Custom Bingo Call Sheet

Total Page:16

File Type:pdf, Size:1020Kb

Custom Bingo Call Sheet Custom Bingo Instructions Host Instructions: · Decide when to start and select your goal(s) · Designate a judge to announce events · Cross off events from the list below when announced Goals: · First to get any line (up, down, left, right, diagonally) · First to get any 2 lines · First to get the four corners · First to get two diagonal lines through the middle (an "X") · First to get all squares (a "coverall") Guest Instructions: · Check off events on your card as the judge announces them · If you satisfy a goal, announce "BINGO!". You've won! · The judge decides in the case of disputes This is an alphabetical list of all 25 events: "Boogie" Mosson, "Sting Ray" Davis, (I Wanna) Testify, 15 Members, Atomic Dog, Boosty Collins, Crazy Hair, Doo-Woop, Dr. Funkenstein, Eddie Hazel, Endangered Species, Funk, Funkadelic, George Clinton, Give up the Funk, Groove, P-Funk, Parliament, Plainfield NJ, Psychedelic Rock, Rock and Roll Hall of Fame, Started in 1956, T.A.P.O.A.F.O.M, The Brides of Funkenstein, The Horny Horns. BuzzBuzzBingo.com · Create, Download, Print, Play, BINGO! · Copyright © 2003-2021 · All rights reserved Custom Bingo Call Sheet This is a randomized list of all 25 bingo events in square format that you can mark off in order, choose from randomly, or cut up to pull from a hat: "Sting Dr. 15 Psychedelic Boosty Ray" Funkenstein Members Rock Collins Davis Plainfield Eddie Started T.A.P.O.A.F.O.M Parliament NJ Hazel in 1956 The Crazy Endangered Give up (I Wanna) Horny Hair Species the Funk Testify Horns The Brides "Boogie" Doo-Woop of Funkadelic P-Funk Mosson Funkenstein Rock and Atomic George Funk Roll Hall Groove Dog Clinton of Fame BuzzBuzzBingo.com · Create, Download, Print, Play, BINGO! · Copyright © 2003-2021 · All rights reserved B I N G O "Sting Rock and Give up Endangered Parliament Ray" Roll Hall the Funk Species Davis of Fame The "Boogie" George 15 Atomic Horny Mosson Clinton Members Dog Horns The Brides Crazy T.A.P.O.A.F.O.M Groove of Funk Hair Funkenstein Psychedelic Boosty Dr. P-Funk Funkadelic Rock Collins Funkenstein (I Wanna) Plainfield Eddie Started Doo-Woop Testify NJ Hazel in 1956 This bingo card was created randomly from a total of 25 events. "Boogie" Mosson, "Sting Ray" Davis, (I Wanna) Testify, 15 Members, Atomic Dog, Boosty Collins, Crazy Hair, Doo-Woop, Dr. Funkenstein, Eddie Hazel, Endangered Species, Funk, Funkadelic, George Clinton, Give up the Funk, Groove, P-Funk, Parliament, Plainfield NJ, Psychedelic Rock, Rock and Roll Hall of Fame, Started in 1956, T.A.P.O.A.F.O.M, The Brides of Funkenstein, The Horny Horns. BuzzBuzzBingo.com · Create, Download, Print, Play, BINGO! · Copyright © 2003-2021 · All rights reserved B I N G O Rock and Boosty George Eddie Doo-Woop Roll Hall Collins Clinton Hazel of Fame Started Give up Atomic P-Funk Groove in 1956 the Funk Dog "Sting Plainfield "Boogie" Funk Parliament Ray" NJ Mosson Davis The Brides Crazy Dr. Endangered T.A.P.O.A.F.O.M of Hair Funkenstein Species Funkenstein The Psychedelic (I Wanna) 15 Horny Funkadelic Rock Testify Members Horns This bingo card was created randomly from a total of 25 events. "Boogie" Mosson, "Sting Ray" Davis, (I Wanna) Testify, 15 Members, Atomic Dog, Boosty Collins, Crazy Hair, Doo-Woop, Dr. Funkenstein, Eddie Hazel, Endangered Species, Funk, Funkadelic, George Clinton, Give up the Funk, Groove, P-Funk, Parliament, Plainfield NJ, Psychedelic Rock, Rock and Roll Hall of Fame, Started in 1956, T.A.P.O.A.F.O.M, The Brides of Funkenstein, The Horny Horns. BuzzBuzzBingo.com · Create, Download, Print, Play, BINGO! · Copyright © 2003-2021 · All rights reserved.
