DOCSLIB.ORG

Band of the Week: Funkadelic | Nouse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Band of the Week: Funkadelic | Nouse Nouse Web Archives Band of the Week: Funkadelic Page 1 of 3 News Comment MUSE. Politics Business Science Sport Roses Freshers Muse › Music › Band of the Week › News Features Reviews Playlists Band of the Week: Funkadelic Resident sound-nerd Tom Killingbeck thumbs through reams of musty vinyl so you don’t have to. Here are his weekly recommendations… Monday 25 April 2011 #24: Funkadelic Who: George Clinton, Eddie Hazel, Tawl Ross, Bernie Worrell, Billy Bass Nelson, Tiki Fulwood. When: 1960s-1980s. Where: USA. Why: Popular legend has it that multi-colour dreadlocked George Clinton and his band Funkadelic landed on earth after spanning light years hurtling through the galaxy on their disco mothership. In reality, the truth was rather more mundane. Before becoming a funk spaceman, mad George was a respectable do- wopper in the Parliaments, his cosmic afro tamed and shaped by acres of brylcreem. Formed in a barbershop, they modelled themselves on Frankie Lymon & the Teenagers and found some success as a soul group. But in the late 60s something more wild and psychedelic was in the air, with Clinton refashioning his band into the constantly mutating funkers that would take soul music on an interstellar voyage into uncharted territories of groove throughout the next decade. As the liner notes to Standing on the Verge of Getting It On decree, ‘the Cosmic Strumpet of Mother Nature was to spawned to envelop this third planet in Funkacidal Vibrations. She birthed Apostles Ra, Hendrix, Stone & Clinton to preserve all funkiness of man unto eternity’. Indeed, Clinton’s crew, now split between the more poppy Parliament and the experimental, dangerous stylings of Funkadelic, continued the good work of Messrs. Sun, Jimi and Sly in taking funk to its outer limits. Running rings (of Saturn) around the competition, the afro-alien Parliament/Funkadelic hippie conglomerate left their doo-wop roots http://nouse.co.uk/2011/04/25/band-of-the-week-funkadelic Archived 11 Dec 2018 01:45:00 Nouse Web Archives Band of the Week: Funkadelic Page 2 of 3 in the dust, setting controls for the heart of the sun. While the groups were often interchangeable, Funkadelic’s recorded output, at least for me, far eclipses that of their sister band. The first lysergic slab of true genius they put out was third LP Maggot Brain, an apocalyptic monolith of acid-noise that was as rock & roll as it was soulful, as hilarious as it was heartbreaking. With the addition of keyboardist Bernie Worrell, Clinton’s denizens were ablaze, this new navigators’ classical training solidifying the ‘P-funk’ sound with pioneering horn arrangements and synthesizer work. As political as it was mind-frying, Maggot Brain’s dynamism and iconic artwork make it an essential Clinton release. But they were just gathering steam. After prodigious LSD intake left a few casualties, Clinton poached members of James Brown’s backing band, notably platform booted bass berserker Bootsy Collins. This era of the band would prove the most lucrative, with 1978’s One Nation Under A Groove filling dancefloors and topping charts. Uncle Jam Wants You did the same. But while their records would come to be hip-hop’s most raided tomb of samples (listen to any of their tunes for multiple ‘ah, Dr. Dre!’ or ‘ah, Snoop Dogg!’ moments), Funkadelic were most comfortable in the live arena. With Casablanca giving them the same live budget as labelmates KISS, performances would combine the punk power of Detroit brothers the MC5 and The Stooges with