Funk

Source: Wikipedia, the free encyclopedia.
"Funky" redirects here. For other uses, see Funk (disambiguation). Not to be confused with phonk.
For technical reasons, "Funk #49" redirects here. For the song, see Funk 49.

Funk
samba funk
  • psychedelic funk
  • skweee
  • swamp rock[2]
  • UK funky
    • Other topics

    Funk is a

    dominant seventh
    chords with altered ninths and thirteenths.

    Funk originated in the mid-1960s, with

    B.T. Express, Shalamar,[7] One Way, Lakeside, Dazz Band, The Gap Band, Slave, Aurra, Roger Troutman & Zapp, Con Funk Shun, Cameo, Bar-Kays and Chic
    .

    Funk derivatives include avant-funk, an avant-garde strain of funk; boogie, a hybrid of electronic music and funk; funk metal; G-funk, a mix of gangsta rap and psychedelic funk; Timba, a form of funky Cuban dance music; and funk jam. It is also the main influence of Washington go-go, a funk subgenre.[8] Funk samples and breakbeats have been used extensively in hip hop and electronic dance music.

    Etymology

    Look up funk in Wiktionary, the free dictionary.

    The word funk initially referred (and still refers) to a strong odor. It is originally derived from Latin "fumigare" (which means "to smoke") via Old French "fungiere" and, in this sense, it was first documented in English in 1620. In 1784, "funky" meaning "musty" was first documented, which, in turn, led to a sense of "earthy" that was taken up around 1900 in early jazz slang for something "deeply or strongly felt".[9][10] Even though in white culture, the term "funk" can have negative connotations of odor or being in a bad mood ("in a funk"), in African communities, the term "funk", while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance.[11]

    In early

    jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer "was the first to use the word 'funky' to explain to other musicians that their music should be made more syncopated and danceable."[14] The style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the music set the pattern for later musicians.[15] The music was identified as slow, sexy, loose, riff-oriented and danceable.[citation needed
    ]

    The meaning of "funk" continues to captivate the genre of black music, feeling, and knowledge. Recent scholarship in black studies has taken the term "funk" in its many iterations to consider the range of black movement and culture. In particular, L.H. Stallings's Funk the Erotic: Transaesthetics and Black Sexual Cultures explores these multiple meanings of "funk" as a way to theorize sexuality, culture, and western hegemony within the many locations of "funk": "street parties, drama/theater, strippers and strip clubs, pornography, and self-published fiction."[16]

    Characteristics

    Rhythm and tempo

    The rhythm section of a funk band—the electric bass, drums, electric guitar and keyboards--is the heartbeat of the funk sound. Pictured here is the Meters.

    Like soul, funk is based on dance music, so it has a strong "rhythmic role".[17] The sound of funk is as much based on the "spaces between the notes" as the notes that are played; as such, rests between notes are important.[18] While there are rhythmic similarities between funk and disco, funk has a "central dance beat that's slower, sexier and more syncopated than disco", and funk rhythm section musicians add more "subtextures", complexity and "personality" onto the main beat than a programmed synth-based disco ensemble.[19]

    Before funk, most pop music was based on sequences of eighth notes, because the fast tempos made further subdivisions of the beat infeasible.[3] The innovation of funk was that by using slower tempos (surely influenced by the revival of blues at early 60s), funk "created space for further rhythmic subdivision, so a bar of 4/4 could now accommodate possible 16 note placements."[3] Specifically, by having the guitar and drums play in "motoring" sixteenth-note rhythms, it created the opportunity for the other instruments to play "more syncopated, broken-up style", which facilitated a move to more "liberated" basslines. Together, these "interlocking parts" created a "hypnotic" and "danceable feel".[3]

    A great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, and made it its own.[20] New Orleans funk, as it was called, gained international acclaim largely because James Brown's rhythm section used it to great effect.[21]

    Simple kick and snare funk motif. The kick first sounds two onbeats, which are then answered by two offbeats. The snare sounds the backbeat.

    Harmony

    thirteenth chord (E 13, which also contains a flat 7th and a 9th) Playⓘ

    Funk uses the same richly colored

    James Brown, George Clinton and Prince
    .

    Unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord

    vamps (often alternating a minor seventh chord and a related dominant seventh chord, such as A minor to D7) with melodo-harmonic movement and a complex, driving rhythmic feel. Even though some funk songs are mainly one-chord vamps, the rhythm section musicians may embellish this chord by moving it up or down a semitone or a tone to create chromatic passing chords. For example, "Play That Funky Music" (by Wild Cherry) mainly uses an E ninth chord, but it also uses F#9 and F9.[23]

    The chords used in funk songs typically imply a Dorian or Mixolydian mode, as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis (Live-Evil, On the Corner), and Herbie Hancock (Head Hunters).

    Improvisation

    Funk continues the African musical tradition of improvisation, in that in a funk band, the group would typically "feel" when to change, by "jamming" and "grooving", even in the studio recording stage, which might only be based on the skeleton framework for each song.[24] Funk uses "collective improvisation", in which musicians at rehearsals would have what was metaphorically a musical "conversation", an approach which extended to the onstage performances.[25]

    Instruments

    Bass Guitar

    Bootsy Collins performing in 1996 with a star-shaped bass

    Funk creates an intense

    electric bass. Like Motown recordings, funk songs use basslines as the centerpiece of songs. Indeed, funk has been called the style in which the bassline is most prominent in the songs,[26] with the bass playing the "hook" of the song.[27] Early funk basslines used syncopation (typically syncopated eighth notes), but with the addition of more of a "driving feel" than in New Orleans funk, and they used blues scale notes along with the major third above the root.[28] Later funk basslines use sixteenth note syncopation, blues scales, and repetitive patterns, often with leaps of an octave or a larger interval.[27]

    This funky bassline includes percussive slapping, rhythmic ghost notes, and glissando effects.

