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This chapter focuses on the appointment of Albert Speer as dictator of the German economy and the Reich Minister of Economics Walther Funk as a member of the Central Planning Board. Both appointments were made by Adolf Hitler as part of a decree he issued on September 2, 1943, which put the Reich Minister for Armaments and Munitions in control of total German production for the duration of the war, while the Reich Minister of Economics was to be responsible for the general economic policy, among other functions. The chapter first provides a background on the careers of Funk and Speer before discussing the relative position of Funk, Speer, Hermann Göring, and certain commissioners in the German war economy. It also considers the organizational meaning of Hitler's decree, along with the possibility that the new measure will deepen the antagonism between industry and the Nazi Party.

This concluding chapter focuses on Herukhuti's explanation of why he founded the Black Funk Center. His states that black people can and do create revolutionary sexual cultures that can become the foundation for centers of sexual health, well-being, and decolonization. Black communities need more sexual cultural centers like Black Funk, but since sexuality and eroticism tend to be ignored, there are few political ideologies or organizations that see such centers as a part of black revolutionary movements. By exploring spaces and sites where narratives and performances of the body provocatively intersect with expressions of interior movement, the chapter argues that the need for such centers has already been articulated elsewhere—in profane sites of memory.

As rapid economic changes hit Chicago, black musicians continued to create new work and gain wider audiences throughout the 1970s. Deindustrialization harmed the neighborhoods that had been home to an earlier generation of musicians, but younger artists and music media took advantage of new opportunities, including FM radio frequency. Funk performers, like Daryl “Captain Sky” Cameron, drew on a mix of idioms. A few artists who developed their craft earlier in Chicago helped create bestselling albums in the 1970s, such as Earth, Wind and Fire and The Emotions. Others, like Linda Clifford, recorded disco. This chapter also looks at the racial overtones of the subsequent anti-disco backlash in Chicago and the development of another form of dance music, known as house. The chapter concludes with an account of how musicians worked for Harold Washington’s mayoral election in 1983.

Challenging accounts of black gender and sexuality that equate radicalism with misogynistic and patriarchal values, this chapter looks to the subversive cinema and performance art of the 1960s for prefigurations of the gender and sex nonconformity of today. Placing in counterpoint the theater and cinema of Melvin van Peebles and the performance and conceptual art of Adrian Piper, this chapter foregrounds the role of a funk epistemology in both cases. Contemporary queer and transgender art and aesthetics can only gain, this chapter argues, by acknowledging these works as sources of fabulation.

This chapter explores what most underscored the need for jazz and hard bop to change: basically a sameness in the way that the musicians were playing (so that they merely followed the giants that nourished bebop and hard bop by innovation). True, jazz players could crop up, but unless they did more than play the same old blues and the same old funk, jazz would be unable to develop as a means of expression comparable to the machine of raw energy that it was in previous years. Yes, there were exceptions. Ornette Coleman, for example, sizzled in a scene that was slowly fading and introduced new energy unseen since bebop. Coleman was hailed by many as a genius, because in spite of the doubts raised against his technical ability, he was always able to churn out music that was fresh. This chapter juxtaposes these two different scenes, which introduced a tension that allowed hard bop to linger for longer, but, however was unable to push it to new heights.

The development of percussion of Afro-Cuban origin in Latin jazz and other U.S. music such as pop and funk after 1950 depends on the presence of several percussionists in addition to Mongo Santamaría. Among several important Cuban drummers, four stand out. This chapter recounts the percussion exploits of these four individuals who, together with Mongo, laid the rhythmic basis for the growth and development of Latin jazz between 1950 and 1990: Armando Peraza; Patato Valdés; Francisco Aguabella; and Cándido Camero. Each of them possesses very distinct and personal characteristics as a drummer, and all reached their pinnacle of success and visibility in different ways, in different U.S. cities, and, to a certain extent, in different periods. Taken together, these individuals provided a sound foundation for the continued expansion of that hybrid of hybrids, Latin jazz.