spectacles rarely seen out of heavy metal pantomime. UFOs, dry ice, celestial Viking costumes, pyrotechnic displays and synapse-frying light shows were all commonplace. Somehow, having lived his life at lightspeed, the real President Clinton is still funking as hard as he ever did. Long may he reign. Influences: James Brown, Sly & The Family Stone, Sun Ra, Jimi Hendrix, Cream. Influenced: Rick James, Prince, Dr. Dre, Primus, Chrome Hoof, Janelle Monáe. Sample Lyric: ‘Mother Earth is pregnant for the third time, for y’all have knocked her up / I have tasted the maggots in the mind of the universe’. Which Record: Maggot Brain (Westbound, 1971) One comment Alan Fayson 10 May ’13 at 3:37 pm Parliament Funkadelic was the greatest band of all time. And George Clinton Simply a Genious to run cordinate all the bands he had, Parlets, Brides of funkenstein, Bootsy’s Rubber Band and of course Parliament, and Funkadelic Report Most Read Discussed 1. Review: Little Mix – LM5 2. Led Astray – The Case Against Greta Van Fleet 3. Review: Some Rap Songs – Earl Sweatshirt 4. Review: Simulation Theory – Muse 5. Live Review: Sigrid @ Albert Hall, Manchester – 8/11/18 6. Band of the Week: Magma Write for Nouse Music http://nouse.co.uk/2011/04/25/band-of-the-week-funkadelic Archived 11 Dec 2018 01:45:00 Nouse Web Archives Band of the Week: Funkadelic Page 3 of 3 Get in touch with the editors Join the Facebook group More in Music Review: Some Rap Songs – Earl Sweatshirt Review: Little Mix – LM5 Live Review: Sigrid @ Albert Hall, Manchester – 8/11/18 Live Review: Within Temptation @ O2 Academy Birmingham 9/11/18 Radio Gaga: Evolution of a Star Review: Simulation Theory – Muse About Nouse Who’s Nouse Website Credits Contact Us Advertising Archives Student Discounts Print Editions Mini-Sites Nouse on Twitter Nouse on Facebook Nouse on Google+ © 1964–2018 Nouse Policies | http://nouse.co.uk/2011/04/25/band-of-the-week-funkadelic Archived 11 Dec 2018 01:45:00.
Load more

Recommended publications
  • IP Newsflash
    Having trouble reading this email? View it in your browser 06.27.14 DISTRICT COURT CASES George Clinton to Pay His Lawyers in Song In a 9th Circuit opinion, the panel upheld a district court opinion which assigned four of Clinton’s sound recording copyrights to a receiver to satisfy judgments rendered against him by his former lawyers. George Clinton, the renowned musician, bandleader, and producer, hired Hendricks & Lewis (H&L) to represent him in various infringement disputes from March 2005 – August 2008. The work performed on Clinton’s behalf constituted over $3 Million in fees; Clinton refused to pay over $1.72 Million. H&L pursued the enforcement of its past­due fees in arbitration and then later moved to compel the arbitration award in the District Court of Washington. The underlying appeal surrounds the court’s enforcement of the arbitration award and assignment of master recordings of Clinton’s performances with the group Funkadelic to receivership ("Masters"). The Masters songs at issue are “Hardcore Jollies,” “One Nation Under a Groove,” “Uncle Jam Wants You,” and “The Electric Spanking of War Babies”—all with registered copyrights. The copyrights were originally obtained by Warner Bros. and subsequently transferred to Clinton. Clinton alleges that the assignment of the Masters to receivership was improper and in violation of Copyright Act § 201 (e) which serves as protection to authors for involuntary transfer of their copyrights. The panel reasoned that Clinton was not an “author” of the Masters within the meaning of the act since all four Masters were created under agreements with Warner Bros.