    Funk basslines emphasize repetitive patterns, locked-in grooves, continuous playing, and slap and popping bass. Slapping and popping uses a mixture of thumb-slapped low notes (also called "thumped") and finger "popped" (or plucked) high notes, allowing the bass to have a drum-like rhythmic role, which became a distinctive element of funk. Notable slap and funky players include Bernard Edwards (Chic), Robert "Kool" Bell, Mark Adams (Slave), Johnny Flippin (Fatback)[29] and Bootsy Collins.[30] While slap and funky is important, some influential bassists who play funk, such as Rocco Prestia (from Tower of Power), did not use the approach, and instead used a typical fingerstyle method based on James Jamerson's Motown playing style.[30] Larry Graham from Sly and the Family Stone is an influential bassist.[31]

    Funk bass has an "earthy, percussive kind of feel", in part due to the use of muted, rhythmic

    flanger and bass chorus.[27] Collins also used a Mu-Tron Octave Divider, an octave pedal that, like the Octavia pedal popularized by Hendrix, can double a note an octave above and below to create a "futuristic and fat low-end sound".[35]

    Drums

    Funk drumming creates a groove by emphasizing the drummer's "feel and emotion", which including "occasional tempo fluctuations", the use of

    Double bass drumming sounds are often done by funk drummers with a single pedal, an approach which "accents the second note... [and] deadens the drumhead's resonance", which gives a short, muffled bass drum sound.[36]

    The drum groove from "Cissy Strut"

    James Brown used two drummers such as Clyde Stubblefield and John 'Jabo' Starks in recording and soul shows.[38] By using two drummers, the JB band was able to maintain a "solid syncopated" rhythmic sound, which contributed to the band's distinctive "Funky Drummer" rhythm.[38]

    In

    rim shots.[36] A key part of the funk drumming style is using the hi-hat, with opening and closing the hi-hats during playing (to create "splash" accent effects) being an important approach.[39] Two-handed sixteenth notes on the hi-hats, sometimes with a degree of swing feel, is used in funk.[36]

    Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music,

    backbeats in most funk (albeit with additional soft ghost notes).[40]

    Electric guitar

    In funk, guitarists often mix playing chords of a short duration (nicknamed "stabs") with faster rhythms and riffs.[17] Guitarists playing rhythmic parts often play sixteenth notes, including with percussive ghost notes.[17] Chord extensions are favored, such as ninth chords.[17] Typically, funk uses "two interlocking [electric] guitar parts", with a rhythm guitarist and a "tenor guitarist" who plays single notes. The two guitarists trade off their lines to create a "call-and-response, intertwined pocket."[42] If a band only has one guitarist, this effect may be recreated by overdubbing in the studio, or, in a live show, by having a single guitarist play both parts, to the degree that this is possible.[42]

    In funk bands, guitarists typically play in a percussive style, using a style of picking called the "chank" or "chicken scratch", in which the guitar strings are pressed lightly against the fingerboard and then quickly released just enough to get a muted "scratching" sound that is produced by rapid rhythmic strumming of the opposite hand near the bridge.[43] Earliest examples of that technic used on rhythm and blues is listened on Johnny Otis song "Willie and the Hand Jive" in 1957, with the future James Brown band guitar player Jimmy Nolen. The technique can be broken down into three approaches: the "chika", the "chank" and the "choke". With the "chika" comes a muted sound of strings being hit against the fingerboard; "chank" is a staccato attack done by releasing the chord with the fretting hand after strumming it; and "choking" generally uses all the strings being strummed and heavily muted.[18]

    Guitarist Nile Rodgers is best known for his performances with Chic.

    The result of these factors was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the electric bass and the cutting tone of the snare and hi-hats, with a rhythmically melodic feel that fell deep in the pocket. Guitarist Jimmy Nolen, longtime guitarist for James Brown, developed this technique. On Brown's "Give It Up or Turnit a Loose" (1969), however, Jimmy Nolen's guitar part has a bare bones tonal structure. The pattern of attack-points is the emphasis, not the pattern of pitches. The guitar is used the way that an African drum, or idiophone would be used. Nolen created a "clean, trebly tone" by using "hollow-body jazz guitars with single-coil P-90 pickups" plugged into a Fender Twin Reverb amp with the mid turned down low and the treble turned up high.[44]

    Funk guitarists playing rhythm guitar generally avoid distortion effects and amp overdrive to get a clean sound, and given the importance of a crisp, high sound, Fender Stratocasters and Telecasters were widely used for their cutting treble tone.[44] The mids are often cut by guitarists to help the guitar sound different from the horn section, keyboards and other instruments.[44] Given the focus on providing a rhythmic groove, and the lack of emphasis on instrumental guitar melodies and guitar solos, sustain is not sought out by funk rhythm guitarists.[44] Funk rhythm guitarists use compressor volume-control effects to enhance the sound of muted notes, which boosts the "clucking" sound and adds "percussive excitement to funk rhythms" (an approach used by Nile Rodgers).[45]

    Guitarist

    feedback.[35]

    Keyboards

    Isaac Hayes playing keyboards in 1973

    A range of keyboard instruments are used in funk. Acoustic piano is used in funk, including in "September" by

    Hammond B-3 organ is used in funk, in songs such as "Cissy Strut" by The Meters
    and "Love the One You're With" (with Aretha Franklin singing and Billy Preston on keyboards).

    Parliament Funkadelic demonstrate the wide range of keyboards used in funk, as they include the Hammond organ ("Funky Woman", "Hit It and Quit It", "Wars of Armageddon"); RMI electric piano ("I Wanna Know If It's Good to You?", "Free Your Mind", "Loose Booty"); acoustic piano ("Funky Dollar Bill", "Jimmy's Got a Little Bit of Bitch in Him"); clavinet ("Joyful Process", "Up for the Down Stroke", "Red Hot Mama"); Minimoog synthesizer ("Atmosphere", "Flash Light", "Aqua Boogie", "Knee Deep", "Let's Take It to the Stage"); and ARP string ensemble synth ("Chocolate City", "Give Up the Funk (Tear the Roof off the Sucker)
    ", "Undisco Kidd").

    Synthesizers were used in funk both to add to the deep sound of the electric bass, or even to replace the electric bass altogether in some songs.[47] Funk synthesizer bass, most often a Minimoog, was used because it could create layered sounds and new electronic tones that were not feasible on electric bass.[47]

    Vocals and lyrics

    In the 1970s, funk used many of the same vocal styles that were used in African-American music in the 1960s, including singing influences from blues, gospel, jazz and doo-wop.

    backup vocalists.[49]

    As funk emerged from soul, the vocals in funk share soul's approach; however, funk vocals tend to be "more punctuated, energetic, rhythmically percussive[,] and less embellished" with ornaments, and the vocal lines tend to resemble horn parts and have "pushed" rhythms.

    harmony vocal parts.[19] Songs like "Super Bad" by James Brown included "double-voice" along with "yells, shouts and screams".[51] Funk singers used a "black aesthetic" to perform that made use of "colorful and lively exchange of gestures, facial expressions, body posture, and vocal phrases" to create an engaging performance.[52]

    Singer Charlie Wilson

    The lyrics in funk music addressed issues faced by the African American community in the United States during the 1970s, which arose due to the move away from an industrial, working-class economy to an information economy, which harmed the Black working class.[53] Funk songs by The Ohio Players, Earth, Wind & Fire, and James Brown raised issues faced by lower-income Blacks in their song lyrics, such as poor "economic conditions and themes of poor inner-city life in the black communities".[54]