Recommended publications
  • Funk Is Its Own Reward": an Analysis of Selected Lyrics In
    ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K.
    [Show full text]
  • An Afrofuturistic Reading of Parliament-Funkadelic Joshua Bird Western Washington University, [email protected]
    Occam's Razor Volume 3 (2013) Article 6 2013 Climbing Aboard the Mothership: An Afrofuturistic Reading of Parliament-Funkadelic Joshua Bird Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/orwwu Part of the Arts and Humanities Commons Recommended Citation Bird, Joshua (2013) "Climbing Aboard the Mothership: An Afrofuturistic Reading of Parliament-Funkadelic," Occam's Razor: Vol. 3 , Article 6. Available at: https://cedar.wwu.edu/orwwu/vol3/iss1/6 This Research Paper is brought to you for free and open access by the Western Student Publications at Western CEDAR. It has been accepted for inclusion in Occam's Razor by an authorized editor of Western CEDAR. For more information, please contact [email protected]. 29 OCCAM’S RAZOR Bird: Climbing Aboard the Mothership OCCAM’S RAZOR 30 “What’s happening CC? They still call it the White House, but that’s CLIMBING a temporary condition ABOARD too. Can you dig it, CC” THE MOTHERSHIP In his 1994 essay Black to the Future, place I eat” (Heron). Clinton was the group’s newly acquired fortune, George cultural critic Mark Dery coined the term mastermind behind the 1970s funk Clinton assembled a five man backing “Afrofuturism” and defined it as such: collective Parliament-Funkadelic, and band that was dubbed Funkadelic (a “Speculative fiction that treats African- his artistic vision included extensive portmanteau of funk and psychedelic) AN elements of science fiction. Through the to complement the five vocalists. Due to American themes and addresses
    [Show full text]
  • «Ss¡® I E Y , MISTER, GUESS W H a T ?” I Feel a Small Hand Pulling My Coat Sleeve § and Look Down to See a Young Black Kid About Seven Staring up at Me
    «ss¡® I E Y , MISTER, GUESS w h a t ?” I feel a small hand pulling my coat sleeve § and look down to see a young black kid about seven staring up at me. It’s October 28, 1976, and I’m in the New Orleans Civic Auditorium, a hall packed with riggers, gaffers, soundmen and musicians. An incredible event B Y TOM V I C K E R S Parliament-Funkadelic, Is about to unfold. “Mister, you The band kicked into the deadly groove of “Dr. Funkenstein.” circa 1974: Calvin know what’s going to happen here As George strutted down the stairway, the audience was groov­ Simon, Bernie Worrell, tomorrow night? The Mothership ing so hard that the whole arena was shaking. Joints were lit, Grady Thomas, is going to land right on that stage, and the sweet smell of reefer filled the hall as the crowd "Boogie" Mosson, and Dr. Funkenstein himself is screamed, clapped and celebrated as if it had just witnessed the "Fuzzy" Haskins, going to be here,” he continues, Second Coming. It was a moment that I will remember as long George Clinton,"Tiki" unaware that Dr. Funkenstein as I live, and anyone who saw the Mothership land back in the Fulwood, Garry Shider, himself, George Clinton, is stand­ day had their lives permanently changed. Michael Hampton, ing less than six feet away. The kid And those geepies, like the New Orleans kid, made George guitarist Ron continues rapping to me as the sil­ one of the most sampled producers in hip-hop. Rappers from Bykowski, Ray Davis ver Mothership is hoisted to a Dr.
    [Show full text]
  • Chicagoland Music Festival but from a Black Perspec- Omnipresent Backdrop
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIV, Number 2 Spring 2015 Black and White, then “Red” All Over: Chicago’s American Negro Music Festival Mark Burford, Reed College The functions of public musical spectacle in 1940s Chicago were bound up with a polyphony of stark and sometimes contradic- tory changes. Chicago’s predominantly African American South Side had become more settled as participants in the first waves of the Great Migration established firm roots, even as the city’s “Black Belt” was newly transformed by fresh arrivals that bal- looned Chicago’s black population by 77% between 1940 and 1950. Meanwhile, over the course of the decade, African Ameri- cans remained attentive to a dramatic narrowing of the political spectrum, from accommodation of a populist, patriotic progres- sivism to one dominated by virulent Cold War anticommunism. Sponsored by the Chicago Defender, arguably the country’s flagship black newspaper, and for a brief time the premiere black-organized event in the country, the American Negro Music Festival (ANMF) was through its ten years of existence respon- sive to many of the communal, civic, and national developments during this transitional decade. In seeking to showcase both racial achievement and interracial harmony, festival organizers registered ambivalently embraced shifts in black cultural identity W.C. Handy at the during and in the years following World War II, as well as the American Negro Music Festival Courtesy of St. Louis Post-Dispatch possibilities and limits of coalition politics.
