Edwin Lee Gibson Joins Cast of 'Air Bud Returns'

 

Edwin Lee Gibson

LOS ANGELES, CA — The Bear’s Edwin Lee Gibson continues to expand his creative landscape. In September, he joined the cast of Air Bud Returns, the newest chapter in the beloved family film franchise. This month, he unveiled the teaser for his directorial debut, a pink and red dress, made of satin... covered in flowers, mostly roses. (APARD) Both projects explore legacy in their own language. In Air Bud Returns, Gibson plays Jack, the guiding force for Jacob, a kid navigating grief and self-discovery. Directed by franchise creator Robert Vince, the film features a cast including Aydin Artis, Tracy Ifeachor, and Tyler Labine. Air Bud Returns wrapped production in Vancouver, British Columbia, last week.   APARD, filmed on location in Tucson, Arizona, explores memory, mysticism, love, and loss. Set in a sleepy border town, the 15-minute short includes stage and screen veterans Erica Tazel, A. Russell Andrews, and Victoria Rowell, along with newcomer Juliette Ortega and Hip Hop Artist, Buddy.   These projects, along with his two-episode turn in Amazon Prime’s Fallout, Season 2, further reveal Gibson’s dynamic range and his artistic philosophy that truth is uncovered when you allow the story to tell itself. The teaser is a pink and red dress, made of satin... covered in flowers, mostly roses. is now live at thespisbrownlaboratory.org/apard.   Air Bud Returns is set for a Summer 2026 theatrical release. Season 2 of Fallout debuts December 17, 2025, on Amazon Prime.   ABOUT EDWIN LEE GIBSON A self-described “theatre rat,” Gibson began performing professionally at 16 and has since appeared in over 100 productions. He earned a 2006 OBIE Award for Outstanding Performance for his radical portrayal of Oedipus in The Seven at New York Theatre Workshop—a role critics could not forget: •           “Most spectacularly, there’s Edwin Lee Gibson’s Oedipus, an outrageous, comically toxic blend of Superfly, B.B. King, and Al Jolson.” — Village Voice •           “Mr. Gibson’s Oedipus is the show’s presiding spirit: smooth of tongue, limber of leg and always in your face.” — The New York Times   International acclaim followed when he was invited by the late Peter Brook to join his legendary company in residence at London’s National Theatre Studio and Paris’s Théâtre des Bouffes du Nord.   His layered, genre-defying work has been profiled by The New York Times, Village Voice, The Wall Street Journal, The LA Times, and The Washington Post. Of his current role, The Wall Street Journal wrote:   “Then someone like the meat chef Ebraheim (a terrific Edwin Lee Gibson) says something dryly hilarious and the pressure is released from the cooker.”   Off-stage, Gibson has written and performed in nationally commissioned solo works, contributed to The Moth, and written multiple pilots and screenplays. He is an alum of the Sony Pictures Television Writing Program and a member of SAG-AFTRA, Actors’ Equity, and New York Theatre Workshop’s Usual Suspects.

CeCe Winans to Perform National Anthem at Detroit Lions Thanksgiving Day Classic

CeCe Winans
photo by Hannah Corwin

The Detroit Lions announced today that their 86th annual Thanksgiving Day Classic on November 27 against the Green Bay Packers will feature electrifying singer and guitarist Jack White as part of the Thanksgiving Halftime Show powered by Verizon. Renowned gospel musician CeCe Winans will perform the national anthem. Additionally, the club will be supporting a donation-based initiative with Feeding America® that will be featured throughout the game. The Detroit Lions Thanksgiving Classic presented by Ford will be nationally televised on FOX at 1 p.m. EST.

Multi-GRAMMY® Award-winning artist and Detroit native Jack White rose to international fame in the early 2000s, with his innovative guitar work and raw vocal style earning him critical acclaim and a dedicated worldwide fan base. The solo artist and creative heartbeat of the legendary groups The White Stripes and The Raconteurs, White’s illustrious career was recently honored with his induction into the Rock and Roll Hall of Fame on November 8.

The winner of 17 GRAMMY® Awards and 33 Dove Awards, music icon CeCe Winans will return to her hometown of Detroit to perform the national anthem. An inductee of the Gospel Music Hall of Fame and the Hollywood Walk of Fame, Winans is also the recipient of multiple Soul Train Awards, Essence Awards, and NAACP Image Awards.