    The Funkadelic song "

    Isley Brothers song "Fight the Power" (1975) has a political message.[56] Parliament's song "Chocolate City" (1975) metaphorically refers to Washington, D.C., and other US cities that have a mainly Black population, and it draws attention to the potential power that Black voters wield and suggests that a Black President be considered in the future.[57]

    The political themes of funk songs and the aiming of the messages to a Black audience echoed the new image of Blacks that was created in

    War for Youngblood).[59]

    Funk songs included metaphorical language that was understood best by listeners who were "familiar with the black aesthetic and [black] vernacular".[60] For example, funk songs included expressions such as "shake your money maker", "funk yourself right out" and "move your boogie body".[61] Another example is the use of "bad" in the song "Super Bad" (1970), which black listeners knew meant "good" or "great".[49]

    In the 1970s, to get around radio obscenity restrictions, funk artists would use words that sounded like non-allowed words and

    The Ohio Players had a song entitled "Fopp" which referred to "Fopp me right, don't you fopp me wrong/We'll be foppin' all night long...".[62] Some funk songs used made-up words which suggested that they were "writing lyrics in a constant haze of marijuana smoke", such as Parliament's "Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)", which includes words such as "bioaquadooloop".[62] The mainstream white listener base was often not able to understand funk's lyrical messages, which contributed to funk's lack of popular music chart success with white audiences during the 1970s.[63]

    Other instruments

    Horn section arrangements with groups of brass instruments are often used in funk songs.[19] Funk horn sections could include saxophone (often tenor sax), trumpet, trombone, and for larger horn sections, such as quintets and sextets, a baritone sax.[3] Horn sections played "rhythmic and syncopated" parts, often with "offbeat phrases" that emphasize "rhythmic displacement".[3] Funk song introductions are an important place for horn arrangements.[3]

    Funk horn sections typically include saxophones and trumpets. Larger horn sections often add a second instrument for one of the saxes or trumpets, and a trombone or bari sax may also be used. Pictured is the Earth, Wind and Fire horn section.

    Funk horn sections performed in a "rhythmic percussive style" that mimicked the approach used by funk rhythm guitarists.

    Alfred "PeeWee" Ellis, trombonist Fred Wesley, and alto sax player Maceo Parker.[64] Notable funk horn sections including the Phoenix Horns (with Earth, Wind & Fire), the Horny Horns (with Parliament), the Memphis Horns (with Isaac Hayes), and MFSB (with Curtis Mayfield).[64]

    The instruments in funk horn sections varied. If there were two horn players, it could be trumpet and sax, trumpet and trombone, or two saxes.[3] A standard horn trio would consist of trumpet, sax, and trombone, but trios of one trumpet with two saxes, or two trumpets with one sax, were also fairly common.[3] A quartet would be set up the same as a standard horn trio, but with an extra trumpet, sax, or (less frequently) trombone player. Quintets would either be a trio of saxes (typically alto/tenor/baritone, or tenor/tenor/baritone) with a trumpet and a trombone, or a pair each of trumpets and saxes with one trombone. With six instruments, the horn section would usually be two trumpets, three saxes, and a trombone.[3]

    Notable songs with funk horn sections include:

    • "Cold Sweat" (James Brown & the Famous Flames), 1967
    • "Superstition" (Stevie Wonder), 1972
    • "Funky Stuff" (Kool & The Gang), 1973
    • "What Is Hip?" (Tower of Power), 1973
    • "Pick Up the Pieces" (Average White Band)
    • "
      Up For The Down Stroke
      " (Parliament), 1974
    • "Hair" (Graham Central Station), 1974
    • "Too Hot to Stop" (The Bar-Kays), 1976
    • "Getaway" (Earth, Wind & Fire), 1976

    In bands or shows where hiring a horn section is not feasible, a keyboardist can play the horn parts on a synthesizer with brass patches; however, choosing an authentic-sounding synthesizer and brass patch is important.[3] In the 2010s, with micro-MIDI synths, it may even have been possible to have another instrumentalist play the keyboard brass parts, thus enabling the keyboardist to continue to comp throughout the song.[3]

    Costumes and style

    Funk bands in the 1970s adopted Afro-American fashion and style, including "Bell-bottom pants, platform shoes, hoop earring[s], Afros [hairstyles], leather vests,... beaded necklaces",[65] dashiki shirts, jumpsuits and boots.[66] In contrast to earlier bands such as The Temptations, which wore "matching suits" and "neat haircuts" to appeal to white mainstream audiences, funk bands adopted an "African spirit" in their outfits and style.[60] George Clinton and Parliament are known for their imaginative costumes and "freedom of dress", which included bedsheets acting as robes and capes.[67]

    History

    Funk was formed through a mixture of various music genres that were popular among African Americans in the mid-20th century. Musicologist Anne Danielsen wrote that funk might be placed in the lineage of rhythm and blues, jazz, and soul.[68] Sociologist Darby E. Southgate wrote that funk is "an amalgam of gospel, soul, jazz fusion, rhythm and blues, and black rock."[1]

    The distinctive characteristics of

    patting juba, and ring shout
    clapping and stomping patterns).

    Like other styles of African-American musical expression including jazz, soul music and R&B, funk music accompanied many protest movements during and after the

    Civil Rights Movement
    .

    New Orleans

    Gerhard Kubik notes that with the exception of New Orleans, early blues lacked complex polyrhythms, and there was a "very specific absence of asymmetric time-line patterns (key patterns) in virtually all early twentieth century African-American music ... only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' patterns or stop-time chorus. These do not function in the same way as African time lines."[69]

    In the late 1940s this changed somewhat when the two-celled time line structure was brought into

    Perez Prado's mambo records."[20] Professor Longhair's particular style was known locally as rumba-boogie.[21]

    One of Longhair's great contributions was his particular approach of adopting two-celled, clave-based patterns into New Orleans rhythm and blues (R&B). Longhair's rhythmic approach became a basic template of funk. According to Dr. John (Malcolm John "Mac" Rebennack Jr.), the Professor "put funk into music ... Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans."[71] In his "Mardi Gras in New Orleans", the pianist employs the 2-3 clave onbeat/offbeat motif in a rumba-boogie "guajeo".[72]

    The syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions) took root in New Orleans R&B during this time. Alexander Stewart states: "Eventually, musicians from outside of New Orleans began to learn some of the rhythmic practices [of the Crescent City]. Most important of these were James Brown and the drummers and arrangers he employed. Brown's early repertoire had used mostly shuffle rhythms, and some of his most successful songs were 12/8 ballads (e.g. "Please, Please, Please" (1956), "Bewildered" (1961), "I Don't Mind" (1961)). Brown's change to a funkier brand of soul required 4/4 metre and a different style of drumming."[73] Stewart makes the point: "The singular style of rhythm & blues that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes."[74]

    1960s

    James Brown

    James Brown, a progenitor of funk music

    James Brown credited

    swing. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, "Out of Sight" and his 1965 hits, "Papa's Got a Brand New Bag" and "I Got You (I Feel Good)
    ".

