility, Ian's distinctive vocal is the essential signature of his soulful, bluesy muse – as it has been since his first tentative foray into music during the early 1970s.Born and raised in Alice Springs, Ian started playing guitar in local teenage bands but moved to Adelaide after failing one of his high school years, planning to repeat in the big city. Fate intervened when he answered an advertisement for a guitarist in a shop window in 1973, joining the band that was to become a legend in Australia – Cold Chisel. After Moss joined organist and principal songwriter Don Walker and drummer Steve Prestwich, the group took shape with singer Jimmy Barnes and eventually bass player Phil Small, starting the hard grind of playing gigs on the back of flatbed trucks and in suburban hotels. Barnes remembered young Mossy as “a boy from the bush who didn't wear shoes but played fantastic”. They hit the road and paid their dues, playing countless one-night stands across the country. The reputation and status of Cold Chisel steadily grew, mainly on the strength of blistering live shows, and in time their well-crafted recordings became staples of radio airplay.By 1980, with the release of the seminal East album, Cold Chisel was the biggest band in the country. Moreover, they defined a national sound – hard-driving rock chased by a shot of blues, lyrics depicting the Australian experience and resonating powerfully with young working class fans. Moss's voice began to shine through such seminal Cold Chisel songs as Never Before, Bow River (written by Moss) and a gorgeous rendition of Ray Charles' Georgia. However, efforts to translate overwhelming Australian success to Europe and the United States failed to gain traction, serving to demoralise, frustrate and eventually dissolve the band at the height of its creative powers. While the band's Last Stand tour in December 1983 closed an important chapter in Ian Moss's musical career, Cold Chisel remains one of Australia's favourite bands long after its demise.Enjoying the status of Australia's best guitarist, Moss carefully evolved into a solo artist of the same calibre and commanding the same respect as Cold Chisel. After five years of patient nurturing, Moss released his debut single Tucker's Daughter in January 1989, and caused an immediate sensation. The anthemic song – which Moss wrote in collaboration with Don Walker – sat in the Top 10 for 11 weeks and hit No 1 for two weeks, achieving gold sales status after 15 weeks and selling more than 73,000 copies. Moss's second solo single, Telephone Booth, was released in June that year, hit the Top 10 and remained in the Top 20 for 10 weeks.This bold renaissance of his solo career amplified Moss's willingness to embrace new ideas and influences. “It took a bit of nerve for me to unplug and play acoustic, but it injected this freshness into my playing,” he says. “It was a significant new path for me.” Heartened by success for that album, a second chapter of Moss's acoustic recordings – his sixth solo album Let's All Get Together, released in 2007 – saw the input of guests including James Morrison and Margaret Urlich adding colour to striking new interpretations of familiar songs, including Flame Trees and Choir Girl. To support the album release, Moss undertook an extensive tour with former Noiseworks and INXS singer Jon Stevens, and further touring in early 2008 showed Moss to be an especially dextrous musical stylist; not just a rock player, not just an acoustic strummer, but a truly seasoned and rounded musical talent.In 2008, Moss was on the Australian television series It Takes Two, singing duets with celebrities and showing a side of his musical character that surprised many listeners. “When I put aside the guitar and sang a few soul ballads on that show, people were suddenly listening to me differently. They'd say ‘Yeah, we knew you sang, but we didn't know you could really sing'. It was both flattering and frustrating. I kept wondering what they thought I'd been doing for past 30 years. It showed that there was a different side of my music that hadn't really been heard by enough people before.” Mossy is now allowing his guitar work to take a back seat while he concentrates on singing – which is the focus of his new album Soul on West 53rd that features fresh takes on classic soul songs from the likes of Sam Cooke, Al Green, Otis Redding and Levi Stubbs.This product of New York recording sessions with producer Danny Kortchmar and an all-star band of soul session musicians, including drummer Steve Jordan, Leon Pendarvis on keyboards, Neil Jason on bass and Hugh McCracken on guitar, is another bold venture from Moss that will certainly turn heads. When audiences hear the power and excitement on Soul on West 53rd, it will reinforce what Ian Moss has to offer as a vocalist of repute. The album release will also give him the impetus to reconnect with his supportive legion of European audiences – and maybe even reach America. “It's nice to fantasise about that, taking my soul songs to America. I'd love to give it a try, but I know it won't be easy.”Significantly, as Moss prepares to introduce material from his new album to live audiences, the influence of his New York soul sessions has inspired a new burst of song writing for him. “Working with such classic songs has brought a lot of ideas for original material as well. For the