“I grew up in Detroit in a house with Mom, Dad, 7 brothers, and 2 sisters.  Every Thanksgiving was all about Gratefulness to God, family, food, and Football!! The Lions' games were on all the time in our home.   The idea that my family and I are part of such a rich musical heritage from our hometown is so amazing, and we thank God every day.  I am so honored to come home and be a part of a very special Thanksgiving tradition.  It’s going to be awesome.”

OPPORTUNITY TO GIVE BACK TO THE LOCAL COMMUNITY, ALL ACROSS THE COUNTRY

For the first time, the Detroit Lions will partner with Feeding America and invite people watching at home to participate directly in the holiday celebration by making a monetary donation that will help ensure neighbors have access to the food they need to thrive. Viewers will be encouraged to text the keyword ‘TACKLE’ to 97955 to receive a link to the donation form. Nearly 50 million people in the U.S., including almost 14 million children, experience food insecurity. The Detroit Lions and Feeding America aim to raise enough funds to provide 10 million meals, ensuring every family can share the warmth, comfort, and joy of a full table this holiday season. 

A PARTNERSHIP FOCUSED ON CONNECTION

Verizon is tackling food insecurity by giving fans the chance to pack hunger-relief kits outside of Ford Field on gameday. Volunteers race against the clock to pack donation bags faster than Verizon’s ultra-fast network. The high-energy activation will be in the Detroit Lions pregame tailgate space, Pride Plaza on Brush Street, and open from 10 a.m. to 1 p.m..

"Paranormal Activity": Don't Go In There

By Darlene Donloe

I’m not one to gossip, so you didn’t hear from me – but something terrifying is going on at the Ahmanson Theatre in downtown Los Angeles. 

Things disappear, there’s creepy noises, doors open and shut on their own, lots of scary music, stuff is flying off the wall – and that’s only for starters. 

This is "Paranormal Activity" live on stage at the Ahmanson. 

This terrifying new play, written by Levi Holloway and directed by Felix Barrett, is an original story set in the world of the iconic film franchise. 

The story, which opens in present day, London, follows James and Lou, a couple who move from Chicago to London to escape their past, only to discover that places aren't haunted, people are.

As they settle into their new home, they soon realize that they're not alone, and the haunting they've been trying to escape is a part of them. 

Holloway, known for his Tony Award-nominated play "Grey House," and Barrett, founder of Punchdrunk, have joined forces to create an unforgettable experience. 

"Writing Paranormal Activity for the stage, collaborating with Felix Barrett in London—working to create an actual nightmare—has been a dream," Holloway said.

 

(l-r) Cher Álvarez and Patrick Heusinger

The production features breathtaking illusions by Tony Award-winner Chris Fisher, and a talented cast, including the leads Patrick Heusinger (James) and Cher Álvarez (Lou), who both give fantastic performances. Shannon Cochran, who plays James's mother, and Kate Fry, who plays a spiritual advisor named Etheline Cotgrave, are both outstanding. 

The nothing-short-of-incredible set design by Fly Davis is a two-story, hyper-realistic dollhouse that will make you feel like you're right inside the haunted home. 

Critics are raving about the show, praising its ability to blend heart and horror and create an immersive experience that will leave you gasping and screaming. 

As he was exiting the theater, one audience member was heard saying, “At one point, I actually had goosebumps.’ 

Kudos to everyone involved in this production. It’s a must-see. 

Rated R for disturbing content and horror. 

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likeable), O (oh, yeah), and E (excellent), “Paranormal Activity” gets an E (excellent). 

"Paranormal Activity," Ahmanson Theatre, 135 N. Grand Avenue, Los Angeles, 7:30 p.m. Tues-Thur., 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1 and 7 p.m. Sundays, no Sunday evening performance on Dec. 7, special 2 p.m. Wednesday matinee, November 26, special 2 p.m. Thursday matinee, December 5, through December 7, 2025, 213 628-2772.

 

 

Love and Life Lessons Served At 'Table 17'

(l-r) Biko Eisen-Martin, Michael Rishawn, Gail Bean 

By Darlene Donloe 

On the outside, "Table 17" is a deliciously witty and romantic play. But on the inside, there’s a lot more going on in this rom-com than meets the eye, namely a whole bunch of life and love lessons.

This refreshing production, written with panache by Douglas Lyons and directed with precision by Zhailon Levingston, is a heartfelt exploration of love, loss, and second chances. And while it might look like there are some easy and obvious solutions and decisions to be made, Lyons has written a thought-provoking digest that, beyond the laughs, deserves an honest, deep dive. 