    [Show full text]
  • One Nation Under a Groove: Beauty and Democracy Reconsidered
    ONE NATION UNDER A GROOVE: BEAUTY AND DEMOCRACY RECONSIDERED OCTOBER 5, 2017 THIS ESSAY WAS WRITTEN AS REMARKS FOR THE PARTNERSHIP FOR THE PUBLIC GOOD’S TENTH ANNIVERSARY CELEBRATION ON OCTOBER 5, 2017 AT THE ALBRIGHT-KNOX ART GALLERY. 2 ONE NATION UNDER A GROOVE: BEAUTY AND DEMOCRACY RECONSIDERED BY: SAM MAGAVERN On May 31, 1905, the Albright Art Gallery had the dedication ceremony for its beautiful new building. After the singing of a chorus by Beethoven, led by the Orpheus, Sangerbund, Teutonia, Liederkranz, and Guido societies, the audience heard an address titled “Beauty and Democracy” from Charles William Eliot, the president of Harvard University. President Eliot was apparently a strong proponent of utilitarian philosophy, because he opined that the ultimate goal of democracy was to provide the greatest number of people with “cheerful feelings,” while reducing to the lowest terms the preventable evils that make life miserable. Beauty, for President Eliot, was chiefly a way to “increase innocent pleasurable sensations and emotions” – for example, by observing the starry sky, lovely landscapes, flowering shrubs, or fine paintings. The Art Gallery’s notes tell us that President Eliot’s address was “delivered in a clear, ringing voice and was listened to most attentively,” and that at its conclusion the Chorus sang an ode titled “Spirit of Beauty” by Mrs. Arthur Detmers of Buffalo. I read President Eliot’s address with high hopes, but then increasing disappointment at the narrowness of his range. When I think about beauty and democracy, I think about the Gettysburg Address and the I Have a Dream Speech; I think about Their Eyes Were Watching God by Zora Neale Hurston and Do the Right Thing by Spike Lee – works that plumb the inspiring promise and tragic flaws of our fitful strivings toward democracy.
    [Show full text]
  • The Moving Power of Parliament Funkadelic
    Funk Is Its Own Reward: The Moving Power of Parliament Funkadelic An Honors Thesis by Vladimir Gutkovich Contents Introduction: Make my Funk the P-Funk! 3 I. The Birth and Rise of the P-Funk Empire: A Discography Synopsis 11 II. Everything is on the ONE: The Music of the Funk Mob 22 1. Musical Beginnings: “Free Your Mind, And Your Ass Will Follow” 24 2. Everything is on the ONE! 28 3. Controlled Chaos: P-Funk’s Anti-Formula 33 4. Funk as a Way of Life 35 III. Funkentelechy: The P-Funk Vision 38 1. Funk Used to Be a Bad Word 39 2. The Politics of P-Funk 41 i. P-Funk Vs. American Wrongs 41 ii. P-Funk and Black America 44 iii. One Nation Under a Groove 47 3. Transcefunkadentalism: The Church of Funk 50 iv. The Dogma of P-Funk 50 v. Funk is its Own Reward: The Prescriptive Philosophy of P-Funk 53 IV. Parliament Funkadelic Live: No Ordinary Funk Show 60 1. Learning to Play LIVE 63 2. Larger than Life: Costumes, Characters and Charisma 64 3. Visualizing the Myth: Props at P-Funk Shows 66 4. P-Funk and Dancing: Salvation by Way of (Communal) Booty-Shaking 68 V. “Mothership Connection” Live 72 Conclusion: “Ain’t No Party Like a P-Funk Party, ‘Cause a P-Funk Party Don’t Stop!” 82 1 1. George Clinton and P-Funk’s Careers Since the 1980’s 82 2. Parliament Funkadelic and Hip-Hop 86 3. Rising Above it All: P-Funk and Trancing 90 Appendix A: A Partial Discography of Parliament, Funkadelic, George Clinton, and the P-Funk All-Stars 95 Works Cited 98 Albums Cited 101 Appendix B: Vladimir Gutkovich’s Thesis Recital 103 2 Introduction: Make My Funk the P-Funk! “While most critics want to put the holy trinity [Beatles, Stones, Zeppelin] on a pedestal, with the world domination of hip-hop culture and the large role that P-Funk has played in the sound of hip-hop music, I dare say that P-Funk’s impact can be felt much more strongly thirty years later than of those three bands.