Christine L. Willis and Varinder K. Aggarwal at the University of Bristol have developed (Angew. Chem. Int. Ed. 2012, 51, 12444) a procedure for the diastereodivergent synthesis of trisubstituted alkenes via the protodeboronation of allylic boronates, such as in the conversion of 1 to either 2 or 3. An alternative approach to the stereoselective synthesis of trisubstituted alkenes involving the reduction of the allylic C–O bond of cyclic allylic ethers (e.g., 4 to 5) was reported (Chem. Commun. 2012, 48, 7844) by Jon T. Njardarson at the University of Arizona. A novel synthesis of allylamines was developed (J. Am. Chem. Soc. 2012, 134, 20613) by Hanmin Huang at the Chinese Academy of Sciences with the Pd(II)-catalyzed vinylation of styrenes with aminals (e.g. 6 + 7 to 8). Eun Jin Cho at Hanyang University showed (J. Org. Chem. 2012, 77, 11383) that alkenes such as 9 could be trifluoromethylated with iodotrifluoromethane under visible light photoredox catalysis. David A. Nicewicz at the University of North Carolina at Chapel Hill developed (J. Am. Chem. Soc. 2012, 134, 18577) a photoredox procedure for the anti-Markovnikov hydroetherification of alkenols such as 11, using the acridinium salt 12 in the presence of phenylmalononitrile (13). A unique example of “catalysis through temporary intramolecularity” was reported (J. Am. Chem. Soc. 2012, 134, 16571) by André M. Beauchemin at the University of Ottawa with the formaldehyde-catalyzed Cope-type hydroamination of allyl amine 15 to produce the diamine 16. A free radical hydrofluorination of unactivated alkenes, including those bearing complex functionality such as 17, was developed (J. Am. Chem. Soc. 2012, 134, 13588) by Dale L. Boger at Scripps, La Jolla. Jennifer M. Schomaker at the University of Wisconsin at Madison reported (J. Am. Chem. Soc. 2012, 134, 16131) the copper-catalyzed conversion of bromostyrene 19 to 20 in what was termed an activating group recycling strategy. A rhodium complex 23 that incorporates a new chiral cyclopentadienyl ligand was developed (Science 2012, 338, 504) by Nicolai Cramer at the Swiss Federal Institute of Technology in Lausanne and was shown to promote the enantioselective merger of hydroxamic acid derivative 21 and styrene 22 to produce 24.

Frank Glorius of the Universität Münster devised (Angew. Chem. Int. Ed. 2011, 50, 12626) a catalyst for the enantioselective acylation of a cyclopropene 1 to the ketone 3. Geum-Sook Hwang of Chungnam National University and Do Hyun Ryu of Sungkyunkwan University effected (J. Am. Chem. Soc. 2011, 133, 20708) the enantioselective addition of the diazo ester 5 to an α,β-unsaturated aldehyde 4 to give the cyclopropane 6. We showed (J. Org. Chem. 2011, 76, 7614) that face-selective allylation of an α-iodo enone 7 followed by Suzuki coupling and oxy-Cope rearrangement delivered the cyclopentanone 9. Karl Anker Jørgensen of Aarhus University combined (Org. Lett. 2011, 13, 4790) two organocatalysts to effect the addition of 11 to an α,β-unsaturated aldehyde 10, leading to the cyclopentenone 12. Tomislav Rovis of Colorado State University also used (Chem. Sci. 2011, 2, 1835) two organocatalysts to condense 13 with 14 to give the cyclopentanone 15. Gregory C. Fu, now at CalTech, found (J. Am. Chem. Soc. 2011, 133, 12293) that both enantiomers of the racemic allene 16 combined with 17 to give the cyclopentene 18 in high ee. Piotr Kwiatkowski of the University of Warsaw found (Org. Lett. 2011, 13, 3624) that under elevated pressure (8–10 kbar), enantioselective conjugate addition of nitromethane proceeded well even with a β-substituted cyclohexenone 19. Marco Bella of the Università di Roma observed (Adv. Synth. Catal. 2011, 353, 2648) remarkable diastereoselectivity in the addition of the aldehyde 22 to an activated acceptor 21. Following the procedure of List, Jiong Yang of Texas A&M University cyclized (Org. Lett. 2011, 13, 5696) 24 to 25 in high ee. Bor-Cherng Hong of the National Chung Cheng University described (Synthesis 2011, 1887) the double Michael combination of 26 with 27 to give 28 in high ee. Observing a secondary 13C isotope effect only at the β-carbon of 30, Li Deng of Brandeis University concluded (Chem. Sci. 2011, 2, 1940) that the addition to 29 was stepwise, not concerted. In contrast, the cyclization of 32 to 33 reported (Org. Lett. 2011, 13, 3932) by Tadeusz F. Molinski of the University of California San Diego likely was concerted.