next album, featuring my own songs, I'd expect it to follow the same style. There's something really great going on here.”The setting had been established for Moss to emerge as an important solo artist. His debut album Matchbook, released in August 1989, entered the charts at No 1 and remained there for three consecutive weeks. It stayed in the Top 10 for 14 weeks and has sold more than 185,000 copies.When he went back out on the road, Moss's live shows drew a hoard of Chisel faithful and a league of new fans. In 1989, Moss toured for 25 weeks, playing dynamic and energetic performances five or six nights every week to virtually full houses across Australia. Crowds were left hungry for more.Moss closed off a triumphant year by winning five Australian Record Industry Association Awards in 1989: Best Australian Debut Single for Tucker's Daughter and Best Australian Debut Album for Matchbook, Australian Song of the Year for Tucker's Daughter, Best Australian Album for Matchbook and Best Australian Male Artist.In 1990, Mossy took his music to the world, touring and gaining airplay across Scandinavia and northern Europe. At home, as a live video recorded on the Matchbook Concert Tour went Gold on the day of release, Moss returned to the studio to start recording his second album, Worlds Away. Released in Australia in October 1991, the album was then issued in Germany, Austria, Switzerland and Scandinavia the following year. In 1993, Moss consolidated his growing European fan base with tours in April and May through Germany, Austria, and Switzerland, earning high praise in fantastic reviews.Moss took stock of his musical output in 1995, changing direction to embrace the blues in bolder fashion, and in the studio this translated to recording a much tougher album than his previous releases suggested. Petrolhead, his third solo offering that was released in 1996, had Moss playing bluesy rock with none of the heavily produced, big budget sheen that had been applied his late-1980s and early-1990s recordings. With lan Rilen (from Rose Tattoo and X) on bass, Paul Demarco (Rose Tattoo, Catfish) on drums and Don Walker on occasional keyboards and song writing, the sound was recorded almost live, stripped back and honest without ever losing its innate power. “It was a conscious decision to get back to something I was always happy doing,” says Moss. “The result is tough, ballsy blues meets rock… plenty of heart, alive and kicking.”A Cold Chisel reunion during 1998 – both in the studio for the recording of new material and subsequent touring to promote the resulting Last Wave of Summer album – put Ian back in the national spotlight as a showman and musician of dazzling ability. It reminded the Australian public of Moss's alluring talent and diversity as a performer, as did another Cold Chisel reunion tour in 2003 and his input to Jimmy Barnes' Double Happiness album of duets in 2005.However, during 2005, Moss's musical output took another exciting fresh turn. He was invited to record an album of acoustic songs for Liberation Music and the Six Strings album – part of the Liberation Blue label's engaging acoustic series – was the result.2018 will bring a new chapter in Ian's career as he releases the new self-titled studio album, his sixth, and heads to the road for what will be his biggest national tour in decades. In 2007 he told the Sydney Morning Herald, “I haven't made my definitive album yet.” Ten years later with his the self-titled “Ian Moss”, he might have just done that.Mossy's sublime playing – on his Fender electric and Maton acoustic – is as expressive as ever. “Sometimes the words are useless for what it is I'm trying to get across,” he confides in ‘Hold On (To What We Got)'.Of course, that underplays Mossy's vocal – a superb instrument in its own right – as well as the powerful personal stories on this record. But Mossy's finest work is all about feel. And it's that feel that tells you everything you need to know.It's no accident that the album is self-titled. This is the pure stuff. Classic Mossy.In August of 2018 Ian was invited to take part in the Jimmy Webb and Friends concerts along side David Campbell, Kate Ceberano, Ed Kuepper, Cold Chisel bandmate Jimmy Barnes and of course the master songwriter Jimmy Webb and blew the room away.In October 2018 he performed the Cold Chisel classic ‘Flame Trees' to a global audience of millions at the opening ceremony of the Invictus Games on the Steps of the iconic Sydney Opera House.2019 saw the 30th Anniversary of the iconic and landmark album Matchbook and a national tour with a killer band that received rave reviews. The album was released on August 1, 1989 and peaked at #1 on the ARIA Albums Chart. It remained in the Top 10 for an amazing 14 weeks, shipping more than 200,000 copies in the first 12 months alone. The album went on to win Album of the Year, Best Male Artist and Breakthrough Artist – Album, Breakthrough Artist – Single and Song of the Year (shared with Don Walker) for ‘Tucker's Daughter' at the ARIA Music Awards in 1990.As Cold Chisel's biographer Anthony O'Grady observed, “When Moss goes into guitar dream world he pulls out chords and notes and sounds that do not fit the plot as such, but which create new dimensions – astounding stuff that can never be reached through intellectual process, only through a quantum leap of intuition and imagination.”