Before the show begins, the audience is encouraged to give the actors on stage honest, verbal feedback on what they are watching.

Several audience members were strategically placed on stage in a restaurant setting, creating a sense of being part of the action, as if sitting at a neighboring table. 

Gail Bean

The story follows Jada and Dallas, ex-fiancés reuniting for dinner to untangle their past.

The play jumps back and forth from the time they met to the present. We see Jada, a flight attendant, and Dallas, a would-be Kanye at the beginning of his music career. 

Things are going great until Dallas starts spending more time in the music studio than at home. Feeling neglected, Jada begins a friendly relationship with a co-worker that quickly turns amorous. The affair leaves everyone breathless – but for different reasons. 

Flash forward – two years after their breakup, Jada and Dallas meet at an upscale restaurant called Bianca’s for dinner. Both bring their own share of tension and unresolved feelings, each not wanting the other to know how much they miss them, or that the love is still there.

With cheeky waiters, old wounds, and a palpable spark between them, their "casual" reunion becomes anything but.

Biko Eisen-Martin

The cast, featuring Gail Bean, Biko Eisen-Martin, and Michael Rishawn, delivers standout performances that bring depth and nuance to the characters. 

Bean’s Jada is stimulating as she fills the stage with each strut and third-wall gaze. At the same time, Eisen-Martin’s Dallas shows depth and range, as does Rishawn’s portrayal of both a self-proclaimed ‘gay’ but full of personality maître-d and a ‘straight’ and hella sexy flight attendant, both of whom are applause-worthy. 

The play's unique blend of humor, drama, and intimacy makes for an unforgettable experience, serving up romance, regrets, and the unexpected possibility of second chances. 

The quick changes the actors make throughout the show are fascinating and fun to watch. The dialogue's realness and the chemistry among all the actors keep the play on fire. 

‘Table 17’ is fresh off its hit Off-Broadway debut. 

Michael Rishawn

Kudos to the scenic designer (Jason Sherwood), the costume designer (Devario D. Simmons), the lighting designer (Ben Stanton), the sound designer (Christopher Darbassie), and the hair and wig designer (Nikiya Mathis). 

‘Table 17,’ written by Douglas Lyons and directed by Zhailon Levingston, stars Gail Bean, Biko Eisen-Martin, and Michael Rishawn. It’s produced in association with Mark Cortale.

On the DONLOE SCALE: (d) don’t bother, (o) oh, no, (n) needs work, (l) likeable, (o) oh, yeah, and (e) excellent. ‘Table 17’ gets an E (excellent).

‘Table 17,’ Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles, Monday, Tuesday No performance, Wednesday, Thursday 7:30 p.m., Friday 8 p.m., Saturday 3 p.m. and 8 p.m., Sunday 2 and 7 p.m., through Dec. 7, 2025, $36-$139, 310 208 2028 or online at www.geffenplayhouse.org 

*There will be one performance on Tuesday, November 25, 2025, at 7:30 p.m.

WARNINGS

Strobe Lighting Effects • Loud Music • Aisles Used for Actor Entrances & Exits 

Content Advisory: This production contains profanity. Age Recommendation: 12+

All Geffen Playhouse productions are intended for an adult audience; children under 10 will not be admitted. 

Running time: 85 minutes, no intermission

 

 

Danyel Fulton and Trisha Jeffrey Star in 'SUFFS'

(l-r) Danyel Fulton and Trisha Jeffrey star in
'SUFFS'

By Darlene Donloe

SUFFS, the powerful and inspiring musical that tells the story of the American women who fought tirelessly for the right to vote, is set to open on November 19, 2025, at the Pantages Theatre in Los Angeles. 

Created by Shaina Taub, the first woman to ever independently win Tony Awards for Best Book and Best Score in the same season, the show explores the triumphs and failures of a struggle for equality that's far from over. The subjects in the show are all based on real-life people.

SUFFS has garnered acclaim for its thought-provoking narrative, stunning score, and outstanding cast, earning it a spot on Broadway and now, a national tour.

The cast of 'SUFFS'

With a blend of humor, drama, and music, SUFFS brings to life the trailblazing stories of suffragists like Ida B. Wells and Mary Church Terrell, both Black, highlighting their determination, passion, and resilience. 