A central challenge in the synthesis of the antiangiogenic cortistatin A 3 is the stereocontrolled assembly of the cycloheptene ring. Shuji Yamashita and Masahiro Hirama of Tohoku University solved (J. Org. Chem. 2011, 76, 2408) this problem by the addition of the intermediate radical from the reduction of 1 in an intramolecular sense to the cyclohexenone of 1 to give 2. The starting point for the synthesis was the enantiomerically enriched enone 4, prepared from the Hajos-Parrish ketone. Alkylation gave 6, which was reduced, after some experimentation, selectively to the trans-fused ketone 7. Pd-mediated oxidation of the silyl enol ether derived from 7 gave the enone, which was homologated to the aldehyde 8 by way of the corresponding enol triflate. Condensation with dihydroresorcinol 9 delivered the triene 10, which was carried on the iodide 1. Unexpectedly, 1 readily epimerized at the indicated stereocenter, presumably by way of an equilibrating Claisen rearrangement. Fortunately, when the solid iodide was maintained at-30oC for 12 h, the desired diastereomer became dominant. The free radical reduction then proceeded smoothly to give 2. To introduce the pendant isoquinoline of the natural product, 2 was protected and oxidized to 11. Reduction of the thiocarbamate derived from the tertiary alcohol 13, with H atom transfer to the more open face of the intermediate free radical, then delivered 14. To oxidize 14 to the enone 15, the ketone was deprotonated, then exposed to the Mukaiyama reagent 15. Nucleophilic epoxidation followed by reduction, following the Nicolaou precedent, then set the stage for selective opening with dimethylamine, to complete the synthesis of (+)-cortistatin A 3.

In this chapter, I focus on a youth group that since the mid-2000s has been reshuffling public spaces. The event examined here takes place in the city’s vast poor peripheries. The first part of the chapter locates music within sound-politics. I consider the spread of street parties known as “pancadões,” or “big thumps,” a term that alludes to the loudness. By following the pancadão controversy, I am interested in understanding the disposition of specific groups as they try to either maintain or eliminate this sound from the streets. In the final section, we are going to examine the actors deployed by groups interested in disarticulating the pancadão in the name of public security, good taste, family values, and quality of life.

This chapter focuses on the musical style of TopNotch the Villain, a hip-hop artist from the Mississippi Delta. It explains that TopNotch’s freestyle technique reveals the rhythms of blues music, the complexity of poetry, and the song-like phrasing of the West-Coast G-Funk hip-hop collective. The chapter also mentions that the art and aesthetics that shape TopNotch’s verbal style are the result of many years of talking lessons in the church house, at home, in the schoolyard, and over the radio waves.