    Brown's style of funk was based on interlocking, contrapuntal parts: syncopated

    West African polyrhythms" – a tradition evident in African-American work songs and chants.[77] Throughout his career, Brown's frenzied vocals, frequently punctuated with screams and grunts, channeled the "ecstatic ambiance of the black church" in a secular context.[77]

    External videos
    video icon Watch: "Clyde Stubblefield/ Funky Drummer" on YouTube

    After 1965, Brown's bandleader and arranger was

    Alfred "Pee Wee" Ellis. Ellis credits Clyde Stubblefield's adoption of New Orleans drumming techniques, as the basis of modern funk: "If, in a studio, you said 'play it funky' that could imply almost anything. But 'give me a New Orleans beat' – you got exactly what you wanted. And Clyde Stubblefield was just the epitome of this funky drumming."[78] Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s."[74] Concerning the various funk motifs, Stewart states that this model "...is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."[79]

    In a 1990 interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat ... Simple as that, really."[80] According to Maceo Parker, Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.[81]

    Parliament-Funkadelic

    Main article:
    P-Funk
    Parliament Funkadelic
    in 2006

    A new group of musicians began to further develop the "funk rock" approach. Innovations were prominently made by

    P-Funk", which referred to the music by George Clinton's bands, and defined a new subgenre. Clinton played a principal role in several other bands, including Parlet, the Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate. "P-funk" also came to mean something in its quintessence, of superior quality, or sui generis
    .

    Following the work of Jimi Hendrix in the late 1960s, artists such as Sly and the Family Stone combined the psychedelic rock of Hendrix with funk, borrowing

    fuzz boxes, echo chambers, and vocal distorters from the former, as well as blues rock and jazz.[82] In the following years, groups such as Clinton's Parliament-Funkadelic continued this sensibility, employing synthesizers and rock-oriented guitar work.[82]

    Late 1960s – early 1970s

    Other musical groups picked up on the rhythms and vocal style developed by James Brown and his band, and the funk style began to grow. Dyke and the Blazers, based in Phoenix, Arizona, released "Funky Broadway" in 1967, perhaps the first record of the soul music era to have the word "funky" in the title. In 1969 Jimmy McGriff released Electric Funk, featuring his distinctive organ over a blazing horn section. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1971. Also from the West Coast area, more specifically Oakland, California, came the band Tower of Power (TOP), which formed in 1968. Their debut album, East Bay Grease, released 1970, is considered a milestone in funk. Throughout the 1970s, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience.

    In 1970,

    Got To Give It Up
    ", respectively.

    1970s

    See also: Progressive soul and disco
    The Original Family Stone
    live, 2006. Jerry Martini, Rose Stone, and Cynthia Robinson

    The 1970s were the era of highest mainstream visibility for funk music. In addition to

    the Bar-Kays, Commodores, Roy Ayers, Curtis Mayfield, and Stevie Wonder, among others, got radio play. Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, such as all of Barry White's hits, "Kung Fu Fighting" by Biddu and Carl Douglas, Donna Summer's "Love To Love You Baby", Diana Ross' "Love Hangover", KC and the Sunshine Band's "I'm Your Boogie Man", "I'm Every Woman" by Chaka Khan (also known as the Queen of Funk), and Chic's "Le Freak" conspicuously include riffs and rhythms derived from funk. In 1976, Rose Royce scored a number-one hit with a purely dance-funk record, "Car Wash
    ". Even with the arrival of disco, funk became increasingly popular well into the early 1980s.

    Funk music was also exported to Africa, and it melded with African singing and rhythms to form Afrobeat. Nigerian musician Fela Kuti, who was heavily influenced by James Brown's music, is credited with creating the style and terming it "Afrobeat".

    Jazz funk

    Main article: Jazz-funk

    Jazz-funk is a subgenre of

    analog synthesizers. The integration of funk, soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs, and jazz solos, and sometimes soul vocals.[84] Jazz-funk is primarily an American genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club circuit in England during the mid-1970s. Similar genres include soul jazz and jazz fusion
    , but neither entirely overlap with jazz-funk. Notably jazz-funk is less vocal, more arranged and featured more improvisation than soul jazz, and retains a strong feel of groove and R&B versus some of the jazz fusion production.

    1980s synth-funk

    See also:
    Electro music

    In the 1980s, largely as a reaction against what was seen as the over-indulgence of

    funky drummers" of the past, and the slap and pop style of bass playing were often replaced by synth keyboard basslines. Lyrics of funk songs began to change from suggestive double entendres
    to more graphic and sexually explicit content.

    Influenced by

    TR-808 drum machine. The single "Renegades of Funk" followed in 1983.[85] Michael Jackson was also influenced by electro-funk.[86] In 1980, techno-funk music used the TR-808 programmable drum machine,[87] while Kraftwerk's sound influenced [88] later electro-funk artists such as Mantronix.[89]

    Street Songs, with the singles "Give It to Me Baby" and "Super Freak
    ", resulted in James becoming a star, and paved the way for the future direction of explicitness in funk.

    Prince was an influential multi-instrumentalist, bandleader, singer and songwriter.

    Prince formed the Time, originally conceived as an opening act for him and based on his "Minneapolis sound", a hybrid mixture of funk, R&B, rock, pop and new wave. Eventually, the band went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.

    Similar to Prince, other bands emerged during the P-Funk era and began to incorporate uninhibited sexuality, dance-oriented themes,

    Gap Band, the Bar-Kays, and the Dazz Band, who all found their biggest hits in the early 1980s. By the latter half of the 1980s, pure funk had lost its commercial impact; however, pop artists from Michael Jackson
    to Culture Club often used funk beats.