The musical features two accomplished actresses, Danyel Fulton as Wells and Trisha Jeffrey as Terrell, who share the stage with an all-female cast and crew that effectively delivers a message of empowerment and activism. 

Appearing in the musical was a no-brainer for the seasoned actresses, who both have an impressive list of credits.

“I was fortunate to be a part of an early development process in New York,” said Fulton, who said she’s been acting her entire life. “I was there to standby for the woman playing Ida at the time. I was introduced to SUFFS there. I didn’t have any details about the titan she actually was. By playing this role, I gained a lot of information. I learn something new about her every day – both on stage and by reading her work. To play her is an immense responsibility. I am introducing her to people like me. The show is important because a lot of our history is lost.”

Before taking on the role, Jeffrey, who began her career as a singer, had never heard of Terrell. 

“I didn’t know who she was,” said Jeffrey, one of the founding members of the Classical Theater of Harlem. “I found out when I joined the SUFFS class in New York for the national tour. It's great to play this civil rights activist.”

Jeffrey said she is still learning about Mary Church Terrell. 

“She was more than just an heiress,” Jeffrey said.  “She saw some terrible things. She saw the lynching of her friend. She actually saw her father get shot in the back of his head. She was an educator. She helped found the NCW and NAACP. She worked alongside Frederick Douglass. She helped with Ida’s investigations. It’s an honor to play her. I didn’t know Black women were part of the SUFFs movement. Who knew?”

Taub’s powerful production shines a spotlight on the fearless women who fought tirelessly for the right to vote, and the setbacks of a struggle that remains relevant today.

Fulton and Jeffrey bring a poignant juxtaposition to the stage, embodying the parallel struggles of Wells and Terrell, two Black women navigating a suffrage movement that often excluded them. 

As Ida B. Wells, Fulton channels the fiery spirit of a journalist and activist who fought for racial and gender equality, while Jeffrey's Mary Church Terrell embodies the elegance and determination of a prominent educator and clubwoman.

'SUFFS' opens at The Pantages on November 19, 2025

“Ida has a song in the show called ‘Wait My Turn’, a response to the leader of the march, when they tell her she can’t march in the front, she has to march in the back so she doesn't ruffle the feathers of donors,” Fulton said. “She’s told to wait her turn. Black women have always been told to wait their turn. Ida wasn’t going to wait. Look at what’s happening today. We see Roe v. Wade. We see Black women not getting their due medically. The fight is not over.  I’m personally not going to wait my turn either. We have to speak up for women who can’t.”

“Why is it we still, like they did, have to wait?” Jeffrey said. “I’m not waiting either.  When we’re doing the show, you can hear the difference in how they respond to Ida’s entrance and Mary’s entrance. Some people are uncomfortable about the conversation. They should be uncomfortable. Black women are often overlooked. Mary, a prominent educator and activist, was pissed off at President Wilson and started a petition to advocate for our right to vote. These women didn’t wait, and we shouldn’t either.”

Jeffrey said there is something ‘special’ about seeing two Black women on stage.

“What I appreciate is them showing our differences,” she said. “Ida and Mary were different, but they wanted the same things. They show how we’re different and the love we had for each other.”

Fulton said when it comes to navigating the complexity of Wells’ radical activism and her personal life, her goal is to ‘show the full scope of who a character is – both their hardness and softness.’

“People like seeing the truth on stage,” she said. “Ida was very much loved. She had six children, two of whom were from her husband’s first marriage. She had sisters. She was loved in her family and her community.  How do we show sisterhood? Even between Ida and Mary. Any time I get to smile, I try to take it. It’s a touchy balance beam, but I try to find the possibilities in the character.”

Jeffrey said exploring Terrell’s relationships and friendships was stimulating.

“Getting to know Mary was interesting because on stage she has limited time,” Jeffrey said. “I had to work hard at learning about her being a lover of the arts and being wealthy. She was fun but she was also an unseasoned militant. Trying to find the balance for the love of the movement and balancing her relationship with Ida was important. It’s an ongoing battle. The relationship between Ida and Mary was beautiful and complex.”

Through stimulating performances, SUFFS sheds light on the complex, often fraught experiences of Black women during this pivotal moment in history, revealing the painful truths of a movement that struggled to include them.

