Can it get any better If aliens came down needing to know what funk was all about, in all its talented, embrace-anything-and-everything, screw with your head and get your butt down glory, then this is a prime candidate for what to give them. The man, his voice, his bass, the backing of a prime core band including his guitarist brother Catfish, Fred Wesley, and Maceo Parker leading the brass -- beautiful, hilarious, and just plain great. This one-disc collection could easily be a two-disc or more if one wanted to include every last highlight from Collins' up-down-all-around career -- his work with James Brown alone is beyond the bomb -- but when it comes to solo work, this is as perfect a place to start as any. Drawing mostly on the albums done with the active help of George Clinton in the late '70s, Back in the Day is a model for what a good compilation should be. Sound is excellent throughout, while full details on who plays what and where, along with where everything came from in the first place, all appear in exhaustive detail. The liner notes, meanwhile, come from longtime funk road manager (Brown, Prince, plenty of others) Alan Leeds, explaining every step of Collins' wonderful story. Collins himself gets in a great concluding bit of thanks and message that's a joy to read, and needless to say the photos of him in his sunglassed late-'70s star-bass-guitar glory abound. And the music \"Bootzilla,\" \"Stretchin' Out (In a Rubber Band),\" and \"Pinocchio Theory\" are just three jam masterpieces of many. A couple of fine rarities flesh things out; \"What So Never the Dance,\" recorded in 1971 when Collins' band was still known as the House Guests, is a great slice of greasy, JB-tinged funk. \"Body Slam!\" shows him getting to grips with electro nicely, while \"Scenery,\" originally a B-side ballad, has him doing his loveman-goes-nuts deal at the end. A fierce 1976-era live take on \"Psychoticbumpschool,\" with the Horny Horns in full blow, wraps up this fantastic collection.
Before Bootsy Collins helped usher in the era of funk, he played bass for James Brown and George Clinton's Parliament Funkadelic. Now he's back with a new album called \"Tha Funk Capital of The World.\" Collins blends hip-hop, spoken word and Latin flavor with the classic soul and funk for which he is known.
MARTIN: He helped usher in the era of funk playing bass for James Brown and George Clinton's Parliament Funkadelic all before striking out on his own. You know who I'm talking about - Bootsy Collins. Now he's back with a new album called \"The Funk Capital of the World.\" On it he blends what's hot now in music. Hip hop beats, spoken word, and even a little Latin flavor with a classic soul and funk for which he is known around the world.
COLLINS: Well, actually, you know, I knew Reverend Al from back in the day, but what inspired me to do this was when James Brown passed, you know, it was just a void. And we knew how important, you know, he was and how important to us as black people James Brown is and I didn't want that to die. And I was trying to figure out who I could get that would just make it official.
COLLINS: That's showing. You know, it ain't really about me and this album. It's about spreading awareness now and hoping that we get some real talent and some wisdom with that real talent at an early age. And that's what I'm trying to get them to do: love where they at, love themselves, and be aware of who you are and your history. Go back and connect the dots. You know, you could even Google it, baby.
It was just this roller coaster of pain that year, all sorrow and mayhem. For me, the hell was personal, as well\" my dad died, I lost custody of my son. I was a young woman learning to work, learning to continue, and learning to finish, no matter what. That lesson has stuck with me. Tragedy, comedy, whatever goes on, you have to keep moving, keep making art. It was a major artistic revolution and, for me, it was all about the music. The world changed because of the music. People began to listen to words, they wanted to hear one person telling a story. Because ultimately, it's the personal that matters; it's how we fight our daily wars. That's what connects us. \"One of America's premier folk and contemporary singers and songwriters, Judy Collins has been making music for more than 40 years. She started her career as a classical pianist, but by 1961 she was making a name for herself as a folk lyricist and guitarist. She released her first album in 1961, but it was her classic 1967 album, Wildflowers, with its award-winning rendition of Joni Mitchell's \"Both Sides Now,\" that etched her place in musical history. (Today, \"Both Sides Now\" is in the Grammy's Hall of Fame.) Collins\" version of \"Send in the Clowns\" won her a Grammy in 1975. A longtime social activist, Collins released Who Knows Where the Time Goes in 1968. She is currently on tour promoting her latest CD, Judy Collins Sings Lennon and McCartney, which was recorded on her Wildflower Records label. Her website is www.judycollins.com.