Tune in to this captivating episode of "Paging Dr. Chanda" on the REVOLT Podcast Network as Dr. Chanda [psychologist] delves into a thought-provoking conversation with the acclaimed musician and activist, Andre Henry. Join them as they explore the intricate interplay between music, activism, and mental health, uncovering the transformative power of music as a tool for liberation. In this enlightening episode, Dr. Chanda and Andre Henry examine the ways in which music can be harnessed to ignite social change, uplift marginalized voices, and pave the way for a more inclusive world. Gain insights into the emotional and psychological impact of music, as well as its ability to spark movements that challenge systemic injustices. The discussion also delves into the personal realm, as Andre Henry shares his own experiences navigating the intersection of music, activism, and mental well-being. Discover how he draws strength from his artistry to address mental health challenges and inspire others to do the same. As part of the REVOLT Podcast Network, "Paging Dr. Chanda" brings you expert perspectives, inspiring dialogues, and valuable insights tailored to empower young Black people and audiences worldwide. Don't miss out on this enlightening episode that promises to resonate with music enthusiasts, activists, and anyone passionate about the profound connections between art, advocacy, and the human psyche.

Dr. Rupa Marya illuminates the hidden connections between our biological systems and the profound injustices of our political and economic systems. What is deep medicine? How can re-establishing our relationships with the Earth and one another help us to heal? The first part of the episode is taken from a live SAND Community Conversation hosted by SAND Co-founders Zaya and Maurizio Benazzo. The book Inflamed: Deep Medicine and the Anatomy of Injustice by Rupa Marya and Raj Patel is available now. In the second part of this episode, Rupa is part of a panel hosted by Dr. Gabor Maté as part of The Wisdom of Trauma film launch 'Talks on Trauma' series. This panel discussion is called: “How Trauma Literacy Can Transform Medicine” with MDs: Pamela Wible, Will Van Derveer, Jeffrey Rediger, Dr. Gabor Maté, and Rupa Marya. You can listen to this entire panel and 32 other talks as part of The Wisdom of Trauma All Access Pass. Dr. Rupa Marya  is a physician, activist, writer, mother, and a composer. She is a Professor of Medicine at the University of California, San Francisco, where she practices and teaches internal medicine. Her work sits at the nexus of climate, health and racial justice. Dr Marya founded and directs the Deep Medicine Circle, a women of color-led organization committed to healing the wounds of colonialism through food, medicine, story, restoration and learning. She is also a co-founder of the Do No Harm Coalition, a collective of health workers committed to addressing disease through structural change. Dr Marya was recognized in 2021 with the Women Leaders in Medicine Award by the American Medical Student Association. She was a reviewer of the American Medical Association's Organizational Strategic Plan to Embed Racial Justice and Advance Health Equity. Because of her work in health equity, Dr. Marya was appointed by Governor Newsom to the Healthy California for All Commission, to advance a model for universal healthcare in California. She has toured twenty-nine countries with her band, Rupa and the April Fishes, whose music was described by the legend Gil Scott-Heron as “Liberation Music.” Together with Raj Patel, she co-authored the international bestselling book Inflamed: Deep Medicine and the Anatomy of Injustice. Topics: 01:00:00 – Introduction 01:03:16 – Part 1, SAND Community Conversation 01:04:28 – Rupa's Personal Story and Childhood 01:07:58 – Patterns in Traditional vs. Western Medicine and the Writing of ‘Inflamed' 01:11:10 – Influence of Collective and Individual Trauma of Health 01:12:49 – Colonial Power Structures in Medicine 01:15:39 – Climate Collapse and Global Health 01:17:27 – Indigenous Wisdom of the Interconnected Web of Life 01:21:11 – How Do We Heal in a Balanced Way? 01:31:33 – Part 2, How Trauma Literacy Can Transform Medicine with Gabor Maté 01:35:59 – Pamela Wilbe Introduction 01:38:37 – Jeffery Rediger Introduction 01:41:55 – Will Van Derveer Introduction 01:46:35 – Rupa Marya Introduction 01:51:15 – Jeffrey Rediger Introduction 01:54:17 – Overcoming Incurable Diseases 02:03:45 – The Science of How Society Gets Into Our Cells 02:36:39 – Conclusions