    Late 1980s to 2000s nu-funk

    While funk was driven away from radio by slick commercial hip hop, contemporary R&B and new jack swing, its influence continued to spread. Artists like Steve Arrington and Cameo still received major airplay and had huge global followings. Rock bands began adopting elements of funk into their sound, creating new combinations of "funk rock" and "funk metal". Extreme, Red Hot Chili Peppers, Living Colour, Jane's Addiction, Prince, Primus, Urban Dance Squad, Fishbone, Faith No More, Rage Against the Machine, Infectious Grooves, and Incubus spread the approach and styles garnered from funk pioneers to new audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the underground mid-1990s funkcore movement and current funk-inspired artists like Outkast, Malina Moye, Van Hunt, and Gnarls Barkley.

    In the 1990s, artists like

    Brand New Heavies—carried on with strong elements of funk. However, they never came close to reaching the commercial success of funk in its heyday—with the exception of Jamiroquai, whose album Travelling Without Moving sold about 11.5 million units worldwide and remains the best-selling funk album in history.[90] Meanwhile, in Australia and New Zealand, bands playing the pub circuit, such as Supergroove, Skunkhour and the Truth
    , preserved a more instrumental form of funk.

    Me'shell Ndegeocello
    playing electric bass

    Since the late 1980s,

    West Coast G-funk
    .

    Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon. Dr. Dre (considered the progenitor of the G-funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelia: "Back in the 70s that's all people were doing: getting high, wearing Afros, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album The Chronic and based my music and the concepts like I did: because his shit was a big influence on my music. Very big".[91] Digital Underground was a large contributor to the rebirth of funk in the 1990s by educating their listeners with knowledge about the history of funk and its artists. George Clinton branded Digital Underground as "Sons of the P", as their second full-length release is also titled. DU's first release, Sex Packets, was full of funk samples, with the most widely known, "The Humpty Dance", sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release Future Rhythm. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks.

    Funk is a major element of certain artists identified with the jam band scene of the late 1990s and 2000s. In the late 1990s, the band Phish developed a live sound called "cow funk" (a.k.a. "space funk"), which consisted of extended danceable deep bass grooves, and often emphasized heavy "wah" pedal and other psychedelic effects from the guitar player and layered Clavinet from the keyboard player.[92] Phish began playing funkier jams in their sets around 1996, and 1998's The Story of the Ghost was heavily influenced by funk. While Phish's funk was traditional in the sense that it often accented beat 1 of the 4/4 time signature, it was also highly exploratory and involved building jams towards energetic peaks before transitioning into highly composed progressive rock and roll.

    Karl Denson's Tiny Universe all drew heavily from the funk tradition. Dumpstaphunk
    builds upon the New Orleans tradition of funk, with their gritty, low-ended grooves and soulful four-part vocals.

    Since the mid-1990s the nu-funk or funk revivalist scene, centered on the

    Soul Fire, Daptone, Timmion, Neapolitan, Bananarama, Kay-Dee, and Tramp. These labels often release on 45 rpm records. Although specializing in music for rare funk DJs, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on Late Night with Conan O'Brien. Those who mix acid jazz, acid house, trip hop, and other genres with funk include Tom Tom Club,[93] Brainticket,[94] Groove Armada, et al.[95][96]

    2010s funktronica

    During the 2000s and early 2010s, some punk funk bands such as Out Hud and Mongolian MonkFish performed in the indie rock scene. Indie band Rilo Kiley, in keeping with their tendency to explore a variety of rockish styles, incorporated funk into their song "The Moneymaker" on the album Under the Blacklight. Prince, with his later albums, gave a rebirth to the funk sound with songs like "The Everlasting Now", "Musicology", "Ol' Skool Company", and "Black Sweat". Particle,[97] for instance, is part of a scene which combined the elements of digital music made with computers, synthesizers, and samples with analog instruments, sounds, and improvisational and compositional elements of funk.[98][99]

    Derivatives

    From the early 1970s onwards, funk has developed various subgenres. While George Clinton and the Parliament were making a harder variation of funk, bands such as

    Earth, Wind and Fire were making disco-influenced funk music.[100]

    Funk rock

    Main article: Funk rock

    Funk rock (also written as funk-rock or funk/rock)

    fuses funk and rock elements.[101] Its earliest incarnation was heard in the late '60s through the mid-'70s by musicians such as Jimi Hendrix, Frank Zappa, Gary Wright, David Bowie, Mother's Finest, and Funkadelic
    on their earlier albums.

    Many instruments may be incorporated into funk rock, but the overall sound is defined by a definitive

    distortion. Prince, Jesse Johnson, Red Hot Chili Peppers and Fishbone
    are major artists in funk rock.

    Avant-funk

    Main article: Avant-funk

    The term "avant-funk" has been used to describe acts who combined funk with art rock's concerns.[102] Simon Frith described the style as an application of progressive rock mentality to rhythm rather than melody and harmony.[102] Simon Reynolds characterized avant-funk as a kind of psychedelia in which "oblivion was to be attained not through rising above the body, rather through immersion in the physical, self loss through animalism."[102]

    Talking Heads combined funk with elements of art rock.

    Acts in the genre include German

    repression and technocracy of Western modernity.[102]

    Go-go

    Main article: Go-go

    Go-go originated in the Washington, D.C., area with which it remains associated, along with other spots in the Mid-Atlantic. Inspired by singers such as Chuck Brown, the "Godfather of Go-go", it is a blend of funk, rhythm and blues, and early hip hop, with a focus on lo-fi percussion instruments and in-person jamming in place of dance tracks. As such, it is primarily a dance music with an emphasis on live audience call and response. Go-go rhythms are also incorporated into street percussion.

    Boogie

    Main article: Boogie (genre)

    Boogie is an electronic music mainly influenced by funk and post-disco. The minimalist approach of boogie, consisting of synthesizers and keyboards, helped to establish electro and house music. Boogie, unlike electro, emphasizes the slapping techniques of bass guitar but also bass synthesizers. Artists include

    Evelyn King
    .

    Electro funk

    Main article:
    Electro funk

    Electro funk is a hybrid of electronic music and funk. It essentially follows the same form as funk, and retains funk's characteristics, but is made entirely (or partially) with a use of electronic instruments such as the

    talkboxes were commonly implemented to transform the vocals. The pioneering electro band Zapp commonly used such instruments in their music. Bootsy Collins also began to incorporate a more electronic sound on later solo albums. Other artists include Herbie Hancock, Afrika Bambaataa, Egyptian Lover, Vaughan Mason & Crew, Midnight Star and Cybotron
    .