    [Show full text]
  • Download a PDF of the Inventory B
    PUBLIC COLLECTORS Records Collection Inventory of: Marc Fischer Chicago, IL, USA About PUBLIC COLLECTORS Public Collectors consists of informal agreements where collectors allow the contents of their collection to be published and permit those who are curious to directly experience the objects in person. Participants must be willing to type up an inventory of their collection, provide a means of contact and share their collection with the public. Collectors can be based in any geographic location. Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged. Public Collectors is not intended, nor should it be used for buying and selling objects. There are many preexisting venues for that. Collectors can accommodate viewers at whatever location is most com - fortable or convenient for them. If their collection is portable or can be viewed in a location other than the collector’s home, this would still be an appropriate way to participate in the project. In addition to hosting collection inventories and other information, www.publiccollectors.org includes digital collections that are suitable for web presentation, do not have a physical material analog, or are difficult or impossible to experience otherwise.
    [Show full text]
  • Norwood Fisher and Fishbone Signature Single Dreadlock, but Not His Salt-And-Pep- Would Be Superstars, a Shining Example of What Can Per Goatee and Big Grin
    CRAZY GLUE! BY E.E. BRADMAN PHOTOS BY SAYRE JOAN BERMAN It shouldn’t haVE BEEN THIS WAY. shades, baggy jeans and T-shirt, and fedora—hides his In a perfect world, Norwood Fisher and Fishbone signature single dreadlock, but not his salt-and-pep- would be superstars, a shining example of what can per goatee and big grin. happen when smart lyrics, pop songwriting, stellar Fisher’s smiles—and his struggles—are a central ele- musicianship, a once-in-a-lifetime frontman, and a ment of Everyday Sunshine, the Fishbone documen- ridiculously badass rhythm section come together in tary released just as the band celebrates the 25th anni- a spicy, pan-genre gumbo. Norwood’s versary of its debut, In Your Face. The hyperactive thumb and inventive lines HOW film shows how Fishbone’s high-energy should’ve made him a multi-platinum blend of ska, funk, punk, rock, gospel, success like his peers Flea and Les NorWooD and soul brought them right to the brink Claypool. Fishbone’s bass-tastic 1991 of mainstream success, and how a nasty masterwork, The Reality of My Sur- FIsher cocktail of music-business shenanigans, roundings, should’ve been the break- nervous breakdowns, and interpersonal through that propelled them into the HolDS IT All tensions dashed that dream, dooming mainstream. In fact, it’s become all too them to a future of half-empty clubs common to think of Fishbone as the ToGETher and barely paying gigs. band that should’ve but didn’t. The truth, however, is that although On this mellow Sunday in October, depressing finales make for good film however, 46-year-old Norwood is anything but bitter (and good copy), Norwood is anything but struggling.
    [Show full text]
  • Thi$ Week Ultimately, We're All in the Busi- R Ess of Picking Hits
    THE MOST TRUSTED NAME IN RADIO ISSUE 2066 AUGUST 4 1995 Thi$ Week Ultimately, we're all in the busi- r ess of picking hits. On the record side, it's called A&R. On tie radio side, it's what adds up tj adds. In the earlier days of Top 40, DJs played their own "pick hits of the week," 11 and stations had KDWB GAVIN "DisCoveries," KYAces in the holes, hitbounds, picks to click Here at Gavin, we're always 'coking around the corner at artists wno've got whatever it takes to make it. Sometimes we're right, sometimes, wrong, bit it's always fun for us and, hopefully, interesting and useful fcr you. This issue, we asked all our 4ormat editors to pick an artist they believe is ready to break through, tell why they're betting on them, and offer a brief profile. The artists can be brand new (like Jon B., top) or well - weathered (like Joe Ely, middle). Or like Take That, they can be ricing the charts outside the U.3., but still on the verge of ge:ting radioactive here. One thing they have in common: there's a buzz around them. Listen. In .,.!!!!!thl .1..1. OOOOOOOOOO News, it's media merger - mania (again), as Disney lards Capital Cities/ABC and And Take Our Word for It, CBS slips into the .11144*".;" Westinghouse. We weigh ............ ... .... Warner's response to bad raps 44,11i8.446" 118... from Bob Dole and company, " ....... welcome Kato Kaelin as a radio As We Pickalion Artists Who talk host (!), and salute some of the many great names who've trooped through Los Angeles rad o.