    [Show full text]
  • Mose Davis Public Relations Information
    Mose Davis Public Relations Information “My name is Mose…and you can call me Mose” – Mose Davis That quote from Mose Davis can be heard on Hamilton Bohannon’s hit record “Let’s Start the Dance”. The tune is a smoking-hot club classic. And the quote cuts through the clutter and camouflage of funk wannabes, to reveal a pure fact – Mose is Mose. Before Stevie Wonder, before Bernie Worrell, there was Mose Davis pushing the frontiers of funk with his use of the organ as the source of the bass line, during the late 1960’s. And if imitation is the highest form of flattery, then Mose Davis has been flattered by the best. And some of the biggest names in hip-hop have sampled a sip of Mose’s musical brew, including Snoop, Mary J. Blige and Queen Latifah. Classically trained at the Detroit Conservatory of Music, Mose Davis is an exceptional jazz artist and prominent fixture on the Atlanta music scene. Davis identifies jazz greats, Jimmy Smith and Ahmad Jamal among his musical influences. Davis performs with top acts across the country and internationally. Mose Davis has performed with Candi Staton, The Isley Brothers, Marlena Shaw, David Ruffin, Ray Parker, Jr., The Counts, Funkadelics and Carl Anderson. His festival appearances include The Atlanta Jazz Festival (with the Atlanta Symphony Orchestra), The Macon Jazz Festival and the internationally renowned Spoleto Festival. And now comes the new CD, “Sunshine”. “It’s a mix of jazz – the rough and the smooth – blended with some Latin and rock influences,” Davis says.
    [Show full text]
  • 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]
  • George Clinton 2 1757 Devonshire Street, Suite 2 Chatsworth, California 9 13 11 Telephone: (8 18) 709-8388 Facsimile (8 18) 709-8372
    COPY I Larry H. Clough (State Bar No. 86104) Attorney for Plaintiff, George Clinton 2 1757 Devonshire Street, Suite 2 Chatsworth, California 9 13 11 Telephone: (8 18) 709-8388 Facsimile (8 18) 709-8372 UNITED STATES DISTRICT COURT CENTRAL DISTRICT OF CALIFORNIA GEORGE CLINTON, Plaintiff, VS. COMPLAINT FOR: NENE MONTES. an individual and d/b/a TERCER MUNDO, INC., a suspended Cal. I. DECLARATORY JUDGMENT (28 U.S.C. 62201) corp, CHARLY ACQUISITIONS, LTD, a 11. COPWGHTINFRINGEMENT Nevis private company, 17 U.S.C. 501 LICENSEMUSIC.COM, ApS, a Denmark f 11. uNAAofUzED USE OF PRE- 1972 SOUND RECORDINGS private company, ARMEN BOLADIAN, an @l Code [ 980h individual, WESTBOUND RECORDS, RESCI SIO (Cal Code 9 1689) INC., a Mich. corp, ACE RECORDS, LTD, V. FRAUD Common Law VI. INJURIb USFALSEH A OD a United Kingdom private company, Common Law UNION SQUARE MUSIC, LTD, a United b11. TRADE& Kingdom private company, SNAPPER COUNTERFEIT 15 U.S.C. 9 1 114) VIII. TRADEMdRK MUSIC, LTD, a United Kingdom private INFRINGEMENT (15 U.S.C. 61 114 company, ATOM MUSIC, LTD, an Ireland IX.UNFAIR COMPETITION" private company, ARTISTRY MUSIC, 15 U.S.C. 1125 a k FALSE !I ESI dl?ATIONOF LTD, a United Kingdom private company, ORIGIN (15 U.S.C. 1125(a SYNC2PICTURE, LLC, a Mich. limited XI. UNFAIR TRAD b PRA 24 ICES Cal Code 17200 liability company, X5 MUSIC GROUP, a LI. MIS&PRO& ATION OF Sweden private company, LIKENESS (Cal Code 93344) Defendants. XIII. MISAPPROPRIATION OF LIKENESS Common Law) XIV. ACCOLN TING XV. CONSTRUCTIVE TRUST Jury Trial Demanded Plaintiff, George Clinton, ("Plaintiff' or "Clinton") by and through undersigned counsel, alleges upon personal knowledge, information, and belief, as follows: Nature of Action 1.