Fulton, 38, a Brooklyn-born storyteller, brings her impressive resume to the role. With credits like Ruby (Broadbend, Arkansas, Transport Group) and Dorothy (The Wiz, The Muny), Dionne (Hair, second national tour), and Shayla (Watch Night, The PAC), a powerful performance is imminent.

Jeffrey, too, is a seasoned actress with a remarkable track record that includes Little Shop of Horrors, All Shook Up, Rent, Motown, Sister Act, Caroline, or Change, and more.

Both Jeffrey and Fulton said they are ready to bring to life the stories of two powerhouse Black female historical figures.

“When given a talent, it’s your duty to use that talent in the world,” Jeffrey said. “I don’t think about what I get out of acting. For me, it’s more about what I can do through acting. I can tell Mary’s truth.”

“Acting is part of my calling,” Fulton said. “I hope to inspire people with Ida’s story. I want to tell important stories, especially for my people. To be part of the lineage of those who told our stories before me is very special.”

SUFFS, Pantages Theatre, 6233 Hollywood Blvd., Los Angeles, 7:30 p.m. Tues-Thur, 8 p.m. Fri-Sat., 2 p.m. Sat., 1 p.m. and 6:30 p.m. Sunday, November 18 – Dec. 7, tickets start at $66, 323 468-1700.

Traversing Time and Memory: Lonnie Holley & Moor Mother's Afrofuturist Reckoning

 

Lonnie Holley and Moor Mother

By Darlene Donloe

Lonnie Holley and Moor Mother, two visionary artists, will ignite the Bram Goldsmith Theater at the Wallis Annenberg Center for the Performing Arts in Beverly Hills on November 20 at 7:30 p.m., conjuring a sonic reckoning that traverses time and memory, fueled by the Afrofuturist vision of Sun Ra.

Together, they speak of tenderness, grief, and resistance. They invite their audience into an intimate act of creation—crafted live, shaped by the room, the people, the moment.

“I hope they experience my depths of doubt,” Holley said during a recent interview. “I want them to go into the ocean of thought to receive the spiritual information that I have to feed back out to them.”

Asked why there is doubt, Holley said he wasn’t quite sure how to explain it.

“All I know is that when I take the stage, my music is like Siamese twins,” he said. “If I’m building a piece of art or a rehearsal, the words will come the same way. The words come with the art.”

Holley said that when he performs, nothing is planned. He doesn’t write a script. He follows his spirit.

“We leave certain amounts of energy,” he said. “It's the most relevant teacher of our experiences. I analyze it and speak about it. Whatever comes out, comes out."

Moor Mother

Moor Mother, whose real name is Camae Ayewa, performs the same way.

“See the truth of our experiences, of what we see and feel in the world,” Moor Mother said. “What we care about. We move through spirit. The spirit will guide us to do what we’re going to do.”

Moor Mother said she wanted to work with Holley because she loves his music.

“I fell in love with his music,” she said. “We finally got together and then, over the years, we just kept performing together. We toured Australia and Europe. It’s a kinship. He’s a mentor, a friend, an uncle, and a brother. It’s beautiful to have this collaboration.”

Moor Mother has a song called “Vera Hall,” a slow funk number on the album Black Encyclopedia. It’s a tribute to Lonnie Holley because his

Industriousness is evident throughout his 40 years of home-recorded improvisational music, stone carvings, and found-object sculptures.

Moor Mother said she sees a lot of herself in Holley’s work. 

Their music moves toward you with open arms. From free jazz to spoken word, from survival to liberation, these two prophets open a portal.

Those lucky enough to attend their performance will experience the stunning, evocative, and haunting gifts of Lonnie Holley and Moor Mother.

Their music moves toward you with open arms, pulling you in, insisting you listen and respond.

Moor Mother, aka Camae Ayewa, has been called a seismic voice of haunted histories and imagined freedoms. She’s known for her multitude of instruments, voices, and cacophony, which explore themes of Afrofuturism and collective memory.

“I don't know what 'a seismic voice of haunted histories and imagined freedoms' means,” said Moor Mother, a poet, visual artist, and Professor of Composition at the USC Thornton School of Music. “One part is that I do uncover unheard, untold stories. I’m called Moor Mother because I care about mothers. I’m a historian. I like taking huge historical moments and bringing them to the forefront.”

Lonnie Holley and Moor Mother

Moor Mother has several monikers, as Pitchfork magazine dubbed her "the poet laureate of the apocalypse." Her music is a testament to the power of Black life as freedom.