    Funk metal

    Main article: Funk metal

    Funk metal (sometimes typeset differently such as funk-metal) is a

    fusion genre of music which emerged in the 1980s, as part of the alternative metal movement. It typically incorporates elements of funk and heavy metal (often thrash metal), and in some cases other styles, such as punk and experimental music. It features hard-driving heavy metal guitar riffs, the pounding bass rhythms characteristic of funk, and sometimes hip hop-style rhymes into an alternative rock approach to songwriting. A primary example is the all-African-American rock band Living Colour, who have been said to be "funk-metal pioneers" by Rolling Stone.[108] During the late 1980s and early 1990s, the style was most prevalent in California – particularly Los Angeles and San Francisco.[109][110]

    G-funk

    Main article: G-funk
    Dr. Dre (pictured in 2011) was one of the influential creators of G-funk.

    G-funk is a

    fusion genre of music which combines gangsta rap and funk. It is generally considered to have been invented by West Coast rappers and made famous by Dr. Dre. It incorporates multi-layered and melodic synthesizers, slow hypnotic grooves, a deep bass, background female vocals, the extensive sampling of P-Funk tunes, and a high-pitched portamento saw wave synthesizer lead. Unlike other earlier rap acts that also utilized funk samples (such as EPMD and the Bomb Squad
    ), G-funk often used fewer, unaltered samples per song.

    Timba funk

    Main article: Timba

    Kool and the Gang or other U.S. funk bands. While many funk motifs exhibit a clave-based structure, they are created intuitively, without a conscious intent of aligning the various parts to a guide-pattern
    . Timba incorporates funk motifs into an overt and intentional clave structure.

    Social impact

    Women and funk

    Chaka Khan (born 1953) has been called the "Queen of Funk".

    Despite funk's popularity in modern music, few people have examined the work of

    Brides of Funkenstein, Klymaxx, Mother's Finest, Lyn Collins, Betty Davis and Teena Marie. As cultural critic Cheryl Keyes explains in her essay "She Was Too Black for Rock and Too Hard for Soul: (Re)discovering the Musical Career of Betty Mabry Davis", most of the scholarship around funk has focused on the cultural work of men. She states that "Betty Davis is an artist whose name has gone unheralded as a pioneer in the annals of funk and rock. Most writing on these musical genres has traditionally placed male artists like Jimi Hendrix, George Clinton (of Parliament-Funkadelic), and bassist Larry Graham as trendsetters in the shaping of a rock music sensibility."[111]

    In The Feminist Funk Power of Betty Davis and Renée Stout, Nikki A. Greene[112] notes that Davis' provocative and controversial style helped her rise to popularity in the 1970s as she focused on sexually motivated, self-empowered subject matter. Furthermore, this affected the young artist's ability to draw large audiences and commercial success. Greene also notes that Davis was never made an official spokesperson or champion for the civil rights and feminist movements of the time, although more recently[when?] her work has become a symbol of sexual liberation for women of color. Davis' song "If I'm In Luck I Just Might Get Picked Up", on her self-titled debut album, sparked controversy, and was banned by the Detroit NAACP.[113] Maureen Mahan, a musicologist and anthropologist, examines Davis' impact on the music industry and the American public in her article "They Say She's Different: Race, Gender, Genre, and the Liberated Black Femininity of Betty Davis".

    Laina Dawes, the author of What Are You Doing Here: A Black Woman's Life and Liberation in Heavy Metal, believes respectability politics is the reason artists like Davis do not get the same recognition as their male counterparts: "I blame what I call respectability politics as part of the reason the funk-rock some of the women from the '70s aren't better known. Despite the importance of their music and presence, many of the funk-rock females represented the aggressive behavior and sexuality that many people were not comfortable with."[114]

    Janelle Monáe (born 1985) is part of a new wave of female funk artists.

    According to Francesca T. Royster, in Rickey Vincent's book Funk: The Music, The People, and The Rhythm of The One, he analyzes the impact of Labelle but only in limited sections. Royster criticizes Vincent's analysis of the group, stating: "It is a shame, then, that Vincent gives such minimal attention to Labelle's performances in his study. This reflects, unfortunately, a still consistent sexism that shapes the evaluation of funk music. In Funk, Vincent's analysis of Labelle is brief—sharing a single paragraph with the Pointer Sisters in his three-page sub chapter, 'Funky Women.' He writes that while 'Lady Marmalade' 'blew the lid off of the standards of sexual innuendo and skyrocketed the group's star status,' the band's 'glittery image slipped into the disco undertow and was ultimately wasted as the trio broke up in search of solo status" (Vincent, 1996, 192).[115] Many female artists who are considered to be in the genre of funk, also share songs in the disco, soul, and R&B genres; Labelle falls into this category of women who are split among genres due to a critical view of music theory and the history of sexism in the United States.[116]

    In the 21st century,[when?] artists like Janelle Monáe have opened the doors for more scholarship and analysis on the female impact on the funk music genre.[dubious – discuss] Monáe's style bends concepts of gender, sexuality, and self-expression in a manner similar to the way some male pioneers in funk broke boundaries.[117] Her albums center on Afro-futuristic concepts, centering on elements of female and black empowerment and visions of a dystopian future.[118] In his article "Janelle Monáe and Afro-sonic Feminist Funk", Matthew Valnes writes that Monae's involvement in the funk genre is juxtaposed with the traditional view of funk as a male-centered genre. Valnes acknowledges that funk is male-dominated, but provides insight to the societal circumstances that led to this situation.[117][clarification needed]

    Monáe's influences include her mentor Prince, Funkadelic, Lauryn Hill, and other funk and R&B artists, but according to Emily Lordi, "[Betty] Davis is seldom listed among Janelle Monáe's many influences, and certainly the younger singer's high-tech concepts, virtuosic performances, and meticulously produced songs are far removed from Davis's proto-punk aesthetic. But... like Davis, she also is closely linked with a visionary male mentor (Prince). The title of Monáe's 2013 album, The Electric Lady, alludes to Hendrix's Electric Ladyland, but it also implicitly cites the coterie of women that inspired Hendrix himself: that group, called the Cosmic Ladies or Electric Ladies, was together led by Hendrix's lover Devon Wilson and Betty Davis."[119]

