Funk Asserts Itself: Black Art for Black Audiences Overview
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Nils Landgren
Nils Landgren Redhorn Collection ACT 6013 -2 CD 1: The Funk Unit / CD 2: The Ballads German Release Date: October 10, 2014 Two hours musical enjoyment with Mr. Redhorn and "Siggi Loch gave me the power to surpass myself, Maceo Parker, Brecker Brothers, Joe Sample, Roy and that is bearing a lot of fruits now," Landgren Hargrove, Fred Wesley, Ray Parker Jr., Bernard summarises their joint success story, but he isn't only active Purdie, Till Brönner, Rigmor Gustafsson, Ida Sand, for ACT as a musician, he is also a producer and scout. Esbjörn Svensson, Lars Danielsson, Per Ruskträsk Through Funk Unit, Loch's attention was called to Esbjörn Johansson, Magnum Coltrane Price, Magnus Svensson, and the singers Viktoria Tolstoy, Rigmor Lindgren, Wolfgang Haffner, Michael Wollny, NDR Gustafsson and Ida Sand also came to ACT from Bigband amongst others. Landgren's sphere of activity. Today, ACT is the biggest exporter of jazz from Sweden; thanks in no small degree to Nils Landgren is a name that has become Landgren. synonymous with versatility, curiosity and vigour. Whether with his Funk Unit, his jazz ballad projects, big Mr. Redhorn is one of the most active live artists in bands or his countless other contributions as sideman, contemporary jazz, in part also thanks to his concert soloist and bandleader – the likable Swede with the bright management partner Karsten Jahnke Konzertdirektion. He red trombone has constantly been on the move for more averages 200 days a year on the road around the music than 30 years. He is one of the most successful European world, and is one of a small number of jazz artists who jazz musicians, born Värmland in 1956, Landgren has made reach an audience that by far transcends the jazz "scene", around 550 records and received a plethora of jazz awards without making personal or artistic compromises. -
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. -
Jazz, Eggs and Friends
Jazz, Eggs and Friends Virtual Jazz, Eggs and Friends 100 Black Women • Columbus May 15, 2021 Welcome from Our President The Jazz, Eggs and Friends Breakfast is our signature fundraising event held annually honoring musicians, Star students and outstanding community leaders. The purpose of this event is to raise funds for scholarships, Health and Wellness programs, mentoring and other community related activities. Through this event and collaborating with other organizations, we have raised thousands of dollars and have been able to provide hundreds of students with scholarships. It is our hope that by providing educational opportunities, we can erase the gender and pay inequality that exist for women particularly African American women. Consider a donation to help sponsor our program(s). With your help we can “Raise The Bar” in the amount of scholarships and programs we can offer to the youth of our community. Thank you in advance for your consideration. We look forward to being able to provide more scholarships and honors with your participation in the Jazz, Eggs and Friends “Let's Raise The Bar” for the Future Programs and Programming. Here is a copy of our link to find out more information about 100 Black Women Columbus www. 100blackwomencolumbus.org. WELCOME I would like to personally welcome each of you to the Jazz, Eggs and Friends event. This is an annual event for the 100 Black Women Columbus. However, due to the coronavirus we were forced to adopt to a virtual model via Zoom the new normal. We hope to be back to a face-to-face event next year. -
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. -
Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution. -
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 -
«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. -
Funkentelechy in the Panhandle
Funkentelechy in the Panhandle Hey kids. Only 5 months since the last post. Mea culpa. I been busy with many things, not the least of them being a novel that is currently at around 50,000 words and may in fact be an unprecedented work of confounding genius. Or maybe a load of shite. YMMV Also, too, I got to spend a long afternoon with the one true Dr. Funkenstein, George Clinton, for a feature article in Flamingo Magazine‘s Arts and Culture issue.<fn>On newsstands now!</fn> Don’t believe me? Ha! I got evidence. Funk Feast (Photo: Mark Wallheiser) That steak was big as your face. As you might imagine, several hours in the Mothership orbit is pretty heady business. The man can tell stories. I submitted my first draft, full of piss and vinegar and with dreams of Pulitzer dancing in my head. Three days later, an email arrived from the Editor to the effect that my article was “wildly creative” and “very conceptual.” This is the editorial equivalent of “Bless your heart.” So I rewrote. And in the end, I think the final product turned out great, especially after the editor asked for more detail about George’s kind of fiercely incredible wife, Carlon. All’s well &c. Tonight, I was part of a Flamingo Magazine panel at our most excellent local bookstore, Midtown Reader. I was asked to read something. So I went back and re-read my first draft and found some things I still really like about it. So for my reading, I read the parts that were “wildly creative” and so forth. -
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. -
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. -
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. -
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.