Internationally known Moor Mother, who specializes in practical concepts but also works in speculation and historical thought, draws inspiration from the past to inform her present work.

“The past is still here with us,” she said. “There are different degrees of past. The past is yesterday, 10 years ago, 50 years ago. It’s a nonlinear concept folded into the present. It’s about our capacity to extend the timeline. Sometimes it’s nerve-wracking. You go into a process. You don't just go willy-dilly; you do that work before you go onstage. I like to prepare by working, reading, and sitting in nature.”

Moor Mother creates soundscapes from field recordings and archival sound collage to map sonic journeys to our buried histories and futures.

She is an artist who, through writing, music, film, visual art, socially engaged art, and creative research, explores personal, cultural, familial, and communal cycles of experience, and solutions for transforming oppressive linear temporalities into empowering, alternative temporalities.

Lonnie Holley

Lonnie Holley is a well-known multidisciplinary artist and improviser of raw spirit and sound, who has devoted his life to creativity since 1979.

Since then, he has devoted his life to the practice of his improvisational creativity. His art and music, born out of struggle, hardship, but perhaps more importantly, out of furious curiosity and biological necessity, have manifested themselves in drawing, painting, sculpture, photography, performance, music, and filmmaking.

Born in Birmingham, Alabama, Holley's art and music are born out of struggle, hardship, and curiosity, manifesting in various forms, including drawing, painting, sculpture, photography, performance, music, and filmmaking.

Holley said he sings from what he feels and experiences in his life.

“Momma had 27 children out of 32 pregnancies,” he said. “My grandmother didn't have the education to do it in a written manner.  I grew up learning how to communicate, especially. I’m the seventh child of the 27.  I’m singing about my experiences and trials and tribulations that I carry – for those who have not spoken. Some think speaking is in vain. I choose to sing about it instead of getting out there with a shotgun – and shoot my way through life.”

Holley, who is also known for his sculptures, said he prefers freestyling when he performs because he wants to feel free.

“I’m an improviser of raw spirit and sound,” said Holley, who has released six critically acclaimed albums. “I do freestylin’. I go into my mind to create something. If you’re going to protest, do so with love, rather than getting into a deeper argument. Do it in honor of love. You have to feed love. I sing nothing else but the truth – in an old-fashioned manner. Sometimes I fall into a trance. Sometimes it’s so deep, I don’t know what I said.”

'Lonnie Holley & Moor Mother,' Bram Goldsmith Theater, Wallis Annenberg Center for the Performing Arts, Beverly Hills, November 20, 2025, 7:30 p.m., $22.

Bootsy Collins Unleashes 'Metal Health' With Buckethead & Victor Wooten

By Darlene Donloe

Bootsy Collins is the coolest man on the planet! 

In what can only be described as the ultimate supergroup collaboration,

Bootsy Collins, the legendary funk icon, has teamed up with guitar virtuoso Buckethead and bassist extraordinaire Victor Wooten to funkify everyone’s life with the release of a game-changing new single, "Metal Health"! 

This isn't your average track—it's a sonic explosion that blends funk, rock, and cosmic vibes into a truly out-of-this-world experience. 

And it's not just about the music—it's about a mission to raise awareness of mental health, especially in the creative community. 

Bootsy Collins is dropping the truth: "Mental Health is for real, y'all!" 

And with "Metal Health," the first official single from the project and the first-ever direct musical collaboration between Bootsy and Buckethead.

Bootsy Collins and Buckethead

The release represents an artistic milestone decades in the making.  

“Metal Health” is available now on all major streaming platforms via Bootzilla Records/Roc Nation. Funk-Rock Fusion Rooted in Mindfulness, Healing & Mental Health Awareness Launches as the Title Track from Bootsy Collins’ Forthcoming Album. 

At a time when the world feels increasingly chaotic, “Metal Health” emerges as a sonic escape hatch—a hard-hitting, psychedelic groove designed to uplift minds and soothe souls. 

With its explosive instrumentation and cosmic depth, the single centers around a deeper mission: raising awareness for mental health, particularly within creative communities. 

“Through our music, ‘Metal Health’ is our way of putting the focus on a much more serious problem we have on our everyday streets,” Bootsy said. “Mental Health is for real. ‘The bigger the headache, the bigger the pill.’” 