This chapter examines how funk as affect directs how some black people inhabit their bodies and imagine sexuality. It studies how Paschal Beverly Randolph's occult manuscripts on sexual magic, and conjoined twins Christine and Millie McKoy's autobiography as freaks, provide a foundation of how black funk freakery differs from the Victorian-era freak. The chapter utilizes funk's ideologies about labor, leisure, and imagination to counteract colonial meanings of freak, since black funk freakery remains a significant black intervention on white America's definition of sex, work, and sex work. Funky black freaks understand sexuality and sexual difference as originating from outside the body. On this plane, gender or sexual difference does not equate with or become sexual deviance as it does in sexology.

This chapter begins with a brief analysis of the sexual and racial politics of the Life Always antichoice billboard campaign. It argues that black women writers' participation in what might be considered pornographic industries promotes a form of guerilla warfare, whose objective is to protect and secure women's erotic sovereignty and reproductive freedom. While funk and porn have each been hystericized as the province of men, funk is also viewed as an affective technology that can sustain reciprocal interactions that would improve the lives of women and, in the end, the men and children in their lives. The chapter shows how the way women pursue the terms of their liberation underscores the radical possibilities of what it means to desire versus to be an object of desire, and to create versus to produce.

This chapter looks at Chester Himes' and Hal Bennett's fictional representations of BDSM (bondage, domination, sadism, and masochism) and sex work in order to theorize other articulations of masculinity in the domestic sphere. Funk proposes a blend of parody, irony, communal intimacy, and temporal violence to critique masculine privilege and eroticize male submission that would embrace unpatriarchal traditions of family. The chapter demonstrates how black public spheres too reliant on nostalgia and respectability can be reinvented using cultural legacies of transaesthetics. Eliminating gender hierarchies and sexual colonialism in black communities hinges on black men and women accepting systems of knowledge that would teach them that forgoing masculine privilege and rethinking the feminine is not only morally and ethically right, but also that there is pleasure in it if everyone involved is willing to submit to funk's emphasis on The One.

This chapter reviews the importance of sacred subjectivity to various black sexual cultures. In its proposal of nonmonogamy as an alternative practice for funk's genealogy of affection, relationality, and sexuality between human and nonhuman beings, the chapter addresses M. Jacqui Alexander's question about sacred subjectivity. Using queer legal theory, debates about the marriage crisis in black communities, and cultural depictions of nonmonogamy in the science fiction of Octavia Butler and the erotica of Fiona Zedde, the chapter reveals how funk attends to alternative models of family and community to challenge the heteropatriarchal recolonization that happens with capitalism and the Western model of family.

This chapter argues that funk produces mythologies about the body, labor, leisure, and pleasure, and that these occur in music as well as in black fiction, art, and performance centered on the potential force or energy that excites or that neutral sexual pleasures might yield. Adding to Tony Bolden's “Groove Theory: A Vamp on the Epistemology of Funk,” where he argues that the sensing techniques that black dancers employ have been central to innovations in black musicianship generally, the chapter discusses how funk's sensing techniques innovate sexual cultures as sites of memory. It brings three disciplines together—literature, performance, and dance—to theorize nonhuman agency in the street party Freaknik, as well as black strip clubs.

Funk, as a musical genre or manner of musical performance, poses significant questions for empirical research due to its typical materials. Funk de-emphasizes harmony—a primary element of western music—and uses a highly regular, almost metronomic rhythmic framework. Thus expressiveness in funk must be sought in other musical parameters, such as interplay between performers, microtiming, or timbre.  This chapter examines funk from the perspective of its primary expressive aspect, that of groove. Recent relevant literature, both psychological and musicological, is reviewed, and music-structural features which seem to contribute strongly to groove are identified.  These factors are then investigated through examination of musical excerpts from Stevie Wonder, Parliament, and Tower of Power. The roles of pitch, meter, microtiming,  motive/gesture, and timbre in creating expressive performances within the constraints of the groove are explored, as well as directions for future research.

This chapter examines the passage to higher dimensional Harmonic-Hardy spaces. It also discusses removable singularities of harmonic functions. The chapter then provides more detailed discussion of spherical and zonal harmonics and their spectral properties and relations to Gegenbauer (or ultra-spherical) polynomials.