    [Show full text]
  • Liner Notes, No. 22
    ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notesNO. 22 / 2017-2018 featuring Bootsy Collins & Dr. Scot Brown aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for Greetings, repository recognized and utilized the purpose of research and by multiple constituencies within the study of African American When I began my new role as Director university and beyond. Much gratitude is music and culture. of the AAAMC on January 1, 2018, it owed to these two prestigious scholars in aaamc.indiana.edu was evident to me that the past directors, Black music who carried the torch as past Drs. Portia Maultsby and Mellonee directors. Burnim, established a firm foundation As current Director of the AAAMC, Table of Contents and legacy for me to extend upon. Dr. my vision is to increase our collection Maultsby founded AAAMC in 1991 acquisitions and visibility in ways that From the Desk of working tirelessly for over two decades foster unique interactions amongst and the Director .........................2 while collecting a treasure trove of vital between the academy, industry and information representing our current community sectors. With this broad In the Vault: holdings on Black music and culture, vision in mind, I have initiated a few Recent Donations .................3 which include both published and strategies for success. First, during unpublished materials in a variety of spring 2018, I developed a new forum formats: A/V time-based media, paper, series called “Groovin’ Black” where Bootsy Collins Comes photographs, memorabilia (wood, metal, students, premiere scholars, acclaimed to Campus ...........................4 plastic, cloth, etc.).
    [Show full text]
  • Funk Asserts Itself: Black Art for Black Audiences Overview
    FUNK ASSERTS ITSELF: BLACK ART FOR BLACK AUDIENCES OVERVIEW ESSENTIAL QUESTION How did 1970s Funk respond to African-American life in the decade following the Civil Rights movement? OVERVIEW Between 1964 and 1968, eruptions of civil unrest in Harlem, Watts, Detroit, Newark, and other urban areas drew the nation’s attention to problems that had plagued black neighborhoods for decades. But even after the uprisings, residents in these places often felt themselves to be largely invisible and without a voice in mainstream popular culture. By the early 1970s, this situation caused many within the black community to question the extent to which the Civil Rights movement had changed American life. Many African Americans still struggled to survive in increasingly poverty-stricken neighborhoods across the country. Statistically, de facto segregation in inner cities had increased during the years of the Civil Rights movement as white city dwellers migrated to more prosperous suburbs -- a process known as “white flight.” As a result, city populations became increasingly black, with many African Americans living in communities with failing schools, poor housing, and strained relationships with police. Responding to Black America’s struggle to be seen and heard, artists including James Brown, George Clinton, and Curtis Mayfield helped to develop a musical style known as Funk, a genre that specifically addressed black audiences and black circumstances. Built around a prominent bassline, deeply percussive instrumentation, and polyrhythms (from guitars, horns, keyboards, and drums), Funk was constructed to make people stand up, feel the groove, and express themselves on the dance floor, while also responding to the often harsh realities of urban life.
    [Show full text]
  • Clinton Objections
    Before the COPYRIGHT ROYALTY BOARD Washington, D.C. ) In the Matter of ) ) Distribution of DART Sound Recordings Fund ) Docket No. 14-CRB-0006 DART SR (2013) Featured Recording Artists and Copyright ) Owners Subfund Royalties for 2013 ) ) COMMENTS OF GEORGE CLINTON By notice posted in the Federal Register dated September 30, 2014, the Copyright Royalty Board (“CRB”) solicited comment on the August 19, 2014 notice of settlement and request for partial distribution of royalties in the 2013 DART Sound Recordings Fund Featured Recording Artists and Copyright Owners Subfunds filed by the Alliance of Artists and Recording Companies (“AARC”). 79 Fed. Reg. 60185. George Clinton (“Clinton”) submitted informal objections on August 25, 2014, id. at 60186, and hereby submits through his undersigned counsel his formal comments objecting to the proposed settlement and distribution. INTRODUCTION George Clinton is the Godfather of Funk and a national treasure. A recording artist since 1959, Clinton is one of the most important musicians of the twentieth and twenty-first centuries. In Parliament and Funkadelic, musical groups he formed and led, he scored more than forty hit singles in the 1970s, including four R&B number ones: Parliament’s “Flash Light” and “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop),” and Funkadelic’s million-selling “One Nation Under A Groove” and “(Not Just) Knee Deep.” Clinton, along with fifteen other members of Parliament and Funkadelic, was inducted into the Rock and Roll Hall of Fame in 1997. In 2011, the Smithsonian Institution acquired the Mothership, the flying saucer from which Clinton’s groups once embarked to begin concert performances, to anchor the National Museum of African American History’s inaugural exhibition.1 In 2012, Berklee College of Music awarded Clinton an honorary doctorate.
    [Show full text]