Please consider donating to the family of Angelina McKnight: https://www.gofundme.com/f/angelina-mcknight-funeral-and-memorial-fundraiser...Brought to you by Loughborough University's Anarchism Research Group (ARG), Anarchist Essays presents leading academics, activists, and intellectuals exploring themes in anarchist theory, history, and practice.http://www.dorianwallace.com/dorians-mode-blog/liberation-music-therapy-an-emancipatory-practice-to-community-music-making-healing-and-revolutionary-change​We experience life through vibrations. Music has been a vital part of our evolution since the Paleolithic era and is an integral part of our history. Music can bring people together, encourage social, political, economic, or environmental change, facilitate healing, and illuminate human transcendence through peace and solidarity. In other words, music can connect with the human psyche in ways that, when practiced with focused intention, have the potential to treat entire communities that have undergone transgenerational trauma at the assault of colonialism and Capitalism...Support the show

In this essay, Dorian Wallace discusses the use of music as a source of emancipatory inspiration, revolutionary practice, and transformational communal healing. He addresses the interconnections between music therapy, political music, and liberation psychology as the first step toward deeper exploration and discourse. Dorian Wallace is a composer, pianist, music therapist, and educator renowned for his stylistic versatility, improvisational skill, relentless confrontation against unjust social struggles, and the exploration of the complex and nuanced philosophical nature of transformation. In addition to a successful solo career, he regularly collaborates with artists such as Bonita Oliver, John Sanborn, Paul Pinto, Pamela Z, Charlotte Mundy, Frank London, and Nicholas Finch. Our music comes from Them'uns (featuring Yous'uns). Anarchist Essays is brought to you by Loughborough University's Anarchism Research Group. Follow us on Twitter @arglboro Artwork by Sam G.

Today on Free City Radio, an interview from the archives with trumpeter, composer, researcher and academic Wadada Leo Smith. Wadada speaks on the project "Ten Freedom Summers," and details works that speak to specific moments in Black liberation struggles in the US, particularly the case of Dred Scott in St. Louis. Broadly Wadada has played with musicians and performed globally, for compositional work Wadada often uses beautifully composed visual scores. This interview was recorded within the context of the Suoni per il Popolo festival. Thank you to Peter Burton for helping to arrange the exchange. The accompanying art work for this podcast is a graphic score excerpt, by Wadada.

Bom dia, boa tarde e, claro, boa noite ouvinte! Está ai para vocês mais um episodio, esse com um carater especial, por ser o décimo episódio do programa. Então vamo que vamo e que venham muitos outros episódios! Meu instagram: https://www.instagram.com/ohaidrich/ Todos os direitos reservados a Liberation Music (em nome de Liberator Music); SOLAR Music Rights Management, LatinAutor, AMRA, Sony ATV Publishing, BMI - Broadcast Music Inc., CMRRA, Anthem Entertainment (Publishing), por "Heart of a Warrior" --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The Brewerytown Beats crew dive deep into one of our favorite Philly labels: Dogtown Records - We chronologically piece together the history of the 7 artists associated with the label, through their music, stories, and memories. Come listen along with us as we connect the dots of one of Philadelphia's greatest musical treasures, Philadelphia Jazz Music from the early 1970's.

Tonight on Proper Propaganda: new tracks from Bun B & Static Selektah, CML Lavish and Philthy Rich, and more, but first, new from Logic featuring Eminem, “Homicide.” “Homicide” Logic feat. Eminem “A Good Year” Ras Kass, Shabaam Sahdeeq & Edo. G “Time Flies” Bun B & Statik Selektah feat. Big K.R.I.T. & Talib Kweli “Fuck Yo Politics” CML Lavish D & Philthy Rich Interlude: Stephen Colbert BG Music: “Natives” by Jansport J “Liberation Music” Dumi Right “School Daze” Shai Linne “A Hero Dies Once” Blueprint “Rockets” Intellect “Gun Control” Odd Thomas “From the 718” Pete Miser “Pray For Me” The Weeknd feat. Kendrick Lamar “Ghetto’s of the Mind” Pete Rock & CL Smooth Interlude: “The Wire” “A.D.A.M.” X Clan featuring Brother J “Depend on Myself” TLC “State of the World” Janet Jackson “Keep it Locked” Pete Miser “God Bless the Dead” 2Pac