    See also

    References

    1. ^ a b Tammy L. Kernodle, Horace Maxile, Emmett G. Price III (2010). Encyclopedia of African American Music. Greenwood. p. 337.{{cite book}}: CS1 maint: multiple names: authors list (link)
    2. ^ Fontenot, Robert (February 24, 2019). "What Is Swamp Rock? A look at this Southern mix of country, funk, and soul". Liveabout. Retrieved November 9, 2022.
    3. ^ a b c d e f g h i j k l Stewart, Dave (July 2015). "Top Brass: Part 2 Arranging For Brass". soundonsound.com. Sound on Sound. Retrieved April 18, 2019.
    4. ^
      ISBN 1-57623-443-6
    5. ^ Explore: "Funk." Rhythmne. Retrieved 2020-09-16.
    6. ^ "KOOL & THE GANG". njhalloffame.org. New Jersey Hall of Fame. June 26, 2015.
    7. ^ Bohannon Biography AllMusic. Retrieved 14 March 2023
    8. ISBN 978-0-312-13499-0
      .
    9. ^ "Online Etymology Dictionary – Funk". Etymonline.com. Retrieved January 20, 2017.
    10. ^ Quinion, Michael (October 27, 2001). "World Wide Words: Funk". World Wide Words. Retrieved January 20, 2017.
    11. ^ Thompson, Gordon E. Black Music, Black Poetry: Blues and Jazz's Impact on African American Versification. Routledge, Apr. 15, 2016. p. 80.
    12. ISBN 978-0-8071-3093-3
    13. ^ Who Started Funk Music Archived October 9, 2009, at the Wayback Machine, Real Music Forum
    14. ^ Perrone, Pierre (September 22, 2008). "Obituary: Earl Palmer". The Guardian.
    15. ISBN 0-87779-603-3
      , p. 175.
    16. ^ Stallings, L. H. Funk the Erotic: Transaesthetics and Black Sexual Cultures, U Of Illinois Press, 2015, pp. 1–29.
    17. ^ a b c d Learn Guitar: From Beginner to Pro. Book Sales, 2017. p. 254
    18. ^ a b c d Gress, Jesse (April 21, 2016). "10 Ways to Play Guitar Like Prince". guitarplayer.com. Guitar Player. Retrieved April 13, 2019.
    19. ^ a b c Himes, Geoffrey (August 1, 1979). "On the Difference Between Funk and Disco". The Washington Post. Retrieved April 13, 2019.
    20. ^ a b Palmer, Robert (1979: 14), A Tale of Two Cities: Memphis Rock and New Orleans Roll. Brooklyn.
    21. ^ a b Stewart, Alexander (2000: 293), "Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music", Popular Music, v. 19, n. 3, October 2000, pp. 293–318.
    22. ^ Studley, Greg. Essentials of Rhythm Guitar: Complete Guide. Jun. 21, 2016.
    23. ^ Serna, Desi. Guitar Theory For Dummies: Book + Online Video & Audio Instruction. John Wiley & Sons, Sep. 24, 2013. p. 156
    24. ^ Vincent, Rickey. Funk: The Music, The People, and The Rhythm of The One. St. Martin's Press, Nov. 4, 2014; p. 18
    25. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. pp. 51–52
    26. ISBN 9780882849218
      .
    27. ^ a b c d Boomer, Tim; Berry, Mick. The Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco. See Sharp Press, Jul. 1, 2009. p. 25
    28. ^ Boomer, Tim; Berry, Mick. The Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco. See Sharp Press, Jul. 1, 2009. p. 22
    29. ^ "Johnny Flippin | Credits". AllMusic. Retrieved February 25, 2021.
    30. ^ a b c Overthrow, David. Complete Electric Bass Method: Mastering Electric Bass. Alfred Music
    31. ^ a b Dickens, Bill "the Buddha"; Rock, Bobby. Funk Bass and Beyond. Alfred Music Publishing, 2003
    32. ^ Berkowitz, Dan (January 14, 2008). "How to Funk Up Your Bass". premierguitar.com. Premier Guitar. Retrieved April 9, 2019.
    33. ^ Pfeiffer, Patrick. "Effects Pedals for Your Bass Guitar". dummies.com. Dummies. Retrieved April 9, 2019.
    34. ^ Veall, Dan. "Electro-Harmonix Bass Blogger, Bass Metaphors and Bass Micro Synthesizer". Guitar Interactive Magazine. Archived from the original on August 1, 2020. Retrieved April 9, 2019.
    35. ^ a b c DeArcangelis, Christopher (January 6, 2017). "The Essential Gear of Parliament/Funkadelic". reverb.com. Reverb. Retrieved May 4, 2019.
    36. ^ a b c d e Schlueter, Brad (May 13, 2016). "10 Old School Funk Grooves Every Drummer Should Know". reverb.com. Reverb. Retrieved April 9, 2019.
    37. ^ Burns, Roy; Farris, Joey. Studio Funk Drumming: A Professional Workbook. Alfred Music, 1981. p. 6
    38. ^ a b c Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 53
    39. ^ Burns, Roy; Farris, Joey. Studio Funk Drumming: A Professional Workbook. Alfred Music, 1981. pp. 5–6
    40. ^ a b Payne, Jim. Complete Funk Drumming Book. Mel Bay Publications, Feb. 9, 2011. p. 7-8
    41. ^ Payne, Jim. Complete Funk Drumming Book. Mel Bay Publications, Feb. 9, 2011. p. 8
    42. ^ a b Bortnick, Avi (March 12, 2013). "Rhythm Rules: Call-and-Response Funk Guitar". premierguitar.com. Premier Guitar. Retrieved April 13, 2019.
    43. ^ "The Funky Ones — What Makes Funk Guitar What It Is - Musical U". Musical U. August 15, 2016. Retrieved October 24, 2018.
    44. ^ a b c d Bogdal, John (July 20, 2017). "Funk Guitar: The History, Techniques and Gear Behind the Groove". stringjoy.com. StringJoy. Retrieved April 19, 2019.
    45. ^ Kolb, Tom (March 20, 2019). "Licks, Tricks and Riffs for a Variety of Effects". guitarplayer.com. Guitar Player. Archived from the original on April 19, 2019. Retrieved April 19, 2019.
    46. ^ Anbar, Elyadeen (October 10, 2015). "Finding Your Ideal Guitar Tone: Guitar Pedals". flypaper.soundfly.com. Flypaper. Retrieved April 19, 2015.
    47. ^ a b Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 51
    48. ^ Lacy, Travis K., "Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 48
    49. ^ a b Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 75
    50. ^ Harrison, Scott D.; O'Bryan, Jessica. Teaching Singing in the 21st Century. Springer, May 14, 2014. p. 49
    51. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 21
    52. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 65
    53. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 5
    54. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 6
    55. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 26
    56. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 57
    57. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 29
    58. ^ a b Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 36
    59. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. pp. 55–56
    60. ^ a b Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 66