    [Show full text]
  • Music for Your Mother: Funkadelic 45S
    Music for Your Mother: Funkadelic 45s Music For Your Mother is a compilation album by Funkadelic featuring songs recorded for Westbound Records during the band's career with that label from 1968 to 1976. The compilation includes the A-sides and B-sides of every Funkadelic single released during Funkadelic's tenure at Westbound. Some of the tracks here originated as alternate versions of album tracks or as non-album B-sides, and some were previously unreleased. Two tracks, "I Miss My Baby" and "Baby I Owe You Something Good" (original version) were originally released by Westbound under the group name Artist: Funkadelic Title Of Album: Music for Your Mother: Funkadelic 45\â™s (1969 â“ 1976) Year Of Release: 1993 Label: Westbound Records Genre: P.Funk, Funk, Psychedelic Soul Quality: MP3 Bitrate: 320 kbps Total Time: 00:56:55 + 00:54:41 Total Size: 256 MB. Tracklist: Disc 1 1.Music for My Mother (5:18) 2. Music for My Mother nstrumental (6:13) 3.Can\â™t Shake It Loose (2:28) 4.As Good as I Can Feel 5.I Bet You (3:58) 6.Open Our Eyes (4:01) 7.I Got a Thing, You Got a Thing, Everybody Got a Thing (2:59) 8.Fish, Chips and. Sweat (2:59) 9.I Wanna Know If It\â™s Good to You? Discover releases, reviews, track listings, recommendations, and more about Funkadelic - Music For Your Mother - Funkadelic 45s at Discogs. Complete your Funkadelic collection. Hello! We have selected English as your language preference. If you would like to browse in a different language, please choose a language using the dropdown.
    [Show full text]
  • Hendricks & Lewis V. George Clinton, No. C12
    Hendricks & Lewis v. George Clinton, No. C12-0841RSL., 2012 WL 5947638 (W.D. Wash. Nov. 27, 2012) The Western District of Washington recently ordered George Clinton (of George Clinton and the Parliament Funkadelic!) to transfer his copyrights in certain songs to court appointed receiver. The receiver must then take whatever steps are necessary to satisfy judgments owed by Mr. Clinton to the law firm, Hendricks & Lewis for unpaid legal work. Mr. Clinton tried to argue that an obscure provision of the Copyright Act, written during the Cold War, protected him from the forced transfer of his copyrights. The provision was written to protect authors from their works being usurped by communist governments, but the language is not limited to just communists. Rather, it suggests that no governmental entity can take or force the transfer of an author’s copyright interests. Mr. Clinton, therefore, was arguing that a forced transfer of his copyrights by the court would violate the provision. The court agreed with Mr. Clinton that a court cannot force the transfer an author’s copyright interest, but also held that the provision only applies where (1) the author is an individual, as opposed to a business entity, and (2) the copyright has not been previously transferred. Here, the songs at issue were originally recorded by George Clinton, but it was as part of a work-for- hire agreement with Warner Music. As a result, the court found that the original author was Warner Music, which is a corporate entity and not protected by the provision. Moreover, even if Clinton were the original author, he only currently owned the copyright interests pursuant to a settlement agreement between him and Warner.
    [Show full text]
  • Parliament Gold Mp3, Flac, Wma
    Parliament Gold mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Gold Country: Europe Released: 2005 Style: P.Funk MP3 version RAR size: 1479 mb FLAC version RAR size: 1961 mb WMA version RAR size: 1108 mb Rating: 4.5 Votes: 622 Other Formats: DXD AA VQF ADX MP4 VOC WMA Tracklist 1-1 Up For The Down Stroke 5:08 1-2 Testify 3:54 1-3 All Your Goodies Are Gone 5:04 1-4 Chocolate City 5:37 1-5 Ride On 3:34 1-6 P. Funk (Wants To Get Funked Up) 7:40 1-7 Give Up The Funk (Tear The Roof Off The Sucker) 5:46 1-8 Mothership Connection (Star Child) 6:12 1-9 Handcuffs 4:00 1-10 Do That Stuff 4:48 1-11 Dr. Funkenstein 5:45 1-12 Funkin' For Fun 5:55 Dr. Funkentstein's Supergroovalistic-Prosifunkstication Medley: Let's Take It To The 1-13 5:06 Stage/Take Your Dead Ass Home (Say Som'n Nasty) (Live) 1-14 Fantasy Is Reality 5:55 2-1 Flash Light (12-inch Version) 10:45 2-2 Bop Gun (Endangered Species) 8:30 2-3 Funkentelechy 10:54 2-4 Mr. Wiggles 6:43 2-5 Aqua Boogie (A PsychoAlphaDiscoBetaBioAquaDoLoop) (12" Version) 9:23 2-6 Rumpofsteelskin 5:34 2-7 Party People (Single Edit) 4:46 2-8 Theme From The Black Hole 4:38 2-9 The Big Bang Theory 7:10 2-10 Agony Of DeFeet (Single Edit) 4:25 Companies, etc. Phonographic Copyright (p) – Island Def Jam Music Group Copyright (c) – Island Def Jam Music Group Record Company – UMG Recordings, Inc.
