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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. -
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. -
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. -
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. -
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. -
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.). -
Parliament Mothership Connection (Conexión Maternal) Mp3, Flac, Wma
Parliament Mothership Connection (Conexión Maternal) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Mothership Connection (Conexión Maternal) Country: Spain Released: 1976 Style: P.Funk, Funk MP3 version RAR size: 1446 mb FLAC version RAR size: 1272 mb WMA version RAR size: 1476 mb Rating: 4.5 Votes: 675 Other Formats: MOD MIDI AA AU VOX MP2 VQF Tracklist Hide Credits P. Funk (Wants To Get Funked Up) A1 7:42 Written-By – B. Worrell*, B. Collins*, G. Clinton* Mothership Connection (Star Child) A2 6:14 Written-By – B. Worrell*, B. Collins*, G. Clinton* Unfunky UFO A3 4:24 Written-By – B. Collins*, G. Shider*, G. Clinton* Supergroovalisticprosifunkstication B1 5:01 Written-By – B. Worrell*, B. Collins*, G. Shider*, G. Clinton* Handcuffs B2 4:01 Written-By – G. Clinton*, G. Goins*, J. McLaughlin* Give Up The Funk (Tear The Roof Off The Sucker) B3 5:45 Written-By – B. Collins*, G. Clinton*, J. Brailey* Night Of The Thumpasorus Peoples B4 5:12 Written-By – B. Collins*, G. Shider*, G. Clinton* Credits Arranged By [Horns] – Bernie Worrell, Fred Wesley Arranged By [Rhythm] – Bootsie Collins*, George Clinton Art Direction, Design – Gribbitt* Backing Vocals [Extraterrestial Voices], Handclaps [Good Time Hand Clappers] – Archie Ivy, Bryna Chimenti, Debbie Edwards, Debra Wright*, Gary Cooper*, Pam Vincent, Rasputin Boutte, Sidney Barnes, Taka Kahn Bass – Bootsie Collins*, Cordell Mosson Drums, Percussion – Bootsie Collins*, Gary Cooper*, Jerome Brailey, Tiki Fulwood Engineer – Ralph (Oops) Jim Callow*, Jim Vitti Guitar – Bootsie Collins*, Gary Shider*, Glen Goins, Michael Hampton Horns – Boom , Fred Wesley, Joe Farrell, Macco Parker*, Michael Brecker, Randy Brecker Keyboards, Synthesizer – Bernie Worrell Management – R.S.A. -
From P-Funk to Schubert, Concerts a Study in Contrast
From P-funk to Schubert, concerts a study in contrast April 8, 2006 By DIANE LEIGH DAVISON, Special to The Daily Record George Clinton is often called the godfather of funk. His bands, Parliament and Funkadelic (hence P-Funk) were a revolution in sound with an ever-evolving cast of characters, including the infamous Bootsy Collins and Bernie Worrell, during their appearance at Ram’s Head Live on March 10. Their music, life, and appearance all represent living funky and fresh. Clinton just last year won back the rights to his Parliament recordings, now profiting from the longevity in the music and its licensing and sampling revenues. Clinton travels and performs with a veritable menagerie — or circus — of characters with Clinton as the ringleader. Not singing much at all anymore, he not only has guest performers vocalizing on stage, but disappointingly also had a vocalist perched quietly at the sound board in the rear of the hall, augmenting his singing. But do not assume that this in fact detracted in any way from the show. The show was explosive and kinetic: a bomb dropped on the audience. And the audience was a mass, undulating in unison to the beat and the sound. Every word was sung in unison, not just by the mass of performers on the stage (at one time I counted 19) but accompanied by everyone in the audience. There was a funky vibe and a particularly pervasive smell. The audience was the United Colors of Benetton, and the age demographic was also as varied, truly evidencing Baltimore’s eclectic mix, many dressed in tribute to the band. -
BB-1995-07-22.Pdf
$5.50 (U.S.), $6.50 (CAN.), £4.50 (U.K.) IN MUSIC NEWS *BXNCCVR ******** 3 -DIGIT 908 MCA Primes tGEE4EM740M099074$ 002 0663 000 BI MAR 2396 1 03 MONTY GREENLY Fans For 3740 ELM AVE APT A LONG BEACH, CA 90807 -3402 Buffett's `Barometer Soup' SEE PAGE 10 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT JULY 22, 1995 ADVERTISEMENTS TICKETMASTER RIVALS SEEK NEW BIZ Sony's `Spirit BY ERIC BOEHLERT competition. That's because a handful More than 20 years ago, while sitting of challengers covering a patchwork of in the stands at an Arizona State Uni- Of '73' Rocks NEW YORK -Ever since it pur- regions are bidding and occasionally versity football game, computer pro- chased assets from once -mighty com- winning contracts to provide the same grammer Dorothy McLaughlin joined petitor