Blending funk, rock, and transcendental bass lines, “Metal Health” features a staggering lineup of collaborators, including Victor Wooten, Barbie T, Cob, and Tobe, the project’s lead engineer. Each brings a unique voice to a track that transcends genre and speaks to the soul. Their inclusion is a magic recipe! 

This single is a call to action, a reminder that we all need to prioritize our mental well-being, no matter how big or small our "headache" might be. 

The collaboration is a match made in heaven—Bootsy's unmistakable funk, Buckethead's crazy-awesome guitar riffs, and Victor Wooten's masterful bass lines come together to create something truly special. 

"Metal Health," a funky, rockin', and uplifting anthem, is available now on all major streaming platforms. 

Bootsy is best known as a bassist and vocalist with Parliament-Funkadelic, one of the most influential funk bands of the 1970s. 

George Clinton

The GRAMMY-winning funk legend’s career began in 1969 as a bassist for James Brown, before co-creating the sound and spectacle of Parliament-Funkadelic alongside George Clinton.

Some of his notable hits include "One Nation Under a Groove," "Flash Light," and "Kone Fo' Life." 

Known for his star-shaped glasses, cosmic bass, and Afro-futuristic flair, Bootsy redefined music, fashion, and culture. His influence spans generations—from Prince and Dr. Dre to Thundercat and Silk Sonic, the latter of which he helped name and shape. 

Today, Bootsy remains on the cultural vanguard through his Roc Nation imprint, Bootzilla Records, and innovative projects like Funktropolis (a digital AR/VR world), a docuseries, and an autobiography with HarperCollins. 

Alongside his longtime manager and wife, Patty Collins, he champions philanthropy and empowerment through initiatives like Funk Not Fight, using art, music, and love to spark change.

Known for his iconic style, humor, and creativity, which have made him a beloved figure in funk and popular music—a genuine original—Bootsy’s groundbreaking contributions to the genre push its boundaries. He coupled his songwriting and vocal talent with flashy fashion, space-age swagger, and a whole lot of soul. 

Bootsy also unites with bass virtuoso Billy Sheehan and pioneering guitarist Jennifer Batten for a soul-stirring new anthem, “Troops,” the third single from ‘METAL HEALTH’. 

Released in celebration of Veterans Day (November 11), the track arrived in partnership with Guitars for Vets, an organization dedicated to using the healing power of music to support military veterans living with trauma. Fans can stream “Troops” now on all major platforms via Bootzilla Records / Roc Nation.

A deep groove of gratitude and healing, “Troops” fuses Bootsy’s cosmic funk with hard-rock firepower and emotional resonance. It stands as both a salute and a call to compassion, recognizing the courage of those who’ve served while amplifying the need for continued support through creativity, community, and care.

Featuring Billy Sheehan—renowned for his groundbreaking bass work with Mr. Big, David Lee Roth, and The Winery Dogs—and Jennifer Batten, known for her tenure as lead guitarist on three of Michael Jackson’s world tours, her acclaimed collaborations with Jeff Beck, and her recent Cirque du Soleil residency (Zumanity), “Troops” brings together three virtuosic forces united by purpose.

“Our troops have given everything for our freedom, and this song is our way of giving a little love back,” Bootsy said. “I’m so thankful to Jennifer and Billy for joining me on this journey. We put our hearts and souls into it—and we hope it brings some joy and healing, too.”

I recently caught up with Bootsy (BC) at his home in Cincinnati to talk about his latest project and all things funk. He was personable, funny, but serious about his music. 

DD: Where did the name Bootsy come from? 

BC: It came from my mother. She named me Bootsy. She called me that. I didn’t know people would ask me that. I asked her what made her call me  Bootsy – she said because I look like a Bootsy. I didn't question her anymore. 

DD: How is your health, and are you for sure through with live performances? 

BC: Carrying that 100-pound bass and 50-pound leather outfits, it gets to you. Jumping on stage and doing the neck on the set. I never thought about when you’re doing it. I want to have some fun in my later years. I don’t want to die on the set. I’d rather keep giving and keep living. 

DD: You are known as the architect of funk, P-funk.  Do you still embrace that title?

BC: I accept it. I was a part of the architecture. It was a beautiful time in my life. It’s what people say. They could be calling me a dog. I’m just going to continue to play music and do my art. I'm not into titles.

DD: Let’s get into your new project. Why is it called Metal Health? 

BC: I mix genres in there. I came up with Buckethead. We did an album in '91. We joined forces – and that’s what he plays. He plays heavy metal. We call it Metal Health about mental health. 