    61. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 72
    62. ^ a b c "Funk's five most ridiculous lyrics". City Pages. Retrieved April 20, 2019.
    63. ^ Lacy, Travis K., "Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 56-57
    64. ^ a b c d Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 48
    65. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 62
    66. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 68
    67. ^ Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 69
    68. ^ Danielsen, Anne (2006). Presence and pleasure: the funk grooves of James Brown and Parliament. Wesleyan University Press. pp. 3–4.
    69. ^ Kubik (1999: 51). Africa and the Blues. Jackson, MS: University Press of Mississippi.
    70. ISBN 0-534-64295-0
    71. ^ Dr. John quoted by Stewart (2000: 297).
    72. ISBN 1466462302
    73. ^ Stewart (2000: 302).
    74. ^ a b Stewart (2000: 293).
    75. ^ Harris, Keith; Erlewine, Stephen Thomas (May 9, 2020). "Little Richard: 20 Essential Songs". Rolling Stone. Retrieved May 15, 2020.
    76. ^ Lessons in listening – Concepts section: Fantasy, Earth Wind & Fire, The Best of Earth Wind & Fire Volume I, Freddie White. (January 1998). Modern Drummer Magazine, pp. 146–152. Retrieved January 21, 2007.
    77. ^ a b Collins, W. (January 29, 2002). James Brown. St. James Encyclopedia of Popular Culture. Retrieved January 12, 2007.
    78. ^ Alfred "Pee Wee" Ellis quoted by Stewart (2000: 303).
    79. ^ Stewart (2000: 306).
    80. ^ Pareles, J. (December 26, 2006). James Brown, the "Godfather of Soul" dies at 73. The New York Times. Retrieved January 31, 2007.
    81. ^ Gross, T. (1989). Musician Maceo Parker (Fresh Air WHYY-FM audio interview). National Public Radio. Retrieved January 22, 2007.
    82. ^
      ISBN 9780754664765. Retrieved November 25, 2016. {{cite book}}: |website= ignored (help
      )
    83. ^ "Rhapsody :: Jazz-Funk". Us.napster.com. Archived from the original on September 29, 2007. Retrieved February 25, 2021.
    84. ^ "Jazz | Significant Albums, Artists and Songs". AllMusic. November 24, 2013. Retrieved June 3, 2015.
    85. ^ a b Planet Rock – The Album (Liner notes). Afrika Bambaataa & the Soul Sonic Force. Tommy Boy Records. 1986. TBLP 1007.
    86. ^ Dayal, Gheeta (July 7, 2006). "Yellow Magic Orchestra". Groove. The Original Soundtrack. Archived from the original on October 2, 2011. Retrieved June 17, 2011.
    87. ^ Anderson, Jason (November 28, 2008). "Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine". CBC News. Retrieved May 29, 2011.
    88. ^ Toop, David (March 1996), "A-Z Of Electro", The Wire, no. 145, retrieved May 29, 2011
    89. ^ "Kurtis Mantronik Interview", Hip Hop Storage, July 2002, archived from the original on May 24, 2011, retrieved May 25, 2011
    90. ^ "Best-selling album of funk music". Guinness World Records. Retrieved February 9, 2022.
    91. ^ "MusicStrands". Musicstrands.com. Archived from the original on February 20, 2006. Retrieved February 25, 2021.
    92. ^ Whitman, Marc (March 2, 2007). "Phish Friday | Fall '97, Not Just the Cow Funk Era". LIVE music blog. Retrieved December 23, 2020.
    93. ^ Walters, Barry. "Tom Tom Club:The Good, The Bad & The Funky", Rolling Stone, 28 September 2000.
    94. The Dominion Post
      , 5 December 2003, p. B13.
    95. ^ Gold, Kerry. "Groove Armada", Vancouver Sun. 17 February 2000, p. C15.
    96. ^ Brown, Jonathan. "Everything you ever wanted to know about pop (but were too old to ask) Archived December 24, 2007, at the Wayback Machine", The Independent, 6 September 2007.
    97. ^ Waddell, Ray. "Particle To Fuel 'Beats of Peace' Tour". Billboard. Archived from the original on August 25, 2015. Retrieved May 16, 2014.
    98. ^ Seymour, Jane Jansen (November 30, 2010). "Funktronica Jams: An Interview with Freekbass of Headtronics". PopMatters. Retrieved May 16, 2014.
    99. ^ Thomson, Rex (July 11, 2016). "The Floozies Talk Improvisation In Funktronica, Red Rocks & Karl Denson's Avocados". Live For Live Music. Retrieved July 11, 2016.
    100. ^ Presence and pleasure: the funk grooves of James Brown and Parliament, p. 4
    101. ISBN 0-415-96919-0
      .
    102. ^ a b c d Reynolds, Simon. "End of the Track". New Statesman. Retrieved March 5, 2017.
    103. ^ Reynolds, Simon (1995). "Krautrock Reissues". Melody Maker. Retrieved March 5, 2017.
    104. Billboard
      . No. 116. Nielsen. December 25, 2004. Retrieved March 5, 2017.
    105. ISBN 9781593764777
      . Retrieved March 5, 2017.
    106. ISBN 9780143036722
      . avant-funk sly stone.
    107. ISBN 9780312063245
      . Retrieved March 6, 2017.
    108. ^ Fricke, David (November 13, 2003). "Living Colour – Collideoscope". Rolling Stone. Archived from the original on April 12, 2009. Retrieved December 11, 2011. Black-funk-metal pioneers return in righteous form when black-rock warriors Living Colour broke up in 1995,
    109. ^ Potter, Valerie (July 1991). "Primus: Nice and Cheesy". Hot Metal. 29. Sydney, Australia.
    110. ^ Darzin, Daina; Spencer, Lauren (January 1991). "The Thrash-Funk scene proudly presents Primus". Spin. 6 (10): 39.
    111. S2CID 159486276
      .
    112. S2CID 143460406
      .
    113. ^ "The Feminist Funk Power of Betty Davis and Renée Stout". journals.ku.edu. Retrieved October 31, 2019.
    114. ^ Gonzales, Michael A. (July 22, 2016). "Rise of the Funky Divas". EBONY. Retrieved October 31, 2019.
    115. S2CID 143971031
      .
    116. ^ "On the Difference Between Funk and Disco". The Washington Post. August 1, 1979. Retrieved October 23, 2018.
    117. ^
      ISSN 1524-2226
      .
    118. ^ "Janelle Monáe's body of work is a masterpiece of modern science fiction". Vox. Retrieved October 23, 2018.
    119. ^ Lordi, Emily (May 2, 2018). "The Artful, Erotic, and Still Misunderstood Funk of Betty Davis". The New Yorker. Retrieved October 23, 2018.

    Further reading

    Retrieved from "https://en.wikipedia.org/w/index.php?title=Funk&oldid=1219897603"
    This page is based on the copyrighted Wikipedia article: Funk . Articles is available under the CC BY-SA 3.0 license; additional terms may apply.Privacy Policy