    [Show full text]
  • F-Unlatioif:LJ More Than the Politics of the Music and His Own Energy, Because He Has That
    Flyboy in the Buttermilk to ho un Ce shit off of. Jimi was the same way. But the Beatles had the right opportunity and that vibe that comes through all of us to make us write that shit. That shit just comes through your ass, and if you can take advantage of it, you're doing pretty BtllfotlJ tb !Zone o~ tb good. And the Beatles were able to take advantage of it, four at one time. Each of them had a different drummer, and they was on the one. Michael right now has that chance. I hope he knows 2~o 'f-unlatioif:LJ more than the politics of the music and his own energy, because he has that. But, see, his manager is somebody from the moth· A true god must be an organizer and a destroyer. erfucking record company, and that ain't no accident. -Tiwmas Pynclwn Unless you want to get on your knees, throw down. That's about charisma control, man. -George Clinton You know what I'm saying, that's all it is. And it's good, because it's given him access to 30 million records. I'm not saying that's wrong, but he should be aware that that is what it's about and c eorge Clinton's Computer Games is a work of ge­ that he ain't got to be grateful to the m~rfucker, He should._ nius and a piece of shit. A masterpiece of mind­ still be the one to direct his own image. _At a ~g1 Jl(?i.nt~u .
    [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]
  • Knowlton School Year in Review
    KNOWLTON SCHOOL 2019–2020 YEAR IN REVIEW I KNOWLTON SCHOOL From the Director 1 In photos: Banvard Gallery 2 New Landscape Architecture Leadership 11 In photos: Student Work 12 Planning (For) The Future 15 5 Knowlton’s New Direction 17 Making Plastic Waste Matter 25 The Legacy of Alum Jerome Haferd Wins Michael Cadwell Accessibility Competition 27 In photos: Knowlton Community 28 Landscape Architecture Programs 19 Receive Official STEM Designation 33 Building Levels—Miami 37 In photos: Distinguished Visitors 38 Communities Alumni Kris Lucius Reconnects with the Knowlton School Planning Doctoral Student Wins First Prize for Research 43 Play on Display 47 31 Out of Town 49 Curbing Sediment In photos: How We Learn 50 Protecting Waterways from Harmful Toxins Knowlton Programs Among Top-Ranked 55 Gui Competition 2019 58 41 Responding To COVID-19 61 Drawing Fields 67 Creating Cities Innovation Education In CRPLAN 2110 Alumni Achievement 68 © THE OHIO STATE UNIVERSITY, 2020 Faculty Research 72 53 KNOWLTON SCHOOL 275 WEST WOODRUFF AVENUE Faculty Achievement 74 Privy 2 COLUMBUS OH 43210-1138 USA 614 292 1012 Faculty Publications 76 Human Waste as Renewable Resource FROM THE Director TO ALUMNI AND FRIENDS As I reflect on my time as Director, I am Certainly, the last months have been challenging reminded of last year’s commencement address. for everyone. The combined effects of the In his remarks, Fareed Zakaria argued that the coronavirus and racial injustice — financial, American egalitarian promise is best fulfilled at social, medical, and cultural — have left their public universities like Ohio State, that educate imprint everywhere, not the least on the the broad population upon which a democracy school.
    [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]
  • 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]