DD: How do you keep your mental health? 

BC: God is first—prayer every day and every single night. To know the only one is the one.  No pretending to be what we are not. We are all struggling to keep ourselves together. Talk to each other and let someone know what’s going on. Technology is making it complicated.  We had a chance to talk and vibe with each other. Kids today don't know how. They are missing it. They don't know how to vibe with each other anymore. That’s from the top down. 

DD: What was the creative process like for "Metal Health," and how did your collaboration with Buckethead and Victor Wooten come together?

BC:  I thought about doing it because Bucket and I had been talking about making another record for the longest time.  Last year, we started kicking around the idea of doing something together. I didn't know it was going to be an album at first. I thought we’d do a couple of songs and throw them out. Then we started vibing together. Things were coming together.  I wanted to show that in this collaboration. Victor has been a friend for some time. He is the baddest bass player on earth. He had to be involved. I didn't know we were going to release the first record. 

DD: How does it feel to be teaming up with Buckethead, a guitar legend, and Victor Wooten, a bass virtuoso, for this powerful new single?

BC:  There were no egos. You have to get over that. The trouble today is everybody is trippin’. We didn't even have to talk about it. We get up, do it, and do the best we can. We encourage each other. God didn't give us what we got to then deal with egos.

DD: As a bass player yourself, how is it working with another bass virtuoso? 

BC: The whole project is to show it’s not just about music, it’s what we can do when we lose the egos. We have the biggest distractor of all time. 

DD: Can you share more about the inspiration behind "Metal Health" and its mission to raise awareness for mental health, particularly within creative communities? 

BC: You’re speaking to one of the craziest MF in the world. I went through a whole mess of a saga. The good thing is, I found the one, or the one found me. That’s what saved me and brought me out of the drug thing and the craziness. I’m not chasing it anymore. I don't have to change the American dream. I lay back and wait on God to show me the way to go. 

DD: How do you hope "Metal Health" will resonate with listeners and encourage them to prioritize their mental well-being?

BC: It’s about being what He suggests you be. It’s humans doing, it’s about being a human being. It’s next-level time. 

DD: How would you describe the sound of "Metal Health," blending funk, rock, and transcendental bass lines? 

BC: It’s just what you said. Some things are indescribable. You have to feel it. You can’t categorize it. Some newness is emerging out of the clear blue. This is the year of AI, whether we like it or not.  We have to get over some things. You don’t have to be talented anymore. 

DD: What do you think of what’s happening in music right now?

BC: It’s a mess. It’s a total mess. Meaning, it could be a lot worse. Everybody will be able to do music. Everybody will be able to be a musician. You don't have to learn how to do anything. AI  - everybody will be a beatmaker, producer, and a camera guy. 

DD: How do you hope "Metal Health" will resonate with listeners and encourage them to prioritize their mental well-being? 

BC:  That’s the hope and that’s the prayer. We want to give people the idea—if we can make it through this mess. ‘The bigger the headache, the bigger the pill.’ Stay on point. If you don’t, they will shake the tree and you will fall off.

DD:  We all think you are funkin' it up 24/7. What do you think we’d be shocked to know about what you do daily? 

BC:  I hang out in the woods with the dogs. When the day is over and we been funkin all day, I hang out with the dogs. I tried cooking, but ain’t nothing happening. 

Bootsy’s wife, Patty, who he’s been married to since Christmas Eve 1996, said he makes a great smoothie complete with vegetables, fruit, and Bootsy sprinkle. Patty Collins said,

‘It’s so easy being married to Bootsy. He’s not particular about eating leftovers. It’s ok to warm something else. I’m thankful that Bootsy is very neat. He’s tidy. In the morning, he makes the bed.’

BC: I have to pat myself on the back.

My mother made me make the bed. I also take out the garbage.

DD: What does music do for you? 

BC: It does what we do for each other. It builds you and tears you down. It makes you humble—to give first and then receive. We are all here to give and receive. We use music to do that. We want to help people heal. That, to me, is what connects us the most – music. You don’t have to be a particular person or color. Music affects us all. 

DD: What is something you really want people to know? 

BC: Without a purpose, we are lost. I want people to know they have a purpose. If you don't think you do, it’s over. Keep fighting for us.

DD: Describe yourself in three words. 

BC:  Abnormal, livin’ another frequency in the flesh, but I know I’m a spirit from the ONE.