Phoenixx is a WLRN listener with a large women's music collection she would like to share with her sisters. Take a listen to this 2nd episode of the WLRN Music Hour! Playlist for WLRN Music with Phoenixx October 2, 2017 Body Hair, Anne Seale, sample record with Hotwire, Jan 1993 A Touch of Menopausal Anarchy, Carolyn Hillyer, Weathered Edge Sway of Her Hips, Teresa Trull, Playtime, 1997 Womanly Way, Linda(Tui) Tillery, album same name, 1977 Brown Like Me, Washington Sisters/June Millington writer, Understated, 1987 Big, Big, Woman, Regina Wells, Rashida Oji Bledsung Live at Kuumbwa Jazz Center, Polly Wood, Music for Metaformic Theory, 2008 The Bloods, Debbie Lemke, Berkley Women’s Music Collective, 1977 Ode to a Gym Teacher, Meg Christian, I Know You Know, 1974 Tomboy Girl, Tret Fure and Cris Williamson, Radio Quiet, 1999 Untitled, Pat Parker, Every woman’s blues, Women’s Prison Concert Collective, 1976 Feral Children, Beth Orton, Comfort of Strangers, 2006 3000 Miles, Tracy Chapman, Where You Live, 2005 Be Careful, cover by Cris Williamson (written by Patti Griffin), Motherland, 2017 Old Woman, Linda Shear, A Lesbian Portrait, 1975 Phoenixx is a 50 year old, post-menopausal, able-bodied, middle-class white Dyke/Lesbian Separatist of Spirit. I love wimmin and our Radical Feminist music through Time, as it foregrounds the Gynocentric Background (Mary Daly’s articulation) and pushes back the onslaught of phallocentricity that pitifully tries to pass as everything. I offer these bi-monthly arrangements of Women’s Liberation Music as Female magic to continue to undo what has been done to all of us through time and space for millennia under male supremacy and to link us to the Gynocentric Goddess-honoring world that came before. "The connections between & among women are the most feared, the most problematic and the most potentially transforming force on the planet." Adrienne Rich

Listener volunteer, Phoenixx, created this hour-long music show to contribute to what WLRN does in the femisphere! Take a listen and write to us at wlrnewscontact@gmail.com with any requests for future shows.

Tres propuestas con grupos en gran formato para HDO 305: John Vanore Stolen Moments. Celebrating Oliver Nelson (Acoustical Concepts, 2017), magnífica revisión de música relacionada de uno u otro modo con Nelson, en el que cuenta con la participación de Steve Wilson, Jim Ridl, Bob Mallach, Danny Gottlieb o Dave Ballou entre otros; The Liberation Music Orchestra Rebel Portraiture (AD Astrum Records, 2017) en la que la formación encabezada por Hannah Fidler y Matt Riggen reivindican la figura de diversos luchadores que han peleado por causas como el ecologismo o los derechos humanos y sexuales; Gareth Lockrane Big Band Fistfight At The Barndance (Whirlwind Recordings, 2017), en la que el flautista y compositor británico ha plasmado en CD la larga experiencia en directo de esta formación de casi veinte componentes. Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz. Toda la información en https://www.tomajazz.com/web/?p=32152. Toda la información de HDO en http://www.tomajazz.com/web/?cat=13298. Más podcast de jazz en Tomajazz en http://www.tomajazz.com/web/?cat=12814

Our first episode interviews Husky Gawenda from the Melbourne band Husky and comes on the back of the release of Rucker’s Hill, Husky’s second album. Husky is an award winning song writer who’s lyrics are thoughtful and artfully designed. We have a wide ranging chat including how he crafts his lyrics, tools and techniques he uses for inspiration and the nitty gritty of working with labels. We also delve into what he believes shaped him musically, his advice to aspiring musicians and what his very first performance was like. Find more content at anatomyof.tv or follow us at @anatomyoftv. Husky's label Liberation Music (http://liberation.com.au/) have given written permission for the song 'Saint Joan' to appear in this podcast.