Author of AerobicsWhen I published Aerobics in 1968, I was immediately under fire from the medical community. Exercise after 40 Build bone and muscle over 40 Run over 40 That was contrary to everything med school taught back then\"over 40, act your age. \"What are you trying to do, kill people\" Nineteen books later, the 38th anniversary of the Cooper Clinic, and I'm still fighting to get the message through. Unfortunately, we're still better at changing the oil in our cars than we are at caring for our bodies. \"Kenneth Cooper is a scientist, author, and the founder of the Cooper Aerobics Center in DallasRead more of this interview with Kenneth Cooper.
Human population expertWhen Paul Ehrlich's The Population Bomb was published in 1968, he hoped that its premise (that the population explosion was rapidly leading to world famine) would somehow influence the upcoming election. \"Naive,\" he says now, in light of the events that ultimately defined the year. \"But we were right, or nearly so, on the numbers, even if they didn't climb as fast as I thought they would.\" According to CARE, 840 million people worldwide are malnourished; of those who die, six million are children under five. \"There's no shortage of canaries in the coal mine,\" Ehrlich says. \"Climate change, epidemiological environment, the migration of organisms. But the news covers which starlet is wearing panties, and the political debate is, \"Do you believe in the Bible word for word Should we have a 20- or a 25-foot fence at the border\" This is trivial, compared to what we're facing. In fact, we're fighting the first big resource war right now\"over petroleum.\"In 1968 Ehrlich quickly went from biology wonk to pop-culture \"public scientist,\" thanks to TV personality Arthur Godfrey passing the book along to Johnny Carson, who had a deep interest in population and environmental issues. Ehrlich became a frequent Tonight Show guest, appearing 20 times. Zero Population Growth, the activist organization that grew out of his published work, grew from \"an organization with six chapters and 600 members to one with 600 chapters and 60,000 members.\" No stranger to controversy, Ehrlich (who'd been involved in civil rights sit-ins in Lawrence, Kansas) received death threats in the mail every day. \"Anybody who said, \"There are too many people\" was obviously a fascist,\" he says. \"They wanted me shut up, and gone.\"His new book, The Dominant Animal: Human Evolution and the Environment (Island Press, June 2008), co-written with his wife, Dr. Anne H. Ehrlich, may raise the same hackles. That's fine with him.\"What keeps me going is what moved us all back then\"concern for the kind of world we leave behind us. That, and the support from my scientific colleagues. I've always had that, and still do. Scientists don''t care what Rush Limbaugh thinks; they care what other world-class scientists think. And they think I'm right.\" \"Paul Ehrlich is a biologist, entomologist, and human population activist at the Center for Conservation Biology at Stanford University.
Most of the families were striving to performand define the script of the West coast middle class.That really means the homes could be boughton VA financing and you better make the payment,landscaping and fencing not included with a prune tree in every backyard. It was white and it was not middle class.
At the gate to sign in to the pool area, something was definitely changed.I had seen these guys before or actually I had seen them in a 48 CadillacFastback, a low long loud bomber in primer white with a split rear window,white and red tuck and roll, big fat whitewalls, and Tennessee plates.
Watching his eyes you could see back generationsto Appalachia coal miner anthems, hear the mandolinsand banjos, gospel send ups, old liquor stills deep in the pines,and badass flathead Fords on a dirt street Saturday night.
Or spending three hours in the car out front of a divein Ensenada while my mother would periodically runinto the cantina to try and get my old man to leavehis vodka martini and take us back to an American bar. 153554b96e