Ticketron in 1991, critics have types of services that Ticketmaster of- her sister and brother-in -law, Margie For Pro -Choice charged that Ticketmaster faces no ri- fers: box -office support, phone rooms, and Bill Bliss, in a brain teaser: Why val and has cornered itself a lucrative a network of satellite outlets, and pro- couldn't tickets be sold electronically BY CHRIS MORRIS market. motional dollars. from various remote outlets, allowing congratulates The accusation, with which the Jus- Despite Ticketmaster selling 55 mil- all customers the same seat selection? LOS ANGELES -Sony 550 Music will mate activist zeal with a sense of nostalgic fun on Aug. 8, when it Carl P. Mayfield, Tele- charge Systemsó SONY Loscalzo & PROTIX. Dil1an1's lion tickets last year and its regional the staffs of competitors moving just a fraction of tice Department's recent investigation that number, the seemingly mis- At the time, companies bicycled did not concur, stems not only from the matched duels continue to unfold. -
In 1990 the Popa Chubby Band Was Born After a Jam Session with P Funk’S Bernie Worrell
Popa Chubby “In 1990 The Popa Chubby band was born after a jam session with P Funk’s Bernie Worrell. Popa began playing east coast clubs and in a short time became the house band at the legendary Manny’s Car Wash in NYC where he worked with notable artists from Albert King to Odetta. In 1993, after winning first place in the KLON National Blues Talent Search (runner up was Keb Mo),he signed a deal with the Sony’s O-KEH label and made the record “Booty And The Beast” with legendary Atlantic Records producer Tom Dowd at the helm. The record yielded a Billboard top 100 hit with “Sweet Goddess Of Love And Beer.” Chubby was on his way. After the birth of his twin daughters, Theodora and Tipitina, he began to tour the world. Popa Chubby became a mainstay on the European festival scene and he has headlined such notable festivals as The Nice Jazz Festival, Freewheels Festival, Bos Pop Festival, The Kolne Rhythm and Blues Festival, The Montreal Jazz Festival, The New York State Blues Festival, and many more. Fun Fact: Popa was contacted by Dreamworks Productions and asked to audition for the role of Shrek on Broadway. He worked in two staged readings with Tony award winning director Jason Moore before previous commitments took him back on tour. In 2009 Popa joined the Dutch based Provogue record label and released the blues rock masterpiece “The Fight Is On.” 2010 saw Popa’s highest grossing year to date with concerts in 11 countries. In 2011 Popa Chubby mounted the “Monsters Of Blues Rock Tour” with the legendary Walter Trout in France, Germany, Switzerland , and the UK.” www.popachubby.com Yo Mama’s Big Fat Booty Band The band’s first official studio release, Now You Know, debuted in 2007 to critical acclaim. -
Essays: Making It Funky: the Signifyin(G) Politics of George Clinton's
Essays: Making It Funky: The Signifyin(g) Politics of George Cl... http://www.tedfriedman.com/essays/2005/03/making_it_funky.html « Milli Vanilli and the Myth of Authenticity | Main | Capitalism: The Final Frontier » March 01, 2005 Making It Funky: The Signifyin(g) Politics of George Clinton's Parliafunkadelicment Thang This essay is also hosted on EServer.org. Free Your… “Free your mind, and your ass will follow.” -Funkadelic, from the song and album of the same name George Clinton set forth this founding tenet in his ideology of funk in 1970, as a druggy mantra to a swirling psychedelic guitar jam. While the phrase may originally have been intended as a variation on the solipsistic hippie slogan “Turn on/tune in/drop out” (the line that followed promised, “The Kingdom of Heaven is within”), it took on a very different resonance by the mid-’70s, when Clinton and some of his 20-odd bandmates in Parliament and Funkadelic would rap the phrase, along with other exhortations such as “Think! It Ain’t Illegal Yet!” and “Shit/Goddamn/Get Off Your Ass and Jam,” over a dense groove of horns, synths, and Bootsy Collins’ bottomless bass, while concert audiences in the tens of thousands danced, sweated, and chanted along. In the years that followed, music critics have more often than not misappropriated the slogan as “free your ass and your mind will follow.” [1] The original phrase resurfaced in popular discourse last year, however, on En Vogue’s dance-rock crossover hit “Free Your Mind,” which bowdlerized the second half of the line to “…and the rest will follow.” And currently, MTV News’ regular public affairs segments are presented under the logo, “Free Your Mind” (as in “this week, in ‘Free Your Mind’ news…”).